This post is part of our years-long running Eavesdrop series (think page 6 for the architectural field). It’s your best source for gossip, insider stories, and more. Have an eavesdrop of your own? Send it to: eavesdrop[at]archpaper.com.
In a now-par-for-the-course Trumpian weaponization of identity politics, the president asked Related Group president Jorge “The Condo King” Pérez—of Argentinian descent—to help build the U.S.-Mexico border wall. The real estate tycoon, who is friends with Trump and has built a couple of buildings with him, said that he declined nicely and made a joke about which side he might end up on, according to Bloomberg. Pérez said later that “The wall is the most idiotic thing I’ve ever seen or heard in my life.”
Last month AN compiled a list of the most high profile projects taking place in Miami, and on a recent trip to the Magic City, we had the opportunity to visit two of these sites: the shuttered Marine Stadium and Herzog and de Meuron's new building for the Perez Art Museum Miami (PAMM).
While new developments flood Miami, preservationists are fighting to save and revive the abandoned Marine Stadium on Virginia Key by Cuban-born architect Hilario Candela. In 2009, the graffiti-covered venue that once held powerboat racing events and large-scale concerts, was placed on the National Trust for Historic Preservation’s list of “11 Most Endangered Historic Places.”
Now that the advocacy group, Friends of Miami Marine Stadium, has won the approval from Miami City Commission for its Virginia Key Master Plan, including the restoration of the 6,566-seat stadium, the next step is winning the approval for the site plan and raising $20 million.
When the Miami Art Museum started to outgrow its cramped quarters in Philip Johnson's Miami-Dade Cultural Center, museum officials and board members selected Herzog and de Meuron to design a new building (now dubbed the Perez Art Museum Miami) right on Museum Park overlooking Biscayne Bay, what Jorge Perez, real estate developer and the benefactor of the museum, has said is the "last big piece of public land downtown."
"The board wanted a building that was first functional, and not just a piece of sculpture," said Thom Collins, Director of PAMM.
The concrete and glass structure is a nod to Stiltsville, a vernacular form of architecture originally built on the bay in the 1930s, and will house a variety of exhibition spaces to accommodate works of different scale.
"Our project was principally driven by the recognition of the fact that Miami is becoming a home for contemporary art," said Collins. "Our building now has no room for storage or conservation, or education."