Faena Press Highlights - 2016

PRESS HIGHLIGHTS 2016

The Telegraph | April 2016

The Telegraph | April 2016

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The Telegraph | April 2016

Welcome to the second annual Visionaries issue, a celebration ofthe boundary pushers, rule breakers and innovators shaking up the luxury landscape.

Nam hwted by our panel ofe..1,perts and spanning specialisms across thefields Q design, technology, f

arts and science. it '.I' a venture that 1' ambilious in scale. Photographer Cl11istopher Sturman travelled.from Pisa. Paris and Geneva to New York and lvliami to capture the people redefining the way we live now. This portfolio shines a light on their talents, and looks at how their appetitefor change is for ing new paths in their respective disciplines

Mlrie-C�lte D:weu. t.hieJ sustainability officer and head of lntemationaJ institutloml ;affus at Kering

The Luxury Visionaries

The Telegraph | April 2016

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Fuera de Serie | April 2016

Fuera de Serie | April 2016

Fuera de Serie | April 2016

Fuera de Serie | April 2016

Fuera de Serie | April 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

Christieâ&#x20AC;&#x2122;s | May 2016

THE WALL STREET JOURNAL. LIFE e3 ARTS ARCIIITEtTUREIIEVlEW I Julie V. Iovine

Structures New And Reclaimed Both bold innovation and thoughtful renovation defined the year in ¡architecture

Clockwise from above: The National Museum of African American History and CUitule; the hils on Governors Island; Columbia University's Roy and Diana Vagelps Education Center; the Faena Forum

cades for a significant building to rise up from concept to rooftop and years more for the public to fully appreciate it as architecture worthy of civic pride.

The National Museum of African American History and Culture condensed the pride part into a matter of weeks. More than 582,000 people have visited the new $385 million museum on the National Mall since it opened on Sept. 24. Designed by Phil Freelon and Da¡ vid Adjaye with the SmithGroup, the museum is about much more than design, of course. But architecture is at its best when it succeeds at giving physical shape to the stories and ideas important to a culture.

That standard of quality al so~ applies to several other new buildings completed in 2016.

In New York, Columbia University's Roy

and Diana Vagelos Education Center encapsulates some of the latest thinking on how to foster teaching and the exchange of ideas. On a sliver site overlooking the Hudson River, the 14-story tower features a cascading stair flowing into promontory-like balconies, meet-up eddies, cafe landings and other alluring pull-out spaces. The architects Diller Scofidio + Renfro have applied their acute ability to translate complex needs into compelling clarity-rendered here in an energized palette of douglas-fir paneling and burnt-orange terrazzo. Originally budgeted at $70 million, the building and its interiors impart an enduring sense Of quality and sophistication.

Only a bold idea can survive financial upheaval, and the Jan Shrem and Marla Manetti Shrem Museum of Art at the University of California, Davis, embodies just that.

Conceived when California was on the brink of bankruptcy, the $30 million Shrem Museum has a big presence despite its modest size. Architects SO-IL and Bohlin Cywinski Jackson (working from inception with a

contractor to keep costs down) spread a 50,000-square-foot canopy over three discrete pavilions, encompassing all and turning interstitial borders into roomy outdoor public space. The canopy is fashioned from triangular-shaped aluminum beams with perforations to make the steady daylight dance. With its te3ching collection, including donations by Wayne Thiebaud and Robert Arneson, the Shrem will now provide even more illuminating encounters with art.

Over the past decade, New York's 172-acre Governors Island has re-emerged as a bucolic haven with ambitions on par with Central Park thanks to a reimagining by a team led by landscape ":chitect West 8. In July, 1

the latest section opened-four manmade hills ranging up to 70 feet high.

There are granite blocks recycled from old buildings to ramble on and the city's longest, curviest slide to thrill down. From the tallest hill, a panorama of New York from the Statue of Liberty to Midtown opens up, while another grassy knoll features a castconcrete cabin by British artis t Rachel Whiteread. Only a few minutes from Manhattan by ferry, Governors Island shows the transformative power made possible by a smart plan, perseverance and the city's unstinting investment of over $307 million.

A list of new architecture in 2016 would not be complete without an incubator-one of those mixing bowls of culture, commerce, business and education. The Faena Forum, which opened in late November, is one of the latest. Designed by OMA New York and named for Argentinian developer Alan Faena, this multiuse flexible performance and "curated" retail space is in the not-yethot Mid-Beach section of Miami. The equally

hybrid shape-cylinder plus cube-is Art Deco white and serves up plenty of glamour, including a pink marble amphitheater in the lobby, an open stair spiraling past 350 irregularly cut windows, and a top-floor assembly hall with a 40-foot dome and oculus. Two other buildings-a 1939 hotel turned into s hops; a garage with event spaces-complete the composition, connected by public parks above ground and car parks below.

But 2016 was not all about thinking up new spaces. The astutely thoughtM restorations of the Met Breuer in New York, now more eloquently bold than ever, the Yale Center for British Art, resonating anew, and the East Building of the National Art Gallery in Washington, now with new galleries carved out of underutilized stair towers, are powerful reminders that in architecture there is always virtue in incorporating innovative ideas, whether from the past, present or envisioned future.

Ms. Iovine writes about architecture for the Journal.

THE FAENA PHENOM Alan Faena has turned a oncesleepy stretch of Collins Avenue into a cultural mecca, complete with an ambitious arts center and one of the worldâ&#x20AC;&#x2122;s top hotels. As the Faena Arts District nears completion, meet the visionaries who made it happen.

EDITED BY ASHLEY BAKER AND EDDIE ROCHE PHOTOGRAPH BY SEBASTIAN FAENA

FA S H I O N W E E K D A I L Y. C O M

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I L L U S T R AT I O N S B Y J I L L S E R R A W I L D E FA S H I O N W E E K D A I L Y. C O M

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HE’S GOT THE LOOK Alan Faena, dressed in his signature all-white ensemble, nods to the fedora.

MEET THE MASTER What was your idea for the Faena Forum?

The Forum is a place for cultural interaction—it's a pioneering new public venue dedicated to presenting and showcasing the ambitious, the innovative, and the groundbreaking in fields ranging from art and entertainment to business and beyond. Evocative of the ancient civic and architectural concept of a forum, the Forum aims to offer Miami a dynamic setting, allowing for ongoing programming under the direction of Faena Art, as well as use by private companies, institutions, and individuals.

You opened the hotel about a year ago. What’s the year been like for you?

It’s very pleasant. At the end of the day, I’m a storyteller and I created this place to bring fantasy to people, and elevate their lives. I feel very happy when I see people enjoying it all, from the Cathedral to the Theater. We’re creating fantasy in such a different way from the rest of the [hospitality] industry.

Are you the most popular guy in town during Art Basel?

I don’t think so. [Laughs] For me it’s about creation and doing my best, and Art Basel is a good moment to show it to the world.

Do you get nervous about openings?

Yes. I try to have everything perfect.

Had you worked with Juan Gatti before the hotel?

No. I’ve just been a fan and I had bought some of his

art; I’ve known him for a long time. For the hotel, I worked a lot with Juan and Baz Luhrmann to create a window to my heart and life. Each thing we made is based on a story.

How did you connect with Baz Luhrmann and Catherine Martin?

I always admired them, and my business partner, Len Blavatnik, introduced me to them. I had worked with top designers before, but I didn’t get what I was looking for—they were great designs, but they could be in any city in the world. I was trying to tell my story about my life, my beliefs, and my past. To get what I wanted, I knew I had to work with filmmakers.

They are used to working with a script. I always tell my team we aren’t here to be cool—we have to tell the story of the heart.

What was your vision for the C’est Rouge show?

I always loved theater. I create a lot of different stages to create different stories. The Forum has a stage; the Theater has a stage.

What’s your favorite theatrical piece?

Cabaret!

Do you have a favorite piece of art in the hotel?

"Gone but Not Forgotten," Juan Gatti's murals, and Alberto Garutti's chandeliers.

When you worked in fashion, you wore mostly black. Now, you wear all white.

There’s only one pair of pants and one shirt that I like.

I have my clothes made, and I wear them with Crocs.

How long were you a fashion designer?

I started very young after school, and by the time I was 20, I had a big company.

Would you ever return to fashion design?

No, because what I am doing now involves fashion in a much more 360 way.

Sebastian Faena is your cousin. What’s your relationship like?

He’s my best friend, a brother. I’m very happy for him— he’s created a niche in such a difficult market. He’s super talented and one of the best photographers in the world. He’s a warrior, he’s a musician, he’s a singer, he writes, he makes cinema. We need more Sebastians.

Do you work seven days a week?

I do what I love, so I never work.—EDDIE ROCHE Below: The Faena Theater

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TO D D E B E R L E ; G E T T Y I M AG E S ( 4 ) ; A L L OT H E R S C O U RT E SY; S H U T T E R STO C K

THE VISIONARY: ALAN FAENA

Faena Hotel, the nirvana on Collins Avenue.

THE FAENA EFFECT

PHILIP LEVINE, THE MAYOR OF MIAMI BEACH, EXPLAINS HOW ALAN FAENA’S VISION HAS ENERGIZED THE CITY. What has the Faena District brought to Miami Beach?

Literally, it’s a shining star to this area of Miami Beach whose light resonates not only nationally but internationally. It’s a tremendous asset to the state of Florida.

What was your first impression of Alan?

His reputation precedes him. I happen to love Argentina and what Alan had done with [his property] in Puerto Madero, so I had seen and understood his tremendous capability and creative genius. What he created in Puerto Madero didn’t just resonate in Argentina, but in all of Latin America.

When you look in his eyes, you see endless possibilities.

Alan gives out that energy. To know him is to like him. He is the Wizard of Oz, but I like the way he dresses better than the Wizard. He always wears white, and that’s symbolic of his personality, which is openness. To me, his white outfit is like a white canvas, waiting for folks in the creative community to put their ideas onto it.

ALAN’S COLLABORATORS

LORENZO DE’ MEDICI V. ALAN FAENA How do the two Renaissance men match up?

FROM A-LIST FILMMAKERS TO LOCAL BUSINESS LEADERS, ALAN FAENA’S PARTNERSHIPS BRING HIS VISION TO LIFE.

TO D D E B E R L E ; G E T T Y I M AG E S ( 4 ) ; A L L OT H E R S C O U RT E SY; S H U T T E R STO C K

“We first met Alan Faena and Ximena Caminos as The Great Gatsby was opening, and instantly fell in love with them and their singular point of view. We were intrigued by their ideas and decided to help them in the early development of their project. Our focus was to create a narrative for the Faena Hotel that would translate the essence of the Faena vision from Buenos Aires to Miami. Alan has his own very distinct sensibility and aesthetic. He is the star and guiding light of this project, the lead player in the adventure of the creation of the Faena Hotel and its surrounding district, and we are very happy to have contributed to the realization of Alan’s vision.”

—Baz Luhrmann and Catherine Martin “Working with Alan can be an abstract process. On one hand, Alan stays mystical; on the other hand, he’s a true perfectionist. Together with Ximena and Len, they took over the place, not just by developing a cool hotel but by creating a mini nirvana. Alan is a creative visionary you only see in movies. He’s moving, thinking, and acting like he was born and raised on the sun.”—Job Smeets and Nynke Tynagel, co-founders, Studio Job

Baz Luhrmann and Catherine Martin Job Smeets and Nynke Tynagel

You frequent the hotel often. What do you enjoy about it?

The service. The people. The energy that Alan has created. I have a quote on the wall at City Hall that reads, “The speed of the leader determines the rate of the pack.”

That’s true of any company and organization. Alan’s leadership creates that service, that warmth, that feeling of endless possibility. I had some work done in my house over a weekend and I needed to stay at a hotel, and I ended up staying at the Faena. I told Alan that it’s good and bad here. It’s good because I enjoyed it, but the bad was I didn’t want to leave.

What’s Art Basel like for you as the Mayor?

It’s like having the Super Bowl in your city every year. It’s an honor, and it’s so much fun.

Do you get any sleep?

That’s the problem! After one week of Basel, you almost need to go on a vacation for a week after.—EDDIE ROCHE

VS LORENZO DE’ MEDICI “il Magnifico” (the magnificent)

Writing poetry and sonnets, mostly about love

Greek, Latin, and an extraordinarily flowery version of Italian

A horse named Morello di Vento—the guy loved to joust!

ALAN FAENA NICKNAME

TEENAGE PASTIMES

LANGUAGE PROFICIENCY

PRIZED PET

“the Miami Magnifico”

Music and soccer

English and the most musical kind of Spanish

Whippets, including a favorite named Wimpy

His cousin is the renowned photographer Sebastian Faena.

His father, Cosimo de Medici, led the Republic of Florence.

GROUNDBREAKING RELATIVE

Florence’s status as the cultural capital of Europe was solidified

UNDER HIS REIGN

South Beach became Miami’s preeminent destination for both hospitality and art

SIGNATURE LOOK

An all-white shirt, pants, and his signature fedora. “I try to be as minimalist as I can,” Faena says.

Puffed sleeves, anything velvet, but nothing too outré

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VISION ACCOMPLISHED THE ARCHITECT: SHOHEI SHIGEMATSU

Shohei Shigematsu, who oversees OMA’s New York office, is no stranger to collaborating with tastemakers—his short list includes Kanye West, Marina Abramovic, and the Whitney Museum. His latest creative companion? Alan Faena, who tapped the architect to build out the Faena District.

When you first met Alan in 2011, what was the scope of the project?

I was in Buenos Aires, staying at his hotel. I knew who he was, but I’d never met him. I ran into him in the hotel courtyard, and we started talking about collaborations. He was interested in our office structure, which has OMA as the architect, but the branding and think tank of AMO. So he was interested in us doing branding research. That was the critical assignment: to understand who he and Ximena [Caminos] were and their company’s ambition. At that moment the company was kind of exploding, and when a company is expanding, the biggest anxiety is about keeping the brand intact.

What was your initial vision for the District?

Across Collins Avenue, Alan had three sites. We had the ambition of creating a neighborhood. In Miami Beach, the beach side is always the active side and the other is quieter, residential, and non-

How did you envision the assembly hall?

We conceived two different volumes. We wanted to have flexible use for everything from visual art, performance art, and corporate events to weddings.

Typically, functional and flexible space ends up looking the same—a boxy ballroom with flexible walls. But knowing Alan and Ximena, we wanted to give a certain character to the space. We thought a cube could be contemporary and the circle could be classical. It has this interesting dichotomy—is it two or is it one? That was our intention.

This is the first project where you designed a parking garage—what research went into that?

Miami Beach is strangely the mecca of well-designed The exterior of Faena Bazaar

developed. We wanted to create the cultural heart of the community and cater to events like Art Basel.

The tradition [in Miami Beach] is to create a big hotel compound, so people don’t have to leave, but Alan’s concept was basically the opposite: to create multiple buildings in multiple blocks.

What inspired you to base the design of the Forum on the cylinder and cube interplay?

We were surprised how different the atmospheres of the Collins side and the Indian Creek side are.

Instead of one big building and two smaller ones, we made the big one into two smaller ones, so there are four equal volumes. We split the biggest site in half—one volume facing Collins, and one facing Indian Creek. One is a classical cylinder and dome, and one is contemporary and box-like. We pushed the interior configuration to have a distinct feeling and space inside, too. That was key—to create a diverse experience and diversity of use.

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G E O R D I E W O O D ; PAT R I C K M C M U L L A N . C O M ; A L L OT H E R S C O U R T E S Y

The Faena Forum

G E O R D I E W O O D ; PAT R I C K M C M U L L A N . C O M ; A L L OT H E R S C O U R T E S Y

parking projects, like 1111 Lincoln Road. In our case, it was a mechanical parking system, so it was a little easier. Alan was quite firm on making underground parking, which is very difficult, technically and budget-wise, because in Miami Beach the water table is so high. It became an urban gesture—underground parking that serves the entire neighborhood.

What features did you give the garage to make it its own destination?

We gave it a restaurant; a flexible, rentable space at the top; and retail at the bottom—multifunctional parking that also has a unique sense of life. The penetrations are angled, so it has an interesting way of permeating light. There will always be some sort of activity going on for the people.

How did you envision the retail space for Faena Bazaar?

[We renovated the] Atlantic Hotel, which is a protected landmark, and we inserted a courtyard.

The ambition was to create a building that’s not typical retail. If it’s all new, it won’t show authenticity, and if it’s all old, then there’s a limitation. Even if it’s cute and tiny, I think it was important for us to have this existing building.

How do you expect the project to evolve?

Ximena is so passionate about the programming and the usage of the Forum, which defines that building.

The Forum can become a cultural jewel of the Faena District, and of Miami Beach. I think it will evolve into a multifunctional space where a lot of content can be created and not just consumed. Alan might expand the District, but the idea will evolve organically.

That’s the future I’m looking at.

How have your impressions of Miami as a city changed throughout this project?

Right now, to me, Miami is the capital of Latin America. The fact that Alan did this in Miami Beach represents the status of the city. It’s become one of the most energetic, attractive cities in the U.S. in terms of living, working, and culture. It’s rewarding to be a part of that momentum. Miami and other beach cities used to be resort-only cities, but now they’re working, living cities. That’s kind of a remarkable transformation.

What’s it like to work with Alan?

He has a strong vision, and he knows how to achieve it. That was a fundamental part of the success of the project. He understands the commercial side but also the cultural. That kind of dialectic relationship was exciting to us.

—KRISTEN HEINZINGER

THE X FACTOR THE CURATOR: XIMENA CAMINOS

There aren’t enough hours in the day to keep up with Ximena Caminos, who has been working around the clock to unveil the Faena Forum, a new platform for artists from around the world. As the artistic director of the Faena Group, chair of Faena Art, and a force in the art world, she has plans that are bigger than ever.

What’s your background?

My family is embedded in the cultural world in Argentina.

I was fortunate; I grew up with the most influential intellectuals and artists in my country. My godmother was the director of the Museum of Modern Art, so at a very early age she sent me to study the Latin American masters.

At the same time, I studied art history and stage design at the opera house. I also studied psychology and philosophy for two years. At 19, I started working at the Centro Cultural Recoleta in Argentina, which was the epicenter of the cultural revolution that happened in the ’90s. I was assistant director for 10 years, and we had 21 exhibition rooms, a cinema, and a theater in the heart of Buenos Aires. During that period, I curated and brought artists like Alex Katz and Jenny Holzer to the country. When I met Alan [Faena] through a common friend, I was the curator for a special project for the Museum of Latin Art [MALBA]. Alan had bought the hotel in Buenos Aries but hadn’t reopened it yet. He asked me to collaborate with him, which I turned down at the beginning because I had an amazing job. I wasn’t interested in hotels. But I understood what he wanted, and I’ve been working with him for 13 years now.

At some point in that relationship, we ended up getting married and having a child! I became his creative partner and helped him infuse the whole concept with high culture.

Who introduced you?

Gustavo Cerati, the leader of Soda Stereo, the largest rock band in Latin America. He was my best friend for years and years, and he died in 2014. I designed many of his shows for fun. Even though I was trained in the arts, my interest is creation and creativity at large. I had the same fun designing a rock ’n’ roll show as a museum exhibition.

How did he introduce you to Alan?

We ended up at Alan’s beach house one night and danced until 9 the next morning. Alan told me to come back for lunch the same day. He started asking me questions and said he wanted me to come work for him. I didn’t know who he was. I knew he had some project. I worked for the richest man in Latin America doing whatever I wanted already, so why would I work with him? I was flattered, but I declined. He insisted a lot. Eventually, he convinced me, and thank God he did. It changed our lives forever. We became best friends very quickly.

When did you fall in love?

A couple of years later. We get along so well. We’re like gunpowder and dynamite. He makes me better, I make him better, but in a very exponential way. We are a very interesting formula because we are very similar in many things and very different in many things. The combination has proven to be so fun and so creative and so successful, ultimately.

How are you different?

Alan is a very wise businessman. He has the bird’s-eye view of the process and the strategic mind, and I’m more about developing the content and creating the secret formula that will make this thing grow.

Is this district everything you imagined?

It’s even more than what Alan imagined, and it surpassed

Ximena Caminos

my expectations. I knew we were going to be very welcomed by the city. I knew we were going to make a difference, but I didn’t know it would be at this scale.

What’s your focus in the Forum?

Developing the cultural content through fine art. The Forum is an amazing building, but buildings are buildings.

Our ambition for the Forum was to make it a platform for the world’s creative class to come together and experiment. We want it to be a cultural incubator.

Who are some of the artists you’ll work with?

Some are world-renowned, and some aren’t known at all.

We want to be a preview of what’s coming. We want to give people a taste of the future.

Who came up with the idea to create a geodesic dome on the beach for Art Basel?

It was my idea. I wanted to do it because the fair is so private—it’s commercial, it’s about celebrity and exclusivity. Last year with Faena Art, I put a roller rink on the beach with Assume Vivid Astro Focus because I wanted to do something open and free for the public.

That’s what we are about. We can be exclusive but at the same time we want to bring art to the people, and we want to share our daily experience of contemporary art. It’s a public immersive installation.

How long did it take to build?

About three weeks. We didn’t rent a dome—we conceived a whole new thing. It’s going to be spectacular.

You and Alan have a 7–year-old son. Does he have an interest in art?

Not at all. I guess he will develop it. He has an interest in design—he has a very fine eye. He appreciates looking at art but doesn’t like executing it himself. He’d rather have an iPad in his hand.

How do you keep your energy up during periods like Art Basel?

I do a lot of acupuncture and yoga, and I take Chinese herbs. I’m a raw vegan; I eat well. You have to be an athlete to keep up with this rhythm. Alan is an athlete, too. He looks like an Olympic swimmer. He trains very hard, eats super healthy, and we go to bed and wake up early. We are very focused—but that doesn’t mean we don’t party once in a while. We have fun!—EDDIE ROCHE FA S H I O N W E E K D A I L Y. C O M

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11/23/16 11:17 AM

FA S H I O N W E E K D A I L Y. C O M

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11/23/16 1:31 PM G AT T I : P E T E R L I N D B E R G H ; TO D D E B E R L E ; A L L OT H E R S C O U R T E S Y

PURE FANTASY

G AT T I : P E T E R L I N D B E R G H ; TO D D E B E R L E ; A L L OT H E R S C O U R T E S Y

THE MICHELANGELO OF THE FAENA: JUAN GATTI

How did you first meet Alan Faena?

I met him in 2012. At that time, I had an exhibition in Buenos Aires called “Natural Sciences.” He went to the exhibition and bought several paintings. I think we connected at that moment.

What were your initial impressions of him?

Apart from his appearance, which is already very particular and attractive, the first impression he gave me was that of a person very sure of himself, and who was very clear in his interests.

What impressed you about his vision?

His ability to make his dreams even more ambitious, which I had already seen in his previous projects.

How well did you know Miami before you began working on the project? What did you think of the city?

I knew very little about Miami—only a few quick trips during the ’80s and ’90s, where there was more of a spirit of Versace and Madonna. The Miami I encountered when I started my project there had nothing to do with the spirit of Ocean Drive I had in mind. Now, I find a city more cultured and more interested in cultural phenomena and real estate developments.

You live in Madrid. What, if anything, do the two cities have in common?

I see few points of contact with Miami. Here, everything is old, and in Miami, everything is new, but there is also a Latin spirit that gives you energy and passion.

The eight murals in the Cathedral reference moments in Alan’s life and journey. How did the two of you work together to narrow down the subject matter and arrive at these works?

Before starting the project, we had long talks about his life because in a way the project was also about that of a conqueror who does not try to find the City of Gold, but to build it. Somehow, I felt like a Renaissance artist to whom a Medici nobleman in Florence made a commission to perpetuate himself in history.

Taken as a whole, the murals are intended to illuminate the path to a place called “Futopia.”

How do you describe it?

The murals try to reflect a journey, as if a conqueror had found the lost paradise and by certain archaeological ruins discovers that there was an earlier civilization that was dominated by nature.

What kind of impression did you intend to give people entering the space for the first time?

It has always been called the Cathedral, hence, its ecclesiastical connotation; although I also get the impression—and more so when they added Damien Hirst’s “Gone But Not Forgotten”—of a kind of Museum of Natural Sciences of the Victorian era made by an hermetic artist influenced by the Theosophical School of Madame Blavatsky.

Can you tell us about the work you’ve created for the Faena’s Art Basel projects?

For Art Basel, I have created a geodesic dome in which I have made the exterior decoration, and in the interior there will be

various artistic manifestations. One of them will be the projection of a 360-degree film made by me that is called Backlight.

How do you think the Faena has impacted Miami and how the city is viewed around the world?

I think the works of Faena have had a great impact on the city and especially on South Beach. The rest of the world’s vision for Miami is that it is becoming the cultural and artistic center of America.

—ASHLEY BAKER

DETAIL-ORIENTED Gatti’s designs for the Faena Hotel’s Cathedral were inspired by seminal moments in Alan Faena’s life.

Juan Gatti

EVERYTHING IS ILLUMINATED Gatti’s geodesic dome on the Faena’s beach is called “Time Capsule.” During ABMB, it will feature films, 360-degree projections, virtual-reality experiences, and performances organized by Faena Art.

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11/23/16 1:31 PM

OUR ULTIMATE HOLIDAY GUIDE

RobbReport .com

THE

31 GREATEST GIFTS OF THE SEA·SON

FEATURING

BRISTOL'S SPEEDY $300,000 BULLET

PLUS I ,

DECEMBER 20 = =6 - - .

$225 MILLION, 364-FOOT SUPERYACHT BREATHTAKING MIAMI BEACH DUPLEX PENTHOUSE FIRST-EVER SUPERSONIC PRIVATE JET ERIC CLAPTON'S 1939 MARTIN ACOUSTIC GUITAR RARE 50-YEAR-OLO GLENLIVET SINGLE MALT & MORE

A A0 8B REPORT MEOlA PUBliCATION

- -TI-lE - -

UlTIMATE GIFT -

GUfOE -

Capture the Magic or hissix-blockFaenaDistrict in downtown Miami, the Argentine developer Alan Faena aimed to create, as he has described it, "a new paradigm of the Miami lifestyle, one where design, refined hospitality, and culture converge:' To bring this vision to life, he enlisted the help of a global brain trust of creatives, from architects Norman Foster and Rem Koolhaas to noted Hollywood filmmaker Baz Luhrmann, who helped design interiors for the development's centerpiece, the Faena Hotel Miami Beach.

In addition to the hotel, the district is home to art museums, residences, restaurants, and more. With this gift, one Robb Report reader has the opportunity to live the high life atop Faena:s

F

The Gift The two-story, 14,000-square-foot duplex penthouse residence at the Faena Hotel Miami Beach.

A specially curated art collection, including a series of commissioned murals by the Argentine artist Juan Gatti.

An in-residence welcome

asado hosted by

chef Francis Mallmann.

STARTING AT

$60million

Magic City spectacle in a sprawling duplex penthouse located on the hotel's top two floors.

The recipient will be one of only a few lucky residents to call the Faena-aRobb RepO'rt Best of the Best 2016 winner-home. Of the hotel's 12 private residences, the duplex penthouse is unrivaled for size (six bedrooms, nine bathrooms, and a 4,435-square-foot terrace) and amenities (a private media room, butler and concierge"services, and preferred access to the hotel's spa and swimming pool). Making this gift even more magical, however, is a world-class collection of art and commissioned works that will be created exclusively for the penthouse's new owner.

The Fa en a Hotel's duplex penthouse affords 360-degree panoramas of the Atlantic Ocean and Miami Beach.

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ROBB REPORT.COM I DECEMBER 2016

- THE ULTIMATE GIFT GUIDE - Capture t he Magic

MAKING THIS GIFT EVEN MORE MAGICAL ISAWORLDCLASSART COLLECTION CREATED EXCLUSIVELY FOR THE PENTHOUSE'S NEW OWNER.

Juan Gatti-the artist behind the Faena Hotel's colorfu l murals-will create a special series of works for the gift recipient.

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I DE C EMBER 201 6

Juan Gatti is the artist behind one of the Faena Hotel's most eye-catching spaces, the Cathedral. In the grand room adorned with massive golden columns, Gatti painted eight sitespecific murals inspired by Alan Faena's life. For this gift only, Gatti is offering the new penthouse owner the opportunity to adorn his or her abode in similar fashion. He will meet with the recipient before creating a series of murals blending his signature Style with the Owner'S autobiographical input.

In addition tO the One-Of-a-kind muralS, the recipient will alSO receive a custom art collection specially

curated by Faena Miami Beach. Once the scene is set, Faena's newest residentwill show off his orher art-filled home with an authen'\ic asa.do for 15 guests catered by famed Argentine chef Francis Mallmann on the penthouse terrace. -SANDRA RAMAN! Faena Hotel Miami Beach, faena@mcc-pr.com, 212.505.8200, faena.com THE TIMING OF THE WELCOME A SA DO IS SU BJECT TO CH EF MALLMANN'S AVAILABILIT Y. THE COST OF THE JUAN GATTI MU RALS DEPENDS ON THE MATERIALS USED AN D THE scoPE oF THE PROJECT.

THE LUXURY MAGAZINE FOR AMERICAN AIRLINES & AMERICAN EAGLE PREMIUM CLASS PASSENGERS

november/december 2016

DRAMA KING

LAKE COMO CHIC

EDIBLE GOLD

AC TO R K Y L E C H A N D L E R O N H I S I N T E N S E N E W M OV I E R O L E

I N S I D E O N E O F ITA LY ’ S M O S T I CO N I C H OT E L S

T R A I N I N G TO M A K E C U L I N A RY H I S TO RY AT B O C U S E D ’ O R

c u lt u r e

Alan Faena is the creative mind behind the ambitious Faena District in Miami Beach

PROJ ECT FA ENA

BY JAC QU E LY N E F ROE BE R

hen the Faena Hotel opened this time last year, the response was unanimous: Miami Beach would never be the same.

“The Faena is the first of its kind in South Florida,” says Philip Levine, mayor of Miami Beach. “It’s beyond hospitality — it’s a lifestyle experience that draws on the most incredible array of international artists from around the world.”

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CELEBRATED LIVING • november/december 2016

As the cornerstone of hotelier Alan Faena’s six-block Faena District, the hotel first grabbed headlines with a stunning 10-foot gilded woolly-mammoth skeleton displayed in the hotel garden. A look inside the property revealed bold and glamorous decor that resurrects the spirit of Miami circa the 1950s in the curves and sparkle of golden columns and tiered chandeliers; rooms and suites dressed in sumptuous red velvet and splashes of turquoise.

“Faena is about Urban Alchemy and creating transformative experiences,” says creator Faena. And by the end of November, the rest of Faena’s vision for the highly anticipated District will be realized. “The debuts of Faena

PHOTOS COURTESY FAENA (2)

Developer Alan Faena’s District will open in time for Art Basel

c u lt u r e

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CELEBRATED LIVING • november/december 2016

CLOCKWISE FROM TOP LEFT:

the Faena Forum cultural center; Faena Hotel; the hotel’s chic Living Room bar

Even the District parking structure — Faena Park — is an example of community innovation: Valet-operated elevators transport cars between floors, and the facade is angled precast concrete to increase airflow and minimize heat.

And with the largest contemporary art fair in the world, Art Basel Miami Beach, starting on Dec. 1, Faena fans are expected in record numbers. “It’s interesting, because at Art Basel every year, there is something that draws people here, and this year, the Faena opening is really going to draw from the international creative portfolio,” says Levine. “When they come to this new art center, you are seeing the continued reinvention and the center for creative collaboration — and that is who we are.”

During Basel, the Faena Art Time Capsule — a dome with an exterior designed by Argentinian artist Juan Gatti, who is responsible for the hand-painted, floor-toceiling murals in the Faena Hotel’s cathedral entrance — will host concerts, conferences and films on the beach.

“When you enter the world of Faena, it’s not just unique to midbeach, or the southeast,” says Levine. “It’s unrivaled in the United States.” CL

PHOTOS TODD EBERLE (3); IVAN BELAUSTEGUI

Forum, Bazaar and Park mark the completion of the Faena District, which is only the second time in the history of Miami Beach that a district has been designated,” Faena says.

The District plans include the Faena hotel, retail and residential buildings, and a cultural center. The Faena Forum, located across from the hotel, has a modern spherical and cylinder architectural design that is as eye-catching as the talent the venue plans to attract.

To kick off the opening of the Forum, dancers from the Miami City Ballet School will present “Once With Me, Once Without Me,” a special introductory performance that invites viewers to experience the building through the show.

While Faena is reserved at this time on the specifics of the Bazaar, the retail concept is taking over the former Atlantic Beach Hotel, built in 1939. Upon entering, a coffee shop, a wine and ceviche bar, a fresh-fruit stand and a chef’s market will make up the ground floor. Retailers on the second and third levels will offer exclusive products from emerging global brands in beauty, fashion and home decor. The rooftop and outdoor terrace — with views of the District out to the ocean — is reserved for events and pop-up possibilities. “We have brought together the best minds in the world in culture, art, architecture and design to achieve the alchemic results and to create a collaborative community that will enhance the way we live,” Faena says.

“WHEN YOU ENTER THE WORLD OF FAENA, IT’S NOT JUST UNIQUE TO MIDBEACH, OR THE SOUTHEAST. IT’S UNRIVALED IN THE UNITED STATES.”

Argentine curator Ximena Caminos, along with her entrepreneur husband, Alan Faena, unveils a striking new cultural center in Miami

By Dodie Kazanjian Vogue December 2016

http://www.vogue.com/13502485/faena-forum-cultural-center-miami-ximena-caminos-curator-bazluhrmann/

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http://modernluxury.com/modern­luxury­miami/digital­edition

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a nova brasilidade Uma viagem entre décadas e estilos

open studios Conheça os ateliês mais autênticos de São Paulo

TOP

100 2016 R$ 19,00

kaza.net.br

arte de receber Piquenique para a chegada da primavera

Os arquitetos e designers de interiores de maior destaque do Brasil

maison&objet Jovens talentos do design francês

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c h e c k-i n: fa e na m i a m i

Só vendo a vista

A nova topografia de Miami em tempos de revitalização criativa Por Ricardo Gaioso, de Miami Fotos Divulgação

a

travessando um mamute banhado a ouro – implacável escultura assinada pelo britânico Damien Hirst do naipe ame-o ou odeie-o – somos recebidos por uma simpática jovem que nos senta em uma mesa decorada com motivos tropicais, sóbrios. O jantar do Pao – restaurante orquestrado pelo chef Paul Qui, efusivamente apelidado de festa de Babete por alguém da mesa – chegava em adornos inventivos de uma culinária mediterrânea/asiática sensorial. Apenas uma entrada do que virá a ser em breve o Faena District, em Miami Beach.

O título que abre este texto, assinado pelo artista carioca Marcos Chaves, parece vestir o cenário como uma luva. Experimentando os louros transformadores da arte contemporânea,

52

Kaza outubro/novembro 2016

Kaza outubro/novembro 2016

53

c h e c k-i n: fa e na m i a m i

buena onda À esquerda, as escadarias em espiral fiéis ao projeto original que levam ao restaurante Pao. Abaixo, detalhe do restaurante cujo menu ganha assinatura do premiado chef filipino Paul Qui

o balneário tem atraído forte investimento imobiliário internacional se moldando a um novo circuito relevante de galerias e museus como o recém-fundado Pérez Art, desenhado pelo duo suíço Herzog & de Meuron, figurões da arquitetura laureados pelo Pritzker.

Combinada a esse cenário de interesse de nicho, a inovação do Design District se reinventa como celeiro das grandes marcas de decoração na região – incluindo importantes players brasileiros. Eventos já bem-sucedidos no calendário da cidade despertam o interesse de grupos de hotelaria conectados ao mercado de luxo, caso do investidor nova-iorquino Len Blavatnik em parceria com o argentino Alan Faena, que aportam à frente do hotel homônimo já tão conhecido no imaginário dos brasileiros em território hermano como ponto forte na revitalização de Porto Madero, em Buenos Aires.

A resposta americana ao empreendimento parece seguir a mesma coluna vertebral que iniciou a história: um projeto contemporâneo definido como marco zero de uma

54

Kaza outubro/novembro 2016

área ainda em desenvolvimento, caso da região de Mid-Beach – uma estreita faixa de continente entre o mar e o canal – comporta perfeitamente hotelaria, residências (por Foster + Partners) e o centro de arte e compras Faena Forum, projetado pelo escritório de arquitetura holandês REM Koolhaas/OMA previsto para abrir as portas em novembro e repete a receita de sucesso do grupo em perfeita sintonia com os novos ares da cidade. faena.com

White Hot

By Beth Broome Architectural Record December 1, 2016

http://www.architecturalrecord.com/articles/12042-faena-forum

Nº 376 DEZEMBRO 2016 R$ 20,00

A CÉU ABERTO

MÓVEIS QUE INJETAM ÂNIMO NAVIDA OUTDOOR

MIAMI COOL 35 PROGRAMAS IMPERDÍVEIS DENTRO E FORA DA DESIGN MIAMI E ART BASEL carga tributária federal aproximada 5,15%

PORTUGAL € 5,00 FRANÇA € 8,90 REINO UNIDO £ 5,70 ITÁLIA € 8,40 ARGENTINA $ 22,00 USA US$ 14.95

FÉRIAS PRAIANAS

PÉ NA AREIA, HISTÓRICA, MINIMALISTA: VOCÊ ESCOLHE A CASA PERFEITA PARA O SEU VERÃO

destinos sof isticados e lugares exclusivos

LAZER FÓRUM DO FUTURO

Texto: Guilherme Amorozo | Foto: Kris Tamburello

O que haverá por trás da enigmática fachada cilíndrica recortada por aberturas irregulares que há meses desponta lá pelo meio da Collins Avenue, em Miami Beach? O mundo terá a exata noção da resposta a partir deste mês, quando inaugura o Faena Forum, edifício assinado pelo superescritório OMA dentro do distrito idealizado pelo argentino Alan Faena. O que se sabe, é que o espaço pode abrigar performances, exposições, debates. O que se espera, a julgar pela curadoria peculiar de Ximena Caminos, manda-chuva da instituição, é que seja um lugar capaz de apagar todas as fronteiras entre gêneros artísticos (pintura, escultura etc.), exatamente como fazem os artistas mais visionários de hoje. Miami só melhora. faena.com

Architecture THIS PACE, THE FAENA FORUM, A CULTURAL CENTRE. FEATURES A FACADE OF CAST CONCRETE AND CLASS THAT MIMICS THE FORMS OF TROPICAL FOLIAGE OPPOSITE, OMA'S TRIO OF WORKS, FROM LEFT, THE FORUM;THE FAENA BAZAAR RETAIL CONCEPT, OCCUPYING THE FORMER ATLANTIC BEACH HOTEL; AND THE FAENA PARK, A ta-TECH CAR PARK

Cast masters

OMA brings concrete, culture and car parking to Miami's new Faena District PHOTOGRAPHY: KRIS TAMBURELLO WRITER: MARISA BARTOLUCCI

Not long ago, Mid-Beach was a bland, eight­ block stretch of Miami Beach, so faded as an urbanscape that few noticed the gorgeous, unpopulated stretch of sand beckoning beyond the dull buildings along its main drag, Collins Avenue. Then, late last year, with the debuts of the flamboyantly glamorous Faena Hotel (W*202), in a restored 1940s resort tower, and Faena House, a billowy, r8-storey condo high-rise designed by Foster+ Partners, Mid-Beach was suddenly on every globetrotter's radar.

When the Faena company's new three­ building complex with cultural, retail and parking components, designed by OMA, opens on 27 November across the street, the $r.2bn dollar reinvention of the neighbourhood will be considered complete (one more element, Faena Mar, a residential tower by Brandon Haw, will be added in 2017).

Alan Faena, the Argentinean who envisioned the project and invested 'his heart and all his strength', predicts it will engender

096

Wallpaper*

'a new renaissance' in Miami Beach and beyond, as well as providing a vibrant new venue for interaction between North and South America.

It may sound like marketing bombast, but Faena's prophecies tend to come true.

A former fashion entrepreneur-turned-real estate impresario, who dresses in white like a tropical evangelist, Faena performed his first revivalist miracle in the early Noughties on the derelict docklands of Puerto Madero in his native Buenos Aires.

With the injection of a bracing dose of urbanity and culture in the form of a $20om scheme - including a Foster+ Partners­ conceived apartment block and a Philippe Starck-designed conversion of a former grain silo into a luxury hotel with a cutting-edge arts centre (W*75), all funded by Faena's business partner, Ukrainian-born billionaire Len Blavatnik - this no-man's-land morphed into one of the city's most fashionable and expensive neighbourhoods.

The lead architect on Faena's final push in Miami - comprising the Faena Forum, Faena Bazaar and Faena Park - is Shohei Shigematsu, the OMA partner who heads its New York office. An early concern of the master plan was how to visually straddle Collins Avenue, so that the centre would merge with the hotel and high-rise across the street in one cohesive urbanscape. Working closely with Faena, Shigematsu and his ream conceived a series of verdant public spaces to form a single, unifying topography.

Central to it and, indeed, the dynamic core of the Faena District, as it has been tagged, is the Forum, a hybrid structure for presenting exhibitions, all variety of performances, as well as culinary happenings, lectures and debates, along with conference and corporate events. Shigematsu calls it 'a culture machine'. Faena believes it will elevate everyone. His wife, Ximena Caminos, an Argentine curator and the executive director of the Faena Art Center in Buenos Aires,»

Architecture

Faena sees his lovingly crafted district having 'a big value for Miami in a hundred years'

will oversee the Forum's programming with counsel from international advisers.

Since the Forum occupies a small, wedge足 shaped site, the architects felt that if they were to contain all its activities in a single volume, the building would look cumbersome and out of proportion with its residential足 scale neighbours. As a more elegant solution, they instead conceived the 42,565-sq-ft facility as a contiguous cylinder and cube composed of cast concrete and glazing.

In addition to the two volumes better respecting the neighbourhood - with the cylinder echoing Miami Beach's many Streamline buildings - and providing more surrounding public space, where they meet is concealed a central loading dock and an entry to subterranean parking. The Forum's facade of irregularly arching concrete and glass infill further nods to its surroundings by mimicking the contours of tropical foliage, while also, perhaps more critically, meeting hurricane guidelines. Since intense sun and sudden downpours are Miami constants, the cylinder cantilevers over the Collins Avenue plaza to provide shade and shelter at its entry, and the cube offers a secondary entry on the bayside plaza, where a new marina may be added in future so locals may arrive by boat.

As befits Faena's grand cultural ambitions, the cylinder is inspired by the Roman Pantheon as well as New York's Guggenheim Museum and, like them, features a soaring amphitheatre with an oculus in its dome.

The cylinder and cube conjoin on the third level in a sprawling, 8,500-sq-ft assembly hall.

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Wallpaper*

TOP, THE FORUM COMPRISES TWO CONTIGUOUS VOLUMES, A CUBE AND A CYLINDER. THE BAZAAR AND THE CAR PARK ARE TO THE LEFT, WHILE ACROSS COLLINS AVENUE ARE FOSTER+ PARTNERS' FA ENA HOUSE (RIGHT) AND THE FAENA VERSAILLES CLASSIC (LEFT) ABOVE, THE FACADE OF THE BAZAAR BUILDING, WITH ORIGINAL SUNSHADES, WAS LARGELY UNCHANGED

This may be divided into two contrasting event spaces (the cube features a black box theatre) or with one space serving as symbiotic support for an event in the other.

On the block adjacent to the Forum, the architects converted the former Atlantic Beach Hotel into the Bazaar, which promises a specially curated, London Dover Street足 style retail experience, though here with a distinctly Latin accent. Local preservation rules meant the architects were constrained in how much they could alter the original structure. However, they did insert a second entry on the building's south facade to better connect it with the Forum, and freshly encased its interior courtyard with a white brise-soleil that makes a dramatic counterpoint to the vermillion-hued passageways that bound the interior's upper levels. On the roof sits a new glass-enclosed multipurpose space with ocean views.

Adjoining the Bazaar is Faena Park, a new OMA-designed parking structure.

Innovative parking facilities are a signature of Miami - where there is little in the way of public transport and parking is a precious commodity - and this building promises a new level of sophistication. Composed of pre-cast concrete panels with slanted perforations to provide adequate air circulation, and colourful glimpses of the cars stacked inside, the building will feature two glass-enclosed elevators, one for cars and the other for valets.

There is further subterranean parking under all three structures. This commitment to plentiful parking demonstrates how detail足 conscious Faena and OMA have been to the needs of the local community. Shigematsu notes it was an expensive gesture, largely due to the technical issues involved in tremie slab construction (placing concrete below water level), a requirement because of the barrier island's porous limestone bedrock, rising sea levels, and high water table. Indeed, Miami Beach's struggle with the tidal flooding of its streets has resulted in it embarking on a $4oom electronic pump project.

Faena envisions his lovingly crafted district as having 'a big value for Miami in a hundred years'. For that to be possible, another visionary will have to come up with an ingenious design solution to the perilously encroaching waters. Otherwise, a century from now, if current predictions become reality, the Faena District may be another city of beauty and culture lost to the sea.* oma.eu;faena.com

ESCAPE

PHOTOGRAPH: GETTY IMAGES

Edited by LUCY HALFHEAD

ART NOUVEAU

From Miami to Barcelona, we explore the most creative new hotels.

Plus: Alessandra Ambrosioâ&#x20AC;&#x2122;s guide to Brazil South Beach in Miami

I

Damien Hirst’s ‘Gone But Not Forgotten’ (2014) at Miami’s Faena Hotel

REGENERATION GAME

With Baz Luhrmann as creative director and a Damien Hirst by the pool, Miami Beach’s new Faena Hotel has won the hearts of the international art set

By CAROLINE ROUX

Left: a roller-disco installation by Assume Vivid Astro Focus on Faena Beach. Above: an exhibition at Art Basel Miami Beach

PHOTOGRAPH: XXXXXX

‘Colouring Book’ (1995–2007) by Jeff Koons, at Faena House

PHOTOGRAPHS: IVAN BELAUSTEGUI, ANGELES VELOCES ARCANOS FUGACES COURTESY OF FAENA, COURTESY OF ASSUME VIVID ASTRO FOCUS, CAMERA PRESS/TINA PAUL, GETTY IMAGES, STOCKSY, NIK KOENIG

Tktktktktktktktktktk Eri as at qui cum quam quia dolorrum qui simpos experia

Clockwise from above: the art deco buildings of Ocean Drive. A lifeguard’s shack on the beach.

A suite at the Faena Hotel. The spa’s waiting area. The view from one of the rooms

n early December, the world-class fair Art Basel Miami Beach comes to the Floridian city, and the entire artworld entourage comes too. But the Faena Hotel, which received its first visitors last year, including Dasha Zhukova and Leonardo DiCaprio, has ensured its arty credentials are already in place. Not only were two huge Damien Hirst sculptures unveiled at the opening (one, the skeleton of a mammoth, covered in gold leaf and encased in glass), but a roller disco by the art collective Assume Vivid Astro Focus took pride of place on a beach soon to be colonised by Faena’s distinctive red sunloungers.

The art belongs to Len Blavatnik, the billionaire businessman who likes to collect everything from yachts to buildings, and owns the hotel formerly known as the Saxony – the Faena’s name in its 1950s and 1960s heyday, when Liz Taylor and Dean Martin used to pose for the paparazzi in an external glass lift. But the new-found energy comes from the project’s co-investor and hotel namesake, Alan Faena, and his wife, the curator Ximena Caminos.

Faena, a 52-year-old Argentinian, made his fortune in clothing, and turned to property in the late 1990s, converting an unloved part of his native Buenos Aires into the fashionable Puerto Madero district, complete with a Philippe Starck-designed hotel and an arts centre. He’s repeating the process with added élan in the area of Miami previously called Mid-Beach, now christened the Faena District. ‘We like to turn darkness into light,’ declared Faena at the hotel’s opening, resplendent as ever in his trademark white-on-white ensemble that includes a fedora decorated with a single white feather.

The hotel brings an opulence to the city that’s been missing for quite some time. Its foyer, a vast promenade that sweeps from the entrance to the capacious back terrace, and is known as the Cathedral, has the grandeur of a palace, with exuberant frescoes and gilded pillars.

There are 169 rooms, of which 111 are suites with dedicated butlers. They are decorated in red and teal, and in some instances, with pieces of furniture that resulted from a collaboration between Brad Pitt and the designer Frank Pollaro. In the public areas, plush velvet and animal prints evoke an old-world glamour. Baz Luhrmann and his wife, the costume designer Catherine Martin, were charged with the overall scheme, and the mission to bring back the hotel’s erstwhile hedonistic feel. And if the glittering chandeliers don’t provide enough theatre, there is a cabaret spot with room for 300 revellers.

However, the hotel is just one aspect of a broader regeneration.

Over five or so city blocks, Blavatnik and Faena are constructing new apartment buildings and renovating old ones; creating a lifestyle store called the Bazaar; and opening the Faena Forum at the very end of November – just in time for Art Basel Miami Beach 2016.

This beautiful Rem Koolhaas-designed rotunda will host art events throughout the year, under the jurisdiction of Ximena Caminos, and complete the couple’s contribution to their newly adopted city.

‘Miami needs a full range of culture all year, not just during Art Basel,’ Caminos said, as we relaxed in a hidden-away bar awash with velvet and satin, which is only open to guests. ‘I love the hotel, but if we can be part of a much bigger picture, then I’ll be really proud.’

Faena Hotel (www.faena.com), from about £560 a room a night.

ESCAPE

WWD Faena Bazaar Bows in Miami

The complex has a 20,000 square foot retoll component.

By Rebecca Kleinman on November 29, 2016

Q =aera BaazarArt B:i�I 1016 - P¡eviEM =(,:,dric;oGaya.com

MIAMI - Art Basel Miami Beach came early this year. Faena District, where most of the week's A-list patties will happen, unveiled Faena Bazaar last weekend before barely a billionaire flew in for the annual art-circuit circus. Rem Koolhaas's OMA designed the 20,000-square-foot retail component, as well as Faena Fonuu, an adjacent, multipurpose cultural and event space double the size, which staged its first performance Monday.

"Linda Fargo and Barbara Hulanicki. You can't ask for more than those two icons to come to your opening," said Kelly Frame!, a New York and Miami-based fashion consultant (and blogger behind the Glamourai) who was tapped by co-owner Alan Faena to assemble pop-up shops through Sunday, a preview for their partnership's permanent vision due in spring. "Faena's fantastical world gives permission to create site-specific retail experiences to take a bit home with you."

Forbes | May 2016

Forbes | May 2016

Forbes | May 2016

направление майами

ПРЕСС-СЛУЖБА FAENA GROUP

ПРЕСС-СЛУЖБА FAENA GROUP

ФАЕНА: РАЙОН, ОТЕЛЬ И ЧЕЛОВЕК АРГЕНТИНЕЦ АЛАН ФАЕНА НАМЕРЕН ВЕРНУТЬ «ГОРОДКУ МИЛЛИОНЕРОВ» СЛАВУ АМЕРИКАНСКОЙ РИВЬЕРЫ ИЗ ЗОЛОТЫХ 50-Х ЛЮБОВЬ НЕВЕРОВСКАЯ

Коммерсантъ Travel

44-45_042 Faena.indd 44

ноябрь 2016

44

Год назад в Майами-Бич на месте бывшего отеля Saxony на Коллинз-авеню открылся Faena Hotel, первое в ряду зданий, которые в скором будущем составят новый район города Faena Arts. Для аргентинского девелопера Алана Фаены и его партнера миллиардера Леонида Блаватника это второй опыт по изменению городской среды. Первый район Фаены вырос на месте заброшенных доков в Буэнос-Айресе. На участке земли, считавшемся некогда абсолютно бесполезным, появились жилые комплексы, культурный центр и отель, спроектированный Филиппом Старком и отмеченный впоследствии как лучший отель года. Аргентинская «Фаена» обошлась девелоперам в $200 млн, сегодня недвижимость в этом районе самая дорогая в Буэнос-Айресе. Инвестиции в застройку района Майами-Бич составили более $1 млрд, и все апартаменты в строящемся жилом доме Faena House уже проданы вместе с пентхаусом, купленным одним из наших соотечественников за рекордные для штата Флорида $60 млн. В Faena Hotel суммы с шестью нулями обступают со всех сторон, миллионы напоминают о себе и по дороге на пляж, лежащей мимо покрытого 24-каратным золотом скелета мамонта работы Дэмьена Херста ($20 млн), и за пределами отеля — в виде скульптуры Джеффа Кунса ($14 млн), стоящей у входа в соседний Faena House. Стены в лобби Faena Hotel, вдоль которого выстроены массивные позолоченные колонны, расписаны аргентинским художником Хуаном Гетти, дизайн отеля и номеров разработан режиссером Базом Лурманом и его женой художником-постановщиком всех фильмов Лурмана Кэтрин Мартин. Фаена рассказывает, что с Базом Лурманом его познакомил Блаватник на вечеринке в Канне после премьеры «Великого Гетсби». «Мы начинали работать с тремя разными дизайнерами, но вынуждены были отказаться от всех троих. Они предлагали то же самое, что уже делали в других местах для других отелей. Но я рассказываю свою собственную историю, поэтому в итоге я предложил заняться дизайном Базу Лурману и Кэтрин Мартин. Потому что они люди кино, они умеют работать со сценариями и историями, в итоге их дизайн сделал мою историю живой».

07.11.16 22:17

Мы встречаемся с Аланом Фаеной в его офисе — строительном вагончике посреди идущей полным ходом стройки Faena Forum, культурного центра, которым руководит его жена куратор, креативный директор и партнер Faena Group Химена Каминос. На голове эксцентричного Фаены белая шляпа, он везде и всегда в ней, одет он тоже во все белое — такой у него стиль. Цвета, которыми кинематографическая пара Лурман—Мартин рассказывает историю бывшего производителя и дизайнера тканей, отельера и девелопера Алана Фаены,— ярко-красный и голубой. Голубой подчеркивает близость океана, на берегу которого стоит Faena, а красный — «потому что это история об Аргентине, откуда я приехал, о танго, о нашей музыке и нашей культуре». Много красного бархата в интерьерах, голубые ковры, принты хищных расцветок и детали, отсылающие к стилю ар-деко: Faena Hotel — это буйство цвета и откровенная, беззастенчивая роскошь. «Мы хотим задать здесь уровень сервиса, которому можно было бы дать не пять, а шесть звезд, такой, которого в Майами до нас не существовало»,— говорит Фаена, подчеркивая, что впервые подобная концепция пришла из Южной Америки в Северную: до сих пор происходило наоборот — все, что попадает в категорию «люкс», экспортировалось с Севера на Юг, из Соединенных Штатов и Европы в Латинскую Америку. Фаена, «рассказывая свою историю», поступил противоположным образом: он привез в Майами звезду аргентинской кухни шеф-повара Фрэнсиса Маллмана и открыл с ним Los Fuegos, ресторан, в котором вся еда готовится на гриле, и его также везли сюда из Аргентины. В SPA-центре отеля Faena, Tierra Santa Healing House, энергетические практики проводят специалисты из Уругвая, популяризируя латиноамериканское отношение к природе. «Мы создавали проект для людей, которые любят все необычное, самобытное, единственное в своем роде и ценят хороший сервис. Именно в этом сегодня заключается настоящая премиальность, то, что называется luxury,— в новом, свежем взгляде на вещи. Мы удивляем людей — нашими интерьерами, дизайном, едой, музыкой, шоу, и людям это нравится»,— говорит Алан Фаена. Он намерен вернуть Майами «золотые 1950-е» — времена, когда город считался «американской Ривьерой». Когда в Saxony, первом построенном в Майами отеле класса «люкс» (в стенах которого сейчас находится Faena), пел Элвис Пресли, когда сюда приезжали Мэрилин Монро и Фрэнк Синатра, когда Майами был «городом мечты и фантазий». äÓÏÏÂÒ‡ÌÚ Style

44-45_042 Faena.indd 45

ноябрь 2008

ПРЕСС-СЛУЖБА FAENA GROUP

ПРЕСС-СЛУЖБА FAENA GROUP

ПРЕСС-СЛУЖБА FAENA GROUP

ПРЕСС-СЛУЖБА FAENA GROUP/NIK KOENIG

направление майами

«мы удивляем людей — нашими интерьерами, дизайном, едой, музыкой, шоу, и людям это нравится» «Мы возвращаем прошлое, чтобы создать здесь будущее»,— говорит Фаена, добавляя, что его район — второй за всю историю Майами, получивший собственное имя, Faena Arts District. До «Фаены» первым и единственным районом с официальным названием был только Art Deco District, знаменитый район «Арт-Деко». На вопрос, кем он сам себя считает — дизайнером, бизнесменом, отельером или девелопером, Фаена отвечает: «Я создатель, и мне это нравится — строить что-то новое, менять облик города, как мы это сделали в Буэнос-Айресе и как это происходит сейчас в Майами. Моей целью было предложить проект, в котором объединились бы самые лучшие, самые талантливые дизайнеры, архитекторы, художники, чтобы работать вместе и создать то, чего еще никогда и нигде не было».

45

07.11.16 22:17

SURFACE | September 2016

SURFACE | September 2016

SURFACE | September 2016

The Wall Street Journal | February 2016

The Wall Street Journal | February 2016

New York Times | June 2016

Miami's New Hot Destination The Faena district is the centerpiece of a Mid-Beach revitalization effort.

By SHIVANI VORA. On a recent Saturday night in Miami, Lhe modern Asian restaurant Pao at the Faena Hotel Miami Beach ((aena.com/miami

-beach) sizzled. A well-dressed crowd filled the circular space, while gaping at the half­ red, haJf-gold Damien Hirst unicorn sculp­ture towering over the room on a gold ped­estal.

There was even more action in the largest or the hotel's five bars, the Living Room.

There, the rich red tones juxtaposed with animal print fabrics exuded glamour, and glitterati clutched colorful cocktails and champagne flutes while eyeing the happen­ ing scene. M<!ype they hoped for a star sighting? Leonardo 'DiCaprio, Madonna and Rita Ora had recently been at the hotel.

Who would show on this night? As the evening wore on, the line outside the bar

swelled.

If the hotel wasn't the epicenter of Miami that night, it seemed to come close. In fact, if Alan Faena, the Argentine co-Owner, has his way, the proµerty and surrounding blocks in the city's Mid-Beach neighborhood would have this level of buzz all the time.

Mr. Faena, an entrepreneur from Buenos Aires, and his business J).artner, the New York-based Len Blavatnil<, are transform­ ing the area's faded hotels and condominiums into the Faena district, a six­block project that comprises the 169-room hotel, the 50-room hotel Casa Claridge's, chree condominium buildings, a cultural center and a retail complex. Mr. BJavatnik is financing the SL2 billion venture, while Mr. Faena serves as the creative mind.

The Faena district, which received offi­ cial designation as a Miami Beach dis1rict in late 2014, is a JO-minute walk north or South Beach and the centerpiece of Mid-Beach's emerging status as a hot destina1 ion.

While the Faena district may be a big driver in the Mid-Beach face-lHt, it has re­ ceived help rrom a couple or new seeand­be-seen hotels. The Confidante, a 380-room midcemury-inspired property, entered the neighborhood with a splash as the Thomp­son Miami Beach in November 2014. And last December, the buzz around the beach­front hotel was amplified when the "Top Chef" alum Dale Talde opened a third out­post of his Asian-American establishment, Talde, inside the hotel.

One month after the Thompson came The the Miami Beach Edition. three-and-a-half­acre reson, from the hotelier Jan Schrager, stands out for its entertainment area. with a

bowling alley, ice rink and nightclub.

Jean­Georges Vongerichten, whose namesake restaurant has the highest ratings given by The New York Times and Michelin, is head­ing up the Edition's food and beverage pro­gram and overseeing the resort's two restaurants: the casuaJ Italian-inspired Market at Edition and the fine-dining Mata­dor Room, offering modern Latin cuisine.

Before any of these see-and-be-seen ho­tels came 10 Mid-Beach, the neighborhood was already getting a pop with the Broken Shaker, a cocktail bar that opened in 2012 at a hostel called Freehand Miami and

continues to be a mainstay spot ror the cool crowd.

For Mr. Faena, the area's potentiaJ for re­invention was crystal clear from the outset. "This prime part of Miami with the most beautiful beach was sitting there undevel­oped," he said, wearing his signature off. white suit and Panama hat as he surveyed the glossy crowd in his namesake hotel.

He and Mr. Blavatnik have collaborated since 2000 when they started reviving the abandoned docklands of Puerto Madero in Buenos Aires into what is now one the city's most anractive neighborhoods. II includes

Clockwise from top left; the Faena district in Miami's Mid-Beach; a handcrafted cocktail from Freehand Miami's Broken Shaker, made with gin, mint syrup, lime Quinetum and cucumber-Parsley juice; 1he Broken Shaker courtyard; and the pool a1 1he Confidan1e.

a cultural quarcer, residences and a hotel.

The Faena Hotel Miami Beach opened last November and occupies the former Saxony Hotel, a mainstay in the 1950s and '60s for Hollywood icons such as Frank Si­ natra. The film director Baz Luhrmann, his wife, catherine Martin, an Academy Award-winning costumer designer, and Mr. Faena conceived the Art Deco fantastical aesthetic. The propeny has all the frills or luxury, such a� butler service for every guest and a spa. More distinctive are the 150-seat theater, home to a cabaret-style show on weekends, and a pristine I00,000square-foot swath of beach.

The Faena dis,rict's other components surround the hotel; Casa Claridge's and the condo Faena House are open, while the others are still tO debut..

Faena Bazaar, a retai'f Complex designed

by Rem Koolhaas, is scheduled to open this fall, the other two residential buildings will come next year; and Faena Forum (faena.com/faena-forum) is expected 10 open this fall. This circular-shaped 43,000square-foot cultural center, aJso designed

by Mr. Koolhaas, has exhibition halls and two event spaces and will host performances and art exhibitions from global names.

For some locals, all the l'aena hype is jus­ tified. Lee Schrager. a longtime Miami resi­ dent and founder or the well-regarded South Beach Wi.ne & Food Festival, says that he was skeptical when he heard about the project more than three years ago but is impressed as it's come to life. "I thought the Faena district was a Jot of talk, and even without it being fully done, it has turned Mid-Beach, a neighborhood no one really knew about, into the place to be," he said. a.

The Washington Post | May 2016

Boston Globe| April 2016

Sleeper | July 2016

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Sleeper | July 2016

Sleeper | July 2016

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Faeiu Hou&e, o Fost r .. P:irmo,r, 18-,rorey .-.:,ndommmm opcr.ed

r�r whcrc rhe pen house W<'IH fur � cool USS6 rnilli""· 1 i c c thcr two r ·i enti..il row"o 1lu1 �re unJcr wav, 1 hr ale proceed$ •1JI 6n�nce th" rht of 1b.e d�"duprm-111 rl,c Jmrrct ilso tocludes Cas::t Cl:irn.l�c\, H1spamc-,cylr g,u"thm1 · lfaz;aru:, a ,u iq-uc rcr.:i.iJ wot .. �tg.n�d b ) MA/Rem Konll•aa•; and f.ien� Forum, .1 calrut.u c:mr wnh pro11ummr N{od by Farn..i's wt,�. Ximet111 Cam.ii1os.

1e new h tel ,.._._ 11p1c the former oxQny Ho�el d� ipnro by m:him:t Ruy I·. �r�n::c. Compkt d m 194 ln the Mi..im, .MuJt,mJ t )c of r/x'. omcyb · .1ni;.ubr, con ncter� llMs anJ wr�1111rouJ1d hilcomcs wcrc'home to the rot",Jl Jllo t luxuciou, l1<>1d 011 1 he hcich nd the.6.rsc to ,. arr-conditi<Jnlng. Thc II 1rpl�11 ".1 I <cl) bowt,d L !. p with most room lookmjl uut to '"'" he;;ch. The hoi!din� w s roull" d�reli t and des pi re r.ht b.-,t ff, m. o; r h� antiqued m itrors m th� ]if , -.. been mp . .-ttl 11·-li rrcd. the d�s:gn n c�m 1011 goe, agams r.h� uttc t grn.in of l l :ind cor.ntt.-i:eJ. "fl ,, d(·"gncd not with .\1i 1111 m mind, bu, wir. the b...st in mi, .. 1," r pl.um Faena. Tltc hord 1s 3 desrinnriOJl w:rhin itb own nl'iglil-.)urhood 11nJ the in·cr1ors "�re awi iom:d b1· f,tt"O T ,eflec, l,1 �rsonal tllS Facn.a wor ed with filmmaker lfaz Luhru1Jnn ;md m Acadcrn watd-wmn,ng wife, ooi;rn.mc 3nd ,er ,I� ,gna athcrinc M,1rti11 on r interior;:, 1th no pr.-,i u., hotel Jc,,gn �xprrienc<'., racn�

Sleeper | July 2016

Sleeper | July 2016

· ·cd thot e • ha n preconceneti r.o on "I )ov people with th,.. frf!l:dom fO =kr Jc: MO ," be commu •s. Ln tune "ich Lunrr 11 J.1111 ·, wor,< on "'{o.1lir1 Rouge an l he Grear GJn.b1, h· ve tk1,vcrc: o theaur ol 1 ,cc ra ,on, gfomour avd ��clpis 1.

Witl 11 ...t I rs. at eve • rum. guw. .1-� in womJ ,.,1 nd. The: F eu.1 The if . l':HOO oo th f!T.uld mu� hllJ�uf old Eur 1 •,,.,a fab..ilo isly l1111ugcms vt'nuc. [n Lo Fu�u,. ,idc the" l,rgc a Gr pc cree • 1andsc.apcr !Liymund ju g c-,, columru Jrc ov1aed in ins II 111.:rrdt le Jid ond coral- ;i lt"J.tun- h> 1ncal am , hno.!:I Wilci.AuJ mdicllnn Room.th opcnbulb-.nl h duiodclimaJJegedl· ·,h, rn rune with li�ming ,m ·cs 111 rhe Argcmiw • pilmp .

T e fatter i� 11 ;m .111 pt<:c.e, 10· � b1· Aibtrrn G,1rum. Arr 1 .in 1mpon:ir1 omp,)ncnr of the horel. n the ".3} 111 rhc f>«:, h, :he i.cl ·• hm�<l t a rnotb skd. on by D11m,er Hi, 1, Gonr 1)111 l',or Fmgcmen, mak� rhc- poinr. Tht'!e l men•, of rn r�e. l'h Way ro Furop1a. a � nc� of cjg r mural h, Ju.m G,un 1n thr ;uhrd.r l t1 edl ept..t i11 ,rnrmou dc,,ul allei;oncal rhe tnrnncc lobby 1; '('fie o 11 ·ven re: :l.J.1:1 qu�1 "itll n dramatic. fantuS\ ora a.n.; ,n11111 Lln ·apt�.

The horel 15 \' ry pa:ti, il;,1 ,le-;11;n !t tcmci 1. Pant'mUJJ i,tal rccmbroi tred c hion · ,tc" leopards u� olsrerv -111Jrr1t: with r h iir :md m,11,·11.1 �- ttpFacna redv lvnls.:,.,., \l:1c«·"h,lc

m.

h thr o!lli .ire a rot· of ru.a.rblc tumi hin , and rool, Jqurun.ar;ne tile • ,\n tb�re · on unp;tt 1le,cJ qm, 11� of dd1ve ., as ,t in cbe ,Ut"'CC. corners o t I! r�rr.lZL tlo , ,ni: or th ,hclb f.ni h ou ht wn.1 11nd -:cilurR of C\'CO ,: I!;\ 111' The.re I fun and �I n 011r t o; bca b umbrell;i! 1.0111 ,n fi,•e diffmml pam::rn, � ,1nd1 ml and "Mee_ "hllst d11, sold lea culu "'· m 1l1 1 ,1 t a:hetlnil, witbour 11 recepti,111 li=<.I, tn "ght, f, r1:>1iarru> nguhtr ,·i�i<>& ... ![ i,;. :1 b1� 11r I ur I i, all , the tlru11," exp!� f.icn.:i. T.'li§ i. a pcup..,1y h.ar ha, <-n d pl• hought rhrougJS, 1th ac 1; rediblc a1110111H of attl!'.nltOn paid ro eJ h Jn vu-J demenr.. it UCOgfthet Ull:�t f D� , 1111' IOT<i I sometimt's SC:t'lll with t!i( li1,u1> ot facn inu�er,· · :i fod ra, t..ro ,d eyi; . ..1mcom .uuH: e -,.,ht1y ilt:ld I subcl. -or::nin 11 -, rrthin� from p. per cuascc, '" noor m ic�.

The-re re: a •:.1rtel) b < :md r 1� <>p<"n•foc- kt chrn o Los flle{:0$ ser,e� b cb a11 11td1jor and •re. mm· rcl111ed indoor �nn1,1 � with J m;iirtl) An A ,. n-influcir m�n i5 :i.,·:iilabl .it P.ao ,1ul u1 in . c 11n v new .:onstnu:tlon in the h td - a a · I ,. np:::ncd d1 .. who.�t> firms S.t\l ·r Ilk pp;!:iram·t ,e :m.a1c, ...,, h th� Miami Modc:rniK • iS bl� <>illy for th c: m rhc: mo" i J:1 Sc.ttto.

to., .

Sleeper | July 2016

Sleeper | July 2016

rhC' n:ime imphc-, tbi_" .s J pn,:ite har w11h minding room unly; � �lande,Tinc thr0wh1ck to rohibitim .i�� . or .1 �I,�, g� In p cc l•crt 1, the Ti tta. antJ He2ling ( Jome, ;a .;pa w,,h 11 reaar nt tt s named ,liter Fa aa' ru1di in Lru;u ), Tnr !)ourh Amen ao ongins :u een in prodvcts and beyond. rg�Wlian dcsignrr · rolma ·Jeinman h.as produced .1 ungl" ul ngh yco urcd, tl;l.tLd· •o,·en rug., 1hr f.11 nc rh. ofa and 01trn,1.111, and for uphoL'ter Pes:it::u:n.J.l ro\\ '.� under her (j rol, .a K hrand.

Furn.icurt.e p ecc m de h)• R,1fod l,o :'Om up«.: •dcd wa te wwHI cnme rom anoc:her A .-nrim 11 I r.1 n , K.am1 1ka.

The ·our.1gc :m elf-b he• ro unden.a.kt" u:11 ,, r·ojcct 1� admirablt nd ch� porre111> are ood. The c ,y'5 ::i.lrec Ego f ;.w1 ur� �nd comm e bl'tl1ru tu ome of .i�e ,ml ,c.tr.e a mon 'C'r mdrker. Al:ao Faca.t i, l)'-lrt uf thi :ind h::i.� one am <ldi,;,.-J � n rd rro1 1 o uo eni:iblc not;,.

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