WORKac | J. Mayer H. | Nicolas Buffe | Clavel Arquitectos | K/R
The Museum Garage is located in the Miami Design District, a neighborhood dedicated to innovative art, design and architecture.
Featuring the work of five designers, the sevenstory mixed-use structure will feature groundfloor retail spaces and capacity for 800 vehicles.
For the project, In 2015, Design District developer Craig Robins, commissioned architect and curator Terence Riley to develop the concept for Museum Garage. WORKac, J. Mayer H., Clavel Arquitectos, Nicolas Buffe were selected to create the garage’s facades, along with Riley’s own architectural firm K/R (Keenen/Riley).
Bringing together these designers from around the world, Riley drew inspiration from the surrealist parlor game, Exquisite Corpse.
Cadavre Exquis, as the game is known in French, involved a collection of images assembled by various artists with no regard or knowledge of what the other artists have drawn, producing one image whose components don’t necessarily match but flow together as one playful composition.
Under Riley’s direction, each participating architect was eventually assigned an area and depth to build out and given free reign to create fully individual designs. The result is a unique modern, architectural version of the Exquisite Corpse.
Hyun Tek Yoon
Trevor Hollyn Taub
At the corner of NE 1st Avenue and NE 41st Street in the Design District, the work of the New York firm WORKac meets that of Berlinbased J.MAYER.H. WORKac’s façade – titled Ant Farm – faces 1st Avenue and celebrates social interaction, sustainability, art, music, and the landscape.
In an ant colony-inspired display of human activity, miniaturized public spaces – a garden, a lending library, art space, and playground – and their connecting circulation spaces appear and disappear behind a perforated metal screen that provides visual contrast, shade, and protection.
Hugs and Kisses
J. MAYER. H.
Jürgen Mayer H.
Ojive De Lungeta
J.MAYER.H.’S façade – titled XOX (Hugs and Kisses) – appears as gigantic interlocking puzzle pieces that nestle at the corner with the forms of WORKac’s façade. XOX then
extends westward from the corner along 41st Street.
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.
The next façade along 41st Street serves as the entrance and exit of the garage. It is the work of Nicolas Buffe – a French-born artist living in Japan – and 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. At street level, the façade’s features four 23-foot tall, full 3D caryatids standing astride the garage’s arched entrance
Like the caryatids below, the composition above reflects Buffe’s childhood passion for video games and Japanese animation.
The result is the unexpected juxtaposition of anime, tokusatsu, and manga with Buffe’s other passion – Rococo and Baroque architecture.
Manuel Clavel Rojo
Luis Clavel Sainz
Rafael de Giles González
Ricardo Carcelén González
Ramón Gómez Ruiz
Adrián Riquelme Martínez
Mariano Tomás Fuster
Diego Victoria García
David Hernández Conesa
In the space between Nicolas Buffe’s facade and that of K/R, Spanish firm Clavel Arquitectos’s Urban Jam 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 gravitydefying car bodies rendered in metallic gold and silver.
In effect, the styles of years past gain a second life as lux sculptural objects, caught in a surreal vertical traffic jam.
Furthest west on 41st Street, just opposite the Institute of Contemporary Art, is Barricades, designed by New York- and Miami-based K/R.
The design is inspired by Miami’s automotive landscape; particularly it’s ubiquitous orangeand 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.
Born in 1978, he was part of a generation naturally marked by Japanese culture, developing from childhood a passion for Anime, Tokusatsu, Japanese manga and Video games. Throughout his studies he adds to these references classical works of the Middle Ages, Renaissance and Baroque, such as Poliphilo’s Hypnerotomachia. This fusion of narrative and visual influence is omnipresent in his work, mostly based on the humanist notion of Serio Ludere or playing seriously.
Nicolas Buffe exhibited in several contemporary art venues in Europe or Asia, including La Maison Rouge, Paris (2007), the Museum of Contemporary Art Tokyo (2008), the Museum of Decorative Arts, Paris (2010) and in contemporary art fairs both in Europe and Asia. In 2014, he held a solo show “The Dream of Polifilo” at the Hara Museum of contemporary art Tokyo. Poliphilo’s Hypnerotomachia is the main theme of the Nuit Blanche 2016 in which he participates simultaneously in Paris and Kyoto. He held in 2017 two solo exhibitions at the Hong Kong City Hall at the occasion of the French May, and at K11 Hong Kong.
526 West 26th Street, #917
New York, New York 10001
212 645 9210
With office in New York, K/R’s collaborative effort has made distinctive contributions in architecture, master planning, urban design, interior design, museum planning, exhibition design, sustainability, and education.
J.MAYER.H und Partner, Architekten MBB
Zementhaus Knesebeckstrasse 30
T.: +49 (0)30 644 90 77 00
F.: +49 (0)30 644 90 77 11
J.MAYER.H has a wide array of completed national and international projects and has been honored with many international awards. Juergen Mayer H. studied at Stuttgart University, The Cooper Union and Princeton University. His work has been published and exhibited worldwide and is part of numerous collections including MoMA New York, SF MoMA, Kunstbibliothek Berlin, State of Berlin Museum Prussian Cultural Heritage Foundation, Architekturmuseum der TU München as well as numerous private collections. He is member of the advisory boards at Princeton University Architecture School, The Bauhaus Stiftung Dessau, Flussbad Berlin e.V. and Make Shift Architecture Festival Berlin 2015.
Work Architecture Company
156 Ludlow Street 3rd Floor NY NY 10002
T 212 228 1333 F 212 228 1674
WORKac, recently named the AIA NY State’s Firm of the Year, has achieved international acclaim for projects such as the master plan for the New Holland Island Cultural Center in St. Petersburg, Russia, Wieden+Kennedy’s 50,000 sq ft, three story New York offices, the Blaffer Art Museum in Houston, Texas, the Children’s Museum of the Arts in Manhattan and the Edible Schoolyard at P.S. 216 in Brooklyn. Currently, in Africa, the firm is building its winning competition entry for a new 200,000SF Conference Center in Libreville, Gabon. Targeting LEED Gold certification, the center will host diplomatic meetings. In the United States, WORKac is completing construction of a residential conversion of a historic New York cast-iron building, designing a distillery museum and gathering space in the Adirondacks, and a new storefront facade for a parking garage in Miami’s Design District. In China, the firm recently completed a 2,000-acre master plan for seven new university campuses in Weifang, and we are starting design of the 450,000SF main library on the first Weifang campus, where the master plan is now under construction.
WORKac was founded in 2003.
Dan Wood, FAIA, LEED AP, leads international projects for WORKac ranging from masterplans to buildings across the United States as well as in Asia, Africa, and Europe. Wood holds the 2013-14 Louis I. Kahn Chair at the Yale School of Architecture and has taught at the Princeton University School of Architecture, the Irwin S. Chanin School of Architecture at the Cooper Union, Columbia University’s Graduate School of Architecture, Planning, and Preservation, Ohio State University’s Knowlton School of Architecture, and the UC Berkeley School of Environmental Design, where he was the Friedman Distinguished Chair. Wood is originally from Rhode Island and lived in Paris and in the Netherlands for many years before moving to New York in 2002. He is a licensed architect in the State of New York and is LEED certified.
Amale Andraos is the dean of Columbia University’s Graduate School of Architecture, Planning and Preservation. She has taught at numerous institutions including the Princeton University School of Architecture, the Harvard Graduate School of Design, the University of Pennsylvania Design School, and the American University in Beirut. Andraos is committed to research and publications. Her work has recently explored the question of representation by re-examining the concept of the ‘Arab City.’ Andraos was born in Beirut, Lebanon. She has lived in Saudi Arabia, France, Canada, and the Netherlands prior to moving to New York in 2002. She serves on the board of the Architectural League of New York, the Advisory Board of the Arab Center for Architecture in Beirut and is a member of the faculty steering committee for the Columbia Global Centers | Middle East.
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