LinkedIn
Facebook
Twitter




Sponsors





Events

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.

 

 

Competitions

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
Gensler

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

  

  




















 

Hidden

MONITOR

Entries in Michael Heizer (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.