Search results for "Miami Beach"
Jean Nouvel’s Miami Beach high-rise is back on schedule
Miami’s flyaway cranes could damage high-rises during Irma
While Houston and other parts of Texas grapple with the fallout from Hurricane Harvey, another storm, Irma, has shaped up to be the third most powerful storm ever recorded in the Atlantic, with Category 5 winds measuring up to 185 miles per hour as of Wednesday evening.
Having watched Irma pummel through the Leeward Islands in the Caribbean, the City of Miami—which has long known of its innate susceptibility to flooding and erosion—prepares itself for what may well be an incredibly devastating blow this weekend.One of the more urgent concerns raised by the city is the damage that could be wrought by 20 to 25 construction cranes scattered throughout the city, which can withstand winds only up to 145 miles per hour and take two weeks to properly disassemble. Since the storm's potential path was only projected last Friday, there will not be enough time to take down the equipment.
Late yesterday, Miami-Dade County issued a mandatory evacuation order for its coastal cities, including Miami Beach, and the city is continuing its preparation efforts by clearing the downtown harbor, closing public parks, and supplying sandbags for flood protection efforts. For those living in affected areas, the Florida State Emergency Response Team has activated an Emergency Information Line at 1-800-342-3557.
Consider that the counterbalances on tower cranes weigh about 20,000 to 30,000 pounds.— City of Miami (@CityofMiami) September 6, 2017
While seafood might be de rigueur in the culinary scene of Miami, few local restaurants can lay claim to the unique, boldly crafted environment found at Bazaar Mar, the newest eatery in the SLS Brickell tower. The ambitious interior design by Philippe Starck and innovative cuisine by chef José Andrés marks the team’s fourth collaboration under the Bazaar name, an offering from hospitality developer SLS Hotels. The company, which owns similar real estate ventures in Beverly Hills, South Beach, and Las Vegas, recently completed the SLS Brickell, one of many new high-rises sprouting up downtown and in the Brickell neighborhood.
SLS enlisted the distinctive architectural skills of Miami-headquartered Arquitectonica to design the tower, which also houses over 450 condominiums and a 132-key hotel. Towers like SLS Brickell are changing the Miami skyline while also creating a rich landscape for projects like Bazaar Mar to serve the burgeoning resident and tourist populations.
When it comes to the food, however, SLS entrusted Spanish-born Andrés—a James Beard Award winner and pioneer of molecular gastronomy—to be the charismatic public face of Bazaar Mar. His vision for the menu is an attractive mix of disparate textures, aromas, and aesthetics. This spirit of inventiveness translates seamlessly into Starck’s scheme for the interior design, which equals Andrés penchant for theatrics and hyperbole. Starck crafted a nautical fantasy complete with mythical sea beasts, picturesque coastal vignettes, and a distinctive white-and-navy color palette.
The 7,200-square-foot Bazaar Mar is composed of two dining rooms and a raw bar materially connected by more than 6,000 hand-painted tiles featuring the drawings of artist Sergio Mora and manufactured in Spain by Cerámica Artística San Ginés. The azulejo tilework, painted in a Delft Blue pastiche typical of 16th-century Dutch pottery, completely covers the walls and ceiling. The murals are ornamented with gilded crustaceans and cabaret-style mermaids that dissolve otherwise-solid walls into surrealist other worlds. Likenesses of people involved in the project, including Chef Andrés, appear throughout the murals. The furnishings include smooth marble-topped tables, upholstered love seats, and stark white wooden chairs, creating an evocative atmosphere from which the maritime narrative emerges.
The bright dining room contrasts with a offset cocktail bar finished in black and gold tiles of the same stylized motif. The total effect of Starck’s design reflects both its seaside locale and the rapidly evolving Miami art and architecture scene.
More is More
Why is Maximalism taking over the world?
Maurizio Cattelan and Pierpaolo Ferrari’s maximalist vision of domestic bliss involves saturating every corner with color, texture, and pattern. Their traveling installation of housewares by Seletti, in collaboration with their magazine TOILETPAPER (mounted this past December by Fondation Beyeler in Art Basel Miami Beach as Maze of Questions, and in New York’s Cadillac House this spring as TOILETPAPER Paradise by Visionaire), covers a bedroom, bathroom, and kitchen with images that are both seductive and absurd—blood-red nail polish on disembodied women’s fingers, cloudlike kernels of popcorn floating through space, and large-scale spaghetti noodles—on ostensibly every available surface, embracing both an Italian postmodernist and a 1950s American-housewife nostalgia.
The installation coincided with Norwegian artist Bjarne Melgaard’s dystopic department store installation, The Casual Pleasure of Disappointment, a February “happening” in collaboration with Red Bull, the lifestyle brand formerly known for its energy drinks. Melgaard created a derelict department store and stuffed it not only with clothes designed in reference to a few of his favorite things (Bash Back!, a pro-queer activist group, for example, or Chris Kraus’s landmark novel I Love Dick) but also with selections from his own wardrobe, piled like heaps of garbage for the public to take, Hunger Games-style.
Meanwhile, in Washington, D.C., Yayoi Kusama’s ongoing Hirshhorn Museum retrospective features an array of her iconic Infinity Mirror Rooms, in addition to The Obliteration Room, a seminal 2002 work in which viewers are given dot stickers of various colors and sizes to cover the interior of an all-white home—refrigerator, tables, chairs, sofa, and all. Over the course of the exhibition, the interior becomes an increasingly vibrant, pulsing collage.
These four distinct artists share a common aspiration for the absolutely maximal, which, contrary to the abstract, discrete gestures of minimalism, creates an extremely personal alternative physical landscape. Art bleeds into the design sphere, taking into account the space in which it is shown: in all of these cases, the familiar environments of the domestic or commercial space.
Both museums and non-art brands alike have caught on to the allure of maximalism, its immersiveness and, perhaps more importantly, its interactivity; more than ever, viewers are invited to do the unthinkable and lay their hands on the art. Social media is also certainly complicit in this maximalist resurgence, thanks to Instagram and the prevalence of the #artselfie. Apart from its widespread free publicity and appeal to sheer vanity, the #artselfie offers a kind of tactility in the digital age. Visitors physically insert themselves into the composition of a work and take its visual properties home with them to keep. Particularly in an era in which two-dimensional work is readily available on screens, it’s the maximal that encourages the public to make a physical, often emotional, connection to a work of art.
The other function social media serves for the rise of maximalism is its inherent ability to widen one’s worldview. For younger artist and designers who grew up as so-called digital natives, the internet offers both infinite surface area for their mood boards and instant access to the visual history of the world, regardless of era or location. “For them, history is a treasure trove,” Chicago Architecture Biennial cocurator Mark Lee said in a recent Artforum interview. “They don’t feel shame or guilt to retrieve from it.”
Two young designers experiencing a meteoric rise (and who happen to share a studio) are Misha Kahn and Katie Stout, whose respective practices—both rough-hewn, eccentric, and often displayed within textured, oozing, psychedelic environments—mix kitsch and pop culture with astute art-historical references. When naming his sources of inspiration, Kahn often takes out his phone as a visual aid, naming Eskimo carvings, Gwen Stefani, and Pee-wee’s Playhouse among them. And for Stout, Dolly Parton, Raymour & Flanigan, and Charlotte Perriand are equally influential on her body of work. The world of maximalism embraces imperfection and provocation, banishing isolation and passivity on both the part of the work and the viewer. The source material is both art history and personal history, untidily accumulated and repackaged—once more, with feeling.
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.”
Urban beaches, ‘visionary’ architects, ice skating paths among winners of 2017 Knight Cities Challenge
Iconic Kenneth Treister–designed modernist Miami tower threatened
W South Beach
Zaha Hadid’s Miami Beach condo on sale for $10 million
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.
Miami’s up-and-coming design scene is looking to the city’s past, materials, and building vernacular to realize new design that is all about Miami. The Architect's Newspaper spoke with five of the hottest firms in the city to find out what the rest of us might be missing out on in the 3-0-5.
Cure & Penabad Adib Cúre and Carie PenabadHow does your practice’s ideology manifest through your projects? The portfolio of projects, both domestic and international, displays an intense commitment to the discipline of architecture, its material culture, and constructional conventions. The work challenges the double tyranny of program and diagram that have come to dominate the design process today, relying on a broader understanding of history and typology for a looser and therefore more sustainable fit between program and form. What trends should everybody be watching for in Miami? Miami is a young city that has experienced unprecedented growth in the last decade. As the city develops its urban core in response to rising seas and global climate change, it is necessary to not only build more sustainably but to invest in the public realm, particularly with regard to public space and transportation.
Gelpi Projects Nick GelpiHow does your practice’s ideology manifest through your projects? We are a design practice dedicated to examining the material relationships of building concepts by focusing on the collisions between materials and representation.
In years past, faced with a lack of clients, our focus was primarily design as research, engaging materials as a type of sparring partner…bending, testing, and manipulating basic materials looking for new design potentials through feedback. Recently we have had the opportunity to build buildings, so we have tried to engage materials and details as a way of destabilizing basic assumptions about design and construction. We strive to engage construction itself as a culturally transformative act.What trends should everybody be watching for in Florida? In Florida, one must be concerned with where the water is. The built environment here is always considered in terms of its proximity to the water. The opening of the Pérez Art Museum in Miami illustrated new potentials for articulating the edge between the interior and the exterior space, and also for the positioning of the building in relationship to the Biscayne Bay. The museum seemed to revive historic examples of vernacular architectures for addressing these concerns, drawing from references including an old community of buildings actually built out in the bay, called Stiltsville. NC-office Peter Nedev, Elizabeth Cardona, Cristina Canton, and Nikolay Nedev. How does your practice’s ideology manifest through your projects? We believe that architectural design is a process of accommodation, rather than scientific deduction. Our practice does not subscribe to predetermined biases. Instead, we search for the most appropriate solution to any given condition largely influenced by the specificity of the place and the particular needs of the client. Our work aims to be environmentally conscious, sensitive in its use of materials, and appropriate to its dimensions. We believe that there is no single truth in the production of meaningful design. Any upcoming project you are particularly excited about? We are currently working on a commercial brewery and tasting room that will be located in Hialeah, Florida, within a new district created to promote art and culture called the “Leah Arts District.” It will be the City of Hialeah’s first brewery. What trends should everybody be watching for in Florida? There is a rediscovery of Florida’s tropical vernacular and a return to that elemental knowledge in the use of louvers, screens and passive design strategies. These responses to site and climate are contributing factors for the implementation of current and new construction methods. Studio Roberto Rovira Roberto Rovira Could you talk a bit about your studio’s process and philosophy? Our studio operates at the intersection of landscape architecture, art, and technology. We view landscape’s innate lack of resolution and inexactness as strengths. Our work strives to engage the in-between, the ephemeral, and the passing, and we embrace a mode of practice that alternates between art and design as essential methods of inquiry. Do you have a recent project that you are particularly excited about? One of the projects about which we are most excited is our Ecological Atlas, which attempts to simplify the visualization and understanding of the natural world. By using intuitive, graphic mappings that can convey changes in bloom times, deciduous tree patterns, produce seasonality, animal migrations, and other time-dependent phenomena, the Ecological Atlas facilitates a comprehensive understanding of the natural world in ways that are essential to building a sustainable and resilient future. It bridges art, science, and design, and connects the power of data and technology to the rich complexity of natural systems. Touzet Studio Carlos Prio-Touzet and Jacqueline Gonzalez Touzet How do you approach design, and how does that set the office apart from others in Miami? We are architects who love modernism and finely crafted design solutions. Our work is very intensely research driven—inspired by nature, technology, and the culture of the place or the people for whom we are designing. We think of our architecture and design as a way for us to tell stories and reflect about the people and the place. Our attention to detail and understanding of materials is an area where our studio is fairly unique in Miami. We love the creative exploration and intellectual journey as much as collaborating with builders throughout the process on the end product. We probably do more historical and material research, and build more study models and full-size mock-ups than other local firms. We still draw by hand extensively, as well as make heavy use of the digital tools available. We envisioned our studio to be a real collaborative studio environment, not just an architectural office. Do you have a recent project that you are particularly excited about? We recently completed a couple of flagship buildings on one entire block of historic Lincoln Road in Miami Beach, including the new Apple Store, Gap, and a recently completed Nike Store. All three projects were for global design brands that wanted a unique expression of their vision in Miami, and were very well-received by the Historic Preservation Board.
RAD LAB and Miami Beach Studios Written by William MenkingNo architecture center can expand beyond local limits and become an international magnate for creative practice unless it has a strong university research component bringing new people in the profession. The two major architecture schools in South Florida, Florida International University and the University of Miami, have created such centers in the last five years. Here we take a brief look a these facilities:
RAD LAB RAD-UM at the University of Miami is one of the most creative and productive research initiatives in an architecture school today. The concept for the lab is the creation of Dean Rodolphe el-Khoury who has migrated the lab from his academic positions at the University of Toronto (where the lab continues) and California College of the Arts in San Francisco. El-Khoury has developed and refined this experimental studio beyond the normal closed university studios into one the most important and productive research centers in the country.
It has been commonly accepted in academia and advanced sectors of the design profession that the future of computing is not in static table-top machines, but embedded in objects that surround our daily life like a Nest Thermostat or lighting that senses the presence or absence of people in a room.RAD-UM has taken this reality of our changing relationship with technology and asked design researchers and students to imagine its potential and real effects on our public and private spaces. For their first project, Bio-Reactor, they created a set of acrylic shelves with LED-lit algae jars. According to the website, “Each LED can be individually controlled and thus, through photosynthesis, the rate of growth of the algae in each jar and subsequently, the density and color of each jar, can be controlled.” It is a beautiful low-resolution display and el-Khoury believes it will have a more important long-term effect for living walls. The Miami Beach Urban Studios The Miami Beach Urban Studios is a research center on Lincoln Road that brings together faculty, students, and outside collaborators from seven different disciplines in art, design, and technology. The studio’s executive director John Stuart described it as “the love child produced by a wild night of beach partying with the MIT Media Lab and the Wexner Center at Ohio State University.” “If you want to see the creative soul of these other universities,” Stuart continued, “you need to know what these research centers are doing—it’s the same with our lab and Florida International University.” Stuart thinks of the facility as a “connecter or collider” where often disparate disciplines meet at the center’s unique 3-D printer—the largest in the world. The lab has 3-D-printed large-format images of a Morris Lapidus building in Miami Beach and multiple projects profiling potential scenarios and the effects of sea level rise on the community. A final project that demonstrates the diverse collaborators in the lab is a 3-D printed violin for students and veterans with prosthetics limbs. This project joined together representatives from the lab’s Human Sensation project with the FIU Adaptive Neural Systems Lab, the High Performance Database Research Center, the FIU VizLab, Venture Hive, Rokk3r Labs, and the World Council of Peoples for the United Nations.