OMA have provided the full project, new images and plans, their proposal to the competition for the Miami Beach Convention Center (MBCC), below.

Project description by OMA

Typically, as convention centers evolve their footprints expand. In Miami Beach—an island where every acre is precious and the only “periphery” is ocean—the convention center has claimed an entire precinct for asphalt. Since its initial construction in the 1950’s, the Miami Beach Convention Center has expanded twice, each time claiming more open space from the city and looming closer to its neighbors.

As the Convention Center looks to grow once again, is it possible to escape the inevitable sacrifice of the city around it? Today Miami Beach has an opportunity to undo 50 years of mistakes and reconnect neighborhoods severed by the elephant in their midst. It’s time for a different model of growing a Convention Center...

Our master plan reintegrates the Convention Center into Miami Beach through a series of ingenious yet simple moves:

— We conceptually rotate the convention center, reorienting the site to allow for east-west neighborhood connectivity and a southerly orientation for both convention center and hotel guests.

— We concentrate the density at the center of the site and make the revamped convention center and its meeting and ballroom space contiguous with the hotel.

— We reimagine the area’s existing assets: the Jackie Gleason Theater, the Carl Fisher Clubhouse, City Hall, the 17th Street Garage.

— We fill the rest of the site with public amenities and programmed uses appropriate to activate the space 7 days a week, 365 days a year.

In short, our plan upgrades the convention center into a best-in-class facility and weaves the entire convention center site into the fabric of Miami Beach. It will feel both new and like it was always there.

Reorienting the Convention Center
While the Miami Beach Convention Center (MBCC) is a great cultural and economic asset for Miami Beach, it has become a physical blockade within the city. Here beach stops and asphalt begins, with a series of open parking lots, relentless closed facades and a disconnected urban fabric. By effectively rotating the building, we have managed to make it simultaneously a better citizen within Miami Beach and a more efficient convention facility. Our plan reorients the Exhibition Halls north to south, simultaneously clarifying the building’s internal organization and its relationship to the city around it. With loading consolidated to the north, and the new concourse and main entry located on the south, the building has a clear face to Lincoln Road, while maintaining access on the east side for visitors walking from the nearby beach hotels.

Putting it on Top – Compact Density
Rather than expanding the footprint of the convention center further into the city, we have chosen to place the new convention center ballrooms and 800-room hotel on top of the Convention Center. This benefits the center by fully integrating all its functions into one facility, with immediate proximity between exhibition halls, hotel rooms and ballroom areas. On the west above a new exhibition hall, new 60,000 sf and 40,000 sf ballrooms expand the capabilities of the Convention Center. The hotel entry is located at the hinge point between the main convention center ballrooms on the West and the main concourse and meeting room areas on the South. Its form is tapered toward an apex at the convention center’s southwest corner.

Extensions to the Existing City
Around the perimeter of the site, new programs extend and amplify the character of the area’s existing neighbors.To the east, the residential neighborhood of Palm View is extended across Meridian. At the South, new cultural and retail buildings activate the gap between the Miami Beach City Hall and the Jackie Gleason Theater to create a new Civic band between the Convention Center and 17th Street.

Active Buffer
The new green band that surrounds the Convention Center restores an important buffer that was lost with the building’s last expansion. In its initial incarnations, a wide area of green extended along Washington Avenue to the east and along the Canal to the north. Our plan creates a new green buffer around the south, west and east sides of the MBCC and a green promenade along Washington. This restores an important open space in Miami Beach that is simultaneously a great resource for the Convention Center. The site is transformed from an area dominated by asphalt into an oasis within Miami Beach. Today almost one-third of the site (16 acres) is surface parking, loading and roads, vs. just three acres of roads in our plan. Over 28 acres of publicly accessible open space integrates the entire convention center site into the rest of Miami Beach.

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Office for Metropolitan Architecture (OMA) is an international practice operating within the traditional boundaries of architecture and urbanism. AMO, a research and design studio, applies architectural thinking to domains beyond. OMA is led by eight partners – Rem Koolhaas, Reinier de Graaf, Ellen van Loon, Shohei Shigematsu, Iyad Alsaka, Chris van Duijn, Jason Long, and Managing Partner-Architect David Gianotten – and maintains offices in Rotterdam, New York, Hong Kong, Doha, and Australia. OMA-designed buildings currently under construction are the renovation of Kaufhaus des Westens (KaDeWe) in Berlin, The Factory in Manchester, Hangzhou Prism, the CMG Times Center in Shenzhen and the Simone Veil Bridge in Bordeaux.

OMA’s completed projects include Taipei Performing Arts Centre (2022), Audrey Irmas Pavilion in Los Angeles (2020), Norra Tornen in Stockholm (2020), Axel Springer Campus in Berlin (2020), MEETT Toulouse Exhibition and Convention Centre (2020), Galleria in Gwanggyo (2020), WA Museum Boola Bardip (2020), nhow RAI Hotel in Amsterdam (2020), a new building for Brighton College (2020), and Potato Head Studios in Bali (2020). Earlier buildings include Fondazione Prada in Milan (2018), Garage Museum of Contemporary Art in Moscow (2015), De Rotterdam (2013), CCTV Headquarters in Beijing (2012), Casa da Música in Porto (2005), and the Seattle Central Library (2004).

AMO often works in parallel with OMA's clients to fertilize architecture with intelligence from this array of disciplines. This is the case with Prada: AMO's research into identity, in-store technology, and new possibilities of content-production in fashion helped generate OMA's architectural designs for new Prada epicenter stores in New York and Los Angeles. In 2004, AMO was commissioned by the European Union to study its visual communication, and designed a colored "barcode" flag, combining the flags of all member states, which was used during the Austrian presidency of the EU. AMO has worked with Universal Studios, Amsterdam's Schiphol airport, Heineken, Ikea, Condé Nast, Harvard University and the Hermitage. It has produced Countryside: The Future, a research exhibited at Solomon R. Guggenheim Museum in New York; exhibitions at the Venice Architecture Biennale, including Public Works (2012), Cronocaos (2010), and The Gulf (2006); and for Fondazione Prada, including When Attitudes Become Form (2012) and Serial and Portable Classics (2015). AMO, with Harvard University, was responsible for the research and curation of the 14th Venice Architecture Biennale and its publication Elements. Other notable projects are Roadmap 2050, a plan for a Europe-wide renewable energy grid; Project Japan, a 720-page book on the Metabolism architecture movement (Taschen, 2010); and the educational program of Strelka Institute in Moscow.

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Rem Koolhaas was born in Rotterdam in 1944. He began his career as a journalist, working for the Haagse Post, and as a set-designer in the Netherlands and Hollywood. He beganHe frequented the Architectural Association School in London and studied with Oswald Mathias Ungers at Cornell University. In 1978, he wrote Delirious New York: a retroactive manifesto for Manhattan, which has become a classic of contemporary architectural theory. In 1975 – together with Elia and Zoe Zenghelis and Madelon Vriesendorp – he founded OMA (Office for Metropolitan Architecture).

The most important works by Koolhaas and OMA, from its foundation until the mid-1990s, include the Netherlands Dance Theatre at The Hague, the Nexus Housing at Fukuoka in Japan, the Kunsthal in Rotterdam, the Grand Palais of Euralille and Lille, the Villa dall’Ava, the Très Grande Bibliothèque, the Jussieu library in Paris, the ZKM in Karlsruhe and the Seattle Public Library.

Together with Koolhaas’s reflections on contemporary society, these buildings appear in his second book, S,M,L,XL (1995), a volume of 1376 pages written as though it were a “novel about architecture”. Published in collaboration with the Canadian graphic designer, Bruce Mau, the book contains essays, manifestos, cartoons and travel diaries.

In 2005, with Mark Wigley and Ole Bouman, he was the founder to the prestigious Volume magazine, the result of a collaboration with Archis (Amsterdam), AMO and C-lab (Columbia University NY).

His built work includes the Qatar National Library and the Qatar Foundation Headquarters (2018), Fondation Galeries Lafayette in Paris (2018), Fondazione Prada in Milan (2015/2018), Garage Museum of Contemporary Art in Moscow (2015), the headquarters for China Central Television (CCTV) in Beijing (2012), Casa da Musica in Porto (2005), Seattle Central Library (2004), and the Netherlands Embassy in Berlin (2003). Current projects include the Taipei Performing Arts Centre, a new building for Axel Springer in Berlin, and the Factory in Manchester.

Koolhaas directed the 2014 Venice Architecture Biennale and is a professor at Harvard University, where he directs The Project on the City, a research programme on changes in urban conditions around the world. This programme has conducted research on the delta of the Pearl River in China (entitled Great Leap Forward) and on consumer society (The Harvard Design School Guide to Shopping). Taschen Verlag has published the results. Now is preparing a major exhibition for the Guggenheim museum to open in 2019 entitled Countryside: Future of the World.

Among the awards he has won in recent years, we mention here the prestigious Pritzker Architecture Prize (2000), the Praemium Imperiale (2003), the Royal Gold Medal (2004) and the Mies Van Der Rohe prize (2005). In 2008, Time mentioned him among the 100 most influential people of the planet.

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Jason Long (OMA partner / OMA NY co-director) Jason Long is a Partner at OMA. He joined the firm in 2003 and has been leading OMA New York since 2014. Jason brings a research-driven, interdisciplinary approach to a wide range of projects internationally—from concept to completion, he served as the project manager for the Quebec National Museum in Quebec City and the Faena Forum in Miami.

A number of projects under his direction take a creative approach on the much-needed adaptive reuse and restoration of existing buildings, including POST Houston, the transformation of a former post office warehouse in downtown Houston into a mixed-use cultural platform, incorporating a new venue for Live Nation; the conversion of an Art Deco parking garage in New York City into a synagogue; the renovation of the Fitzgerald Building at University of Toronto into a new campus administration center; the adaptive reuse of Jersey City’s Pathside Building into museum for Centre Pompidou; and LANTERN, the conversion of a former commercial bakery into a community arts hub in Detroit.

Jason’s projects in urbanism and the public realm, particularly in Washington, D.C., public health, and equitable development at varying scales: a streetscape design for D.C. Convention Center, the 11th Street Bridge Park connecting disparate communities on either side of the Anacostia River, and a sports and recreation masterplan for the RFK Stadium Armory Campus.

His diverse portfolio extends to residential developments across housing types and regions in North America. Jason led the recently completed Eagle + West, OMA’s first high-rise towers in New York. In California, he oversaw the design and completion of The Avery in San Francisco and is currently leading 730 Stanyan, a 120-unit, 100% affordable housing building in historic Haight Ashbury. Currently in progress is The Perigon, a beachfront high-rise in Miami’s mid-beach neighborhood.

Jason previously served as a key member of AMO and was the Associate Editor of Content (Taschen, 2004).

Jason has lectured at SPUR, Urban Land Institute (ULI), AIA Conventions, and various museums and universities across the globe. He has been a visiting professor at Cornell University School of Architecture, Art and Planning (AAP).

Jason holds a Bachelor of Arts in Philosophy from Vassar College and a Master of Architecture from Harvard University’s Graduate School of Design (GSD).
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