MAISON&OBJET Americas
Issue link: http://digital.greengale.com/i/503691
m i a m i rendering courtesy of one thousand museum by z aha hadid wealthy settlers. The parking levels, which are also used for parties, are entirely open, with the jutting overhangs aesthetically charged by Lapidus's origami- like concrete canopies on Lincoln Road. At night, 1111 Lincoln, lit up like the Reichstag, is stunning in a pre- cise, hard-edged Swiss way. It's a building that Herzog has described as "muscles without cloth." Miami is suffused with light and water, and Herzog & de Meuron's second project in the city, the Pérez Art Museum Miami, makes use of those natural advantages. Situated on Biscayne Bay in downtown Miami, PAMM—which was inspired by Stiltsville, a collection of atmospheric shacks off the tip of Key Biscayne—features an enormous wraparound ter- race, an outdoor space with the epic scope of Henry Flagler's 1890s Royal Palm Hotel. PAMM anchors Museum Park, a complex along Biscayne Bay that will incorporate the new Patricia and Phillip Frost Museum of Science (designed by Grimshaw Architects and opening next year), with landscape design by James Corner Field Operations (responsible for the High Line project in Manhattan). Museum Park has fnally given Miami a great public meeting ground, a place to watch the city's possibilities unfold. (Overlooking Museum Park, Zaha Hadid's sinewy 1000 Museum should become the definitive downtown residential tower; Hadid even designed its sales center.) In the last few years, the Design District has gone into overdrive. During Art Basel in Miami Beach 2014, the launch of the Institute of Contemporary Art, Miami was complemented by the debut of the Palm Court, a mixed-use building in the district and an important architectural moment for the city, a creation that speaks to Miami's singular environment. For the façade, prominent Japanese architect Sou Fujimoto employed a series of glass fins to create a waterfall effect, intended to echo Miami's tropical rainstorms. A ground-foor installation, Buckminster Fuller's Fly's Eye Dome, one of the neo-futurist architect's varia- tions on his geodesic dome, completes the Palm Court design package. Today in Miami Beach, just fve years after the opening of 1111 Lincoln, the starchitect era has exploded. At Faena Miami Beach, developed by Alan Faena, Norman Foster is creating a residential tower, while Rem Koolhaas/OMA is designing a hotel and arts center. Up Collins Avenue, Terra Group has hired Renzo Piano to design a residential tower. At the Surf Club, Richard Meier is lending his talents to a condo- minium and hotel. Eight winners of the Pritzker Prize—archi- tecture's highest honor—have either completed or are working on projects in Miami. So it makes sense that this year's Pritzker ceremony will be held on May 15 at Miami Beach's New World Center, designed by Frank Gehry for the New World Symphony. Maison&Objet Americas' Designer of the Year awards ceremony will also take place here, on May 13. Good design begins with a vision, and the visions of Miami's founders—from Julia Tuttle to Carl Fisher—have been realized beyond measure. Miami, America's most contemporary city, is remaking itself as an international center of modernity. n Te starchitect era exploded after the opening of 1111 Lincoln Road. Zaha Hadid's sinewy 1000 Museum, a residential tower, overlooks Museum Park. m&O 82 m a i s o n - o b j e t. c o m