The City Council of St. Petersburg, Florida has approved $19.5 million in funding for W Architecture & Landscape Architecture's Pier Approach, the lead-up to the new Rogers Partners–designed St. Pete Pier. In addition to approving the design, the city council expanded W Architecture's scope of service to include detailed design and construction documents. The Brooklyn-based architecture firm is collaborating with ASD Architects and Rogers Partners on the redesign. Rogers Partners designed the pier itself, which will be connected to W Architecture's approach. W Architecture and local partner Wannemacher Jensen Architects are working on the Pier Approach. Tampa-based firm ASD is the executive architect on the pier. The aim of the approach is to connect the pier, located at Spa Beach, to downtown St. Petersburg. Plans for a new pier have been in the works since at least 2012, but that year a group of residents organized a referendum that rejected a design from L.A.-based architect Michael Maltzan. Rogers Partners won a new city-issued design competition in 2015. When The Architect's Newspaper profiled the project in May, W's concept phase was just wrapping up. Rogers Partners design offers a 13-acre public space that, together with the approach, integrates the water with the waterfront. Some of the amenities that will be available to the public include restaurants, a kid's play zone, a fishing deck, and bait shop. Ken Smith Landscape Architect is also part of the pier design team. Chris Ballestra, the city's managing director of development coordination, told the Tampa Bay Business Journal that a lack of activities was a key reason the previous design was scrapped. However the new design may have raised concerns about too much activity, as the pier's three restaurants were reportedly a point of discussion. The city's timeline has the pier and approach both completed by the end of 2018. The pier and approach will be treated as separate projects throughout the design, permitting, and construction processes, with progress on the approach following slightly behind the pier itself. The pier is currently in the schematic design phase, which is expected to be completed by the end of this year. Public outreach showcasing the final pier and approach designs together will follow.
Posts tagged with "Florida":
Tampa, Florida Mayor Bob Buckhorn took the helm of a track hoe last week to break ground on the redevelopment of Riverfront Park. The ceremony marked the beginning of a major construction project in a neighborhood that, according to the mayor in a speech at the event, has been "underserved for decades." Julian B. Lane Riverfront Park was originally constructed in 1977 on the banks of the Hillsborough River. Since then the park has fallen into disrepair and disuse, and was overdue for a renovation. It's set for a major one in the coming year, with a total investment of $35 million into revitalizing the community space. This project has been in the works since 2014, when designers Civitas and W Architecture and Landscape Architecture began a community outreach process to determine the public's needs. According to Civitas Project Manager Robin Rooney Norcross in a press release,“The public meetings were very well attended and influential through all design decisions... It became clear early on that the residents wanted their park back" Among the considerations the project managers took were safety, accessibility, and access to the river. They are also revamping the most used features of the old park, including the basketball and tennis courts and the splash pad. The river itself is a key focus of the design, which will slope forward for ideal views of the waterfront. It will also include picnic areas, and a great lawn for activities. River access will be available through Tampa's first city-run boathouse, with kayaks, paddle boards, and dragon boats among the watercraft available for rental. The boathouse, a centerpiece of the design, will double as a community center with classrooms and a catering kitchen on its top floor. The new Riverfront Park will also provide pedestrian and bike access to both the greenway trail in development on the west bank of the river, and the existing Riverwalk on the east. The city expects the renovation to be completed by summer 2017. In addition to Civitas and W, the team includes City Architect James Jackson Jr., City Project Architect Kevin Henika, Parks and Recreation Director Greg Bayor, Parks and Recreation Superintendent Brad Suder and Parks and Recreation Landscape Architect Project Manager Karla Price Stantec, Moffatt & Nichol, Volt Air Consulting Engineers, Silman Structural Engineers, Arehna Engineering and Evans Engineering with Weller Pools.
The Beach, a giant interactive art installation by New York-based studio Snarkitecture, is coming to Tampa, Florida on August 5th. As its name suggests, The Beach is a massive indoor landscape that uses recyclable plastic balls in place of real sand and surf. The World Architecture Community reports that the faux-shoreline, landing in the Amalie Arena, will be 75 feet wide, complete with surf chairs and umbrellas. Adding to the illusion will be mirrored walls that make the expanse of "water" seem endless. The National Building Museum in Washington, DC hosted the exhibit last year, and it was a smash hit with kids as well as the press. The Tampa exhibition will up the ante from its last iteration, with 1.2 million balls instead of 750,000, and a total of 15,000 square feet. Amalie Arena, home of the NHL's Tampa Bay Lightning, will provide the venue. The exhibit will run from August 5 to August 25 and is free, but you'll need to reserve a ticket to attend.
After having already unveiled plans to develop Jacksonville's Shipyard district, the Kansas-based firm Populous has released plans for their Jacksonville Jaguars' Amphitheater and Flex Field project. With steel bridges that stretch over the St. John’s River, Populous, as they say on their website, are intent on delivering "an icon to the City of Jacksonville." Populous specializes in stadia, sports facilities and event architecture. https://player.vimeo.com/video/153512721 The firm has already released their plans to transform the Shipyard district into a space for recreation and entertainment, a scheme also backed by the Jaguars' owner Shahid Khan. There, the plan is to rejuvenate the area and kick-start a fruitful period of economic activity. Now Khan has his eyes set on developing his teams stadium vicinity. The area appears to be a happy hunting ground for the firm. In 1995, they designed what the New York Times called the "nation’s most luxurious locker room." An undulating prefabricated canvas spans the "flex field" whose roofscape is supported by a series of long-span steel trusses, sloped columns, and an array of cables. Multipurpose arenas are almost an economic necessity for the contemporary stadium typology and Populous' scheme is no exception. The canvas roof system also allows the space to be brought to life with "dramatic" LED lighting when used for entertainment purposes, while also doubling up as a football training facility.
The new pavilion features 2750 individual terra cotta modules, weighing in at 60-70 pounds each.The John and Mable Ringling Museum of Art, part of a historic 66-acre estate in Sarasota, Florida has received a striking new pavilion designed by Machado Silvetti to house new gallery and multi-purpose lecture space. Officially called the Center for Asian Art in the Dr. Helga Wall-Apelt Gallery of Asian Art, the project features a custom glazed sculptural terra cotta clad volume elevated off the ground, and attached to the museum’s West Wing galleries via glass bridge. The new 7500 sq. ft. pavilion establishes a new monumental entrance to the museum, and assists in the reorganization of site circulation and infrastructure systems. Teaming with Boston Valley Terra Cotta, the architects developed a cladding strategy to respond to specific environmental, programmatic, and budgetary criteria. The project is inspired by lush foliage and historic architectural ornamentation found within the Ringling estate. Craig Mutter, Principal at Machado Silvetti, says the gallery-based program of the new addition led the project team to considering a conventionally constructed box with very few windows, to reduce glare: “We put our design energies into creating a high performance building envelope.” Machado Silvetti teamed with Boston Valley Terra Cotta, an upstate New York-based architectural terra cotta manufacturer. “We were involved very early in the process," says Bill Pottle, Boston Valley International Sales Manager. "We went from hand sketches to a 3D digital format where we were able to go back and forth with the architect and talk about different sizes. This helped us rationalize and execute the project to fit into both manufacturing and budget parameters." The tiling of the facade was achieved with three primary shapes optimized to the rack size of the kilns utilized in the production of the modules – a 24” square, a 24” portal framing a window opening, and an 18” square. All together, with custom pieces at corners and end conditions, no more than 10 unique shapes were required. The repetitions allowed for efficiencies in the production process, which paired digital modeling and fabrication with hand craft. The modules were made one at a time, weighing between 60-70 pounds apiece. In total, 2750 three-dimensionally shaped ceramic modules were installed on the building. This manufacturing method became a significant constraint on the architectural design, said James Smokowski, Project Manager at Boston Valley. "The size limitation of the RAM drove a number of design changes from the architect.” Initially calling for a 60" x 60" tiled piece, the architects revamped their design to fit within the dimensional constraint of the kiln equipment. Rhino3D models were prototyped into shells using a 5-axis mill, which became the formwork for a hydraulically operated RAM press. A sense of depth was established both by the chiseled three-dimensional form of the ceramic modules and a custom green glaze developed by Boston Valley. Due to the geometry of the modules, the glaze pools in the concavities creating a coating with variable depth. The terra cotta modules were installed on a modified version of Boston Valley’s standard Terraclad stainless steel track and clip system over a standard wall construction of concrete framework infilled with concrete block units. This detailing allowed for cost savings and assisted in the pre-qualification of terra cotta installers. Adjustments to the stock rainscreen system were made to create a consistent 3/8” gap around the full perimeter of each modules, ensuring individual pieces are able to be removed and replaced in the event of any damage. Windows were used sparingly on the facade, composed into clusters where interior program can accommodate some glare. These “clouds” of windows occur in the third floor meeting room along the north facade, and are distributed throughout the facade with careful attention to reducing glare within the gallery space. Despite having significant views to the picturesque Sarasota Bay, windows are used sparingly as accents – tiny portals which nearly disappear into the tiling of the facade. Rodolfo Machado, Principal at Machado Silvetti, says this compositional decision was deliberate: "Perhaps the most effective windows are in the third floor conference room. Here, small windows carefully framing the landscape are quite effective – almost like looking at a painting. In this case, fewer smaller windows work better." Through this modern addition to the Ringling Museum campus, the architects were able to solve programmatic day to day operational issues at The Ringling, which was a big win says Craig Mutter, Principal at Machado Silvetti: “We are particularly proud of this project because our mission was to create a striking addition to this area of the museum that would be a beacon to the visitors on the campus. But we were also able to solve day to day problems the museum was facing, from way finding to operations, to conservation lab connections. We feel this project will have a very big long term impact for the Museum."
Commemorating the 75th anniversary of the Norton Museum of Art in Palm Beach, British architect Norman Foster was on site to see his expansion break ground. The new development, called "The New Norton," will see further galleries added along with visitor facilities all within the "original axial layout of the Museum." In what will be his third project in Florida, Foster has laid the foundations at West Palm Beach for further growth, with the aim of the museum to become a leading cultural institution in the Sunshine State. "The new extension of the museum represents an exciting opportunity to place the reinvigorated Norton at the heart of Florida’s cultural life and to establish its international presence, allowing more people to enjoy the museum’s very special collection," said Foster in a press release. A simple, all-white stone facade and minimalist form stays true to the aesthetic of the 1941 original by New York's Marion Sims Wyeth, where a subtle Art Deco style creates a central courtyard. Later developments meant this original axial configuration, on which the building was based, was lost. Foster's master plan dutifully restores Wyeth's symmetry, adding a sense of clarity to the site. In the process, Foster has explored varying topological arrangements to provide a flexible space able that will now be able to attract a much wider local and international audience. Room for further expansion can be seen via the provision of infrastructure that will facilitate of two more exhibition wings being built on the eastern end of the building. "Creating new event and visitor spaces that will transform the museum into the social heart of the community; as well as increasing the gallery and exhibition spaces, to engage with a wider audience," Foster added. Three double height pavilions will now act as the museum's entrance, countering the low-rise galleries and while merging with the three-storey Nessel Wing. Within these pavilions will be a "state-of-the-art auditorium," Grand Hall, which "will be the new social heart for the local community." Also included is a shop, event space, education center, and restaurant that can operate independently from the museum. These spaces will all be coalesced underneath a canopy. Within the vicinity will be an open public space that will be used as a live performance space and venue for "Art After Dark," an evening show hosted by the museum. Spencer de Grey, co-head of design at Foster + Partners, said, “this groundbreaking ceremony marks the moment where the process that began five years ago with the masterplan finally comes to realisation. Our approach at the Norton has been to make art more accessible by dissolving boundaries – whether that is between the building and landscape or art and the viewer.”
Arquitectonica tests the surf with ocean-influenced Regalia, a newly unveiled 488-foot-tall luxury condo in Sunny Isles, a city northeast of Miami. But the Florida skyscraper is leaving us with a distinct sense of déjà vu. The tower looks strikingly similar to Studio Gang's Aqua in Chicago. While Gang's undulating concrete balconies extend as far as 12 feet to maximize views in the skyscraper-dense downtown, Arquitectonica's balconies in the same style afford uninterrupted views of the Atlantic on the building's sea-side. Gang's curving terraces were based on striated limestone outcroppings in the Great Lakes region, while Arquitectonica's are modeled on ocean waves. Although Chicago's lake-affected weather presumably hinders Aqua residents from enjoying their outdoor spaces year-round, Regalia's residents will have unfettered access to their sunny terraces all the time, if the barrier island the building is situated on doesn't flood or sink in the meantime. Regalia's 39 floor-through units and two penthouses are spread over 46 stories. "A rectangular glass prism houses the functional requirements," explained Bernardo Fort-Brescia, founding partner of Arquitectonica, in a statement to designboom. "Its transparent surfaces connect inside and outside, linking the occupants with the surrounding environment. Its orthogonal geometry creates elegant, serene, classical, zen-like spaces. Each floor is wrapped by a sensuously undulating terrace. The resulting walk-around veranda protects the glass surfaces from the sun, as in traditional Florida homes. It is this veranda that shapes the architecture." This is not the first curvy tower the Miami–based firm has designed for the Sunshine State. Last year, their 42-story residential tower, also inspired by (far choppier, it seems) ocean waves, opened on Miami's Biscayne Bay.
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.
In recent years, there has been much backlash against mascots that misappropriate their meaning from American history. From The Fighting Illini of University of Illinois to the NFL’s Washington Redskins, many teams have been pressured to adopt personas that are not deeply, deeply racist. However, the Florida State Seminoles have apparently doubled down on their offensive mascot by codifying it in the architecture of their stadium. The design for the addition to Doak Campbell Stadium features a tensile membrane canopy that will protect the new club level deck and the additional 6,000 premium seats. Central to the design are several horizontal outriggers that are shaped like spearheads, a nod to the controversial mascot. https://www.youtube.com/watch?v=68_r1mTpWtU From the computer-generated tour of the stadium above, it's clear that the stadium's rampant racism is not limited to its architecture. Although Florida State is 62 percent white, almost all of the fans in the video are white. FSU, what gives?
Florida’s Seminole tribe unveils guitar-shaped hotel as part of $1.8 billion project in the Sunshine State
Those who frequent Hard Rock Casinos will have become accustomed to the larger-than-life guitars that have become a trademark feature. However, none will be quite used to the scale of the Florida Seminole tribe's latest endeavor, part of a $1.8 billion project on U.S. 441, north of Stirling Road, in Hollywood, Florida. Rising 34 stories high, 800 rooms will be encased in the form of a cut-away guitar's body. While some may argue that this duck is a potentially cliché aesthetic, tribe leaders were eager to emphasize their desire to make an architectural statement. Seminole Gaming CEO Jim Allen spoke of tribes aims to create an icon. "We could have easily just built some rectangular building...but the tribe is once again trying to create something that is iconic, that creates international tourism coming to Florida," he said to the Sun Sentinel. "We truly believe that design alone will create additional tourism." The expansion to the pre-existing complex will see room capacity boosted to 1,273 with the introduction of a nightclub and five new restaurants. $100 million will also be spent on a swimming pool (the second in the vicinity). As part of a deal between the Seminoles and the local governor, the development is set to see bring a influx of employment to the area as well. The tribe estimates that 19,452 jobs, including 4,867 full-time positions and 14,585 construction jobs, will be created due to the development. https://twitter.com/Chabelih/status/694191104854458370 Seminole plans are pointed skywards as they claim to rival Las Vegas and other major global gambling destinations. "We truly think this will rival not only anything in Florida, but Atlantis and anything in the world," said Allen.
West Avenue in Miami Beach is set for a Jean Nouvel high rise surrounded by an elaborate man-made lagoon. The tower will be covered with suspended vegetation that, at least in renderings, casts the structure in a distinctly green hue. This is Nouvel's second attempt at building in the city after his Grove Heights project lost a competition in 2013. "Monad Terrace" as the 14-story tower is known, is set to top out at 149 feet, just a hair below the city's height limit of 150 feet. Developers JDS also recruited Kobi Karp Architecture and Interior Design to work on the scheme which boasts a glass facade encircled by water and a green wall, covered in foliage on one side. Inside, the structure will hold approximately 80 residential units that will offer two–five bedroom layouts, each with views out three or four sides of the building. Topping the structure are two penthouses, each with its own private pool. To maintain privacy, reflective screens—that allow views out but obscure view in—sit in front windows, creating a staggered facade. The lagoon, however, is the complex's showpiece. Occupants can stroll up to seating in the middle and edges of the lagoon or take a dip in the swimming pool along the bay where a waterfall is planned. According to managing partner at JDS Development Group, Michael Stern, the pool will be visible from the bay. It's not all good news though. Elaborate water features may be easy on the eye, but rising sea levels are a very real threat to those along the coast on Miami's South Beach. The issue surfaced late last year when The New Yorker published findings that said the idyllic retreats of the area could be underwater in under 50 years. Nouvel's design however, looks to be high and dry. "Our design is very conscious of what is going on to changes to the streets and concerns about sea level rise," said Stern speaking to Curbed Miami. Monad Terrace will be the first building in the West Avenue vicinity to encompass the higher street level requirements. Nouvel has been inclusive of the potential disastrous surroundings in his design. Landscaping dotted around the building can absorb water, meanwhile below street-level garages can act as water-tight "bathtubs." Speaking on the matter, Stern commented that "the landscape is designed that if any salt water intruded it is tough enough to live through that event."
This year's Art Basel/Design Miami was a wash. The tallest stilettos could not save feet from floodwaters that inundated streets and forced partygoers under small tents. Even when it's not raining, water bubbles up through stormwater grates and sewers, a result of the city's porous limestone bedrock. Miami Beach is a barrier island that is routinely battered by hurricanes and floods. With global warming, the bad floods will only get worse. The U.S. Army Corps of Engineers, NASA, and NOAA predict sea level rise between eight inches and six feet by 2100. For these reasons, Harvard GSD's newly established Design Office for Urbanization selected Miami Beach as its first focus site. Though unaffiliated with Harvard, a recent Florida architecture grad would make a great contribution to the program. Designer Isaac Stein, at West 8's New York office, envisions a solution for incorporating rising seas into Miami Beach's urban design, Vanity Fair reports. While completing an undergraduate degree in architecture at the University of Miami, Stein drafted a plan for a mangrove forest, raised buildings, canals, and other design interventions that will bend to, not fight, the rising seas. The plan focuses on South Beach proper, from 5th to 15th Streets. One of Miami Beach's main thoroughfares, Alton Road, would be raised on stilts to accomodate floodwater. Trams would replace cars, and bike lanes would be installed along Washington Avenue, roughly parallel to and a few blocks inland from the Atlantic. Historically, Miami Beach's western (bay) side was lined with mangroves. Stein's plan restores the mangrove forest to provide a natural buffer against rising water. Canals would be cut in the medians Michigan, Jefferson, and Lenox Avenues. The resulting fill could be used to raise buildings and roads 1.5 feet above grade, would safeguard the city against six feet of sea level rise.