Search results for "Miami Beach"

Placeholder Alt Text

No Deal

Isay Weinfeld–designed Fasano hotel in Miami Beach is canceled
The first stateside incarnation of the Fasano hotel chain by Brazilian designer Isay Weinfeld has been canceled by the developer, HFZ Capital Group. The Fasano Residences Miami Beach, as the project was called, was a planned conversion of Miami Beach’s iconic Shore Club property into a combination hotel and condominium. The Brazilian hospitality company is well-known for its luxury hotels in Brazil, including in Rio de Janeiro, São Paulo, Punta del Este, and Boa Vista. The project had already experienced delays due to communication issues between brokers and HFZ and a slowing residential real estate market, with only 40 to 45 percent of the 67 residential units pre-sold so far, even though the project was originally slated for completion in 2018. The Shore Club has a long history in Miami Beach, and includes both art deco and midcentury modern mid-rise buildings as well as a postmodernist tower designed by British architect David Chipperfield during the resurgence of South Beach in the 1990s. The design by Isay Weinfeld would have enclosed the slender white Chipperfield tower with its dramatic rooftop space inside a boxy cage-like enclosure that looked remarkably like a giant Sol LeWitt sculpture. The elaborate gardens and pools, also designed by Chipperfield, and the setting of many a legendary Miami Beach bacchanalia over the years, would also have been replaced with a gigantic, minimalist pool that would have been one of the largest in all of Miami Beach. Project broker Jay Parker told The Real Deal that HFZ is currently returning deposits to buyers and has yet to determine whether they will re-launch the project as planned or as a new development. Even though the property “has been deteriorating in anticipation of the project,” as The Real Deal put it, it has been operating under the Morgans Hotel Group flag and will continue to do so.
Placeholder Alt Text

Welcome (Back) to Miami

Miami Beach’s Bass Museum reopens after two-year renovation
After two full years, Miami Beach’s contemporary art museum, The Bass, will reopen its doors. Originally opened in 1964, The Bass recently completed its second major remodel. The latest renovation expands the programmable space of the museum by 50 percent while maintaining the same building footprint. When founded, the museum was housed in a 1930s Russell Pancoast-designed Art Deco building which formerly served as the Miami Beach Public Library and ArtCenter. In 2001 the museum completed a major addition to the historic building. The new 16,000-square-foot wing was designed by Tokyo-based Arata Isozaki. When the museum was looking to add more space, they once again looked to Isozaki to guide the project as design consultant. New York-based David Gauld acted as principal architect for the renovation. David Gauld also shares a history with the museum, as he worked for Isozaki on the 2001 expansion. “We have completely rearranged the entire interior of the museum,” Gauld told AN. “Isozaki was very open-minded about the changes to the project. He is very philosophical about it. When he builds a building, we will draw it in ruins, to anticipate that it will someday change.” The additional space allows for four new galleries, a new museum store and café, and a multi-generational education facility, dubbed the Creativity Center.  Interior design, including the lighting, café, and public space, for the project was handled by Jonathan Caplan of Project-Space. The entry sequence to the Creativity Center was curated by Prem Krishnamurthy of New York-based Project Projects, and includes colorful custom furniture and a reception desk. Thanks to the continuity of the design team, the additional space blends seamlessly with the 2001 addition, despite a few drastic changes to the museum's floor plan. Most notably, a large interior ramp was removed and replaced with a grand stair and additional gallery space. More space was gained by enclosing under-used exterior courtyards. “Isozaki’s design included a main building on axis behind the historic building, and more building to the north of that bar,” Gauld explained. “The design allows for more to be added to the south where there is currently a parking lot, and that is still a possibility. The museum wanted to better utilize the space it already had for this project, so we were able to add space within the same footprint by removing the ramp and enclosing courtyards.” In each case, the material palette for the renovation was directly drawn from the original Pancoast building and the 2001 addition. From the Art Deco structure, Florida Key limestone, rich with fossilized corral, was used selectively throughout. To continue a detail deployed in the previous expansion, wherever the contemporary building connects to the historic building, a glass and steel reveal ties the two together. Opening to the public on Sunday, October 29th, the first exhibitions at the remodeled Bass include solo shows from contemporary artists Ugo Rondinone and Pascale Marthine Tayou. For the opening week, New York-based artist Davide Balula will present his 2016 performance piece Mimed Sculptures.
Placeholder Alt Text

Atlantis Tomorrow

Jean Nouvel’s Miami Beach high-rise is back on schedule
Monad Terrace is its name. Jean Nouvel is its claim to fame. Its submerged future is ... quite a shame. After a period of uncertainty, the developers of the Miami Beach tower, New York-based JDS Development, have finally secured the $62.5 million necessary to undertake the project. Now the company has the go-ahead to complete the tower squarely in the middle of one of Miami Beach's most vulnerable flood zones. The Miami Beach tower by Nouvel made a splash last year for the wild and overgrown manmade lagoon at its base. Looking like a modernist structure reclaimed by nature after an environmental disaster à la J.G. Ballard, the structure may well fulfill its own prophecy. JDS' Michael Stern told Curbed Miami that the design "is very conscious of what is going on to changes to the streets and concerns about sea level rise." What this means is that the building will have a below-grade car garage to displace floodwater as well as incorporate landscaping features meant to absorb water, including the lagoon. Ateliers Jean Nouvel stated that the development will be the first condo of its kind to be built surpassing Miami Beach's revised flood regulations, at 11.5 feet above sea level. The interiors are minimalist and luxurious, with marble and oak siding and floor-to-ceiling glass windows boasting expansive views of the Atlantic Ocean. The building's 80 residential units contain terraces framed by draping bougainvillea and passion vine. Beneath the vines, the structure's facade consists of an aluminum honeycomb sawtooth screen designed to diffuse direct sun and create the visual effect of light playing on water. The question now is whether the building's flood alleviation measures will be enough to shield the structure from a Category 5 hurricane. Awareness of Miami's Sisyphean struggles with the rising tide has never been higher, but investment seems to keep pouring in for steel-and-glass boxes on the sea. The project is scheduled to be completed near the end of 2019.
Placeholder Alt Text

Miami Beach Elegy

New Chip Lord film shows Miami Beach fighting—and losing to—a rising ocean
Chip Lord's Miami Beach Elegy was presented by the artist at a screening at the Rena Bransten Gallery in San Francisco on May 13, 2017. Miami Beach is the product of real estate development and a great deal of human effort. 100,000 residents (plus many visitors) live a precarious existence between the Atlantic Ocean and Biscayne Bay while the beaches are replenished by the truckload with sand from a mine inland near the south end of Lake Okeechobee. Miami Beach is out of sand, and with sea level rising a fraction of an inch each year, it’s running out of time. Chip Lord, best known to most architects as a member of the legendary experimental practice Ant Farm, has worked since the 1970s primarily as a video artist. Two of his recent projects, based in New York and Venice, have explored climate change. His most recent video piece titled Miami Beach Elegy” goes to Florida to explore a place that is already bearing the brunt of rising seas. Lord’s approach to this video grew out of a collaboration with Hayden Pedigo, a young musician who both plays guitar and composes ambient electronic music. Pedigo invited Lord to make a video based on his album Greetings from Amarillo, which the artist completed in 2016. Exploring the highways and outskirts of Amarillo, this is a 30-minute road movie that also explores the tourist attraction that Any Farm’s installation Cadillac Ranch” has become. Chip Lord decided to undertake another video portrait with Pedigo’s music, but instead of the Texas panhandle, he turned his camera on South Florida. This film contrasts day to day life in Miami Beach with the reality of flooding that is already occurring at high tides as water both overtops the existing shoreline defenses and seeps through the porous rock the city is built on from below. The film’s dialogue is limited to the opening sequence of a clip from a local newscast reporting on flooding caused by king tides, the highest tides of the year. Over a few minutes, the newscaster shows flooded streets and people wading through knee deep water but ends on a hopeful note that the city will soon be solving the flooding problem with pumps. He never mentions sea level rise or climate change. It’s presented as if it were a minor, one time inconvenience, not a preview of what’s to come. If the six feet of sea level rise that many experts are now predicting comes to be, pumping isn’t going to cut it on an island that is only four and a half feet above sea level. The pumps are a feature throughout the film. Lord uses the water bubbling out of the sewer outfalls, where the seawater is pumped into the bay, as a transition between segments. All of the while, Pedigo’s music fills the background with an atmospheric soundtrack that at times, in Lord’s words, resembles whale sounds. The film cuts between sections of riding in cars, parking in the Herzog & de Meuron–designed parking garage, walking with a handheld camera through a hotel, bulldozers dumping sand on the beach, and the “Beach Tech 2800” machine being towed behind a tractor grooming the sand for the next day’s visitors followed by an empty beach in the morning as employees put out chairs and umbrellas for another day. The mundane day to day tasks of setting the stage for the unending stream of tourists from around the world takes place in the early morning or under the cover of darkness. One of the more surreal moments involves visitors inspecting Damien Hirst’s Gone but not Forgotten, a gilded wooly mammoth skeleton inside a glass and gold vitrine that was exhibited at the Faena Forum, a facility that includes a hotel and a new art center by OMA. The mammoth is situated outdoors with swaying palm trees and the ocean in the background, its species a victim of both climate change and overhunting by early humans. I struggle to think of a more relevantly symbolic artwork one could place outside a beachfront hotel in Miami Beach. The camera lingers on tourists in the waves and a girl building a sand castle, which is slowly subsumed by the ocean. “3 Months Later” scrolls as the camera looks out the window of an airplane flying over Miami Beach as it lands. Then we see the architect of the Faena Forum discussing the project to an assembled crowd. The continued development of luxury Miami Beach real estate looks absurd in the face of feeble attempts to postpone the inevitable that Lord depicts in the film. There is already talk of “climate gentrification” as investors seek to buy inland property on higher ground in Miami proper, but in the meantime, people continue to flock to South Florida to buy real estate and look at contemporary art. While the beach umbrellas continue to go out every morning and the sand is groomed at night the water continues to rise.
Placeholder Alt Text

The Sweet Spot

Suchi Reddy designs an art-filled home as lush as its surroundings in Miami Beach

When Suchi Reddy, founder of New York–based Reddymade Design, was tasked with redesigning a 12,000-square-foot home in Miami Beach, Florida, she learned that the job would involve not only designing the space, but also helping the client curate an extensive contemporary art collection. Situated on Sunset Island, the home is affectionately known as the “Sweet Spot,” and Reddy’s vision was a careful balance of architecture, art, and design.

The 1939 waterfront house was built by a Cuban sugar baron in a hybrid style of Caribbean colonial and Hollywood regency. Reddy’s design transformed the estate into a comfortable contemporary home that also showcases the client’s art collection. Each space was carefully designed with that collection in mind, with additional work introduced by Reddy, including pieces by Gerhard Richter, Marina Abramovic, Carlos Cruz-Diez, Erin Shirreff, Kate Shepherd, and Barry X Ball. The architecture plays directly with the art—for example, the curving main staircase winds around a 17-foot-long light installation by artist Pae White, chosen by Reddy precisely for the space.

Throughout the six-bedroom, eight-and-a-half-bath home, each room was treated as a separate design opportunity. “Part of the challenge was that every room is fairly large, and to create intimacy and comfort within a large space can be quite a difficult task,” Reddy said. “I took a sculptural approach to designing the spaces as a response. Each room was conceived as a ‘gallery’ of sorts, with curated objects, furniture, and art.” 

As would be expected of such a project, the detailing of each space is meticulous. From elaborate molding to a variety of floor finishes, every surface is considered. In some cases, Reddy worked with existing elements. “The lounge near the bar had walls with plaster palm trees—not a staple of modern design strategies,” she explained. “I decided to treat them as texture that was filled out by the curtains between them, and change the focus to the center of the room by creating a circular seating area that becomes a focal point, drawing you through the axis of the house.”

A major portion of the design was the choice of furniture. The dining room features a floating glass table designed by Poetic Lab. Another room centers around a thick telescope glass coffee table by KGBL. Colorful textiles play a key role in many of the spaces. In the living room, sculptural furniture is clad in bright African wax-print fabrics, one of Reddy’s own passions. “My Indian heritage gives me a very deep appreciation of textiles and texture,” said Reddy. “And that love informs every space, not with an Indian influence, but with a sensibility for spaces that feel sensual.”

Placeholder Alt Text

W South Beach

Zaha Hadid’s Miami Beach condo on sale for $10 million
The late Zaha Hadid’s Miami condo is up for grabs for a mere $10 million. The condo, located at the W South Beach, is 2,299 square feet with 3 bedrooms, 4 bathrooms, and a separate guest apartment, according to the listing. Hadid crafted the apartment out of two existing floor plans, opening them up to minimize walls and maximize views of the nearby Atlantic Ocean. Several balconies also wrap the condo, adding square footage for entertaining and enjoying the views of Miami Beach. The condo also features many custom pieces of furniture and artwork Hadid selected for the space; those items are being sold separately. Hadid, who passed away suddenly in Spring of 2016, was the first woman to win the Pritzker Prize. Her firm has continued to operate and its nearby One Thousand Museum is currently under construction in downtown Miami. You can watch a fly-through of Hadid's apartment and surrounding South Beach below. For more information, you can visit the Rex Hamilton listing here.
Placeholder Alt Text

1212 Lincoln Road

Perkins + Will unveils renderings of mixed-use Miami Beach development

Perkins + Will has revealed renderings of its new mixed-use complex in Miami Beach, which will anchor one of Miami’s liveliest corners, Alton Road and Lincoln Road Mall. The new structure will house a boutique hotel, European-style food market, retail spaces, and a 450-car parking structure.

Lincoln Road is already home to many modern buildings, such as Frank Gehry’s New World Center and Herzog & de Meuron’s 1111 Lincoln Road, which is part of the appeal according to Jose Gelabert-Navia, Managing Principal on the project. “We love doing projects in Miami Beach, because the architecture is already modern, contemporary, and cutting edge,” he said.

1212 Lincoln Road aims to speak to that tradition and engage the area’s walkable nature, providing a grand exterior staircase for access to the market and a second-floor balcony with views of the pedestrian mall.   

1212 Lincoln Road is scheduled to begin construction in 2017. The design team is led by Design Director and Principal Pat Bosch alongisde Alejandro Branger, Damian Ponton, and Carlos Vilato and Kricket Snow is the Project Manager.

Architect: Perkins + Will Client: Crescent Heights Location: Miami, FL Completion Date: 2018

Placeholder Alt Text

A Funny Thing Happened on the Way to the...

Faena Forum by OMA opens in Miami Beach
facadeplus_logo1
Brought to you with support from
Editor's Note: Our Facades+ Miami conference will take place January 26th and 27th at the Faena Forum. OMA partner and designer of the building Shohei Shigematsu will be the keynote speaker. Space is still available, register here Rotterdam-based OMA has designed three buildings nestled within a narrow plot of land between Miami Beach's famous Collins Avenue and Indian Creek Drive in Mid-Beach. The project is a significant contribution to the Faena District, a $1.2 billion project covering six blocks and integrating dynamic cultural, residential, hotel, retail, culinary, and public environments. OMA's structures are all governed by independent programs: a Forum with flexible theater uses, a Bazaar that retrofits a historic hotel with curated retail and event programming, and a state-of-the-art car park. The project responds urbanistically to two frontages: the luxurious private residential character of Indian Creek to the west, and the active public cityscape of Collins Avenue and public beaches to the east. Shohei Shigematsu, partner at OMA and the director of their New York office, led design efforts on the project. He commented: “Our creative partnership with Faena began with identity research and has evolved into urban design, programming, building-making, and scenography. These diverse investigations had a profound impact on the Forum's ability to accommodate the programmatic demands of functioning as a new typology for interaction."
  • Facade Manufacturer Giovanni Monti & Partners (GMP)
  • Architects OMA, Revuelta Architecture International, PA (Architect of Record)
  • Facade Installer Giovanni Monti & Partners (GMP)
  • Facade Consultants IBA Consultants, Inc. (Exterior Building Envelope); Reginald Hough Associates (Architectural Concrete Consultant); DeSimone Consulting Engineers (Structural Engineer)
  • Location Miami, FL
  • Date of Completion 2016
  • System reinforced concrete structural facade (Faena Forum); precast concrete (Faena Park)
  • Products Limestone plaster ultra-high-performance cladding with finish by Thermochromex; Steel facade system and Special System for Fixed Windows by Schuco
A central focus of the new district is Faena Forum, which opened to the public this week. The building is composed of two volumes—a cylinder and a cube— that are similar in size and can be combined or subdivided to support any type of production, from projects and commissions to performances, exhibitions, and events. The main entrance is denoted by a circular stair that descends from an impressive 46-foot cantilever. This leads up into the lobby of the building, which the architects elevated in response to concerns over rising sea levels. The design move freed up ground floor space for loading functions and helped to provide a canopy along Collins Avenue. The architects say this extended the public domain into and under the building. Shigematsu said the formal strategy of the Forum's radiused cantilevered facade was inspired by the firm's research into urban planning principles. “The Forum’s circular plan enables the public domain to expand, activating pedestrian movement within the district. A 45-foot cantilever allows the landscaped plaza to slip under the Forum along Collins, providing a dramatic sense of arrival.” The Forum's cantilever and the flexible interior programming are achieved through the structural system of the building, which is essentially a reinforced concrete structural skin. Shigematsu said the unique geometry of the facade is the resultant of arches and catenary curves along stress lines generated by the main entryway cantilever: "There is a logical force movement across the facade." This curvilinear geometry was overlaid with an orthogonal lateral load bracing grid in response to hurricane-strength design loads. The resulting performative patterning of the facade yielded 360 uniquely shaped voids that were infilled with custom glazed units. This system extends onto the cube volume where diagonal bracing picked up on structural forces generated from the cylinder's volume. "There are many ways to structurally achieve a cantilever through grids but we thought these arches looked more organic like sea shells and palm trees, so we thought this was quite fitting to Miami Beach's lush nature,” said Shigematsu. Set at the opposite end of the development site, Faena Park is OMA's other new construction addition to the district. The building is a state-of-the-art parking structure with a capacity for 81 cars, as well as retail spaces at the street and top level. The 28,000 square foot structure features a mechanical system with parking lifts that stacks cars two per space for maximum efficiency. An exposed glass shaftway on 35th street reveals the vehicular and passenger movement within the building’s structure. Shigematsu said the unique automated system of car parking interested the design team: "We are quite interested in the performance of a building, so we love this kind of mechanical building." The precast concrete facade features angled perforations allowing for ventilation and controlled views, subtlety reflecting the color of cars parked within. The panels were specified in three patterning configurations—opaque, inset, and outset—and are distributed onto the facade in correlation to programmatic activity. Due to Miami's high water table, a specialized "bathtub construction" allows for continuous parking underground to support valet parking, increasing parking capacity by over 150 cars. Bookended between Faena Forum and Faena Park is a historic Atlantic Beach Hotel, which was built in 1939 and designed by prominent Miami Beach architect Roy France, whose work includes the Saxony and Versailles. Scheduled to open in Spring 2017, OMA’s design preserves the building’s original facade details, while inserting a new intimate central courtyard, unified by privacy screen and a penthouse terrace with views to the Atlantic Ocean. The privacy screen doubles as a brise-soleil and is assembled from simple aluminum channel extrusions. The architects say this assembly helps to define the new courtyard as a negative volume within the existing building. Shigematsu said OMA's contribution to the Faena District was inspired by the urbanism of the Miami Beach site: "As a firm, we always like to have a sense of urbanism reflected in the building. So actually, making three buildings next to each other with three different programs was very easy, in a way, because you can actually produce a dialogue you have full control over. The historical structure that we preserved added authenticity to the project. It looks like an organic growth of the neighborhood." Also in the Faena District, across the street, is a new tower by Foster and Partners. OMA's project was designed roughly concurrently with the tower, and Shigematsu said that responding directly to Foster's building was not a priority, although there was an interest in unifying the buildings of the neighborhood though landscape design, paving and public art. "I think the dialog between our Forum, Foster's tower, and the hotel is actually quite interesting. In the end, Foster's balconies have a round profile, and our building [the Forum] is round, and the historic hotel has a curvature on the main facade."
Placeholder Alt Text

Miami Beach backs out of Zaha Hadid–designed parking garage
The City of Miami Beach has scrapped plans for a parking garage and public plaza designed by the late Zaha Hadid. Initiated in 2011, the project was supposed to replace two city-owned parking lots in the Collins Park neighborhood, situated behind the Miami City Ballet and local library. Initial cost estimates for the spiraling, all-white design came in at $50 million, around $23 million overbudget. The city and Zaha Hadid Architects (ZHA) collaborated on a design that brought costs down to $24 million, but city officials were not pleased with the more minimal garage 2.0: The structure had fewer parking spaces, the plaza was smaller, there was less space for retail, and the spirited signature curves of the original plan were muted or removed. Another version of the design (estimated cost: $29 million) was a good compromise for ZHA's local collaborator, Berenblum Busch Architecture. Gustavo Berenblum, principal, explained to the Miami Herald that the $29 million version retained the project's driving design elements, but that another price cut below that diminished the "essence" of the project. Hadid had a special connection the project: Although she lived mostly in London, she owned a second home near the planned garage. Next steps? The downtown still needs parking, so it's back to the drawing board. City officials will start the process afresh and request proposals for a garage that would also include housing on the upper stories. Perhaps the money saved on the project could go towards something pressing, like saving the city from mortal inundation.
Placeholder Alt Text

Designer envisions a Miami Beach that embraces the rising sea
This year's Art Basel/Design Miami was a wash. The tallest stilettos could not save feet from floodwaters that inundated streets and forced partygoers under small tents. Even when it's not raining, water bubbles up through stormwater grates and sewers, a result of the city's porous limestone bedrock. Miami Beach is a barrier island that is routinely battered by hurricanes and floods. With global warming, the bad floods will only get worse. The U.S. Army Corps of Engineers, NASA, and NOAA predict sea level rise between eight inches and six feet by 2100. For these reasons, Harvard GSD's newly established Design Office for Urbanization selected Miami Beach as its first focus site. Though unaffiliated with Harvard, a recent Florida architecture grad would make a great contribution to the program. Designer Isaac Stein, at West 8's New York office, envisions a solution for incorporating rising seas into Miami Beach's urban design, Vanity Fair reports. While completing an undergraduate degree in architecture at the University of Miami, Stein drafted a plan for a mangrove forest, raised buildings, canals, and other design interventions that will bend to, not fight, the rising seas. The plan focuses on South Beach proper, from 5th to 15th Streets. One of Miami Beach's main thoroughfares, Alton Road, would be raised on stilts to accomodate floodwater. Trams would replace cars, and bike lanes would be installed along Washington Avenue, roughly parallel to and a few blocks inland from the Atlantic. Historically, Miami Beach's western (bay) side was lined with mangroves. Stein's plan restores the mangrove forest to provide a natural buffer against rising water. Canals would be cut in the medians Michigan, Jefferson, and Lenox Avenues. The resulting fill could be used to raise buildings and roads 1.5 feet above grade, would safeguard the city against six feet of sea level rise.
Placeholder Alt Text

Miami Beach approves revised convention center plan by Fentress, Arquitectonica, West 8
The Miami Beach Design Review Board has unanimously approved the scaled-back renovation of the city’s convention center. The $500 million project is being led by Fentress Architects with Arquitectonica covering the structure’s facade, and West 8 overseeing landscape design. As AN wrote last month, despite the center's rippling aluminum exterior, the overall plan doesn't quite pack the punch of the more dramatic (and more expensive) one drawn up by Rem Koolhaas. That plan came out of the epic head-to-head matchup between Koolhaas and his former student, Bjarke Ingels. Koolhaas ultimately won, but the design was scrapped, so here we are. With the new plan set to move forward, we are getting a better sense of the development, especially of West 8's contribution: 12 acres of open space. In a statement, the firm explained that "the Convention Center’s existing 5.8 acre truck staging and parking lot is transformed into a new world-class public park with a plant palette that showcases the unique flora and botany of Miami Beach, and provides flexible lawn areas.” The plan also includes the Park Pavilion which has indoor/outdoor dining areas set underneath tall “concrete umbrellas.” The pavilion connects to a 3.5-acre park and a veteran's memorial that's also incorporated onto the site. Other components of the open space include a butterfly garden, ballroom terrace, and “bike-friendly pathway. The convention center is expected to break ground in December 2015 and open two years later. The park is slated to be ready in 2018. [h/t Curbed Miami]
Placeholder Alt Text

After a high-profile design competition, Miami Beach Convention Center dials it back
Remember that exciting design competition between Bjarke Ingels and Rem Koolhaas to revamp the Miami Beach Convention Center? Remember those two bold plans, all of those exciting renderings, and the official announcement that Koolhaas had won the commission? And then remember when the Miami Beach mayor said no to the whole thing and Arquitectonica was tapped for a less-expensive renovation? Well, now there's a new milestone in the convention center soap opera. That last part played out this summer and, a few months later, we know what the more fiscally-conservative plan will look like. Frankly, it looks more fiscally conservative. Curbed Miami, which is no fan of the new design, reported that Arquitectonica is doing the exteriors, Denver-based Fentress Architects is covering the interiors, and West 8 is overseeing landscape design. Overall, Curbed calls the new plan "more evolution than revolution." The most striking aspect of the $500 million design is the rippling aluminum facade that is made of fins and louvers and is attached onto the existing structure. The site also includes a cafe, a lawn, a nearly two-acre park along the Collins Canal, and a Veterans Memorial. Inside the convention center, Fentress is renovating the 500,000-square-foot exhibit hall and the 200,000 square feet of meeting space, and creating a new 80,000-square-foot ballroom. The Miami Herald reported that a design-build firm will be selected by the city in November, and that if everything moves forward, groundbreaking could happen after Art Basel next year with the center opening in 2017.