Barton Myers: Works of Architecture and Urbanism
September 12–December 12, 2014
With works as varied as a Vidal Sassoon Salon from 1968, the U.S. Expo Pavilion in Seville, Spain in 1992, and his steel houses, this exhibit will present an overview of almost fifty years of architecture. Barton Myers first attracted attention in the late 1960s for his civic buildings and urban projects in Canada. He returned to the United States in 1984 to open a Los Angeles office and became known for his performing arts centers, campus buildings, and steel houses among many projects. 

The Barton Myers papers were donated to the Architecture and Design Collection of the AD&A Museum, UC Santa Barbara in 2000.  The archive covers Myers’s work from 1968 through 2002 and includes sketches and computer drawings, watercolors, images by well-known photographers, detailed study models and models of blocks-long sections of cities, as well as research notes, correspondence, lectures, and writings.

Archtoberfest San Diego 2014
October 1–30, 2014
Archtoberfest San Diego 2014 is a collaboratively-operated initiative aimed at establishing an annual, month-long program of public events and activities pertaining to architecture, design, planning and sustainability.

ACADIA 2014 Design Agency Conference
October 23–24, 2014
DESIGN AGENCY will bring together the spectrum of research and creative practice currently occurring within the ACADIA community through the combined support of the research networks of the University of Southern California, University of California Los Angeles and Southern California Institute of Architecture. Questions the capacity for computation to inform or challenge traditional design processes; computation as design operation - the capacity, condition, or state of acting or of exerting power, and/or computation as design instrumentality - the design mechanism through which power is exerted or an end is achieved.

ASLA SoCal Chapter Quality of Life Design Awards
October 23, 2014
The Southern California chapter of the American Society of Landscape Architects holds its biennial awards, honoring excellence in designs originating in one of the nation's largest chapters and executed across the globe. 77 Projects were submitted and over 40 were awarded by our esteemed jurors in the categories of Design, Planning and Analysis, Communication, Student, and Concepts, Ideas and Theories.

2014 Design Awards Gala
October 29, 2014
The 2014 AIA|LA Design Awards location and date has been set for this year. We are excited to host you at the Heart of Downtown Los Angeles with the ceremony at the Million Dollar Theater and the reception at Grand Central Market. Join us at this amazing and historic venue to honor our winners and honorees.

LA Conservancy Presents "We Heart Garden Apartments!”
November 1, 2014

Imagine living in a garden oasis in the middle of America’s second-largest city. Thousands of people do, and it’s a unique and endangered way of life in development-prone L.A. Here’s a chance to see what life is like in historic garden apartments, “villages in the city” that could never be built today.

New Urbanism Film Festival
November 6–9, 2014
The primary goal of the New Urbanism Film Festival is to renew the dialogue about urban planning with a broader audience. The Festival brings in movies, short films, speakers, on the topics of architecture, public health, bicycle advocacy, urban design, public transit, inner-city gardens, to name a few.

de LaB's Making LA Conference

November 7, 2014
During the conference, we'll be exploring the themes of Water, Transportation, Density and Community. Our hope is to hear from a diverse range of practitioners, city officials, makers and artists who are deeply involved in/committed to these themes. We're looking to include conversations, videos, slideshows and presentations about projects that are currently in development and recently completed that are promising to shape the future of Los Angeles. Our goal is to showcase ideas, visions, projects and more that explore how Los Angeles can make huge strides in terms of water conservation, transit richness, urban density and important community initiatives. Current confirmed speakers for the water section include: Deborah Weintraub, Deborah Deets, Carol Armstrong, Omar Brownson, WeTap, among others. Other conference speakers include Moby, Mayor Aja Brown, and representative from Side Streets Projects and Resilient Cities, among many others.

USGBC-Los Angeles’10th Annual Green Gala

November 13, 2014
The Los Angeles Chapter of the nonprofit U.S. Green Building Council (USGBC-LA) will host the Chapter’s 10th Annual Green Gala on Thursday, November 13, 2014, from 6:30 – 10:30pm at the Avalon Hollywood in Los Angeles, CA. The Green Gala is recognized as the single largest annual vehicle for communication, celebration and bridge-building among those who think, act, design and build greener throughout the County of Los Angeles and its metropolitan areas.

DIEM: Design Intersects Everything Made

November 14, 2014

West Hollywood Design District presents the 3rd annual DIEM: Design Intersects Everything Made, a one-day design symposium that offers culturally resonating discussions, panels and keynotes from leaders in the fields of design, decorative arts, fashion, architecture and fine arts.

The West Hollywood Design District Presents Decades of Design 1948–2014
November 19, 2014–February 2015
The first-ever retrospective exhibition uncovering, examining and celebrating six decades of rich design history in West Hollywood. The curated ­­gallery will showcase design pioneers and present tastemakers through bold graphics, photographs and original product.

Innovation and Design Excellence in Healthcare Facilities Design: Today and Tomorrow
November 21, 2014
Hosted by AIA Los Angeles and AIA San Francisco, Future Care: Design for Health is a one-day healthcare symposium featuring the top minds in healthcare planning, design and construction. Speakers will address the rapidly changing healthcare environment and how these changes impact what healthcare providers need from the design and construction community.






Registration Opens: October 1
Breaking New Ground
The California Endowment

Deadline: October 31

Show Us Your Baldwin

Deadlne: November 30
Sir Geoffrey Jellicoe Award
International Federation of Landscape Architects (IFLA)

Deadline: December 8

2015 Diversity Scholarship

Deadline: December 31
Kitchen Design Contest
Wolf and Sub-Zero 

FORM Event Images

Industry Partners




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Wayback Wednesday: The Mayne Idea

Architect Thom Mayne's career spans over 40 years, and FORM had the distinct pleasure of interviewing the man behind iconic projects such as the one at the Cooper Union in Manhattan. Image via Wikipedia.

Over FORM's 15-year history, we've had the privelege and honor of speaking to some of the most compelling and accomplished architects and designers working. For this month's installment of our Wayback Wednesday series, which highlights some of our favorite articles from the last decade and a half, we're delighted to share an interview our publisher, Ann Gray, FAIA, conducted with Thom Mayne. As we pointed out in the original feeature, which appeared in our January/February 2011 issue, "Thom Mayne is producing work that is more relevant than ever." We're thrilled to be able to share what makes him tick.

Do you have an overarching source of inspiration or does each project have its own inspiration?

I think inspiration starts with some sort of a desire to change things. My sense is it’s in your DNA. Certain people look at the world and are more or less in agreement with the way things are. other people look at the world and say, “I see problems.” That sets up desires, and all action begins with desire. I can remember being an architecture student when somewhere it became understood that my role was to define my generation and somehow advance things.

So you actually perceived a generational shift with your schooling?

Oh, huge! It was the ‘60s. A series of things were happening that were just amazingly powerful. I was in the Vietnam generation. Civil rights, Kennedy—it was a time of huge optimism in terms of the potential of change, which came from inspiration. You can still listen to Martin Luther King’s famous speech and have it bring tears to your eyes. Within architecture itself there was an exhausting of the modern project, so there was already a discussion of what was going to take place next. Outside of architecture, there was film. I grew up with Truffaut and Fellini and Godard, an amazing group, which probably had as much affect on me as stuff within the discipline.

So an overarching social component inspired creativity?

The world was changing and we, the public, could make that change. And we, the students at the university, could affect that. But going back to inspiration, I think it comes from observing the world. It becomes the material of your ideas.

So it’s assimilating the input, be it creative or experiential.

Architecture is so broad; it deals with everything. So it could be reading Seeing is Forgetting, by Robert Irwin. It could come from the art world itself. It could be through observation of a particular work, like Heizer’s Double Negative, or visiting a work that completely alters the way you think you know architecture. It’s your visual literacy.

Over time, you’re assimilating things that you might have experienced not just last week but also 30 years ago. Have you seen a change in your inspiration over time?

The time framework is quite complicated. It doesn’t quite matter if it was seen an instant ago or twenty years ago. Ideas, the gestation, take many, many years, sometimes decades. You also accumulate baggage, and I think that’s a problem. As you get older, you yourself produce work and that work becomes a source for future work. It’s a problem because now your own experience, your own knowledge base, is potentially hazardous territory, and it’s going to drag you down. It’s going to impede the type of creativity that looks at something from a much more naïve position where anything is possible.

Is the baggage a tendency to repeat something that worked before? Or is it a tendency to work toward expectations that have been laid down over the years?

Both. We’re all habitual creatures. You become comfortable with certain things. It comes out of a success that you’ve been rewarded for being successful in certain aspects of your work. It’s definitely something to be cautious about.

You have to remember that what got you to that level of success is not necessarily the buildings, but the way you approached every single project.

Exactly. In professional terms, inspiration connected to a particular endeavor—architecture— requires an understanding of an operational strategy. Meaning you understand the nature of your own creations and the procedures that got you there.

How do you keep your approach fresh now?

I’ve got some paintings that I started doing after fifteen years of producing architectureand kind of stopping the “secondary” stuff. It’s absolutely about wanting to rethink and rechallenge basic principals of what I’m involved in.

Is painting something you’ve just taken up?

Up until about 1995 I’d always produced a lot of drawings, artifacts, objects, furniture, etc. As I got really busy in the mid-‘90s I kind of stopped doing that. Architecture is so pragmatic, and you get involved with all of the day-to-day. I thought it was time to start freeing myself from the constraints and start looking at the conceptual directions. What was I doing twenty years ago that was useful? That was it. It was incredibly important, and it actually defined the office. The studio was known as a place that dealt in ideas and wasn’t limited by the huge contingent factor of architecture.

Frequently, architects like to draw for fun, but even their non-architectural drawings become very literally translated into their architectural work. What conceptual level are you operating on?

I’m interested in organizational structure, which is leading to ideas that will definitely have to do with architecture, but not in any literal way. If you look at them, they are not architectural works. They’re within the realm of sculpture, painting, whatever you want to call them. For me, it’d have to operate on an abstract level if I’m doing them for myself.

And I’m not doing them for anyone else. I’m doing them because it gives me a huge release. As the projects get larger they get much more cumbersome, and much more difficult in every sense, certainly emotionally. These allow me a bit of freedom.

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