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hanghai—where 1,000 buildings exceed 30 stories—is called by many the
World Capital of Skyscrapers.
And the super-skyscrapers keep soaring in Pudong, the dazzling, often surreal
neighborhood built in the last two decades atop farmland east of the Huangpu
River, across from Shanghai proper. Audiences around the world have seen
Pudong even if they don’t know its name: The sector has provided the futuristic backdrop
for Bruce Willis’ Looper and much of the daredevil action in Mission Impossible 3. James
Bond borrowed some of Pudong’s scintillating skyscrapers for Skyfall the year before they
represented a futuristic Los Angeles in Spike Jonze’s acclaimed sci-fi romance, Her.
Long one of the world’s most frenetic cities, Shanghai has done even more of late to
ratchet up its exhilarating and unparalleled pace of urbanization. In this hyper-kinetic city,
even an architect as seasoned as Robert Price lives in a perpetual state of awe. Price is a
senior associate at Gensler, which is, by many measures, the world’s biggest architectural
firm. In eight years of living in Shanghai, Price has seen neighborhoods crumble before his
eyes—and ears—while armies of cranes work to replace them with futuristic skyscrapers.
Still, Price recalls a day six years ago when the elegantly tapering Shanghai World
Financial Center opened, becoming the tallest building in a city jam-packed with skyscrap-
ers—more than two dozen are 50 or more stories in this metropolis of 24 million people. He
was especially drawn to WFC’s glass observation deck, the highest in the world at 1,555
feet, set atop the tower’s trapezoid-shaped aperture in the clouds. “I remember waiting for
the opening, then going up for a look,” he says. “What an incredible thrill.”
Nowadays Price finds a bigger buzz, atop his firm’s Shanghai Tower—China’s tallest
skyscraper and the world’s second highest. The 1,841-foot-high observation deck offers
breathtaking horizon-to-horizon vistas, overlooking both the Jin Mao, China’s tallest tower
in 1998, and the WFC, which claimed the crown in 2008. Now that honor goes to Shanghai
right: A look at the construction
from high above. Below: The Shanghai
tower is a marvel of design and
engineering.
PhotographyCourtesyGensler
2,073 The height in feet of
the Shanghai Tower, which
will make it the tallest build-
ing in China and the second
highest in the world.
128 The number of stories
in the Shanghai Tower, with
more than 4 million square
feet of total floor space.
24 Percentage of building
material saved by using
advanced algorithms,
monster computer power
and extensive test modeling.
60 MILLION The cost
savings in dollars achieved
from innovative test
modeling technologies.
20 The thickness in feet
of the tower’s concrete
mat above its supporting
tiles, used to shore up the
building’s foundation.
34,000 The reduction of
the tower’s carbon footprint
annually, in metric tons,
due to sustainable building
strategies.
63 The number of hours
that concrete was continu-
ously poured to create the
foundation (a world record).
The effort required a line of
trucks 1.2 miles long.
SHANghaI TOWER
BY THE NUMBERS
above: workers put the
finishing touches on the
Shanghai Tower, the new-
est—and tallest—structure
in pudong, and the second-
tallest building in the
world. From its observation
deck at 1,841 feet, you can
look down on the two
buildings that were once
the tallest in china.
Tower, by a wide margin. From his heavenly perch in the sky Price can actually look down
upon two buildings that each were once China’s tallest, and they seem to shrink to some-
thing close to irrelevance some 500 feet below.
This breathtakingly vertiginous tower was meant to be: When this part of the city was
planned, it was always with a trio, not a duo, of super-skyscrapers in mind. “In one way or
another the Shanghai Tower makes Lujiazui [Pudong’s financial district] more complete,”
observes Bert de Muynck, Shanghai architect, professor, and founder of MovingCities, an
urban think tank. “You didn’t realize something was missing until they built it.”
“When this project started, the environment was totally different,” Price says. “There
was really only the Jin Mao—the World Financial Center hadn’t been built. Shanghai is
growing by half a million people a year. The design really responded to this growth. We
wanted the height to be substantial enough to point to the future.”
BUILDING TALL HAS INFATUATED humankind since before the Tower of Babylon,
yet until relatively recently, the skyscraper race was a two-city competition. New York’s
Empire State Building (1,250 feet, 102 stories) defined skyscrapers for four decades; in
1971, the original World Trade Center 1 (1,368 feet, 110 stories) held the title for two years
until it was surpassed by Chicago’s Sears Tower (1,450 feet, 110 stories). Sears held the title
for another quarter century (the building was renamed the Willis Tower in 2009). Thus was
the state of the art in the very long modern age, led by the ingenuity of the United States.
It was a good run. Then Cesar Pelli’s iconic Petronas Towers (1,483 feet, 88 stories)
brought the crown to Kuala Lumpur, Malaysia, in 1998. In the ensuing 15 years, the world
has seen an unprecedented skyscraper boom played out across Asia and parts of the Mid-
dle East, but especially in China, where more than 200 are currently under construction.
Every couple years a new tower topped the last, often by just a few meters, until there
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we taught ourselves.
W e sta rt e d u s i n g wo o dwo r k i n g
W e g ot s o m e o l d wo o dwo r k i n g b o o ks.
eq u i p m e n t i n m y fat h e r ’ s 900
900
To tell the story of Hellman-Chang,
Cadillac Magazine recruited Robert
Brown and Todd Davis, principals of
Brown Davis Interiors: The establishment
design firm meets Brooklyn’s upstart fur-
niture craftsmen. It was Brown Davis,
after all, that brought the original Miami
Vice house back to life and went on to
create homes for former President Bill
Clinton and former Secretary of State
Hillary Clinton in Washington, D.C., and
Chappaqua, N.Y. When Brown Davis
began, they were renovating mid-century
homes, using them as design labs, and
then flipping them, reaping considerable
rewards for their 18-hour days. Today,
they’re wondering how a new design duo
makes its mark. These are excepts from
Dan Hellman and Eric Chang’s remarks,
as told to Robert Brown and Todd Davis.
Eric: Dan and I went to middle school and
high school in the suburbs of Maryland.
In high school we shared a lot of the same
interests—architecture and design—and
one day we said, ‘Let’s just jump into this,
let’s design some furniture.’
Dan: We started using woodworking
equipment in my father’s garage. My
father had some power tools, and we
bought some crappy wood, crappy pine.
We got some old woodworking books.
We taught ourselves.
Eric: We were both working other jobs.
Dan studied classical guitar at North-
western, and I got my degree in finance
and marketing from NYU. We went ahead
and rented a five-by-ten co-op workshop
in Brooklyn, sharing space with these
rough-and-tumble craft guys, back before
Brooklyn was cool. We were working
nights and weekends.
///// The Z pedestal table
was their first product.
Eric: A tremendous amount of research
went into placement of the product in the
industry. We saw a lot of opportunities,
coming in from the outside. Everything has
been really well calculated, from the design
of the product to the design of the brand.
Brooklyn became a huge selling point. It
was becoming an epicenter of design and
everyone was flocking to it. But we’d been
entrenched there for eight years.
Dan: We submitted Z Pedestal for Interior
Design’s Best of Year awards—and won.
Eric: We were in business approximately
from 2005, and we won the award in 2006.
The heads of the industry were there and
we didn’t know anybody. We certainly
looked out of place at the time. When we
accepted the award from {Interior Design
editor] Cindy Allen, everyone was snap-
ping our picture, and she leaned in and
kind of whispered, “Who are you?”
///// But she said it more
colorfully. HELLMAN AND
CHANG were 24 at the time.
Eric: We’re actually very different, which
is why we work well together as business
partners. Dan is far more technical—he’s
ABOVE: it takes more than 100 hours to
create the z quad dining table, the
biggest extension of the firm's iconic z
pedestal table. opposite page: even as
demand grows, all the furniture
remains meticulously handcrafted in
their brooklyn studio.
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![space
.02
900
T h e r e ’ s a fo c u s
o n n eg at i v e
and the weight and the
grounding
o f s o l i d wo o d. . .
the master craftsman, very hands-on.
I’m more marketing, PR and branding,
and I can flesh out the overall designs,
themes and look of the products. Dan fig-
ures out how the furniture will be made.
I push in one direction, he pushes in
another, and we come together at a good
middle ground. We make the prototypes
together. After it is put on paper and it
comes to life as a prototype it becomes a
sculpting process.
Dan: We’re always trying to create
dynamic, sculptural products. There’s a
focus on negative space and the weight
and the grounding of solid wood and how
these two values work together. We want
to preserve an elegant silhouette. And we
want to create an emotional connection—
we want people to want to touch our fur-
niture when they see it.
Eric: I’m a big car guy and I love the emo-
tional connection that people feel toward
their cars. When you see a beautiful car,
doesn’t matter whether you’re a man,
woman, young, old—the first thing you
want to do is run up and touch it. That’s
what I want people to feel about our fur-
niture. We keep our finishes close to the
grain so you can still feel it.
///// High-end hospitality
opened its doors.
Eric: In January 2007 we got the call
from [San Francisco design firm]
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CadillacMagazine_lowres
- 1. MAGAZINE T H EW E L L - D R I V E N L I F E S U M M E R 2 0 1 4 SCENE STEALERAMERICAN HUSTLE COSTUME DESIGNER MICHAEL WILKINSONDOES IT BOLD AND BEAUTIFUL P LU S : SHANGHAI REACHES FOR NEW HEIGHTS 2 0 1 5 E S CA L A D E : LIFE TASTES BESTWHEN IT’S WELL DONE
- 2. What Drives you?That’s the question. What drives you? What excites you? What makes you passionate about the things you do every day? For us, it’s turning bold thoughts into bold decisions. It’s taking those decisions and crafting them into powerful, beautiful, sophisticated works of art. And it’s always remembering whom we’re doing it for: the eternally optimistic who realize that good will never be good enough. Not coincidentally, our first issue of Cadillac Magazine is filled with people who are driven by the same ideals. Costume designer Michael Wilkinson (page 30) made a major impression on audiences this year with his ’70s-inspired attire for American Hustle. His bold vision earned him an Academy Award nomination and made him Hollywood’s new go-to designer. Dan Hellman and Eric Chang started making furniture in a garage (page 54) and in a short time—a very short time— began winning awards and receiving orders from many top luxury brands. Today, they’re still hard at work in their Brooklyn shop, creating impeccably designed pieces that wow customers the world over. Bold decisions drive the entrepreneurs in the Abbot Kinney section of Venice (page 62) who are building their own version of the tech corridor in what has become known as Silicon Beach. What we took away from these nonconformists, these restless spirits, is that when you’re on a never-ending quest for “what’s next,” what drives you isn’t nearly as important as the fact that you’re driven. And when you’re driven, you’re guaranteed a life well lived. Uwe Ellinghaus Global Cadillac Chief Marketing Officer when you're driven, you're guaranteed a life well lived. PhotographybyJoeVaughn.Location:ElementbyWestinnewyork W e l c o m e 1 Summer 2014
- 3. on the cover L.A.-basedphotographer Joe Schmelzer shot Oscar-nominated costume designer Michael Wilkinson (“From the Feet Up”) at Hargate’s Costumes in West Hollywood. “I didn’t know if I was going to be met with a Hollywood- attitude type or not,” Schmelzer says. “But luckily, Michael turned out to be fun, energetic, and with a personality as charming as his amazing costumes and designs.” Schmelzer’s work has appeared in Architectural Digest, Elle Decor and Vogue UK. This page Photography by Sean Hunter Brown. visions: THE features 30 // FROM THE FEET UP American Hustle and Man of Steel costume whiz Michael Wilkinson 38 // LOW COUNTRY HIGH The next-generation Escalade, ready for its close-up in the New South 44 // Chairman of the Board Big wave surf legend Laird Hamilton on the ride of his life 48 // IN THE HEIGHTS Starchitects reach toward the heavens in Shanghai 54 // GOOD BUILDS Furniture designers Hellman-Chang on the world's Brooklynization 62 // SOFT WIRED With the Valley so yesterday, tomorrow's tech giants hit the beach 68 // LIKE GLISTENING SCULPTURE A prodigy photographer shoots inside the barrel in SoCal 73 // AUSTIN'S Top CHEFS Four big-name chefs turn up the heat in brand-new venues 78 // WHAT COMES AROUND In Rome, a private/public partnership restores the Colosseum's glory T a b l e o f c o n t e n t s 3 Summer 2014
- 4. T a bl e o f C o n t e n t s we would love to hear from you! How are we doing? Comments,questions, suggestions? Email us at: CadillacMag@ lowe-ce.com. Publisher Uwe Ellinghaus Global Cadillac Chief Marketing Officer Associate Publishers Craig Bierley Cadillac Director–Advertising Melody Lee Cadillac Director–Brand Reputation and Strategy Yanlin Sun Cadillac Digital & CRM Manager Julie Flynn Cadillac CRM Manager content engagement Director Laura Rogers Editorial Director Dan Grantham Editor Drew Limsky Managing Editor Ron Bernas Art Directors/ Designers Cassidy Zobl John Kalmar Joseph Ferraro Grayson Cardinell Copy Editor Sheila Walsh Dettloff Account Manager Eliza Nascimento Program Manager Mary Carlington Production Manager Susan Osterrout Cadillac Magazine is published twice a year by Lowe Campbell Ewald, 2000 Brush Street, Suite 601, Detroit, MI 48226 586.574.3400 ©2014 General Motors. All rights reserved. departments spectrum: THE VEHICLE 08 // Discoveries 10 // Exclusives 12 // Ride Along 14 // Cadillac Voices inspirations: THE LIFESTYLE 1 8 // Arts 20 // Objects Of Desire 22 // Cuisine 24 // Escapes 26 // Mind & Body 27 // Trendspotter 96 // Perspectives pUrsuits: THE open ROAD 86 // Leaving Las Vegas 94 // State Of Mind 95 // Living Large oppositepage:TomRocheandChrisOsburn;thispage:DrewLimsky:JohnRoe “After spending the better part of a day with big wave rider Laird Hamilton to write ‘Chairman of the Board,’” Berusch says, “nothing could have prepared me for this question from Hamilton: ‘So, do you want to go for a paddle?’ Then we took on an eight-foot swell in Hanalei Bay.” The Oahu-based pub- lisher of Hawaii Polo Life, Berusch has writ- ten for Departures and Town & Country and has appeared on Today. Brian Berusch //writer “to capture the stylish luxury of the new Escalade for ‘Low Country High,’ we scouted Savannah’s narrow cobblestone streets and lush city parks,” Roe says. “We spoke to locals and found some half-hidden gems for backdrops. We shot in the early morn- ings and late afternoons, letting the silver exterior glow against the dark, lush landscapes.” A pre- mier vehicle shooter, Roe has worked for GQ and Car and Driver. John Roe // photographer In the last 20 years, Wright has worked for nearly every major magazine, from Vogue, and Men’s Journal to Esquire, Town & Coun- try and Men’s Health. For the Hellman-Chang story (“Good Builds”), Wright spent the day in the studio of the noted Brooklyn furniture designers. “Shooting them in their suits in their workplace,” he says, “added a sense of reality and fantasy that converged.” Jim Wright //Photographer As a former corre- spondent for CNN and a writer for The New York Times and Condé Nast Traveler, con- tributor Elina Fuhrman has made a career of interviewing decision makers and trendset- ters. For “Soft Wired,” she walked the boho boardwalk of Silicon Beach to meet the new generation of techies, who are building a community of startups. “Everyone believes that it’s the next big L.A. thing,” Fuhrman says. “And it is.” Elina Fuhrman // writer “It’s an auspicious thing to launch a luxury lifestyle magazine, especially for Cadillac, an iconic American brand,” says Editor Drew Limsky. “But as we thought about the brand’s boldness, sophistica- tion and optimism, and were able to enlist leaders in their respective fields—Michael Wilkinson, Laird Hamilton, Hellman Chang, Brown Davis, Yves Béhar, Jean-George Vongerichten and Tom Colicchio—to share in our vision, the task became not only less daunting by the day, but actually thrilling.” For the first issue of Cadillac Magazine, Limsky writes about the 2015 Escalade against the backdrop of Savannah (“Low Country High”) and chronicles the excite- ment surrounding the Colosseum’s reno- vation in Rome (“What Comes Around”). For our cover story, he compares notes—on film, fashion and Jennifer Lawrence’s off- set clowning—with the industry’s top cos- tume designer (“From the Feet Up”). Drew Limsky// Editor MORE CONTRIBUTORS // WRITING Riki Altman-Yee, Rebecca Antioco, Becca Blond, Brown Davis, Simon Brooke, Charles Desselle, Ron Gluckman, Margie Goldsmith, Becca Hensley, John Newton, Larry Olmsted, Edward Readicker-Henderson, Amanda Ruggeri, John L. Stein, Phoebe Tully PHOTOGRAPHY/ ILLUSTRATION Sean Hunter Brown, Jennifer Cawley, Jody Horton, Chris Osburn, Jenny Risher, Roy Ritchie, Tom Roche, Joe Schmelzer, Neil Tasker, Giovanni Troilo, Joe Vaughn ART DIRECTION Lewis Baker DESIGN Ed Andres, Jason Krauss, Tamra Ann Rolf T a b l e o f c o n t e n t s C o n t r i b u t o r s 5 Summer 2014
- 5.
- 6. the stunning newelr is a work of moving art, its pro- vocative design making it stand out in any crowd. To use that appeal to inspire others, Cadillac asked four well-known New York City–based photographers to drive the coupe in and around their hometowns. Derrick Jones (also known as DJ D-Nice), Liz Eswein, Jona- than Mannion and 13th Witness took images of the automobile in neighborhoods, on the streets, under the Brooklyn Bridge, on the waterfront—even in a car wash in Flatbush. The results, as compelling as the vehicle, can be found on Instagram and Facebook at #ELRExposure. Rose Murphy and her son Teddy Bridgewater have always had a special bond. It got them through many hard times, including struggles with jobs, money, homelessness and Rose’s breast cancer. She never let herself or Teddy be defeated by circumstances, and focused on the good things: their love and Teddy’s skill on the gridiron. After a stellar high school career, Bridgewater moved on to the Univer- sity of Louisville, where he was the starting quarterback. His mom was always in the stands cheering on her son. As a child, Teddy promised his mom that if he made it to the pros, he would give her a pink Cadillac. In May, both those dreams came true. He was drafted in the first round by Minnesota and he presented Rose with a pink Escalade complete with pink rims. The color signifies Rose’s triumph over breast cancer. Their story was told in a short film by director Spike Lee, revealed on Good Morning America on May 6. Watch it on Cadillac's YouTube channel. A big heart Cadillac hands over the elr to four top photogrAPHERS Inspiring model a Football star honors his mom’s courage Above Par // Patrick Reed edged out Jamie Donaldson and Bubba Watson by one stroke to take home the Cadillac Cham- pionship in March at the newly redesigned Blue Monster course at the Trump National Doral Miami. That made this 23-year-old Texan the youngest player ever to win a World Golf Championship event. dine and dash // Cadillac invited more than 1,000 lucky people to Chicago’s Perennial Virant and Miami’s The Bazaar, as well as three other buzzworthy restaurants across the country. The invitees had a chance to test-drive ATS or CTS models around the cities before the private dinner created just for them. The experience included question-and-answer sessions with the celebrity chefs and Cadillac repre- sentatives. The guests left with a bag of gifts designed to encourage them to explore their own cooking skills, and a hearty introduction to what Cadillac brings to the table. calling a stylish ride // At auto shows in Detroit, Chicago and Geneva, members of the automotive press and industry arrived in style thanks to a collabo- ration between Cadillac and Uber. Users of the Uber smartphone app had the opportu- nity to request a private driver to and from the shows in a 2014 Cadillac SRX, Escalade, CTS, ATS or XTS. The only cost for this taste of Cadillac was to share the experience using #UberCadillac. Cadillac, The Official Automobile of the Oscars,® is teaming with the Producers Guild of America in a film competition designed to enable achievement in producing. Cadillac and the PGA are asking producers for a three- to five- minute film inspired by the work of Academy Award® –winning pro- ducer Saul Zaentz. A three-time Best Picture winner (One Flew Over the Cuckoo’s Nest, Amadeus and The English Patient), Zaentz was a legendary Hollywood producer. His career started in the 1970s and spanned more than four decades; he died this year. The Make Your Mark contest (makeyourmarkcompetition.com), in which hopefuls have 51 hours to complete and submit their films, was announced at the Tribeca Film Festival in April (below). Judges for the competition include actors Kathy Bates, Michael Douglas and Danny DeVito. In Cadillac’s other Hollywood collaborations, the automaker partnered with W magazine to tell the stories of Hollywood’s top talent on Cadillac’s social media pages and teamed with The Hol- lywood Reporter to toast more than 400 stars and moguls at the annual salute to Academy Award nominees at Spago Beverly Hills. Cadillac and the producers guild of america join forces to support aspiring producers making a mark oppositepage:TeddyBridgewater:©DerekGil,2014;Brooklynbridge:lizeswein;thispage:Phones:UberTechnologies,Inc. S p e c t r u m / D i s c o v e r i e s 8 Summer 2014 9 Summer 2014
- 7. PhotographybyJoeVaughn You might sayAndrew Smith was destined for a career as an auto motive designer. He grew up in a small town in Australia, son of the owner of a Holden dealership. “It served as an early introduction to car design, because I was always interested in the different charac- ters or personas of the vehicle,” says Smith, named executive director of global designs for Cadillac and Buick in 2013. “The whole concept of having a vehicle that’s the embodiment of who you are or a reflection of who you are has always been fascinating to me.” Today he heads a talented global team of designers, sculptors and artisans who conjure up vehicles that grace showroom floors around the world. Looking into the Future CAdillac’s director of design Discusses building a modern luxury brand // by Dan Grantham Q: With so many new Cadillacs in the showroom, is there one model that stands out for you? A: We have launched two all-new coupes that are unmistakably Cadillac but very unique in positioning. The ATS Coupe is a gorgeous car with its wonderful proportion, fantastic driving dynamics and beautiful materials. At the same time, we have the ELR, a car I find fascinating because proportionally it is so different from any other Cadillac and, from any angle, looks like a luxury car from the future. The ELR is all about the artistic integration of technology, inside and out. Q: Cadillacs are known for expressive interior design. Where does the design team find inspiration? A: Authentic materials and exqui- site craftsmanship are the hall- marks of every Cadillac interior. As designers, we find inspira- tion in the industries of fashion, fine furniture and interior home design. We also look within Cadil- lac to the colors, materials and graphic elements that are impor- tant to the brand. For details like stitching and piping detail, we find inspiration in luxury handbags and shoes, as well as furniture and other high-end leather products that use a lot of detail to highlight their craftsmanship. Providing our custom- ers with an intuitive and effortless experience when it comes to in‑vehicle technology and connectivity is essential. We find inspiration in personal electron- ics, particularly mobile devices and tablets, and the ways we interface with them in our daily lives. We are always finding ways to elevate the user experience with commands and information within our cars so that the interaction fits within a luxury experience. Q: Do Cadillac buyers have an affinity for design? A: Cadillac buyers are confident. They are not look- ing for the car that everyone else has. They want a car that is as individual as they are. Cadillacs invite discov- ery—the closer you look, the more there is to see and appreciate. I always think about when you are leaving a restaurant and the valet says, “Whose Cadillac is this?” and the person says, “That’s mine, that’s me.” Q: What makes the Cadillac brand unique in the luxury space? A: The cool thing about Cadillac is that it has a rich heritage of distinctly American luxury and forward- reaching style with decades of inspirational and groundbreaking designs. Our Art and Science design philosophy centers on contrasting modern handcraftsmanship with an artistic integration of technology. This philosophy has been a part of creat- ing Cadillacs since the very beginning. True luxury purchases represent an invitation to participate in the culture, history and legend of a brand. As a brand and design team, we have the unique opportunity—and responsibility—to define and deliver modern Ameri- can luxury that is bold, sophisticated and optimistic. Q: You have said that being at Cadillac feels a little like being at a startup. What do you mean by that? A: The culture of Cadillac has always been “Don’t look back, do what you do best and keep looking into the future.” From a leadership point of view, we have built a vibrant global team, united in their passion for design and stewardship of the brand. Q: You and your team work so far upstream from the production of a vehicle. What kind of chal- lenges does that present? A: We have the opportunity to do a lot of explora- tion and “what if” scenarios. I always say the differ- ence between a designer and an artist is that an artist pursues self-expression and a designer is a creative problem solver. We are identifying our customers’ needs and answering them in ways that exceed their expectations. At times those needs are literal, other times they are more rooted in emotion. Q: Do you get a lot customer feedback? A: The momentum generated by our many new products and market expansion has been phenome- nal. It results in lots of customer interaction and feed- back, ranging from the spontaneous conversations at the gas station to the formal customer clinics with scientific methodologies. There are also clinics where designers sit and sketch in real time with luxury con- sumers, modifying ideas based on their feedback. Our lifestyle-focused clinics are more immersive in nature; we spend a full day with consumers and con- duct in-home interviews. cadillac buyers want a car that is as individual as they are. — andrew Smith S p e c t r u m / e x c l u s i v e s 10 Summer 2014 11 Summer 2014
- 8. The snow hasmelted, leaving behind pristine biking trails, stunning hiking, incredible chairlift views and the perfect setting for outdoor concerts. Join us on the slopes and experience the service, accommodations and premier restaurants that define the Deer Valley difference. Cadillac owners can enjoy 25% off their entire stay of two nights or more and also receive a Deer Valley® Mountain Activities Card worth $50 towards lift-served biking, hiking and scenic rides as well as bike lessons, bike rentals and biking and hiking tours with our Mountain Activities Package*. Please call 800-558-3337 and mention CADI14 to receive this offer. We also offer a variety of concert and other summer packages. DEERVALLEY.COM | #DeerValleySummer *Valid June 13 through September 1, 2014 summer is the perfect time to hit the slopes Yes, the Cadillac CTS sedan has an awe- some body design. Edgy. Aggressive. Inspiring. So the real question is, does it have performance and luxury credentials to back that up? There’s no better way to begin than to look at what’s under the bodywork, and here’s what I found out about the 2014 CTS 2.0L Turbo RWD Luxury Collection: It’s definitely all about performance, technology, lux- ury—and fuel economy too. All those aspects come together so well, small wonder it was named the 2014 Motor Trend Car of the Year.® A quick limbo under the vehicle reveals forged- aluminum front-suspension control arms that help deliver great ride and handling. The CTS also benefits from aerodynamic tailoring that substantially reduces air turbulence and drag for improved fuel efficiency1 and interior quiet. Moving inside, the artistic sweep of hand-cut and hand-sewn leather interior accents and wood trim instantly brands the CTS as luxurious. Everywhere are thoughtfully executed details, from the comfortably bolstered power seats to the steering wheel– mounted paddle shifters. The gauge clus- ter dramatically illuminates when the Keyless Start button is pressed. Together with the elegant Cadillac User Experience (CUE)2 eight-inch touchscreen, the CTS’s entire information and media control sys- tem is simple and easy to operate. With the discovery process done, it was time to take the CTS to the streets. And what better place to test-drive a car than Southern California’s Mulholland Highway, invitingly highlighted in 3D on the optional navigation system? Connect- ing the Santa Monica Mountains with the Pacific Coast Highway in Malibu, this famous little byway is 30 miles of twisting, turning back road. Restlessly cresting and falling, Mulhol- land positively refuses to straighten out for more than a few hundred yards at a time. With the optional Magnetic Ride Control set on Sport, the independent suspension reacts instantly to every single bump, ripple and tilt of the road. Just as the engine and six-speed transmission pro- vide enthusiastic go-power, the antilock Brembo® front brakes provide impressive braking. And, just occasionally, the Cadil- lac’s standard StabiliTrak Electronic Stabil- ity Control System momentarily intervenes to help deal with a challenging turn. Driving Mulholland, it’s clear the CTS is the perfect intersection of sport and ele- gance.Infact,itraisesbothtoahigherlevel. The all-new Cadillac CTS Sedan proves performance and luxury can live together just fine // by john L. Stein the intersection of elegance & sport 2014 CTS 2.0L turbo rwd > 2014 Motor Trend Car of the Year® > 2.0L engine delivers 295 lb.-ft. of torque > 0–60 MPH in 6.1 seconds > EPA estimated 20 MPG city, 30 MPG highway Heated steering wheel (opt.) Magnetic Ride Control (opt.) Cadillac User Experience (CUE) LED taillamps (standard) 1. 2.0L Turbo EPA-estimated MPG 20 city/30 highway RWD, 19 city/28 highway AWD. 2. Full functionality requires compatible Bluetooth® and smartphone. Some devices require USB connectivity. S p e c t r u m / r i d e a l o n g 12 Summer 2014
- 9. G rowing up, EricRotbard knew exactly what car he wanted: His father’s 1971 Chevrolet Camaro. “It was a classic,” Rotbard says. “I learned to drive on it. I’ve always loved the sexiness of the two-plus-two coupes.” And he did own a Camaro until recently, when he replaced it with a Cadillac ELR (the two-plus-two coupe with electric drive systemandon-boardgasgenerator). “I said to my wife the ELR is the only car I’d trade in my Camaro for,” he says. That may seem like a big switch, but Rotbard says driving the ELR in Sport mode gives him just as much of a thrill as his Camaro did. Rotbard, an attorney, is a mar- ried father of two boys, 10 and 15. His commute from his home in West Nyack, N.Y., to White Plains takes about 25 minutes, and this hands-on dad is home in time to pick up his boys from their after- school activities and cook dinner. He concedes, however, that he’s no chef and says the food he puts on the table “is technically edible.” It was his longtime hobby of scuba div- ing that eventually led Rotbard to rethink his choice in automobiles. “You see climate change firsthand in the Caribbean,” he says. “When I first started scuba diving, the coral had brilliant colors. You go there now and 98 percent of it is bleached. It’s not dead, but when the water gets warm, the coral ejects its pigment and gets bland.” That led him down the path of explor- ing alternative energy sources. He was one of the first to test hydrogen vehicles, and was an early Volt owner and an online evangelist for electric vehicles. Then, at the 2009 North American International Auto Show in Detroit, Cadil- lac unveiled the Converj, a luxury con- cept electric vehicle. “It was like Cadillac reached into my brain to design my dream car. I had to get that car,” he says. The Converj became the ELR, so he sold the Camaro and bought one. “I think the ELR is one of the most beautiful expressions of automotive design ever,” he says. The interior, Rotbard gushes, is “amaz- ing, by far the nicest interior I’ve seen in any car.” Leather and sueded microfiber everywhere, real wood trim and the digi- tal dashboard leave him thinking he owes the ELR something: “I feel I have to dress up to get into my car.” Rotbard lets his friends and colleagues test-drive the ELR, and he says they’re suitably impressed. But when asked if his older son, who will take driver’s edu- cation next year, will learn to drive in the ELR, Rotbard laughs, “not a chance.” Instead, he’ll be using the family’s other car, a CTS. “The ELR is my dream car and I love it,” Rotbard says, then relents a bit. “Maybe I’ll let him drive it for his prom ... or on second thought, maybe I can be his chauffeur.” Dream Machinedesign and technology converge in the ELR, the vehicle attorney eric rotbard has been waiting for // by Ron Bernas Attorney eric Rotbard: I think The ELR is one of the most beautiful expressions of automotive design ever. PhotographybyJoeVaughn It was like Cadillac reached into my brain to design my dream car. — Eric Rotbard we would love to hear from you! Share your story at CadillacMag@ lowe-ce.com and you may be featured in our next issue. S p e c t r u m / C a d i l l a c V o i c e s 14 Summer 2014 15 Summer 2014
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- 11. Japanese artist FujikoNakaya makes things clear by making them disappear. She exhibited her first fog sculpture for the 1970 World’s Fair in Osaka. Since then, Nakaya has created enveloping fog installations around the globe, includ- ing at the Grand Palais in Paris and the Guggenheim Museum Bilbao in Spain. Now, for Veil, her first large-scale international installation at a historic site, Nakaya has covered the Philip Johnson Glass House—that touchstone of mid-century mod- ernism located in New Canaan, Conn.—in fog, rendering it invisible. Given the transparent, weightless-seeming character of the structure, the choice was inspired. A fascination with fabricating nature runs in the family. Nakaya’s physicist father Ukichiro was credited with making the first artificial snowflakes. For her part, Nakaya, born in 1933, became intrigued by her father’s frosty creations, cultivating an interest in diaphanous shapes, the organic world and nature’s unveiled spontaneous artwork. She shares with Johnson a willingness to explore the slip- pery boundary between real and ersatz nature; upon the completion of the Glass House, the architect famously quipped about the home’s “expensive wallpaper.” Veil has been ... well ... unveiled, as part of the Glass House’s 65th anniversary and runs through Nov. 30. Johnson, who died in 2005, bequeathed the 49-acre property, which contains 13 additional structures and apermanentcollectionofmodernart(Frank Stella, Brice Marden, Robert Rauschenberg and Meis van der Rohe all represented), to the National Trust for Historic Preservation. theglasshouse.org — Becca Hensley thispage:RichardBarnes;oppositepage:CoitTower:SanFranciscoTravelAssociation/Scott Chemis;California:SanFranciscoArtsCommission;TimeTransfixed:ArtInstituteofChicago UPLIFTING To make the familiar unfamiliar is the purpose of many art- ists, but René Magritte managed that message with flair. The Bel- gian artist, a father of surrealism, created some of the 20th century’s most unforgettable images, conveying his own cerebral brand of whimsy (he made “Ceci n’est pas une pipe”—“This is not a pipe”— aninternationalcatchphrase).TheArtInstituteofChicagowillhonor the artist and his breakthrough years (1926–1938) with “The Mys- tery of the Ordinary,” June 24–Oct. 13. artic.edu — Becca Hensley Spring brought the reopening of the Coit Tower, one of San Francisco’sbest-knownlandmarks.Afixtureonthecity’sskylinefor 80years,the210-footartdecobuildinghadbeenonthedecline.But a $1.1-million facelift has restored it to its rightful self. In the ’30s, 27 artistsundertheauspicesofthePublicWorksofArtProjectworked to decorate the tower, and now the murals once again pop with passionate, politically motivated color. The view from the observa- tion deck is just as vivid. — Becca Hensley PIPE DREAMS I n s p i r a t i o n s / a r t s 18 Summer 2014 19 Summer 2014
- 12. Detroit’s industrial design–driven Shinola hasquickly become the hot- test new American watch manufac- turer.The Runwell Chrono combines the retro look of the watches U.S. servicemen wore in World War II with stopwatch func- tions,glowing Super Lumi-Nova hands and indices,10 ATM water resistance, American-made leather bands and a quartz movement hand built from Swiss components. $750 Italy’s CT Scude- ria is known for watches paying homage to motor- cycle racing.The new Dirt Track collection features contrasting sub- dial faces evoking the oval of a race- track and crown and chronograph buttons inspired by stopwatches. Swiss-made quartz movement water resistant to 100 meters.$1,095 Longines intro- duced its Hydro- Conquest dive line last year.The models feature screw-down crowns and stainless-steel screwed cases water resistant to 300 meters.This chronograph and date version has a 54-hour power reserve.$2,325 The venerable Swiss brand is the exclusive timepiece of all U.S. manned spaceflight.The new Dark Side of the Moon Speed- master chrono- graph is Omega’s first all-black ceramic watch, with 18k white gold indexes, black nylon strap and ceramic buckle, water resistant to 50 meters.$12,000 Originally commis- sioned to create a watch for Italian navy frogmen, Officine Panerai is famous for its oversized,rug- ged dive watches that are designed in Italy and built in Switzerland. The Radiomir Black Seal has a diamond-shaped crown and trans- parent back to view the automatic movement.This 388 is the newest version of a classic dating to the 1930s, with 3-day power reserve.$7,700 Shinola Runwell Chrono Scuderia DirtTrack CS10114 Longines HydroCONquest Chronograph Panerai Radiomir Black Seal Omega Speedmaster Dark Side ofthe Moon Summer Time Whether your summer plans take you to the ocean, desert or racetrack, there is a watch that will serve you well in all your travels—while remaining stylish enough for backyard barbecues or the office. — Larry Olmsted IWC just relaunched its Aquatimer dive lineup with improved features. The most rugged example is the titanium-case Deep Three, which offers a complete safety backup to electronic dive computers, includ- ing a mechanical depth gauge (cap- turing both current and maximum depth). $19,100 IWC AquaTimer Deep Three I n s p i r a t i o n s / o b j e c t s o f d e s i r e 20 Summer 2014 21 Summer 2014
- 13. Though Pound Ridge,N.Y., is just a short 50-minute train ride from Grand Central Station, the woodsy setting seems to inspire visitors to power down their cell phones and sit on a park bench admir- ing mallards. There are no traffic lights in the burg’s 23 square miles, and many of the 5,000 residents still draw water from private wells. Yet an impressive cadre of A-listers have made Pound Ridge their home, including Richard Gere, who is part-owner of the nearby Bedford Post Inn. But until this past January, when world-renowned chef and cookbook author Jean-Georges Vongerichten Re-Inn-Vigorated With Jean-Georges Vongerichten’s Inn at Pound Ridge, Westchester is setting the table for foodie commuterS // By Riki Altman-Yee literally hung out his shingle above a white picket fence, Pound Ridge hadn’t left its imprint on the culinary map. Thanks to its big-name chef, the Inn at Pound Ridge has had no problem filling tables. The two-story Colonial Revival house— withitsoh-so-charmingturretintheback— dates from 1833, two centuries after Mohicans named the area “pound,” or enclosure for game, and “ridge,” since it’s surrounded by rugged cliffs. The building sat vacant for years, virtually daring some- one to give it life until Vongerichten, who had purchased a vacation home only five miles away in Waccabuc, took it on. “In the end, we added modern touches but kept its soul and its DNA from the time,” Vonge richten says. “Something about that space speaks to me.” Much of the produce, honeys and cheeses Vongerichten uses at his New York mainstays, ABC Kitchen and ABC Cocina, was already being sourced from farms in or near Pound Ridge, so it was natural for the inn’s chef de cuisine, Blake Farrar, to call on the same purveyors when the two crafted the initial menu. “I’ve been focusing on artisanal products, like local honeys and cheeses that represent the terroir of the area,” Farrar says. “In spring we rolled in peas and morels. But I can’t wait for tomato season. And berries.” As to whether the Alsatian-born Von gerichten’s dreams involve more inn-type eateries here or abroad, he says the road ahead is still wide open. “The Inn at Pound Ridge was a labor of love. I go one project at a time. Life is exciting enough.” pound ridge by the numbers: 1833Year the structure that houses the Inn at Pound Ridge was constructed 04Number of working fireplaces 20Number of seats in the candlelit wine cellar thispage:FrancescoTonelli;oppositepage:BillBettencourt it's been 20 years since Chef Tom Colicchio opened New York’s Gramercy Tavern with Danny Meyer. He’s been on the fast track ever since, winning the 2000 James Beard Award for Best Chef: New York City. He has since moved on from the Gramercy Tavern and today owns or oper- ates two dozen restaurants and a hotel, with more on the way, and when he’s not cook- ing he’s producing documentaries, writing cookbooks,scaringthewitsoutofpeopleas the head judge on TV’s Top Chef and fight- ing for charitable and social causes. Cadillac Magazine caught up with Colicchio to hear his thoughts on becoming a first-time hotelier, combating childhood hunger, and cooking with fire. Unvarnished as ever, Chef Tom Colicchio holds forth on food in all its forms // By Larry Olmsted fully baked Q: You recently started managing a hotel, a first for you. How did that happen? A: It’s Topping Rose House in Bridgehampton, N.Y., and the owners wanted me to do the restaurant. It’s small, just 75 seats. The place has 22 guest rooms and it didn’t make sense to have two operators. For years I’ve done the food and beverage in hotels and, to be honest, the FB is the hard part, so I run the hotel too. It’s been fun and I’d like to do more. Q: Your most recent restaurant is Heritage Steak in Las Vegas, where you already have Craftsteak. What’s different about it? A: I wanted to do something different from Craftsteak, so I found this manufacturer who does grills for burn- ing wood or hardwood charcoal in the Spanish style, and we cook everything over an open fire. I was always against grilling because of backyard gas grills—pro- panedoesnothingforme—butnowIlovecookingwith real fire. And the meat is antibiotic-free. Q: That’s something you’ve expanded to your other restaurants, right? A: Yes, all our chicken, pork, beef, everything, is antibiotic-free at all our New York and L.A. restaurants. Nearly three years ago I had neck surgery and got an infection in the hospital, so I did all this research and found that overuse of antibiotics in this country is creat- ing these superbugs immune to drugs. I was shocked to learn that 85 percent of all antibiotics used in this country go into chicken and livestock. We have got to get away from that. Q: Did a similar revelation lead you to A Place at the Table, the film you executive produced about hunger in America? A: I’ve been involved in hunger issues for 20 years, but usually in terms of raising funds for groups like Share Our Strength. My wife partnered with a documentary filmmaker to do the movie, and we found out that hun- ger is something we can solve. We produce enough food in this country, and when people are hungry, it’s a result of politics. We made the film, and it put us smack in the middle of the issue. I’m regularly in Washington meeting with members of Congress and I’m involved in FoodPolicyAction.org. If I can use my celebrity to help, I will. I n s p i r a t i o n s / c u i s i n e 22 Summer 2014 23 Summer 2014
- 14. It’s been ayear in the making, but the newly renovated Echo Canyon Summit Trail is again lur- ing hikers up Phoenix’s Camelback Mountain. Last year the artificial steps of the lower section eroded, making the trail so unsafe the lower section was closed and rerouted. The new smooth dirt trail (with no more artificial steps) follows Camelback’s natural contours to a new turnaround in the saddle. The Echo Canyon renovation doubled the parking spaces and added other amenities. Visitors are advised to take care on the strenuous 1.3-mile trail that ascends rapidly. “It’s not a walk in the park; it’s the most extreme hike we offer,” says Phoenix Parks Supervisor Cynthia Brown. “If you plan to hike it, please gauge your fitness level and don’t be too proud to take in the beautiful views and then turn and go back.” — Margie Goldsmith guests of four seasons Resorts in Lanai traveling through Honolulu International Airport’s commuter terminal can now enjoy their layover in high style. The brand has unveiled a full-service luxury airport lounge reserved for exclusive use of guests en route to their Manele Bay and Koele properties. “Access to Lanai has traditionally been seen as challenging by some travelers,” says Tom Roelens, general manager of the Four Seasons Resorts Lanai. “With our own lounge, guests can relax, recharge and start their private island getaway.” The new state-of-the-art lounge allows guests to check out of everyday life while checking in to the resort experience. The lounge offers complimentary amenities including meal service, beverages (the papaya lime smoothie is said to be a knock-out), tablets, Wi-Fi access, charging stations, HDTVs, and a lounge concierge to assist with resort registration and reservations for activities and restaurants. Four Seasons Resorts Lanai guests connecting via Honolulu to Lanai also receive concierge transfer service to the commuter terminal provided by Island Air. fourseasons.com — Margie Goldsmith Taking Flight Happy Trails Airportlounge:FourseasonsHotelsandresorts; EchoCanyon:GettyImages/davidtomlinson All over the world the rebounding high-end travel market is racing to meet demand. Esteemed hotel chains are planting their flags in cities rich in history—and within a stone’s throw of the world’s best-known sites. The Ritz-Carlton brand has always been revered for its stellar service, but in the new Ritz-Carlton, Kyoto, look for a heavy dose of traditional Japanese hospitality. The 86th property in the Ritz- Carlton portfolio impresses as a Zen hideaway and the only bona fide luxury hotel in a city filled with UNESCO World Heritage Sites. The 134-room hotel has partnered with ESPA to create a spa providing treatments that include traditional acupressure massage as well as the Ryokucha Serenity Ritual. ritzcarlton.com The Ferragamo family debuts the ninth hotel in its Lungarno Collection with Portrait Firenze, the spectacularly situated bou- tique property overlooking the Arno River and Ponte Vecchio. Flo- rentine architect Michele Bönan has put his inimitable stamp on the 34 guest rooms and suites. The hotel will arrange customized experiences, such as a gourmet tour of the markets of Florence and exclusive wine tastings in Tuscany. portraitfirenze.com Jerusalem’s Mamilla district is hotter than ever, serving visitors with upscale retail and luxury hospitality options. Now, with the grand opening of the Waldorf Astoria Jerusalem, well-heeled travelers can recharge within walking distance of the OldCity’sJaffaGateinthe226-roomformer Palace Hotel, which dates from 1929. The rapidly expanding Waldorf Astoria brand hasmeticulouslyrestoredtheproperty,with its Greco-Roman, Gothic and Ottoman architectural influences, while adding mod- erntoucheslikearetractableroof above the lobby. Let the sun shine in! waldorfastoria3. hilton.com — Drew Limsky Treasures of History Above: the Portrait Firenze in Florence overlooks the arno River. opposite page, top: A luxuri- ous place for Four Seasons Guests to Rest. opposite page, bottom: The Echo canyon summit trail has had a multimillion- dollar makeover. I n s p i r a t i o n s / E s c a p e s 24 Summer 2014 25 Summer 2014
- 15. A new deviceholds a lot of promise for helping people beat one of the most common and treatable forms of cancer. The Verisante Aura laser is a noninva- sive spectroscopy system that shines a light to identify spectral changes associ- ated with skin cancer cells and provides immediate results. Developed jointly by researchers at the British Columbia Cancer Agency and the University of British Columbia Faculty of Medicine, the device facilitates detection of skin cancer in its earliest stages. According to the American Cancer Society, patients diagnosed withearly-stagemelanomahave a 98-percent five-year survival rate. The problem has been that it isn’t easy to tell which skin lesions are benign and which could be the early stages of cancer. Dermatologists have traditionally deter- mined which moles require biopsies by eyeballing them, but the new handheld If you thought deep tissue massage was deep, meet BioMeditation. The goal of the therapy is to release energy blockages to free the body of stress and anxiety. Jeannette von Johnsbach, who introduced the therapy at the Four Seasons Hotel Los Angeles at Beverly Hills, says the list of BioMedita- tion’s benefits can be long: van- ished stress, joy and clarity of mind, improved relationships, even enhanced creativity, pro- ductivity and athletic perform ance. What happens is this: You relax on a massage table, and a therapist uses his or her hands to activate the flow of bio energy, kicking your body’s self-healing power into gear. “People who’ve had energetic work before sometimes think they know what to expect, and then they are surprised when they feel the depth of the session,” von Johnsbach says. “Other clients are definite skeptics and do not believe in energetic work—and it is amazing to see how they will change their point of view once they feel it work in their body and life. They say, ‘How can this be when I don’t even believe in it?’ I tell them that it does not matter if we think gravity is true or not. You still have to walk on the ground.” — Drew Limsky Hands On laser—approved for use in Canada, Europe and Australia, and expected to gain FDA approval—identifies problem spots that require closer examination and makes immediate identification much easier. “The assessment takes less than one sec- ond,” says Dr. David McLean, co-inventor of the device and a professor of dermatol- ogy at the University of British Columbia. “This is the only device that examines the molecular nature of the lesion and detects the three most common skin cancers: mela- noma, basal cell carcinoma, and squamous cell carcinoma.” Tested on 1,000 skin lesions at Vancou- ver’s Skin Care Centre, the device detected every case of melanoma in 274 lesions rec- ommended for biopsy. Although moles flagged by the device still require exci- sion, the device is expected to reduce the number of biopsies performed on skin lesions that turn out to be benign. new tool offers hope for early diagnosis and treatment of common cancer // By Margie Goldsmith skin deep BioMeditation helps body heal itself thispage:DavidBoyd;oppositepage:BlueParallel E mmanuel Burgio started out as an invest- ment banker. But after traveling the world on a yearlong sabbatical, he realized he wanted to bring the experiences he had to others. The result? Blue Parallel, now the leader in providing customized travel itineraries to time-pressed executives. The latest news: After 11 years of focusing on Latin America, Burgio, who was raised in southern France, is expanding his offerings into southern Europe. The values that inform his company remain the same as when he organized his first trips from New York to Machu Picchu—and they’re values every trav- eler should take to heart. make your journey unique “When I created Blue Parallel, I made sure our jour- neys included insider-access experiences, not avail- able to the public, that I had personally tried,” Burgio says. “Whether it’s meeting a renowned artist in his private atelier or kayaking the Beagle Channel with an Olympic athlete, each of our journeys is tailor-made.” add special experiences “From my personal travel experience I know discern- ing travelers not only seek luxury accommodations; they also look for unique ingredients that make travel special to them. For some this will be meeting with a private art collector or a notable artist. For another it could be visiting a tortoise reproduction center on the Brazilian island of Fernando de Noronha.” go local “More and more, travelers are asking to stay in bou- tique hotels or private estates over big resorts. They are looking for a more intimate, private experience when traveling. We are also finding people want to eat local, with fresh gourmet cuisine high on their priority lists.” leverage your connections “There are places that I personally know well, where I have the connections that allow us to provide the insider access for which Blue Parallel is known. I felt the Mediterranean region was a logical new destina- tion choice because I grew up in the south of France and I have deep family roots as well as strong personal contacts throughout the region. So whether it’s having exclusive private access to the Alhambra near Granada, Spain, or having Moroccan mint tea with a Berber family in the High Atlas Mountains, our clients get to experience things you can’t just book online or even buy your way into. You have to know someone.” see a new part of the world “We’ve seen a surge in U.S. travelers deciding on Latin America due to its lack of a significant time change, direct flight options and, of course, the distinct cultural and natural wonders this region has to offer. We have seen a particular increase in requests for Brazil lately. People are coming for the World Cup and then want- ing to travel around the country—it’s a halo effect.” Pathfinder Blue parallel offers travelers Boutique hotels, exclusive access and one-of-a-kind experiences // By becca blond Emmanuel Burgio: “Our clients get to experi- ence things you can't just book online.” I n s p i r a t i o n s / M i n d B o dy i n s p i r a t i o n s / T r e n d s p ot t e r 26 Summer 2014 27 Summer 2014
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- 17. t’s particularly revealing thatthe scene in American Hustle when Irving Rosen- feld (Christian Bale) and Sydney Prosser (Amy Adams) fall in love is set in a dry cleaning store, with clothes on conveyors swirl- ing all around them. Director David O. Russell conjures a vortex of fash- ion and infatuation and the possi- bility of endless reinvention. The scene, with its stars tucked inside an orbitofplastic-wrapped’70s-eragar- ments, follows an impromptu fash- ion show in which Prosser, a former stripperlookingforawaytoleverage her natural boldness, vamps it up in a string of abandoned, improbably gorgeous outfits. “That’s sort of my favorite scene in the film,” says Michael Wilkinson, the film’s Oscar-nominated costume designer, “because it shows the transformational effect of clothes, how her character was using clothes in an empowering way.” Transformation achieved, Prosser encourages Rosenfeld, a Bronx- born con man who aspires to be an aesthete, to be more daring in his own sartorial choices—so on comes a velvet blazer with peaked lapels and an expressive paisley design. “I had the good fortune to be working with the bravest actors on the planet,” Wilkinson says. (For those uninitiated into the world of Hustle, rounding out the film’s leading quartet—all four Oscar- nominated—are Bradley Cooper as quixotic FBI agent Richie DiMaso and Jennifer Lawrence as Irving’s ripe and erratic wife Rosalyn.) Wilkinson, the Aussie who started his career as a costume research assistant on the set of Baz Luhrmann’s Romeo + Juliet and Moulin Rouge!, is now the most sought-after costume designer in the industry, with credits ranging from Tron: Legacy and Noah to Zack Snyder’s hotly anticipated, hush- hush Batman/Superman project. But with American Hustle, Wilkin- son achieved a special kind of alchemy in which the clothes revealed as much as the faces—and with those four faces, that’s a remarkable thing. In the midst of pre-production for the sequel to Man of Steel, Wilkinson sat down with Cadillac Magazine to talk about the day Jen- nifer Lawrence ended up on his lap, discovering John Travolta’s ruined Saturday Night Fever suit, and why Halston matters. Q: You did these beautiful little art films like Friends with Money and Garden State, and also spectacles like 300, Watchmen and Man of Steel. So American Hustle repre- sents your first huge commercial success of what is really an art film. A: What I really love about my job is that I’m able to jump from one genre into another. In a way, Whether dressing Batman or the cast of American Hustle, acclaimed costume designer Michael Wilkinson does it bold and beautiful By Drew Limsky Photography by Joe Schmelzer You’re helping tell the story with the costumes, helping the audience get a glimpse of the characters from their clothes.” — Michael wilkinson Wilkinson's filmography: - - - - - 2016 (projected) Batman v Superman - - - - - 2014 Noah - - - - - 2013 American Hustle Man of Steel - - - - - 2012 The Twilight Saga: Breaking Dawn – Part 2 Loom (Short) - - - - - 2011 Luck The Twilight Saga: Breaking Dawn – part 1 Sucker Punch - - - - - 2010 TRON: Legacy Jonah Hex - - - - - 2009 Terminator Salvation Watchmen - - - - - 2007 Rendition The Nanny Diaries - - - - - 2006 300 Babel Friends with Money - - - - - 2005 Sky High Dark Water - - - - - 2004 Imaginary Heroes Garden State Additional reporting by Phoebe Tully 30 Summer 2014
- 18. it’s the sametask whether you’re doing a tiny independent movie or a summer blockbuster. As a costume designer, you’re helping tell the story with the costumes, helping the audience get a glimpse of the characters from their clothes. Going from an epic, operatic film like Man of Steel to something much more intimate and character driven—and then back again—is a real switch in gears. And I don’t know anyone who writes characters like David O. Russell does. They’re so wildly imaginative. They’re spectacularly passionate, but also spectacularly flawed. As a costume designer, that’s just the sort of thing you want to sink your teeth into. Q: In many of your films, regardless of genre, there’s a self-reflexivity— the clothes are commented on by the characters, or the director. Are there moments in American Hustle where you feel that Russell is giv- ing the audience a pause to regis- ter and appreciate your work? A: Yes, it’s definitely flattering, and I remember the first time I saw the film and there was that shot of Amy’s beautiful high-heeled shoe in the car—it’s this loving close-up and pan up the side of her leg. It’s moments like that that really are so gratifying to the cos- tume designer. There’s this feeling that good costume design should sort of disappear and never draw attention to itself—and I think that’s very important—but I also think there’s an expectation from the audience that they want to enjoy the costumes, that it’s an element of why people go to the movies. You have to tread that line between being believable and not so attention-grabbing that it pulls you out of the film, but also being very compelling and imaginative. Q: Irving Rosenfeld has this phi- losophy about committing to life “from the feet up,” or as we might say today, “all in.” Did that apply on set, as well? A: I’m thinking of the final fitting we had for Jennifer Lawrence, with the white jersey dress that I designed for her, and we wanted to see how the dress would move on her. So right there in the fitting room, she did a mini-rehearsal of the casino bar scene, and she sat down on my knee and pretended to spill Cham- pagne all over me. That was a real moment—the number one actor in the world sitting on your lap. Q: That was quite a dress, so many kinds of wrong and so many kinds of right. 2003 Just Another Story Life on the Line Milwaukee, Minnesota American Splendor Party Monster - - - - - 2001 When Strangers Appear - - - - - 2000 Looking for Alibrandi - - - - - 1997 True Love and Chaos A: David liked the idea that there was always something off about her costumes, that she’s dressed inap- propriately for some situations—for example, the white dress is a little tight on her—and that she’s over- dressed for her final scene in Long Island. That was the first time we see Jennifer with her hair totally piled on top her head, all messy, the huge sunglasses, the white neck brace— it was an iconic moment. Q: And of course there’s the famous confrontation scene in the ladies’ room between the two women. How did the costumes help empha- size their mutual animosity? A: You had that eye-catching, ultra- sophisticated gunmetal sequined dress that I designed for Amy, con- trasting with Jennifer’s Long Island suburban choice. The lines of Jenni- fer’s dress were a little less original, more generic eveningwear, and the cut of the dress is something you’d find at a high-end department store rather than at a Manhattan bou- tique. It was Manhattan meeting Long Island head-on. Q: There’s a high degree of display in fashion from the ’70s. Today, fashion has a lot of display too, yet it seems more commodified. A: I totally agree—I think today it’s more conformist, with strict styles that you adhere to. What made the ’70s so distinctive was the sense of liberation, and a sense of using clothes to explore who you are and express yourself to the world. People did that with a lot more con- fidence and a lot more panache—to use that wonderful ’70s word—than they do today. Now the climate’s a little more fearful—people don’t want to end up on the worst- dressed list. But I say have fun with clothes. Show your quirks and pas- sions and interests, and use clothes as a tool of self-expression. Q: One costume that was full of panache was Bradley Cooper’s cos- tume in the Studio 54 scene. A: At the beginning of the film, Richie wears polyester suits and rather garish ties, but then he gets hypnotized by Amy Adams and the possibilities of clothes, of silk shirts and leather jackets. When I was sourcing for the film, I was rummaging through the rental houses of Los Angeles and I came across this really cool white three- piece suit. I looked closer: It said ‘J. Travolta.’ I had stumbled across multiples of the famous Saturday Night Fever costume before, but seeing the original was so exciting. Unfortunately it has a massive red wine stain down the front of it, but I brought it to the fitting so Brad- ley and I could have a moment of reverence, respect and awe. With Bradley’s clothes, it was a case of exploring the fit and seeing how it made him feel. When you put on suits like that, with the way those fibers make you feel, the suits do a lot of the dancing for you—you can’t help it. And I remember look- ing at the monitors and seeing this graphic footage of bumping and grinding and a lot of sweaty bod- ies—it was very decadent. I think then I realized that we had a very special movie on our hands. Q: A lot of people commented on how exposed Amy Adams is in her costumes, but do you agree that her wardrobe feels more social and political than sexual? A: Absolutely. She was tapping into the spirit of the cutting-edge design of the late ’70s, with its amazing sense of liberation and freedom and self-expression, epitomized by designers like Halston. There were very extreme lines and dra- matic, rather provocative shapes that showed off a woman’s body, but allowed them to be sexy and powerful at the same time, without necessarily being objectified by men—they were doing things for themselves. Fashion designers were being more exploratory and creative with their silhou- ettes, and women gravitated toward them. In our film, Amy’s character uses her physicality as part of her hustle and power. She’s aware that she’s stunning, and has the brains, sensitivity and sophis tication to know she can rely on it. Of course, there’s a double edge to it, because supreme confidence is needed for these costumes, and both Amy and I really enjoyed the vulnerability of these very dra- matic lines, too. You’re sort of going out on a limb with these costume choices. There’s not a lot between you and the world. Q: Yes, despite the questionable morality of the characters, they— and their clothes—communicate something potent about American determination and resourcefulness. Can you see fashion designers wanting to riff on the looks you’ve given these characters? A: There’s always been an interest- ing cyclical relationship between fashion and cinema, a chicken- and-egg situation, a debate about who is inspiring whom. There’s an inevitable crossover and an inter- esting dialogue between the two. Q: Are there ways in which your designs for the film can inform today’s sartorial choices, or would these lines feel dated? A: I don’t think they would. One of the first things David said to me was that he didn’t want the film to be a historical reenactment. It was a character-driven drama, which gave me the impetus to use 1978 as our reference point, but not be tied down by that. l JENNIFER LAWRENCE DID A LITTLE MINI- REHEARSAL OF THE casino bar SCENE, AND SHE SAT DOWN ON MY KNEE AND PRETENDED TO SPILL CHAMPAGNE ALL OVER ME. — Michael wilkinson 32 Summer 2014 33 Summer 2014
- 19. photography by jenny Risher real-worldlooks in the style of american hustle confidence Game There’s always been a CYCLICAL relationship between fashion and cinema, a chicken-and-egg situation, a debate about who is inspiring whom. — MICHAEL WILKINSON, OSCAR- NOMINATED COSTUME DESIGNER OF AMERICAN HUSTLE stylist billie Causieestko - - - - - hair George Ortiz - - - - - makeup Christyna Kay - - - - - Fashion Saks fifth avenue On her: Diane von furstenberg brown/white checkered strapless jumpsuit On him: Sand bLACK-AND- WHITE mohair tux jacket; Theory bLACk vest; Hugo Boss bLACK suede loafers 34 Summer 2014
- 20. PEOPLE DON'T WANT TO ENDUP ON THE WORST- DRESSED LIST. BUT I SAY HAVE FUN WITH CLOTHES. SHOW YOUR QUIRKS AND PASSIONS AND INTERESTS. — MICHAEL WILKINSON On her: Roberto Cavalli Leopard print maxi dress; Gucci gold platform sandals On him: Paul Smith gray striped suit and tie; Theory white shirt and gray vest; Hugo Boss brown loafers
- 21. B y drewlimsk y / / P H O T O G R A P H y B Y john roe low country The Savannah of low-country boil is now the New South, with a thriving artisanal and creative class. It's the ideal place to experience the next-generation 2015 Escalade, a reimagining of an American icon. 38 Summer 2014
- 22. Savannah has alwaysabided outliers and eccentrics. It’s been 20 years since John Berendt published Midnight in the Garden of Good and Evil (here they just call it “The Book”), a true crime story that still holds the record for the most weeks (216) on the New York Times bestseller list. The book’s unprecedented success reinforced the prevailing view of Savannah—a Southern Gothic, almost chi- merical setting of live oaks and ghost tours, where people eat fried green tomatoes and shrimp ’n’ grits down by the river, and the locals know the difference between voodoo and hoodoo. Nearby Tybee Island is an acorn-shaped dot of land where you can walk across wooden footbridges to the river in one direction and to sandy dunes and the ocean in another. It’s the type of place a laid-back restau- rant owner in a Hawaiian shirt will serve you a shrimp po’ boy waterside. It’s an island peopled by eccentrics and unique personali- ties, and I feel right at home inside the one-of-a-kind 2015 Escalade. “Each interior has its own unique premium wood type,” says Todd Brown, the Cadillac Escalade marketing manager, who is beside me in the driver’s seat. He points out the vehicle’s rich cockpit, not- ing that this model features jet- black, perforated leather seating surfaces with elegant top-stitching, suede accents, and santos palisander wood (a type of rosewood). Brown says that “the materials are authentic—if it looks like wood, it’s wood; if it looks like metal, it’s metal.” The center console boasts an eight-inch, reconfigurable screen—an element of the Cadillac User Experience (CUE)1 digital infotainment system that controls key functions. “That includes naviga- tion, climate and audio controls,” Brown says. “And it has haptic feedback, so when you touch the screen you get a little vibration back. The screen also has proximity sensing. Once some of the screen’s menu items have gone blank after not being touched for about 30 seconds, your menu options will reappear as your hand gets closer to the screen.” We cruise down Butler Avenue, and I look up to see that at every numbered cross street, the Georgia beach reappears. We make a turn on 11th Street and pull in under a sturdy palmetto tree. The sand is white and finely grained; I walk along the undulating dunes, which are topped with waves of wild grass. When I return to the Escalade, it’s to the strains of mid-career Sinatra on the Bose® surround sound audio system crooning a seductive standard. Sinatra’s timbre is sweetly languorous, the experi- ence aurally immersive. Sixteen strategically placed speakers will tend to do that. We’ll emerge renewed from this cocoon into a vibrant nightlife of Savannah’s historic center that has become its own type of butterfly. To get there we cross the ele- gant 1.9-mile Talmadge Memo- rial Bridge. Its white suspension cables look like they’ve been spun by a spider who graduated archi- tecture school. Despite the wind and the traffic, the Escalade’s aerodynamic design allows it to smoothly glide along, with an assist from the StabiliTrak Elec- tronic Stability Control, which automatically and seamlessly adjusts the braking and torque. Once in the dense city center, we seek the pedes- trian strip known as City Market. I note the indie Brooklyn-esque feel of the pizzaioli throwing pies in Vinnie Van Go-Go’s and take in the growing music culture of the city. But City Market is primarily anchored by its art galleries, where 50 local artists exhibit their work. Most everyone agrees that design— specifically the Savannah College of Art and Design (SCAD)—has increased the city’s art and design quotient in a remarkable way. Founded in 1978 with one flagship building and 71 students, opposite page: the next-generation 2015 escalade with its bold, refined lines finds its place in the new south, where there's a growing creative and artisan Culture. the book Reinforced the prevailing view of Savannah: a southern gothic setting where locals know the difference between voodoo and hoodoo. 1. Full functionality requires compatible Bluetooth® and smartphone. Some devices require USB connectivity. 41 Summer 2014
- 23. Three types of woodare offered as interior accents: From top, Santos Palisander, Natural Elm and Walnut Advanced Technology The technological innovation in the Escalade has advanced by leaps and bounds for 2015. Start with the available Head-Up Display inspired by jet fighters, front seats that heat and cool, and the heated steering wheel. Now, add to that the tablet-like Cadillac User Experience (CUE)1 infotainment system, which lets you operate key functions such as audio and climate control, and a stan- dard navigation system with an eight-inch diagonal screen with intuitive touch features and voice recognition. Out- side the vehicle, the full LED headlamps give the Escalade its signature look. “It’s an elegant execution,” says Eric Clough, director of design, Cadillac Interiors. Luxury Utility Elevating expectations for what a utility vehicle can be, the next-generation 2015 Escalade features third-row seats that fold flat in mere seconds to make way for cargo—up to 120.5 cubic feet of space.2 In fact, this Esca- lade has more storage com- partments than ever before. Add in the hands-free power liftgate, and you have the new definition of what makes a luxury utility vehicle. iconic Design The Escalade’s bold but refined lines and signature grille give it a distinctive appearance, but the real story is on the inside. The cut-and- sewn interior features premium materials, plus a choice of three different types of wood. “We designed Escalade with what we call the beauty of contrast—a combination of bold SUV character, but also the refinement of the Cadillac form,” says Clough. Once you’ve reached the top, there’s only one way to go—over. The 2015 Escalade elevates the standards for luxury utility vehicles, combining advanced technology, distinctive design and high-quality craftsmanship into a spectacular package. The Next Generation of Indulgence: 1. Full functionality requires compatible Bluetooth® and smartphone. Some devices require USB connectivity. 2. Cargo and load capacity limited by weight and distribution. the school now has locations in Atlanta, Hong Kong and Lacoste, France, in addition to its Savannah flagship. Thanks in part to SCAD, this once quintes- sentially Southern city is now a village-y place with art house cinemas that play revivals of recent and mid-century vintage classics. “Through SCAD, Savannah has rediscovered itself and then some,” says Jonathan Sturgis, a City of Savannah firefighter and occa- sional model with an antic sense of humor (“I studied abroad, worked abroad and married a broad”). “SCAD has reinvigorated all the Southerncharmthatonewouldhope for, and has thrown in a healthy dose of extremely creative and industrial hipsters,” he says. “With that has come a craving for more music and art festivals that make Savannah not only a Southern belle of a city, but also a creative haven.” To run shopping errands in and around Broughton Street in the Escalade is to really appreciate the homegrown proprietor—and the vehicle’s cargo space. After indulging in Chive Sea Bar and Lounge’s lobster and edamame risotto and lemongrass lychee martinis, my crew of five and I load up with purchases at the independent artisanal shops. The Savannah Bee Company has naturally luxurious body care as well as honey and mead tastings,and Lowcountry Gourmet Foods fea- tures shelves lined with an impressive range of olive oils and aged balsamic vinegars. (“Think outside the salad,” reads a sign.) Such shops share blocks with upscale national brands, too. Having happily supported the local economy, we’re pleased to make use of the Escalade’s enhanced cargo space—courtesy of the rede- signed power-folding third row that folds flat in mere seconds. The hands-free lift gate, an especially lux- urious touch, is a welcome feature as well. And everyone notes the ease of entering and exiting the vehicle (“The rear-seat doors are two inches longer than before,” Brown says), while the guys in the second row appreciate the reclining seats. As night falls and locals and visi- tors move down toward the water, gamely negotiating the cobblestones and steep steps to River Street, the Escalade moves easily along the narrow streets, lighting up the stones with its sharply designed full LED headlamps. It’s time for dinner, and whether we go for she-crab soup and crab cakes or for more cutting-edge gastronomy, one thing is certain: The next-generation Escalade has given us a tasty ride into Savannah’s future. l above: The escalade's aerodynamic design and stabilitrak electronic stability control make it a breeze to drive, even in the breeze. the 2015 Escalade combines advanced technology, distinctive design and craftsmanship in a new definition of utility. 42 Summer 2014
- 24. B y BrianBerusch PHOTOGRAPHY BY JENNIFER CAWLEY His life at the half-century mark, big wave pioneer Laird Hamilton talks about the road less paddled 44 Summer 2014 45 Summer 2014
- 25. You can seeit in the magazine articles, fea- ture film roles, TV segments and astound- ing video clips that feature the big wave surfer. You can feel it when he talks. This man is driven. “As a kid I wanted to be the best. Not better than any one person. Just the best,” he says. He’s pretty convincing: This is the man who crossed a 90-mile channel on a wind- surf board, towed into a previously “unsurfable” wave in Tahiti, and biked and paddled across the entire Hawaiian Island chain with his pal, legendary surfer Dave Kalama, to raise awareness of autism. Now at the time of life when many men are settling into their corner offices, Hamilton, who just turned 50, is still fearlessly tackling unknown waters— literally and figuratively. In print, Hamilton is often portrayed as all brawn, the sun-bleached-but- grumpy old guard of the sea. But at this moment—on a gusty day at an organic farm and café on Kauai—he’s showing all sides of himself. He’s the devoted family man as eager to talk about home school- ing his two youngest daughters as he is about the foil technology he hopes to use to successfully careen down the face of a 100-foot-plus wave, or the interest Larry Ellison has taken in Hamilton’s research for use in his Team Oracle racing yachts. “I’ve been getting better at channel- ing my comfort zone, shifting gears into being a good father,” he says. Here on the island, he’s a man at ease. For our meeting he’s chosen a table directly in front of the café entrance, allowing every fan and admirer to regis- ter his hulking, 6-foot-3-inch frame and interrupt our interview to thank him for all he does. It happens a lot. Hamilton was brought up to be gracious. As a boy, “all the guys I respected were really good men,” he remembers. “Great watermen, but good fathers first, eager to help people, and generous. This was what my mom taught me means ‘being a man.’ All my values came from her. She would say, ‘I don’t care if you become a street sweeper—do it with the most honor and integrity that you can. And if you do it to the best of your true ability, the rest will take care of itself.’” Hamilton’s father had left the family before Laird’s first birthday, and his mother, Joann, traded California for the surfing life of Oahu, plunking a 3-year-old Laird down in a predominantly Polynesian scene that didn’t take kindly to a towhead in its playground. “I think this is why Gabby and I con- tinue to have so much in common, starting off as outcasts,” he says. Hamilton’s wife is the former professional volleyball player Gabrielle Reece. As children, it was their looks that set them apart: she in the U.S. Virgin Islands—6 feet tall at 12 years old— and he a “blonde haole in 1960s Hawaii.” ABOVE: Hamilton with a custom hydrofoil board he developed to ride waves of over 100 feet. opposite page: enjoying more conventional water travel with wife, Gabrielle Reece, and daughters, Reece (left) and Brody. surfboard-filled barn and spills out into the surf, just as he’s done thousands of times before. It’s a decent day for surfers, with six- to eight-foot wave faces transporting a small local scene down the breaking walls of water. Hamilton skims across every wave that presents itself. His graceful dance across the gurgling sur- face includes walking back and forth on the board from end to end, mid-ride. Child’s play for him. Yet he’s beaming as he paddles back into the lineup, chatting with everyone nearby. More than a few will inevitably go home and boast that they were in the water with the greatest rider of massive waves of all time. For Hamilton, he was just doing what he was meant to do. l For Hamilton, being THE best meant fitting in. “I thought, if I could be respected as the best, it would be a way to create equality,” he recalls. “You may not like me, but out there, you’ll need to respect me. I pursue my goals to ride the biggest waves, the fastest waves, the farthest distances. They are not going to stop being my goals.” Much of that was shaped by his step father, a graceful surfer and board shaper, Billy Hamilton. It was young Laird who introduced his mother to her future hus- band. Billy had taken the boy under his wing and become his mentor. But early on, Hamilton saw the toll surf competition took on his new father, which is why Laird resisted the world of competitive surfing. “The first step was not caring what people think. I’m not surprised when people don’t like me—that’s where I started. I chose my own path at first because I saw how my father was subjected to the system. One day he was number one, and the next, judges decide, ‘You’re now number ten.’ I didn’t want to subject my art to that group. If it was up to them, I’d be miserable.” He continues: “There are settlers and discoverers. And I really like the proc ess of discovery.” Next for Hamilton is the rollout of a new line of clothing to be sold under the Laird Hamilton–Force of Nature label, his own line of standup paddle boards, a product called the GolfBoard that is like a motorized skateboard for use on the golf course, expanding his line of nutritional supplements, and a workout he’s been testing with Olympic athletes. Hamilton pauses, stares, and then his energy and thoughts come flooding back. “You never know if you’re going to walk off the edge of the world. And sometimes you do, and when you make it back it gives you this confidence that you can survive a fall off the edge of the world, and you’re willing to go again. You think, ‘I survived the last one.’ And you discover stuff along the way, especially when you fall, which makes it worth it.” surviving was key as Hamilton began exploring some notable surfing innovations. That included tow surfing with a personal watercraft into 50-, 60- or 70-foot waves. Hamilton is forthright: “I wanted to be the test pilot.” He shares a story about the first time he took out a hydrofoil—a surfboard with a metal “wing” mounted below that lifts the surfer out of the water for long periods of time at high velocity. He was strapped to the board with heavy snow- board bindings when he suddenly found himself pinned to the ocean floor 35 feet below the surface. “I thought, ‘This is not a good place to be.’ But while I was down there I realized I needed more flotation. And bindings that release.” With that, Hamilton hoists one of his paddleboard prototypes under his arm and heads to the water. He paddles a few hundred yards down the river from his “The first step was not caring what people think. I’m not surprised when people don’t like me— that’s where I started.” — Laird Hamilton 46 Summer 2014 47 Summer 2014
- 26. B y RonGluckman / / I ll u stration B Y Neil Tasker
- 27. S hanghai—where 1,000 buildingsexceed 30 stories—is called by many the World Capital of Skyscrapers. And the super-skyscrapers keep soaring in Pudong, the dazzling, often surreal neighborhood built in the last two decades atop farmland east of the Huangpu River, across from Shanghai proper. Audiences around the world have seen Pudong even if they don’t know its name: The sector has provided the futuristic backdrop for Bruce Willis’ Looper and much of the daredevil action in Mission Impossible 3. James Bond borrowed some of Pudong’s scintillating skyscrapers for Skyfall the year before they represented a futuristic Los Angeles in Spike Jonze’s acclaimed sci-fi romance, Her. Long one of the world’s most frenetic cities, Shanghai has done even more of late to ratchet up its exhilarating and unparalleled pace of urbanization. In this hyper-kinetic city, even an architect as seasoned as Robert Price lives in a perpetual state of awe. Price is a senior associate at Gensler, which is, by many measures, the world’s biggest architectural firm. In eight years of living in Shanghai, Price has seen neighborhoods crumble before his eyes—and ears—while armies of cranes work to replace them with futuristic skyscrapers. Still, Price recalls a day six years ago when the elegantly tapering Shanghai World Financial Center opened, becoming the tallest building in a city jam-packed with skyscrap- ers—more than two dozen are 50 or more stories in this metropolis of 24 million people. He was especially drawn to WFC’s glass observation deck, the highest in the world at 1,555 feet, set atop the tower’s trapezoid-shaped aperture in the clouds. “I remember waiting for the opening, then going up for a look,” he says. “What an incredible thrill.” Nowadays Price finds a bigger buzz, atop his firm’s Shanghai Tower—China’s tallest skyscraper and the world’s second highest. The 1,841-foot-high observation deck offers breathtaking horizon-to-horizon vistas, overlooking both the Jin Mao, China’s tallest tower in 1998, and the WFC, which claimed the crown in 2008. Now that honor goes to Shanghai right: A look at the construction from high above. Below: The Shanghai tower is a marvel of design and engineering. PhotographyCourtesyGensler 2,073 The height in feet of the Shanghai Tower, which will make it the tallest build- ing in China and the second highest in the world. 128 The number of stories in the Shanghai Tower, with more than 4 million square feet of total floor space. 24 Percentage of building material saved by using advanced algorithms, monster computer power and extensive test modeling. 60 MILLION The cost savings in dollars achieved from innovative test modeling technologies. 20 The thickness in feet of the tower’s concrete mat above its supporting tiles, used to shore up the building’s foundation. 34,000 The reduction of the tower’s carbon footprint annually, in metric tons, due to sustainable building strategies. 63 The number of hours that concrete was continu- ously poured to create the foundation (a world record). The effort required a line of trucks 1.2 miles long. SHANghaI TOWER BY THE NUMBERS above: workers put the finishing touches on the Shanghai Tower, the new- est—and tallest—structure in pudong, and the second- tallest building in the world. From its observation deck at 1,841 feet, you can look down on the two buildings that were once the tallest in china. Tower, by a wide margin. From his heavenly perch in the sky Price can actually look down upon two buildings that each were once China’s tallest, and they seem to shrink to some- thing close to irrelevance some 500 feet below. This breathtakingly vertiginous tower was meant to be: When this part of the city was planned, it was always with a trio, not a duo, of super-skyscrapers in mind. “In one way or another the Shanghai Tower makes Lujiazui [Pudong’s financial district] more complete,” observes Bert de Muynck, Shanghai architect, professor, and founder of MovingCities, an urban think tank. “You didn’t realize something was missing until they built it.” “When this project started, the environment was totally different,” Price says. “There was really only the Jin Mao—the World Financial Center hadn’t been built. Shanghai is growing by half a million people a year. The design really responded to this growth. We wanted the height to be substantial enough to point to the future.” BUILDING TALL HAS INFATUATED humankind since before the Tower of Babylon, yet until relatively recently, the skyscraper race was a two-city competition. New York’s Empire State Building (1,250 feet, 102 stories) defined skyscrapers for four decades; in 1971, the original World Trade Center 1 (1,368 feet, 110 stories) held the title for two years until it was surpassed by Chicago’s Sears Tower (1,450 feet, 110 stories). Sears held the title for another quarter century (the building was renamed the Willis Tower in 2009). Thus was the state of the art in the very long modern age, led by the ingenuity of the United States. It was a good run. Then Cesar Pelli’s iconic Petronas Towers (1,483 feet, 88 stories) brought the crown to Kuala Lumpur, Malaysia, in 1998. In the ensuing 15 years, the world has seen an unprecedented skyscraper boom played out across Asia and parts of the Mid- dle East, but especially in China, where more than 200 are currently under construction. Every couple years a new tower topped the last, often by just a few meters, until there 50 Summer 2014 51 Summer 2014
- 28. Above: the unique,twisting exterior of the shanghai tower is more than a design element. it also funnels wind to generators that create power to help run some lights in the building. came a quantum leap in this modern skyscraper race, comparable to when the United States put a man on the moon. The Burj Khalifa (originally called Burj Dubai) didn’t just supplant the previous record-holder, Taipei 101 (1,667 feet), as tallest tower in 2010. At 2,717 feet, this super-duper monolith silenced all discussion. For a time, at least. In the interim, other values aside from absolute height emerged within the sky- scraper construction community, such as quality, inventive design and overall urban planning. Such values are reflected in the design of Shanghai Tower. “TheanalogytotheSpaceRacemakessense,”saysDanielSafarik,aneditorattheCoun- cilforTallBuildingsandUrbanHabitat(CTBUH),officialarbitratorofskyscraperheightand the source of general information about records set. Just as Russia and the United States pushed each other to explore space—and made major science discoveries as a result—the skyscraper boom has spurred innovative construction techniques and energy efficiencies. “Shanghai Tower is a really ambitious building,” Safarik says. “We see a lot of proj- ects hyped as green projects, where some energy-saving features are tacked on, but this is probably one of the best examples of integration of environmental features that we have ever seen.” For instance, wind is carefully funneled by the unique twisting exterior of the tower, and generators will harvest power for some of the lighting. Massive atriums, up to 14 stories high, run all the way up the skyscraper and not only showcase virtual sky for- ests, but also contribute natural heating and cooling. The foundation required world- record volumes of concrete, but underground heat is also harnessed for additional warmth and power. In all, these sustainable strategies are designed to reduce Shanghai Tower’s carbon footprint by 34,000 metric tons annually. “This has been a long journey, the eight or nine years from concept to completion,” Price says. “Working in China is always a challenge, but so much more so with this building.” Most distinctive is its shape and shimmer. The glass tower appears to twist as it rises. Actually it does twist—at least its skin does. “A lot of these funky shapes we see in buildings nowadays are driven by technology,” Price continues. “Now, we can design in three dimensions, and you can take risks that you couldn’t before. Comput- ers do the math. This building is really driven by the desire to explore,” he says. “This building really pushed the limits.” “There are just so many amazing things here,” marvels Safarik of CTBUH. “You have the sky areas, the twisting, the greenery and public space. We’ve seen some of these things in other buildings, but what is unusual is the scale and size.” Next year the observation deck is expected to open, set to be the highest in the world. Visitors to the observation deck at the SWFC tower found that when they stood on the glass floor and looked down, it seemed as though they were hovering atop the Jin Mao Tower—a deliberate statement of dominance. The Shanghai Tower will soon reveal how fleeting the feeling of being the big guy really is. l above: shanghai tower’s outer skin twists around the base, providing its swirling effect. Massive atriums, up to 14 stories high, ring the building all the way to the top floors. “So many things are com- pletely new, never tried before, like the double skin of the exterior,” says architect Rob- ert Price. Super-tall structures now use curtain-wall construc- tion. Instead of heavy walls, Shanghai Tower’s exterior cladding is draped over a core structure, like an umbrella. MADE IN CHINA SHAPED BY TECHNOLOGY The tower’s twisting appearance comes from a clever use of two curtain walls. “Think of a circle, than draw a triangle over. They meet at three points,” explains Dennis Poon, vice chairman of Thorn- ton Tomasetti, which provided structural engineering. The area outside the circle forms the expansive atriums, big enough for forests of trees, and space for restau- rants and other community activities. This triangle of glass rotates as the Shanghai Tower elegantly rises. “The twisting is like a girl’s skirt,” Poon adds, “as she is dancing.” 52 Summer 2014 53 Summer 2014
- 29. .002 900 Eric Chang, left,and dan hellman in their brooklyn workshop. “we’ve been best friends since we were 10 years old,” says Eric Chang of his business partner Dan Hellman. While plenty of childhood friends join forces later in life, few of them start out in a suburban garage and end up with their work on television shows like Gossip Girl and Today and movies like Sex and the City 2—not to mention in luxe hotel properties flying the Four Seasons and Man- darin Oriental flags. This is Hellman-Chang, a furniture design shop on a hot streak. interview by robert brown and todd davis // photography by jim wright T h e s e w e r e t h e g u ys w h o l i k e d wo o ds h o p — n ow H e l l m a n - C h a n g i s a l e a d e r i n t h e “imported from Brooklyn” d e s i g n m ov e m e n t the interviewers todd davis robert brown STYLIST: LINDSAY NORDBERG // GROOMER: KIM WHITE // PROP STYLIST: SHARI ANLAUF 54 Summer 2014 55 Summer 2014
- 30. garage we taught ourselves. We sta rt e d u s i n g wo o dwo r k i n g W e g ot s o m e o l d wo o dwo r k i n g b o o ks. eq u i p m e n t i n m y fat h e r ’ s 900 900 To tell the story of Hellman-Chang, Cadillac Magazine recruited Robert Brown and Todd Davis, principals of Brown Davis Interiors: The establishment design firm meets Brooklyn’s upstart fur- niture craftsmen. It was Brown Davis, after all, that brought the original Miami Vice house back to life and went on to create homes for former President Bill Clinton and former Secretary of State Hillary Clinton in Washington, D.C., and Chappaqua, N.Y. When Brown Davis began, they were renovating mid-century homes, using them as design labs, and then flipping them, reaping considerable rewards for their 18-hour days. Today, they’re wondering how a new design duo makes its mark. These are excepts from Dan Hellman and Eric Chang’s remarks, as told to Robert Brown and Todd Davis. Eric: Dan and I went to middle school and high school in the suburbs of Maryland. In high school we shared a lot of the same interests—architecture and design—and one day we said, ‘Let’s just jump into this, let’s design some furniture.’ Dan: We started using woodworking equipment in my father’s garage. My father had some power tools, and we bought some crappy wood, crappy pine. We got some old woodworking books. We taught ourselves. Eric: We were both working other jobs. Dan studied classical guitar at North- western, and I got my degree in finance and marketing from NYU. We went ahead and rented a five-by-ten co-op workshop in Brooklyn, sharing space with these rough-and-tumble craft guys, back before Brooklyn was cool. We were working nights and weekends. ///// The Z pedestal table was their first product. Eric: A tremendous amount of research went into placement of the product in the industry. We saw a lot of opportunities, coming in from the outside. Everything has been really well calculated, from the design of the product to the design of the brand. Brooklyn became a huge selling point. It was becoming an epicenter of design and everyone was flocking to it. But we’d been entrenched there for eight years. Dan: We submitted Z Pedestal for Interior Design’s Best of Year awards—and won. Eric: We were in business approximately from 2005, and we won the award in 2006. The heads of the industry were there and we didn’t know anybody. We certainly looked out of place at the time. When we accepted the award from {Interior Design editor] Cindy Allen, everyone was snap- ping our picture, and she leaned in and kind of whispered, “Who are you?” ///// But she said it more colorfully. HELLMAN AND CHANG were 24 at the time. Eric: We’re actually very different, which is why we work well together as business partners. Dan is far more technical—he’s ABOVE: it takes more than 100 hours to create the z quad dining table, the biggest extension of the firm's iconic z pedestal table. opposite page: even as demand grows, all the furniture remains meticulously handcrafted in their brooklyn studio. 56 Summer 2014 57 Summer 2014
- 31. space .02 900 T h er e ’ s a fo c u s o n n eg at i v e and the weight and the grounding o f s o l i d wo o d. . . the master craftsman, very hands-on. I’m more marketing, PR and branding, and I can flesh out the overall designs, themes and look of the products. Dan fig- ures out how the furniture will be made. I push in one direction, he pushes in another, and we come together at a good middle ground. We make the prototypes together. After it is put on paper and it comes to life as a prototype it becomes a sculpting process. Dan: We’re always trying to create dynamic, sculptural products. There’s a focus on negative space and the weight and the grounding of solid wood and how these two values work together. We want to preserve an elegant silhouette. And we want to create an emotional connection— we want people to want to touch our fur- niture when they see it. Eric: I’m a big car guy and I love the emo- tional connection that people feel toward their cars. When you see a beautiful car, doesn’t matter whether you’re a man, woman, young, old—the first thing you want to do is run up and touch it. That’s what I want people to feel about our fur- niture. We keep our finishes close to the grain so you can still feel it. ///// High-end hospitality opened its doors. Eric: In January 2007 we got the call from [San Francisco design firm] 58 Summer 2014 59 Summer 2014
- 32. h u ge s e l l i n g p o i n t. I t was b eco m i n g a n Brooklyn epicenter of design a n d e v e ryo n e was f lo c k i n g to i t. b ec a m e a900 900 Former world #1 tennis player and recent golf addict Andy Roddick has some tough decisions to make. travismathew.com ©2014 TravisMathew, LLC. All Rights Reserved BraytonHughes, which requested furnishings for the Four Seasons in Seattle. They said they loved our piece and they wanted us to redesign it as a bar table. They wanted 15 of them. And they wanted our coffee tables for the presidential suite. So the Four Seasons was our very first client. Dan: We flourished during the slowdown because consumers increasingly cared about supporting local economies. When people spent, they considered furnishings as an investment that was handcrafted and unique. ///// Youth was on their side; they could afford to take their time to get it right. It took them four years to design and manufacture the Avery Chair. Dan: Unique and handcrafted are still the core traits of our products. Our business was growing as others were shrinking. Eric: We’re 32 now. We retain our competi tive edge, in part, because our product is extremely difficult to copy well. ///// And because they dress well. Eric: Men’s fashion has always been one of my passions. It took me a little while to convince Dan to dress in these bespoke suits and be photographed making furni- ture. This concept went into a look book and our advertising campaign grew out of that. One image needed to carry the entire message of what the brand represented— the luxury of the suits juxtaposed with the nearly archaic way of making furniture. We were young, self-taught designers, and I think our personal style caught the attention of the industry early on. Dan: At one point we were known as the two best-dressed guys in furniture. Dress- ing sharply became part of the brand. Eric: I always felt that there was an obvious link between furniture and fashion. And the ad campaign isn’t far from the truth. In fact, right now I’m standing here in my workshop in a suit. ///// This year, Hellman-Chang’s furniture was installed in the lobby of the Mandarin Oriental Miami as part of a two-year refurbishment of the resort. The Hellman- Chang studio is still in Brook- lyn’s Bushwick neighborhood. Eventually Brooklyn caught up to them. l ABOVE: the xie sideboard blends subtle asian styling with intrinsic hellman- chang cues. previous page: after a humble start using their fathers’ tools in a garage to craft pieces from crappy pine, hellman and chang have built a studio renowned for its commitment to quality and design. 60 Summer 2014
- 33. With more than3,000 startups in Los Angeles, will tech steal the spotlight from Hollywood? For a century, the“industry”inLosAngeleshas meant entertainment. But L.A. is going geeky, SoCal- style. Everyone seems to be buzzing over Silicon Beach, the three-mile coastal hot spot stretching from Santa Monica to Venice that has emerged as the new epicenteroftechnologyentrepreneurship.It’shometo the likes of Snapchat and Google, and scores of start- ups have set up shop as well. “It’s palpable—you can feel it,” says Ryan Wilson, advisor and co-founder of the startup WayFounder and director of EarPeace. “I’ve been here long enough to know that it wasn’t here four years ago, and every month you right: silicon beach offices are techy but with a different vibe. know that something special is happening, and you are right in the middle of it—it’s exciting.” Wilson, a serial entrepreneur, has been a part of the L.A. tech scene since 2008. He says its sun- kissed brand of creativity makes Silicon Beach unlike any other tech community. “No other place has such low barriers to creativ- ity as L.A. If you can dream it, you can do it,” he says, noting that the area enjoys the singular combi- nation of entertainment, beach life and technology. Tapping into the scene’s creative heritage is Keri Kukral, founder of RawScience.tv, a new online science network. She works out of a hangar in the Santa Monica airport amid piles of DVDs. “It looks like the merging of old Hollywood and new tech,” she says, adding that her co-founder is a 29-year-old hacker. There is also a program- ming director and Oscar® - and Emmy® -winning producer. And Bitium, the startup that provides app management for companies to securely man- age their software catalog, just moved its offices to an old Santa Monica art studio. Working in a space once occupied by the well- known abstract expression- ist Richard Diebenkorn allows everyone more room for creativ- ity, not to mention open space for networking and collaborat- ing. “It’s an open environment,” says Scott Kriz, Bitium’s founder and CEO. “We are kind of trans- parent throughout the company with what we do—it has the feel- ing of a creative art studio.” According to Angel List, an online platform for startups, softsoftsoft story by elina fuhrman photography by roy ritchiE wired 62 Summer 2014
- 34. more than 3,000companies have already set up shop in the city, among them Viddy, Vow to be Chic, Whisper, BeachMint and CrowdFunder. “If the Bay area is the infrastructure, then L.A. and Silicon Beach are the user experience,” Wilson says. Los Angeles is now a legiti- mate hub for accelerators, incubators and venture capital- ists—and there is no lack of out- spoken advocates, like one well- known venture capitalist who is proudly proclaiming what he calls the L.A. “tech renais- sance.” And no one denies that the moniker—Silicon Beach—is potent branding. “Who needs Silicon Valley?” trumpeted Google after setting up shop in Venice Beach and settling in the Frank Gehry– designed Binoculars Building just a few blocks from the ocean. “Prefer the sand and surf over a mountain view?” teases its web- site. “Forget the Valley—pack your bags for Google L.A.” Wherethe creativityis Wherethe creativityis Wherethe creativityis“Big companies want to be where great ideas are and be where the most creative energy is,” says Mike Colo- simo, co-founder and CEO of ThrdPlace. “That’s why the Googles and the Facebooks, the Intels and the Microsofts and the Adobes have all come down here, and they’ve all set up big shops here because they want to collaborate with people with new ideas. They want to be close to this creative energy and talent here.” Colosimo started ThrdPlace.com with DeKoven Ashley, and the two are known as resident social entrepre- neurs on L.A.’s West Side. Their Right: The blue skies and beautiful views serve as inspira- tion for many startups. below: bitium founder scott kriz at work. opposite page: Ian mur- phy, of murphy public relations, chats over his morning coffee on abbot kinney boule- vard. business serves as an online platform for communities and brands to do good work. Colosimo cites the virtually inexhaustible nearby talent pool. “The location is a good place to live, and that makes it easy for us to recruit,” he says. “There is an amazing talent pool that’s coming out of universities here. People are excited to be a part of a city that has that many resources and diversity of market—and it’s sort of just coming out of its shell.” Like everywhere else, the index of desirability is real estate. “Prices are already 3 per- cent higher than at the peak of the bubble in 2006,” says Diane Dorin, a long-time real estate agent with Venice-based Teles Properties. “It’s the highest I’ve ever seen. Not only are people coming from the San Francisco Bay area, but you have people moving from downtown as well,” she says. Along with tech industries, other companies that support the high-tech culture are moving too. Several big San Francisco coffee houses like Philz Coffee and Blue Bottle are about to open their doors on the beach. Rising real estate prices inspire resourcefulness. “Our office is the back unit space of my house,” Colosimo says. “We have a garden outside and a little trailer which is our conference room, and dogs running everywhere. It’s very Venice.” When not at his office, Colosimo can be found at Le Zinque on Venice Boulevard. “During the week, from 7 to 11 in the morning, you see at least half a dozen of your friends who are also running companies. They’re either hanging out, working or taking meetings.” If he needs to meet elsewhere, Colosimo opts for one of 40 co-working spaces in the area. The cooperation-not-competition ethic has produced a tight-knit group of entrepreneurs who support each other with fund- ing, strategy and recruiting. That’s why EarPeace has its headquarters in a co-op space: not only because it’s cost effective, but also because it “You are starting to see the art, fashion, design community become more technology savvy, and the techies becoming a little bit cooler. — ian murphy 64 Summer 2014 65 Summer 2014
- 35. offers “super-creative peopleto be around,” Wilson says. The common refrain is that Silicon Beach is all about community and being helpful to each other, unlike the environments they’ve experienced or heard about in other tech hubs like Silicon Val- ley and Tel Aviv. “I wanted to be around other founders and potential clients, as well as mentors who are coming in and out every day to work with the companies they incubate,” says Ian Murphy, an entrepreneur who runs Mur- phy Public Relations and shares office space with EarPeace. “It’s an open and accepting place. It gives you that ability to create home.” Ahealthy balanceAhealthy balanceAhealthy balanceIt’s not surprising that although the tech resurgence is happening all over L.A., the Venice Beach–Santa Monica area is garnering most of the attention, mainly because those who made it their home invariably say that living your dream is better on the beach. “I couldn’t imagine living anywhere else,” says Wilson. “Abbot Kinney Boulevard is a happening street,” he says, referring to Venice’s artsy boho strip. “For me,” Wilson continues, “the whole Rose Avenue area is really excit- ing, especially with Google right there on Main and Rose. A lot of companies are sprouting all over, from Rose all the way down to Windward and then east toward Lincoln.” “There is a healthy balance between having fun with what you do, being in a place that you like to live, and at the same time remaining very serious about your business,” Kriz says. Thebeachtechiestendtosaythatthelocalcultureismoreimportantthantry- ing to recreate urban social rituals. Happy hour here is not a discounted drink at abovE: Ian murphy talks tech with Jacob Rokeach of bitium. LEFT: Bitium has adapted to the culture of the beach, fitting itself into the fun and funky area. below left: the quirky area welcomes creativity. a local bar but yoga on the beach. The boardroom meeting has moved to a rooftop deck with views of the ocean, and ordering sandwiches for lunch is so yes- terday. Google hired a Michael Mina–trained chef to make their people happy and culinarily sat- isfied, because nobody in L.A. wants or has a typical diet. Kriz says everyone at his company gets a brand-new Kindle with unlimited book downloads “to encourage read- ing and for personal and profes- sional development. “We go to SoulCycle and we take surf lessons,” he adds. Climbingwalls,outdoormovie theaters and meditation breaks are just a few perks of the new Silicon Beach culture—except they are not even considered perks anymore; they’re offered as part of a strategy integral to the success of these startups. SiliconBeachlocationandlife- stylehavearguablycreatedanew type of entrepreneur—someone who not only cares about start- ing a company and making a lot of money, but also making a difference and doing good. “If you are going to run a business here, you are going to be socially responsible and environmentally responsible,” says Murphy. And the cause in Silicon Beach seems to be to brand not only a new type of community, but a new type of businessperson as well— one who is smart and technically proficient, but also a better story- teller, better artist and perhaps a happier person. “What’s happening is that the two cultures are affecting each other,” Murphy says. “You are starting to see the art, fashion, design community become more technology savvy, and the techies becoming a little bit cooler.” It must be the sand. l 66 Summer 2014 67 Summer 2014
- 36. like glistening sculpture opening photograph by seanhunter brown commentary additional photographs by jordan stempson If art is the ability to render the ordinary otherworldly, 19-year-old Jordan Stempson of Orange County, Calif., is creating art. He has a singular talent for making the seemingly familiar world of coastal water—especially the beauty and drama of waves—appear utterly new.
- 37. have been intophotography for four or five years now and loving it. I cover a range of styles and subjects—color and black-and-white, portraits and land- scapes—but my specialty is ocean photography and waves. It feels good for that hour or two shooting when you don’t have to think about anything else, just the beauty of the world. I shoot out of the water with a Canon T3i and in the water I use a GoPro HERO3+ Black Edition, and sometimes even my iPhone. With water photography, you have to use light to your advantage. You can’t just go out into the water on any given day and expect to get a good barrel shot. There are many factors: wind, tides, wave height, water clarity and, most important, what the sun is doing. Sunrise and sunset are basically the best times to go out: sunrise, to catch the predawn colors and then get the sun rising over the moun- tain for that delicate morning light; and sunset, when the sun is coming down and the goal is to get a shot of the sun dropping through the barrel. l ABOVE: laguna beach, midday You can always find clear water here anytime of the year. The sun was giving a nice shine through the back of the wave, which gives it some color. I don't always see a lot of people at this beach, which is good: Fewer people means you have fewer problems trying to conquer a specific shot. Every barrel is completely different. This is one of my favorite beaches and it provides a nice background for any barrel shot. I knew right when this set rolled in it would come out great. The wind stopped and the barrel just threw out real nice. Very stoked on the outcome. ABOVE: LAGUNA BEACH, SUNRISE This shot was taken on a day where I really didn't expect anything. I got down to Laguna before the sun came up and there was very heavy fog. I waited it out and thankfully the sun started to burn it off quickly. There was a favorable tide for this spot, very shallow— only about knee-deep. The wave is very thick and heavy even though it's about three to four feet high. Because it is so shallow, the wave sucks up the sand and makes for a pretty cool sand cloud. These shots are very hard to get in Southern California. I've taken 20,000-plus shots since I've been doing water photography and only have three or four like this. LEFT: laguna beach, sunrise I knew this morning would be really good for light. I wanted to shoot somewhere different for a change. I get bored and I like to get creative with backgrounds. I have over 10 coves I can pick and choose from just in Laguna Beach alone. It was a high tide and the waves were breaking right on the sand. It's pretty hard to get a perfect barrel rolling in when the tide is high at this spot. I love the trail of gold heading straight to the camera lens. It will always be one of my favorites. 70 Summer 2014 71 Summer 2014
- 38. Blues musician LeeannAtherton said Austin, Texas, is “a vortex where people collide to create.” That’s never been more true than right now. Though Austin’s renowned music scene has always been a buffet of sounds, some superstar chefs are now doing their part by making beautiful music in the city’s kitchens. These culinary masters are catering to the youthful, song-loving, hip populace of the music-centric capital city, as well as to the visitors who throng there for the rollicking live music and festival scene. A number of successful restaurants are opening one after the other and steering away from the sacred Tex-Mex and barbecue fare in favor of more contemporary creations. They’re making their marks with seasonal menus, a commitment to forging relationships with farm- ers, and bold interpretations of world gastronomy. Having earned a smorgasbord of awards, four chefs and their restaurants stand out. Who needs record deals? These aces can plate. austin's texas toques by becca hensley photography by jody horton drew Curren // bryce gilmore allison jenkins // shawn Cirkiel 73 Summer 2014
- 39. no.1Drew Curren 24Diner,EasyTigerBakeShop BeerGarden,Arro Owner of: Chef DrewCurren wanted to be a veteri- narian, but time spent studying abroad in Tuscany awakened his passion for food and la dolce vita. “Being immersed in that culture of food, family and wine changed my focus from saving animals to cook- ing them,” he jokes. Accordingly, he exchanged his lab coat for a toque, and enrolled in The Culinary Institute of America in Hyde Park, N.Y., where he met his future wife, pastry chef Mary Catherine Curren. Now at the helm of three success- ful restaurants (24 Diner, Easy Tiger Bake Shop Beer Garden, and Arro), with a fourth—yet unnamed Italian trattoria—debuting this summer, this talented chef shows why he has been lauded by peers in Best Chefs America (2013–14) and was both a Bravo Top Chef competitor and a FOOD WINE The People’s Best New Chef nominee in 2011 and 2012. Describing his cooking style as “honest and approachable,” Curren says he is driven by authenticity. With 24 Diner, Curren brought Austin that innovative 24/7 hangout craved by late-hour music buffs. Set at the bustling crossroads of W. 6th Street and Lamar, this happening hangout speaks to food-obsessed hip- sters with a hankering for dishes like the Bacon Avocado Burger, stacked with all-natural Angus brisket, charred poblanos, smoked aioli and an Easy Tiger–baked pain au lait bun. In a historic building steps from the boozy 6th Street scene, Easy Tiger Bake Shop Beer Garden opens to a street-level bakery. Below, its rowdy beer pub and outdoor “suds” garden pour 30 craft beers. Meanwhile, Curren’s newly opened Arro delivers a decidedly French accent, with bistro-style renditions. “I create from my heart—that’s what drives me,” says Curren. Top: Chef Drew curren fires mussels for seafood stew. Above: Curren finishes the seafood stew with scallions and serves it with a piece of crusty bread. no.2bryce gilmore OddDuck,BarleySwine Owner of: In2009,BryceGilmoreopened Odd Duck Trailer “to feed the people of Austin responsible, locally sourced food.” Inspired by the best nearby farms, Gilmore dished out bold flavors and dishes with a rustic edge. When the eatery closed in 2011, his devotees were heartbroken. Gilmore reopened in December with Odd Duck, a brick-and-mortar ode to the original, and diners came back, looking for the unexpected com- binations that were the order of the day at the first Odd Duck. A native of Austin, Gilmore grew up among restaurateurs and cites his father, a well-known local chef, as his key role model. Gilmore’s second eatery, Barley Swine, is a small love song to micro- brewed beer and locally raised pork, two of his obsessions. While Barley Swine, located in South Austin, continues to pack in gourmands and meat lovers, Austin is really aflutter over the return of Odd Duck, where Gilmore’s fare proves edgier than ever. He’s been twice nominated for James Beard awards, received FOOD WINE’s Best New Chef nod, and was honored by GQ. “My restaurants are come-as- you-are. We are not fancy guys, and don’t expect our guests to be,” Gil more says. “We’re not curing disease here—we’re feeding people, so we like to keep that in perspective.” Top: Bryce Gilmore, right, talks with a line cook. Center: Grilled Glazed local quail on a black bean puree. bottom: The new Odd Duck. 74 Summer 2014 75 Summer 2014
- 40. no.3allison jenkins LaVrestaurant chef at: Owner RalphEads calls LaV, Austin’s hottest new restaurant, his “field of dreams.” He’d thought originally of creat- ing a modest wine bar. But when he recruited much lauded Texas-born chef Allison Jenkins, things took a turn for the posh—but in an understated, Austin way. Originally, Jenkins had run Ajax Tavern in tony Aspen, Colo., and Eads knew she could bring an earthy sophis- tication to play—which would fit LaV’s hip, but emerging, East Austin location, and the vibe of the people there. Lithuanian-born sommelier Vilma Mazaite (also a fixture in Aspen) and pastry dynamo Janina O’Leary—a James Beard semifinalist—joined the team. The trio set LaV’s timbre, plan- ning a menu and wine library that evoke the cozy glamour of Provence between the wars. Putting out dishes she describes as “refined rustic,” Jenkins never tires of her house-made chicken liver pâté or the earthy, wood-oven bouillabaisse with squid, clams, blue prawn and rouille. Chock-full of languor-enducing nooks and crannies, the new-built restaurant’s French Country mood was envisioned by designer/architect dream team Susan Ferrier and Bobby McAlpine, who aimed for the air of a moldering Provençal manse. “At LaV, we simply want to welcome you to our home,” Jenkins says. TOP: Chef Allison Jenkins sets up some bouillabaisse (center) That features squid, clams and blue prawn. Bottom: La v. “I just served something simple,” says Shawn Cirkiel of the time that he cooked for the James Beard Foun- dation, shortly after he opened his gastro-pub, Parkside, in 2008. For Cirkiel, an Austin native, “simple” meant braised short ribs and doughnut holes with brandy cream—a meal that received rave reviews from the foodie crowd in attendance. While Cirkiel’s version of simplicity may be the cornerstone of his culinary repertoire, the chef is best known for smart, sustainable cookery, which he interprets distinctly in each of his four popular eateries. Cirkiel has a fifth culinary bun in the oven, but he’s mum on the details until later this year. no.4shawn Cirkiel parkside,olivejune, thebackspace,chavez Owner of: Raised on a farm by parents who owned a cafe, Cirkiel hails from a food-driven heritage. His grand parents cooked all their meals on a wood-burning stove. “I’d truly love to cook for both sets of grandparents. I think they would have been really proud of me,” says this graduate of The Culinary Institute of America. Cirkiel’s second restaurant delves into those roots. “I named Olive June for my grandmothers,” he says. “Here, I pay homage to my father’s South Bronx, Italian-American heri- tage.” With its central location, the neighborhood favorite serves up plates of homemade pasta and coun- trified cuisine. At downtown’s tiny The Backspace, Cirkiel focuses on stellar Neapolitan pizza in a family-friendly setting. Partnering with Radisson Hotel and Suites, Cirkiel established his fourth eatery, Chavez. Here, the menu offers sophisticated versions of Southwestern cuisine near the city’s attractions. “What I enjoy about Austin din- ers and fellow chefs,” Cirkiel says, “is their willingness to come together to support local businesses, farmers, and one another.” l Top: The dinner crowd at Chavez overlook- ing Lady Bird Lake. Above: Chef Shawn Cirkiel puts the finishing touches on a dish of charred green beans over housemade queso fresco. 76 Summer 2014 77 Summer 2014
- 41. WHAT COMES AROUNDSorely inneed of repair, one of the world’s most well- known landmarks is benefiting from an unprecedented marriage between the private and public sectors By Drew Limsky Photography by Giovanni Troilo Produced by Charles Desselle // Additional Reporting by Simon Brooke
- 42. suggests its formeruse. This fate did not befall the Colosseum, which remains—remarkably intact—the largest amphitheater in the world. Its general structural integrity still has the power to capture the imagination despite the fact that, like many monu- ments of antiquity, the Colosseum was stripped of its valuable building materials to construct palazzos and newer monuments. The marble façade is long gone and the bronze clamps that once held the underlying travertine stones together have been pried loose, leaving pockmarks everywhere. Previous restorations did more harm than good, explains Dr. Rossella Rea, the director of the Colosseum since 2008. In her office on the Colosseum’s second floor, she removes a hard hat to reveal waves of blond hair. Her manner is gracious but casual; for most people the Colosseum might be a once-in-a-lifetime visit, but the iconic stadium is Rea’s daily workplace. She sits behind a desk piled high with documents and lights up a cigarette. “Everything we’re doing now is gentle and reversible, which is different from past restorations,” she says. She explains that for this restoration, each travertine stone is systematically bathed with misted water for four hours from a distance of 15 inches, without use of abrasives. “There are no chemicals,” Rea says. “In the ’30s, asphalt was used in previous restorations to work on travertine that had turned black. In other words, the material applied was as black as the dirty travertine it was meant to restore.” In addition, concrete had been used to fill cracks in the stones, causing further erosion. Outside the Colosseum, one can regularly hear the tap- tap-tap of the concrete’s removal by the expert hands of 12 restor- ers who are in it for the long haul. Because of the scaffolding, it is difficult to see the contrast between the pre- and post-restoration travertine, but on the third level, one wall where rain has dripped in reveals the difference. Rain is hardly the most efficient or technical way of cleaning the Colosseum, but it is close enough: the upper part of the wall has been rained on and has been returned to something close to its natural color (not white anymore, but with hints of honey from age). Untouched by rainwater, the recessed travertine beneath is dark and sooty. T he season of charity galas to benefit the arts and cultural institutions that is such a part of the social fabric of Manhattan and other major American cit- ies is a world away from Rome; Italians tend to look skeptically at public/private partnerships. But Rea gives no purchase to those who would question the propriety of Della Valle’s donation. While it is widely understood that Della Valle received a generous tax benefit to fund the restora- tion, Rea says “the controversy has become a political issue— there were protests—giving pundits a story to get riled up about. But the polemics are baseless. Legally, the Colosseum can make concessions to publicity, but notice that Tod’s logo on the temporary sign is small, while the Ministry’s name is much bigger. The Colosseum will carry no Tod’s advertise- ments.” Moreover, Rea explains, Della Valle had the option to “We live in a different way,” she says with a knowing look. “Things are not trans- parent here, even in the newspapers.” W hile it is true that the Colosseum was once a venue for blood sport, it also provided the stage for a diverse array of spectacles. Underground hydraulic systems made possible the use of elaborate sets. To celebrate the expanding Roman Empire, representa- tions of newly conquered foreign lands complete with foliage and exotic animals would appear in the oval center. At other times, the floor would be flooded for the enactment of sea battles. Once the circuses ended, the Colos- seum was used for other purposes. In the Middle Ages squatters lived in the building, which actually helped to pre- serve it. Few visitors realize that nearby Piazza Navona was also once a stadium, but it was paved over and now barely top: The Terrace of the hotel Palazzo MANFREDI OVERLOOKS THE RESTORATION IN PROGRESS. bottom: The holes in the travertine are from the bronze clamps that once held a marble facade. opposite page: previous resto rations often caused damage that needed to be repaired later. now, every part of the restora- tion is gentle and reversible. E ven from the terrace of the Hotel Palazzo Man- fredi two blocks away, one can see the usual regiment of costumed centurions and gladia- tors working the crowd outside the Colosseum in Rome, posing for photos with tourists for a few euros. Guides work feverishly, collect- ing the requisite number of visitors to make a viable tour group, rescuing people from the chaotic lines for double the price of admission. Raven-haired Filomena Ricci has been a Colosseum guide for 15 years; before that she led tours of the Vatican. Ricci avoids the umbrellas and paper flowers so many of the other guides use to be visible to their followers. Instead, she raises her pair of aviator Ray-Bans in the air, parting the crowd with easy deter- mination. She swiftly leads her group past the 24 levels of scaf- folding that cover an eighth of the structure’s many arches—and past a modest sign referring to the Colosseum’s three-year res- toration administered by the Ministry of Culture and funded by Diego Della Valle, the 60-year-old president and CEO of Tod’s leather goods company. As one of the most recognizable and heavily visited sights in the world—welcoming between 10,000 and 14,000 visitors a day—the Colosseum, which was constructed from 70 to 80 AD, takes in $23.5 million a year in entrance fees. So it may come as some surprise that as recently as the ’70s, there were no gates, no fees, no regula- tion. People could walk freely inside; the blacktop that encircled it was a round- about enabling cars and Vespas to speed right past its façade. Today the Colosseum is such a major draw that the money it raises helps pay for its own maintenance and helps fund many lesser-known monuments around the city. But it’s still not enough. Years of pollution, earthquakes and botched renovations have left their sad mark on the monu- ment. Given the country’s economic ills, it fell to Della Valle to fund the Colosseum’s latest restoration to the tune of 25 million euros ($34.5 million). This public/private partnership has not escaped scrutiny and criticism. Ricci alludes to this when she isn’t pointing out the 2,000-year-old marble columns from Greece and Egypt that, in their day, were 50 feet tall and still managed to be imported to the Colos- seum site in one piece. “the restoration certainly has called attention to the need to take better care of the country's cultural heritage.” — Ingrid rowland, Professor of architecture 80 Summer 2014 81 Summer 2014
- 43. PARTNERS IN TIME inscribethe Colosseum’s tickets with the Tod’s logo, and he declined. “Tod’s doesn’t really need the publicity,” she says. Rea’s words are intended to ward off concerns that arose from past and ongoing restorations of other monuments. Pro- fessor Ingrid Rowland, based at the University of Notre Dame School of Architecture in Rome, sheds light on the position of the naysayers: “The problem is that not everyone who can give has good taste, and you get a plague of this scaffolding with advertising all over it. Where I live in Trastevere a fountain is being renovated, and for ages it’s been covered with scaffold- ing and advertising. Renovations are obviously welcome, but you have to ask about the look of the site while that renovation is taking place—and it can continue for some time.” Still, Rowland acknowledges the necessity of allowing the private sector to do its part: “The problem is that in Italy they usually just don’t spend much public money on this type of thing, and there’s very little money available at the moment anyway because of the state of the economy. It certainly has called attention to the need to take better care of the coun- try’s cultural heritage. I think Della Valle realized that no one else was doing anything in this area and that someone had to do something. “This is the kind of thing that happened regularly in the 16th century, for instance, with families such as the Medici,” she continues. “This kind of funding of public works and the arts echoes many of the same motives. People today want to be seen as patrons, to be well thought of and to show their creativity. Today’s donors tend to follow the same pattern that you saw in earlier times. They choose large, well-known proj- ects to support in a very visible way. Then you find that if one person does it, the rest will want to jump on the bandwagon and do something similar, as more and more people become interested and see what benefits it can bring them.” R ea explains that in the past, the state never ear- marked a great deal of money for the Ministry of Culture because it regarded conservation as a sec- ondary priority. “The government never before saw the relationship between conservation and tourism,” she says. “But now it’s different. Now the Ministry functions as an office of culture and tourism.” Respect and cooperation, if not financial resources, have followed. Calling the public/private partnerships “essential in this period of economic trouble,” Rea agrees that Della Valle “is open- ing the door for other entrepreneurs to follow his lead to pre- serve the country’s heritage, and he is actively recruiting others to do the same. Many monuments, some very small, also need to be maintained and restored.” Noting that Italy’s new Minister of Culture Dario Franceschini is very open to sponsorships and the largesse of private actors, Rea is matter-of-fact about who ultimately runs the show: “Although Della Valle is signing the checks for the restoration,” she says, “the Ministry is deciding where the money goes, what work needs to be done, and where it needs to be done. Della Tod’s funding of the Colosseum restoration is part of a trend of luxury brands funding public works projects. Here are three others: Trevi Fountain Rome’s most beloved fountain turned 250 in 2012. Stone and stucco pieces of the facade of the fountain, made famous in Fellini’s classic 1960 film La Dolce Vita, fell off after being weakened by ice in 2012. Luxury fashion house Fendi announced in early 2013 that it would foot a full facelift, paying the $2.9 million needed for a complete restoration. Pyramid of Cestius Rome’s only ancient pyramid was finished around 12 BC as a tomb for Roman magistrate Caius Cestius—and is all but unknown to travel- ers. Over the years, the pyramid’s Carrara marble had turned a smoky black from city pollution, making it an eyesore. But Japanese tycoon Yuzo Yagi, president of the Yagi Tsusho Limited fashion company, donated $1.4 million for the restoration. Spanish Steps This sweeping 18th-century staircase is the centerpiece of Baroque Rome and the star of films including The Talented Mr. Ripley and Roman Holiday. It is fitting that the staircase would be restored by Bulgari—which opened a shop just down the street, on Via Sistina, in 1884. The cost is just over $2 million. — Amanda Ruggeri Valle will not have a role in the administra- tion of the Colosseum.” And, as Rea explains, the amount of donations such as Della Valle’s are hardly arbitrary: “The Ministry has a list of projects that need funding, of which the Colosseum is one. The Ministry identifies the cost to repair each site, and then opens the project up to potential sponsors. The figure of 25 million euros came from the Ministry.” The Colosseum, still so formidable, inspires wonder for so many reasons; the funding to restore it is undeniably sub- stantial, even unprecedented in its size, but one can’t help but get the feeling that strength finds strength. One example: The structure’s Roman-era concrete looks markedly similar to its modern equivalent, and a staffer who works with Rea points out that although some modern concrete buildings erode after 80 years, even when reinforced with steel, the Colosseum’s walls remain sturdy. In Paolo Sorrentino’s 2013 film La Grande Bellezza (The Great Beauty), which won this year’s Oscar for Best Foreign Language Film, the Colosseum is used as a symbol of the malaise and stag- nation that became synonymous with the era of former Prime Minister Silvio Berlusconi. The film’s protagonist, an aging novel ist, throws Fellini-esque parties on his improbably vast terrazzo overlooking the stadium, as the film reflects a pervasive sense of decay and decadence voiced by many real-life Italians about the state of their country. Rea has little use for the film—which she dismisses as “a dreamlike version of Rome and not at all an accurate depiction of life here”—and finds a sure sense of mis- sion in her work to halt the decay, as well as cause for optimism. “The work actually goes quite fast,” she says, speaking like someone who takes a long view of history. Compared to nearly two millennia of the Colosseum’s existence, three years isn’t much. “It’s a great honor for me, as I know that long after I have finished my work here—which will be something I will miss— the Colosseum will stand.” l “I know that long after I have finished my work here ... the colosseum will stand.” — Dr. Rossella Rea, Director of the Colosseum above: the government never before saw the relationship between conser- vation and tourism. But now it's different, says Dr. ROssella Rea, who is in charge of the restoration. ©tonygentile/reuters/corbis 82 Summer 2014 83 Summer 2014
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- 45. By Rebecca AntiocoPhotography by Tom Roche Chris Osburn Nat ural or man- made , something beautiful is always j ust ove r t he hor izon P u r s u i t s / L e av i n g L a s V e g a s 86 Summer 2014 87 Summer 2014
- 46. Las Vegas appearsas a soft glow on the horizon as you drive in from the outer dusty reaches of the Southwest. Suddenly, there it is. Las Vegas Boulevard, the city’s pulsing epicenter, emerges as a curious amal- gam of castles, replicated monuments, modern monoliths, a roller coaster and the world’s tallest Ferris wheel. It is an assault on the senses: the bright lights, the mega-buffets and fine dining, the pinging and bells of the slot machines. Gambling was legalized in Nevada in 1931, but the real tourist boom began when Bugsy Siegel built and started rolling the dice at the Flamingo in 1946. That the Flamingo still anchors the four- mile casino row known as the Strip is an anomaly in a city where newer is bet- ter, and places that were once the latest and greatest are imploded with startling regularitytomakeroomforthenextbest thing. Gone are the old haunts of Frank top: writer rebecca antioco asks who wouldn't want to be Me? as she takes to the road out of las vegas. bottom: The valley of fire state Park gets its name from the red sandstone. opposite page, top: The cadillac ATS feels at one with the arid desert road. opposite page, bottom: Bonnie Cazier and her art Studio. Sinatra and his Rat Pack, relics of a past that remain only in memory and lore. In their place are modern master- pieces like ARIA Resort Casino and Vdara Hotel Spa, and storefronts and dining establishments adorned with designer and brand names. After a day and night in the frenzy, I feel the need for a mental and spiritual recharge—a getaway from my vacation. In this pocket of the Southwest, the contrast between the natural and the man-made is far more stark than in most places. Urban glitz quickly gives way to natural wonder, and the 2014 Cadillac ATS Compact Sport Sedan is a vehicle especially suited to bridge both worlds. It’s at home in the sleek city and on the open, arid road. I plug my smart- phone into one of the USB ports1 in the center console and use the available touch-sensitive Cadillac User Experience (CUE)2 system to scroll through my music for the perfect soundtrack. With Valley of Fire State Park entered into the available voice- activated, built-in navigation system, the frenetic energy of Vegas fades into the rear view, giving way to small desert towns, then twisting mountain roads. Through the Bose® sound system, I choose some uplifting country music as the soundtrack to the trek I’m about to take and think: Who wouldn’t want to be me? 1. Not compatible with all devices. 2. Full functionality requires compatible Bluetooth® and smartphone. Some devices require USB connectivity. 88 Summer 2014 89 Summer 2014
- 47. The ATS feelsat one with these roads, sticking fast to the pave- ment (thanks to the available Magnetic Ride Control) as it snakes through the Valley of Fire State Park, one astounding view falling out of sight just as the next one, even more breathtaking, comes into view. The park gets its name from the red sandstone formed from the shifting of sand dunes more than 150 million years ago. The pres- ent landscape was created by years of complex faulting and erosion. Whereas in Las Vegas artifacts from 20 years ago are considered museum fodder, here rock art and petroglyphs left by the ancient people who have occupied the land can be found at several sites throughout the park. Though many hikes are available here, as are camping and picnicking, I am content to drive, stopping occasion- ally to drink in the views. The visitors’ center provides travelers with excellent information about the ecology, geology, history and activi- ties in the Valley of Fire. My ultimate destination is Amangiri, an exclusive desert hide- away tucked away on the Utah-Arizona border a few miles off High- way 89. After an impressively long stretch, both the ATS and I need some refueling. In St. George, Utah, where the Red Obsession ATS and I hole up, appropriately, at the stunningly situated Red Moun- tain Resort, I happen upon artist Bonnie Cazier and musician Lori Silcher enjoying lunch at Irmita’s Mexican restaurant. They are en route to Kayenta, Utah, a community just outside of town, built 30 years ago on the principles of sustainability and harmony with top: this unassuming spot in the middle of the desert is a place to rejuvenate the soul. above: taking in the sights. Right: At Red Mountain Inn, the stark beauty refreshes. opposite page: Outside Amangiri the scenery is awe-inspiring. 90 Summer 2014 91 Summer 2014
- 48. WHEN YOU GO Distance from LasVegas to Amangiri Resort, Utah: 265 miles Best Dining For authentic Mexican food in a casual atmosphere, stop at Irmita’s (irmitas.net) in St. George. Be sure to order a mulita—two corn tortillas stuffed with your choice of meat, plus cheese, guaca- mole and beans. best lodgings Red Mountain Resort (red- mountainresort. com) is ideally situated among red rock cliffs. For the ultimate desert escape Amangiri (amanresorts. com) has no peer. best scenic Valley of Fire State Park in Overton, Nev., and Snow Canyon State Park in Ivins, Utah. serenity, appreciating nature’s majesty and taking time to reflect on the joy of the open road. I hike through narrow passages, clamber to the tops of rocks, my heart beating a little faster as I gaze out over the edges of the canyon. From Snow Canyon, it’s three hours in the comfort of the ATS to the gate to Amangiri. Built like a sandstone for- tress, the architecture at Amangiri is stark, a minimalist design that empha- sizes the singular setting. Slats in the exterior walls frame the landscape and refer to the nearby slot canyons; a boul- der seems to have cut its way into the fabulous infinity pool. The view from my guest room is a vast expanse of untouched land, the only light at night emanating from the millions of stars that dot the sky, the only sound the whisper of the desert breezes. With the ATS as my carriage, music and nature my companions, I have traveled 240 miles and 180 degrees. I have drawn a red line in the red earth—from raucous Las Vegas to this soul-cleansing desert oasis, each as otherworldly a place as the other. nature. A self-described “western impressionist,” Cazier moved to the area after vacationing there for years. “I was an art director and just burned out,” she says. “I ended up moving here and buying the very same house that my friends owned when I first started coming to visit.” Now, she has studio space in the heart of the art village, and finds inspiration every day just looking out the window. Saved from becoming a mobile home park by founder Terry Mar- ten, Kayenta has only 450 homes, even though the land could hold up to 2,000. Terry’s son Matt marvels at what’s been created in this space. “The people who live here tend to be more spiritual, more in touch with the land,” he says. “The beauty of the nature that surrounds us and the inspiring landscape definitely attract artists of all kinds.” Duly inspired myself, I slip back behind the wheel of the ATS. Ensconced comfortably in the cockpit, I drive to the high point of Snow Canyon, park and walk along its rim. I’m enjoying the top: Amangiri is a perfect spot to focus on your place in the world. left: The ats gets some RR along the way. opposite page: Amangiri’s architecture nods to the desert’s slot canyons and stream beds. 92 Summer 2014 93 Summer 2014
- 49. Escaping the bustleof New York is easier than you might expect. You don’t need to drive far to find small hamlets replete with craft shops and farm stands. Ready to escape for a weekend, I pack an overnight bag and head out from Brooklyn. My first stop is the Greenpoint institution Peter Pan Donuts, a diner that counts a celebrity or two among its fans. After navigat- ing through the city, I cruise north past Yonkers along the Saw Mill River Parkway to Hastings-on-Hudson. Ever Rest, the carpenter-gothic home of Hudson River School painter Jasper Cropsey, provides a pit stop. Crossing the Hudson on the three-mile-long Tappan Zee Bridge, I continue upstate to Harriman State Park and then on to Bear Mountain State Park, where the SRX takes the winding, gently rising highway with aplomb, its 308-hp V6 engine swiftly accelerating for the climbs. Farther north, just outside Cornwall-on-Hudson, is one of the most stunning sculpture parks anywhere, the WHEN YOU GO Distance from New York to Phoenicia: 133 miles Best Lodgings The Mohonk Mountain House (mohonk.com) is a grand historic resort on more than 1,300 acres, with extensive gardens and trails. Best Dining Cucina (cucinawood- stock.com) serves Italian fare in a 19th-century house in Woodstock. Best Scenic The Storm King Art Center (stormking.org) includes more than 100 works by leading contemporary artists on landscaped grounds. State of Mind Just outside New York City, a green, mountainous landscape with an arty bent unfurls before the SRX // By John Newton Storm King Art Center. Five hundred acres of fields and roll- ing hills are dotted with works by such sculptors as Alexan- der Calder and Zhang Huan. Thirty miles later, I hit Mohonk Mountain House out- side the center of New Paltz. This grand historic resort has been owned and operated by the Smiley family since the late 19th century; it’s been kept in such great condition you can imagine how Victorian-era travelers spent their days. The next morning, I con- tinue to Woodstock. If you’ve been looking for crystals or Tibetan prayer flags, you’ve come to the right place. A friend with a summer home in Woodstock encourages me to “skip the quinoa burgers” and head instead to Cucina for their pasta and frittatas. A half-hour drive to the west, the town of Phoenicia is a good base for tubing and hik- ing. I stop for a catfish sand- wich at the Phoenicia Diner (as toothsome as I remember), and after I’m done, I admire my sleek crossover vehicle, tailored and elegant, standing out from the sylvan setting. The diner is owned by an exile from Brooklyn, and that’s enough to remind me that it’s time to pick up the thread of my life and take the SRX back to Greenpoint. Left: driving, especially in an srx, is the best way to see this area of New york. Below: kaaterskill falls thispage:StormKingArtCenter:JerryL.Thompson;waterfall:gettyimages/michaelhamrah; oppositepage:Eden:Rimrockresorthotel;EmeraldLakeLodge:courtesyemeraldlakelodge Above: The Escalade takes the curves in Canada's Rockies easily. Below left: The classic elegance of Emerald Lake Lodge overlooks the beauty of alpine lakes. In Calgary, cowboy hats are as common as daisies. It’s Canada’s Wild West, though: no shoot- outs, just excuse me’s. Tempted to stay in the dazzling springtime sun- shine, I find I’m more enticed by my horses—namely, the Escalade’s 420 horsepower of the 6.2L V8 engine. It’s time to live large. I’m headed along western Can- ada’s spine, Calgary to Banff to Jasper; this is a formi- dable drive, with formidable scenery. Along the way, I’ll experience perfect picnic weather and sit bundled up on top of millennia-old ice—the seasons seem to change with the road’s grade. I’m not far from the flats of Calgary when the horizon begins to smudge with height, the Canadian Rockies rising out of the plains. Soon they’re blocking the horizon, almost hiding the pass into Banff. Banff was founded because one guy liked the view. In 1888, William Van Horne built a hotel, hired artists to publicize it with posters, and the world stopped in, unable to believe mountains could be so jagged. If you time it right, a drive in an Escalade in Alberta, Canada, offers up all four seasons // By Edward Readicker-Henderson Living Large Best Lodgings Emerald Lake Lodge (crmr.com/emerald), set on 13 acres, has a classic mountain feel, featuring fieldstone fireplaces in chalet-style rooms with lake views. Best Scenic Two thousand feet above sea level, the Sunwapta Pass marks the bound- ary between Banff and Jasper National Parks. The area is blessed with endless mountain views. Best Dining Eden, at Banff’s Rimrock Resort Hotel (banffeden.com), has everything from a vegetarian tasting menu to wild boar, and the views can’t be beat. Reserva- tions required. Even now, newly minted artists “teach me to see the landscape,” says local painter John Webster. “I come around a corner and think, there’s that light.” Chas- ing the light, I hike to Bow Lake—like the famed Lake Louise, but without crowds. In the mirror of the water birds fly upside down, disappearing into the sun. Ahead lies the Icefields Parkway, a road that seems more special effect than landscape. I pull off to watch bighorn sheep grazing; I catch just a glimpse of a bear as he disappears into the thick forest. The road heads ever uphill, the vehicle never noticing the grade. I decide to trade comfort for a kind of mutant bus, taking the Columbia Icefield Gla- cier Adventure. Out on the glacier there’s nothing but hundreds of feet of freeze underneath. “Ice,” the woman next to me keeps saying. She takes a step, suspicious as a cat walking across a mirror. “Ice.” I nod to her in agreement. Minutes later, I’m happy to settle into the available Kona Brown leather inte- rior and fire up the seat warmer. WHEN YOU GO Distance from Calgary to Jasper: 262 miles P u r s u i t s / S tat e o f M i n d P u r s u i t s / L i v i n g L a r g e 94 Summer 2014 95 Summer 2014
- 50. It’s important tohave a vision in place so you have something to measure your achievements and prog- ress against. Design has the power to create that vision. We are out to prove that high-quality design can be done efficiently. From distributing free eyeglasses as part of our See Better to Learn Better project to handing out free computers for One Lap- top Per Child, our criterion for success is being able to move from an institutional look and an institutional feel to a personal look and a high-quality product. The opportunity to make positive change in people’s lives is enormous— if we talk about entrepreneurship in a business sense, these are billion-dollar markets. But at the same time, you shouldn’t design something that can be in the market; you should design some- thing that should be in people’s lives. Right now, we’re seeing an explosion of new products in the medical field that combine technology, experience and design. We recently did a concept with Time magazine on a diagnostic and treatment product that is worn around the neck or on the wrist. For example, users who are sensitive to pollution or pollen can measure environmental lev- els. It has similar uses for diabetes. There are tremendous opportunities for tech- nology and design to change a broken area like health care. On the furniture design front, we’re about to launch an office system with Herman Miller called Public. It allows you to meet with people easily, comfort- ably, in all different kinds of settings—at a desk, with a group. It’s micro-curation for people with different needs and pur- poses. Design and technology together can solve some problems that people were not even aware of, and these prod- ucts can contribute to people’s lives. designs on the future from his creations for Jawbone and Herman Miller to providing FREE laptops to kids, yves béhar has made design and citizenship one and the same // By Yves Béhar as told to Drew Limsky i n s p i r a t i o n s / P e r s p e c t i v e s 96 Summer 2014 Credit approval required. Terms and conditions apply. ♦Capital One, N.A. is the issuer of the BuyPower Card. General Motors (“GM”) is responsible for the operation and administration of the Earnings Program. The marks of General Motors, its divisions, slogans, emblems, vehicle model names, vehicle body designs and other marks appearing in this document are the trademarks and/or service marks of General Motors, its subsidiaries, affiliates or licensors. ©2014 General Motors LLC. Built by Now it's even easier to get into the Cadillac of your dreams. Every purchase gives you Earnings toward part or even all of an eligible, new Cadillac, Chevrolet, Buick or GMC vehicle. Every year, enjoy 5% Earnings on your first $5,000 in purchases and then unlimited 2% Earnings on purchases after that. Earnings don’t expire and there’s no limit on how much you can earn or redeem. Learn more at cadillacbuypowercard.com/owner. YOUR CARD IS THE KEYTM PRESENTING THE CADILLAC BUYPOWER CARD FROM CAPITAL ONE. ◆