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HomeMy WebLinkAboutR-95-0741J-95-1064 10/26/95 () r) 7 �� RESOLUTION NO.' : A RESOLUTION ENDORSING THE PLANS FOR "PROJECT 'M'", A UNIQUE LANDMARK STRUCTURE PLANNED BY THE METRO-DADE ART IN PUBLIC PLACES TRUST FOR THE RIVERWALK STATION OF THE METROMOVER SYSTEM. WHEREAS, the Metro -Dade Art in Public Places Trust has asked the City Commission to endorse "Project 'M'", a unique landmark structure planned for the Riverwalk Station of the Metromover System; and WHEREAS, said project, designed by Miami based artists Rosario Marquardt and Roberto Behar, will create a gateway titled "M", bridging the monumental scale of the Riverwalk Station with the human scale of the pedestrian entranceway; and WHEREAS, "Project 'M'" represents Metromover and Miami and has the potential to become an urban landmark for the City of Miami; NOW, THEREFORE, BE IT RESOLVED BY THE COMMISSION OF THE CITY OF MIAMI, FLORIDA: CITY COZOUSsron MEETING OF 0 C r 16 1995 Resolution No. 95- 741 Section 1. The recitals and findings contained in the Preamble to this Resolution are hereby adopted by reference thereto and incorporated herein as if fully set forth in this Section. Section 2. The plans for "Project W11, a unique landmark structure planned by the Metro -Dade Art in Public Places Trust for the Riverwalk Station of the Metromover system, are hereby endorsed.. Section 3. This Resolution shall become effective immediately upon its adoption. PASSED AND ADOPTED this 26th day of October 1995. EPHEN P. CLA K, MAYOR ATTEST• WALTER � F MAN CITY CL PREPARED AND APPROVED BY: 41� In. )41 IRMA M. ABE LA ASSISTANT CITY ATTORNEY APPROVED AS TO FORM AND CORRECTNESS: r A. Q NN J N , III CITY ATTOr W558:IMA:BS5 _ 2 _ 95- 741 r `fro --dads ' in p lic p(c�es - .29 October 16, 1995 :.� _ _. Cesar bdic, City Manager .city of Miami -3500.Pan American Drive Miami, FL ' 33133 Dear' Mr. 'Odio: On bdhalf.of the Metrb-'IDade Art in Public Places Trust and subsequent to our recentl•a-teeting l respetWully request a �personal appearance before the_City of Miami- Commissiorr•on:-their- next available agenda of nctober`•26, 1995::-• The purposeof-=my rr� t is to present to the commission pleas for a unique landiriarlc structure_Plarrned-;for the Riverwalk station of the Metromover system. The project;`b-,Miami-based_artists-Rosario Marquarrit and Rotierfo Behar, Will &kA6-a �ba a 4— tjle� "ft�"'which, seeks to bddgp the monumental scale of the station with•'the•1►aman scale of the pedestrian entranceway. This is a follow-up _..... . . appearance a:thp.July -13,-�1995--meeting wherein additional information was step-E-?:dataCexrtec ' _ _.: . _ . • :- - • _ , - .. " regijo- d. _ _ __ ....--- lit N.W. I' StT suitp'bra WO Tl�e_gafeway:"N[n fe#aresents lMetromover and Miami and has the potential'to t3a�1 37��2' be�eJan-urban landmark. It echoes•histodc;ai •Mefro entfances.reTintet�reted in r Lx_ {3 ) 37s,5w. iade ei and expressed in the bold colors of our tropical environment -- - '• _ Attached 'is published= .iinformaation on the project, letters -of support and . a resoi6_on passi ci by�tie_Miami Riv4r4 Coordinating. Committee in supporE of this ecir 7"1ook� :forward to_presenting the projectto' the commission and too the ;pro . ,reatizatfan •of the.W for our community: •- - - Art ipj$ibic places Trua lose NWAes-rvuli V5Aa Arnold M. Greeandd EJonr1 _ROdnguez '' ' _ r,ai1 Castdl_ Vauphri i _ -• - ._ .... .SeQataryTreasvrm- Art to Public P1ace5 _ -'- - - - — Miguel mode= At large Qndi Nash __ - -- Collie: E. Coats, Jr. _ Wisc. WGortia-Toledo • . _ : fiairrrian � ' - • --- :: - • _ e. sar,dido Gordon ' Pri Cmar Moss Gree field . Art in PublicPlaces gust .&aria-bryTcnt- - �, _ George Newry David C Peebles Jr.' MerCedEn A,bo=L Quiroga 95- 741 1POLITAN DADE C, ITY, FLORIDA ,,-DADE �� METRO-DADE CENTER OFFICE OF COU14TY MANAGER SUITE 2910 111 N.W. 1st STREET MIAMI. FLORIDA 33128-1994 (305) 375-5311 October 16, 1995 i Mayor Stephen P. Clark City of Miami Commission 3500 Pan American Drive Miami, FL 33133 Dear Mayor Clark: This letter is in support of the Metro -Dade Art in Public Places project "M" to be installed at the entrance to the Riverwalk MetroMover Station. Created by local artists Roberto Behar and Rosario Marquardt, the project is part of the County's art -in -transit program. In keeping with federal policy, the Country recognizes that transit systems are not only a safe and efficient means of moving large numbers of people but, when well -designed, they can also become a source of community pride. The National Association of Counties (NACO) has awarded the Metromover artwork installations a 1995 Award of Merit and the projects have received local, national and international press recognition. I believe the project has the potential to become a landmark structure and support your positive consideration of the "W project. Sincerely, Ar do Vidal, P Co Manager cc: Vice -Mayor J.L. Plummer Commissioner Willie Gort Commissioner Victor De Yurre Commissioner Miller Dawkins Cesar Odio, City Mayor 9�- 741 MIAMI RIVER COORDINATING COMMITTEE A private • public partnership for the common good of The State of Florida • Metropolitan•Dode County . The City of Miami September 27, 1995 Mayor Steve Clark City of Miami Commission 3500 Pan American Drive Miami, Florida 33133 Dear Mayor Clark: Enclosed is a resolution approved by the Miami River Coordinating Committee (MRCC) concerning the proposed Dade County Art in Public Places sculpture, "M", for the Metro Mover Riverwalk Station. The Committee unanimously endorsed the sculpture installation and urges the City to issue the necessary permit. The Committee coordinated meetings between Mr. Bijan Nakhjavan, lessee at Fort Dallas Park and operator of Bijan's Restaurant, and representatives from Art in Public Places and the contractor for the project. Mr. Nakhjavan, whose business is adjacent to the installation site, has been fully briefed about the project and the construction schedule. He is satisfied that the construction will not interrupt his business. In fact, the prominent "M" will become a landmark and help people locate his restaurant. The highly respected Art in Public Places Trust has placed over 450 artworks throughout the County since the creation of the program in 1973. The Trust relies on an 11-member Professional Advisory Committee of arts professionals to recommend acquisitions® The Committee reviews the site and establishes the nature and parameters of the project before making a recommendation to the 15- member Art in Public Places Trust for approval. Dade County will fund all construction, installation and maintenance expenses related to this artwork. The appreciation of art is subjective and we understand that not everyone will like this design at first. As the artists have stated, this sculpture will stand for many "M's" such as Metro Mover, Miami, Miami River and Magic. The design is bold, brash and fun and it is an image that says "Miami". We hope that the City of Miami will expeditiously issue the permit for the "M" sculpture. S , re -�G� , /� He a rrete `/'p'i�' Chairperson cc: Miami River Coordinating Committee 25-- 741 25 S.E. 2nd Avenue, Suite 621 • Warm, FkKida 33131 • Ofiico: (305) 373-191 S • Fay (305) 356-5933 HAIR - Janet Gavarrete VlcE CHAIR - Joey TefteMaurrt EXECUTIVE DIRECTOR -Betty C. Fleming MEMBERS - Governor Lawton Chiles • Joaquin Avitlo • Cesar Odlo • Jim Brown • Gwen Calbway - Lundy Clark# -Arsenio Milian- Bijan Nakhlavan • Patrick O'Brien MIAMI RIVER COORDINATING COMMITTEE A private • public partnership for the common good of The State of Florida • Metropolitan•Dade County e The City a( Miami RESOLUTION NO. 95-2 RESOLUTION SUPPORTING THE DADE COUNTY ART IN PUBLIC PLACES REQUEST FOR A PUBLIC WORKS PERMIT TO PLACE A COMMISSIONED SCULPTURE BY ARTISTS ROBERTO BEHAR AND ROSARIO MARQUANDT AT THE RIVERWALK METRO MOVER STATION. WHEREAS, the Miami River Coordinating Committee since its establishment in 1986 has consistently promoted the enhancement of downtown Miami; and WHEREAS, the Miami River Coordinating Committee has supported the expansion of the Metro Mover System and the Riverwalk Station; and WHEREAS, the Dade County Art in Public Places Program was established by ordinance in 1978 by the Board of County Commissioners making Dade County one of the early pioneers nationally in the field of contemporary public art programming; and WHEREAS, Metro Dade County Art in Public Places Ordinance established an allocation for works of art based on 1.5% of the construction cost of new county buildings; and WHEREAS, the Dade County Art in Public Places Program is funding all construction, installation and maintenance expenses related to the artwork; and WHEREAS, the Art in Public Places Program has installed over 450 art works representing major trends in contemporary American art including libraries, hospitals, transit facilities, parks, the Miami International Airport, Seaport, plazas and pedestrian spaces; and WHEREAS, The Dade County Art In Public Places Program, through a highly competent 11-member Professional Advisory Committee of arts professionals recommend acquisitions to the 15-member Art in Public Places Trust for approval; and WHEREAS, the Professonal Advisory Committee, after reviewing the site and establishing the nature and parameters of the project, made a recommendation for this sculpture to be installed at the Riverwalk Metro Mover Station; and 25 S.E. 2nd Avenue, Suite 621 - Miami, Florida 33131 - Office: (305) 373-1915 - Fa.)c (305) 35&5933 LAIR - Janet Gavarrete VICE CHAIR - Joey Teitelbaum EXECUTIVE DIRECTOR - Betty C. Fleming MEMBERS - Governor Lawton Chiles - Joaquin AvIAo - Cesar Odlo - Jim Brown - Gwen Calloway - Lundy Clarke -Arsenio Mililan- BIJan Nakhjavan - Patrick O'Brien Page 2. MRCC Resolution 95-2 September 25, 1995 WHEREAS, Roberto Behar and Rosario Marquandt internationally respected artists; and are WHEREAS, representatives from the Art in Public Places Program and the contractor for the project have met with Bijan Nakhjavan, owner of Bijan's Restaurant which is adjacent to the installation site, and discussed plans for construction; and WHEREAS, Bijan Nakhjavan, after reviewing the construction schedule and the design, supports the installation of the sculpture because it will enhance downtown Miami; and WHEREAS, the sculpture can be an artistic signature for not only the Metro Mover Station but the City of Miami and the Miami River; and WHEREAS, meeting under the Miami. "M" clock can become a focal point for downtown Miami and the Miami River, and WHEREAS, Bijan Nakhavan, and other members of the Miami River Coordinating Committee, endorse the project and encourage the expedient issuance of the City of Miami Public Works Permit; and NOW, THEREFORE, BE IT RESOLVED BY THE MIAMI RIVER COORDINATING COMMITTEE that this Committee endorses the Roberto Behar and Rosario Marquandt sculpture selected by the Dade County Art in Public Trust to be installed at the Riverwalk Metro Mover Station and requests the City of Miami to issue the necessary Public Works Permit to allow construction to begin immediately. The foregoing resolution was unanimously approved at the September 20, 1995 Miami River Coordinating Committee meeting. Miami River Coordinating Committee Members: Janet Gavarrete, Chairperson Joey Teitelbaum, Vice Chairperson James W. Brown Gwen Calloway Lundy Clarke Santiago Eschemendia Ana Gelabert Arsenio Milian Bijan Nakhjavan Joseph Pena Cliff Walters 25 S.E. 2nd Avenue • Suite 621 • Miami, Florida 33131 • Office: (305) 373-1915 • Fax: (305) 358-5933 MIAMI RIVER COORDINATING COMMITTEE 05- 741 41 FROM : BEHAR/MARQUARDT 305-538-6672 PHONE NO. : 3135 538 6612 UNI V ERSITY ()F ° °y t�it�s r44z %N Phonc 305.2R4.3438 duty 10. 1995 Fxx 105.284.2999 or .105.284.5245 Pon Office i4)x 249178 Cond G2bles, F1, 33174.50111 Mayor Stephen Clark City of Miami 3500 Pan American Ddyc Miami, Florlda 33133 Dear Mayor Clark: 7hIs Is to encourage you to suppcAl an Art in Public Places application before the City Commission to construct the "M" for Miami at the entrance of the Metromover Rlverwalk Statlnn ckawntown, Designed by Icxmal artist Roberto Debar and Rosario Marquardt, the giant red Omit Is an important part of the amhiteeviral renaissance that hac been transforming Miami in recent yews. It is a monument to the vitality of otu city, destined in become a landmark, a work of art that identifies not only a transit station and a cseighborhood, but also the city as a whole. In addition, the "M" creates a public meeting plate; at qie foot of the Metromover Station, bringing a human dimension to its outsized scale, anchoring it firmly in the neighborhood. Dusinesses are bound to benefit from the focus for podestrian traffic it provides. In these ways, the Wit can perfoorm a function similar to well-known Metro entranm in Paris and Moscow. Artistic projects Like the OM" emphasize the civic dinlea Mon of the w-han environment, reminding us that the city we call home Is a product of our common endeavois. As you know, dx, veorld'a great cltles are defined by their public spw;es and their art, m well m by their buildings. 'ire big red "M" by two of our ,Finest local artists, is an lmpoMnt addition to a city of unique character, .f. t 1 U_ fans fr %XIAMI ikpuruutlt u( the History ofAtt Yale University Am 20A272 New 14tim-n, cunneetiekt MW-9272 11 July 1995 Mayor Stephen Clark City of Miami 3500 Pan American Drive Miami, Florida 33133 Dear Mayor Clark, Ca mprn addrartt 56 High Sheet T1141j nrr1 203 433 2m,7 F,u- 203 412.7462 I feel honored to have been asked to write in support of the "M" for Miami, the brilliant urban project by Roberto M. Behar and Rosario Marquardt. These two young artists are among the most talented now working in Miami. It Is especially appropriate that their work is architecture and sculpture all at once, meant to be carried out at full scale to create a kind of sign board for the city, an image that says "Miami" for everyone to see. It would be hard to imagine a more direct, powerful, And sympathetic sign for Miami than this bid; "M." It is also a surprisingly economical one, saying a lot with a little and sending out waves of communication far more vibrant than more complicated structures might be able to suggest. I should say that I also think very highly of Behar and Marquardt's scheme for painting the Metro cars with South Florida's incomparable vegetation, but that is another project. Right now it is wonderful for the city that the "M" is under consideration. I hope that its construction will be approved. cc; Vice Mayor Miller Dawkins Commissioner Victor De Yurre Commissioner Willie Gort Commissioner J. L Plummer Si cerely y ors - Vincent Scully Sterling Professor Emeritus of the History of Art, Yale University Distinguished Visiting Professor, University of Miami 95- 741 FROM EEHAR/MPP0UARDT 305-538-6672 PHONE NO. 30S 538 15872 P03 16 Island Avenue Miami Beach, Florida 33139 July 10, 1 N5 Mayor Stephen Clark City of Miami 3500 Pan American Drive Miami, Florida 33133 Dear Mayor Clark: Thia letter is in support of a Metro -Dade Art In Public places project that has landmark potential for Miami and the whole county. Designed by artists Roberto M. Behar and Rosario Marquardt to designate and grace the Metromover Rivwwalk Station downtown, tho sculpture "M" is both metaphor and symbol, monumental in concept and proportions. i ThA artists's choica of a huge 'M' Is surely inspired, for the letter defines more than plooe. It stands for what it does (mediate between the street and the stati:.n platform), what It suggests (metaphors by the dozens, from maglo and mom to Metro and more), and what it means (Miami, the city with a capital V). As a Miamian I celebrate the 'M* and encourage you and the City Commission to support the application for the construction of this monument In our city. As an art critio, recently retired from The Miami Herald where I contributed thrice weekly articles about art and artists for almost 17 years, i tell you that OM" and Its creators are among the best of Miami. We will all be proud to have this one in our midst. Sincerely Youm, Helen L. Koh" Cc: Vice Mayor Miller Dawkins Commissioner Victor De Yurre Commissioner Willi Gort Commissioner J. L. Plummer 95-- 741 r-, \\ A i IV c A&C INTERNATIONAL l(l%l:41 I\1 EH.N %ZlU\ %Lr M ARCIIITETTI.RA E URBA.NISTICA / INTERNATIONAL RE%IEQ' OF ARCIIITECTURE .CND URB.1\IS%l Direttore responsabile / Editor Ieo Taeliascnti Vice direltore / Joint -editor Gabnele Taeliaventi Coordinalore scientifico Scientific Coordinator Anna Barozzi CORSUIerrli scientifici Scientific Consultants Maunce Culot Jean Pierre Errath Thomas Gordon Smith Allan Greenberg Manuel Iniguez Leon Kner Rob Krier Voula Mega Caroline Mierop Demetri Porphyrios Luciana Rasanel Philippe Roithier Rene Schoonbrodt John Simpson Alberto Ustarr6z Da%id Watkin Redazione / Editorial Staff Elisa Abati Pier Carlo Bontempi Beatnce Buscaroli Carlo Fabrizio Carli Richard Economakis Elena Elli Paolo Giandebiaggi Ardia Marzetti Patnzia Morgera Carlo Nocentini Marco Ventura Segretaria di redazione Staff Secretary Elisa Abati Correspondenti / Correspondents Italia Ferruccio Canali Giovanni Ceincr Flavio De Fiore Manuela Perueia Robxno Pirzio Biroli Cristiano Rosponi Austria Franz Demblin Belcio lean Pierre Majot quadrimestrale / quarterly Fnncia lean Philippe Garric Philippe Gisclard Germania Jacques Dewitte Rudolf Mayer Helmut Peuker Grecia Charles Shoup Alexander Tnpodakis Lussemburgo Lucien Steil Polonia Piotr Choynosyski Ponogallo Antonio Mafia Braga JosE Comclio Da Silva Spagna Manuel Manzano Monis Juan Segu Alonso Slovenia Tomas Valena Svezia Sune Malmquist UK Martin Meade USA Cara Carroccia Jean Francois Lejeunc Michael Lykoudis Thomas Noble Samir Younes Reh6oru esteme / Public m6tions Francesca Golfarelli Maquette Giuseppe Amoruso, Cristiana Bartolomei Traduzioni / Translations Richard Economakis, Paul Davies, Marina Artese Edilore / Publisher GANGEMI EDITORE 00184 Roma, via Cavour 255 tel. 06/4821661 - fax. 06/4747999 Direzione a redazione 40123 Bologna, via C. 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Articles, pictures, illustration's papers, although published, shall not I>e returned. fit copertina / Front cover: Rue de Laeken, Bruxelles, 1995 In IV di copertins / Back cover: Rue de Laeken, Bruxelles, 1993; 'Tour Bleau": demolizione / demolition 0id— IE %L a Built This City idy Cantor ruin the cni,c:A domain .0 i!:c curatur;jl e courage, writes former Miami lfnald it cntic Beth Dunlop in 0 v cata'ugue for teetur•t - Miami. quw on s cw at the Ccnter iporary Art (COCA) in Ner:i .1Larri -Ail tutu abstract ideas by exar_n;ng them in rnsioni It's one thing to lay down a blanket her to prove it with images and objects. 1pture, and works of archi:ceture' lirchitccturc - MLanu' goes a long way ,uf) ing Dunlop's ucpidauo:: about the enuc (she still contributes occ:i,onal ficc!ancc the Herald, and has undrr_,.en othct will• ts) Her inforniause cattlogre text concino -s a chronulogneal introdut-,un to Ui(-cny's ion coming of age via the development of rchiteeture and urban pub':c an. But as the f this chaotic show. she &nionstratcs no ,n. 16tion seeks to documer.: ,ie m% •rUv:) of Miami by a succession o: a:chaecis and ho. during this century, have shared cum. :s of the ciy as, variously. a tropical Play- a postniodern metropolis, and, most a Pan Arreriian capital Bt:: Dunlop's ambi- posai is too broad to be properly explored r confines of COCA's small! preview gallery. chitecture - Miami- includes 83 works — s. architectural renderings, scale models, iphs. and design objects — representing ,ung and propoicd archile, .ural and public as in Uie Ntiarni area According to COCA's Dunlop originally chose more than 200 he show. But even with the scaled -down the museum's space feels overhung. Draw. ,cr wails feont top to bottom. making the aok more like a nineteenthtentury painting an an exhibition examining contemporary ;sign. Given the cramped quarters. only a e projects receive satisfactory treatment, too c mere fragnients of large-scale endeavors. r their representation to one drawing or a Jet has inade it difficult, if not impossible. to and their inherent complexities. Conse- the show comes off as a hodgepodge of ig items, cacti of which <unichow relmes to of art and architecture in Miami. For the 1, however, Dunlop leaves it to the viewer to it how. s and drawings of readily identifiable Miami Richard Haas's tromp, I'oeil mural at taincbleau Hotel. Christo's huge Sur -Islands project on Biscayne Bay. Ruscha's downtown pubic library err$ Without 77tovghts ,Peter to Heaven particularly. Claes Oldenburg and van Bruggen's outdoor sculpture Bou4 With Scattered Slices crud Peels — =sidt"W space. But the bulk of the mccntrates on more recent projects. :iclude stellar achievements in urban Michele Oka Doner's Miami International installation A l ctk oil the Beach, now under -iron in the airport's Concourse A and repro iere by a large, exquisite drawing of the site :pies of the bronze inlays incorporated in the he reconstruction of the Brickell Bridge; leach lifeguard stands designed by various ,d Gary Moore's patterned African textile .e medallion walkway for the Ninth Street an mall in Overown. Also s:aaered through - show: Steven Brooke's ethereal photographs i_sino at Villa Vizcaya, Ole Century Hotel, and ance to Coral Gables; an aluminum art deco iandpainted table from the Haitian restaurant 9-15, 1995 Tap Tap. and mosuc paoo turniture by .M,arru (each arUst C a.''os .Uses. On a wa. near the cri arxe to the Railer) is a large wooden sign advertising alligator wreilling, tllus Crated with a naive painting of one of the reptilian competitors Mille certainly a fantastic piece of kitsch) fu:k art. the painting is undated lilt] dic accompanying wall label makes no reference to where it once hung This piece. and a wondeifulk decadent burlcsquc >how sign (also undated and unulenu: eti'i. du lot fit witii Uic high-minded an and architecture cul!aborations that dominate this show. But they do sene as examples of its biggest prob- lem: a lack of context- And while credits for individ. ual architects abound, in most cases the wall labels fail to gi••e sufficient infunnabon to provide an under- standing of the projects these drawings and models represent (Neahcr a slide carousel nor a video mon- itur, presumably luuded with images that could pro- vide needed context, were operational the day I visited.) For example, an intricate drawing of a Firestone sign (for what? who knows'). identified simply as Fireror.e by Richard Hubaclar. hangs next to Duriics of Afianu,111;;lam Caldwcll's abstract l.iencil drawing on paper. Are these elements of proposals? linagi- nay landscarrs' On the same wall are four drawing, based on Jody Pinto's proposed urban garden prujee't for the airport, Tire Park of Journeys In this case. curator Dunlop succeeds in giving a succinct vision of the nature of the project and what it would look like at different stages of development But then there are the obvious questions, ones that kept occurring to me as l walked through the gallery Has this project been completed? Will it be built al al)? The show Ieh me wondering. 1 icwers a;so can scratch their heads and ponder works such as a richly colored pastel rendition of a Spanish colonial style public plaza, identified as Pro - pawl for Lrtift Guatemala and credited to a team of architects headed by Roberto M. Behar. The display neglects to disclose that this project was pan of plan for a migrant workers community in Florida City, subrnined for a New South Dade Planning charrette sponsored by We Will Rebuild. after Hurricane Andrew. A fascinating site -specific plan• it supports architectural diversity by creating an autonomous, culturally significant community for the Guatemalan workers. This information is extremely relevant within the context of South Florida, and the fact that Behar has been lauded in national architectural cir- cles for his pruliuscd inuuigrant housing — but has not found funding for it here — might say something about the politics of architecture in this region. The inclusion of such details would make for a clearer understanding of the nature of the project The show is a hodgepoidge* of items, each relating to art and architecture".in Miami:* Another project by Behar, this one in collaboration with artist Rosario Marquardt, points to the exhibit iron's poienual. Their red M, an An in Public Places project for the Rivenralk Metromover station, consti- tutes one of the few pieces in the show displayed in an integral way. including a pastel dra•.ving of what it will look like on site, a finished scale model, and a sketchbook study; additionally, the accompanying label prcmdes an explanation of the projea's concept and physical details. To wiuiess the sheer amount of innovative architec- ture and public art that now exists — or might exist — in Miami is exciting, and residents should feel a sort of cultural pride in the fact that there are enough important projects represented at the COCA to fill several exhibitions. This particular one would have worked better if Dunlop had not tried to cover so much ground. In the end, -Art . Architecture' amounts to little more than a gallery graze, an unguided tour of the urban landscape. Aftyfacts An news you can use: -Oscar Tlicimas painled thc:u mimsiding Ovcnuwn mural on the wall of the Lyric'fliealer, recently unveiled in honor of Blade Historyhfonth. The mural features realistic portraits of prominent community members — Black Archives founder Dorothy Fields; DA Dorsey. Miami s fina black nulbonaire — as wet) as Muhammad Ali, Martin Luther ling. Jr., Billie Holiday and a scene showing black settlers working on the railroad. -The historic wall and ceiling murals inside the Miami Beach post office on Washington Avenue are being restored by Rusin Levenson Painting Comer- cation Studio, a New York -based frnn. The paintings, created by Charles Hardman in 1940, depict histor- ical scenes of Soutli Florida, topped by a celestial dome inside the cupola. New World School of the Arts professors Susan Barks and Jack Lcnibcck hale created Landinind, a laboratory for student ie:uated envirunmental public an projects in downtown Miami. Tiuir first project was a mural, designed by student 1liguel Luciano, on an abandoned building on NE Third Avenue: an Earth Day mural and an environmental project at Ba) side are scheduled for die future. For infonilabon about sponsoring or participating in Landmind's acbvlues, call Banks or Leinlxtik at 2373593. • Pat Ross Marx, rut in.. Pubic Places' Education and Community Outreach Director, gives lours of the program's Metromover ;xojetts to school and eom- muniy groups. She can be reached at 3755362.© i '!{�( + Architecture = Mlaml." Througb March 25 at the Center of Co me m p Curacy Art, 12340 HEM Are, North Ward; 693.8211 New Times Page 65 95- 741 a r y 9 - M a r c h 2 5'� ram. ' , 1 ft Curated by Beth Dunlop A R T A- A R C H ITECTU R E M I A IVY defines the bridge and the idea e. It Is Miami's permanent rain - land of many ephemeral rain - .ring us an uplift whenever we dl I rchling's sound installation I sling Building on Lincoln Road mother, very different example, ry art interacts with architecture p I' f -Tore of both, in the proverbial the whole is greater than its tailed in the Wolfson Initiative 11 IT ion's elegant Art Deco building >r• s are subtle and yet seductive, t Is stop and look around, pause ' t the. In that moment of listening, 1 ; :III . U ra•: I to look and see — really see — t• r ' i ;, f;t ,I 07, isite courtyard garden of the Building. �;::.v; -�' on Miami Beach that many of I 4 ` ;'; l ,r.: innovative collaborations — I "; ; ; ' , • f.'t' rchitects, landscape architects, ,.•,�.,• esiyners —are taking shape. The ; , i lesigning Lincoln Road includes_ � _ ;;6:j ,_^�•'- above (landscape architect )chwartz, architects Carlos Zapa- iroshi Hara and artist Cesar Tra- and invention runs rife in their IERTO M. BEHAR AND ROSARIO MAROUARDT; WITH CLAUDIA BANCALARI, JOSE JAEN, AND KEVIN STORM, 'M' (METROMOVER, RIVEP.WALK STATION FOR METRO-DADE ART IN PUBLIC PLACES) 1993, OIL PASTEL AND PENCIL ON PAPER, 14 K 24 IN. Collection of Roberto M. Behat and Rosario Marquardl proposals for this pedestrian street I, out nine decades allu when Miami lie;R'h was just being built and then redone as one of the country's first pedestrian rtlalls in the early 1960s by architect Morris I apidus. Carlos Zapata is also redcsigning the Miami Beach headquarters of DACRA, a private developer committed to promot- ing collaborations between architects and artists. Zapata is bringing to this project his particular imprint of architectural abstraction; in addition, the building will become a billboard for art, with the work of conceptual artist John Baldessari. On the beach, artist Kenny Scharf and the architect Bill Lane have collaborated on engaging designs for lifeguard stands; an additional one by the Miami -based Spanish artist Anloni Miralda, known for his large -scaled spectacles, is in the con- struction phase. The Miami Beach -based husband and wife, architect and artist team of Roberto Behar and Rosario Marquardt have pro- vided us with some of the most seamless collaborations that could speak of place. Among many fine offerings are a never -built classical marker at the entrance to Little Havana and a now-under-construrlion "M" for the Metromover, a marker that has po4ential as a memorable symbol of the city. Many of the expressions of place take form simply and even unexpectedly. A painted trash can in Little Haiti is found art on a streetcorner, and yet it is art about neighborhood, culture, nature, human nature. The colorful painted tables at the Miami Beach restaurant Tap -Tap formalize those ideas, in a very different setting, but they — along with the rest of the restaurant, all done by local Haitian emigre artists — tell us about a people in a place. Sometimes it is done symbolically, with direct and abstract references, call- ing on our subliminal understanding of a place, on specific recollections, on shared memory. That is what is happening at Jose Marti Park along the Miami River, where the architects Ignacio Buenster and John Fernsler took a particular sym- bol of Havana's architecture, the Baroque parapet, and turned it into a motif for a park -- a fitting one, since the park was built on the site of Miami's notorious Tent City, a detention spot for Mariel boallifl relugers. In a very differrnt wary, Carlos Atfonzo's mosaic for the Santa Clara Metrorail Station reflects its site with a kind of fervor, its sources range from the immediate neighborhood of the wholesale produce district, to deep reli- gious iconography drawn from the Afro-Cuban culture. Likewise, the pro- posed Arena Gateway from artist Gary Moore and Lydia Rubio, an architect and artist, and similarly the Ninth Street Mall by Moore and landscape architect Gerald Marston take their cues from the history and the culture of dominantly African -American Overtown with motifs drawn from the classically inspired archi- tecture of the neighborhood. The diverse cultures of Miami are perhaps the most fascinating aspect of the city, and yet in many ways they defy expression. Charles Harrison Pawley, an American who was born in Haiti to American parents, gave Little Haiti its dominant architectural symbol in the Caribbean Marketplace; it draws on the sentimental aspects of Haitian architec- lure — the fanciful Victorian filigree and the sunlit colors — without sentimental- iting them. Iiiminda Spray of /Uyuitec- lonica look an already abstract Indian ar form, the patchwork done by Miccosuke� Indian women, and abstracted it further into a stained glass window at the North Dade Justice Center. The Jamaican cook shack at Shabeen Restaurant was con- ceived by the designer Barbara Hulanicki but executed by the artists Gary Feinberc and Jens Diercks as a kind of zany exu- berant expression of a culture, an ode to Jamaica, a kind of calypso-rhythmned architectural art. The well -spring of memory is an important one, and sometimes it is a matter of reusing old materials in new ways, as artist Buster Simpson did with bags full of debris from Hurricane Andrew which he turned into terrazzo fc his Metromover benches, or as artist Car- los Alves did in his Lincoln Road fountair in which he incorporated ceramic plates and bowls that people brought him. The architect Suzanne Martinson used hand- prints of elementary school children as an element of her new wing for Pinecres _TION G --__._--------- -- --- i. .tea CONCERT REVIEW The herald's pop critic eviewsaperformance by Branford Marsalis' jazz group. Buckshot Leronque, 4G. .a ri ?• <<r' RADIO How television brought rock music to the airwaves. 5G. } Ghr i-ic"10 213 THt 3ALD, SATURDAY, FEBRUARY mow---- rt + Architecture reflects Miami's glorious coming Of acyf IN PROGRESS:°_Art in Public Places commission by -Roberto M. Behar and- Rosario Marquardt �y ELISA TURNER Herald's architecture critic from 1979 to .j Special to The Herald 1994, compares the city to a diffident ado - cooped from sticky swamps, per- lescent: "Emerging cities (and the architects and artists who adorn them) tend to be vaded by the stinging whine of mos- Miami began life as a place self-conscious, like teenagers not wanting to quitoes, to be made over into newcomers' stand out, to be different; with cultural sophistication also comes the ability to step visions of other, more romantic locales. That legacy persists today, in Mediterra- away from the crowd, to stand out." nean Revival architecture, in hotel names The ability to step away and stand out seems to have crystallized in 1982, when like the Mandalay and Malibu, the DiLido and Del Rio, the Aztec and Avalon. Christo wrapped islands in Biscayne Bay f3ut in the last decade, Miami has come with 6.5 million square feet of pink poly- inlo its oche images, creating a sense of propylene, summoning world -class atten- tion for Surrounded Islands. That year we place out of its recent multifaceted history, both glamorous and gritty. That evolving also were treated to the dashing exuberance identity is deftly illuminated inArl +Archi- of Arquitectonica's Atlantis on Brickell Iec•ttrre = Aliami, the current show at North Avenue. With its central cut-out housing pool and palm tree, the building was a 24- Miami'sCenter of Contemporary Art. In he'r catalog essay, curator Beth Dun- hour freeze frame of glamour Miami -style, lopVice. charts Miami's maturing sense of place, noting that the plethora of construction While those visual landmarks are famil- here from the late 1960s through the early '80s was "faceless, tasteless." Dunlop, The PLEASESEE ARCHITECTURE, 2G 95- 741 Fads, posters, )aintings, Qven videos depict maturing city ARCHITECTURE, FROM tG iar to many, this sho« is not about rr_cycling photographs of completed monuments. Instead, Dunlop holds a mirror up to a community's crcative sensibili. ties by mining a trove of public and private documents. Models, sketch pads, drawings and paint- ings even kitschy artifacts like a burlesque poster — aim to show how such sensibilities Spiral outward, often nurturing each other. The exhibit also includes vide- otapes that record moments in the making of several works described in the exhibit: Christo and company wrapping the islands, Michele Oka Doner installing her bronze marine forms in an airport walkway, Richard Haas painting his play- fully visionary Fontainebleau u ral . Amon& the show's natural images is a quietly compelling drawing of the mangrove's intri- cately interwoven root system by Flavro Barney. These looping shapes reflect not only a fragile environment deserving respect but also a formal beauty and energy echoed in the nearby Met- rorail designs of Carlos Alfonzo and Carlos Alves. Visitors can see a photograph and painted study of Alfonzo's Ceremony of the Tropics at the Santa Clara Metroraii station. For Alves' La Palma, under construction for the Eighth Street tvletrotnover station, there is a dynamic pastel study. Throughout the show we gel to savor, the familiar, including the dowrttotvn Dropped Bowl .foun- tain by Ciaes Oldenburg and Coosje van Bruggen, and experi- ence more recent projects, public and private. There is an abun- dance of work from Arl in Public Places, tapping into the city's natural and multiethnic history. These commissions are not so much about being politically cor- rect as about finding the past within the present, a crucial step in coming of age. On display is Christopher Jan- ney's model for Winds of SoutidlGater of Light, a walkway greeting international arrivals at the airport that is complete with chirping, rustling Everglades sounds and translucent panels that gently suffuse travelers in light changing from blue -greens to pinks and oranges. The exhibit also documents Overtown's Ninth Street Mall, layered with references to the area's African - American heritage, by Gary Moore and landscape architect Gerald Marston. The' fantasy world of Miami's early promoters also finds its way into -the present. "Our work — images that bridge the world of reality and the world of dreams" is the notation on a sketch pad relating to the giant red concrete W for Miami, an Art in Public ?laces commission by Roberto ,bl. Behar and Rosario Mar- quardt with Claudia Bancalaci, Jose Jaen, and Kevin Storm. Planned to ornament the Riv- erwalk Metromover station, the M has two silvery balls on top, like fanciful earrings, and its massive presence is reminiscent - of a child's toy block. Quirky and sophisticated with links to dreams and childhood, it is a wonderful image for a city grow- ing up. And it's Just one of many resonant images in this fine show, calling us to consider reminders big and small of where we've been and where we can go. Art *Architecture = Miomi.-Through March 25 at the Center of Contemporary *)_'n r;c :: a WA ,ami yb- 741