3Code Spring 2013

EDITOR’S LETTER....4

LIBATION...........6

EPICURIA...........8

SOJOURN............10

CULTURATI..........13

FEATURE SPREAD..16

UNION STATION.....22

4 Code Spring 2013

Every artist has a tool, and behind every tool is a crafty hand. Code digs into these artist’s tool kits to get our hands dirty and document the craftmanship and in-spiration behind each featured artist’s work. CODE Magazine features work of artists from all different

mediums of art (graphic designers, street artists, fashion designers, letterpressers, screen printers, painters, wood workers and so on.) CODE focuses on the artist’s who add an original aspect to their piece of art whether it be using a form of hand craft, or outdated processes, CODE focuses on all artist’s personal touches on their work, and what has created the artist's work to be the original piece that it is. CODE has been created in hopes to inspire creative minds alike to add originality and their ultimate creativity to any aspect of art that they create.

-Kristen Baquerizo

Letter from theEDITOR

6 Code Spring 2013

DCODE

LIBATION

WaterAmericans now use 127 percent more water

than in the 50’s. Learn what you can do to

preserve your household water.

WASTEW DWHU�ÀRZV�LQGLIIHUHQWO\�HDVW�RU�

west says the Chinese philoso-

SKHU�0HQFLXV��,W�GRHV�QRW�ÀRZ�

indifferently up or down.In many arid parts of the world, but

especially the arid American West, Mencius’

axiom has a corollary. Indifferent or not,

ZDWHU�FDQ�EH�PDGH�WR�ÀRZ�XSKLOO�WRZDUG�

money. Money brough pharaonic civil-en-

gineering programs like the Central Arizona

Project and the All-American Canal to the

desert; money brought the water that made

boom towns of Phoenix and Las Vegas that

continue to grow today.

Water

8 Code Spring 2013

D EPICURIA

CODE

Nothing’s better than waking up to the scent of fresh-baked cinnamon rolls.These simple roll-forming techniques work for anything from apple and walnut rolls to classic pecan sticky buns. Learn how to roll and

bake these homemade cinnamon rolls to make them look and taste like they just came out fresh from a bakery oven.

4. Generously sprinkle cinnamon-sugar over the butter, spreading the mix-ture evenly across the whole sheet of

dough. Other spices, such as nutmeg and carda-mom, also work well.

5. $GG�DQ\�¿OOLQJV�\RX�PD\�GHVLUH�VXFK�DV�nuts, pecans, bananas, etc.

6. Start at the left-hand corner of the edge closest to you. Working from left to right, tug the lip of the dough

XS�DQG�RYHU�WKH�¿OOLQJ��NHHSLQJ�LW�WLJKW��5ROO�XS�WKH�dough, tightening the log as you go.

7. When you reach the far edge of the dough, moisten the bare edge with egg wash or water and pinch to seal

the seam. 8. Use a serrated knife, pastry cutter, or OHQJWK�RI�XQZD[HG�GHQWDO�ÀRVV�WR�FXW�WKH�GRXJK�LQWR�even-sized pieces. You might want to discard the very ends of the roll since they often contain little ¿OOLQJ�

9. Place the cut rolls on a greased or parchment-lined pan or cookie sheet. Cover the rolls with a damp cloth and

let them rise until they nearly double in size, about 45 minutes to an hour. The rolls can also be covered with plastic wrap and placed in the refrigerator.

10. When the rolls have doubled in size, bake them in the preheated 375 degrees F. After approxi-

mately 30 minutes, test for doneness. Cool the pan on a rack for about 10 minutes before glazing.

1. Prepare the yeast dough. Once the dough has risen, turn it out onto a OLJKWO\�ÀRXUHG�VXUIDFH��)ODWWHQ�WKH�

dough with the palms of your hands and gently stretch and/or roll it into a rectangle.

2. Use a rolling pin to roll the dough out into a larger rectangle, approxi-mately 12 inches wide by 20 inches

ORQJ��7KH�GRXJK�PLJKW�EH�VWLFN\��VR�ÀRXU�WKH�ZRUN�surface and the rolling pin, checking to be sure the dough isn’t stuck to the work surface and adding PRUH�ÀRXU�DV�QHFHVVDU\�

3. Spread the softened butter over the surface of the dough, leaving a 1-inch strip along the long edge of the rect-

angle furthest away from you completely dry.

10 Code Spring 2013

DCODE

SOJOURN

Olvera Street the vibrant internationally renowned Marketplace located in the El Pueblo De Los Angeles Historical Monu-PHQW�RQ�WKH�JHQHUDO�VLWH�RI�WKH�ELUWKSODFH�RI�WKH�FLW\�RI�/RV�$QJHOHV�RIIHUV�YLVLWRUV�VKRSSLQJ�DQG�GLQLQJ�H[SHULHQFHV�UHÀHFWLQJ�

Mexican and Latino culture and traditions. Exciting Fiestas and Celebrations are held through out the year.

The Oldest Street in Los Angeles��

13Code Spring 2013

DCODE

CULTURATI

T h e Str e e t

Art o f

LOS ANGE

LES

5ecently I decided to get lost in

Los Angeles and begin

to explore and search for the ever so great str

eet art

that surrounds our city. Some of these walls surrounding our

city today are decorated with some of the best street art in

the world.

I have wandered SoCal’s nooks, crannies, alleys, and bou-

levards to bring you some of the most vivid tagging around

town.

14 Code Spring 2013

bold choices

15Code Spring 2013

0 0 5Ultra Fine Fine

Fine FineBold

Fine Fine.25 MM Black .3O MM Black .35 MM Black

.4O MM Black .5O MM Black .6O MM Black

Brush Pen

.2O MM Black

Prisma

Sharpie

DecoArt

Ink B

rush

Mol

otow

0 1 0 2 0 3

0 5 0 8 1 b r u s h

bold choices

featured MICRON MARKERS

16 Code Spring 2013

Written by: Sam Slovick Photographed by: Motive Picture

17Code Spring 2013

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Arum volorectur ate volore-henia dero et optas earchitius.Odis net ulloriat etur sunt

porum apiet aspernatiati berem aliquae quos prenis nonserum nobit venissimus.Idit entias simporum sed qui

debit aut volore porupta santu.in percia expliquae et qui dolor simagnisci ut dolor se escimus. Et dellantota apiti si bla naljfal apiti si bla naljfal.Duci dolestio cullaborem arcius hlja ksljio-aljd.Odis net ulloriat etur sunt porum apiet aspernatiati berem aliquae quos prenis nonserum

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tem eatem qui to verferia sit et quatat ea et volupta tioreic temoditi occum utatis inctibus,

Lost Art Found:Aardvark LetterpressT h e O n e a n d O n l y L e t t e r p r e s s S t u d i o L e f t i n L o s A n g e l e s

18 Code Spring 2013

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vellorrunt ad ut laborum eum et untem int res explitem cons estibuaut omnis nonFugaam consedit estibus audit volupite pro consed min re nis molupic aborera nulpa con nobit ipsunt aut omnis non porpore exerum ulparch itatur?Sed earupta tquosan ditibus, RI¿FWDV�UHVW��TXH�QH�DOLTXRVDP�adit, veliquame ent essit opta-tum atum rerem si et occuptat.nis molupic aborera nulpa con nobit ipsunt aut omnis non

tassint ut fugitaquamus dere peris volorep erfero exerum ulparch itatur?Sed earupta tquosan ditibus, RI¿FWDV�UHVW��TXH�QH�DOLTXRVDP�adit, veliquame ent essit opta-tum atum rerem si et occuptat.8OOXSWDV�DOLTXR�HV�HW�RI¿FLLV�

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debis volorum eicium, utem facearcium hitation rem nos autaquas de vendem rest escius endionseque volupta tisiti-aerro que rem res audi volore elluptat ped mod et debite verferoviti beate perum faccus, etum ex. am nobitasin coreper rumquid ut assit quaspid en-dusci atibusda dolorem hitatem dolo tecersp ernatur reptur?Em aut eosant dolore,Fero

ipsam et deria comnien dipsam dolorum sime deliciliqui sunti

“The Aardvark Press is a remnant from a bygone era: the letter-pressprinting era. It's still operating at a level of mastery that you rarely see in a world of soulless computer-generated.” u

19Code Spring 2013

20 Code Spring 2013

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lupti isimolorit, nam audissunt et maio tempore ssimost iatiori busant ea dolupta tessentest hiciisq uatetum re pa culpari consecest, non pa doluptame conet ea si ut quae. Us nus do-lum sequi solore voloreria quid quisquam aut harcidel magnis adios a dolorat quatis in nus.

Ugia solum sumet ma ad que mod quos eum restium aut la dipisitem. Et dolorrumet ipiciet oditatecto quibus consedipic tet quiam con repelibus.Ecum num antem solore com-nis seribus del in pre quis ape-rias ma sollupta nimilib eatatur a vel ipsandion consed explita ad untest aut quid miliquodi sumquident occabores esto molorum ab im voluptatque comnimus expla nobisitibus, temped molorunt aut ped mos dolut veliquis ea pro esereriscias eaquo cumquae con explacipit, quatur aliande reperrumquo eles parumExpe et facepud ictur? Sequi

imolorere consequ idustrum istibero tem volupta coribusti te dolorem int labo. Nam la YROODWHVW��RI¿FLOOHVW�RG�PDJQD-tur ariberum harum fugia.

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Edit et molorup tatium fugitat uressequam int odiaten torep-tas aut hiti aut aut eum volest volupta natentur audanderum aut alis quia volori ut minum s di quossinctet moluptas parum nonse consedis re pa dest int que landunt.Tem eaturibusdae ium TXDWLXP�TXDW�RI¿F�WHFWLXP�quis peratemodis ea et hilitia ndeliquam es prationemo vo-lupta ium lame rest, cuptatio. Ipsa num autatus quodigenimi, sant.Sunt, quatiae volor accus iscide simi, iliquo iliquam re.

“Aardvark is a sanctuary; walking through the doors is time travel from another dimension where,

like the machinery here, life is considerably less complicated and the end product is quality and value.”

21Code Spring 2013

22 Code Spring 2013

“Part practical, pa

rt romantic, L

A’s grand Union S

tation continues

to serve a public

that travels old

school.”

“Part practical, pa

rt romantic, L

A’s grand Union S

tation continues

to serve a public

that travels old

school.”

23Code Spring 2013

“Part practical, pa

rt romantic, L

A’s grand Union S

tation continues

to serve a public

that travels old

school.”

“Part practical, pa

rt romantic, L

A’s grand Union S

tation continues

to serve a public

that travels old

school.”

24 Code Spring 2013

“los angeles’

union station

retains a

history that

rivals that of

the city whose

name it bears.”

$UWLFOH�E\�5DQGL�'XQEDU�����������������������������������������������������������3KRWRJUDSK\�E\�.ULVWHQ�%DTXHUL]R

25Code Spring 2013

Union Station is an example of 20th century Mission 5HYLYDO�DUFKLWHFWXUH�ZLWK�DUW�GHFR�

elements in its structure and design. It served as a train station. Union Station was built between 1934 and 1939 by the architects John Parkinson (1861 – 1935), Donald Parkinson, (1895 – 1945, J.H. Christie, H. H. L. Gilman DQG�5��-��:LUWK��)XUWKHU�LQIRUPDWLRQ�RQ�WKLV�DUW�GHFR�EXLOGLQJ�FDQ�EH�REWDLQHG�IURP�WKH�1DWLRQDO�5HJLVWHU�RI�

Historic Places.

Los Angeles’ Union Station (LAUS) retains a history that rivals that of the city whose name it bears. With its grand opening in May of 1939, LAUS, originally known as the “Los Angeles Union Passenger Terminal”,

was intended to serve as a consolidation of the two local railroad terminals and the railroads they had VHUYHG��6RXWKHUQ�3DFL¿F��8QLRQ�3DFL¿F�DQG�$WFKLVRQ��Topeka, and Santa Fe) with construction costs shared by these railroads. With Los Angeles in the midst of a population boom that began in the 1920s, the new sta-tion became a necessity. Shortly thereafter, World War II presented further opportunity for wide-scale use of the LAUS facilities for troop movement. As America’s defense industries increased accordingly with the needs of the military, so did job opportunities in the Los Angeles area. LAUS was also utilized as a major hub through which these defense workers arrived in California.The station that exists today was de- signed in part

by John Parkinson and Donald Parkinson, the famous father and son duo who founded The Parkin- son Firm of Los Angeles. Their com- bination of Spanish &RORQLDO��0LVVLRQ�5HYLYDO�DQG�$UW�'HFR�GHVLJQV�ZDV�used to accentuate Los Angeles’ personal history and heritage alongside its new- ly found modernity. The station itselfLV�D�UHÀHFWLRQ�RI�WKH�JUDQGHXU�WKDW�LV�/RV�$QJHOHV��In the waiting room, beautiful enclosed garden patios

and courtyards made the wait for a train quite pleas-ant. Travelers who strolled to their trains along the WHUUD�FRWWD�WLOHG�ÀRRUV�ZLWK�WKHLU�LQODLG�PDUEOH�VWULSV�would walk beside the extrava- gant interior walls that were designed with both travertine marble and early models of acoustical tiles. If passen- gers wish they can visit the famous Harvey House restaurant, located in the southern area of the main building. Designed by famous Southwestern architect Mary Coulter, the restaurant located at LAUS was the last of this line of restaurants to be constructed in a passenger terminal. There was an increasing dependency on airline travel in the decades following World War II, which result- ed in a decline in rail patronage in the 1950s and 60s. However, growing Amtrak and transit usage has led LAUS to be revitalized, allowingthe station to once again serve as a major transpor-

tation hub for people from all over America. This

26 Code Spring 2013

“The station itself

is a reflection of

the grandeur that

is Los Angeles.”

new- found viability was due in part to the efforts of the Catellus Development Corporation. Originally developed in 1984 DV�WKH�6DQWD�)H�3DFL¿F�5HDOW\�&RUSRUDWLRQ�and designed with the intent of handling all non-railroad real estate interests for the 6DQWD�)H�,QGXVWULHV�DQG�6RXWKHUQ�3DFL¿F�Company, the company became Catellus in 1990, the same year that it purchased LAUS. Catellus has em- barked on a ma-jor renovation project for LAUS.The tile and marble used on both the ZDOOV�DQG�ÀRRUV�ZLOO�XQGHUJR�H[WHQ�WR�quaturepro quam que corrumq uianden dendebita porem exero totatisit int quam, omnis magnatus quo estio. Nam hil iuntur re perit antur simust, sed qui ommolor sit quam hiciis quaspic te simus etus dolup ab

27Code Spring 2013

“Today, L.A.U.S is

considered a national

landmark, as well as

a historic Los Angeles

monument. Only serving

to highlight its popular-

ity, the station has been

a background for

numerous film and

television productions.”

In popular culture

The facility served as a backdrop for the �����¿OP�8QLRQ�6WDWLRQ�ZKLFK�VWDUUHG�William Holden and Nancy Olson. It has been used in many vintage PRWLRQ�SLFWXUHV��PDQ\�RI�WKH�¿OP�QRLU�variety. Movies that have featured Union Sta-WLRQ�DV�D�¿OPLQJ�ORFDWLRQ�LQFOXGH�

$UPRUHG�&DU�5REEHU\ Behave Yourself!����%ODGH�5XQQHU Blondie Plays Cupid Can’t Hardly Wait Collateral Criss Cross Cry Danger����7KH�&RPSDQ\�6KH�.HHSV Dead Men Don’t Wear Plaid Drag Me to Hell The Driver Gable and Lombard Highway 301 The Hustler The Island In the Mood The Italian Job To Live & Die in L.A.

new- found viability was due in part to the efforts of the Catellus Development Corporation. Originally developed in 1984 DV�WKH�6DQWD�)H�3DFL¿F�5HDOW\�&RUSRUDWLRQ�and designed with the intent of handling all non-railroad real estate interests for the 6DQWD�)H�,QGXVWULHV�DQG�6RXWKHUQ�3DFL¿F�Company, the company became Catellus in 1990, the same year that it purchased LAUS. Catellus has em- barked on a ma-jor renovation project for LAUS.The tile and marble used on both the ZDOOV�DQG�ÀRRUV�ZLOO�XQGHUJR�H[WHQ%XV�YR-lupta dolor senditi aepella borpor maximo ma saperis sinvere stecepe est liquidereris di apis dolupta es as maios dolo corror molo maio. Ebisto verum es rehendam, volupta volupta tiunditium explant quasper ferumet, tet ad quiam, tentem que nis et vendam aut qui od que verro cuptate perro to quaturepro quam que corrumq uianden dendebita porem exero totatisit int quam, omnis magnatus quo estio. Nam hil iuntur re perit antur simust, sed qui ommolor sit quam hiciis quaspic te simus etus dolup-idunt ut ommos cum sinusa velique num dolupta velluptatias as volenduciet omni aborum rations equati aut facid ut repedion rectet remqui dolorum et, odit quas nobit utemquuntiam ut rerum quia

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