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DesignApplauseDesignApplauseyour daily design dose
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Herzog & de Meuron

Home Tag Herzog & de Meuron
the herzog de meuron penthouse sitting atop the 1111 lincoln road garage is for sale.

the herzog de meuron penthouse sitting atop the 1111 lincoln road garage is for sale.

Dec 14, 2017

the private residence that is nested on a mezzanine of the top floor of the car park spills out to terraces; it is folded into the structure yet screened by excessive landscaping. the terraces also bridge across to the roof of the existing building. ~ herzog de meuron

robert wennett, the developer of the now infamous parking garage, 1111 lincoln road miami beach, is moving on. he’s just put up his penthouse for sale. the garage was designed in 2010 by pritzker architecture prize-winning, herzog & de meuron. his penthouse sits on an oasis on the roof of the garage.

there’s 18,799 sf outdoor, 7,479 sf indoor living space including separate guest house. raymond jungles-designed the landscape featuring indigenous plants seen in the hills of rio. rooftop offers: private pool, built-in bar & kitchen. plus private elevator, striking geometric lines, 11-foot-high ceilings, free-flowing spaces & custom designed details.

price > $ 34,000,000 a great deal of money considering what else is out there in miami beach. but then again…

note > the penthouse is listed as 1123 lincoln road.

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carsten höller and álvaro siza at vitra.

carsten höller and álvaro siza at vitra.

Jun 25, 2014

above> tower slide | carsten höller | 2013

The Vitra Campus recently launched two new projects for their campus; The Álvaro-Siza-Promenade and the Vitra Slide Tower by Carsten Höller.

The Vitra Slide Tower by Carsten Höller adds a new structure to the Vitra Campus in Weil am Rhein. With its prominent clock at the top, it is not a building in the classical sense but a viewing tower with a slide – and a work of art that enables a new and unique experience of self and art. The Vitra Slide Tower is 30.7-metre-high. The final solution is noticeably more pragmatic looking than Höller’s body of work and those of other buildings and sculpture on the campus.

‘a slide is a sculptural work with a pragmatic aspect, a sculpture that you can travel inside. however, it would be a mistake to think that you have to use the slide to make sense of it. looking at the work from the outside is a different but equally valid experience, just as one might contemplate the endless column by constantin brancusi from 1938. from an architectural and practical perspective, the slides are one of the building’s means of transporting people, equivalent to the escalators, elevators or stairs. slides deliver people quickly, safely and elegantly to their destinations, they’re inexpensive to construct and energy-efficient. they’re also a device for experiencing an emotional state that is a unique condition somewhere between delight and madness. it was described in the fifties by the french writer roger caillois as ‘a kind of voluptuous panic upon an otherwise lucid mind’.’ – carsten höller

[ the ongoing development of the vitra campus ] The construction of the Vitra Slide Tower is yet another step in the thirty-year development of the Vitra Campus. The production premises were first opened up to the public with the 1984 sculpture Balancing Tools by Claes Oldenburg and Coosje van Bruggen. Next came the Vitra Design Museum by Frank Gehry (1989), the Conference Pavilion by Tadao Ando (1993) and the VitraHaus by Herzog & de Meuron (2010), the Prima sculpture by her Fire House (2013). The Vitra Slide Tower and the new Álvaro-Siza-Promenade further open up the grounds to the public and offer visitors a new experience. At the same time, the tower reinforces the topographical reorientation of the Campus.

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1 Factory Buildings, Nicholas Grimshaw, 1981; 2 Balancing Tools Claes Oldenburg – Coosje van Bruggen, 1984; 3 Factory Buildings Nicholas Grimshaw, 1986; 4 Gate, Frank Gehry, 1989; 5 Factory Building, Frank Gehry, 1989; 6 Vitra Design Museum, Frank Gehry, 1989; 7 Conference Pavilion by Tadao Ando, ​​1993; 8 Fire Station, 1993, Prima, 2013 by Zaha Hadid; 9 Factory Building, Alvaro Siza, 1994; 10 Dome, Richard Fuller. 1978-2000; 11 Petrol Station, Jean Prouvé, 1953-2003; 12 Bus Stop, Jasper Morrison, 2006; 13 VitraHaus, Herzog – de Meuron, 2010; 14 Factory Building, SANAA, 2010; 15 Tower Slide, Carsten Höller, 2014; 15 Álvaro Siza Promenade, Álvero Siza, 2014.

vitra-promenade1a resting area along the promenade

The new Promenade by Alvaro Siza extends and opens up the concept of “A day at Vitra” with a pilgrimage pathway that now directly connects Zaha Hadid’s Fire Station to Herzog & de Meuron’s Vitra Haus building and entrance.The new pathway acts similar to a pilgrimage route with multiple stations, settings and episodes along the way.

The Portuguese architect was a logical choice for the unique walkway as he completed the brick-clad production hall in 1994 and devised the layout of the adjacent parking areas. It’s yet another step in the thirty-year development of the Vitra Campus where visitor’s are invited to tour the museums, flagship store and buildings completed by internationally recognized architects.

vitra-oldenburg1balancing tools claes oldenburg – coosje van bruggen | 1984

vitra-gehry1vitra design museum | frank gehry | 1989

vitra-hadid5fire house (1993) | prima (2013) in foreground | zaha hadid

vitra-bucky2dome | richard fuller | 1978-2000 // vitrahaus | herzog – de meuron | 2010

vitra-campus1photo iwan bahn

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Living architectures marathon.

Jun 29, 2013

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“Living Architectures” is a series of films that seeks to develop a way of looking at architecture which turns away from the current trend of idealizing the representation of our architectural heritage.

Through these films, Ila Bêka and Louise Lemoine put into question the fascination with the picture, which covers up the buildings with preconceived ideas of perfection, virtuosity and infallibility, in order to demonstrate the vitality, fragility and vulnerable beauty of architecture as recounted and witnessed by people who actually live in, use or maintain the spaces they have selected. Thus, their intention is to talk about architecture, or rather to let architecture talk to us, from an «inner» point of view, both personal and subjective. Unlike most movies about architecture, these films focus less on explaining the building, its structure and its technical details than on letting the viewer enter into the invisible bubble of the daily intimacy of some icons of contemporary architecture.

Through a series of moments and fragments of life, an unusually spontaneous portrait of the building would emerge. This experiment presents a new way of looking at architecture which broadens the field of its representation.

The volumes and the complete series of films will be first presented to the Italian public in a tour entitled Living Architectures Marathon which, between 27 June and 20 September 2013, will visit some of the main exhibition institutions in Italy: the MAXXI in Rome, the Triennale in Milan, the Pecci Centre in Prato, the Mart in Rovereto, and Casa Cavazzini in Udine. Each presentation will be based on a free screening of the series of films and will offer the public an opportunity to meet the filmmakers along with several other special guests. [ details ]

Top picks. Design miami/ basel 2013.

May 31, 2013

basel13-messehall1 design miami/ basel’s new herzog & de meuron designed home

Collectors, museum representatives, designers, architects and critics select their favorite work from [ Design Miami/ Basel ] 2013’s gallery program

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Growth Chair | Mathias Bengtsson | Galerie Maria Wettergren | casted bronze 2012

“Growth Chair is arguably the most ambitious example yet attempted using a ‘digital seed’ that, guided by the designer’s protocols, grows wild in a virtual world.” ~Murray Moss / Principal, Moss Bureau

basel13-nucleo1

Wood Fossil Table 01 | Nucleo | Gabrielle Ammann // Gallery | wood and epoxy resin 2012

“As a kid, I collected all kinds of things cast in resin. Later, when I studied at the Cooper Union in New York, I cast my architectural models in resin, and now I am truely fascinated to see this conservation and display technique applied to furniture on a larger scale. It´s the real thing, and yet it holds back from us. It is sentimental. It feels as if it’s from a different time, and yet demands state of the art care and extreme technological control in the production process.” ~ Jürgen Mayer / Architect, J. Mayer H.

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Ribbon Chair | Pierre Paulin | Jousse Entreprise | steel-foam & fabric 1966

“I have always loved the ribbon chair for its fluid qualities. To me, it has a great sense of humor. It almost looks like a smiling face.”~Vicente Wolf / Interior Designer

basel13-Juhl1

Writing Desk | Finn Juhl | Dansk Møbelkunst Gallery | rosewood, gunmetal & brass 1953

“The writing desk that Finn Juhl designed in 1953 consists of different elements: a drop-leaf made of rosewood, a metal tube supporting structure and a suspended four drawer cabinet. The different elements are clearly legible; Juhl broke with monumental gestures and the idea of material unity as well. Juhl’s writing desk is less organic than other danish design pieces of this time; he succeeded in blending international and danish tendencies. For me the writing desk is one of the most striking and convincing examples of modern design.” ~Hubertus Adam / Director, S AM – Schweizerisches Architekturmuseum

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Collectors, museum representatives, designers, architects and critics select their favorite work from Design Miami/ Basel 2013’s gallery program.
Console & Mural | Alberto Giacometti | Galerie Jacques Lacoste | carved marble 1939

“Giacometti’s work in marble is an inspiration to the forms and shapes that can be abstracted from such a material. It allows for the imagination to go beyond what we see.” ~Juan Montoya / Interior Designer

basel13-Gray1

Pair of chairs | Eileen Gray | Galerie Jacques Lacoste | chromium-plated tubular steel frames & leather ca. 1930

“My choice of two elegant chairs designed in the ’30’s by the great Eileen Gray, might have something to do with seeing her recent retrospective exhibition at the Centre Pompidou in Paris. Artist, designer, architect, Eileen Gray was an anti-conformist and something of a jack-of-all-trades and I was bowled over by her diverse creativity. She was one of a rare breed of outstanding self-made women of her day, considered avant-garde and remarkable for breaking into a male dominated world. Most famous for her iconic lacquer tiled screens and carpets that resemble abstract canvases, even in her mid ’90’s, Miss Gray had an insatiable curiosity and she continue to work exploring and experimenting with new materials when the source of lacquer from China and Japan became scarce. The chromium-plated tubular steel and leather chairs I have selected, are restrained and almost austere. There is no showy flamboyance in their design. Rather a geometric simplicity and presence that has endured the passage of time.” ~Janice Blackburn / Curator and Journalist

basel13-Willenz1

Block containers | Sylvain Willenz | Victor Hunt Designart Dealer | cast glass 2012

“I find these to be extraordinary for their simplicity of form. The modern geometric shapes are versatile and add a pop of color to any interior” ~Alexandra Champalimaud / Interior Designer

basel13-Prouvé1

Maison des Jours Meilleurs | Jean Prouvé | Galerie Patrick Seguin | aluminum & wood 1956

“My favorite of many favorites is the Maison des Jours Meilleurs from Jean Prouvé at Seguin. I love it and would be happy to move in immediately. After all, every day living in it promises to be one of ‘my jours meilleurs’.” ~Sam Keller / Director, Fondation Beyeler

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1050 lamp | Gino Sarfatti | Galleria O. | aluminum & polished brass 1951

“The Gino Sarfatti 1050 Lamp looks like a casual constellation of different as found objects: the strange sculptured basement, the yellow spot and the pink round element on the top. These happy fellows form together an ambiguous and ironic presence in the room. It is static but at the same time it looks like it is going to move. It creates a new spatial perception oscillating between balance and instability. Looking at this Lamp you may find yourself wondering if something is wrong about it. There´s no answer. And this doubt makes it perfect.” ~Simona Malvezzi / Architect, Kühn Malvezzi

basel13-Grossman1

Ironing board coffee table | Greta Magnusson Grossman | R 20th Century | wood & brass 1952

“I have always been intrigued with designs created in the mid twentieth century. Equally, I enjoy the fact that this particular piece of furniture has drawn its inspiration from an utilitarian object of the everyday life. For me, it is timeless and poetic – it also possesses a sense of unassuming simplicity and is genuinely functional.” ~Andre Fu / Interior Designer, AFSO

[ Design Miami/ Basel ]

Architect alejandro barrios-carrero wins 2013 james beard for juvia.

May 9, 2013

alejandro-beard2juvia inside | click > enlarge

Last December at Design Miami, DesignApplause had the pleasure of interviewing Venezuelan architect Alejandro Barrios-Carrero, along with the good fortune of dining at the inventive restaurant he designed, Juvia. This is a story about an accomplished and talented young architect making the smartest use of today’s tools, materials and a plum venue, the now iconic 1111 Lincoln Road parking facility designed by Herzog & de Meuron.

alejandro-beard51111 lincoln road

The building itself looks a bit unfinished because it looked too good while under construction to clad.

alejandro-beard6

In this setting, rather on top of this setting, Alejandro uses everything in his toolbox to take advantage of his good fortune: Not only the building but he inherits the penthouse and a terrace.

alejandro-beard1

With the penthouse he uses wide mullions to bring the outside to the inside.

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This is South Florida and the architect from Venezuela knows what he needs to do with a soil-less garden wall, a water feature, and a retractable roof.

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It comes with little surprise that Alejandro wins a 2013 James Beard Foundation Award For Outstanding Restaurant Design For Juvia (Miami’s penthouse destination for fusion fare takes 76-Seat and over category). Bravo!

[ release ]
The 10,000 square foot indoor/outdoor restaurant, owned by Jonas and Alexandria Millan, and located on the penthouse level of 1111 Lincoln Road features an innovative trackless, retractable roof, a 22-foot high vertical plant wall by acclaimed French botanist Patrick Blanc and furniture and lighting by Patricia Urquiola, Piero Lissoni and Thomas Patterson. The space boasts a panoramic view of downtown Miami, unparalleled by any venue in the city.

“In my opinion, Juvia is what the New Miami should be like,” says designer Alejandro Barrios-Carrero. “It’s much more than art deco for me; I do love it, but I think Miami has much more to offer. The restaurant is part of an equation consisting of architecture, nature, and great food, resulting in a special experience.”

Architecturally inventive, Barrios-Carrero installed a trackless, retractable roof that acts as an umbrella and accommodates terrace dining year-round. A celestial water fountain with wrap-around sofas, situated at the center of the terrace, provides seating and further enhances the atmosphere. The indoor dining room with floor-to-ceiling windows features limestone tabletops and a communal table, made of petrified wood, are accented with organic, hand-woven chairs designed by Patricia Urquiola.

Named after the indigenous Brazilian nut tree, Juvia’s design incorporates elements of nature, creating a magical juxtaposition between the massive concrete structure and a tropical jungle oasis with a subtle integration of organic shapes, colors and materials.

[ james beard foundation awards ]
Covering all aspects of the industry—from chefs and restaurateurs to cookbook authors and food journalists to restaurant designers and architects and more—the James Beard Foundation Awards are the highest honor for food and beverage professionals working in North America. The Awards are presented each spring at Avery Fisher Hall at Lincoln Center. Nominees and winners are fêted at a weekend of events in New York City that has become the social and gastronomic highlight of the year.

[ abc ]
Founded in 2002, Alejandro Barrios-Carrero’s multidisciplinary design studio specializes in hospitality and residential design. Based in Caracas, Venezuela, the firm is internationally known for work that is refined, carefully realized and characteristically modern. The firm’s portfolio includes a wide range of projects, including private homes and commercial establishments in the United States, Venezuela, Panama, and the Dominican Republic.

[ james beard foundation awards ] [ juvia ] [ herzog de meuron ] [ interview ]

Herzog & de meuron’s parrish art museum.

Herzog & de meuron’s parrish art museum.

Feb 4, 2013

After numerous Design Miami 2012 related visits for numerous events held at the 1111 Lincoln Road office building and a Herzog & de Meuron parking garage I was inspired to seek out other Herzog projects and found the recently opened Parrish Museum located in Water Mill, NY. What makes the Parrish Musuem concept so beautiful is it’s simplicity: a long twin-peaked building pavilion of extreme efficiency. Of interest, simplicity and efficiency was not the first concept proposed. In 2006 the architects proposed an $80 million multiple pavilion scheme around the site, but this concept felt to be beyond the museum’s reach. Terrie Sultan, the head of the Parrish simply waited and Ascan Mergenthaler, the partner who was in charge of this project, came back with a $26 million concept which the museum agreed to. The museum opened in November 2012.

north view exterior | computer-generated image | copyright herzog & de meuron



The architect describes the concept: The starting point for the new Parrish Art Museum is the artist’s studio in the East End of Long Island. We set the basic parameters for a single gallery space by distilling the studio’s proportions and adopting its simple house section with north-facing skylights. Two of these model galleries form wings around a central circulation spine that is then bracketed by two porches to form the basis of a straightforward building extrusion.

The floor plan of this extrusion is a direct translation of the ideal functional layout. A cluster of ten galleries defines the heart of the museum. The size and proportion of these galleries can be easily adapted by re-arranging partition walls within the given structural grid. To the east of the gallery core are located the back of house functions of administration, storage, workshops and loading dock. To the west of the galleries are housed the public program areas of the lobby, shop, and café with a flexible multi-purpose and educational space at the far western end.

An ordered sequence of post, beam and truss defines the unifying backbone of the building. Its materialization is a direct expression of readily accessible building materials and local construction methods. The exterior walls of in situ concrete act as long bookends to the overall building form, while the grand scale of these elemental walls is tempered with a continuous bench formed at its base for sitting and viewing the surrounding landscape. Large overhangs running the full length of the building provide shelter for outdoor porches and terraces.

herzog-parrish1

The placement of the building is a direct result of the skylights facing towards the north. This east-west orientation, and its incidental diagonal relationship within the site, generates dramatically changing perspective views of the building and further emphasizes the building’s extreme yet simple proportions. It lays in an extensive meadow of indigenous grasses that refers to the natural landscape of Long Island.
Herzog & de Meuron, 2010

herzog-parrish4

parrish chairs | konstantin grcic | emeco | 2012

The Parrish collection includes a table, chair and lounge chair, all with curving legs made from recycled aluminium and seats made of reclaimed pine. “The Parrish chair was given a round tube, forming a belt that defines the space around you – a space where you can feel protected,” ~ Konstantin Grcic.


Architect: Herzog & de Meuron
Location: Water Mill, Long Island, New York
Client: Parrish Art Museum
Photos: Matthu Placek
Completed: 2012

Juvia by alejandro barrios-carrera. Design miami 2012.

Juvia by alejandro barrios-carrera. Design miami 2012.

Jan 1, 2013

One of many highlights for the Herzog & de Meuron Building* during Design Miami was to visit Juvia, a recently designed pentouse eatery atop the building. Designed by Venezuelan architect and interior designer Alejandro Barrios-Carrero the restaurant straddles the 1111 Lincoln Road office building and a Herzog & de Meuron parking garage. The 10,000 square foot indoor/outdoor restaurant features an innovative trackless, retractable roof, and a 22-foot high vertical plant wall.

[DesignApplause] Alejandro, this project is being billed as Miami’s first restaurant where architecture and design collaborate to play a leading role. What was your vision for the restaurant and how did you achieve it?
[Alejandro Barrios-Carrero] Let me talk about the vision. I think that Juvia is Miami. For me I would describe it that way. Then we can ask, “What is Miami?” For me Miami is much more than its famous Art Deco. For me Miami is about nature, architecture, the sky, the plants.



With Juvia we had the opportunity to do many things, from converting an office space into a restaurant, to juxtaposing a high-end restaurant with a parking facility and taking advantage of the penthouse/terrace floorplan.

It was big challenge because usually restaurants are on top of office buildings or tourist attractions. The parking facility is indeed a wonderful architectural statement but it is still a parking garage. The idea and concept is you walk into a private entrance at street level and take a private elevator. The visitor is transported into this oasis that nobody expects and they experience the bringing of the outside inside and the inside outside.

Our philosophy is derived from a good balance of architecture, interior design and landscape. Our office, ABC, put together a good team. For the vertical garden we used acclaimed French botanist Patrick Blanc. The Amazonian-inspired plant wall is a soil-less garden wall, overflowing with greenery native to South Florida. This is his first project in Miami and he’s now doing the Miami Art Museum.

We brought in Thomas Patterson, an Australian designer, for the lighting. There’s a soft orange-amber built-in LED fixture in the ceiling. The kitchen was a collaboration with Russell Stillwell of Next Step Design, from New York.

We used a very limited materials and color palette. We used wood which is very homey and cosy. The wood is on the floor, walls, even the ceiling. The ceiling and some walls are whitewashed white oak. A special detail is in the extended mullions of both floor and ceiling. The illusion created brings the outside inside.

extended mullions of both floor and ceiling bring the outside to the inside

The color palette consists mostly of white with some light grey and purple. We chose purple, a color that shouts with great energy. Purple appears in the amethyst stone topped liquor bar.

For furniture we use a B&B Italia collection by designer Patricia Urquiola. This collection consists of eight elements and all elements are here in the restaurant. The chairs are rope-woven using string for inside and plastic for outside. Inside there are white oak topped dining tables with bases designed by Piero Lissoni. Outside there’s the 8.5 meter communal table with a petrified wood tabletop and a water fountain. On the terrace you have the small tables, also a banquette that surrounds the water feature. The water feature has a visual relationship with the structural columns: The silhouette and texture of the water feature and the structural columns are similar. Tabletops outside are limestone. A nice balance of stone and organics.

Another design element is wanting to have many Juvia’s in one. What does that mean? We created a restaurant where you can come to the same place four times and you can feel very different experiences. It’s very different experience to dine on the outside terrace versus eating inside.

Inside you have the experience of dining at the liquor bar. Another venue is a banquette table, another the central tables, and yet another tables next to the windows. Each location offers a very different experience. Also, there’s not one chair that doesn’t have a beautiful view.

Juvia is sexy, understated luxury, it’s relaxed, it’s what Miami exudes. Juvia brings identity to the city, personality, and much more the Art Deco heritage I love and respect. We bring something to the city that it didn’t have before.



[DA] You inherited a great space, a great vision, a great structure, and you’ve melded your vision together with the structure and enhanced this space. Totally seamless.
[ABC] Thank you. Exactly, the seamless connection with the old building and the new restaurant. I think it’s about understanding this space, the overriding energy we have talked about. It’s about our vision respecting the existing structure, the magnificent parking facility, the understanding of the architecture here as this is a very architonic restaurant. Now you can have a dialog about what is interior design, what is architecture.

[DA] When you came in, did you need to talk to Herzog?
[ABC] No. They sent us the drawings, they recommended Patrick Blanc. Patrick was very excited because it was his first time that he does a restaurant where he’s called in at the beginning of the project rather than at the end. We collaborated with the plant selection: There are over 200 varieties in this space. Juvia by the way is named after the indigenous Brazilian nut tree.


alejandro barrios-carrera

[DA] Not part of dialog but a comment: One of the things that’s so special about this project is Alejandro understands where it is. He understands that it’s part of Miami and it’s part of the Herzog de Meuron parking garage. And he takes as some of his inspiration some of Herzog’s lines. You can see it in the fountain, the angles and the silhouette of the structure, the concrete to engage in a relationship with the Herzog building.

There’s also a relationship with the 1970s building. For example the wood planks in the ceiling are similar to the concrete planks in the older building. You can notice that the planks widths are different and that’s similar to the detail landscape architect Raymond Jungles installs at street level in front of 1111. Alejandro cleverly and subtly captures the essence of the creation.

(*) formerly the SunTrust Bank building, purchased by developer Robert Wennett in 2005 who hired the Swiss firm, and effectively shored up the west end of Lincoln Road at Alton Road. [ juvia ] [ herzog &de meuron ]


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