Many of the residences will occupy the top floors of The Miami Beach EDITION, a new hotel under development within the structure of the former Seville Beach Hotel, which opened during the 1950s but closed its doors in 2006. The remaining apartments will be located within an 18-storey tower that has recently been constructed alongside.

John Pawson's designs are for residences surrounded by floor-to-ceiling windows, which will lead out to expansive terraces featuring swimming pools, fireplaces and outdoor kitchens. The apartments will also feature a dedicated entrance, including an additional private route intended for the use of celebrity residents.

Bathrooms will be furnished with concrete bathtubs and sinks, while bleached teak flooring will run throughout. Rooms will be kitted out with all necessary furnishings and homeware, from bed linen to kitchen utensils.

The project was commissioned by New York developer Ian Schrager, who launched the Delano hotel on South Beach 15 years ago.

Pawson, who is based in London, is also currently working on the final stages of the new Design Museum under construction within the former Commonwealth Institute building in London. See more stories about John Pawson, including an interview we recorded with the architect in 2010.

Here's some more information from the developer:

Ian Schrager presents 26 one-of-a-kind residences at the Miami Beach EDITION
These "Homes in the Sky" are designed by world-renown architect John Pawson

Ian Schrager is back in Miami Beach for the first time in 17 years since the launch of his game-changing Delano hotel. Delano ushered in a new modern era and rebooted Miami Beach as a top resort destination. It was the first new hotel to come along since the 60’s, and it was truly groundbreaking. It attracted those who had previously abandoned Miami Beach for more exciting vacation locales. Now, with the city on the brink of yet another resurgence, Schrager introduces his next groundbreaking project that captures the spirit of the times again, just as the Delano did. Miami Beach is no longer simply a resort destination, but is fast becoming a bonified, world-class, international city with its vibrant art scene, first-rate architecture and cultural institutions attracting global citizens from all around the world. It is now a city second to none.

With this new coming of age, Schrager heralds in this next era and raises the bar once again. This time for residential Miami living—introducing homes fit perfectly for and worthy of this new generation of global citizens. Just as Delano reshaped the landscape and had a groundbreaking cultural impact on Miami Beach, so will The Residences at The Miami Beach EDITION. These 26 limited edition residences set themselves apart from anything else in Miami Beach and are the most unique and distinct spaces in all of South Florida. "There is simply nothing else like them currently in the marketplace. We tried to capture the details of life in the details of the architecture," says Schrager. All with commanding panoramic views, each of these sophisticated and stylish "Homes in the Sky" is a one-of-a-kind, custom one-off and different from the other. This makes them perfect for the new world traveler and global citizen looking to establish roots in the new Miami.

Designed by world-renown architect John Pawson, the residences will sit on the top floors of the existing, landmarked 1950s building that will be the Miami Beach EDITION hotel, as well as in an adjacent, newly constructed 18-story tower. Dedicated to the "Good Life", The Residences offer the best of all worlds: the privacy and individuality of a custom, one-of-a-kind home; the benefit of ownership; and exclusive access to all the services, privileges and amenities of a unique world-class urban resort, including a myriad of exciting and dynamic food, beverage and entertainment options. Although part of The Miami Beach EDITION, The Residences will have their own dedicated private entrance as well as an anonymous "celebrity" entrance, for ultimate privacy.

Taking into consideration that people come to Miami to be outside, the outdoor spaces at The Residences are finally done correctly and are not merely an afterthought. Expansive "Outdoor Rooms" invite effortless continuity between indoor and outdoor living. Gardens literally in the sky are akin to those found in private residential homes. These extraordinary outdoor spaces feature private lap pools and plunge pools, outdoor kitchens, dining areas, fireplaces and pergolas designed by John Pawson. There is enough space for a private outdoor gym or to enjoy yoga, along with soaring panoramic views of both the ocean and the bay—a true rarity and a unique feature that showcases the bay and ocean during the day and the magic of Miami at night. Additionally, many of the homes in the new building feature expansive views of both the city and the bay while those on the top floors of the hotel have vast ocean views that make you feel as if you are standing on the deck of a ship.

Pawson uses an unparalleled level of finishes and details to create interiors of maximum comfort, functionality and aesthetic pleasure. Generous living areas are light filled with floor-to-ceiling windows and bleached teak wood flooring throughout, including the balconies and terraces. Each residence has Pawson’s magic touch with custom designed, open Bulthaup kitchens with islands as well as master bathrooms with Italian white onyx translucent screens and custom-cast integral concrete bathtubs and sinks.

It’s the art of living not the job of living. Schrager takes this concept to the next level by introducing "Residential Prêt-à-Porter" which offers residences in complete move-in condition… you only need to bring your toothbrush! For a seamless transition into a comfortable home, Schrager offers a once in a lifetime opportunity otherwise not available: custom interiors designed by John Pawson and the Ian Schrager Design Studio, including everything one would need in a household from linens to dishes, towels to cookware, all pre-selected, unpacked and put away prior to arrival. These unique homes, dedicated to the "Good Life", offer all the benefits of ownership, the services and amenities of a world-class urban resort, and a completely managed household without the bother of managing it or the full expense of maintaining it. Schrager continues to exceed expectations by recognizing what residents want and need before they even know it themselves—a home with the work taken out of it, ideal for resort living.

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News: "There may be architects that can design better than me but the important thing is making it happen," architect John Pawson told Dezeen today, at the ground breaking for the new London Design Museum that he's designed.

Due to open in 2015, the museum will be housed inside the former Commonwealth Institute building and will retain the building's hyperbolic paraboloid roof structure.

"Architecture isn't just about creating new buildings, sometimes its about retuning what's already there," said Pawson. "Both are important as architecture."

The Commonwealth Institute building was first completed by architects RMJM in 1962, but has been dormant for over ten years. Once renovated, the building will provide three times the exhibition space of the museum's current home at Shad Thames on the Southbank.

Talking about his design, Pawson explained how the atrium will be central to the interior space. "When you walk in you'll be able to see all the way up to the roof," he said. "Now we just need to make sure what was drawn is what gets built."

We published images of the proposals earlier this year - take a look here.

A time capsule containing iconic contemporary objects nominated by Pawson and other leading UK design figures was buried on site during the ceremony.

See all our stories about John Pawson »

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new buildings" - John Pawson appeared first on Dezeen.

London's Design Museum have unveiled designs by British architect John Pawson for their new home in the former Commonwealth Institute building in west London.

Top: new design museum, second floor
Above: new design museum, second floor showing the permanent exhibition 

Due to open to the public in 2014, the £80 million plans include galleries for permanent and temporary exhibition spaces, an auditorium and a library, which will accompany a separate housing development by Dutch firm OMA.

Above: new Design Museum, entrance foyer

The former Commonwealth Institute, which was completed in the 1960s, hasn't been used for over ten years but will retain its hyperbolic paraboloid roof structure in the refurbishment.

Above: new Design Museum, exterior view

New glazed entrances will lead in towards the galleries located on the ground floor, basement and second floor, giving the museum three times the exhibition space of its current home at Shad Thames on the Southbank.

Above: existing Commonwealth Institute building, exterior view

See all our stories about the Design Museum here and listen to our podcast interview with John Pawson here.

Above: existing Commonwealth Institute building, interior

Visuals are by Alex Morris Visualisation. Photos of the existing building are by Luke Hayes.

Above: existing Commonwealth Institute building, interior

Here are some more details from the museum:

£80m PLANS UNVEILED TO CREATE WORLD'S LEADING DESIGN MUSEUM IN LONDON

The Design Museum today unveiled plans to create the world's leading museum of design and architecture at the former Commonwealth Institute building in Kensington, London. Designs for the site have been produced by two of the world's most innovative architectural practices: John Pawson has redesigned the interior of the Grade 2* listed building and OMA has planned the surrounding residential development.

The move will allow the new Design Museum to become a word class centre for design, nurturing British talent and its international influence on design of all kinds. It will bring the museum into Kensington's cultural quarter, where it will join the V&A, Science Museum, Natural History Museum, Royal College of Art and Serpentine Gallery, creating a platform for the promotion and support of the next generation of creative talent.

The new building will open to the public in 2014, giving the Design Museum three times more space to showcase its unique collection. The museum aims to double its visitor numbers to 500,000 a year, and will greatly expand its education and public events programme with state of the art facilities.

The 1960s Commonwealth Institute building has lain dormant for over a decade. Its refurbishment will give a neglected London icon a new life and purpose and will revitalise an important area of West London. In July 2010 the Royal Borough of Kensington and Chelsea granted planning permission to Chelsfield Partners and the IIchester Estate to modify the Grade 2* listed building and for a residential development. The design team for the new project has been assisted by Lord Cunliffe, a leading member of the original architectural team for the Commonwealth Institute in 1958, and by James Sutherland, the building's original structural engineer.

The new Design Museum, which is an £80 million project, will open in 2014. The Design Museum fundraising target is £44.66 million of which it has secured more than 60% through the support of a number of individuals and trusts and foundations.

The Museum announced today that The Dr Mortimer & Theresa Sackler Foundation has pledged to support the project, making a generous donation to create The Sackler Library, a learning resource at the heart of the new Design Museum. Other major donations include The Conran Foundation, which has pledged £17m, The Heritage Lottery Fund which has made a first stage grant towards an application of £4.95m, The Wolfson Foundation, The Sir Siegmund Warburg's Voluntary Settlement, The Hans and Marit Rausing Charitable Trust, The Atkin Foundation and, in addition, a further £2.75m has been raised in early stage fundraising from a small number of individual donors.

Culture Minister Ed Vaizey, said "It is immensely exciting to see the plans for the new Design Museum at the Commonwealth Institute in Kensington. The UK leads the world in design and architecture and it is entirely appropriate that we should be creating the world's greatest Design Museum at this iconic London landmark. The new Design Museum will be a truly outstanding visitor attraction, learning resource and celebration of the best of British creativity. It is only through the generosity of others that this has become possible and I would like to extend my gratitude to all those who have made this possible."

The Mayor of London, Boris Johnson, said "From the Olympic Park to the new bus for London, our city is a hotbed of creativity, the epicentre of design, and deserves a world-class museum to celebrate the amazing work being created here in the UK and around the world. Housed in an iconic architectural landmark and offering state of the art learning facilities, this new museum puts design firmly in the spotlight and will become a must see destination for visitors as well as designers and students."

Deyan Sudjic, Director of the Design Museum, said "This is an important step forward for the Design Museum. We are very excited by all the work that John Pawson and the rest of the design team have done. They have put forward a brilliant strategy to bring the former Commonwealth Institute back to life, which will allow the public to see the essential qualities of this historic listed building, and make a wonderful new home for the Design Museum."

John Pawson, architect, said "The most exciting thing about the project is that, at the end of it all, London will have a world-class museum of design, with galleries for permanent and temporary exhibitions, education spaces and a library. There is particularly nice symbolism in the fact that in making this legacy for future generations, we are saving a work of iconic architecture. I hope the result will demonstrate that you don't need to demolish old buildings to make wonderful new public space."

Reinier de Graaf of OMA adds "In conceiving a new future for London's former Commonwealth Institute, we pay tribute to a period that continues to inform contemporary architecture."

Sir Stuart Lipton, Chairman, Chelsfield, said "We are delighted to be supporting the Design Museum to realise its vision of becoming the world's leading centre for design and architecture. Britain's designers are taking the lead internationally and it is fitting that there will be a world-class centre for design and architecture in London."

ARCHITECTURAL STATEMENT
JOHN PAWSON

A centre of design for London

The goal of the project is the creation of a world-class museum of design in the heart of London, with galleries for permanent and temporary exhibitions, education spaces and a design reference library. The architectural vision developed to realise this goal has been profoundly shaped by the fact that the new Design Museum’s permanent home is within the skin of an existing building - the Grade 2* listed former Commonwealth Institute, designed by Robert Matthews, Johnson-Marshall & Partners, which opened in 1962. Driving the process of reclaiming this iconic example of post-war British Modernism as a contemporary cultural space has been the wish to preserve and enhance its inherent architectural qualities for future generations of Londoners and visitors to the city. The outcome should be a building that feels as though it has retuned itself.

A new public space in Holland Park

This process of natural evolution and readjustment begins with the character of the relationship of the new Design Museum with its setting in Holland Park. Freedom of access will allow the public to move comfortably from the green spaces of the park to the interior spaces of the building in a relaxed, open and instinctive manner. In line with the wider design strategy for the building, greater transparency is introduced on the north and east facades. Glazed entrances are created to the ground floor foyer and the existing stained glass windows, currently installed on the south façade, are relocated to the north façade, adjacent to the new entrance from Holland Park.

Dynamic spatial experiences

Once inside, visitors will be naturally drawn up through the atrium space towards the hyperbolic paraboloid roof structure – the defining architectural gesture of the original design. The central staircase leads to the mezzanine level - an echo of the original dais, at the centre of the exhibition building. As in the original building, this level offers a chance to view the whole building, as well as providing space for exhibiting a key piece from a visiting exhibition or the permanent collection. As one moves upwards through the central void, so the framed view of the roof will widen and transform, assisted by the enlarged openings in the top floor slab, creating a dynamic experience that will change according to the time of day and the light conditions. Providing sightlines to all of the building’s principal spaces, the central void acts as a key medium for orientation and navigation. From the entrance foyer, a visitor will see the entire route through the building, winding up from the central platform around the opening at first floor level to the permanent exhibition space on the top floor and the sweeping curve of the roof. The material palette is purposefully restricted, with concrete terrazzo floors at basement and ground levels and hardwood used for the remaining floors and also for wall panelling.

Layout

The programme is split between five floors, providing a total around 10,000m2. The museum’s main exhibition space is located on the ground floor, together with the café, bookshop and design store. The first floor contains the administration and learning departments, design reference library and an area of open storage where the museum’s collection may be accessed for research purposes. An exhibition of the permanent collection, designed by Studio Myerscough, is located on the top floor, where the roof soars up to 16m above one’s head, alongside the restaurant, event space and the members’ room, all of which will enjoy views over Holland Park. The second exhibition space and the auditorium are located at basement level, which also accommodates curatorial spaces, workshops, kitchen and back of house areas.

Opening up sightlines to the hyperbolic paraboloid roof

In the existing building, the central concrete section of the roof rises up through the building on two structural supports, arches over the central space and then down towards the top floor. The floor slab opens up around the structure, allowing it to pass through to the floor below. To give the central roof structure the same freedom, two new openings are formed in the new top floor slab. The larger opening relates to the central void and an additional smaller opening visually connects The Sackler Library on the first floor to the permanent exhibition space. The creation of the second opening allows further views up to the roof from the first floor level, as well as allowing views into the workings of the museum for visitors to the permanent exhibitions on the second floor.

Horizontal elements

A key part of the design rationale is for the floor slabs to be clearly expressed as strong horizontal elements. The slab edges are therefore finished in white, as in the original building, contrasting with the timber walls and defining the volumes of the first and second floors. To reinforce this idea, all volumes, including the lift cores on the top floor, are located around the perimeter of the building.

Structure

One of the key elements to the building is the structural design developed by Arup to retain and preserve the original roof structure. These complex proposals will allow the internal floors of the existing building to be demolished, a new basement to be built across the site and the new structure of the museum building to be constructed under the roof.

The existing fabric of the building has shaped how the new structural design has developed. The rhythm of the edge support mullions sets up a typical structural grid of approximately 9m x 9m. Shear walls, built in as part of the service cores distributed through the building, will brace the structural grid.

A series of piles, temporary beams and trusses will be built around and through the existing structure to support the internal roof support columns and the roof edge support mullions. The external walls and internal structure will then be demolished and the new structure built up around the temporary works until it can support the roof. The temporary supports will then be removed and the new structure completed, to allow the fit-out work to commence.

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London Design Festival 2011: British architect John Pawson has installed the largest lens ever made by crystal brand Swarovski in the southwest tower of St Paul's Cathedral for the London Design Festival, which starts on Saturday.

Called Perspectives, the installation comprises a spherical mirror suspended at the top of the 23-metre tower, mirrored in a hemisphere below the lens at the foot of the staircase to create a composite image of the whole tower for visitors gathered at ground level.

The spiralling Geometric Staircase connects the Dean's door to the upper levels of the cathedral and is normally closed to the public.

Pawson's installation marks the 300th anniversary of the cathedral's completion and remains open to the public until January 2012.

See all our stories about the London Design Festival in our special category.

Photographs are by Gilbert McCarragher.

The information below is from Swarovski Crystal Palace:

John Pawson installs Perspectives, a new work for Swarovski Crystal Palace, in partnership with the London Design Festival, within St Paul’s Cathedral, marking the 300th anniversary of the completion of Sir Christopher Wren’s masterpiece.

The UK’s leading minimalist, John Pawson, and Swarovski Crystal Palace have created a spectacular installation in the Geometric Staircase of St Paul’s Cathedral to reveal a new perspective of this architectural masterpiece and the genius of Sir Christopher Wren.

Entitled ‘Perspectives’, this experiential work will be unveiled during the London Design Festival, 17th to 25th September, and will remain open to the public until January 2012.

Reflecting Wren’s desire that his buildings should incorporate scientific elements, ‘Perspectives’ uses the largest Swarovski lens ever manufactured to create a dramatic optical experience which depends on scientific subtlety, material simplicity and a complex combination of light, space and proportion to reflect an environment rich in history and beauty.

At the foot of Wren’s elegant spiralling Geometric Staircase a concave Swarovski crystal meniscus will sit on a much larger reflective hemisphere, with a spherical convex mirror suspended 23m above in the tower’s cupola. Together, these optical elements will create an extraordinary composite image of the view up through the tower for visitors gathered round the hemisphere at the base, allowing them, as Pawson says, “to see beyond the level of the naked eye” and gain a perspective never before seen of one of Britain’s most iconic buildings.

John Pawson explains: “St Paul’s is one of the most recognisable buildings in the country. Inevitably it’s the grand architectural moves which everyone knows – the west elevation, the nave and the dome. In collaboration with Swarovski, I have been given the chance to turn the focus on a less familiar element - the Geometric Staircase - which is a detail, but also a complete architectural moment in its own right. The cathedral is an immensely complex work of architecture and the temptation when you visit is to try to take in everything. This is about offering a spatial experience based around a single, sharply honed perspective. The form this experience takes is shaped by Wren’s own interest in creating scientific instruments out of buildings.”

For Swarovski, the collaboration marks a high point of its Crystal Palace project, an experimental design platform developed by Nadja Swarovski which allows world class designers to develop extraordinary work using the medium of crystal. In the past ten years, collaborations with the likes of Ron Arad, Zaha Hadid, Tom Dixon, Ross Lovegrove, Tord Boontje, Arik Levy and Yves Behar have resulted in a spectacular body of work which provides a snapshot of the most exciting and creative minds of the 21st century.

Nadja Swarovski, Member of the Executive Board, Swarovski, commented: “It has been an inspirational and rewarding experience to work with John Pawson on such an illuminating project. A true visionary like Wren, John continuously pushes the boundaries of traditional architecture. His new and innovative use of crystal within this modest but magical design reflects Swarovski Crystal Palace’s mission continually to evolve and to contribute to culture and design.”

The work is a fitting climax to a year of tercentennial celebrations for St Paul’s, which was declared complete by Parliament exactly 300 years ago. The Reverend Canon Mark Oakley, Treasurer of St Paul’s Cathedral, said: “John Pawson invites us in this installation to observe the Geometric Staircase of the cathedral with a deepened focus. Like the spiritual life itself, here we are invited to look within in order to see out with greater clarity and wonder. We are delighted that Swarovski and the London Design Festival bring this meditative meniscus into St Paul’s to enrich our understanding of Wren’s work and to alert us to the fact that transformations often occur when we become more visually literate.”

Now in its ninth year, the London Design Festival is established as the preeminent creative festival in the world. This year’s Festival will be the largest and most significant yet, with an expected 180 partners and almost 300 events celebrating the world’s creative capital and offering a range of projects across the city from St Paul’s Cathedral to the Victoria & Albert Museum.

Ben Evans, Director of the London Design Festival said: “The London Design Festival works in the greatest quality spaces London has to offer and you can’t get greater than St Paul’s Cathedral. The installation we have there by John Pawson complements and contrasts with the stunningly beautiful space that we’re using. It’s very special – unmissable from my point of view.”

Swarovski will also sponsor the fifth presentation of the London Design Medal Dinner, which will be held on Monday 19th September in the Crypt of St Paul’s. Previous winners of the medal include Zaha Hadid (2007), Marc Newson (2008), Sir Paul Smith (2009), and Thomas Heatherwick (2010).

Visiting hours during London Design Festival

Monday 19th September – Friday 23rd September, 10am- 6pm, visitors will be able to access ‘Perspectives’ through the Dean’s Door .This entrance is in the South Churchyard of St Paul’s Cathedral.

Visiting hours after the London Design Festival

Saturday 24th September – mid January 2012 (closed Sundays) regular guided access throughout the day will be available to visitors during sightseeing hours. Requests outside these hours by prior arrangement only.

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at St Paul's Cathedral appeared first on Dezeen.

See all our stories about John Pawson on Dezeen here and listen to our podcast interview with the architect here.

See all stories about this year's London Design Festival here.

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