Posts tagged with "Florida":

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. 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.

Jean Nouvel’s vegetated Miami tower touted for its man-made lagoon

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."

Designer envisions a Miami Beach that embraces the rising sea

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.

On View> Robert Motherwell, Pierre Chareau and the Quonset House of 1947

Mthrwl - Namuth copy 2 One of the great joys of art and art and architecture fairs is the energy they create for specialized focused architecture exhibitions at alternative sites away from the main venues. This is true for all Venice Art and Architecture Biennales and the Salone del Mobile in Milan, Italy. This week's Art Basel/Design Miami, perhaps because it is still a relatively young event and focused on art and design and not architecture, is short on these sorts of serious ancillary events. But there is one small yet highly focused and detailed exhibit that stands out this week. ____Oak Floor - Mthrwll H., by AG copy 2 Curated by Alastair Gordon (along with a class of students he taught this semester at FIU), the exhibit Accidental Architect: Robert Motherwell, Pierre Chareau and the Quonset House of 1947 details the house that Chareau designed for the New York painter in East Hampton when the Hamptons were still affordable for artists. Gordon obsessively photographed the house a week before it was destroyed in 1985. Quonset huts, of course, have a great legacy in America during war time, but this was not an ordinary metal unit but one tweaked and detailed by the master French architect. The exhibit has some of Gordon's beautiful detailed photographs of the structure that shows the outer limits of what can be accomplished with mass produced technology. We owe Gordon a debt not just for his obsessively detailed images, but the intelligence with which he put this show together. Gordon tied it to Motherwell’s artistic conversation with the house and his Mexican-born wife, Maria Ferreira y Moyers, who was making her own experiments in art and prose and became, in effect, a "third collaborator" on the design of the house. Barney Rosset, publisher of Grove Press, bought the property in 1952 and added incongruous cedar shingles and Spanish tiles. Despite many protests, the house was demolished in 1985 to make way for an "Adirondack-style" McMansion. The exhibit is in the Main Gallery of the Miami Beach Urban Studios at 420 Lincoln Road, 4th Floor. ____Motherell House, early copy 3 38333677-36de-489e-941a-6115bf6a7ba6

Zaha Hadid is the real star of design events infiltrating Miami this week

Zaha Hadid is not only one of the best known architects in the world, but after pursuing her own personal visionary path for over forty years, she is one of the most bankable. Her drawings and design objects are all over the 2015 design fairs this week in Miami. Revolution Precrafted Properties is showing a backyard pavilion (top) and  Sarah Myerscough Gallery from London is showing a series of collaborative vessels by Zaha Hadid and Gareth Neal (below), that sell for  $30,000 (plus tax). In addition, the star of Harvard's design schools kickoff party at Miami developer Craig Robins' house was his bespoke Corian bathroom designed by Ms. Hadid. Not even the David Adjaye–designed backyard pavilion was a match for this all white maintaince room.

Design Miami Minute> Larry Bell and Hans Ulrich Obrist together in Wynwood

miamiday2-01 One of the early highlights of Miami Art and Design Week is the spectacular Larry Bell sculpture 6X6 An Improvisation at White Cube Gallery’s pop up space in the Wynwood Art District. Last night, Bell was interviewed by uber questioner Hans Ulrich Obrist in the gallery next to the piece. Bell talked about his years learning to manufacture and laminate his art pieces on East 9th Street in New York City after Pace Gallery sold out his show before he even arrived at the gallery. He also described his early years as a painter (he started out studying graphic design) influenced by Willem De Kooning, which eventually had him make spaces of wood and glasses rather than paint them. Bell described the nearly unlimited spatial and geometric possibilities of his glass cubes. When Obrist, who always wants to be prepared for his interviews, asked Bell to consider his installations as collages, referencing Vladimir Tatlin and others. Bell did not seem to want think about his work as Obrist farmed it and blurted out, “Hans and I only met for a few minutes before this talk,” and "I don’t know what to say about the work!"

Tell us what excites you about this year’s Design Miami

The Architect’s Newspaper will be in Miami this week for a slew of art and design events including Art Basel, Unbuilt, Design Miami, the Salone del Mobile preview, and launches of the new Institute of Contemporary Art and limited edition Ducati motorcycle. We have received a huge digital and paper file of official press releases but there may be scattered events and launches that have not landed on our desk. Is there anything the AN audience should know about on the edges of the official events? What are we missing? Let us know here in the comments below or tell us about your design highlights of the week!

Rudolph’s Walker Guest House replicated at the Ringling Museum of Art

It's no Palace of Versailles, but the Sarasota Architectural Foundation (SAF) has reproduced Paul Rudolph's 1952 Walker Guest House on the grounds of the Ringling Museum of Art. Using Rudolph's plans and Ezra Stoller's interior photographs, the foundation commissioned a faithful replica, down to the magazines on the coffee table. The replica will cost SAF approximately $150,000. It will be faithful to the original, minus the bathroom, which will be supplanted by a wheelchair-accessible ramp. The house will welcome visitors starting November 6th, part of opening festivities for SAF's SarasotaMOD Weekend. The original Walker Guest House is a 24-foot-by-24-foot foot structure constructed from "off the shelf" materials for the Walker family on Sanibel Island, off the Gulf Coast. The house still stands. Why build a replica? As SAF board member Dan Snyder explained, unlike other cities tearing Rudolph's architecture down, Sarasota is a "city that loves Rudolph." The Walker Guest House is privately owned, and Sanibel Island is only accessible via boat. The Ringling has 250,000 annual visitors, so having the replica house on its grounds will introduce Rudolph's work, and the Sarasota School of Architecture, to a wider audience. Indigenous to Florida's west coast, the Sarasota School melded the international style with the organic school of Frank Lloyd Wright while responding to the demands of a subtropical climate. The Walker Guest house, Snyder noted, "blurs the distinction between inside and outside, stealing space from the outside so the house seems much larger." The house is calibrated to respond to the seasons. Its three, eight-foot-by-eight-foot panels are flanked by retractable exterior shades that shield the house from excessive summer sun, but allow light to penetrate in the winter, when the temperature drops into the 60s. Its exoskeleton functions as a wraparound porch and a support system for the pulleys, weighted with red concrete balls, that control the shades. Members of the SAF visited the original house to document the interior and exterior for the replica project. To many, "1950s Florida" means tacky pastels and a flock of lawn flamingos. In contrast (or perhaps in protest), Rudolph's interior color palette is subdued grey to "draw [your] eye to the outside," Snyder explained. Referencing Stoller's photographs, the Rudolph-designed coffee table, dining table, bookcase, and sofa were reproduced. Queens-based furniture designer Richard Wrightman was commissioned to recreate the living room's officer's chairs. Adhering strictly to their standards of authenticity, the team purchased Time, Fortune, and Playboy magazines from 1953, and placed them as they appear in Stoller's images. A parallel exhibition, Paul Rudolph: The Guest Houses, at the Ringling features photographs, models, drawings, and writings. The exhibition runs through December 6th.

Donald Trump commissioned this rare albino Michael Graves building

Driving through Miami Beach on Florida’s A1A highway, one cannot help but notice the particular brand of American beach culture passing by—an eclectic architectural mix of decades-old spring break destinations, vintage art deco buildings, and glossy new condo developments. A one-mile stretch of Miami Beach, for example, contains 14 mid-century structures including five of Morris Lapidus’s flamboyant resorts, while the blocks between 32nd and 36th streets are home to a burgeoning $1 billion arts, cultural, and residential development involving Foster + Partners, OMA, and Philippe Starck.   If you manage to escape this commotion and continue north, you will hit Fort Lauderdale. Here—just 23 miles up the road, but in a comparatively calmer setting—is one of Michael Graves’s last built works: a nautically inspired, ocean liner-like structure known today as the Ocean Resort Residences. The project was initially developed as the Trump International Hotel & Tower Fort Lauderdale, but development halted during the 2008 financial crisis. The building fell under foreclosure about six months from its scheduled opening. Graves’s office pulled out of the project and the building sat vacant for four years until CFLB Group purchased it with plans to develop it into a Conrad, Hilton's luxury brand. Many groups have had a hand in the shaping and repositioning of this building, overlaying their own political agendas and recasting narratives that freshen up the experience for today’s evolving luxury market. Prior to reselling the property, the bank repainted Graves’ contextual pastel sky blue and sandy beach tan scheme a stark modern white, presumably to make the building more marketable to luxury condo buyers. After acquiring the building, Conrad spent the next two years completely reimagining Graves’ interiors. The project is now in its third interior design scheme and is finally nearing completion. Conrad’s revamped interiors pair Graves’ nautical inspiration for the exterior with thematic yacht-like detailing through custom material selections and furnishings like teak wood paneling, leather trim, and furnishings such as modified marine table lifts re-contextualized into dining room tables. Today, as the Ocean Resort Residences are set to open to the public, we are reminded of Graves’s associations with Le Corbusier and the New York Five. Whether intentional or not, the Ocean has brought Michael Graves’s career full circle. We owe this to the unlikeliest of sources: the foreclosure bank that left its mark on the building by painting it white. Michael Graves’s career began with his participation in the New York Five, a group of architects nicknamed “The Whites” by the press primarily because their work resembled more neutral white abstract forms. The projects of the Whites were a series of built houses which borrowed largely from early Corbusian-inspired form. Despite the nickname, the Whites held a very strong interest in the use of color in the work of Michael Graves and John Hejduk. In fact, Graves had claimed in interviews that his early houses were intended to be colored but that his clients rejected such schemes in favor of all white exteriors. Graves’s career evolved beyond the New York Five era, adopting an architectural language aligned with a commercial populism: design for the masses centered around colorful and legible, yet abstracted, classical forms. The story here is ultimately not about Graves’ contribution to the architectural scene along the A1A, nor the fact that this building is one of the last that he ever designed. Rather, it is about a disciplinary question of legacy, authorship, and narrative. Would it be correct to call the 2015 posthumous Conrad version of this building a Michael Graves project, or should we avert our eyes, referring instead only to sketches and a few marketing photos of the incomplete Trump version which no longer exists? Graves’s contribution here is not a tangible building, but rather a narrative about contextualism. In the end, what we are left with is a sail-like gridded white facade, and a thematized luxurious interior loaded with a fresh new amenities package that perhaps even Le Corbusier would enjoy.

Critic Alastair Gordon diagnoses Miami with a case of “facade-ism”

Miami is a place of sunshine and gloss, bronzed bodies and signature cocktails. But for architecture critic and author Alastair Gordon, the underlying dynamics—including the harsh realities of income inequality and rising sea levels—are what make the city truly interesting. These dynamics are further obscured by the recent construction boom. "There are these crazy investments from overseas," said Gordon. "A lot is coming from South America, but also Europe, China, and Russia. That's fascinating, but it's completely in denial of what else is happening in Miami." Architecture can play a role in bridging the gap between the real and the ideal, said Gordon, pointing to Herzog & de Meuron's Pérez Art Museum Miami (PAMM) as a prime example. Gordon will be on site at the museum on Friday, September 11, leading a tour of the Faena District, Miami Beach, and the Design District on the second day of the Facades+ Miami conference. "PAMM is great architecture and a great museum, but it's also a great piece of urbanism," said Gordon. "It shows you what the rest of the city could be" through its relationship to a proposed bike bath and water taxi system. "It suggests a whole new paradigm not just for how a museum operates, but for the city," concluded Gordon. On Thursday, September 10, Gordon will moderate a panel discussion on "Miami: Buoyant City" as part of the Facades+ Miami symposium. Panelists include Zaha Hadid Architects' Chris Lépine, Ximena Caminos of the Faena Group, and Glavovic Studio's Margi Nothard. The three speakers each represent a different approach to facades, said Gordon. Zaha Hadid's 1000 Museum is more about "the building as pure facade, very high end," he said. "That building, more than any of them, is really state of the art in terms of structural integrity." Then there's the Faena District, which Gordon characterized as a "compromise, trying to do architecture with community involvement." Caminos, he explained "is the brains behind the cultural immersion they do. It's not just fancy architects parachuting into Miami. They really live here, they're extremely involved in community affairs." As for Nothard, Gordon says he is "a fan" of her work. "She has done extraordinary things with building affordable housing and senior housing on a level you can't believe." Gordon finds the topic of facades especially fitting for Miami. "It's always been a city of facade-ism," he said. "It's so much about appearance; people don't want to know what's going on behind the facade." But as the work of his co-panelists demonstrates, Miami's reputation for superficiality may be on the brink of a transformation, said Gordon. "In that way the city's changing in a really good way." To hear more from Gordon and his co-panelists, and to sign up for an exclusive field trip to the Faena District, Miami Beach, and the Design District, visit the Facades+ Miami website.

Developer Andrew Frey on aesthetics versus urbanism in Miami’s building codes

When it comes to navigating Miami’s zoning codes, Tecela principal Andrew Frey brings an experience-based advantage to the table. Before transitioning to the business side of development in early 2011, he spent six years as a zoning lawyer. “I always wanted to be a developer, and I learned a lot from my developer clients,” recalled Frey. Frey will moderate a panel on “Creative Facade Solutions: Responses to Local Zoning” at next week’s Facades+ Miami conference. Panelists include Arquitectonica founder Bernardo Fort Brescia; Carlos Rosso, president of The Related Group’s condominium division; City of Miami commissioner Marc Sarnoff; and Shulman + Associates founding principal Allan Shulman. From the perspective of the Miami-area developer, said Frey, the two most important factors in facade design and fabrication are moisture penetration and attractiveness. As an example, he pointed to an apartment building project in Coral Gables, completed while Frey was with his previous employer. To tackle the moisture issue, the development team paid special attention to the window assemblies, and to any areas where water could penetrate the stucco. On the aesthetic side, they worked within the city of Coral Gables’ incentives for Mediterranean architecture to design a complicated envelope articulated to break up the plane of the front wall. In general, observed Frey, the facade is “extremely important” in an urban environment. For an attached product, in particular, “it’s the only differentiation that the building will have, because you don’t see the sides or back,” he said. “Townhouses, row houses, brownstones—for that kind of a building, the facade is all it has.” With respect to how Miami building regulations impact envelope design and construction, Frey mentioned two potential problem areas. The first concerns Miami-Dade County’s hurricane code, which requires special approval for every product used. “The state of Florida and national building codes don’t count, so you’re somewhat limited in your choices,” he said. Frey cited Frank Gehry’s New World Center as a case in point. “When going through conceptual approval, they were proposing a very minimally supported glass wall,” he said. “What they wound up being able to build had very thick structural members.” (Frey acknowledged that other factors, including cost, may have led to the change in design.) Second, and more troublesome for Frey, is the subjective design review process. From his point of view, the existence of stringent design standards without an underlying commitment to fine-grained urban development reflects a confusion of priorities. “A lot of jurisdictions want to put in place very complicated facade design guidelines, but what they really need to do is to make small-scale urbanism developable,” explained Frey. “If your zoning just encourages super tall towers where the ground floor is an afterthought, of course you’re going to get monotonous, throwaway lower facades.” Hear more from Frey, his co-panelists, and other leading voices in facades design and fabrication at Facades+ Miami. Learn more and register today on the conference website.

The Facades+ conference digs into Miami architecture this September

Facades+, the premier conference on high performance building envelopes, stands out as an exception to the rule of generic meet-and-greets. The series delivers targeted information on and stimulates dialogue about specific, location-based issues in the fields of facade design, engineering, and fabrication. Facades+ attracts leading industry experts and sponsors for symposia and experiential activities, including workshops and/or field trips. This September, Facades+ makes its South Florida debut with Facades+ Miami. The conference kicks off September 10 with breakfast and check-in, followed by a welcome from co-chairs William Menking, AN's Editor-in-Chief, and John Stuart, Associate Dean for Cultural and Community Engagement at FIU College of Architecture. Between keynote addresses by Rojkind Arquitectos' Michel Rojkind ("Habitable Facade/Tactical Necessity) and Oppenheim Architecture + Design's Chad Oppenheim ("Harmonizing Facades to the Environment"), attendees will hear from speakers and panels on topics ranging from "Creative Facade Solutions: Responses to Local Zoning" to "Miami's Next Steps." Presenters include Vincent J. DeSimone, Founder/Chairman at DeSimone Consulting Engineers; Tecela Principal Andrew Frey; architecture critic and author Alastair Gordon; AIA Miami + Miami Center for Architecture & Design's Cheryl H. Jacobs; Rodolphe el-Khoury, Dean of the University of Miami School of Architecture; FIU College of Architecture's Marilys Nepomechie; Shulman + Associates Founding Principal Allan Shulman; and many more. In addition to earning 8 AIA HSW CEUs for attending the symposium, conference participants can register for one of two exclusive field trips (4 AIA HSW CEUs) on September 11. Both field trips depart from the new Pérez Art Museum Miami. The Downtown and Brickell tour, led by Allan Shulman, is sold out. The second field trip is led by Alastair Gordon and focuses on Miami Beach and the Design District, including the massive mixed-use Faena District. Faena District highlights include the Rem Koolhaas/OMA-designed Faena Forum and Foster + Partners' Faena House. The tour will also make stops at or drive by new and retrofitted Miami Beach resorts as well as high-end retail destinations in the Design District designed by David Chipperfield, Sou Fujimoto, and René Gonzalez. Register today for Facades+ Miami, a one-of-a-kind chance to dig deep into the triumphs and tribulations of designing and building facades for South Florida and beyond.