Search results for "miami beach flood"

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.

Two New York City neighborhoods heavily affected by Hurricane Sandy received City Council go-ahead for two new (and very different) rezoning plans last Thursday, September 7. The first was the approval of Mayor Bill de Blasio administration's proposed rezoning of Far Rockaway, a historically under-served coastal neighborhood. This is the neighborhood's first rezoning since 1961. The plan committed around $288 million to commercial development, public amenities, schools, and affordable housing in the downtown area. This includes more than 1,000 affordable housing units, 250,000 square feet of commercial space to attract new businesses and jobs, the neighborhood's first new library since 1976, and its first new park since 1960, according to local City Council member Donovan Richards. Additional funds will renovate and build new parks as well as improve open space at the public housing complex. This development plan is the result of two years of community engagement. For Staten Island's East Shore, the City Council approved the creation of a new Special Coastal Risk District. This plan, a response to flood vulnerability, will buy out two swaths of land – including parts of the Oakwood Beach, Graham Beach, and Ocean Breeze neighborhoods – and tightly restrict future development. Any land re-use will be restricted to the creation of open space. The goal of creating the Coastal Risk District is to form a storm surge barrier between the coast and developed areas. Of the 10 neighborhoods identified by the Bloomberg administration for rezoning after Sandy, the Staten Island's East Shore is one of only three neighborhoods that has advanced to City Council with an actual proposal addressing flood risk. In the plan, homeowners in the two areas of the Coastal Risk District will be offered a voluntary buyout of their homes at pre-storm values, and those who choose not to participate will be very limited in how they rebuild their homes. Those in affected areas now face the question: continue on living in a designated flood zones under the new, restrictive ordinances, or move to a more secure inland location but lose their home? For many, this is not an easy choice, and voluntary retreat is disproportionately skewed to affect low- and middle-income households. As New York approaches the fifth anniversary of Hurricane Sandy and watches Houston and Miami begin the process of recovering from Harvey and Irma, it's clear that the need to build resilient cities is more urgent than ever.

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.

This article appears in The Architect’s Newspaper’s April 2017 issue, which takes a deep dive into Florida to coincide with the upcoming AIA Conference on Architecture in Orlando (April 27 to 29). We’re publishing the issue online as the Conference approaches—click here to see the latest articles to be uploaded.

New York or Los Angeles?

These are the two contrasting models of urbanism that Raymond Fort, designer at Miami-based architecture firm Arquitectonica, cites when asked about Miami’s future. In New York, numerous walkable neighborhoods—whose density, convenience, and character are major assets—are connected by a robust public transportation system. In Los Angeles, low density and car-oriented urbanism is the norm outside the downtown core (though transit-oriented development has begun to spread in recent years). Many developers working in Miami are clearly enthusiastic about the New York model. However, that future isn’t guaranteed: The potential for car-dominated sprawl and other hybrid models still exist.

Arquitectonica is behind Brickell City Centre, a 5.4-million-square-foot complex of offices, luxury condos, a hotel, and ample retail south of Downtown Miami. Developed by Swire Group, Brickell is one of the many large, mixed-use developments in Miami that signals movement toward density. Phase one opened late last year, and phase two will entail an 80-story mixed-use tower.

Just north of downtown, there’s Miami Worldcenter, a 17-million-square-foot, 27-acre complex. It’s a joint venture by multiple developers, with Boston-based Elkus Manfredi leading the master plan and designing the center’s phase one, which is anchored by a 1-million-square-foot retail podium. Phase two is a $750 million convention center and hotel.

Development isn’t only concentrated in the urban core. About two miles north of Downtown in the Wynwood neighborhood, developer Moishe Mana and Miami-based Zyscovich Architects are poised to build a 9.72-million-square-foot, 23.5-acre development that will feature as many as 3,482 residential units, a mix of retail, office, and cultural programming, as well as an extensive public “Mana Commons” that will cut through the complex’s cluster of medium-rise towers. Dubbed Mana Wynwood, it won approvals last September. More like it may be on the way: In Little Haiti, the Eastside Ridge development will replace 500 townhouses with 7.2 million square feet of mixed-use development, and another project dubbed “Magic City” (also located in Little Haiti) would see an innovation center, business incubator, housing, retail, and other art-entertainment facilities arise across a 15-acre campus.

What’s driving all of these major concentrations of development? In part, affluent young professionals across the U.S. are moving to cities seeking walkable, transit-connected neighborhoods, and developers are eager to meet that need. But there are factors unique to Miami. One is the city’s zoning: The Miami 21 code, implemented some six and half years ago, has significant parking requirements that incentivize large developments. For example, in dense high-rise areas, the code mandates 1.5 parking spaces per unit. Consequently, smaller projects struggle to meet the logistical and economic challenges of incorporating that much parking into their site. Bigger projects can more easily integrate a parking garage into their lower levels. Furthermore, if a development covers nine contiguous acres, it can qualify for a Special Area Plan, an arrangement that allows developers more flexibility in situating parking and negotiating the rules of Miami 21’s form-based code. This maximizes the development’s value. Brickell, Mana Wynwood, and the Worldcenter, as well as virtually all of Miami’s major developments, are (or have applied for) Special Area Plans.

Miami’s geography is also part of the equation. John Stuart, professor of architecture at Florida International University and executive director of its Miami Beach Urban Studios, explained how wealth from the Caribbean and Central and South America has historically flowed into Miami. “We have this gravitational pull from the south,” he said. Affluent people from Chile, Venezuela, and elsewhere come to Miami seeking “these kinds of urban experiences where they’re safe, their products are confirmed as authentic, but they’re close to their own countries….”

But the city’s geography turns from an asset to a risk when one considers the threat of extreme weather and sea-level rise. Miami Beach, which sits a mere four feet above sea level (compared to Miami’s six feet), is regularly inundated during king (high) tides and is spending nearly half a billion dollars to raise streets, install pumps, and push back the waters. Faced with such uncertainty, Stuart sees mega-developments as “just overflowing with optimism” and the belief that climate change will be remedied, ameliorated, or far enough away to not warrant significant concern in the near future.

In the shorter term, how Miami 21 and public transportation evolve may be deciding factors in shaping the city. In Wynwood, the City of Miami Planning Department is testing out a new zoning overlay that alleviates parking requirements for developments with smaller units. If Wynwood ceases to become the exception, then dense growth may not be restricted to Special Area Plan developments and the downtown urban core.

This leads to the issue of public transportation. “That’s at the core of much of what’s fragmenting the city, holding it back economically, socially, culturally,” said Stuart. “There’s very little opportunity for people who live in a neighborhood they can afford to access other neighborhoods for employment, artistic production, or other means.” Miami is in the process of funding and planning an expansion of the Metrorail, the city’s above ground heavy-rail rapid transit system. Eighty-two miles of new rail and six new lines—costing $3.6 billion—would connect the city’s burgeoning neighborhoods with each other and downtown. Complicating the situation are Uber and Lyft, whose low rates can be competitive with public transportation. Moreover, according to Fort, the prospect of driverless cars adds a new level of uncertainty to major public transportation investment.

A conversation about public transportation and mega-developments must also include the question of affordability. According to a 2016 study from the New York University Furman Center, in Miami “85 percent of recently available rental units were unaffordable to the typical renter household,” making the city the least affordable for renters among the country’s top 11 metro areas. But there are glimmers of hope: As development moves from the urban core and the waterfront to places like Wynwood, more non-luxury units may come online. Additionally, the city is already taking steps to increase affordable housing stock: A measure passed in late February would reward residential projects that feature affordable units with greater density and less required parking. However, while the downtown core and Wynwood don’t have large existing communities facing gentrification, that challenge may arise elsewhere. In other instances, density alone may deter development: Earlier this year, local opposition stopped a 1.2-million-square-foot Special Area Plan development east of Little Haiti.

For a firsthand experience, Fort recommends riding the Metrorail to survey the city—from there, you can see pockets of development (Coconut Grove, Little Havana, Brickell, Downtown) that he thinks could become medium-density nodes in a new polycentric city. He also cites neighborhoods like Edgewater, Wynwood, and the Design District that aren’t on the Metrorail but are still growing. “That’s what I think the next phase of development in Miami is,” he said, “where we look at neighborhoods and understand what’s missing” to make them mixed-use, denser, and affordable. Optimism for density, however, is just one of many factors—climate change, transportation technology, affordability, and zoning codes, to name a few—that will shape Miami in the years to come.

This article appears in The Architect’s Newspaper’s April 2017 issue, which takes a deep dive into Florida to coincide with the upcoming AIA Conference on Architecture in Orlando (April 27 to 29). We're publishing the issue online as the Conference approaches—click here to see the latest articles to be uploaded.

The moon over South Florida looked like a swollen grapefruit in November, its reflection rippling off pools of ocean water that bubbled up through storm drains, crept over seawalls, and swallowed Miami streets. It was a “supermoon,” about 17,000 miles closer to Earth than usual, according to NASA, arriving just in time to supercharge the seasonal high waters known as king tides. The water made an island out of the lifeguards’ shack on Matheson Hammock Park, swept “No Wake” signs from marina harbors onto city streets, and marooned a live octopus in a parking garage along Biscayne Bay.

On days like these, it’s obvious that much of the region now home to about 7 million people began as a network of swampy canals meandering from the Everglades to the ocean. Sometimes nature conspires to remind the city of this fact, as it did in November 2016.

Lately those reminders have become more frequent. The rate of sea-level rise has tripled over the last decade, according to a recent study from the University of Miami, bringing with it more frequent coastal flooding. The U.S. Army Corps of Engineers projects that Miami-Dade County will see about 15 inches of sea-level rise by 2045. And because South Florida sits on porous limestone bedrock, saltwater is not just encroaching on coastal communities, but gurgling up from below.

Right now it’s a nuisance, but over the lifetime of a mortgage, flooding in South Florida could threaten tens of billions of dollars of real estate and upend development in the country’s 10^th largest metropolitan area. Architects, planners, and developers are just beginning to overhaul the urban landscape, laying the groundwork for a sweeping transformation of building codes, municipal infrastructure, and design norms that could save the city from rising seas.

The crucial question is: Who will change that built environment? Will it be architects and city officials, safeguarding South Florida against the effects of climate change as the world’s living laboratory for so-called climate resiliency? Or is nature coming to reclaim Miami as a swampland?

Higher Ground

South Florida’s development boom is so lucrative it seems inevitable that it will continue. Before the city was founded in 1896, however, it wasn’t clear that the mouth of the Miami River would ever be anything more than a mosquito-infested trading post—until the industrialist Henry Flagler dragged his railroad south from Palm Beach along the highest ground he could find: a coral ridge between 12 and 25 feet above sea level. The tracks reached Biscayne Bay on April 22, 1896. Three months later Miami was incorporated.

Today, Miami is a bustling, sprawling urban landscape that has been remade to suit cars, but some planners say that the same limestone ridge Flagler used could anchor climate-friendly development.

The Urban Land Institute is drafting a plan for the Arch Creek Basin, a mostly low-lying area straddling 2,800 acres and four municipalities, as well as unincorporated Dade County, around one stretch of the railroad. Primarily poor people of color, the residents of Arch Creek face a severe threat from sea-level rise—one that could eventually force them to abandon the area.

At a charette in November, designers Gustavo Sanchez-Hugalde, Max Zabala and University of Miami professor Sonia Chao presented their idea for a flood-resistant transportation hub at Northeast 125th Street. It would be transit-oriented development, dense with mixed-use buildings and affordable housing, but also with a health clinic, back-up generators and other resources that could come in handy during a disaster.

“Think of these as not just transit but resilience stations,” said Chao.

In the long run, South Florida’s scarcity of higher ground could also make its elevated areas more valuable as waters rise. That could exacerbate gentrification in minority neighborhoods with relatively high elevations like Liberty City and Little Havana.

“It’s a matter of time until investors will head for the higher land,” said James Murley, chief resilience officer for Miami-Dade County. But climate change isn’t forcing people out of their homes just yet. Asked if climate change is a driving force for gentrification in Miami, Murley is skeptical, but others are starting to look toward the future.

“Right now we’re experiencing more of the classic gentrification that comes with a growing real estate economy,” Murley said.

While the mainland mulls long-term plans to adapt to rising seas, the coastal barrier island of Miami Beach is busy building.

Planning for High Water

Over the next five years, the municipality of Miami Beach will spend $400 to $500 million on flood defenses, installing 80 new pumps, raising roads, and strengthening seawalls across the city. So far the city has funded about $200 million of that project by more than doubling stormwater fees.

A law passed last year requires the owners of buildings larger than 7,000 square feet to pay a fee if they don’t get certified as at least LEED Gold. The builders of properties that don’t get LEED certified at all get slapped with a fee equal to 5 percent of their construction costs. That could help raise money for future infrastructure investments.

Miami Beach also requires new buildings to be at least one foot above the base flood elevation of six feet above sea level. As an additional incentive for developers, the city won’t count the raised elevation of a flood-proofed site toward the project’s height limit or floor-to-area ratio.

Miami Beach environment and sustainability director Elizabeth Wheaton said the new requirements wouldn’t stunt development.

“Developers want to build here,” Wheaton said. “They’re going to do what’s required.”

The first building completed under the new elevation requirements is Jean Nouvel’s Monad Terrace, a 59-unit luxury residential tower on the waterfront in South Beach. Nouvel built Monad Terrace’s ground floor more than 11 feet above sea level, elevating all of the building’s interior spaces and its entrance high enough to ward off flooding.

Building high is an increasingly popular choice for private residences, too. The local architect Rene Gonzalez, known for his high-end modernist houses, is building four new homes in the area that are modeled on mangroves—propped up with stilts and columns for an additional layer of privacy that also affords the owner some long-term insurance against flooding. Gonzalez designed his own home on Belle Isle the same way.

“It’s a responsibility that every architect should take on,” said Gonzalez. “Building a house up is not a luxury. It’s a necessity in our current environmental climate.”

For now, however, most of that work is clustered in tony Miami Beach. In Miami-Dade County at large, where nearly half of all residents live in poverty, there are fewer options.

Because saltwater rises up through South Florida’s porous limestone bedrock, it’s not just coastal communities that are at risk. Many of the most threatened areas lie miles inland, in suburban and often low-income areas of Miami-Dade and Broward Counties that can’t afford to elevate all their homes and streets.

“It’s unavoidable that there will be relocations,” said Anthony Abbate, an architect based in Fort Lauderdale in Broward County, just to the north of Miami-Dade. “It’s a difficult conversation but I think we’re on the verge of having it. This has to be a conversation with the people, with the public.”

Miami-Dade is in the middle of a vulnerability analysis for major infrastructure, from its airport to its water system, identifying “adaptation action areas” where city planners might best focus their efforts.

“There’s a lot of work that needs to be done and it needs to be done in short order,” said Abbate.

Some of that work is already underway. The newest addition to the county’s hospital system will pioneer a flood-friendly approach in the recently incorporated town of Doral, just west of Miami International Airport. Designed by Perkins + Will, Jackson West hospital will devote most of its 27 acres to green space and a retention pond to store runoff not just from the built-up part of the site that will house the hospital, but from the developments surrounding the site. Construction is set to begin later this year and the hospital could open in 2020.

Risk and Reward

Perhaps before it faces up to the force of nature, however, South Florida may have to reckon with its runaway real estate market. Wayne Pathman, a land-use attorney and chair of Miami’s Sea Level Rise Committee, said the face of Miami’s climate crisis might not be a natural disaster, but a collapse of the insurance market.

“Flood insurance is going to be the tip of the spear,” Pathman said. “Unlike hurricanes, which are a single event that may not happen for years at a time, sea-level rise is a constant. Once it’s here, it’s here, and it’s never going to get better.”

Pathman said some of his clients with property in Miami Beach and North Beach are already seeing a 500 percent increase in their flood insurance premiums. For now, that’s manageable, he said, because they were probably underpriced in the first place.

“When that jumps as high as $50,000 over the next 10 years, which it will, that’s alarming,” he said.

Areas that today flood two or three times each year could see water in the streets every week, and banks may stop offering mortgages there. That could have ripple effects across the region, Pathman said, jeopardizing tourism dollars and property-tax revenue that Miami-Dade and Broward counties will need to fund new climate-resilient infrastructure.

“Those are our only two industries here in South Florida,” Pathman said. “If we don’t start dealing with the insurance risk, all the ideas we come up with for future infrastructure will be cost-prohibitive because we won’t have any money.”

Reinaldo Borges, an architect who sits on the sea-level rise committee with Pathman, said the luxury houses and museums already built to deal with higher seas show climate-resilient design can provide a return on investment.

“If you design correctly,” he said, “you shouldn’t be worried about insurance risk.”

Borges has a checklist for clients who are looking to invest in the future of Miami real estate—not just flip property for a profit. It includes elevating building mechanical systems, installing hurricane-proof windows, and planning for severe floods.

“For a building like that, all you have to do before a storm is bring your pool chairs inside,” he said.

Climate-proofing one building may be a straightforward design problem. Saving a metro region of 7 million is something else.

Borges came to Miami when he was six years old, brought from Cuba by parents who sought a better life for their children. Today he has two daughters, ages 23 and 29, and he has the same hope for them.

“When you’ve got political leadership in denial, these are challenges I’m concerned about,” said Borges. “This is a world-class city, but people are starting to ask if this is the place they really want to invest.” 

Walter Meyer and Jennifer Bolstad, founders of and partners in Local Office Landscape and Urban Design (LOLA), are earning a reputation for their innovative resiliency projects at the edges of civilization—coastlines and islands. With a multipronged approach that they describe as part architecture, part environmental remediation, and part community organization, Meyer and Bolstad are battling the effects of environmental change on cities and their populations. Managing editor Olivia Martin talked with them about LOLA’s approach to resiliency and future-proofing the planet—from working on post-Hurricane Sandy conditions in the Rockaways to remediating coastal areas of Florida.

The Architect’s Newspaper (AN): You say that resiliency is the new sustainability. Why?

Walter Meyer: It’s a new buzzword, so people confuse it and interchange it with sustainability as though they are the same thing. But sustainability is a derivative of Frederic Clements’s climax theory, in which a field, for example, will change each decade, from soil to weeds to shrubs to trees and then climax as a hardwood forest—this is a snapshot of nature in 3-D.

What emerged after World War II was a new theory of the natural cycles of time. Rather than seeking an equilibrium theory of nature, there is a disequilibrium, where nature is trying to balance itself and adapt to change. Those who can anticipate and respond to change quicker are the ones who have the upper hand.

The big difference is that resiliency is dynamic and changing, while sustainability is static. In terms of scale, sustainability is holistic and more big-picture, and resiliency is more local. So I think of sustainability as an old model but still an important tool.

AN: Do you have examples of where sustainability failed us and why it should no longer be considered the gold standard, so to speak?

Jennifer Bolstad: Well, a few years ago, I consulted on One World Trade Center, which is a very sustainable building [LEED Gold]. But when the mechanical system drowned in Hurricane Sandy and couldn’t be used anymore, the firm in charge ultimately decided it was cheaper to abandon it and leave several floors uninhabited rather than fix it.

Meyer: Also during Hurricane Sandy, all of the buildings that ran on photovoltaics failed because the city grid was down. So, literally, every single building with solar was down. This is because there is a law that if the grid goes down, you can’t back charge the line with your solar panels, because you’ll zap the workers trying to fix the grid. Since then, they invented a hybrid inverter that “islands” the building into a microgrid, so it can function independently off of the grid. There needs to be a dynamic relationship with nature, and we should be creating multilayered systems.

AN: You have a lot of work in Florida right now that deals with water management. How does resiliency factor into those projects?

Meyer: All of the articles written about Miami focus on the ocean and city. It’s all about the ocean—and that makes for good headlines. But what’s missed is that Miami’s most vulnerable areas are in the Everglades, on the west side of the city, because they have freshwater, five feet higher than the ocean, that can’t become diluted with salt water or else Miami loses its water source.

The area near Everglades National Park is particularly at risk because the main flow of the water runs north–south, down from Lake Okeechobee to Florida Bay, and a secondary flow of water runs east–west—like a spine and ribs. Originally, the secondary water flow moved through transverse glades and occasionally wet bogs and sloughs. Since the channels weren’t actual rivers, the city filled them in, and now, when it rains, the houses on those streets along these former sloughs flood. The homes are considered Repetitive Loss properties and the owners cannot collect insurance for the damage anymore. The buildings’ foundations are cracking, due to the water infiltrating the alkaline bedrock, literally melting it. We are trying to open up more options to the people who are stuck in these houses but don’t want to leave their community.

Normally, there is a lot of discussion about design activists, but we are more like community organizers—we want to engage the residents themselves. It’s a lot of listening and then designing and showing them what legal options are available, or creating new ones. One option is a CLT, a community land trust—where everyone buys into this idea, and you work with a public–private partnership, such as a developer and the county. For this neighborhood, it’s about creating high density along the edge of the vulnerable corridor, along the slough of the transverse glades, and doing this three blocks at a time.

If you can organize just three blocks—the center of the slough, a transitional, and a bank—then this creates a housing swap, where the residents can continue their normal lives and not have their schedules disrupted. So, for example, you can move out of the home into a temporary housing unit; then the home will be demolished and turned into a flood storage park, and you will have the option of moving or the right of first refusal to a new high-density, 40-percent affordable housing unit nearby. This makes more sense than simply moving everyone to higher ground because, then, those who are already at higher ground could be dislocated due to rising real estate costs—already Florida developers are looking at luxury housing inland—and this creates new levels of climate refugees.

AN: So, resiliency aside, is relocating more responsible than fixing?

Meyer: Well, that is what leads to climate gentrification; the issue of scale is a major one. If you take a holistic approach and just get everyone out of harm’s way, then you aren’t paying attention to the social fabric. For example, Staten Island was a state buyout project; the government essentially said, “We’ll buy your house, and you can take the money and run.” The problem with that is then the people basically had to move out to Newark because the buyout price point doesn’t acknowledge the gentrification, and $200,000 or $300,000 won’t get you another house in the city. In the Edgemere Urban Renewal Area, in Rockaway, the Department of Housing Preservation and Development and the Office of Recovery and Resiliency offered more options than just a buyout—such as housing swaps and other solutions at the neighborhood scale.

Bolstad: We focus on the built environment in a way that looks at how cultural issues touch the ecological issues. In the Florida project, people very much want out of their houses that are constantly flooding, but they still want to stay within a five-mile radius so they can be near family and keep their routines. It’s not a one-size-fits-all approach, even if you believe in a long-term retreat from those areas. Otherwise, you end up with people who are not there by choice, like when Robert Moses dislocated people in the Bronx in the 1960s and moved them out to the beach. Economically vulnerable populations ended up in environmentally vulnerable areas.

And it’s not just the built environment. Even if we aren’t preserving the area for housing in the long term, then the environmental situation needs to remain. That barrier [the Rockaway peninsula] is the first line of defense in the city and Lower Manhattan, and, without active management of the environment of that place, it risks the rest of New York City.

Meyer: I like to quote my mentor and city planner Ronald Shiffman when we talk about these issues: “These disturbances don’t discriminate, but our reaction to them can.” We want to make the most just city we can.

For more on LOLA's projects, see their website.

Tantalizing uses of physical space and the built environment were integral to a wide range of the 44 films from around the world presented at the Film Society of Lincoln Center’s 54th New York Film Festival. From those that introduce or immerse you in their locales to those where architecture is at the heart of the story, there was a lot to see. In the category of films with distinctive locates, check out:

• Abacus: Small Enough to Jail is set in New York’s Chinatown.
• Neruda follows the poet and politician’s exile in 1948 Chile.
• I, Daniel Blake takes place in bleak, brutalist Newcastle, United Kingdom.
• Moonlight is located in Liberty City, the poor, 95% black community in central Miami.
• Karl Marx City is set Chemnitz (renamed Karl Marx City by East German from 1953 to 1990) and features Soviet-style factories, office buildings, and tower blocks.
• Certain Women is mostly set in rural Livingston, Montana, a small, central casting Western town with only human-scale buildings and no chain stores.
• The Human Surge, where viewers walk behind a character traversing Buenos Aires, Argentina through flooded streets and into houses, supermarkets, and tower blocks before flipping to Mozambique and then an ant colony.
• A Quiet Passion, where poet Emily Dickinson is confined to her 18th century home in Amherst, Massachusetts.
• 20th Century Women is centered in a 1906 Mission-style Santa Barbara house under constant renovation—the ceiling is taken down to its substructure, there's talk about plaster and woodwork, sanding the balustrade, repairing the green tile fireplace.
• The Settlers, which graphically shows, from a drones-eye-view, how the West Bank settlements are deeply—and permanently—entrenched in the infrastructure.
• My Journey Through French Cinema, whose director and producer Bertrand Tavernier shows us clips of his favorites, including The Things of Life (Les Choses de la vie, directed by Claude Sautet) where Michel Piccoli plays a Paris-based architect.

Other films use architecture more centrally, almost as characters: Paterson, where a bus driver (Adam Driver) navigates his route and walks his dog through this manufacturing town (complete with waterfalls) that was the home of poet William Carlos Williams, artist Robert Smithson, and comedian Lou Costello, half of Abbott and Costello. All the Cities of the North, an elegy to lost utopias, features abandoned government buildings laid out in star-shaped constellations. They were once a Yugoslav resort complex in Lagos, Nigeria that was transformed by residents for their own use. Then, there is a story about Brasilia, where a second, parallel city was built by the workers for their use during construction and unplanned by architects. When the Oscar Niemeyer and Lúcio Costa-designed city was completed, the workers’ city was destroyed by flooding the area to form a lake. The ruins are now under water. My Entire High School Sinking into the Sea is an animated feature showing blueprints of Tides High School, perched on a bluff on the Pacific Ocean, with designated floors by year: freshman, sophomore, junior, senior. Permits were falsified—discovered by a journalism student while in detention—so an extension could be built on a fault line. An earthquake causes the sinking disaster as students try to climb to the top of the building to escape. In the Death of Louis XIV, where we are claustrophobically held in the bedchamber of the dying Sun King during his last days, we feel like real-time witnesses. Louis says to his great-grandson and heir, the future Louis XV, “Don’t imitate me in … the love for the buildings … Instead, make peace with your neighbors.” The candlelit room is decked with gold brocade walls and red silk, and all who are present are festooned with gigantic wigs in elaborate coiffures, even the dying king. The film started as a performance commissioned by the Pompidou Centre. And then there are those films where place is a primary element. Dawson City: Frozen Time is an extraordinary film from the maker of Decasia that employs filmmaker Bill Morrison’s trademark use of decomposing archival footage. Here it is used to tell the story of this Gold Rush town in the Yukon, and how the history of early cinema is intimately intertwined with its fortunes. We get to know the town—its business district burned down and was rebuilt each year for its first nine years, with the population swelling and shrinking along with the gold rush like a fever dream. Its hotels, dance halls, casinos, and restaurants, have names like the Palace Grand, Savoy, and the Auditorium. The personalities connected to Dawson City would make you think it was a vital nexus: Donald Trump's grandfather, Friedrich Trump, ran hotels and brothels, and formed the foundation of the family fortune. Sid Grauman, who went on to own cinemas including Grauman’s Chinese Theater on Hollywood Boulevard, was a newsboy; Alex Pantages, a bartender, got the idea for his movie palace empire here. The Guggenheim fortune was made extracting minerals and brothers Daniel and Solomon started the Yukon Gold Company, which came to dominate the field here. The Dawson City of this era was represented in many films, including Charlie Chaplin’s The Gold Rush, 1925. Dawson City was the end of the line for cinemas, and distributors were unwilling to pay return carriage for film prints after screening. Many reels were disposed like all garbage, i.e., dumped in the Yukon River, but others were buried and were unintentionally preserved in the permafrost. During excavation of a site for the construction of a new recreation center in 1978, 1,500 reels of silent-era nitrate footage were unearthed, and through a series of lucky breaks, their importance was recognized and transferred to Canada’s National Film, Television, and Sound Archives, in Ottawa where 522 reels totaling 500,000 feet were deemed salvageable. Morrison weaves together these factual stories using the fictional silent films for a remarkable portrait of a town. In Aquarius, Clara (Sonia Braga) lives in a small 1940s apartment building directly across the street from the beach in Recife, Brazil. A former music critic, she is the only remaining resident, whereas everyone else has been bought out by a developer that intends to tear it down and build a high-rise. The one thing they will keep is the name, Aquarius. Clara is under intense pressure to move from her children, relatives of those who have sold but can’t yet collect, and from the new owners. Rather than tactics employed by New York City landlords like cutting off electricity or water, the developers throw a wild party, complete with porn-shoot orgy in the apartment directly above, leave feces on the staircase, hold a religious event with queues of people entering the site, and most dramatically, infest the empty apartments with termites who make dramatic patterns across the walls as they destroy the integrity of the building structure. At the Cannes Film Festival, Braga and writer-director Kleber Mendonça Filho drew a parallel between the film and the impeachment of Brazilian President Dilma Rousseff, which they say was a coup, demonstrating the rampant cronyism and corruption of then country. There was one film shown that is directly about architecture. Jean Nouvel: Reflections, emphasizes the architect’s use of light and geometry, the bold and the delicate, nostalgia and interpretation. We are taken to the Institute du Monde Arabe, the Philharmonie de Paris, National Museum of Qatar, Muse du Quai Branly, Jane’s Carousel, 40 Mercer St., 53 W. 53 St., Louvre Abu Dhabi, Doha Tower, and the Cartier Foundation, each responding to locale. Nouvel talks about the game he plays between framing and height to allow discovery of the city beyond. The film is directed by Matt Tyrnauer, whose Citizen Jane: Battle Cry for the City on Jane Jacobs will open the DocNYC film festival next month. ------------------------------------- Abacus: Small Enough to Jail, Steve James, director Aquarius, Kleber Mendonça Filho, director All the Cities of the North, Dane Komljen, director Certain Women, Kelly Reichardt, director Dawson City: Frozen Time, Bill Morrison, director The Death of Louis XIV, Albert Serra, director The Human Surge, Eduardo Williams, director I, Daniel Blake, Ken Loach, director Jean Nouvel: Reflections Moonlight, Matt Tyrnauer, director Karl Marx City, Petra Epperlein, Michael Tucker, directors My Entire High School Sinking into the Sea, Dash Shaw, director My Journey Through French Cinema, Bertrand Tavernier, director Neruda, Pablo Larraín, director A Quiet Passion, Terence Davies, director The Settlers, Shimon Dotan, director 20th Century Women, Mike Mills, director For more on the festival, which ran September 16 to October 30, see their website.

In terms of cities and climate change, Miami Beach is the biggest canary in the coal mine. At approximately four feet above sea level, this 19-square-mile strip of artificial and natural islands faces frequent flooding during storms and high tides. (Last September’s king tide—a colloquial term for high tide—reached 2.2 feet.)

The city is aggressively fighting the watery onslaught: Over the next five years, Miami Beach will spend $400 to $500 million in anti-flooding defenses that include pumps, raised roads, and seawalls.

This is money well spent. The Miami area sits on limestone that absorbs floodwaters and can force the deluge back to the surface, making flood control a special challenge. Still, environmental concerns aren’t stopping new developments across Miami. The economic timeframe for developers (and the residents buying and renting) remains relatively short compared to the long-term threat.

In addition to flooding, another, more insidious threat looms: Miami maintains its Biscayne Aquifer by channeling freshwater from Lake Okeechobee to push back against saltwater intrusion, which means the region may have to choose between flooding or drinking salt water. By 2060, some estimates place sea-level rise at three feet. Further down the line, questions of how federal and private insurers will provide flood coverage —and how eager banks will be to issue mortgages—may also arise.

Over the past 15 to 20 years, Miami has become a city of condo dwellers, a shift that transformed the cityscape’s pattern of suburban sprawl and single family houses under palm trees to coastline-following mountain ranges of luxury towers that reach for the sky. In the 1980s, the Golden Girls lived in a house, but when the Kardashians came to town, they chose a condo in South Beach. 

As more people flooded into Miami’s urban areas, the city took action to help new buildings and infrastructure adapt to the urban shift. In 2008, Miami approved Miami 21, the first New Urbanist zoning code to be applied to a large, preexisting city.  The form-based code was applied to a citywide rezoning and was a huge test for an urban planning movement that is more common in small towns like Seaside, Florida, the famous Truman Show locale. The code, enacted as the growing city was quickly running out of land, has led to a reassessment of how Miami works, and has prompted a more logical regeneration of the city’s urban core.

New and old Miamians are moving into towers in areas around Downtown, like Edgewater, Brickell, and Midtown. Buildings are being built for people, not cars. Street frontages are activated. Parking garages are hidden.

Traffic, however, is getting worse. Mobility suffers with inadequate mass transit, yet people keep coming as international appeal remains as high as ever. As Miami’s density increases, the city needs more effective mass transit. Miami’s growth is reaching a breaking point that infrastructure, backed by new policy, is designed to address.

MiamiCentral, a massive new train station and mixed-use mega project, is being built in the center of Downtown Miami where an older train station, demolished half a century ago, once stood. The new station, with residential, commercial, and retail space, started as a terminal for an intra-metropolitan area high-speed rail line that in a few years will take passengers to Orlando in about three hours. MiamiCentral will also be the terminus for a new spur of Greater Miami’s commuter rail system, Tri-Rail, which will bring commuter rail into downtown for the first time.

Other new transit improvements are being considered across the city and the greater metropolitan area, including an expanded trolley bus system, a westward rail connection, a northeast light-rail corridor, and a light-rail line connecting to Miami Beach across Biscayne Bay.

Although one of Miami’s newer claims to fame, or at least notoriety, is high-design parking garages, excessive parking requirements meant for a world where everyone has a car are outdated. Parking is a persistent issue with Miami 21, as standard parking minimums are unchanged from the previous auto-oriented zoning code. The requirement to build 1.5 parking spaces per unit means that infill construction on Miami’s standard-sized 50-foot lots is unnecessarily costly and physically impractical, if not downright impossible, once driveways are considered.

Last October, the city passed a new rule that allows up to 50 percent parking reductions in transit-accessible areas with a 100 percent reduction for buildings under 10,000 square feet. The changes aim to encourage the small-scale infill urbanism that so often forms the basic building blocks of successful older cities. The main advocate behind the reduction, developer Andrew Frey, is building a small infill development without parking in Little Havana that he hopes will inspire others.

As new neighborhoods grow, special zoning districts are being created to suit them. In Wynwood, Miami’s famed mural district, the existing industrial zoning became increasingly unsuitable for a creative neighborhood where people live, work, and go out. A requirement for live-work housing created large and expensive units, not the smaller, more affordable housing that locals desired. Street conditions were basic and not conducive to the pedestrian-driven neighborhood. Last year, the Wynwood Business Improvement District commissioned a master plan that became the Wynwood Neighborhood Revitalization District zoning overlay in July 2015. The code’s standards weren’t adequate for the evolving neighborhood, but a provision allows for these kinds of overlays.

Since the implementation of Miami 21, neighborhood groups and developers have created overlays like the Wynwood Neighborhood Revitalization Districts and Special Area Plans (a similar tool developers use when creating a large assemblage) to create neighborhood-appropriate zoning. Miami 21’s revisions at the neighborhood scale demonstrate both its flexibility and imperfections, but it clearly creates a nuanced framework for the city that’s simultaneously logical citywide and hyperlocal to the human scale.

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.