Posts tagged with "Miami":
On October 4, Facades+ is coming to Miami. The conference features nine speakers from a broad range of AEC firms, ranging from architectural concrete supplier Gate Precast to Paris-based Ateliers Jean Nouvel, and Miami's own Arquitectonica. Allan Shulman, who founded Miami’s Shulman + Associates in 1996, will be co-chairing the conference. Over the last two decades, Shulman + Associates has been recognized with dozens of design awards stemming from the practice’s site-specific designs and ambitious forays into architectural preservation and urbanism. To learn more about Miami’s architectural development, AN interviewed Allan Shulman on the city’s burgeoning urbanism, adaptation to climate change, and preservation efforts. The Architect’s Newspaper: Miami is undergoing a significant period of development, with seemingly continual expansions of the Miami Design District and nationally-prestigious projects such as the Phillip and Patricia Frost Museum of Science. Shulman + Associates is a player in this current trend. What factors do you perceive as driving Miami’s architectural renaissance? Allan Shulman: I am a bit skeptical of the term “significant period of development” in this city, because it seems as though the development cycle, like the touristic cycle, has sprawled into a continuous blob, not a focused moment. The challenges are therefore fundamental and strategic, not localized. Overall, I see three themes driving Miami’s development: First, we are building today the infrastructure of a great city. The reality and ambition of the city are driven by the idea of being a global city, comparable and compared to other such cities around the globe. Is the city just becoming a better version of itself? I don’t think so. Great parks and public spaces, great cultural facilities, great transportation networks, ground-up public involvement in design questions by an empowered and informed public are all at play. Yet the frustrations about our failures in this regard are as intense as the optimistic ambition. But still, the global city is the emerging measuring stick, so I think the discussion is getting more interesting. Second, we are witnessing a remarkable densification and consolidation of neighborhoods throughout the metropolitan area. In a city as decentralized as Miami, the building is not happening in just one or two areas, but across a broad swath of the city. Certainly, it is uneven and driven more by the glam end of the spectrum: downtown, Miami Beach, Wynwood, and the Design District, but you can see it cropping up around Metrorail stations, extending along Miami’s commercial arteries and mushrooming around old neighborhood centers. Also, you can see it in the widespread use of historic preservation to conserve neighborhood character, and in the vast number of civic initiatives that are a part of the discourse. Finally, it seems as though the “tropical” and the “modern” are new again. This is extraordinary…it ties us to our roots, of course. Miami has a long tradition, and some of the greatest work produced here was inspired by these themes. But it also launches us into the future because it engages two relevant themes: How do we understand and relate to our particular context? And what is the appropriate architectural solution to address the problems of today? Miami is known for its distinctive modernist heritage. How does this architectural heritage contrast or complement contemporary facade systems? AS: Miami has often been a laboratory of contemporary building systems; it certainly was in the 1930s, when the city experienced an explosion of construction. Plate and Vitrolite glass products and new lighting systems were used in support of modern architecture. Today, it is difficult to be innovative because we have a more limited array of available facade systems, compared to other cities in North America. Our building codes require compliance with water-tightness and impact criteria, and each system must be tested and approved for a specific use in order to be used in Miami-Dade County. The process is expensive and time-consuming and limits choices. Manufacturers with a large market for their product invest, but certain niche players find it not worth it. Of course, choices have expanded a lot since the imposition of the testing requirement after Hurricane Andrew in the 1990s, but this requirement is still quite limiting. Certainly glass systems have improved, as well as rain-screens and louver systems. There are a number of modern-appropriate systems we can use, but others we can’t. Restoration projects, such as Shulman + Associates' Betsy-Carlton Hotel, allow for the retention of historic properties while bringing them up to contemporary standards. How do you approach blending the new with the old, and is there a specific intervention or facade treatment that your firm is particularly proud of? AS: At the most basic level, we try to blend serious research-based preservation with inventive approaches in areas we add or adapt. We aspire to make the finished project a legible record of the building’s development over time. Regarding historic facades, we try to use the same techniques as were used in the original building’s construction, to be true to the material culture of the period. In new facades, we are all about the contemporary. We are proud of the Betsy-Carlton, where we used laser-cut aluminum to feature poetry, and abundant transparent walls at the new wings of the building while preserving the old fabric of the structure. We also developed a spherical object (an “Orb”) that ties the Betsy and the Carlton, in order to abstract an otherwise utilitarian building connection over the alley. What is new is proudly idiosyncratic and situational. The rest is context. Hurricane Irma highlighted the environmental challenges that lie ahead for Miami with increased incidents of extreme weather. What methods and techniques are currently being used across Miami and by Shulman + Associates to confront this predicament? AS: The most important new techniques involve raising buildings and protecting the facade from flying debris. We have been raising buildings for some years now, following FEMA requirements, but now we are raising them more radically, enough to open the space under the building. This is a practical and low-tech solution. The other strategy, protecting facades from flying debris, overlaps with the objective of protecting the facade from sun and rain. So hybrid facade systems that are layered in depth and have resilience are preferred. Outside of the threat of climate change and extreme weather conditions, Miami is located within a tropical climate. How can firms best adapt their facade systems to this environment, and what techniques are Shulman + Associates utilizing? AS: Adapting facade systems to the tropics is the biggest challenge we have because it affects everyday use, performance, and comfort of the building. Although we get no or little credit for it in our energy calculations, we generally shade and/or screen our facades to the extent we can. This again leads to hybrid systems that provide some depth by which to filter and dampen the extreme effects of the environment. The materials are new, but the techniques for doing this have been around since at least the postwar period. I consider myself an avid student of history in this regard. To learn more about Miami Facades+AM click here.
After David Beckham and his Major League Soccer (MLS) partners unveiled the first glimpse of their billion-dollar, 73-acre soccer campus in early July, details about the development, and Miami’s possible first MLS team, have been coming fast and furious. This morning, Beckham, the potential Miami football club's owner and president, unveiled the new name and logo of the team. “Club Internacional de Fútbol Miami,” or Inter Miami CF, are scheduled to begin playing in 2020 if all goes according to plan and will be represented with an emblem that combines Miami’s signature pink with a pair of herons. Beckham and team co-owner Jorge Mas claim that every part of the team’s identity references Miami’s diverse global population, from the name to the “M” shape formed by the birds in the logo.
More information about the contentious Miami Freedom Park soccer complex has also been made public. The potential development would rise on the city-owned Melreese Country Club golf course, and Beckham and partners successfully convinced city commissioners to put the development on the ballot in November. If voters approve, Beckham’s partnership would lease about half of Melreese from the city for 39 years (with an option to extend their lease to 99 years), while the city would need to renovate the rest of the country club using taxpayer funds. Beckham and Mas have enlisted hometown favorite Arquitectonica to plan and design the complex. In addition to the 10.5.-acre, 25,000-seat soccer stadium that anchors the plan, Freedom Park could contain 23 acres of soccer fields, 3,750 parking spots (a radical departure from Beckham’s first stadium proposal), 600,000 square feet of restaurant and retail space, 750 hotel rooms, and 400,000 square feet of offices. In the updated renderings, Arquitectonica has included a playground, skate park, and golf facility on the city-owned portion of the park, which, if built, would be constructed with public funding. The curving canopies of the stadium, which swirl around the open field and resemble an aperture, will extend out to beyond the building proper and seemingly cover other public areas. Miami residents will vote on whether to move ahead with Freedom Park this November.
Bjarke Ingels Group is teaming up with Miami Beach developer Robert Wennett to design a mega mixed-use project dubbed the Miami Produce Center for that city's Allapattah neighborhood. The Real Deal reported that Wennett’s Miami Produce Center LLC aims to construct an eight-building development outfitted with residential units, offices, retail, a hotel, a school, and a parking garage, according to a Special Area Plan recently filed to the City of Miami. Property records show the plan for the new buildings covers an 8.54-acre block at 12th Avenue and 21st Street—all of which was bought for a grand total of $16 million back in 2016. Initial renderings for the Miami Produce Center reveal Wennett’s futuristic and tropical vision for the multi-leveled urbanscape. BIG’s design centers around stacked, rectangular structures, all varying in height and set atop thin stilts. The interconnected buildings, with their exposed floor plates, tilted walls, and angular views, are laid out like horizontal Jenga—some reaching as high as 19 stories. Rooftop plantings and greenery soften the stark design while a landscaped plaza, sunlit parking garage, and grass-covered pavilions shade shoppers and visitors within the complex. In recent years, Wennett has purchased old buildings and warehouses in the largely industrial area, which is situated northwest of downtown Miami and west of the airport. His most well-known project, 1111 Lincoln Road, is an award-winning mixed-use garage designed by Herzog & de Meuron in South Beach.
David Beckham’s saga to bring a Major League Soccer team to Miami has taken yet another turn, as the soccer superstar prepares to present plans for a 78-acre soccer campus before the Miami City Commission this Thursday. Beckham and his MLS expansion partners have scrapped plans to build the breezy, Populous-designed stadium on land that they already own in Miami’s Overton neighborhood, and are instead looking to develop the publicly-owned Melreese Country Club. Beckham has teamed up with local businessmen and MLS partner Jorge Mas of infrastructure firm MasTec to bring a new, $1 billion proposal for 'Miami Freedom Park' before the city. As the Miami Herald reports, plans for the country club had been kept scarce until yesterday, when Mas took to Twitter to reveal the project’s first rendering and a proposal fly-through. Beckham and Mas will argue before the City Commission to put the redevelopment to a public vote in November. If successful, the golf course would be split between a 73-acre, privately funded campus that would include a soccer stadium, retail, office space, and a hotel complex, while Beckham's Miami Freedom Group would also pay to convert the golf course’s remaining 58 acres into a public park. The proposed soccer stadium looks to be a marked departure from what was revealed in 2017. The new scheme sees an arching swath of buildings cut through Melreese, and the rounded, 25,000-seat stadium (topped with curving canopies reminiscent of an aperture) will anchor the surrounding development. Miami New Times points out, Melreese is currently privately-run and used mainly for golf, which has a notably deleterious effect on the environment. AN will update this story pending the result of the July 12 meeting.
Makeup brand Il Makiage has opened up a new Soho pavilion designed by Zaha Hadid Architects to coincide with the launch of their new 800-product collection. The pavilion’s angular tunnel of ribbons with alternating gloss and matte finishes mimics the makeup’s packaging in exploded form. Each of the ribbons is slightly different and lighting is installed in them and around the mirrors, helping shoppers accurately choose the right color and tone. Kar-Hwa Ho, head of interiors at Zaha Hadid Architects, said that they “wanted to create an environment defined by the woman celebrated by Il Makiage,” adding that the pavilion is intended to be a “personal space that’s all about her.” The mobile pavilion will be open in Soho for six months and a second New York City pavilion will be opening in Flatiron this summer. Zaha Hadid Architects is also developing the permanent Il Makiage New York boutique, as well as locations in D.C. and Miami.
On May 7, the largest mall in the country received approval from the Miami-Dade county planning board. The approximately 500-acre project, dubbed The American Dream Miami, is led by Canadian developer, Triple Five. The $4 billion, 6-million-square-foot entertainment center’s design includes features such as an artificial ski slope, an indoor water park, and submarine rides. Located 200 miles from Disney World, the American Dream is hoping to provide a competitive alternative in closer proximity to southern Floridians. Ringed by the I-75, the Florida Turnpike, and a band of palm trees, Triple Five’s design rises as a singular mass punctured by high-rise glass hotels, rooftop components and undulating glass skylights. However, according to the Sun Sentinel, scores of malls in the area oppose the project as it threatens to inundate an already saturated retail complex market. Located over five miles from the nearest Metrorail stop, the Miami Herald reports that the developer has agreed to invest in its own bus depot and fund the extension of preexisting bus lines to The American Dream. Regardless of this transit overture, the sprawling complex will be highly reliant on the adjacent I-75 and Florida’s Turnpike to accommodate the estimated 100,000 daily vehicle trips generated by visitors and employees. Although malls across the country are closing shop, Triple Five is also moving forward with a 3 million square-foot entertainment complex in East Rutherford, Jersey. In total, these two new projects will bring Triple Five’s portfolio up to four locations, including Bloomington, Minnesota’s Mall of America which currently holds the title for the third largest mall in America. While Triple Five has received approval from the county planning board, the developer still has to secure new zoning variances, additional financing and propose storm water runoff infrastructure. The project will be subject to a final vote on May 17.
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Miami is perhaps the epicenter of architectural parking garage design, hosting work from Herzog & de Meuron, Frank Gehry, Enrique Norten, OMA, Arquitectonica, IwamotoScott, Leong Leong, John Baldessari, a scrapped Zaha Hadid proposal, and more. Adding to the mix is a seven-story mixed-use structure integrating retail with an 800-car capacity garage. Riley worked with WORKac, J. MAYER H., Clavel Arquitectos, Nicolas Buffe, and his own Keenen/Riley (K/R). Each architect submitted a developed design, then worked with the owner’s consultants and fabricators thereafter. There were no set budgets given to the designers at the outset. The owner obtained their own estimates as the project progressed. Museum Garage is inspired by the “exquisite corpse” method, a Surrealist artist game which is a shared system of production. Riley said the only rule the five teams knew was that their facade had to go edge-to-edge with another. “In the concept phase, they were only given height restrictions and a depth requirement (not more than 4-feet).” After the concepts were selected from three requested schemes, actual dimensions and locations were assigned and designs naturally evolved through dialog with the architects. Terrance Riley said the project offers a new model of development. “I remember a couple of instances here, developers hired different architects to design facades for the same building, as in Frankfurt on the Saalgasse. The goal was to achieve a picturesque townhouse row.” Riley added, “That was not our goal for Museum Garage. This was more like the La Strada Novissima at the Venice Biennale.” From the architects:Coined "Museum Garage," this project brings together five architectural teams to celebrate the Miami Design District’s inspired art, design and architecture scene, with a unique collaborative garage screening project. “The key was selecting architects who I believed actually could use their technical knowledge and experience in a very non-traditional way,” said Terrance Riley, a Miami-based architect and curator of the project. “It was key to select artists who could translate between working in 2-D to 3-D.”
- "Ant Farm" by WORKac celebrates social interaction, sustainability, art, music and landscape. In an ant colony-inspired structure, the public spaces and connecting circulation appear and disappear behind a perforated metal screen, resembling an ant farm of public activity while providing visual contrast, shade, and protection.
- "XOX (Hugs and Kisses)" by J.MAYER.H.: appears as gigantic interlocking puzzle pieces that nestle at the corner with the forms of WORKac's façade. "XOX"'s enigmatic forms, emblazoned with striping and bright colors, recall the aerodynamic forms of automotive design and appear to float above the sidewalk below. Smaller volumes, covered in metal screens project outward and are activated with embedded light at night.
- "Serious Play" by Nicolas Buffe: serves as the entrance and exit to the garage. It is constructed with a dark perforated metal backdrop. The façade features a variety of diverse 2D and 3D elements crafted from laser-cut metals and fiber resin plastic.
- "Urban Jam" by Clavel Arquitectos: draws from the rebirth of urban life in the Miami Design District - where old structures and discarded spaces have been revived by architectural and urban designs. Urban Jam suggests a similar "repurposing" of very familiar elements, using 45 gravity-defying car bodies rendered in metallic gold and silver.
- "Barricades" by K/R: inspired by Miami's automotive landscape; particularly it's ubiquitous orange- and white-striped traffic barriers. In this case, the faux-barriers are turned right side up and form a brightly colored screen. The façade has fifteen "windows" framed in mirror stainless steel, through which concrete planters pop out above the sidewalk.
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
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.
The collapse of a pedestrian bridge at Florida International University (FIU) in Miami yesterday that left six dead is raising questions over how the supposedly state-of-the-art project could fail. The 174-foot-long, 950-ton span was assembled on the side of the road and later rotated into place by Munilla Construction Management over the course of only 6 hours, after testing by structural firm BDI.
The FIU bridge, meant to cross eight lanes of traffic at a particularly dangerous intersection in front of the school, was designed to double as an amenity deck and would have featured a bike lane for students. Instead of being constructed in situ, the span that collapsed was built on temporary supports on the side of the road, and rotated 90 degrees into position on March 10th. Using this “Accelerated Bridge Construction (ABC) method” to build the bridge’s superstructure elsewhere was touted as a way to cut costs and minimize disruptions to traffic below. According to a press release from LIU, the bridge would have also been the first in the world to have been constructed from self-cleaning concrete. It’s currently unclear whether the construction methods used to build the span played a part in the collapse, which flattened the cars underneath at the time. Miami-Dade Mayor Carlos Gimenez had said earlier that day that the bridge had just successfully completed stress testing. In a statement given to the Miami Herald, FIU President Mark Rosenberg said that the testing was done in accordance with best practices. “I know that tests occurred today. And I know, I believe, that they did not prove to lead anyone to the conclusion that we would have this kind of a result. But I do not know that as a fact.” Florida Senator Marco Rubio took to Twitter to discuss the work being done on the bridge before its collapse, saying “The cables that suspend the Miami bridge had loosened & the engineering firm ordered that they be tightened. They were being tightened when it collapsed today”. The engineering firm Rubio is referring to is FIGG Bridge Design, who were collaborating with Munilla to build the bridge. While the span was to be supported by steel suspension cables installed from a central column later on, Rubio may have been referring to tension cables inside of the bridge itself. It's unclear what form of temporary support was holding up the bridge at the time of the accident. At the time of writing, it’s unclear why engineers had chosen to stress test the bridge while allowing traffic to pass underneath, or if the cable tightening had played a role in the failure. The $14.2 million bridge, financed through a US Department of Transportation TIGER grant, had originally been slated to open in early 2019.
Engineering company BDI appears to have quickly deleted this tweet. pic.twitter.com/hA1McwVubS— David Mack (@davidmackau) March 15, 2018
Norwegian Cruise Line has unveiled plans for a new terminal in Miami to begin construction in May, pending final approval by the Miami-Dade County Board of County Commissioners. The terminal at PortMiami will be LEED Silver certified and will make an effort to be built with local materials and resources. Designed by Bermello Ajamil & Partners, the terminal’s gently curved outer form and spiralled, multilevel facade are inspired by the nautilus. Immense lateral windows will offer prime ocean views and the oblong, white-accented terminal’s nearly 166,500 square feet will give the port the capacity to host an additional 5,000-person ship with new technology to speed up embarkment and disembarkment. The terminal will also feature a variety of amenities for passengers, as well as expanded parking and valet services. Miami-Dade county will be investing $100 million in the terminal, citing its job creation benefits. It is unclear what Norwegian will itself contribute to the cost of the terminal. Bermello Ajamil & Partners was chosen by Norwegian after a dispute between Norwegian and Miami-Dade county over the initial bid-winning design and construction firm chosen by the county. The county would have saved $19 million if the original plans had gone through. The new Norwegian Cruise Line terminal, to be labeled Terminal B, will be next to Royal Caribbean Cruise’s new Terminal A, which is set to be complete this November, and just east of Norwegian’s current Terminals B and C, which are set to be combined into a single Terminal C. The new terminal arrangement would double Norwegian’s capacity. PortMiami is currently the “cruise capital of the world,” last year breaking world records by hosting 5.3 million visitors. The new terminal will dramatically reshape the port, and as PortMiami director Juan Kuryla told the Miami Herald, “[set] the stage for other beautiful terminals along the north side of the port.” The terminal is intended to be completed fall 2019 to coincide with the launch of the Norwegian Encore, the newest Breakaway Plus class ship in Norwegian’s fleet.
A 1-million-square-foot, mixed-use development is set to break ground in North Miami Beach, replacing the historic Dean’s Gold strip club at the intersection of NE 163rd Street and Biscayne Boulevard. Miami-based developer CK Privé Group has teamed up with local firm Arquitectonica (no stranger to office and residential design in the city) for the project, which will be called Uptown Biscayne. While the plans for Uptown Biscayne have been presented and revised since developers purchased the current site in 2015, the project will move ahead and break ground after North Miami Beach’s City Council gave the project its official blessing on February 21. The 4.9-acre plot will eventually hold 170,000 square feet of retail, 35,000 square feet of office space, 245 luxury apartments in a 16-story tower, and 1,000 parking spaces. The development’s location is crucial to its success, as CK Privé Group is banking on the traffic (and traffic jams) at the adjacent intersection to drive visitors to the retail component. “Traffic is bad in all of Miami,” Michael Comras, president and CEO of The Comras Company, the leasing company for the project, told the Miami Herald. “But traffic is also the most important element for the retail component. If you don’t have traffic, you don’t have successful retail. We believe this location is the gateway to Aventura and Sunny Isles. Everyone who drives north into Aventura or east into Sunny Isles goes by there.” Arquitectonica has gone green for the design, incorporating a 40,000-square-feet vertical green wall across the interconnected exterior façades, as well a wide pedestrian “main street” sidewalk lined with trees and an organic “edible community garden”. The design sensibility is also unmistakably Arquitectonica’s, as all of the façades shown so far prominently feature strong lines, repeating squares, and the usage of strategically placed “gap” windows to break up the repetitive patterns. Dean’s Gold was a holdout from Miami’s “gritty” days, when Miami Vice and Scarface had cemented the city’s reputation as a drug-running capital. Opened in 1989, the land under the club was purchased for $23.5 million, and Dean’s Gold will shutter now that Uptown Biscayne has been approved. CK Privé Group hopes to break ground on the project sometime later this year.