Three decades ago, Nathan Marsak arrived in Los Angeles with dreams of immersing himself in the city’s rich historical tapestry. His quest began with a 1949 Packard, a vehicle more suited for old-time gangsters than an architectural historian from Wisconsin. But for Marsak, the car epitomized the ‘L.A. noir life’ he longed to experience.
‘Ichose this Packard because I wanted to search for the world of James M. Cain and Raymond Chandler,’ Marsak explains. ‘I drove it around, looking for signs of the old, decrepit, dissolute Los Angeles, and I found it in spades. I had lots of adventures.’
Marsak’s fondness for vintage aesthetics is evident in his choice of attire and the retro home he shares with his family in Highland Park. Even though he possesses modern technology like an iPhone and a microwave—of which the design had to be retro—his heart lies in the past.
This passion extends to the work of Arnold Hylen, a Swedish émigré who captured mid-20th century photos of Los Angeles. Recently, Angel City Press reissued Hylen’s book ‘Los Angeles Before the Freeways 1850-1950: Images of an Era,’ featuring additional text and photos curated by Marsak himself.
The new edition offers more than just a restoration; it showcases an expanded collection of Hylen’s work accompanied by insightful notes and fresh layouts, highlighting a city that risked losing its identity to modernization. While many criticize Los Angeles for its cultural erasure, Marsak sees both fairness and unfairness in those critiques.
‘It’s deserved, and it’s undeserved,’ he states. ‘Having traveled extensively, I find it unfair to target Los Angeles alone. The city has endured significant losses of distinctive architecture that remain vivid in people’s memories. Hylen was aware of these losses, which fueled his obsession with documenting the old city.’
Hylen led a quiet life as a bachelor and likely never anticipated that his photos would join the ranks of esteemed L.A. photographers like William Reagh and Leonard Nadel. Born in 1908, he moved to California with his family in 1917, eventually studying art at the Chouinard Art Institute. His professional career began during World War II, where he worked as a photographer for Fluor Corp., an engineering firm in the oil and gas sector.
While capturing images of refineries, his attention shifted to the city surrounding him. Marsak describes Hylen’s daily routine of taking long walks with his camera, specifically in the vanishing downtown area, particularly Bunker Hill.
Marsak believes Hylen recognized the value of his work both for himself and for future generations. However, he reflects, ‘I don’t think he knew what to do with the photos.’
That’s where Glen Dawson enters the picture. A prominent figure in L.A.’s literary scene, Dawson published two collections of Hylen’s photographs through his small press. Marsak discovered these seminal works thanks to an enthusiastic local he met in a dive bar, eventually locating ‘Bunker Hill: A Los Angeles Landmark’ (1976) and ‘Los Angeles Before the Freeways,’ which was published shortly before Hylen’s passing in 1987.
After years of persistence, Marsak acquired the rights to republish Hylen’s work—he even sold his beloved Packard to do so. This dedication culminated in ‘Los Angeles Before the Freeways,’ an absorbing compilation of black-and-white images showcasing a city where historic adobe buildings are nestled between Italianate structures, and old homes cling to steep hillsides.
The new edition boasts 143 images after Marsak sifted through Hylen’s negatives; the original book contained only 116 photos. He also chose to feature Hylen’s uncropped photographs, allowing for a richer visual experience.
Accompanying the photographs is Hylen’s original essay, functioning as a voice-over that narratively guides readers through the collection. Marsak’s introductory essay and extensive footnotes add depth and context, correcting some inaccuracies found in Hylen’s original writing.
Hylen positions architecture as a voice in his photography, capturing iconic examples of Los Angeles’s architectural diversity—from Romanesque embellishments on the Stimson Block to the Queen Anne design of the Melrose home on Bunker Hill.
One of Hylen’s more evocative shots features the Paris Inn on East Market Street, an image that simultaneously captures the quaint charm of the inn and the looming shadow of City Hall in the distance, symbolizing L.A.’s transformation. These photographs tell the story of a vanishing history, revealing both the beauty and the fleeting nature of the city’s evolving landscape.
Marsak’s efforts extend beyond reissuing Hylen’s work; he dedicates time to researching Los Angeles history, giving lectures, operating Angels Flight, and collaborating with local preservationist organizations. His hope is that this collection will foster a greater appreciation for the architectural legacy of Los Angeles among its residents.
‘Once something is gone, it’s gone for good,’ Marsak expresses, noting that 98% of the structures captured in Hylen’s work have already disappeared. ‘I aim to ignite a preservationist spark in at least one person with this book. If it inspires Angelenos to think more about their neighborhoods, then all this hard work will have been worth it. I believe Hylen would appreciate that.’
image source from：https://www.latimes.com/entertainment-arts/books/story/2025-06-03/los-angeles-before-the-freeways-nathan-marsak-photos-architecture
