The future of luxury oceanfront living in Miami Beach has been redefined by the area’s newest and most exclusive address: 57 Ocean.  This one-of-a-kind residential sanctuary is a haven for quality time and tranquility, fashioned along 220 linear feet of pristine oceanfront.  The lush and private property features a limited collection of 71 tropical modern residences, providing a privileged gaze across the glittering Atlantic Ocean.  The homes, which feature a blend of lavish finishes, fine features, and ocean-inspired holistic wellness amenities, embrace the vibrant and expansive views of this idyllic setting along Miami Beach’s Millionaire’s Row -- one of the most sought-after stretches of beachfront for luxury home-buyers worldwide.

Developed by Multiplan Real Estate Asset Management and slated for delivery in 2021, the boutique, ultra-high-end condominium was designed by award-winning architect Bernardo Fort-Brescia of ARQUITECTONICA.  In total, 57 Ocean encapsulates a unique focus on wellbeing – specifically intended to nurture mind, body and soul -- which permeates throughout the residences themselves.  The serene, light-filled homes have been crafted by Brazilian designer Patricia Anastassiadis, distinctly inspired by the nature that surrounds them.  Here, the cadence of the Atlantic sets the pace for a life lived in full.

Each offering stirs the imagination with the feel of an oasis-like retreat.  Two-to-four-bedroom residences start at $1.5 million and range in size from 1,200 to 3,600+ square feet.  Inside, the details are virtually endless.  Expansive terraces, stretching 12 feet deep, double as outdoor living rooms while taking full advantage of ocean breezes.  Contemporary Italian kitchens and baths by Poliform are sumptuous in design and replete with conveniences.  Additional highlights include marble countertops and backsplashes, 10-foot ceilings, Wolf and Sub-Zero appliances, Italian fixtures, natural stone floors, and private elevator entrances.

Ten Sky Residences, which start at $6.95 million, are also available within 57 Ocean.  Comprising four bedrooms and five-and-a-half baths, these homes feature a sophisticated flow-through design, spread throughout more than 5,000 square feet of indoor/outdoor living space.

57 Ocean will furthermore be filled with showpiece amenities, including tranquil meditation gardens and a curated wellness pavilion. Adorned with vertical gardens and thickets of tropical fauna, this Oceanside jewel will be the epitome of luxury in Miami Beach – a retreat for an exclusive few where the concept of living well will be forever transformed.

Photos courtesy of DBOX

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Towering above the Museum of Modern Art, or MoMA, in Midtown Manhattan 53W53 stands like a beacon of high end living in the neighborhood. The condominium tower, designed by Thierry Despont and Jean Nouvel, stands at 1,050 feet and feature 145 residences in the space ranging from one to five bedrooms, including full floor homes and duplex penthouses with elevators.

The building’s latest renderings reveal the true art of the tower, a silver beam standing above the museum, tapering at the highest points into a thin blade in the sky. The design, from Pritzker Prize winner Jean Nouvel, is perfectly at home above the Museum of Modern Art, being a testament to modern architectural design and a beautiful addition to the midtown skyline.

Despont’s interiors are also beautifully in the designer’s character, with neutral tones, minimalist aesthetics, and a unique blend of material and spacing that feels both contemporary and cozy at once. In addition to the residences, the building also provides an indoor pool, wine cellar, and breathtaking views of Central Park from one of the best vantage points in town. For those looking for alternative views, the tower also features several full-floor residences offering views expanding in all directions.

Most of all though, the Museum of Modern Art below will have three additional gallery levels within the base of 53W53 on floors 2, 4, and 5. Residents will receive titles to a special benefactor W53 MoMA membership, that comes with several additional benefits and privileges at the museum as well as the potential to host private gatherings in the museums sculpture garden.

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Tomás Saraceno was born in 1973 in the small town of San Miguel de Tucuman, in northern Argentina. Saraceno began his career as an architect, receiving formal training at the Universidad Nacional de Buenos Aires. In 2001 he moved to Germany for postgraduate studies in the hybrid Art & Architecture program at the Academy of Fine Arts in Frankfurt. Saraceno received early acclaim for his innovative installations, including winning the Calder Prize and being named artist-in-residence at the International Space Studies Program of NASA. Below, Saraceno's concept sketch for Cloud City.

Saraceno’s works set out to establish a dialogue between people, objects and spaces. “Art is a space to imagine a possible future...it is a necessity to think about how we want to live. That’s something that we should try to pose, this question, much more often, because people are kind of lazy, right? It’s easy to let someone else think the future. It’s important to engage in the possibility of thinking [yourself]...”

Previous works such as Air-Port-City have expressed the artist’s fascination with futuristic living arrangements of cloud-like units which would float above cities. Cloud City is part of this ongoing conceptual fascination; it is a constellation of interconnected, reflective modules. The highly reflective surfaces of the units show the surrounding Manhattan skyline and Central Park below, creating an almost camouflage-like effect. Viewed from across the garden, it almost looks as if the installation really is floating above New York.

Cloud City will be on view from now until November 4 on the roof of the Metropolitan Museum of Art. For a hands-on experience of the installation, head to the museum early to snag one of the first-come first-served tickets which give you access to climb the structure. The museum is located at 1000 5th Avenue; for more information visit www.metmuseum.org.

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The year 2008 marked the first time in history that more than half of the world’s population lived in cities and towns rather than in the rural countryside. Though this incredible population shift passed us by with little remark, the design world has worked for years to adapt to our new urban environment, particularly with regards to the impact on children. The urbanization and industrialization of the 20th century wrought incredible change on society, both positive and negative; mass production, World War I, World War II, the boom years, the Cold War. Through it all, society began thinking about its children through design.

In 1900 Swedish design reformer and social theorist Ellen Key wrote her seminal treatise called Century of the Child, in which she predicted the change to come. The previous century had not been kind to children; industrialization in England, for example, exploited poor children as a cheap source of labor. Governments lacked even the most basic social security net for their youngest and most vulnerable. Goods and services virtually ignored the existence of children. Parents raised children to be neither seen nor heard.

At the turn of the 20th century, things began to change. New Art, an amalgam of the Arts and Crafts movement and Art Nouveau, merged with the Kindergarten movement to mandate a prescribed number of years wherein children could draw, dream, and learn, protected by law from demand for cheap labor. Designers encouraged this movement early on by creating spaces for children to play, such as Charles Rennie Mackintosh’s design for a toy cupboard pictured below.

The horrors of World War I, with its mechanized and systematized traumas, drove designers to contemplate how to save society from another such breakdown. Children, the “citizens of the future”, were seen as the answer. Creative environments were conceived in an effort to allow children to retain the innocence which designers hoped would better society. Toys, playgrounds and children’s books abounded, and mass production meant more children were afforded access to such designs, including the Skippy-Racer, pictured below.

Unfortunately, these hopeful ambitions for children to save the world were not enough to stave off the explosion of socio-political tensions which led to the outbreak of World War II. Suddenly, designers were being drafted to create military uniforms and propaganda showing children as the troops of the future. Even board games were designed to incorporate political messages and notions of victorious war. The game Gioco delle 3 oche pictured below was given to children in wartime Italy; it depicts enemies as silly geese ready for slaughter.

It was not until the dust had settled after World War II that designers revisited the possibility of design as an agent of change and political transcendence. Designers, manufacturers, educators and child psychologists created international coalitions to develop “good toys”. Safe, nonviolent toys re-imagined the place of children in post-war cities around the world. As schools went up all over the world, designers like Jean Prouvé responded with practical but elegant designs, such as the school desk pictured below.

As children’s spaces like schools and playgrounds grew to represent larger parts in the design of cities, the space of children in the commercial market grew as well. Major manufacturers grasped the significance of the untapped market represented by children, and began designing and marketing goods specifically for children. The tin toy Ford cars pictured below engendered lucrative feelings of brand loyalty. Retail consultant Paco Underhill remarked on the phenomenon, saying; “You no longer need to stay clear of the global marketplace just because you’re three-and-a-half feet tall, have no income to speak of and are not permitted to cross the street without Mom. You’re an economic force, now and in the future, and that’s what counts.”

Children now control a significant interest in the markets and design of prosperous cities. However, as we move forward we must embrace the capacity of design to help children where inequalities persist. Though there remains much work ahead, the designer Sugata Mitra has demonstrated how simple designs can effect change. Mitra’s Hole-in-the-Wall Learning Stations provide children in urban slums and rural locations with computer access through simple outdoor designs encasing PCs in durable materials. Children gather at these stations, taking turns playing and learning valuable skills to enrich their potential. We cannot predict the future, but we can try our best to design it.

Century of the Child: Growing by Design (1900-2000) will be on display at the MoMA until November 5. For more information, visit www.moma.org.

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