Architecting the Future

A duet of Buckminster Fuller’s timeless inventions
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To complement the wave of events at Art Basel last week, the Miami Design District played host to a program that included trendy popup boutiques and transient cultural exhibitions. The highlight of the series for us was the resurrection of two creations from famed American architect-inventor Buckminster Fuller, whose futurist designs decorated the Palm Lot in Miami.

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Fuller’s “Fly’s Eye Dome” is a 24 foot structure designed in 1967 as a pre-fabricated and low-cost solution to housing. Made of 50 individual fiberglass pieces, the unit was meant to be air-deployable for use in remote locales. The dome takes into consideration material preservation, manufacturing cost and sustainable energy usage, making it relevant nearly 50 years later. The dwelling weighs about as much as an automobile despite it’s impressive size, and was lit by LED lights in the recent display.

Nestled beside the dome was Fuller’s Dymaxion 4 Car, a prototype for omni-directional transport system that was recently reconstructed by British architect Norman Foster. Fuller anticipated the availability of lighter materials that would eventually allow his car to accomplish vertical takeoff in the manner of a jump jet. While the Dymaxion’s production halted abruptly after a fatal accident the 1933 Chicago World’s Fair, the design influenced a slew of later vehicles, most notably the 1955 Fiat 600.

This marks the first time in decades that these landmarks of 20th century invention will be displayed together. Watch this exclusive time-lapse video of the installation coming together last week.


Christopher Janney

A sound architect’s latest projects debut with musical fanfare at Miami’s Art Basel festivities

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Artist Christopher Janney merges jazz and architecture with a rare balance of logic and imagination, describing his unique method as “painting with sound.” The trained composer is concerned with providing an emotional element to physical structures—to Janney, buildings are “urban musical instruments,” and over the past three decades he has built up an impressive array of site-specific works, from public installations in Miami to an 8,000-square-foot home in Kona according to the “cosmological principles and rhythms of Hawaii.”

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Janney’s pedigree boasts a degree in architecture from Princeton and a Masters in Environmental Art from MIT, but he maintains a southern charm reminiscent, in a way, of Bill Clinton when he describes his work as “a gas” and discusses musical tastes from Motown to Zappa. He dissects pieces of Mozart with the ease of a genius composer, but takes a leap from conventional musical expression by visualizing the notes as multi-colored glass installations that refract light in delirious, fantastical ways. In the recently published retrospective book on his work, Janney comments, “I am interested in creating a hyperreality—a place where a person is still aware of being in his normal environment, but elements of it have been heightened or altered—to invite a more interesting daily experience, as well as to push against the idea of urban alienation.”

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One of Janney’s most well-known projects to date is his 1995 installation at the Miami International Airport, a cornucopia of colored glass that lined the windows of the 180-foot moving walkway. Dubbed “Harmonic Runway,” the large-scale work was unfortunately removed due to new safety regulations following September 11, 2001.

Now, Janney has created a new light and sound installation at MIA that heralds the vibrant spirit found in Runway but packs an even bigger punch by using the innovative Vanceva glass system. “Harmonic Convergence” will project to travelers passing through a palette of more than 150 transparent colors alongside sounds recorded in Florida Everglades and on ocean SCUBA dives. The density of the sound score fluctuates in accordance to pedestrian activity, which is tracked via two video cameras installed in the ceiling. Topping off the experience is the rap of a short drum beat every hour to mark the time.

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The permanent installation, “Harmonic Convergence” is ready to view in Miami, where you can also check out an exhibition highlighting Janney’s three main areas of focus—”Urban Musical Instruments,” “Physical Music” and “Performance Architecture.” Taking the same name as his new book, “Architecture of Air,” the showcase will also be on view during Art Basel (29 November – 4 December 2011) at the Moore Building in the Miami Design District. Those in town for the art extravaganza will not want to miss his concert on 2 December at 9pm, where Janney will perform with The Persuasions in a show called “Disembodied Instruments (Dance Version).”

As a guy who still marvels, “Wow, I made that?” Janney is a driving force in advancing technology and experimenting with the way we react to the world around us, surprising even himself from time to time.


The Borscht Film Festival

An interview with Miami’s champion of independent film
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Speeding through Miami in a 1992 Toyota Corolla after midnight is just another day on the job for mastermind and self-proclaimed “Minister of The Interior” of the Borscht Film Festival Lucas Leyva. Leaving his own after party, the head of the city’s premier independent film event was on a mission for Miami’s rapper-turned-mayoral candidate, Unkle Luke Campbell, who told Leyva that he wouldn’t go onstage without three bikini-clad women to back him up—totally normal for a festival the Miami New Times calls “a wildly creative three-week event akin to Sundance on psychotropic mushrooms.”

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Semi-nude performances aside, the films included works by award-winning director and Miami native Barry Jenkins, up-and-coming sketch comedy dynamo Duncan Skiles and recent Guggenheim Video Biennale winner Jillian Mayer, who collaborated with indie powerhouse directors Rakontur Films. (“La Pageant Diva” pictured above.) In a city of excess, Leyva’s unassuming disposition and generosity have made him an unlikely candidate for an independent cinema impresario, but his efforts prove that the 305 area code isn’t always synonymous with South Beach debauchery.

We sat down with Leyva to learn more about the independent film festival and his role in making it all happen.

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How many of the films in Borscht did you have a hand in personally?

All of them. I was really involved in “Play Dead” from the concept stage throughout, but I had a hand in every film screened.

How was it possible for you to create Miami’s serious foray into independent cinema?

It wouldn’t have been possible without grants, like the one from the Knight Foundation or the support of individuals who really understand the cause. In Miami, until recently, people didn’t get it. They liked watching movies, but for people to invest in Miami cinema, they would expect to see Michael Bay films or “Burn Notice” type of stories. There’s been a huge brain-drain here and because of that typically really talented film makers from Miami have left to L.A. or New York as soon as they had the opportunity.

How long was the process to get the festival to where it is now?

This is the seventh year. Borscht was really started in high school, when a group of my friends and I wanted to make movies, but needed a place to show them. Since then it has grown by leaps and bounds, and become a launching pad for Miami artists to show their work at festivals around the world, including Cannes, Sundance and South by Southwest.


Roller Street in Miami

Une très belle vidéo de roller shooté à Miami avec le rider Jimmy Cisz sur une réalisation du Studio Ores et Thomas Bevilacqua pour Oxelo. Une captation en Canon 5D MARK II sur une bande-son de Wasaru. A découvrir en images et en vidéo dans la suite de l’article.



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Suburban Art

A look at domestic-themed work as seen at Miami’s recent art fairs

Call it a deadpan response to the U.S.’s role in geopolitical affairs or just a meditation on the unexpected truth and beauty to be found in contemporary Americana, Art Week Miami 2010 provided some interesting insight into the enduring theme of suburbia. The concept, seen at Art Basel, Scope, Pulse, the Rubell Collection and Nada, made for a refreshing and often witty departure from the highbrow atmosphere and VIPs admiring glossy surfaces and big-name works. Whether or not this focus on domesticity reflects a heightened interest in interior design or a nostalgic yearning for a return to the current generation of artists’ youth—afternoons spent gliding around sub-division sidewalks on skateboards or curled up on a La-Z-Boy watching “Married With Children”—there’s no doubt that the trend speaks to a particular phase in American culture. See some of our favorite examples below.

With contributions by Ami Kealoha, Evan Orensten and Jonah Samson

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L: “Roter Vorhang” (2010); R: “Schwarzer Rock” (2010) both by Martina Sauter, seen at Ambach and Rice

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“Lamp” (2010) by Beth Campbell, seen at Nicole Klagsbrun Gallery

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“Indoor sculpture Zürich” series (2002) by Erwin Wurm, seen at the Jack Hanley Gallery at Nada

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L: “Dwelling” series of “Untitled Soap” (2008) by Felicity Warbrick, seen at Waterhouse and Dodd; R:
The Hole
booth (2010), seen at NADA

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“General Park” (2010) by Ryan Trecartin, installation seen at the Rubell Collection

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“Dryer” (2010) by Isaac Layman, seen at Elizabeth Leach Gallery

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“Skateboards” (2010) by Comenius Roethlisberger and Admir Jahic, seen at Scope

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“Knitting is for Pus****” (2010) by Olek, seen at Christopher Henry Gallery


Soho Beach House

The renowned British members-only club opens its doors to Miami surf and sun

by John Ortved

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Despite sandy beaches and tropical influence, when it comes to social life, Miami isn’t known as the warmest of places. Inundated with velvet ropes, crowded clubs, big cars and bigger jewelry, the Florida metropolis recently received an attractive antidote with the arrival of the Soho Beach House.

Situated just a short distance north of the South Beach strip on Miami Beach, Soho Beach House—complete with Cowshed Spa—hopes to bring the brand’s mix of exclusive intimacy to a scene weary of its anti-poseur atmosphere.

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Soho House has always been, first and foremost, about its clientele. The establishment itself is difficult to pigeonhole—it’s a members-only club, just like its fellow Houses in L.A., New York, London and Berlin; it’s also a boutique hotel, providing 50 rooms to paying guests who get to act like members; it’s an accessible spa, offering anyone massages, blowouts and pedicures, using their exclusive Cowshed products; it’s a beach club, with beds and full service on its own strip of sand; and it’s a restaurant, Cecconi’s, offering pricey but well-prepared Venetian delicacies.

The Beach House successfully blurs the boundaries between Miami old and new. With designer Martin Brudnizki (who redid London’s Club at The Ivy), they’ve taken over the space formerly occupied by one of Miami’s great Art Deco hotels, The Sovereign, gutting the interiors and building a second tower, but leaving behind the lobby detailing and flooring, as well as its classic façade. Santo Trafficante might feel at home, but so will you as you sink into the rich upholstered sofas that adorn its lobby, as you plug in your laptop and sip a café proffered by the Cuban coffee bar.

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Light and unpretentious, the hotel’s 50 rooms feature giant rainforest showers, large flat-screen TVs and massive king-size beds. The rooms range in price ($500-$1475) with suites boasting stand-alone baths, ocean views and wraparound terraces inviting guests to relax both indoors and out.

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Dim hallways house ink drawings and paintings by local artists, books piled on old wooden shelves, and antique desks—all a club-like rendering of the carefully curated, bric-a-brac collector’s aesthetic known well to shoppers at Jack Spade, and mastered by John Derian. The best example is the 8th floor lounge with its antique furniture, inviting couches, impeccable views and a rooftop swimming pool and bar just steps away.

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With similar disregard for borders, the lobby’s unobtrusive but bright coloring, displayed under Brudnizki’s custom Deco-inspired chandelier, gives way to the outdoor restaurant, decorated with wood and Edison lightbulbs in Mason jars that form a glowing trellis with the tanglewood trees from which they hang. The break between the indoors and out, between work, lounging and dining spaces is nearly invisible.

The 2nd floor, members-only cocktail bar—featuring a giant timber bar and tiled floor and tables is inspired by 1940s Cuban watering holes like La Bodeguita del Medio. The exterior seating seamlessly gives way to the swimming pool, and then to the beach. Accessed through a hallway of reclaimed wooden walls (from a barn in Wyoming), the bar leads to the airy Cowshed Spa and a 40-seat “Screening Snug” where they will show first-run films, like the upcoming “Carlos.” Your mouthwatering Manhattan can take you from your blowout to a film to the sand in barely a sip.

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Founder Nick Jones’ aspiration to achieve “flip flop glamor” nicely embodies the challenge of Soho Beach House. These are things that either cannot, or should not, go well together: a ’40s Cuban bar and a high-end spa; a restaurant that gives way to a swimming pool; a private club that is, in some facets, open to the public. The success of Soho House will be in how they keep those borders blurred. That, and making sure the border between Soho Beach House and South Beach stays tightly guarded.


The Standard Scarves

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Following up last year’s run of limited edition artist-designed tees, the latest crop of collaborative efforts from the Standard adds abstract images to a series of limited edition silk-cashmere scarves.

Designed to represent the three major cities that are home to Standard hotels, the lightweight scarves boast beautiful graphics from artists Thomas Campbell (L.A.), José Parlá (Miami) and RoStarr (NYC).

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The three scarves each emulate the artist’s signature style and feature hand-rolled and -hemmed edges. The editions of 100 each now sell online, as well as from the boutiques located within The Standard Spa Miami Beach, Downtown L.A. and New York City, for $225 a piece.

See more images in the gallery below.


The MIA Program

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A ten year retrospective on skateboarding in Miami, “The MIA Program” looks at the city’s stirring subculture through the lenses of photographers Ian O’Connor and Frankie Galland, as well as with skate-inspired paintings by artist Taylor Kienholz.

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The MIA Program returns for a month-long showcase at local hangout Kill Your Idol after debuting to a packed house in a 24-hour-long exhibition of the same name at the beginning of 2010. The exhibit aptly portrays its host city with images spanning all neighborhoods—from the gutters in seedy Liberty City to half pipes inside the clubs of South Beach, The MIA Program is as much about the culture and backdrop surrounding the Miami skate scene as it is about the medium or the sport itself.

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Miami natives, O’Connor and England-born Galland are clearly acquainted with the local lifestyle. O’Connor has shot for Sports Illustrated and Skateboarder magazines as well as an array of skateboard brands and Galland worked as photo editor at Strength Magazine as well as shooting for various publications. The two are joined by Santa Cruz-born, Miami transplant Taylor Kienholz and Floridian filmmaker Rob Hoovis, who will show his skate-fueled film “Paradise.”

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The MIA Program opens tomorrow, 23 April 2010 and runs through 24 May 2010.


1111 Lincoln Road by Herzog de Meuron

Photographer Nelson Garrido has sent us these photographs of the recently-opened car park in Miami by Swiss architects Herzog & de Meuron. (more…)

Jetsetter x Cool Hunting Miami Sweepstakes Deadline

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The CH-curated Miami getaway ends soon! This all-expenses-paid trip, created with Jetsetter, includes private museum tours, and three nights at the Viceroy Hotel. To enter, visit Jetsetter and sign up for their emails announcing exclusive travel opportunities. It’s free to sign up, and you can unsubscribe at any time, but time is running out. The drawing ends tomorrow—8 April 2010.