FreelandBuck has stamped its presence on the burgeoning Miami Design District with the creation of a circulation core and terraces for the District’s newest addition, Paradise Plaza. Over the past decade, the 18-block development has established itself as a high-density, pedestrian-oriented cultural neighborhood with an emphasis on design-led development. The circulatory role of FreelandBuck’s design facilitates movement both vertically and horizontally, from subterranean parking upward and across the second-level retail terrace. The quasi-courtyard is supported by a series of wedge-shaped columns that divide the structure’s two dining terraces into a sequence of smaller gathering spaces. The angularity of the columns is accentuated by the use of triangular planes influenced by the work of visual artist Yaacov Agam. A diverse range of materials is found in the circulatory core, which includes stainless steel, Carrara marble tiles, and sprawling aluminum panels. Although the firm didn’t collaborate much with the architects of the surrounding buildings, FreelandBuck’s addition carries its individual identity while connecting to the greater assemblage of the Miami Design District. Paradise Plaza 151 NE 41st Street Miami Tel: 305-722-7100 Architect: FreelandBuck
Posts tagged with "Miami Design District":
Following over two years of planning and construction, the Miami Design District is opening the long-awaited Museum Garage. The eclectic complex is located just two blocks from IwamatoScott’s City View Garage, another high design parking facility in the multi-acre retail and cultural neighborhood. The garage’s animated, wildly varied facades are designed by five architecture and design firms: WORKac, J. Mayer H., Clavel Arquitectos, Nicolas Buffe and Keenan/Riley. Located on the northern border of the Miami Design District, the 800-car-capacity Museum Garage is seven stories tall, rising from a ground floor entirely devoted to retail. Terence Riley, of Keenan/Riley, led the concept of the ambitious project, which drew from Exquisite Corpse, a surrealist parlor game that entails the collaging of images by different authors independent of each other's designs. In the spirit of the game, each firm designed an individual and radically different facade as disparate and unconnected pieces, creating a multifaceted tapestry for the utilitarian structure. Emphasizing the cultural purposes of Museum Garage and the Miami Design District as a whole, each facade is titled as a standalone curatorial work. Ant Farm, WORKac’s contribution to the project, is inspired by the maze-like layout of an ant colony, replete with circulation corridors that are obscured by a perforated metal screen. The bends and folds of the elevation are habitable spaces, public spheres provided with shade and protection from Miami's subtropical environment. J. Mayer. H, a Berlin-based firm, designed XOX (Hugs and Kisses), which is composed of large puzzle pieces adorned with stripes and bright colors. Nicolas Buffe’s contribution, Serious Play, features a diverse range of 2-D and 3-D details formed from plastic and laser-cut metals. Buffe mixes historicist elements such as 23-foot-tall caryatids with cartoonish graphics. Urban Jam by Spanish-firm Clavel Arquitectos is dominated by forty-five gold and silver car bodies that cling to the elevation. Stacked atop each other, the cars are made to resemble a vertical traffic jam. Keenan/Riley’s Barricades draws upon common orange and white traffic barriers to create a brightly colored screen wall that is studded with fifteen windows framed with stainless steel. British firm Speirs + Major designed custom lighting for each façade, highlighting diverse architectural elements across the graduated and uneven elevations.
Since its founding, Miami’s Institute of Contemporary Art (ICA) has had a series of temporary homes, starting with a 1996 Charles Gwathmey-designed exhibition space and then a repurposed Art Deco office building in the city’s design district. But this week, the ICA, led by a new team helmed by Director Ellen Salpeter with help from some of Miami’s most important philanthropists and art collectors, finally has a permanent home. The museum, which is free to the public, sits on a site in the city’s Design District donated by Miami developer Craig Robins.The commercial district is chock-a-block with private art museums, including the Rubell, Margulies, and De la Cruz collections, and the ICA is not far from Herzog and de Meuron's 2013 Perez Art Museum. The new 37,000-square-foot ICA is designed by the Madrid-based firm, Aranguren + Gallegos Arquitectos, who are barely known in this country, but have a significant body of public and institutional work in Spain and curated the Spanish pavilion at the Venice Architecture Biennale in 2002 . This week, AN interviewed the Spanish architects about their practice and the new Miami museum. A significant number of their projects have thus far been renovations of ancient existing stone buildings in Spain. Their design insertions for the Museum of Fine Arts and Gardens in Caceres and the Colmenar Viejo exhibition space display an ability to create powerful and idiosyncratic details of metal, wood and stone that mark their work as highly personal–almost expressionistic–in approach, juxtaposing the old and the new with a sensitive conviction. They brought their ability to create handsome details to the ICA’s two facades, but this is not what makes this project stand out in an a shopping district of bravura luxury brand commercial facades. Rather, it is the ICA’s openness to the street and the community that makes it such an exemplary building. The architects had hoped to design the lobby of the building to be entirely open, without front and back glazing, so that the public could walk through and under the building and into the back garden all in the open air. The sides of this lobby would be glazed and provide the sealed entries into the exhibition spaces. But perhaps because they imagined Miami’s reputation for pleasant weather from their Madrid desks, they know little about the hurricane needs of any construction here and the humidity of south Florida. Instead, the entry lobby is glazed, front and back, but still flows, as the architects imagined, from the public sidewalk through the building to the back garden that was designed in collaboration with New York architect Jonathan Caplan. The adjacent ground floor gallery also flows naturally through enormous glass walls, between inside and out, making the back garden space a continuation of the interior and a great new space in Miami, a city not known for popular public spaces, with the exception of the beach. Finally, Fernando Wong Outdoor Living Design, the landscape architects of the 15,000-square-foot Petra and Stephen Levin Sculpture Garden, worked with the architects to create a discreet series of outdoor rooms, each with its own (temporary) sculpture and defined by discrete native plantings. The landscape architects intended for the space, when seen from the museum's second and third floors, to serve as a living canopy visually linking the museum to the unlimited sea of Miami trees. The ICA is a triumph, inside and out, for the museum, its trustees, the designers, and, most importantly, the public.
Representing the first U.S.-based project for Spanish studio Aranguren + Gallegos Arquitectos, the new home of the Institute of Contemporary Art, Miami (ICA Miami) will be opening its doors to the public on Friday, December 1st. The ribbon cutting marks the start of Art Basel Miami Beach 2017, and the 37,000-square foot ICA Miami will be hosting a special exhibition of rising and well-established contemporary artists across all three stories of gallery space and outdoor sculpture garden. Representing a threefold increase in size over the old ICA Miami, the new museum is located in Miami’s Design District and includes new spaces for educational and community programming. Each of the building’s three floors are double-height, with the six ground-floor galleries holding long-term and permanent collections, while the second and third stories will host rotating special exhibitions for a total of 20,000-square feet of indoor presentation space. Visitors to the ICA Miami are greeted by a three-story metal façade made up of interlocking, patterned metal triangles and lighted panels, with cut-outs that specifically frame views from the museum’s interior. The back of the building features an all-glass curtain wall that allows guests on every floor to peer out over the 15,000-square foot, landscaped sculpture garden, and brings natural light into the gallery spaces. Besides hosting site-specific commissions and work by both post-war and contemporary sculptors, the garden also features educational space for public programming. A breezeway by the museum’s entrance gives visitors the option of walking directly from the street entrance to the back garden. The museum’s inaugural exhibition, The Everywhere Studio, seeks to examine the role of the artist’s studio and is a veritable who’s-who of post-war and contemporary artists, featuring works by Anna Oppermann, Carolee Schneemann, Roy Lichtenstein, Picasso, and more. Admission is free for the public.
Sean of Miami, the blog by writer and Curbed Miami founding editor Sean McCaughan, reports that Miami-based urban planner Donald Shockey’s car was set on fire on March 11, just outside of his home near the Design District. Shockey alleges that the attack is in retaliation for his activist work in the area. McCaughan reposted a message from Shockey's personal Facebook page on his blog that explains the situation:
My car was firebombed and destroyed in front of my house a block from the Design District at 4 am this morning, likely by the same person who smashed the windows last week. This is clear retaliation for my efforts to push the city to enforce the most basic rules and standards in our neighborhood. This violent heinous hate crime will not stand. While billions are being invested in the Design District, the immediately adjacent neighborhoods need much more attention from the city in regard to crime, code enforcement, beautification, and city services. [There are] falling down fences, peeling paint, junked cars parked in yard, piles of trash, paved over front yards, cars parked blocking the sidewalk, and on and on There is a full scale arson investigation underway, it’s a major crime.
The Miami Design District is renowned for its novel architectural and art scene, including many novel parking garages by top architects. In a sort of game of architectural one-upmanship, another parking garage is about to add a jolt of art by transforming its facade into a larger-than-life canvas. The so-called Museum Garage will be clad with six radically different facades, all designed by different practices. Due for completion by the end of this year, the garage's display was curated by Terence Riley of K/R Architects and will feature an eclectic mix of facade designs ranging from a wall of used cars, human-scale ant farm-esque cut-outs, and partially tessellating oversized corner detail. The teams working on the designs include Sagmeister & Walsh; Work Architecture Company (WORKac); K/R Keenen Riley Architects; Clavel Arquitectos; J. Mayer H.; and Nicolas Buffe. Together, these facades will be part of a seven story floor and retail space, with a garage (hence the name) being able to accommodate for 800 cars. Clavel Arquitectos, based in Murcia and Miami, drew on the vicinity's urban growth with the facade being named Urban Jam. Subsequently the design will feature 45 reused cars, all of which have been painted silver and gold. New York–based WORKac incorporated what appears to be an enormous cut-out "ant farm" or a stylized "Rorschach Test" facade into the design for its program that includes a library, playground, and a pop-up art space. Serious Play comes from Paris and Tokyo-based Nicolas Buffe. Taking inspiration from retro video games, cartoons fill the facade in juxtaposition with baroque decoration detailing. From Berlin, J. Mayer H. introduced XOX, featuring an embedded lighting system. While sounding like a Miami club it is anything but and will probably be the only car part with tessellating corner components painted with car stripes in the area. Also from New York are Sagmeister & Walsh. But I Only Want You is a mural with burning candles at each ends implying that, despite being at at extremes, love can find a way. Finally, curators K/R Architects, from New York and Miami, use mockup traffic barriers for the facade. Dispersed among the "barricades" are light fittings which will draw attention to the barriers at night, being able to spin with the wind.
Digitally-fabricated folded aluminum screen animates a utilitarian structure.In the Miami Design District, even the parking garages are works of art. The recently completed City View Garage is no exception, thanks in part to a folded aluminum facade designed by IwamotoScott. Part of a design team that included developers Dacra and LVMH/L Real Estate, architect of record TimHaahs Engineers & Architects, architects Leong Leong, and artist John Baldessari, IwamotoScott crafted a three-dimensional metal screen for the southeast corner of the garage. Digitally fabricated by Zahner, the skin's gradient apertures and color pattern transform a utilitarian structure into an animated advertisement for South Florida's hottest creative neighborhood. IwamotoScott submitted multiple concept designs to the developers. "We had three really different schemes—they ranged in their complexity," said founding partner Lisa Iwamoto. "The one they came back with was the most complex, the most articulated facade. We were really happy with the choice." The final design was influenced by a series of external constraints, beginning with the desire to conceal parked cars from view. "It's a Miami thing; they don't really want to see the cars in the garage," explained Iwamoto. She pointed to the car park at 1111 Lincoln Road, where architects Herzog and de Meuron solved the visibility problem by consolidating the parking spaces at the center of each floor, away from the periphery. "For us that wasn't possible," she said. "The cars come right up to the edge so we had to find other ways of screening them." Another factor was the location of the property line—a mere eight inches out from the floor plate. This left IwamotoScott with less than a foot for both the skin and its supporting structure. "The strategy was how to create some optical three dimensionality, a facade that wouldn't feel static, visually," said Iwamoto. "That was our starting point. Then it was a lot of tweaking and geometric studies for how we could achieve those effects and make it buildable." The metal panels' geometric folds contribute to the feeling of depth, and add the stiffness necessary to meet Miami's heavy wind load requirements. In addition, the folds create a moving display of light and color under the city's ever-shifting skies, observed founding partner Craig Scott. "The faceting of the facade was a double payoff." The aluminum screen comprises five panel types. All have the same border shape, but the dimensions of the apertures change from type to type. In early computer drawings, IwamotoScott modeled each panel type in a different color to keep track of the pattern. Over time, explained Iwamoto, "the colors became important to us, so that's how we rendered it." The client liked it, too, so the screen was ultimately painted in a custom spectrum reinforcing the aperture gradient. But while the facade is in reality a panel system, "we were interested in having it feel more like a mural than panels—almost like a piece of fabric draped over the garage," said Iwamoto. "For us it was important that the seams did not follow a more conventional pattern of vertical lines." The apertures are arranged in an offset grid, and the architects avoided a simple system of vertical supports. Instead, the skin hangs from a collection of staggered aluminum fins affixed to the garage's concrete slabs. Zahner fabricated the metal facade in their Kansas City factory. Because they were working on a design-assist basis, the architects were able to make multiple trips to the production facility. "It was cool, because they would make a panel, and we'd say, 'that's almost right'" before adjusting the angle of the fold by a fraction of a degree, said Iwamoto. "It's amazing how many ways there are to skin a cat." Happily for the architects, Zahner's in-house analysis resulted in a panel system remarkably close to what IwamotoScott had envisioned. "I'm delighted with how we ended up," said Iwamoto. "We did our due diligence [in terms of exploring alternative fabrication schemes], but it wound up that the best way to build it was the way we had conceived it." IwamotoScott also took control of an adjacent section of the garage envelope: an open entry stair, elevator bay, and multistory office block. "That was a bonus for us," said Iwamoto. "Rather than someone else designing it, it just made sense for us to do it—it was really part of our elevation." Because so much of the project budget went to the garage skin, the architects stuck with a basic storefront system. "We wanted to make something simple that still had a design character sympathetic to the garage facade." To create a similar sense of animation, they slightly cantilevered each floor and utilized glass panes of different widths and opacities. IwamotoScott completed work on the office tower through design development; TimHaahs took the reigns when it came to detailing and beyond. Part of why IwamotoScott was particularly eager to design the southeast corner of City View Garage was that it is the portion of the structure directly facing the heart of the Miami Design District. The developers' vision for the neighborhood is "such an ambitious plan overall," said Iwamoto. It is a vision that is rapidly coming to fruition, as she herself has witnessed first-hand. "From the time we started work on the project to when it wasn't even 100 percent complete, the area was transformed," she said. "That's really exciting."