Miami's New Standard Hotel
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Miami's New Standard Hotel

The Standard, Miami proves there's life beyond South Beach. The first spa hotel from André Balazs is a cunning throwback to Miami's golden age.

Fifty years ago, a chunk of prime waterfront on Belle Isle, just off the western shore of South
Beach, was occupied by a two-story motor court called the Monterey Motel. Mr. and Mrs. Regular
Joe would drive down with the kids on their annual winter pilgrimage, park their big American
dream machine directly in front of the room, and gaze out through jalousie windows upon a sea
of automotive flesh—a prelude to the blue serenity of Biscayne Bay. In the early 1960's,
the Monterey was sold; the new owners added a three-story lobby-and-spa building, grassed over
the concrete, and rechristened the property the Lido Spa Hotel.

For the next four decades, the Lido endured as a bastion of Catskills culture, a time-warp
of handicrafts, chair-aerobics classes, and circle dances in the pool to the tune of "Hava
Nagila." In the blank expanse of their evenings, widows took the air, chuckled at variety
revues, and whirled gamely about the dance floor with elderly male host dancers. (These were
the same ladies who, in the early days of South Beach, rocked on the porches of decrepit Art
Deco hotels, chirping in the manner of distracted blackbirds at all the young people who were
about to drive them out of their homes.) Two years ago, the Lido shuddered to a close, marking
an end to the era when the old were actually welcomed in the vicinity of South Beach. The
place stayed exactly the same until the end, making no concessions to the whims of fashion
or taste; in the process, it had become the only truly unique hotel in Miami.

It's all about location, of course, and the Lido held on for so long partly because it was
a refuge from the fray of South Beach. Apart from the hotel, Belle Isle has always been entirely
residential. With its colorful collection of old waterfront cottages still defying the ravages
of development, it is a landscape at peace with itself, stilled by water.

This little marzipan village—Miami as it used to be—was seemingly tailor-made
for hotelier André Balazs, an archaeologist of ambience. Balazs is betting that his
tribe of acolytes, the nomads of fashion who once craved noise (particularly the social riot-zone
of South Beach), will now pay for quiet, the modern world's ultimate luxury. And so, on peaceful
Belle Isle, within the hallowed grounds of the old Lido, he has unleashed his first spa hotel.
The Standard, Miami riffs on the glories of the Lido's past with the inevitable dollop of
irony: the future, to Balazs, is a hipster-holism theme park that juggles the spiritual and
the pagan.

Balazs has always been adept at envisioning the next curl of the culture. His 1990 acquisition
of L.A.'s Chateau Marmont spoke to a contemporary yearning for grace and old Hollywood glamour.
The elegant minimalism of New York's Mercer hotel, opened in 1997, anticipated the monied
march of SoHo. In 1998, the first Standard hotel, in West Hollywood, made the ballyhooed "cheap
chic" trend actually cheap, with room rates starting at $95 a night. The hotel was wrought
from a 1962 Sunset Strip institution called the Thunderbird Motel, a downtrodden joint that
had become a last-chance retirement home; Balazs's team infused the place with pure Pop, in
the form of blue Astroturf pool decks and Warhol flower-print curtains. Four years later,
a second outpost arrived, in downtown Los Angeles, which was then virgin terrain for design
hotels, as Belle Isle is now. The Standard Downtown took over the former Superior Oil headquarters,
a 1956 landmark that Balazs filled with Verner Panton furniture and weekly bacchanals.

South Beach is presently riding its third wave of hype and glory as a resort town, and Balazs,
having missed the first two epochs, has been digging in for the Era of Serious Money. His
first move was to buy and renovate the Raleigh, L. Murray Dixon's 1940 Art Deco masterpiece
on Collins Avenue. The Raleigh is Miami's version of the Chateau Marmont, and its Old Florida
pageantry will be linked to the Standard's forward-thinking gestalt by a shuttle service.
As with Sunset Boulevard, Miami Beach may yet become Balazsland.

The new Standard is rooted in the genius of the late architect Morris Lapidus, that visionary
of excess—and accidental post-modernist—who defined Atomic Age opulence 51 years
ago with the Fontainebleau. Lapidus also put his trademark baroque spin on the façade
of the Lido, a confection of gold grille panels and tiny sea-foam–green ceramic tiles with
the good name of the hotel writ large in jaunty yellow neon. Because the building is a protected
icon, the Lido lettering remains intact, though the neon has been removed; the customary upside-down
STANDARD sign is tucked discreetly above it on the roof.

Ironically, Lapidus wound up spending his last bitter days a few hundred feet away, in a
1961 building of his own design. At 97, living among his Lucite chairs, cowhide bar, and Pegasus
sculptures, within earshot of the social director's endless announcements over the Lido P.A.
("Attention Lido Spa! It's time for the Aqua Follies!"), Lapidus was still railing about the
nerve of Miami's vulgarians. Sadly, one of his last clients was a local Fuddruckers—yet
another part of the chain juggernaut that has been transforming South Beach into Anywhere,

The Standard, in its own twisted fashion, actually honors the unhinged history of mid-century
Miami Beach. Balazs retained the lobby's white-marble walls, terrazzo floors, and stainless-steel
elevators, then added a row of Hans Wegner rocking chairs, as a camp homage to the widows
of an earlier era. A decidedly personal vision reigns in the public areas, with the usual
Modernist suspects—Aalto tea trolleys, vintage Danish furniture, Arne Jacobsen sconces
from an old SAS hotel in Stockholm—counterpointed by riskier propositions such as beanbag
coffee tables and a Hans Hopfer denim sectional sofa that sprawls out like an errant amoeba.
Just off the lobby is the hotel library, where Robert Pirsig's bible of hippie-dippiedom,
Zen and the Art of Motorcycle Maintenance, sits alongside Sex, Ecology, and Spirituality
and The History of the Devil and the Idea of Evil
. A sliding door emblazoned with a retro
sunburst pattern leads to a lounge done up with Olewanscher easy chairs, walls covered with
woven goat's wool, and a bar topped with polished Douglas fir. The entire package recalls
a 1960's hippie mogul's house in California. In the bathrooms, rectangular sinks, diagonal
strips of mirrors, and painted pine jump ahead to a 1970 Playboy After Dark effect.

Alongside a bank of epic windows is the airy in-house restaurant, supervised by Eric Ripert
of New York's Le Bernardin, with a menu leaning toward fresh fish seasoned with herbs from
the Standard's own gardens. The dining room, lined with slanted pine planks, looks like an
overinflated Swedish sauna; a deep-blue, glazed-brick accent wall is pure Scandinavian summer.

In fact, despite all the whimsy and let's-lasso-the-zeitgeist in-jokes, the entire hotel
was actually inspired by the simple and somber lodges of the Stockholm archipelago. Guest
rooms evoke Swedish cottages with their whitewashed walls of sandblasted plywood and floors
adorned with bright blue macramé rugs. Cotton tea cozies cover wall-mounted televisions,
picnic baskets serve as bedside tables, and bathrooms are Shaker-plain but comfortable.

Scandinavian decorative conceits are not the usual Florida thing, but this is, after all,
a spa hotel, and they work well with the Standard's inner-journey ambitions. The Esalen-like
Standard Center for Integral Living provides naturopathic counseling, guided fasts and cleanses,
even relationship workshops. Guest rooms are serviced by rolling Apothecarts bearing herbal
teas and aromatherapy footbaths. Of course, the life of appetite being a Balazs trademark,
mini-bars are also stocked with homeopathic DrinkEase hangover medication and Standard-brand

Every inch of the Standard plays with sin and redemption, excess and denial, in settings
that alternately smack of Roman decadence and monastic purity. Next to a classic cedar sauna
where guests can slap themselves silly with soapy birch branches, private nooks are set aside
for "self-exploration and indulgence." The Turkish hammam has heated marble seats and a somewhat
less traditional subwoofer mounted in the corner. Across the hall is a scrub room with enormous
overhead hoses, the same kind used by butchers.

Many of the treatments are things guests do for themselves or each other: the high-pressure
hoses, for instance, or—for those staying in the ground-level "Wet" rooms—a healing
soak in an outdoor bathtub encircled by way-too-transparent curtains. A guest can also drop
$165 on a Standard Spanking" (a cellulite-fighting massage) or $360 per couple for a K.I.S.S.
scrub, a massage, and a Chinese "sex tonic." Yet for the most part, the Standard is keeping
things cheap and easy.

The heart of the hotel is the pool and hydrotherapy area, an ode to communal bathing as social
sacrament. The outdoor aquacade encompasses a plunge pool, a hot tub, and a 12-foot-tall,
three-inch-wide column of falling water. DJ-spun music plays through underwater speakers in
the chlorine-free Sound Pool. In the clothing-optional mud baths, guests can slather one another
with "golden body mud." Arbors of sea-grape trees, night-blooming jasmine, and Moroccan palms
are intended to create "pockets of contemplation." Scattered about the lawn are more convivial
arenas, such as a set of immense, pie-shaped wicker lounges flanking a small fire pit.
Just off the courtyard is a Tyrolean-style wishing well, a kitsch holdover from the Lido days.
Back then it bore a perky little sign: HOME TO THE ADVENTURES IN BEAUTY.

Balazs, who began his career in the nightclub business, understands that the alchemy of chic
is a delicate matter—and never more so than now, as corporations co-opt everything from
punk imagery to the trappings of mysticism. With even pedestrian chain hotels installing hammams
in an attempt to appear hip, the Standard's hydrotherapy-meets-holism concept is no longer
so novel. Not long ago, when the vocabulary of the daring hadn't devolved into a barrage of
visual clichés—when every trendy establishment around the globe didn't look exactly
the same—it was far easier to make a mark. "Think of what Spiegel accomplished by hiring
Verner Panton," Balazs says. "Now, every groovy designer doing some musician's house steals
from Panton. Everything is known everywhere."

This co-opting of cool is especially prevalent in South Beach, where even the Lapidus-designed
Ritz-Carlton has a drag-queen DJ spinning house music in—what else?—the Lapidus
Lounge. Only here would the Hyatt brand, seeking an illusion of boutique edge, downplay its
involvement in the new Victor Hotel and hire P. Diddy and a troop of penguins for the grand
opening. In the golden age of Miami Beach, half-baked hucksters built larger and more outlandish
hotels each year. Now, big money pretends to be small.

In post-Delano South Beach, trying to out-Starck Philippe Starck is a futile effort. Balazs
has managed to carve out his own carefully modulated turf, even among countless boutique-hotel
competitors and pretenders. The Raleigh's atmosphere is more palatable for people of a certain
age than, say, that of the Shore Club, and Balazs has hosted some intelligent parties at the
hotel. On the other hand, the Raleigh's Sunday Soirées—poolside bashes around
a vast tribal bonfire—cross the line to resemble overlit nightclubs. For fashion designer
Catherine Malandrino, who was dismayed by the silicone, hormones, and escalating Euro-lounge
music one recent afternoon at the Raleigh, a moment has passed. "I've been coming here for
eight years. Back then it was an undiscovered jewel—quiet, shabby, and crooked," she
sighs. "Maybe it's time to look for the next secret place."

Balazs insists that the Standard, Miami will be the opposite of "everything Collins Avenue
has become."Then again, the Standard has applied for a 5 A.M. liquor license—and in
Miami, everyone, everywhere, wants some kind of party. A lounge and outdoor restaurant now
occupy the Standard's wooden dock, set to become yet another stomping ground for the young
and wayward, though the hotel is not permitted to play music after dark. Given the constrictions
of being the only commercial enterprise in a residential area, the Standard is bound to face
some complaints from the neighbors. Few people on Belle Isle will be thrilled to live next
door to any kind of late-night scene, no matter how tasteful.

In the end, to last as long as the Lido, the Standard only needs to stay out of its own way
and embrace Biscayne Bay, a lulling expanse of pure beauty that makes natives fall in love
with Miami all over again. Balazs insists he is resolved to keep the party small and quiet.
"This little neighborhood of cottages, with the sounds of birds and children playing, is like
nothing else in America," he says, sipping a glass of wine as night falls and the skyline
of downtown Miami glimmers across the bay. "It's lost in time, unbelievably charming. The
vibe doesn't need music: the idea is to turn down the volume, not step into it."

The Miami area is in the midst of an unprecedented real-estate explosion, and hotels are
turning up all over. Miami Beach will soon see entries from Rosewood Resorts (the Acqualina),
Canyon Ranch (a new health resort), Le Meridien (Sunny Isles), and Regent
(two condominium-hotel projects). Morris Lapidus's landmark Sheraton Bal Harbour is being
demolished and replaced with a St. Regis condo-hotel. On Key Biscayne, Sonesta Hotels
is tearing down the old Sonesta Beach Resort and building a new $300 million property
with five-star ambitions, to compete with the nearby Ritz-Carlton. (The Ritz-Carlton
chain also has properties in South Beach and Coconut Grove.) Downtown Miami's standard-bearers
of luxury—the Four Seasons Hotel Miami and the Mandarin Oriental—are
still firing on all cylinders; the Mandarin has even started throwing a weekly SoBe-style
party on its artificial beach. Ian Schrager, of the Shore Club and Delano, reportedly plans
to open properties in North Miami Beach and downtown. Meanwhile, stealing a page from Schrager's
book, 29- year-old Sam Nazarian has hired Philippe Starck to redo the old Ritz Plaza,
right across the street from the Starck- designed Delano.

It's a bold new order, and a crowded field, with plenty of good values. Below, some of this
year's standouts.

The Standard, Miami

André Balazs's first spa hotel.


40 ISLAND AVE., MIAMI BEACH 305/673-1717

The Raleigh

Balazs recently revamped this 1940 Art Deco jewel, which has one of America's great pools,
where Esther Williams once filmed her Technicolor aqua-dreams.


1775 COLLINS AVE., MIAMI BEACH 305/534-6300

Hotel Victor

Opened in February, adjacent to the old Versace mansion, this new 91-room property—owned
by Hyatt—is the first American hotel orchestrated by Paris-based designer Jacques Garcia.
The Victor has the now requisite hammam, as well as a celebrated in-house restaurant, VIX.


144 OCEAN DR., MIAMI BEACH 305/428-1234

The Setai

This much-anticipated condo-hotel combo arrived in August and is plush as all get-out, with
a champagne-crustacean-caviar bar, three outdoor pools, and an opulent spa.


2001 COLLINS AVE., MIAMI BEACH 305/520-6000

Sanctuary Hotel

A tasty little 30-room property with a spa, salon, rooftop bar, and trendy Sugo restaurant
for the chattering classes.


1745 JAMES AVE., MIAMI BEACH 305/673-5455

Bentley Beach Hotel

Still in its pre-opening–gala phase, the 109-suite Bentley Beach—a member of Small Luxury
Hotels—was designed by Architectonica and is hyping the first Caroli spa in North America.


101 OCEAN DR., MIAMI BEACH 305/938-4600

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