CONCORSI DI ARCHITETTURA, DESIGN, MEDIA

Palos Verdes Art Center
International Architectural Design Competition



COMPETITION CHALLENGE

The Palos Verdes Art Center in Rancho Palos Verdes, California, was founded in 1931 and is one of the oldest, continually operating arts organizations in southern California. The Center provides classes in art (painting & drawing, sculpture, ceramics, photography and art appreciation) to children and adults, and the Center brings art into the public schools through a twenty-year-old classroom outreach program staffed entirely by volunteers. With a membership of 1500, drawn largely from the culturally diverse suburban communities of the Palos Verdes Peninsula and adjacent Beach Cities, the Center provides a refuge for artists, both professional and amateur. The Center also mounts more than twenty exhibitions each year, with a focus on contemporary artists from the Los Angeles area. While the Center has no permanent collection, it functions as a venue for regional artists to display work and as a local gallery for patrons and art-lovers to appreciate and celebrate the lively arts scene in Los Angeles.

The existing Art Center facility consists of a complex of several buildings arranged around an open-air patio. The buildings total approximately 11,000 square feet and are subdivided into zones by use, including classrooms, studios, administrative offices, exhibition galleries, a small gift shop, a film / lecture space, a commercial kitchen and various support spaces. As the Center's needs have changed and its programs and audience have expanded, the complex has grown organically over time. Through private donations, galleries and classrooms have been added and remodeled, various areas have been expanded, and in general, the complex has lost sight of its original architectural intention.

The time has come for the Center to fund construction of an expanded campus on the current site. An easement over adjacent property has been negotiated to support increased parking to 125 cars and improved vehicular access, by relocating the driveway away from the busy intersection of West Crestridge Road and Crenshaw Boulevard. A parking structure will be a necessary element of the expanded campus, because the adjacent land lease will allow surface parking and access roads only, with no permanent structures or foundations.

Renovation and expansion, as well as demolition and rebuilding, are all under consideration. Any new plan must deal sensitively with the ancestry and remarkable history of the existing campus, including acknowledgment of past as well as future donor generosity. Opportunities and incentives exist for the Center to make a powerful architectural statement and its prominence in the community as well as its placement at a highly visible major intersection demand careful design consideration. The Center's Board of Directors has initiated this International Design Competition, which will be open to all designers, architects, artists and students of the arts, worldwide.

A juried exhibition will conclude the competition, and cash prizes will be awarded to the winning schemes. The exhibition will run August 5 - September 10, 2000, and will provide the impetus for the launch of a capital campaign aimed at funding construction of a renewed and expanded campus that better serves the current programming needs of the membership. At the same time, the scheme ideally will anticipate future flexibility and continued expansion in coming decades.

It is critical that the design scheme address issues of the Center's history. The generosity of past donors must be carefully factored into any new design, and the diverse interests of the membership must be carefully considered. Designers are asked to present their concept for a building that contains an element of narrative, a building that blurs the lines between the constructed and the natural, utilizing the given context to the fullest and taking full advantage of our glorious southern California climate. The average temperature year round is between 65 and 85 degrees Fahrenheit, and there rarely are more than two consecutive days of heavy rain. Solutions should embrace exterior courtyards, plazas and walks as integral parts of the design, limited in scope only by the site boundaries, the designer's discretion and imagination.

Entrants are challenged to present a design in the format outlined in this document showing whatever drawings are necessary to relate the solution, including floor plans, elevations, sections and perspective renderings. This is not a planning exercise. Therefore the floor plans do not have to be detailed. Basic layout of the departments, the circulation and the relationship of departments to each other are the most important challenges. The success of the design solution will weigh on the relationships created between the facility and the site, the components of the facility and how they relate to each other, and most importantly, the user's experience created by the architecture. Incumbent on this is the crafting of space and the careful and considered use of materials.




PROGRAM COMPONENTS NARRATIVE


Overview

The Existing signage at the Art Center is woefully inadequate. It is hoped that the expanded complex will incorporate signage as an integral part of the design concept. It is important that the building be identified as the Palos Verdes Art Center and also that a system of temporary exhibit signage be provided to announce openings, list upcoming shows, promote classes, etc. Los Angeles, where billboards have become almost ubiquitous, has a love/hate relationship with the signage that defines our skyline. Opportunities exist for the exploitation of this contextual history and the Center's pragmatic need. The PVAC web site contains a calendar of classes and exhibitions, which might be used as a point of departure for development of an appropriate signage component.

Parking, traffic and vehicular access are serious concerns when contemplating expansion of the Art Center. Adjacent property has been leased to provide additional land area, which may allow vehicular access to shift away from the busy intersection at Crenshaw Boulevard and West Crestridge Road. The existing Art Center, while configured with changing levels, is for the most part a single-story structure. Member and public sentiment indicates that a suburban "campus" approach to the design is desirable, however, site limitations and program requirements may require a dense, more urban scheme. Underground parking would allow provisions for street-level plazas, courtyards and green spaces that are seen as desirable features. A significant part of the design challenge will be dealing with parking issues in a metropolis that loves the freedom afforded by the personal use of automobiles.

If possible, the Art Center would like to remain open during construction of the new facility. There are venues off site that might be used temporarily as classrooms and the Center will seek additional space to mount exhibitions and house various administrative functions. While the evaluation criteria does not specify that phased construction be indicated in the final scheme, practical considerations require that some thought be given to the Center's desire to maintain an active presence at the site.

Main Entry and Reception
The Board of Directors desires an impressive public entry. The main lobby will serve as the orientation point for visitors. It does not need to be overly large, but as a visitor's first impression of the facility, it must set the tone for the entire complex. From a reception and information desk, visitors will be directed to the administrative offices, to galleries or to classrooms. This area will also serve to direct visitors to the open courtyard for openings and receptions or to The Artists' Studio, the Center's retail outlet. After public hours, the lobby and atrium will still be used as an information and way-finding resource for evening students and occasional member functions. The receptionist is a member volunteer who sometimes serves a clerical role for the administrative staff, so proximity, task lighting and workspace are important.

The Artists' Studio
The Center's retail outlet should open onto the lobby to encourage visitors to shop while they are waiting for events to begin. It would also be appropriate to place public rest rooms in such a way as to make The Artists' Studio visible to people moving across the space. It is seen as undesirable to locate restrooms so they are visible upon entering the complex, but the designer must balance programmatic convenience with aesthetics in this regard.

Sculpture Court / Open Courtyard / Exterior Gathering Spaces
This protected exterior space is envisioned to be a large, open circulation area connecting the main lobby to the classrooms, galleries and other areas commonly visited. It should interconnect with the exterior and be a primary public gathering point. The space should be an architectural testament to the vision of the Center, the importance it places on education and its commitment to the arts. Because of our climate, this space will frequently be used for open-air receptions, dinners and cocktail parties, exhibit openings and large meetings, and it may occasionally be rented to other groups for similar events. It might contain a water feature of some sort and certainly will accommodate several large-scale sculptures. It may also be used for temporary exhibitions (of weatherproof work) from time to time.

It would be welcome if some sort of covering could be provided for the courtyard in inclement weather. The Art Center would like to realize the income for renting this space to outside groups for gatherings of as many as 200 people, and some sort of temporary or retractable covering would make this viable year-round. Cover is desirable as much for protection from the sun as it is in case of rain.

Administrative Offices
These spaces house an office use with needs for privacy, task lighting, work surfaces, storage and office machines such as computers and copiers, etc. It is important that the administrative area be adjacent to the reception / lobby space, as seating in the lobby will be used by visitors awaiting appointments with administrative staff, and the receptionist may occasionally serve a clerical function.



Gallery Spaces - General Requirements

Lighting
Museum-quality lighting is desired in all exhibition spaces. While natural lighting is frequently used during daytime hours, it is always augmented with specialty lighting for exhibits. In some cases, such as exhibitions of neon art or contemplative sculpture, the Center's Exhibitions Director has chosen to completely control the lighting by blocking out windows. It would be best if at least one gallery space provides for complete darkness or complete control of lighting effects. A mixture of fixed, permanent low-level general lighting and flexible spot lighting is seen as optimal for most exhibit uses.

Flooring
Hard flooring surfaces are seen as providing the best balance between visitor comfort and flexibility for changing exhibits. Both concrete and wood flooring are under consideration for galleries, and although carpeting is perhaps most comfortable for viewers, it commits the space to a palette of colors which is seen as counter to flexibility, and it also presents maintenance concerns that increase operating costs. Food is frequently taken into gallery spaces during openings and receptions, which also makes carpeting a less appropriate choice.

Hanging Systems
Exhibitions sometimes require that galleries be painted black or some other color that compliments the objects on display. For this reason, permanent wall treatments such as fabric panels are not desirable. All of the Center's exhibitions are temporary, which requires that the wall surface support frequent changes in hanging works of art. The ceilings are also used frequently to suspend objects and certainly to mount lighting. Flexibility is the key to successful gallery spaces, and yet the designer must balance the Center's desire that exhibits, once installed, appear permanent and the space seem tailored to the objects. At the same time, because exhibitions change within a relatively short time frame, there must be flexibility in how spaces are lit and configured and how work is installed. A creative solution to the problem of how to hang works of art is a key component to successful design of gallery spaces.

Classroom Spaces - General Requirements
Classrooms are used for lecture and demonstration-type presentations, as well as for meetings and workshops. Carpeting is also not desired for these areas, but flexible seating that can be configured to suit the needs of instructors or visiting artists would be appreciated. At least one classroom will be dedicated to children's activities and this particular room affords an opportunity for the designer to play with issues of color and scale to create an environment that fosters creativity for our younger audience.

Studio Spaces - General Requirements
Each medium presents unique challenges to designing studio space. Most studios should contain low-maintenance hard flooring surfaces that are easily cleaned of spills. Many studio classes require the use of chemicals, water, permanent pigments, etc. As such, the floors are subject to abuse. Wall surfaces should generally be kept neutral in color and should support pin-up of student work. Natural day lighting is desirable wherever possible, but the designer must be sensitive to concerns of privacy and distraction if glass is used adjacent to walkways, parking areas or courtyards. Some classes use figure models which presents a unique challenge for balancing needs for daylight with needs for privacy. All studio spaces must contain clean-up areas with sinks, running water, material storage areas, etc.

Spaces designated inside of or adjacent to the studios and classrooms for coffee service and snack preparation is required. These areas need not be elaborate. Classes or studios of fifteen to twenty people often run for several hours with a few 10-minute break periods for coffee and refreshments, and access to these amenities is always welcomed for meetings that will occur from time to time in these rooms.



SPECIFIC SPACE PROGRAM REQUIREMENTS

Following are the minimum required spaces for the completed building. Existing building drawings are available on this web site, and should be used as a point of departure for designer innovation and invention.

Lobby / Reception Area 750 SF
Entrance Lobby 250 SF
Includes reception desk / work station
Continuous with Main Gallery
Public Restrooms 500 SF
Includes 2-stall men's / 3-stall women's ADA Compliant (handicap-accessible) Janitor's closet / supply storage

Administrative Offices 1800 SF
Executive Director's Office 150 SF
Eight (8) Staff Offices (100 SF each) 800 SF
Staff Conference Room 200 SF
Docent Room / Lunch Room 150 SF
Conference table, lockers, coffee station
Work Room 175 SF
Copier, fax, work table, supply closet
Graphics Workstation 150 SF
Lay-out table, copy stand, printer, scanner
Administrative Storage Room 100 SF
Shelving, closets, bin storage
Staff Toilet (unisex) 75 SF

Exhibition Galleries 5000SF
Stewart Gallery 800 SF
Hanging walls, hard flooring, exhibit lighting
Beckstrand Gallery 800 SF
Hanging walls, hard flooring, exhibit lighting
Norris Gallery and Library 800 SF
Hanging walls, hard floor covering, exhibit lighting,
Book shelves, print storage, slide storage,
Video storage, card catalogue, etc.
Chacksfield Print Gallery 500 SF
Hanging walls, hard floor covering, exhibit lighting
Feature Gallery and Auditorium 2100 SF
Hanging walls, movable or flexible partitions,
Zoned exhibit lighting (room can be sub-divided)
Includes accommodation for acoustics for film, video
Lectures, movable seating for 150 people for
Banquets and seating for 200 people for lectures

Staging Kitchen 150 SF
For catering, with close access to public space(s)

Exhibition Storage Room 350 SF

Exhibition Restrooms 650 SF

Patio / Exterior Sculpture Court / Gathering Space 2500 SF

Commercial Kitchen (with capacity for teaching) 900 SF
Prep Room 350 SF
Food Lockers 100 SF
Serving Area 200 SF
Pantry / Dishes / Wine Storage 150 SF
Catering Office (area) 50 SF
Washer / Dryer area (linens and laundry) 50 SF

The Artists' Studio (Retail Space) 800 SF
Retail Sales Floor 550 SF
With display modules for Jewelry, clothing, ceramics,
small sculpture, wearable art, small prints, etc.
Retail Storage Area 250 SF

Studio Spaces (all to include sinks and counter tops for clean-up) 3650 SF
Ceramics Studio 750 SF
Includes dedicated rest room, glaze room
Outdoor kiln area 250 SF
Adjacent to Ceramics Studio
Painting / Drawing Studio 750 SF
Photography Studio 500 SF
Adjacent Dark Room 150 SF
Includes separate sink and counters all around
Fiber Arts Studio 750 SF
Studio Supply Storage (Art At Your Fingertips) 500 SF

Classrooms 800 SF
Printmaking 400 SF
Multi-Discipline 400 SF

Community Space 800 SF

Artists' Meeting Room (with storage) 250 SF

Mechanical Space (HVAC, phones, etc.) 500 SF

Trash and Receiving Areas (combined) 250 SF
Located on outside wall with service access for vehicles, deliveries, etc.

TOTAL PROGRAMMED AREA (roughly) 19,150 SF

Note: The total above should be grossed-up by 15-20% for general circulation.

Additional desires for non-programmed space include:

Memorial Garden / Sculpture Garden
Opportunities for Donor Recognition
Landmark Sign "Palos Verdes Art Center" and thoughts on Changing Exhibit Signage
Parking (combined surface and structured) for 125 cars
Commercial Bus loading zone (may be on Crenshaw Blvd. or West Crestridge)

Additional design considerations include:

Consideration of Feng Shui (Asian Art of Harmonious Placement)
Public Entrance 'through' Feature Gallery is seen as desirable
City Code requires 25-foot set backs from streets and 20-foot from property line
City Code specifies 16-foot height limitation (may be waived by hearing)
Due to significant high-speed traffic, access from Crenshaw Blvd. is not feasible
Secondary entrance for students or members is desirable (non-public entry)
All designs must be fully accessible for the differently abled
A "campus atmosphere" is desirable
Phasing of construction may be necessitated by funding availability

All of California is subject to earthquake - this site is in an active seismic zone.



MINIMUM REQUIRED DRAWINGS

Each presentation must directly address the specific issues outlined in the design challenge and evaluation criteria, including (but not limited to) the following required drawings:

ground floor and site plan showing the relationship of surrounding development, parking, landscaping and pedestrian and vehicular circulation
additional floor plans, as applicable
elevations and/or sections sufficient to show site context and major program elements
large-scale drawing(s), either orthographic or three-dimensional, illustrating important, character-defining interior and exterior building details
two (2) three-dimensional representations, in the form of either axonometric, perspective or model photographs, one of which should illustrate the character of the building exterior and one of which should illustrate a major public space of the designer's choosing
Incomplete or undocumented entries are subject to disqualification. All drawings should be drawn at a scale appropriate to the design solution. Site plans are required at 1/16" =1'-0", and elevations are required at 1/8" = 1'-0". Include a graphic scale and north arrow as appropriate and orient plan drawings vertically with north facing 'up'.



DESIGN ESSAY

A brief essay (in English - 300 words or less) must appear as part of the presentation boards, mounted on the front side so as to be visible in the exhibition, describing the most important concepts of the scheme. Essays need not be lengthy. The presentation should graphically convey the design solution and context, and therefore it should not rely upon the essay for a basic understanding of the scheme. The essay's purpose is to inform viewers and the jury of the designer's primary intention(s) or concerns. Narratives may be hand-lettered or typeset at the designer's discretion, but must be legible from several feet for exhibition purposes. 11 point type or 1/8" lettering is considered adequate from this distance.



PRESENTATION FORMAT

Drawings must be firmly mounted or drawn directly on no more than four (4) 24" x 36" (61cm x 91.5 cm) illustration, foamcore or other stiff lightweight mounting boards. All boards must be designed to be presented VERTICALLY (portrait format). Additional three-dimensional materials (chipboard or basswood models, etc.) are encouraged, as they are informative and will be considered by the jury. Space limitations may dictate that models not be included in the exhibition, except in the case of winning schemes. If used, photographs of models or three-dimensional work must be incorporated into and will be counted as a part of the four board maximum. Any other type of presentation (unmounted, mounted on wood, metal or glass) will be disqualified.

The names of entrants must not appear on the front of any materials submitted for judging. An unsealed envelope holding a copy of the completed project submission form (see below) must be affixed to the back of each board. Photocopies of the form are acceptable for this purpose. Any three-dimensional submissions should also include an envelope and submission form in a location not visible to the jury, to ensure that models do not become separated from the required presentation boards.

All boards should be numbered on the back in the order in which they should be exhibited (i.e., 1 of 4, 2 of 4, etc.). Participants should keep in mind that end-to-end display of presentation boards is acceptable. Accordingly, participants may use text or graphics that cross over from board to board.

The use of color in presentations is encouraged, as is the use of photomontage, collage and other "non-traditional" architectural presentation techniques. Entries may be either originals or high-quality reproductions. Participants are encouraged to make adequate photographic and/or digital reproductions of their presentation prior to submission.

Please note that presentation boards and models cannot be returned under any circumstances.



TABULAR INFORMATION

Submissions should include brief tabular information, on the site plan board, outlining the number of parking spaces provided, the percentage of lot coverage in buildings and in hardscape and the overall gross square footage of the building(s).



COMPETITION REGISTRATION

All participants must register for the competition to receive a submission form that will be attached to their presentation materials as identification. The cost of registration is $50 US for each entrant or team of entrants. Submittals that do not contain a submission form verifying registration will not be judged. All information and materials needed to successfully participate in the competition are contained on this web site; however, participants must register with the PVAC by April 30, 2000 to be eligible for prizes. The non-refundable registration fee of $50 in US funds must accompany the registration form found elsewhere on this site. Payment may be made by International Money Order or check, payable to "Palos Verdes Art Center." Registered participants will receive a submission form by return mail, which must accompany their finished presentation materials in order to be eligible for award and exhibition.

Registration requests received after the deadline cannot be returned. Please allow sufficient time for your registration form to reach Los Angeles by April 30, 2000.

Send Registration Form with payment to:
PALOS VERDES ART CENTER
attn: Competition Registration
5504 West Crestridge Road
Rancho Palos Verdes, CA 90275 U.S.A.
Download Printable Registration Form * requires free Adobe Acrobat Reader




ELIGIBILITY

The Competition is open to all design professionals, artists, architects and students of architecture or the arts. Teams are welcome to participate. Awards will be made to winning teams through a pre-designated team leader for distribution to team members.




AWARDS

Award of published cash prizes and exhibition of winning and notable schemes are the Center's commitment to entrants. The right to enter into an agreement to provide architectural design services is reserved by the Palos Verdes Art Center. The jury will convene on August 5, 2000 to select winning projects and honorable mentions. Winners will be notified of the competition results by telephone and/or mail. A press release listing all winning projects will be posted on this web site in September 2000.

Winning presentations will receive cash prizes totaling $10,000 US, with distribution as follows:


First Prize $5,000 (Jury Award)
Second Prize $2,000 (Jury Award)
Third Prize $1,000 (Jury Award)
Noteworthy (2) $ 500 each (These will be Public and Directors' Awards)
Best Student Work $1,000 (Jury Award - Students are also eligible for First, Second, Third and/or Noteworthy)

Up to three additional projects will be selected for Honorable Mentions without a cash award. Prize-winning submissions will be exhibited at the PVAC in Los Angeles from August 5 - September 10, 2000.





SUBMISSION FORM

Each project must be accompanied by a completed project submission form, which will be mailed to all registered participants following receipt of the $50 registration fee. A completed copy of the form must be enclosed in an unsealed envelope firmly affixed to the back of each board.
Download Printable Registration Form * requires free Adobe Acrobat Reader




JURY

Philippa Blair, Venice, CA
Ms. Blair is a mid-career artist working in Los Angeles. Her recent works have been influenced by the location of her new studio in Venice, an area of LA along the ocean criss-crossed by canals, which she refers to as a "portrait of an urban dynamic in the presence of nature." Drawing is a very important component in her painting process. The symbolic use of literal and figurative landmarks, architectural plan/elevation, aerial vision, human mobility and location serve as her inspiration. She is included in collections of the New Zealand Embassy, Tokyo, Hong Kong & Shanghai Bank, New York, and Atlantic Richfield Corp. in Los Angeles. Philippa is a visiting artist at Art Center College of Design in Pasadena, and she teaches 2D Design at College of the Canyons. Originally from New Zealand, she now lives year-round in Venice with architect-husband John Porter in a home/studio they completed in 1997.

Mark Mack, AIA, Los Angeles
Mark Mack was educated at the Academy of Fine Arts in Vienna and opened his architectural practice in LA in 1984. His award-winning work has been published in numerous international magazines, and he currently teaches architecture at UCLA. His "Stremmel House" for art dealer/collector Pete Stremmel in Nevada has been heralded as the quintessential example of Mack's quest for the "concept of easy living."

Michael Webb, Los Angeles
Originally from England, Mr. Webb is a free-lance architectural critic who has been observing and documenting modern architecture in LA for twenty years. His articles have appeared in the LA Times, Architectural Record and Progressive Architecture, and he has recently completed a guide to significant architecture in Los Angeles.

Phillip Max Cheshire, Auckland, New Zealand
Pip Cheshire is Managing Director of JASMAX Architects, one of New Zealand's largest and most frequently published firms. Recently completed projects include the Museum of New Zealand in Wellington (1997), The Bruce Mason Theatre (1997), Auckland Institute of Technology Buildings (1997, 1999), Restoration of the Auckland Town Hall (1998) and the Auckland Civic Theatre (1999). Other projects include a number of custom homes, and health care and resort projects dotted along the Pacific Rim. Pip Cheshire is chairperson of the Auckland Branch of the New Zealand Institute of Architects, a frequent judge of awards and competitions and a keen observer of international developments in architecture. He lectures frequently on design at university level in his home country and abroad.

Todd Bennitt, ASLA, Santa Monica, CA
Mr. Bennitt is a landscape architect whose design credits include high-profile LA residences for Aaron Spelling, Michael Eisner and other prominent Hollywood executives and celebrities. His commercial projects include the Beverly Hills Hotel and the Ritz Carlton Hotel and Resort in Bali, Indonesia. He is a graduate of Harvard University's Graduate School of Design and the managing principal of EDSA's Santa Monica California office.

Eric Lloyd Wright, AIA, Los Angeles
Grandson of preeminent American architect Frank Lloyd Wright, Eric has been practicing architecture in southern California for many years. The renovation of his father's Palos Verdes Wayfarer's Chapel is currently in design. He has a unique understanding of the peninsula and its architectural history.

Scott Ward, Pasadena, CA
Scott Ward is Executive Director of the Palos Verdes Art Center and a fine art photographer. He has been curator and juror for numerous public exhibitions and has had his own work exhibited in solo and group shows nationwide. He is represented in the permanent collections of the J. Paul Getty Museum and the California Institute of the Arts. He has curated exhibitions covering such diverse topics as Los Angeles in the ‘30s, Vietnamese-American Artists, California Landscapes, Documentary Photography and Egyptian Papyrus. He has served as a juror for the public art component of the Los Angeles Metropolitan Transit Authority’s green line stations as well as for numerous museum and gallery exhibitions in photography, watercolor, ceramics and mixed media.

An M.F.A. graduate in photography from California Institute of the Arts, Scott came to the Art Center after 10 years as executive director of the Downey Museum of Art. In his current position at the PVAC, he provides artistic direction and financial oversight for the Center’s exhibitions, education and development programs and community outreach activities. Scott has taught more than 125 fine art photography courses in colleges and universities throughout southern California.



EVALUATION CRITERIA

The final result of the design process will be a submission of up to four presentation boards describing the design solution (see requirements below). In addressing the specific issues of the design challenge, submissions will be judged using the following evaluation criteria:

Architectural realization of the Art Center's mission: "To Celebrate, Appreciate And Create Art."
Strength of architectural concepts including narrative, layering, transition, coherence of architectural vocabulary, iconography, etc.
Integration of functional aspects of the program into a coherent and appropriate architectural whole
Relationship of the facility to the site, landscape, context
Creative insight and individual interpretation of the design challenge



SHIPPING INSTRUCTIONS

Entries should be shipped in cardboard boxes or other sturdy wrapping with protection provided at corners. Return addresses should be included on exterior package labeling only (see additional information regarding anonymity elsewhere in this document).

Excessive non-biodegradable packaging materials should be avoided to reduce waste and protect the environment.

All entries must be received at PVAC in Los Angeles by 5:00 P.M., local time, July 30, 2000. Please note that due to the number of entries, PVAC will not send acknowledgment of receipt.

Ship to:
PALOS VERDES ART CENTER
attn: International Design Competition 2000
5504 West Crestridge Road
Rancho Palos Verdes, CA 90275 U.S.A.

PVAC cannot be responsible for customs processing or related fees; C.O.D. shipments cannot be accepted



SCHEDULE

April 30, 2000 Deadline for receipt of $50 registration fee by PVAC
July 30, 2000 Deadline for receipt of entries in Los Angeles
August 5, 2000 Prize winners and honorable mentions chosen by the jury
August 9, 2000 Awards (notification and check) mailed to winning entrants
Autumn 2000 Los Angeles exhibition of winning and noteworthy entries



IMPORTANT NOTES

Entries cannot and will not be returned to participants under any circumstances. Upon receipt they become the property of PVAC. Entrants submitting original material for this competition should ensure that they have adequate reproductions before sending their work.

The PVAC reserve the right to publish drawings, written descriptions and photographs of entries and the names of entrants, without compensation.



FOR MORE INFORMATION

Please use the Competition Discussion Forum to convey written questions to the Art Center's representatives. Every effort will be made to respond to written inquiries within 24 hours. Responses will be posted in the Competition Discussion Forum on this web site.



INTENT TO REGISTER

Please use this simple poll to let us know if you intend to submit.



WEBSITE

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ICN

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