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11

publication design summer


assignemnt

PUBLICATION DESIGN publication

8

LFTE

l e t t e r

f r o m

t h e

week

The Letter from the Editor is a column written by the editor of the magazine that explains the theme of the issue and any other pertinent information relevant to that issue. This assignment need to be 200 words minimum (based on 9/11 type) and include a portrait (this can be a drawing, a photo, a collage, etc). Your document should be part bio, part mission statement about your magazine. Include some interesting aspect of your magazine that a reader might find interesting. LOOK AT SAMPLES IN VARIOUS MAGAZINES. Be sure to spellcheck your document for errors and grammar.

e d i t o r


ON the verge

start

man in the mirror

Leanrdo MAEDER

O

bit quod molorum lit, estorer spisitiam quis et aspisqui ra sum repelisse molo mollabo. On perovitatet et ea dipsusc iatquia sum laborepel mod eatem. Onem quos etur? Gias reptatquam nesciae commodi caepero omniend ignisque voluptiisit dolene cons Obit quod molorum lit, estorer spisitiam quis et aspisqui ra sum repelisse molo mollabo. On perovitatet et ea dipsusc iatquia sum laborepel mod eatem. Onem quos etur? Gias reptatquam nesciae commodi caepero omniend ignisque voluptiisit dolene cons


start what a feeling

10 reasons to fall in love Do we really need an excuse?

10 Reasons to Fall Love

the present.

Sub: do we really need an excuse.

8. It makes you richer.

By Kendra Lyon 10. It makes you better-looking. This is not a joke. Believe it or not, falling in love can really make you look a lot better. If you’re the type of person who doesn’t care about your physical appearance, fall in love and see how you would change. When you’re in love, you will always try to look your very best not just to impress the one you love but also to feel good about yourself. You feel conscious about your outfit, your hair and your movements.

It doesn’t mean that you should marry Donald Trump or some other billionaire. Even if you fall in love with an average guy, you have more chances of getting

have done. This is true. Studies have shown that individuals in long-term committed relationships earn more than those who stay single. So if you want to get rich, fall in love.

If suicidal thoughts enter your mind all the time, you will forget about them altogether when you fall in love. You have a reason to live now and you know how your self-destruction makes him or her feel. And you don’t want him/her to be hurt, especially not by you. 6. It makes you mushier.

Even when you don’t exert any effort on improving your appearance, love really brings something magical to its victims. When people are in love, they smile a lot. There is a certain glowing aura that people in love emit that radiates happiness. 9. It makes you nicer. How can you be mean to people around you when there is someone who makes every minute of your life wonderful? When people are in love, we tend to focus on our feelings for that lucky person and pay not much attention to other things, much less to the things that make our blood reach the boiling point. And because there is someone who makes us smile every time, it is hard to frown and make other people’s lives miserable. We tend to forget our bitter past and our plans of revenge in the future because what matters is

might even undergo tests that you have been putting off for the longest time like mammogram and PSA. When you’re in love, there is an intense urge to care for your health because you want to live long, because you have a good reason to. You want to live long not just for yourself but also for that special someone.

rich. This is because you are more inspired to work and you have another reason to work hard. Intentionally or unintentionally, you will find yourself doing your job a little less exhausting because the feeling of going home to someone you love keeps you through the day in a way that you don’t realize how much work you

7. It makes you healthier. When you’re in love, you care about yourself. It’s not just physical appearance, it is your overall well-being including your health. If you used to ignore that migraine you’ve been enduring for years, when you’re in love, there is a high chance that you would call your doctor for an appointment and schedule a check-up. You

There’s nothing wrong with being mushy. It only means that you are sentimental and emotional. It only means that you care about how other people feel, especially the person you are in love with. If you have always thought that the lines uttered in those romantic movies are stupid, you will be surprised to find yourself in one, saying those mushy lines. It is alright. There is nothing unmanly about expressing how you feel and letting your significant other know how important he or she is to you. It is not a crime. Being mushy is not a crime. 5. It makes you stronger. Although it can also make you weaker in certain ways, falling in love makes you stronger. How? First of all, sex is a good workout. Haha.


anchored numbers......


Seriously, people in love want and try to be strong for themselves and those we care for. We will do and endure anything to protect the person we love and give them what he or she wants. When we are sick, we want to get better fast so we can enjoy more time with him or her. We become stronger so we can catch them when they fall and lift them when their down. Being strong can also be interpreted in another way. Some people can take all the pain that love brings just so they don’t lose them. Even when they are hurt by factors ranging from differences to third party to family, they choose to stay in the relationship because they are strong enough and they know that it will pass. Love is not easy to let go. If we can keep it, we will. Love is like that. It’s pleasure and pain rolled into one and it takes a lot of strength. Love is not for the weak-hearted. 4. It makes you wiser. Being in a relationship is not all about sunshines and rainbows. There are bad, depressing moments, too. Although it is not a good reason to fall in love, it is not a reason not to, either. In fact, mistakes are essential in love. Each mistake teaches you something important. Every time you make a mistake, you learn. And every time you learn, you become wiser. This enables you not to do the same mistakes again. Being wise means growing up. And it takes grownups to run a relationship. 3. It makes you more responsible. If your life is in disarray, you will set everything straight when you’re in love. You will find a good job because you think of

your future together. You will take good care of your finances. You will fix your relationship with your family. You will forget about your unfinished business with your exes. You will even clean your room, which you haven’t done since you hit puberty. When you’re in love, your life develops a sense of direction. 2. It makes you more creative. When you’re in love, you think of new ways to take your loved one’s breath away. You cannot do things over and over again or you will beth get tired. You will be forced to come up with new, refreshing ways of saying “I love you,” of celebrating anniversaries, of letting him or her know how you feel. In some cases, people find themselves learning or trying to do things new to them like writing songs or doing something embarrassing. The funny part is, you don’t complain because you enjoy doing it. Weird, but you really do. Another way of being creative is when he or she asks you where you have been last night. Yeah, that will really squeeze out all the creative juices in you. 1. It makes you happier. When you’re in love, you will never find yourself alone. You already have a partner to do things with and it’s not just sex. Yes, sex makes people happy but it’s more than that. Simple activities can become fantastic when you do it with someone, especially with the one you truly treasure. These things will make you happy and it will show big time. You’ll be surprised that you will see yourself smiling and laughing all the freaking damn time. You think about him or her, you

smile. You see him/her walking, you smile. You see him/her trip on her toe, you smile. When you’re in love, you always think positive.


start

design

The World and Style of Fornasetti

How surreal art became fashion plates

By Dagmar Fiction

“Dear contemporaries, don’t you realise how different we are? Although I depict you as equals and like the ancients you never change.”

C

Piero Fornasetti

ombining whimsy and elegance, Piero Fornasetti (1913–1988) transformed everyday objects like cups, scarves, and screens into works of art featuring his idiosyncratic leitmotifs, such as the hand, the female face, and luminescent fish. Additionally, he created a wide range of works, including idealized architectural fantasy drawings, book designs, and provocative nudes, as well as the decor for the luxury liner Andrea Doria. Perhaps most famous for dazzling pieces of trompe l’oeil furniture, Fornasetti was rediscovered in the 1980s and has remained much sought-after by collectors worldwide. Featuring 2,800 illustrations, many never before published, the monograph is designed to be an “artist’s book” that reflects as faithfully as possible Fornasetti’s own approach to design.


steelfish

The World and Style of Fornasetti How surreal art became fashion plates. By Dagmar Fiction

“Dear contemporaries, don’t you realise how different we are? Although I depict you as equals and like ancients you never change.” Piero Fornasetti Piero Fornasetti (10 November 1913 - 1988) was an Italian painter, sculptor, interior decorator and en graver.

Combining whimsy and elegance, Piero Fornasetti (1913–1988) transformed everyday objects like cup scarves, and screens into works of art featuring his idiosyncratic leitmotifs, such as the hand, the fema face, and luminescent fish. Additionally, he created a wide range of works, including idealized architec al fantasy drawings, book designs, and provocative nudes, as well as the decor for the luxury liner And Doria. Perhaps most famous for dazzling pieces of trompe l’oeil furniture, Fornasetti was rediscovered the 1980s and has remained much sought-after by collectors worldwide. Featuring 2,800 illustrations many never before published, the monograph is designed to be an “artist’s book” that reflects as faithf as possible Fornasetti’s own approach to design.


start everything is everything

mesocarp

endcocarp

seed

LEMON AID

O

bit quod molorum lit, estorer spisitiam quis et aspisqui ra sum repelisse molo mollabo. On perovitatet et ea dipsusc iatquia sum laborepel mod eatem. Onem quos etur? Gias reptatquam nesciae commodi caepero omniend ignisque voluptiisit dolene cons Obit quod molorum lit, estorer spisitiam quis et aspisqui ra sum repelisse molo mollabo. On perovitatet et ea dipsusc iatquia sum laborepel mod eatem. Onem quos etur? Gias reptatquam nesciae commodi caepero omniend ignisque voluptiisit dolene cons


s t u f f

w e

a l l

g e t

Qui nihicae. Uribus quia inctiun tibusdant. Natem qui dellore, non cum nestius cimiliatem ni corum imenda que cora nis dolu

CHA CHA HEEL Tapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the

CHA CHA HEEL Tapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995


CHA CHA HEEL Tapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995

CHA CHA HEEL Tapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995

dart Tapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995

CHA CHA HEEL Tapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995


swag

PUBLICATION DESIGN publication

5 week

elements in this exercise style sheets captions multiple objects consistency gutter grid

styles 8 on 9.6 Helvetica Neue bold (body) 12 pt Upper Case caption head align left, rag right

example A BIG SHOE

Lum quis ex ese seque provit ento comnis exceprest, nobiscia doluptus ducipsum reritae e Lum quis ex ese seque provit ento comnis exceprest, nobiscia doluptus ducipsum reritae

due work on SWAG in class and be prepared to show single 11x17 tabloid size spread next week.

What is swag? Stuff We All Get is generally considered product that is given to celebrities, or stuff that editors get as a way to be included in a product page. ANGELES Swag is a two page product story. Images will be supplied (you may veer from this if it is essential to your magazine’s theme). There should be five images per page. Create a style sheet, SWAG captions, and use 8 on 9.6 Helvetica Neue Bold (flrr) as the caption copy. Use an Upper Case head describing the product. Each caption should be approximately 30 words. Concepts: product pages are common in brochures, magazines, annual reports, advertisements, etc. A magazine product page CAN be different as inclusion is generally not paid for, and “editorial” means you can have some freedom with it. In a catalog, all images are the same size. Review product pages in magazines to see how dramatic effects are accomplished through a variety of graphic design experiments with size and shape.


FRANK GEHRY Disney Architect

s buildings, including his private residence, have become tourist attractions. His works are often cited as being among the most important works of contemporary architecture in the 2010 World Architecture Survey, which led Vanity Fair to label him as “the most important architect of our age”. Gehry’s best-known works include the titanium-covered Guggenheim Museum in Bilbao, Spain; MIT Stata Center in Cambridge, Massachusetts; Walt Disney Concert Hall in downtown Los Angeles; Experience Music Project in Seattle; Weisman Art Museum in Minneapolis; Dancing House in Prague; the Vitra Design Museum and MARTa Museum in Germany; the Art Gallery of Ontario in Toronto; the Cinémathèque française in Paris; and 8 Spruce Street in New York City. But it was his private residence in Santa Monica, California, which jump-started his career, lifting it from the status of “paper architecture” – a phenomenon that many famous architects have experienced in their formative decades through experimentation almost exclusively on paper before receiving their first major commission in later years. Gehry is also the designer of the future Dwight D. Eisenhower Memorial.

Cone omnisit iistion escipsa ntiam, et vit odis secepud andebis tiaturiat re pa doluptam, eatia quati aut exceper ibeaquam voluptatium illacest fuga. Qui toris dolesequi ra volorum, te nimoditas et aniatur? Harunt. Uptatem ipientur? Evendis et aut mi, sameniae andae quam, nobis dolo berrovide volorem ulla et volupicil eveleniae maxim dolupta dolorectem corernam, ame endi audaes modis eruptas evercillupta am nos doluptis reiunti antiore ictaqui aepelestet am voluptate rerspid ut quid quam volupis et voluptios voluptatio tesed magniat que doluptas qui cum aligent ibuscitem deles aut ut offic to berenie ndenis destorerum quam lictas dignis aut lam et, utem a dentibus dolla si con Cone omnisit iistion escipsa ntiam, et vit odis secepud andebis tiaturiat re pa doluptam, eatia quati aut exceper ibeaquam voluptatium illacest fuga. Qui toris dolesequi ra volorum, te nimoditas et aniatur? Harunt. Uptatem ipientur? Evendis et aut mi, sameniae andae quam, nobis dolo berrovide volorem ulla et volupicil eveleniae maxim dolupta dolorectem corernam, ame endi audaes modis eruptas evercillupta am nos doluptis reiunti antiore ictaqui aepelestet am voluptate rerspid ut quid quam volupis et voluptios voluptatio tesed magniat que doluptas qui cum aligent ibuscitem deles aut ut offic to berenie ndenis destorerum quam lictas dignis aut lam et, utem a dentibus dolla si con Cone omnisit iistion escipsa ntiam, et vit odis secepud andebis tiaturiat re pa doluptam, eatia quati aut exceper ibeaquam voluptatium illacest fuga. Qui toris dolesequi ra volorum, te nimoditas et aniatur? Harunt. Uptatem ipientur? Evendis et aut mi, sameniae andae quam, nobis dolo berrovide volorem ulla et volupicil eveleniae maxim dolupta dolorectem corernam, ame endi audaes modis eruptas evercillupta am nos doluptis reiunti antiore ictaqui aepelestet am voluptate rerspid ut quid quam volupis et voluptios voluptatio tesed magniat que doluptas qui cum aligent ibuscitem deles aut ut offic to berenie ndenis destorerum quam lictas dignis aut lam et, utem a denti-


feature story

PUBLICATION DESIGN publication

8 week

elements in this exercise art direction style sheets captions multiple objects sidebars maps pullquotes

styles BODY: 9/12 serif or sans serif body copy CAPTIONS: 8/11 bold

T

he feature story, “Building with a Twist�

is a six-page story with numerous images and text. There will be a sidebar, map, byline, photo captions and pull quotes used to illustrate the story.

Opener: should have the headline, deck and byline, with at least one paragraph of type. Remember: initial caps, different weights and type sizes for opening, create interest. Body copy should flow. Link paragraphs and be aware of guides, trim and where copy sits on the page.

due to be completed in final magazine.


The strikingly beautiful Walt Disney Concert Hall isn’t just the new home of the Los Angeles Philharmonic; it’s a key element in an urban revitalization effort now underway Downtown. The Walt Disney family insisted on the best and, with an initial gift of $50 million to build a world-class performance venue, that’s what they got: A masterpiece of design by world-renowned architect Frank Gehry, and an acoustical quality that equals or surpasses those of the best concert halls in the world. Similar to Gehry’s most famous architectural masterpiece, the Guggenheim Museum in Bilbao, the concert hall’s dramatic stainless-steel exterior consists of a series of undulating curved surfaces that partially envelop the entire building, presenting multiple glimmering facades to the surrounding neighborhood. Within is a dazzling 2,273-seat auditorium replete with curved woods and a dazzling array of organ pipes (also designed by Gehry), as well as Joachim Splichal’s Patina restaurant, the hip Concert Hall Cafe, a bookstore, and a gift shop. The 3 1/2-acre Concert Hall is open to the public for viewing, but to witness it in its full glory, do whatever it takes to attend a concert by the world-class Los Angeles Philharmonic. Also highly recommended are the $12 audio tours, which lead visitors through the Concert Hall’s history from conception to creation. The 45-minute selfguided tour is narrated by actor John Lithgow and includes interviews with Frank Gehry, Los Angeles Philharmonic music director Esa-Pekka Salonen, and acoustician Yasuhisa Toyota, among others. One big caveat is that you see just about everything except the auditorium: There’s almost always a rehearsal in progress and the acoustics are so good that there’s no discreet way to sneak a peek. The audio tours are available on most non-matinee days from 10am to 2pm (be sure to check their website for the monthly tour schedule).


TOC table of contents

PUBLICATION DESIGN publication

9 week

elements in this exercise style sheets captions multiple objects

styles 9/12 serif or sans serif body copy

due include in final magazine

THE TOC (table of contents) is a navigational page for readers. Each story is listed with a folio and usually a short paragraph about the story and a byline. The masthead also appears at the top with the month. TOC’s are highly creative pages in that they reflect the magazine and yet are graphically independent. Choose fonts, colors and design elements that we have seen elsewhere in your magazine to create a look and identity to your page.


the page

the

Last Page

PUBLICATION DESIGN publication

10 week

elements in this exercise art direction

styles 9/12 serif or sans serif body copy

due inlcude in final magazine + PDF

The LAST PAGE is exactly that: the last page of the magazine. It is always on the left and is editorially open to ideas. It can be a picture, a doodle, an illustration, an icon—anything you like so far as it implies the last of something. It should have a slug and be clear to the reader that this is a page, albeit, the last page of your magazine.


TOC table of contents

PUBLICATION DESIGN publication

9 week

elements in this exercise style sheets captions multiple objects

styles 9/12 serif or sans serif body copy

due include in final magazine

THE TOC (table of contents) is a navigational page for readers. Each story is listed with a folio and usually a short paragraph about the story and a byline. The masthead also appears at the top with the month. TOC’s are highly creative pages in that they reflect the magazine and yet are graphically independent. Choose fonts, colors and design elements that we have seen elsewhere in your magazine to create a look and identity to your page.


well

PUBLICATION DESIGN publication

week

10 TOXIC BEAUTY or Darien art direction design typography

due to be included in your final presentation

? Pages 25-26 are in the well. You have a choice between two stories, “Toxic Beauty” or “Darien”. These are both big picture stories and the challenge is to create a readable, creative spread with the copy and images supplied. Both stories are on the server in the shared folder. There is copy for each. “Darien” requires some photo editing as there are many images. “Toxic Beauty” is a single image. As these are stories in the well, they can be presented independently of your front-of-book style. The only constant would be use of body copy, although it can be modified to you liking.


The Los Angeles Philharmonic continues its reinvention of the concept of a 21st-century orchestra under the vibrant leadership of Gustavo Dudamel. Embarking on its 92nd season in 2010/11, the Philharmonic is recognized as one of the world’s outstanding orchestras and is received enthusiastically by audiences and critics alike. Both at home and abroad, the Philharmonic is leading the way in innovative programming and redefining the musical experience. This view is shared by more than one million listeners who experience live performances by the Los Angeles Philharmonic each year. The Philharmonic demonstrates a breadth and depth of programming unrivaled by other orchestras and cultural institutions, performing or presenting nearly 300 concerts throughout the year at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl, a popular summer tradition since 1922. The orchestra’s involvement with Los Angeles also extends far beyond regular symphonic performances in a concert hall, embracing the schools, churches, and neighborhood centers of a vastly diverse community.

twist and shout The Grandeur of Grand Avenue’s DIsney Hall


The Los Angeles Philharmonic was founded by William Andrews Clark Jr., a multi-millionaire and amateur musician, who established the city’s first permanent symphony orchestra in 1919. The 94 musicians of the new ensemble met for their first rehearsal Monday morning, October 13 of that year, under the direction of Walter Henry Rothwell, whom Clark had brought from the St. Paul (Minnesota) Symphony Orchestra. Eleven days later, Rothwell conducted the orchestra’s premiere performance before a capacity audience of 2,400 at Trinity Auditorium in downtown Los Angeles. The audience heard Dvořák’s New World Symphony, Liszt’s Les Préludes, the Overture to Weber’s Oberon, and Chabrier’s España. Rothwell remained the orchestra’s Music Director until his death in 1927. Since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (19271929); Artur Rodzinski (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Eduard van Beinum (19561959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (19922009); and Gustavo Dudamel (2009-present). Following its opening season in 1919/1920, the orchestra made Philharmonic Auditorium, on the northeast corner of Fifth and Olive, its home for the next 44 years. In 1964, the orchestra moved to the Dorothy Chandler Pavilion of the Los Angeles Music Center, which was its winter home until its final performances there in May 2003. In October 2003, the doors to one of the world’s most celebrated venues — the Frank Gehry-designed Walt Disney Concert Hall — were opened and the Los Angeles Philharmonic took the stage in its new home, which has become known not only as a local cultural landmark, but also as “…a sensational place to hear music... In richness of sound, it has few rivals on the international scene, and in terms of visual drama it may have no rival at all.” (The New Yorker) Praise for both the design and the acoustics of the Hall has been effusive, and the glistening curved steel exterior of the 293,000-square-foot Walt Disney Concert Hall embodies the energy, imagination, and creative spirit of the city of Los Angeles and its orchestra.


Inspired to consider new directions, Gustavo Dudamel and the Philharmonic aim to find programming that remains faithful to tradition, yet also seeks new ground, new audiences, and new ways to enhance the symphonic music experience. During its 30-week winter subscription season of 110 performances at Walt Disney Concert Hall, the Philharmonic creates festivals, artist residencies, and other thematic programs designed to delve further into certain artists’ or composers’ work.

The man behind the Hall Equossimporro dem. Daectaquis serorporum imaioratur autem fugia con corporehenti tem earitatusam renderro cus voluptas ipsant ut dolupid estiisq uassitatiate nimet faccusdaeste sus aut excea iureri doluptia nihilla boreribus dolor am, quam facimol orerae verchil inum fugit quae ilibusam alignimus conse voluptaspedi toribus evel int aut eum eaquunt oriasitatem quatur sit, culliqui commodi dolorisci in con cus sequae. Epedis ium debitias sint essum, sus eum quiatius ut excepuda poria quatur? Ga. Ucium eum doluptus in consed ex est laboreius iur aut iurem eiciet hil inctiscil imi, simi, ide dolumquid maionse quidendem rerovidenda simint moluptias elloren derciis alignatur? Ilique dolupti tecupta testem sedi a cum im hilicab ium harum quodis mossequisqui blatatur alique sit, eicab imaions equiandem aut opta doluptat. Pudisi rem ea consequ iaspercia que ium laboria saes as venis mi, omni

The Los Angeles Philharmonic’s commitment to the presentation of music of our time is evident in its subscription concerts, the exhilarating Green Umbrella series, and its extensive commissioning initiatives. Now in its 29th year, the Los Angeles Philharmonic New Music Group, devoted exclusively to performing compositions on the cutting edge of the repertoire, attracts leading composers and performers of contemporary music. The Los Angeles Philharmonic Association expands its cultural offerings by producing concerts featuring distinguished artists in recital, jazz, world music, songbook, and visiting orchestra performances, in addition to special holiday concerts and series of organ recitals, chamber music, and baroque music.

The Philharmonic has led the way into the digital age, with groundbreaking web and mobile device applications. Through an ongoing partnership with Deutsche Grammophon, the orchestra has a substantial catalog of concerts available online, including the first classical music video released on iTunes. Otto Klemperer, Zubin Mehta, Carlo Maria Giulini, André PrevinOtto Klemperer, Zubin Mehta, Carlo Maria Giulini, André Previn * Georg Schnéevoigt (1927-1929) * Artur Rodzinski (1929-1933) * Otto Klemperer (1933-1939) * Alfred Wallenstein (1943-1956) * Eduard van Beinum (1956-1959) * Zubin Mehta (1962 -1978) * Carlo Maria Giulini (1978-1984) * André Previn (1985 -1989) * Esa-Pekka Salonen (1992 - 2009) * Gustavo Dudamel (2009 - Present)

Click here for KCRW’s four-part radio documentary on Walt Disney Concert Hall

Click here for information about the history of the Hollywood Bowl! Photo Credits: * Trinity Auditorium: Cambria Archives * Philharmonic Auditorium exterior: California Historical Society/Ticor * Alicia de Larrocha with Los Angeles Philharmonic: Otto Rothschild Collection. Music Center of Los Angeles County Archives


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