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October 01, 2014
By Michael Grunwald | Culture
Why Saving Everglades National Park is Such a Hard Sell
Phil Degginger / Alamy

I first visited the Everglades in August 2000, when Congress was about to launch a multibillion-dollar project to save the swamp. The weather was muggy. Mosquitoes were swarming. I saw none of the majestic canyons or rugged cliffs that Americans associate with national parks. The Everglades seemed flat, wet and mushy. I must confess, my initial reaction was, Why would anyone want to save this?

Early explorers dreamed of draining the Everglades’s uninhabitable, soggy wasteland and creating a subtropical paradise. After a century of visionary schemes and swampland jokes, they made their dreams come true. The watershed stretching from Disney World down to the Keys now supports eight million residents. Even more than air-conditioning, bug spray or Social Security, water management made South Florida safe for one of the most amazing development booms in human history. It made the megalopolis possible, and I can’t be too critical without being hypocritical. I’m one of the eight million it keeps dry. Most of us now live in former wetlands, but we don’t like it when they get wet. We call animal control to report gators in our backyards; we forget we’re in their backyard.

The remnant Everglades is an extraordinary place: the panthers and royal palms and ghost orchids you see on postcards, the majestic wading birds that once darkened the South Florida sky, the bizarre flora and fauna found nowhere else, the silence of the wild minutes from the megalopolis. Still, it’s an acquired taste. Everglades was the first park protected for its biodiversity rather than its scenery. It’s less ooh-and-aah than hmm.

Environmentalists like to say the Everglades is a test; if we pass, we may get to keep the planet. It’s where we’re going to figure out whether man can live in harmony with nature. Right now the park is still dying. It’s hard to get people to save places they don’t love. It’s hard to get people to love places they don’t visit. And it’s hard to get them to visit places that don’t make them suck in their breath.

October 01, 2014
By Francisco Alvarado | sports
Life After Lebron
Illustration by Leif Parsons

Surely the rebounding economy powered the median sale prices of condos in Miami Beach, which increased by 35.4 percent from 2010 to 2012. But what about the LeBron Effect? After all, he was there the same years.

Certainly, the allure of watching an NBA dynasty unfold from a balcony overlooking Biscayne Boulevard convinced a few high rollers to buy luxury condos. For instance, high-tech defense contractor Russell Wright plunked down $4.2 million on a penthouse in the Marquis Residences, one block from the Heat’s arena, the same day James decided to sign with the team. Moreover, downtown condo sales in July 2010 doubled from the previous month (The Decision, the ESPN special featuring LeBron’s announcement, aired July 8), recalls Fortune International Realty’s Edgardo Defortuna. Sales at the Marquis were up during the Heat’s first playoff run in 2011, says Wendy Marks Pine, an executive with Cervera Realty. But Defortuna insists the market won’t cool now that James bolted back to Ohio. “Miami is the world’s next major metropolitan city,” he says. “And not just because of LeBron.”

October 01, 2014
By Jessica Flint | Hotels
Coming Soon: New Miami Hotels
Photo courtesy of 1 Hotel South Beach

Miami's hotel landscape is undergoing a sea change—and all for the better. While we've already made our picks for the top 25 that matter most, there are still a few more we just can't wait to open. 

1 Hotel & Homes South Beach
The new eco­conscious resort chain from Starwood Capital Group CEO Barry Sternlicht will debut early 2015. At 2377 Collins Ave.; 305-604-1000; 1hotels.com.

East Miami
Swire Hotels’ Brickell City Centre will open downtown in late 2015 and include the group’s third East hotel (the other locations are in Hong Kong and Beijing). At 788 Brickell Plaza; east-miami.com.

Faena Hotel Miami Beach
Argentinian Alan Faena is the brains behind a massive complex—a hotel, a residential tower, restaurants, an arts center, a park and a marina—opening in stages, starting in 2015. At 3201 Collins Ave.; faena.com.

Four Seasons Hotel at The Surf Club
In 2016 a new property from architect Richard Meier will join the social­club site founded in 1930 by Harvey Firestone. At 9011 Collins Ave.; 305-330- 4000; thesurfclub.com.

Miami Beach Edition
Ian Schrager returns to town in November with the opening of his third Edition, following those in London and Istanbul. At 2901 Collins Ave.; edition-hotels.marriott.com.

Thompson Miami Beach
Opening in October, the hotel brand aims to bring 1950s glamour back to the beach. At 4041 Collins Ave.; 305-397- 8309; thompsonhotels.com.

September 30, 2014
By Deborah Frank | Fitness
The Top Three Workouts in Miami
<a href="http://mattroyphotography.com/" target="_blank">Matt Roy Photography</a>

These three popular fitness studios keep Miami locals looking beach-ready. Here’s where to book your next class.

P2 Pilates Miami Beach: Located in a former school in South Beach, the lure here is instructor Amanda Tamis’s private training sessions. 1910 Alton Rd.; 305-479-1237; p2pilatesmiamibeach.com.

b2 studio & boutique: Twice a week, Zumba Fitness’s co-creator, Beto Perez, teaches a class of his energized invention. A key element is the music, which has a Miami-esque feel. 801 SW Third Ave.; 305-989-3747; zumba.com.

Pilates One: A former partner in P2 Pilates, Karen Schachter runs this homey studio in South Beach, with clients in fields like law, public relations and fashion. 2001 Meridian Ave.; 305-794-0175.

September 23, 2014
By Shivani Vora | Restaurants
Maison Kayser Opens for Dinner
Jim Franco Photography

Even the most carb-averse couldn’t resist indulging in Eric Kayser’s killer breads when the baker first opened a branch of his Paris boulangerie, Maison Kayser, on Manhattan’s Upper East Side two years ago (maison-kayser.com/en).

Since then, four more locations have opened around town, including the newest on East 87th Street; another is already slated for the Upper West Side in early November.

But while the cafés are always bustling with daytime customers stopping to pick up their unparalleled baguettes and loaves, or lunch from their menu of quiches, savory tarts and salads, served all day, the spaces are quiet come nightfall. That’s set to change on October 7, when corporate chef Olivier Reginensi debuts a new dinner-only offering of French bistro classics across all locations.

Reginensi, who worked at several Michelin-starred kitchens in his native France, like Les Prés d’Eugénie, and at top Manhattan eateries including Daniel, says he plans to overhaul the options at least four times a year and will use mostly organic and local ingredients. For fall, expect a savory tart of acorn squash puree, fresh ricotta and pomegranate, an endive salad with pears, Roquefort blue cheese and caramelized walnuts and duck rillettes on toast. Heartier picks to match the dropping temperatures will also be on offer, including a decadent cassoulet with duck legs confit and a coq au vin.

The brand doesn’t have a liquor license, but with the no-charge BYOB policy, oenophiles can bring their ideal Burgundy or Bordeaux to match the traditional fare.

French jazz, dimmed lights and burning votives will round out the scene of a Left Bank boîte, giving Manhattanites access to Maison Kayser’s irresistible creations day or night.

September 23, 2014
By Susan Michals | Art
Highlight Reel: Frieze London 2014
MARY CORSE Untitled (Black and White with Blue Outer Bands, Beveled), 2014 glass microspheres in acrylic on canvas 84 x 84 inches 213.4 x 213.4 cm Courtesy the artist and Lehmann Maupin, New York and Hong Kong

Frieze London, the grande dame of all art fairs, returns to the city’s Regents Park to showcase another annual installment dedicated to contemporary and living artists (friezelondon.com). From October 15 to 18, visitors (over 60,000 people are expected) can take in works from 162 participating galleries from around the world. With plenty to see, hear and learn, here’s what you cannot miss. 

Brand-new to the fair this year is Live, a section devoted entirely to performance-based installations, including works specifically conceived for Frieze and the restaging of important historical pieces. Works by Robert Breer, Franz Erhard Walther, Tamara Henderson, Adam Linder, Shanzhai Biennial and United Brothers will all be on view.

Head to Lehmann Maupin Gallery’s stall for a curated selection of multimedia works by artists like Lee Bul, Alex Prager, Tracey Emin, Teresita Fernández and others, who all share an interest in the perception of constructed environments—both physical and psychological.

Also of note is the presentation from New York’s Lower East Side gallery Canada, which showcases works by artists such as Michael Williams and Xylor Jane. Keep an eye out for pieces by the late artist David Askevold, once dubbed by fellow artist Mike Kelley as the “difficult conceptualist.” Askevold’s artistic endeavors, such as his Psychedelic Buffalo 3, defy explanation and hark back to trippy days gone by; they should not be skipped.

For art of slightly older provenance (all works on view were made before 2000), check out Frieze Masters (friezemasters.com), just a 15-minute walk away. Pay special attention to the solo artist presentations from the fair's impressive list of 120 galleries from October 15 to 19.

Should you need a break from the throngs, but not from quality art, head to London’s oldest French restaurant, L’Escargot (48 Greek St.; 44-20/7439-7474; lescargotrestaurant.co.uk). Only 14 minutes away by Tube, the old standby has just launched its Upstairs Club, with six kaleidoscopically redecorated rooms full of comfort and calm. Thanks to its collection of works by Salvador Dalí, Matisse, Laura Knight, Peter Blake and Grayson Perry, among others, you’ll still feel part of the artistically inclined fanfare.

September 22, 2014
By Emily Arden Wells | Spirits
Spirit to Sip: The Glenlivet’s New 50-Year-Old Scotch
Photo courtesy of Pernod Ricard

While the cooler months always bring an influx of whiskeys to the market, not every bottle of brown is created equal.

Next month, however, single-malt Scotch maker The Glenlivet will release Vintage 1964, the first expression of its brand-new Winchester Collection, a series of unique and rare 50 year-old Speyside whiskies named after master distiller Alan Winchester.

“This is the very first time that The Glenlivet has ever released a series of 50-year-old whiskies,” says Winchester. “[It’s] a very special moment for us and something that we have been waiting on for a long time.”According to Winchester, Captain Bill Smith-Grant—the brand’s master distiller in 1964—set aside this particular cask due to its quality and maturation potential. After 50 years sitting in a single American oak cask, this exquisite whisky offers the signature flavors of The Glenlivet, but with heightened saturation and clarity. 

On the nose, Vintage 1964 boasts big fruity aromas of tropical fruits, pear and green apple, and a touch of vanilla and cocoa from the barrel. On the palate, the oak becomes more pronounced, with flavors of toffee, peach, brûléed orange and a hint of black licorice on the finish. A drop of water opens this expression gorgeously, releasing an ultra-creamy mouthfeel and notes of pineapple, coconut and honey.

To match the provenance of the spirit itself, the bottle was designed by renowned Scottish glass artists Nichola Burns and Brodie Nairn of Glasstorm, and it’s topped with a stopper designed by silversmith Richard Fox, made of rose gold and a whisky-colored Cairngorm stone. Furniture maker John Galvin created the white-leather-lined, black-walnut presentation cabinet.

With only 100 bottles available worldwide at $25,000 each, the Vintage 1964 is the first of the collection to hit the market. Bottle no. 1 will be available for purchase at Harrods in London on October 1. (The second in the series will be the Vintage 1966, a vastly different spirit to be released in 2016.)

September 17, 2014
By Susan Michals | Art
Michael Lindsay-Hogg&rsquo;s Fifth Career
Courtesy of Jessie Askinazi

Michael Lindsay-Hogg is the epitome of the Renaissance man. He is a painter, writer, director and an unmitigated bon vivant, of sorts. He’s directed videos for The Rolling Stones and The Beatles, as well as the acclaimed television series Brideshead Revisited. (He’s also the purported son of Orson Welles.)

He has dubbed his work as a painter, which he has now turned to full-time, as “career number five,” and his latest creations can be seen in the brand new exhibition “Casanova’s Dream,” on display at The Salon at Automatic Sweat in Los Angeles through October 10.

Lindsay-Hogg’s painting is an amalgamation of folk-art-like expressionism suffused with wit and humor, a la poet Dorothy Parker or filmmaker Preston Sturges. Like all of his work, the artist does not limit himself to mere canvas; he works on cardboard, paper, postcards…anything he feels will enhance his vision.

“I guess painting is what I like doing best now,” mused the artist at his opening last Saturday evening. “Although, in one way, it’s only marks and colors on a surface, for me there’s a link to writing, directing, in movies and theater. There is an ambiguous relationship the people in the paintings have with each other, with the outcome—often in doubt, or left hanging—[and] with each other or with the viewer.”

What is beyond clear, however, is that his artwork deserves to be seen. 2656 S. La Cienega Blvd.; 310-839-3100; automaticsweat.com.

September 17, 2014
By Alisha Prakash | Shopping
Chamber: A 21st-Century Cabinet of Curiosities
Studio Job

One trip to Chamber, the brand new home and design mecca located under the High Line in the Chelsea neighborhood of New York City, and you’ll try to find a way to move in.

Designed by MOS Architects, the modern, all-white space takes its inspiration from a 17th-century cabinet of curiosities, adapted for contemporary palates. Every two years founder and Museum of Modern Art vet Juan GarcÍa Mosqueda will choose a different designer to curate the boutique’s rotating selection of 100 vintage and limited-edition items of decor, furniture and art by emerging and established talent.

Dutch designers Studio Job have chosen the shop’s inaugural collection, which, along with creations by other talents, will include their designs for a brand new series and a special edition of their Lensvelt furniture (first presented at the 2013 Salone del Mobile). The trove will also feature specially commissioned pieces like a 3D-printed skull sculpture by Nick Ervinck, a handmade oil and vinegar set by Formafantasma and leather paintings by Esther Janssen, alongside objects like Tom Dixon’s utilitarian steel floor lamp and Nendo’s Glas Italia bookshelf. Vintage rarities like a 1956 Borsani desk for Tecno and Delvaux purses will also be on display.

“It’s the idea of having a well-rounded collection that goes beyond trends and stylistic and curatorial pursuits,” says the Argentine-born, Art Institute of Chicago–trained Mosqueda, who is particularly looking forward to selling a fragrance by Fueguia 1833 perfumist Julian Bedel in a Studio Job porcelain bottle, among other items.

“I wanted to bring back the importance of the physical experience by deeply focusing on the analog rather than the digital,” he says. “That’s why it’s essential for Chamber’s visitors to really spend time looking at and hearing the stories behind each of our complex hand-picked objects.” 515 W. 23rd St.; chambernyc.com.

September 10, 2014
By Sasha Levine | Wine
Taylor Fladgate's 151-Year-Old Port
Courtesy of Taylor Fladgate

There’s no better way to toast the coming autumnal season than with Taylor Fladgate’s brand-new release: the maker’s first-ever 151-year-old Tawny Port.

More than a century and a half since its harvesting, the 1863 Single Harvest Tawny Port arrives on select U.S. shelves this month in a specially crafted crystal decanter, housed in a burled maple veneer box ($3,700). With only 1,600 bottles available worldwide, this extremely rare port owes its singularity to more than just its age, but to its exceptional provenance, as well.

With grapes plucked from the port house’s vines and foot-treaded in the Douro Valley, not only does the vintage mark one of the best harvest seasons since 1834, thanks to a year of intense heat and a resuscitably rainy August, but also one of the very last harvest seasons before the outbreak of phylloxera—a pest that ravaged vine roots in the 19th century and changed the course of grape growing.

The single-harvest fortified wine (colheita in Portuguese)—which, unlike other bottles offered by the port house, is unblended—then fortuitously sat waiting in two wooden casks in Taylor Fladgate’s massive, dark, damp port lodges in Oporto. (All tawny port, unlike vintage ports left to mature in bottles, is aged in wood.) The facility’s conditions, brought on by cool, humid winds coming off the Atlantic Ocean and the Douro River nearby, provided the ideal conditions for the vintage’s maturation.

One hundred and fifty-one years later, this singular fortified wine boasts a subtly spicy (nutmeg, pepper), sticky-sweet nose (molasses, marzipan) and a full-bodied, mellow, lightly acidic flavor that’s entirely unique to the vintage, proving that the adage “patience is a virtue” is never truer than when applied to port. taylor.pt/en/.

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