Posts tagged with "Miami":

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Foster + Partners tops Apple Aventura with wavy white precast roof

Foster + Partners has broken out of its traditional glass-box bubble and designed a different kind of Apple Store—one that’s arguably distinct because it wasn’t built in a major city center, or within another development (and doesn't resemble a Macbook). Apple Aventura in Aventura, north of Miami is a piece of actual mall architecture that ripples above and beyond its predecessors in terms of design.  Located in a new wing of the posh Aventura Mall, the two-story building isn’t a huge departure from the firm’s other work for Apple. It is, in fact, boxy and of course includes trees inside. But the undulating white concrete roof evokes a certain feeling of fluidity in the bayside shopping center that doesn’t exist elsewhere.  “We love the honesty and purity of the concrete,” said Stefan Behling, head of studio at Foster + Partners in a press release.  Behling and the design team worked closely with Jonathan Ive, the former chief design officer of Apple. They said the building’s exterior design mimics Miami’s white art deco-style architecture, as well as its nautical design scene. “This store is very ‘Miami’ to me,” said Ive. “Its special trees, the light, and the new roof. It is also quintessentially Apple, marrying the outdoor lifestyle with a sense of freedom and creativity that is intrinsic to the way we work.”  According to Foster + Partners, the wavy roof design was made from seven precast concrete arches that together form a barrel-vaulted ceiling. The entire structure is held up by steel columns each covered with another thin architectural precast column that's also painted white. Per other Apple stores, this one boasts floor-to-ceiling glass windows, revealing all the activity within the stop.  The result is a light-filled Apple store that actually breaks a big design boundary for the tech giant: Of all its retail spaces, the building is the only one to use precast concrete as a predominant structural material. The idea was first introduced within Apple’s Cupertino headquarters, also known as Apple Park, in 2017. Inside Apple Ventura, the ground-floor is decked out with rows of elongated wooden tables that serve as Apple’s signature product displays. A large terraced seating area anchors one end of the store, allowing guests to relax while waiting for their Genius Bar appointments or to secure space for an in-store event. The flight of interior steps is outfitted with leather seating and charging stations.  Outside the store, a densely planted garden features teak tables and chairs that seamlessly reference the interior architecture. Customers can also hang out in the shade of the outdoor “Genius Grove” while they wait for assistance.  The Apple Aventura store is situated just steps away from the spiraling Aventura Slide Tower by Carsten Höller, a 93-foot-tall piece of public art that's among the most famed parts of the 2.8-million-square-foot shopping campus. The entire site is the second-largest mall in America.

Drawing Codes: Experimental Protocols of Architectural Representation, Volume II

Presented by the University of Miami School of Architecture and California College of the Arts / Digital Craft Lab Curated by Andrew Kudless and Adam Marcus Emerging technologies of design and production have opened up new ways to engage with traditional practices of architectural drawing. This exhibition, the second volume in a series organized by the CCA Digital Craft Lab, features experimental drawings by architects who explore the impact of new technologies on the relationship between code and drawing: how rules and constraints inform the ways we document, analyze, represent, and design the built environment.
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West Palm Beach deploys "Baby Shark" against the homeless

In a strange attempt to deter homeless people from camping out at a waterfront pavilion (and a great example of hostile urbanism), authorities in West Palm Beach, Florida have been blasting children’s songs from a public address system on loop overnight. The Lake Pavilion, which is adjacent to a public park and a promenade facing the Intracoastal Waterway, regularly hosts private events that rake in around $240,000 each year. The low-slung building has floor-to-ceiling windows and an expansive terrace that make it particularly popular with guests, especially as a wedding venue. West Palm Beach Director of Parks and Recreation Leah Rockwell told the Palm Beach Post that playing such recent hits as "Baby Shark" and "Raining Tacos" on a continuous loop is necessary to keep the event space “clean and open” for paying customers.

The decision to weaponize music against those who sleep on the property highlights Palm Beach County’s relatively pronounced homelessness problem. West Palm Beach alone accounts for a large portion of the county’s 1,400 homeless people, whose plight has been exacerbated by a lack of affordable housing in the Greater Miami Area. According to a report published by the Miami Urban Future Initiative, the metropolitan region’s enormous housing stock of 2.5 million units consists primarily of high-priced condominiums and single-family homes. Greater Miami, which encompasses urban centers like Fort Lauderdale and West Palm Beach, ranks among the top ten most expensive rental markets in the nation.

While hostile architecture is nothing new, West Palm Beach’s deployment of "Baby Shark" against the homeless has generated considerable pushback from both locals and observers across the country. Critics argue that the city should focus its resources on support for the unsheltered, but Rockwell insists that the music is only a temporary solution. Once the park’s hours are finalized, she says, the municipal government will be better equipped to control who is at the pavilion during nighttime hours. It is unclear, however, how targeting the homeless for trespassing will resolve the broader issues at hand. It's also worth noting that this type of sonic warfare is nothing new; retail stores and local governments across the U.S. have been playing high-pitched squeals that only young people can hear to deter loitering teens for decades. Another place music is played all night long to deter sleeping? Guantanamo Bay, where the government has reportedly used non-stop rock, metal, and children's song playlists to keep detainees up for days on end.

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ROSSETTI designed a partial-pop-up tennis stadium for the Miami Open

Miami’s vibrant nightlife scene was the design inspiration behind the modular tennis complex that hosted this year’s Miami Open. Fans, players, and sponsors at the top tournament were surprised this spring with a colorful new campus located in and around Hard Rock Stadium in Miami Gardens, Florida.  Under the direction of Miami Dolphins' owner and Hudson Yards developer Stephen Ross, the Detroit-based ROSSETTI created an out-of-the-box solution for the annual tennis championship that was highly-stylized yet saved tons of money. Instead of building a new, standalone tennis stadium, the design team decided to integrate a mix of temporary and permanent structures into the overall plan, across a total of 26 acres. “During a time when new stadiums cost a billion dollars, we designed a solution that uses the existing venue while creating an entirely fresh experience,” said Matt Rossetti, president of ROSSETTI, in a statement. “This design solution equates to a fraction of the embodied energy of a brand-new stadium and is a low-impact solution for the Miami environment. At the same time, we are creating an ‘international tennis festival’ that embodies the essence of Miami and delights fans.”  Centered around six themed “neighborhoods,” the food and entertainment areas within the tennis campus were broken down into hospitality concepts that promoted different experiences for fans. These activation zones were set up as public squares that flanked the centralized Dolphin Plaza, a palm-tree lined pathway with fountains and greenery that linked the new outdoor courts to the larger stadium next door.  New infrastructure included the 5,000-seat, demountable Grandstand, and the 13,8000-seat, temporary Stadium Court, which as the name suggests, was inside Hard Rock Stadium. In order to provide a more intimate viewing experience in that venue, a 47,200-square-foot confetti scrim was hung from its upper deck. Additionally, 18 practice courts, 12 exterior tournament courts, and 24 demountable cabana suites inside the stadium were built for the two-week competition.  Because this year’s March tournament was the first time the Miami Open was held at this location, ROSSETTI crafted the entire architectural set-up to be built securely and taken down swiftly. The firm partnered with Thornton Tomasetti on the structural engineering and stadium design expert Seating Solutions on the stadium components. Renewable materials such as recycled glass countertops, decorative bamboo paneling, and interlocking wood decking were used throughout the site, and some of the structural products were repurposed after the event.  Much like ROSSETTI's recently revamped USTA Billie Jean King National Tennis Center in New York, elevating the energy efficiency and enhancing the spectator experience of the Miami Open were at the heart of the project. Both the semi-permanent and temporary elements of the complex are slated to return for the 2020 tournament. 
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Zaha Hadid's completed One Thousand Museum joins the Miami skyline

Zaha Hadid’s exoskeletal skyscraper in downtown Miami has officially opened for business. One Thousand Museum, the late architect’s final residential tower in the United States, is the newest high-end condominium to grace Biscayne Boulevard in the city’s cultural core, and its 84 units are now available for sale.  Standing 707 feet tall, the building boasts the status of being the fourth-largest structure in Florida and rises 62 stories above Museum Park, a 30-acre urban greenspace that houses the Pérez Art Museum and the Philip and Patricia Frost Museum of Science. The massive project incorporates Hadid’s signature curves both within the interior and along the exterior—it’s most distinctive feature is the white-painted concrete “web of flowing lines” that meander up the facade.  The exterior scorpionlike "exoskeleton," an expressive inclusion that was also designed as structural support, has resulted in some nicknaming the building the “Scorpion Tower.” The bracing is further texturized by the lower and upper floor terraces and the podium, which includes even thicker columns that splay out and round off at the corners.  According to the architects, the glass cladding behind the exoskeleton includes a “folded, faceted, crystal-like facade” that will play off of the Miami sun and uniquely interact with light both from inside and outside the building. Just as important, the structure is strong; it’s resistant to forceful hurricane winds thanks to the diagonal bracketing system created by the design team.  Within One Thousand Museum, the interior floor plate is almost entirely column-free, allowing residents full views of Biscayne Bay and Miami Beach beyond. The lobby, communal spaces, and living units each embody Hadid’s futuristic style and sensibilities—the interior cladding, flooring, furniture, lighting, and ceiling designs all feature sleek, curved elements. Amenities include a spa, sunbathing deck, a double height aquatic center, sky lounge, multiple fitness areas, and private helipad. 
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Arquitectonica’s second finished building is being torn down

Arquitectonica’s second completed project, the multifamily Babylon apartment block in Miami, is set to be demolished before July. Fears over the now-abandoned building’s demolition have swirled for years, but last January, the ziggurat-inspired complex had its historic designation overturned by Miami city commissioners. The building’s owner, former spaghetti western star Francisco Martínez Celeiro (known professionally as George Martin), wants to replace the 37-year-old postmodern Babylon at 240 SE 14th Street with a 24-story condo tower, a far cry from the existing five-story structure. The Babylon, with its distinctive stepped, fire-truck-red facade, made an immediate splash when it was completed in 1982 and helped propel Arquitectonica on towards larger projects. While the stepped profile, which is extruded through the long, narrow site it sits on, stood out when it was first erected, the building is now overshadowed by the surrounding condo towers in the Brickell neighborhood. While Celeiro originally sought to build a narrow tower on the site that could have stood anywhere from 48 to 80 stories, the 15,000-square-foot lot is only zoned for a 12-story building. Now, Celeiro is seeking to upzone the lot for a 24-story tower, but according to the Biscayne Times, that request is driving a wedge between the city and Brickell residents and urban planners, who fear the precedent will open the floodgates for other developers to request variances. The primary motivation for revoking the Babylon’s protected status seems to have stemmed from an engineering survey commissioned by Celeiro, who argued that the building was too far gone to repair, and the inexorable link the complex has to the gritty 1980’s—a drug trafficking-filled era that many are keen to forget. “This is the real history of the Babylon,” said Commissioner Joe Carollo in 2018, during the 4-1 vote to strip the building of its historic designation, according to the Miami Herald. “This is a place built on the cheap by a guy who was so high he didn’t know if he was coming or going most of the time. I’m amazed that we’re talking about this 35 years later. I’m amazed we have spent too much time glorifying one of the worst buildings in an era many of us would like to forget.” AN will follow up on this story once further details on the Babylon’s replacement come to light.
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Yona Friedman sculpture takes the stage at ICA Miami

Miami’s Institute of Contemporary Art (ICA Miami), in collaboration with Miami Design District, will unveil a towering art installation by Yona Friedman, Hungarian-born French architect, designer, sculptor, and urban planner, whose innovative works represent humans’ complex relationship with the environment. The public sculpture, titled Space-Chain Phantasy-Miami 2019, features intertwined, geometric cubes composed of metal wire. The lightweight installation reflects Friedman’s perception that architecture should be flexible and capable of adjusting to the needs of its users and inhabitants. This concept originates from his personal history as an emigrant and nomadic refugee who often depended on temporary shelters to survive. While major urban centers can be dense, harsh, and chaotic, Friedman believes that temporary, ephemeral architecture can help democratize a city and empower its inhabitants, promoting a city that evolves with its people. Friedman's work, including temporary structures similar to Space-Chain Phantasy-Miami 2019, has been featured in collections of the Getty Research Institute in Los Angeles, the Museum of Modern Art in New York City, and the Centre Pompidou in Paris, among many other locations. The sculpture will be unveiled on February 22 at Paradise Plaza in the Miami Design District. ICA Miami is free and open to the public all year.
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The Berkowitz Contemporary Foundation reveals a tapering art space for Miami

Just in time for this year’s Art Basel Miami Beach (December 6 through 9) and Design Miami (December 5 through 9), the Miami-based firm Rene Gonzalez Architect (RGA) has released the first look at a new public art space for the nonprofit Berkowitz Contemporary Foundation (BCF). RGA was approached to design the space in 2017, and the BCF is looking to break ground on Miami’s Biscayne Boulevard between 26th Street and 26th Terrace in 2020. The dramatically cantilevering concrete arts space has been designed from the ground up with input from the artists whose work will be featured within, allowing RGA to carve out spaces that will specifically highlight those pieces. Once complete in 2023, the new building will create a permanent home for BCF’s collection. RGA has pulled most of the gallery’s mass off of the street level and onto the second story, where the building terminates with a double-height window. The three-story, 45-000-square-foot art space will hold 30,000 square feet of exhibition spaces. Rotating galleries for traveling installations and work from the permanent collection will be located on the second and third floors. Much of the building’s shape was driven in response to the needs of two massive works in particular. Richard Serra’s Passage of Time, a sinuous, 218-foot-long corten steel sculpture will be given a dedicated courtyard area between the building proper and the garden. The viewing area will be closed off by a street-facing glass wall, allowing pedestrians to look inside. The other work is James Turrell’s towering Aten Reign. The 80-foot-tall light installation, first unveiled at the Guggenheim in 2013, will be located at the end of its own transitional hallway to give visitors time to adjust to the lighting conditions. Aten Reign will be positioned within the building’s tallest section; a skylight will allow natural light to filter in through the top of the cone through five tiers of rings, each embedded with hidden LEDs. The end result is a free-floating “light tunnel” that creates an enclosure using only light. “I am honored to be working with the founder and board of BCF to design and realize its vision for a new landmark building in Miami,” wrote RGA founder Rene Gonzalez. “We have worked closely with the Foundation, as well as several of the artists in their collection, to design an immersive and contemplative building that will enhance the city’s cultural landscape.” The building will be free to enter and open to the public when the project is complete, furthering BCF’s goal of highlighting international contemporary art.
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Design errors potentially responsible for deadly bridge collapse in Miami

Last week, the National Transportation Safety Board (NTSB) revealed its latest investigative findings related to the deadly collapse of the Florida International University (FIU) pedestrian bridge that killed six in Miami earlier this year. The bridge, which hovered over eight lanes of traffic at an already hazardous intersection at the university, was designed to minimize disruptions to the transportation below, and it featured an amenity deck and bicycle lane for students. Its March 15, 2018, collapse, which completely flattened the cars underneath, could have been the result of errors in its design, according to the NTSB. Within the framework of the NTSB investigation, authorities from the Federal Highway Administration assessed the 174-foot-long, 950-ton span’s construction and found crucial design errors in the north end of the structure, where two trusses were connected diagonally to the bridge deck. According to the reports, the bridge's designers overestimated the capacity of a major section of the bridge and underestimated the load that section would have to carry. Examiners also discovered that the cracks found in the northernmost nodal region prior to the collapse were related to the aforementioned design errors. On August 9, 2018, the NTSB tested the concrete and steel used for the bridge, finding that there were no flaws in either of the materials. The report also included detailed pictures of the cracks at the north end of the bridge, which were minor before the span’s installation but transformed into fissure-like gaps by the time the structure was placed over the busy highway. Investigators believe the gaps contributed significantly to the bridge’s failure. The Occupational Safety and Health Administration (OSHA) recognized safety violations on March 15, the day of the collapse, and hired five contractors to inspect the structure and implement repairs, including Munilla Construction Management. However, OSHA issued FIGG Bridge Engineers, a designer on the project, a serious violation with a fine of over $12,000 for putting employees in physical danger by permitting them to work on the bridge after the dangerous cracks were discovered. The NTSB report is preliminary, and investigators are still searching for other design and technical flaws that led to the bridge’s failure.
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Judy Chicago to ignite feminist fireworks at Art Basel Miami Beach

Known most for her landmark piece, The Dinner Party (1979), revolutionary feminist artist Judy Chicago uses art, painting, and sculpture to showcase the role of women throughout history and culture. Opening on December 4 in conjunction with Art Basel Miami Beach, Judy Chicago: A Reckoning, is an exhibition that will feature six major works of art produced by Chicago between the 1960s and 1990s. The exhibit, which will take place at Miami’s Institute of Contemporary Arts (ICA), will also unveil A Purple Poem for Miami, Chicago’s new, site-specific smoke piece that will ignite the museum’s sculpture garden with colorful smoke bombs, dry ice, and other pyrotechnics. A Purple Poem draws from Chicago’s radical performance works from the sixties called Atmospheres, a series of pyrotechnic art installations that took place in Pasadena, California. The Atmospheres pieces, which Chicago displayed in the '60s and '70s and then recently again in 2012, were intended to be daring acts of feminism. At the time of their conception, Chicago often joked that she would set the Pasadena Art Museum on fire in protest of its male-dominated curatorial preferences. While the art museum was never set ablaze, Chicago inflamed the deserts, fields, and forests of Pasadena with fireworks, smoke bombs, and other colorful explosives she had learned to use. Each eccentric and vivacious display of pyrotechnics created a mesmerizing visual effect, conjuring feelings of wonder, fear, and inspiration among its viewers. “The narrative of landscape and land art had been dominated by men,” said Chicago in an interview with New York Magazine. “Atmospheres came from the desire to insert a feminine perspective into the conversation and to soften and feminize the environment.” Her words are especially significant in light of the fact that she was sexually harassed by the head of the fireworks company where she once apprenticed at, causing her to take a two-decade hiatus from her project. However, in 2012, with funding and support from the Getty Performance Festival, Chicago was able to revisit her role as a pioneering female pyrotechnician. Atmospheres, along with the upcoming exhibition at ICA Miami, represent the ways in which Chicago’s powerful feminist voice not only transforms the landscape and environment but also interpretations of modernism and its values. Photographs documenting Atmospheres are currently on display at Nina Johnson Gallery in Miami. A Purple Poem for Miami, her sixth major art installation, will take place at ICA Miami in February 2019.
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Miami approved David Beckham's soccer stadium site in ballot vote

In yesterday’s midterm elections, Miami residents voted to approve a referendum that brings David Beckham’s Freedom Park soccer complex one step closer to fruition after a five-year battle. According to The Miami Herald, the referendum gets rid of competitive bidding for the property where Beckham and his partners now want to build, a 131-acre site near Miami International Airport currently home to the city-owned Melreese golf course. On the ballot, voters were asked whether or not the local government would be allowed to change bidding laws within the city charter to secure a no-bid deal at the massive public green space. About 60 percent of voters endorsed the measure, solidifying the chances that the $1 billion project, designed by Arquitectonica, will actually get built. The city can now begin to negotiate a 99-year-lease for a minimum of $3.5 million per year with Beckham’s Miami Freedom Park LLC, a group jointly-owned by Sprint chief executive Marcelo Claure, and business brothers Jorge and Jose Mas. The developers plan to use 73 acres to build a 25,000-seat stadium for Miami’s future Major League Soccer team, Inter Miami CF, as well as 750 hotel rooms, and at least one million square feet of office, retail, and commercial space. The referendum also calls for Beckham’s group to financially back a 58-acre public park near the complex, which will cost about $20 million to construct. The Miami Herald reported that critics of the decision to build the mega-project are defending the value of the golf club’s youth and mentoring programs. Concern is also rising over the toxic dirt that sits underneath the parkland, which was contaminated by an old municipal incinerator. The city will likely have to approve a serious land remediation plan before moving forward with negotiating final lease terms. Now that voters are behind the goal to build at Melreese, Beckham’s team will have to find a new vision for the nine-acre plot of land it owns in Overtown, Miami, where the soccer star previously wanted to develop a stadium designed by Populous.