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.

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.

Heath Ceramics Annual Sale
November 21–25, 2014
Heath's annual sale at their locations in Los Angeles, San Francisco and Sausalito offer deals on merchandise along with special presentations.

FOG Design + Art Fair
January 15–18, 2015
Benefiting the San Francisco Museum of Modern Art (SFMOMA), FOG Design+Art is a four-day celebration and exploration of modern and contemporary design, architecture, and art with dynamic exhibits, custom installations, art galleries, lectures, and discussions with leaders in the art and design worlds.




Registration Opens: October 1
Breaking New Ground
The California Endowment

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

Deadline: December 8

2015 Diversity Scholarship

Deadline: December 15
2015 Preservation Awards
Santa Monica Conservancy 

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

Deadline: January 16
Ceramics of Italy Tile Competition 2015
Ceramics of Italy 

Deadline: February 23
I Like Design
Interiors & Sources 

FORM Event Images

Industry Partners






Entries in Los Angeles (38)


Wayback Wednesday: The Evolution of Place: LA

Elleven, part of the South Collection from the South Group, marked one of the first residential high rises to be built in Downtown LA since the 1970s. Image courtesy The South Group.Over the last few months, we've been featuring some favorite articles from our past issues to celebrate our 15th year. Today, we bring you a feature from our May/June 2007, one of the first to be available in print and online. The territory covered is one we're passionate about here at FORM—the evolution of Los Angeles. Written now over seven years ago, we hope it gives you a chance to think back and forward about our dynamic city. 

By John Southern

Step out of your car on a typical residential street in the San Fernando Valley or West Los Angeles, and all you may hear is the far off hum of traffic doing its mechanical Foxtrot on one of the region’s many freeways. The density is remarkably horizontal in nature; there is little evidence that you are in a metropolitan area of more than 13 million people. Fly into Los Angeles, however, and you get an entirely different picture. The Los Angeles metropolitan region stretches out before your eyes, seemingly infinite in its scope—an almost unfathomable conglomeration of freeways and streets, industrial districts, parks, downtowns, and residential neighborhoods. Hundreds of cities form an urban patchwork of hyper-development that only in recent years has begun to show signs of slowing its outward march into the surrounding desert.

Because the city has traditionally eschewed verticality in favor of flatness, Los Angeles is poised to evolve into a vibrant hybrid of hyper-stratified urbanity and suburban expansiveness in the twenty-first century as it introduces denser (and it is assumed more vertical) housing conditions atop the lower density of the suburban strip. This hybrid has the potential to redefine the way we understand both urban and suburban domestic environments, as these two housing typologies collide to produce a context that questions the very definition of what a city can be.


In recent years, both planning and development circles alike have been touting the flurry of speculative activity that has been unfolding in Los Angeles’s long-neglected Downtown. To think that L.A. could evolve into a traditional centrally focused city like Manhattan or Chicago, simply growing upward rather than outward, would be naïve at best. For unlike those carefully controlled visions of urbanity, which are about a type of developmental “smoothing,” Los Angeles has always expanded through a kind of “friction” caused by the collision of its domestic desires with its infrastructural needs. It is what built the L.A. Aqueduct, the freeways, and the seemingly endless grid of suburbia that has defined Southern California domestic life for the past 60 years. Now faced with a shortage of land and affordable housing, and an economically maturing immigrant population, Los Angeles developers have begun the process of re-examining the region’s traditional housing typologies in order to continue the speculative development that has made L.A. one of the most populous in the world. 

To witness the emergent trends in housing in Los Angeles, you must travel to the region’s original center—Downtown L.A., which is clandestinely different than the rest of the city in that its high-rise Central Business District and historic mercantile architecture are an anomaly in the notoriously horizontal city with an aversion to preservation. Though Downtown’s centrality has come into question over the years (for how can a center exist in a city as large as Los Angeles?), it has been loyally touted by politicians and boosters such as philanthropist Eli Broad as the “true heart of Los Angeles.” Enigmatic prophecies aside, Downtown L.A. is projected to add a staggering 40,000 new residents over the next two years.

One of the primary indicators of Downtown’s potential to stand as a model for the rest of the region is its connectivity with regards to infrastructure. Downtown Los Angeles has no less than six rail lines connecting it with the rest of the larger metropolitan region, and gaps in the rail system are filled by the Metropolitan Transportation Authority’s enormous bus network. Furthermore, four of the area’s major freeways intersect here. This cross-hatch of infrastructure has attracted developers who have focused over the past five years on adaptive reuse, turning old commercial buildings into lofts. More recently, however, new projects have appeared that signal an interest in higher density, and even vertical, housing typologies.


Downtown’s South Park neighborhood has seen the majority of activity over the past few years. Home to Staples Center, the Los Angeles Convention Center and the emerging L.A. Live retail and residential complex, South Park illustrates how Los Angeles can develop over the coming decades as it adds clusters of verticality and transit-oriented density to its already diverse urban fabric. One development group in particular has introduced projects that shy away from the six-story live/work typology and adapted manufacturing building prototypes. These new projects are of a vertical nature and contain urban elements that are perceived by the development industry as critical to the making of a thriving neighborhood— eating and shopping. The South Group, a partnership of Portland-based Gerding/Edlen and Williams & Dame Development, has designed and constructed several high visibility projects, which are among the first residential high rises developed in downtown since the 1970s. Elleven (2006), Luma (2007), Evo (2008) and Jardin (2009) serve as the residential anchor points for the Downtown neighborhood.

According to Tom Cody, a principal of The South Group, in Los Angeles one must “grow an urban housing market in order to grow a neighborhood,” and the South Group strategy seems to incorporate the typical methods for growing a residential neighborhood where there was none before it. Where The South Group’s projects diverge from the traditional New Urbanist strategies for “smart growth” is their scale. All four projects go beyond the six-story mark—a height that is more traditional here for condo development. Each tower is jammed with well over 200 units a piece, and cumulatively will introduce more than 2000 new residents to the area. Not only does this mark a turning point in L.A.’s history with regards to density, but the projects certainly introduce the city to a more marketable version of verticality that goes beyond the ostentatious, car-oriented luxury high-rises found in Westside neighborhoods, such as Marina Del Rey and Century City.

Scott Johnson, FAIA, of Johnson Fain, agrees with much of what Cody and other developers have to say about the Downtown scene. Though it is not unique when compared with other transit corridors in the city, the area is serving as a domestic laboratory for other parts of L.A. in the sense that its unique lack of existing residential development allows the projects constructed there to inform future domestic environments elsewhere.

However, it is not really about the design of the units themselves, but of the complexes as a whole, which are geared toward a younger demographic, one that is single, moneyed, highly cosmopolitan and interested in social interaction. “Frankly, the verdict is out as to whether one day all demographic groups will live in the same areas interchangeably [in Los Angeles] because we will have achieved saturation and higher densities,” says Johnson. “If you take older American cities like New York or Boston, while there is much overlap, there are still identifiable markets with their own resident characteristics within each city. Think Madison and Fifth Avenues, Westside, Chelsea, Greenwich Village and TriBeCa. All these neighborhoods tend to attract certain residents who appreciate their unique qualities.”

Johnson compares his firm’s recent projects in Downtown with similar high-density projects it is doing in Century City. In Downtown he says the units tend to be more oriented to an urban lifestyle that translates the activity of the city streets inward, rather than providing the overtly privatized environment that a client might seek in Century City, where Johnson Fain has designed an experience called Constellation Park that is in many ways no different than the exclusive homes of neighboring Brentwood and Beverly Hills. While the Westside project is indicative of high-density, it is setback from the street, and provides amenities, such as direct elevator service from the parking garage (the car being one of the only ways to approach the project) and a concierge. More importantly, in keeping with the local residential fabric of the Westside, the tower is set in typical Modernist fashion upon a landscaped pad that responds to the lack of a pedestrian environment in the area.

Projects like MetLofts, done by Johnson Fain with Forest City Residential West, however, are an example of an architecture that is shaped for the opposite group—the young, professional urbanite. The Downtown development is heavy on common social spaces, and light on the notion of exclusivity. Though security and convenience are stressed, they are designed into the project as discrete components that behave more like filters, rather than obstacles to the urban world beyond. The street façade of MetLofts is like others in the neighborhood—porous, appropriately scaled and designed to foster an active streetscape. Whether urban life can take hold in this context, however, is up to the newly arrived residents who will live, work and play in Downtown Los Angeles.


According to a recent study done by the Downtown Center Business Improvement District, the demographic choosing to live there is white, highly educated and occupies senior-level positions in the culture and finance fields. With enough money to afford to live most anywhere in the city, these people select Downtown because of the “urban vibe” and high concentration of entertainment, cultural venues and other services. Whether comprised of “outsiders,” who have not yet been seduced by the aphrodisiac of what early Angelenos referred to as the “garden city,” and do not want or need a lawn or detached single-family home, or simply a new breed of locals, these residents will reshape Los Angeles and transform it into a

new hybrid city of the twenty-first century—one that contains older suburbs with a discrete high-density overlay, all connected by webs of mass-transit and the freeway system. This new population is interested in a high-density lifestyle not defined by the car (though they likely own one) and the principles inherent in urban living. It does not concern itself simply with living in the city in opposition to the suburbs, but with cosmopolitanism—the catalyst necessary for metropolitan life to exist in the first place.

But how to plan for a domestic population that has not yet hatched and integrate it with the existing population? Tom Cody suggests it is about arriving at formulas that produce “quality urban environments,” a comment that sounds vaguely Modernist in its tones. The idea of quality urban environments does not allow for the important discussion in regards to social planning, a notion that has been at the heart of the Downtown housing debate. Though the topic of affordable housing was discussed, without subsidies it was suggested that it remains a long shot, stymied by banks and outdated planning codes. If this is the case, then the waves of the new Downtown demographic will certainly always be middle to upper income. A cynic

might suggest that L.A. has the potential to become Ridley Scott’s Bladerunner after all, with the creative class buoyed above the streets by their education and position in the information economy, while the working poor of the service sector remain trapped in the smoggy under layer. 

A more optimistic look sees residents crafting the Los Angeles of the twenty-first century into a city that will be drastically different than in the past. The resulting hybrid—horizontality mixed with patches of a transit-oriented, high-density, vertical architecture—will slowly reshape the way the city is envisioned, not only by its inhabitants, but by the world as well. For this to happen, however, revisions must be made to planning codes; infrastructure must be updated to balance a more mass transit focused population with the existing automobile-focused Angeleno; and, finally, the development community must take a high moral responsibility for their role in reshaping the city by introducing a denser, more vertical style of mixed-use architecture.

This is already happening in Downtown and other parts of the city that are ready to receive it. Whether it will occur throughout the L.A. region remains to be seen. However, you can be certain that future rhetoric will focus on “housing” rather than “houses.”lower density of the suburban strip. This hybrid has the potential to redefine the way we understand both urban and suburban domestic environments, as these two housing typologies collide to produce a context that questions the very definition of what a city can be.


FORM Focus: SCAPE Comes to Los Angeles

Italian architecture firm recently opened an American location in Culver City, brining with them a warm, contemporary, thoroughly Italian aesthetic, as found in a design for a villa in Lugano. Image courtesy Scape.

With offices in Rome and Paris, SCAPE has established well-known profile throughout Europe since its founding in 2004. Recently, the architecture firm, known for its facilty on a range of projects, opened its first American outpost—in Culver City. Intrigued, we reached out to one of the firm's four co-founders, Paolo Mezzalana, to find out what prompted to move into the Los Angeles market. He shares the impulse behind it with us and fills us in on his thoughts on our architectural past, present and future.

Why did your firm choose to expand to Los Angeles?

LA has been in our hearts since 2009, when we worked on an incredible project Downtown (never completed). The singer, producer, actor, director and model Vincent Gallo asked us to do a design for his house and recording studio. The project lasted approximately one year, and we worked together with for a concept inspired by Italian design of the Seventies. It was a dream and as it often happens the dream didn't came true. But the love for Los Angeles became real and never passed. From a professional point of view we think that LA has a lot of potential for our work and our way of thinking about architecture. 

What is appealing about Los Angeles’s architectural culture?

It's may be not easy to understand, but for a European, Italian, Roman architect, Los Angeles is synonymous with freedom. What I want to say is that we are used to think, work, in a "milieu" that has a very old background of cultural rules. And sometimes these rules become unacceptable! Personally, every time that I'm in Los Angeles I feel free. The architectural culture of LA is open to new ideas, new experiences—the city doesn't judge you at all times. And you can feel it when you drive through the hills. You can admire a mix of styles that in Europe is not even thinkable. But this crazy  mix in some ways is in equilibrium (well, not always!). What keeps everything together is, first of all, nature. The relation between nature and urbanism in LA is so strong. The second binder is the infrastructures.

Finally what we really envy is your space. In Italy, we don't have any more space.

What will your firm contribute to our architectural culture?

We are Italians and we have a plus: We are used to studying and understanding the context. That means that we know how to make projects in harmony with the surroundings and the city. Then of course we have the Italian touch!

What sorts of projects will you be focusing on here in LA?

Architects are of course open to everything and our cv is a mix of very different programs and very different scales. (That's the concept of our name SCAPE: It's a suffix that doesn't exist alone. We chose it  to express that we work at different scales, from city-SCAPE to land-SCAPE). But in Los Angeles we are most of all interested in private houses, retail, renovation. 

What types of opportunities does working in LA bring?

The cultural scene of the city changed a lot in the last years. Los Angeles is the right place to meet interesting people that have something to say and to start new projects.

Finally, and most importantly, what do you think of the food scene here in Los Angeles?

I think that the food culture in LA is a mirror of what I said fabout the architectural culture. Los Angeles accepted all kind of influences from Europe,  sia, South America. At the beginning it was confused but now the food experience became very sophisticated. A few of the Italian restaurants in LA have a very high level

Having said that, to make me happy, bring me to Father's Office. I'm burger addicted.


Wayback Wednesday: Michael Webb on Living in Color

Among contemporary urban environments, Rio's favelas are getting a hefty dose from Dutch artists Haas and Hahn. Photograph courtesy Favela Painting

Next week, our own Michael Webb, contributing writer to our print edition and frequent face here on the Web site with his pithy book and exhibition reviews, will receive a 2014 AIA|LA Design Advocate award at the ceremony. To celebrate his achievement, we thought we'd run one of our favorite recent features of Michael's his 2013 story on color in urban architecture. He traces its history and offers a compelling call to bring more of it into city living.

By Michael Webb

Most cities have a distinctive palette. In London, the older residential areas are built of yellow or red brick, the monuments of white Portland stone. Some are still blackened from coal smoke, others have been scrubbed clean. Looking over Paris from Sacré Coeur, the expanse of gray slate and stone is interrupted by the multicolored Pompidou Center—much as the PDC stands out in West Hollywood. St Petersburg is a joyful symphony of pale blue, green, yellow and pink.

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Showroom: Moore + Friesl's New C2 Credenza

Moore + Friesl's newest arrival into their collection of furnishings is the C2 Credenza. It features a high-glass finish and accents of bright color and light. Image courtesy Moore + Firesl.

The innovative LA–based architecture firm Moore + Friesl Design Group is at it again. They’re introducing the C2 Credenza. It joins their earlier C1 Credenza, a compelling piece formed in part using a folded piece metal to create its frame. This time, the duo used Senoplast, a high-gloss furniture film for the bold, rectilinear piece. UV-resistant, recyclable and PVC-free, the material bonds over a wood substrate to create high performance finish that’s scratch resistant.

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The FORM Questionnaire: Talking to Terri Moore

At Moore + Friesl Design Group, the firm she co-founded, Terri Moore's projects have included Van Cleef & Arpels' Fifth Avenue showroom in Manhattan. There, Moore and her team were tasked with developing specific pieces, including sales and display tables, podiums, pedestals, belles, a dining table and a reception desk, following concepts created by Jouin Manku of Paris. Image courtesy courtesy of Van Cleef and Arpels.Since Terri Moore and Marcus Friesl founded LA–based Moore + Friesl Design Group in 2011, the pair have taken on international architectural projects in the worlds art, fashion and finance, producing tour-de-force work generated from their facility with cutting-edge software and deep knowlege of high tech materials and their properties. At the firm, Moore, who caught the design bug early from her interior designer mother, works on project management and as a project designer. She's also actively involved in the Step Up Network, which mentors young girls for college and professional careers. With such wide-ranging interests, we were intrigued to hear her thoughts on design and architecture, and she gladly obliged. Here, she shares her passion for design–and Nutella.

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