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MICHIGAN MODERN: Design That Shaped America 
June 13–16, 2013 
The state's historic preservation office brings together a range of professionals for an in-depth look at Michigan's role in developing American Modernism. 

Sugar Rush Los Angeles 
June 14, 2013 
An event benefitting Spark, a non-profit providing mentorship opportunities for students. The AIA|LA, a partner, will be honored.  

AIA Convention 2013
June 20–22, 2013
Head to Denver for The American Institute of Architects annual convention. Speakers include Gen. Colin R. Powell.

Dwell on Design 
June 21–23, 2013 
America's largest Modern design event comes to the LA Convention Center for a weekend of exhibits, panels and more. 

Monterey Design Conference 
September 27–29, 2013 
Kengo Kuma, Hon. FAIA, of Japan, Marcio Kogan, Hon. FAIA, of Brazil, and Odile Decq, of France, join an outstanding group of North American designers for one of the premier retreats for architects.

westedge 
October 3–6, 2013 
The inaugural design event, to be held at Santa Monica's Barker Hangar, will feature over 200 exhibitors along with expert panels and speakers. 

AIAS Forum 2012
December 29, 2013 
The annual meeting of the American Institute of Architecture Students and the global gathering of the architecture and design students.

 

Competitions 

Deadline: May 24
IMPACT NY 
IIDA NY with designNYC 

Deadline: May 29 
2013 AIA|LA Design Awards Program
AIA|LA

Deadline: June 1
California Preservation Design Awards
California Preservation Foundation

Deadline: July 29
World Design Impact Prize 2013–2014 
ICSID 

Deadline: December 31
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Entries in Ken Price (1)

Wednesday
Nov282012

Articulating Museum Spaces 

Every picture benefits from a good frame, and that principle also applies to museum installations. Three current exhibitions in LACMA’s Resnick Gallery reveal the sweep of Renzo Piano’s skylit expanse while enhancing the special qualities of old master paintings, minimalist sculpture, and colorful ceramics. The square space, walled in glass and white plaster, has been divided into three long rectangles. To the west, Frederick Fisher and Partners have inserted L-plan dividers, stippled in yellow ochre, to create semi-enclosed galleries for the display of gold-framed paintings by Caravaggio and his contemporaries. Benches of stacked felt punctuate the sequence and encourage visitors to linger and soak up the spirit of these theatrical canvases.  A central axis extends from a ghostly image of Caravaggio at the entry to Michael Heizer’s Levitated Mass beyond the glass wall at the far end, as though the artist were gazing out at this natural form.
Turn the corner and you find the entire central space is occupied by Water de Maria’s The 2000 Sculpture, a seried array of faceted white blocks arranged in a herringbone pattern. The repeated zig-zag rows extend back to the entry façade and a framed view of BCAM’s red steel staircase. The east side is devoted to a retrospective of the late Ken Price, a virtuoso ceramicist whose work ranges from whimsical tea cups to massive coiled forms in a dazzling palette of soft and vibrant colors. Frank Gehry loves Price’s work and has set it off within a sequence of rotated white cubes that rise to the ceiling and are cut away to frame and enclose key exhibits. Projecting hoods conceal down lighting and extend the cubes into the central axis, mirroring Fisher’s looser enclosures. Most visitors will focus on the artworks, as they should, for these structures are not meant to draw attention to themselves. Architects will appreciate the spatial contrast between the open volume at the center and the articulation of those to either side, and the way these scaling devices intensify your experience of the art.