It would be easy to assume that Paris might be a city trapped in its architectural past. Its global brand is most often associated with the work of Haussmann from the 19th century. The city itself is almost entirely devoid of modern skyscrapers. And heritage preservation rules are, from what I gather, strict. But look behind and beyond Haussmann's facades, and you'll find a city that is progressive and experimental.

Take, for example, the Bourse de Commerce. Originally constructed in the 18th century as a hall to both store and sell wheat, a recent renovation by Japanese architect Tadao Ando dropped an exposed concrete cylinder right in the middle of it. It is now a contemporary art museum and, in my opinion, one of the most architecturally interesting buildings in the city.

Paris certainly cares about its past — as it should — but it's also not afraid to intervene and break free from it in dramatic ways.

Yesterday we visited the Arquipélago — Centro de Artes Contemporâneas in Ribeira Grande on the northern part of the island. Originally the Ribeira Grande Distillation Factory, the site dates back to the late 19th century. Construction on the original buildings began in 1893 and the first export of alcohol was reported in 1896. However, production was short lived.

In 1901, due to pressures from the Portuguese mainland, a protectionist measure was put in place capping alcohol production across the Azorean islands to 2 million liters per year — a drop from 10 million liters per year. The mainland simply couldn't compete with low-cost alcohol from the islands and so they complained. This crippled the local industry and the factory shut down shortly after.

Subsequent to this, the site was repurposed for tobacco drying and storage, and even served as military barracks for a period of time. Then in 2006, the property was purchased by the Azorean government and, using money from the EU's Regional Development Fund, it was remade into what is now fittingly referred to as a "factory of culture."

The architects for the project were João Mendes Ribeiro and Menos é Mais Arquitectos, and if you ever find yourself on São Miguel, I would highly recommend you visit the center. The architects did a wonderful job creating a cohesive dialogue between the old (constructed out of black volcanic basalt) and the new. It was recommended to me and now I'm recommending it to all of you.

This December 4 (2019) -- the day before Art Basel starts -- the Rubell family will open a new 100,000 square foot museum in Miami's Allapattah district. (For years people have been calling Allapattah the new Wynwood.)

A former industrial space on a 2.5 acre lot, the building was renovated by New York-based Selldorf Architects. Just over half of the building has been allocated to exhibition space and about 65% of this will be for permanent/longer-term collections.

The Rubell family started collecting contemporary art in 1965. At the time, they were living in New York City. In 1990 they moved to Miami and in 1993 they opened up the "Rubell Family Collection" in Wynwood, which was a depressed neighborhood up until probably the early 2000s.

With over 7,200 works, it is now one of the largest privately owned and publicly accessible contemporary art collections in the world. If you live in Miami or you happen to find yourself there this winter, you may want to check out the new Rubell Museum.

Rendering: Selldorf Architects

It would be easy to assume that Paris might be a city trapped in its architectural past. Its global brand is most often associated with the work of Haussmann from the 19th century. The city itself is almost entirely devoid of modern skyscrapers. And heritage preservation rules are, from what I gather, strict. But look behind and beyond Haussmann's facades, and you'll find a city that is progressive and experimental.

Take, for example, the Bourse de Commerce. Originally constructed in the 18th century as a hall to both store and sell wheat, a recent renovation by Japanese architect Tadao Ando dropped an exposed concrete cylinder right in the middle of it. It is now a contemporary art museum and, in my opinion, one of the most architecturally interesting buildings in the city.

Paris certainly cares about its past — as it should — but it's also not afraid to intervene and break free from it in dramatic ways.

Yesterday we visited the Arquipélago — Centro de Artes Contemporâneas in Ribeira Grande on the northern part of the island. Originally the Ribeira Grande Distillation Factory, the site dates back to the late 19th century. Construction on the original buildings began in 1893 and the first export of alcohol was reported in 1896. However, production was short lived.

In 1901, due to pressures from the Portuguese mainland, a protectionist measure was put in place capping alcohol production across the Azorean islands to 2 million liters per year — a drop from 10 million liters per year. The mainland simply couldn't compete with low-cost alcohol from the islands and so they complained. This crippled the local industry and the factory shut down shortly after.

Subsequent to this, the site was repurposed for tobacco drying and storage, and even served as military barracks for a period of time. Then in 2006, the property was purchased by the Azorean government and, using money from the EU's Regional Development Fund, it was remade into what is now fittingly referred to as a "factory of culture."

The architects for the project were João Mendes Ribeiro and Menos é Mais Arquitectos, and if you ever find yourself on São Miguel, I would highly recommend you visit the center. The architects did a wonderful job creating a cohesive dialogue between the old (constructed out of black volcanic basalt) and the new. It was recommended to me and now I'm recommending it to all of you.

This December 4 (2019) -- the day before Art Basel starts -- the Rubell family will open a new 100,000 square foot museum in Miami's Allapattah district. (For years people have been calling Allapattah the new Wynwood.)

A former industrial space on a 2.5 acre lot, the building was renovated by New York-based Selldorf Architects. Just over half of the building has been allocated to exhibition space and about 65% of this will be for permanent/longer-term collections.

The Rubell family started collecting contemporary art in 1965. At the time, they were living in New York City. In 1990 they moved to Miami and in 1993 they opened up the "Rubell Family Collection" in Wynwood, which was a depressed neighborhood up until probably the early 2000s.

With over 7,200 works, it is now one of the largest privately owned and publicly accessible contemporary art collections in the world. If you live in Miami or you happen to find yourself there this winter, you may want to check out the new Rubell Museum.

Rendering: Selldorf Architects