Miami Beach's Fontainebleau hotel is opening a water park with slides. See plans
Since it opened in 1954, in a region known for hype cycles, for boom and bust, the Fontainebleau Miami Beach has rolled with the times by adding and renovating. Now, it's time for another major overhaul, one that will add a water park with 11 slides to the pool area.
Miami Beach's most famous landmark wants to appeal to a group not often associated with South Florida luxury hotels: children. And it plans to do that by renovating the outdoor pool deck and adding water slides and other features that'll keep kids engaged all day. The area will be separate from the other pools but serve as the heart of a more family-friendly Fontainebleau.
MORE: Miami Beach's Fontainebleau looked like that? See how the landmark hotel has changed
The hotel 'will be transformed into a destination for all-ages, with all-new pools and water features, family attractions and slides, food and beverage offerings, and elevated poolside entertainment,' the hotel owners said in a statement. They declined to specify the amount of money they're investing.
Plans include a 130-foot waterslide, one of the largest drops in the country, Brett Mufson, president of Fontainebleau Development, said in an interview with the Miami Herald. That also exceeds the 80-footer at the Tidal Cove water park at the Turnberry Resort in Aventura.
Like Tidal Cove in Aventura, with the same ownership, the Fontainebleau water park will be open to the public. Prices have not been announced yet.
As the building plans go forward, so is the permitting process. The Fontainebleau said it has submitted an application to the Historic Preservation Board for a major renovation of the rear yard and pool area. The application is under review by city planners and the hotel expects to be evaluated either Oct. 21 or Nov. 18.
Construction at the Fontainebleau, 4441 Collins Ave. in the middle of Miami Beach, will start in the first three months of 2026, Mufson said. He expects the redo to be finished by 2027. The hotel and pool will stay open during the water park construction. 'We'll do it in phases,' he said.
Set on 22 oceanfront acres, across from Indian Creek and about three miles from South Beach and the Art Deco district, the hotel has long been one of South Florida's most popular luxury resorts. Its original curves and MiMo designs are what makes it one of the most recognized buildings in the world.
The hotel, with 1,504 guest rooms and suites. already has a large pool deck with a 368,000-gallon free-form swimming pool, featuring a huge rock grotto and cascading waterfalls. The pool area has undergone several major renovations through the years.
Even with all the upcoming changes, the total surface area of the pools 'will stay the same,' Mufson said. But the configuration will change. The remodeled deck will have a kids pool and a kids camp, and feature interactive games and sprinklers.
The hotel will boast a 'new waterfront that will be transformed into a family-friendly resort.' Mufson said.
Waterslides: The hotel currently has one small slide in the children's pool. After the renovation, it will have six water slides for adults and teenagers and 5 for children.
Number of pools: The hotel currently has 10 pools on the main pool deck. After the changes, it will have five pools, two hot tubs and what it dubs 'an immersive kids play park.'
Current square footage of pool: The Bowtie pool is currently 11,770 square feet and will not change. The entire pool deck is about 19,000 square feet and won't change significantly.
Cabanas for day visits: Beyond the pools, the resort will also add cabanas. This will allow people who don't want to spend a full night at the hotel to enjoy the amenities.
''Locals are going to get huge benefit out of this as well,' Mufson said.
The cabanas will have televisions and lockers that visitors can rent for the day.
The new renovations could create 400 to 500 jobs, Mufson estimated, including ride attendants, lifeguards, food and beverage staff, and guest services personnel.
Other renovations started last year and are near completion. All guest rooms in all hotel towers will be redone by September. The spa and gym will also be expanded.
A new convention center opened at the end of 2024. 'That allowed us to bring in more people and more groups to Miami Beach,' Mufson said. With the cabanas and kids and family area, 'we now want to bring in a new type of guest.'
The Fontainebleau was built on the former estate of car tire mogul Harvey Firestone and opened in 1954. The old Firestone mansion was used as a construction office by the Fontainebleau before it was demolished to make way for the pool and gardens. Miami Beach architect Morris Lapidus designed the hotel.
In 2005, South Florida's Turnberry Associates, the development firm founded in 1969 by Aventura developer Donald Soffer, acquired the Fontainebleau Miami Beach resort. By 2008, the hotel had undergone a $1 billion renovation, including the addition of two towers, the Trésor and Sorrento.
By then, Jeffrey Soffer and Jackie Soffer, son and daughter of Donald, were running Turnberry.
In 2019, the siblings decided to go their separate business ways. Jeffrey Soffer kept the hotels and formed a new company, Fontainebleau Development. That firm owns the Fontainebleau Miami Beach. Jackie Soffer runs Aventura Mall and other real estate developments. Donald Soffer died in July.
Brett Mufson said the hotel hasn't had a major renovation in more than 15 years.
'It's time to reinvent what the Fontainebleau is.'

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Los Angeles Times
20 hours ago
- Los Angeles Times
Meet the 24-year-old designer who's becoming the face of avant-garde fashion in L.A.
Erik Charlotte VonSosen has always talked of her craft in a nonchalant fashion. I've often witnessed this whenever I see the L.A.-based designer. We go somewhere, maybe a crowded house party or a flea market, and someone strikes up a conversation. They may be a stylist, an industry insider or simply a courageous flirt, but a compliment on what Charlotte is wearing is inevitable. Sometimes she's wearing a tightly laced corset, a wool minidress or a methodical two-piece set. But either way, she quickly responds to the flattery with a return compliment, an unpretentious, 'Thanks, I made it,' and moves the conversation forward. Though ever-changing, Charlotte's stylistic instincts were clear from early on in our friendship. Her brows are almost always freshly bleached. A Victorian cameo typically clings to her neck as a choker and her industrial '90s Jean Paul Gaultier handbag punctuates her daily wardrobe. 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She's wearing overalls, half undone, oversize glasses, her golden hair tossed up in a messy bun with a stuffed sketchbook in hand. We set out to go fabric shopping at Fabric Planet in Venice. She's on a mission to create an all-white lace look, complete with a bonnet, puffy sleeves and feathers, for her own creative fulfillment. Cerys Davies: When you are making something for yourself, how does your creative process start? Erik Charlotte: I will only start drawing when I have an idea. Sometimes a building I saw or someone on the street will catch my eye. I let the thought marinate for a few days, or I'll write it down in my notes. Or an idea will come to me really quick. And then, if I don't have my sketchbook, I'll sketch it here. Surrounded by bolts of fabric, she whips out her phone and swipes through a series of finger-drawn sketches in her notes app. I only have a couple minutes to sketch before the idea changes. It needs to be as pure as possible. Sometimes, I'll even get out of the shower to sketch something. CD: It seems like you have a constant flow of ideas coming out of you. How do you know when it's done living in your sketchbook? EC: Once it becomes the most exciting idea. There's always a couple things on standby. The look [we are shopping for] has a lot of elements that I'm familiar with, like the puff-sleeve job, the bonnet and the inclusion of feathers. It's all elements that I've already attempted and really liked — so, I'm Frankensteining them. She lands on six different kinds of white lace, with plans to layer them. An employee comes up to double-check that she only wants one yard of each pattern. I'll give myself a challenge: One yard of each and they're all really different textures — maybe each sleeve puff might even be different. I like when things are so different that they can't be replicated. Honestly, [with my work] things really can't be, because there's always tiny splotches of blood on my corsets' lining. It's such a physical labor that I'll break half my nails or my hands will be full of cuts. She opens her hands up to me, revealing Band-Aids and well-formed callouses. For some reason, I can only cut with my left hand. I do everything else with my right hand. CD: Have you always been like that? Ever since kindergarten? EC: Yeah, they thought I was ambidextrous. But I could only use my left when using scissors. It's strangely helpful, because I can position fabric and then cut it perfectly. CD: That's hilarious. It's almost like cutting fabric is innate to you. We continue to circle the racks with no real goal — looking for something that strikes up inspiration. Charlotte lands on a fabric with a white background, detailed with fine line drawings in blue. EC: I've always wanted to do something with this, but Moschino has something similar. 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CD: Does being self-taught ever cause any tension within yourself and your work? EC: Sometimes I get insecure about it. When a stitch isn't working, or I mess up the seam, I'll delegitimize myself a little bit and think I'm a fraud because I'm having people pay me for this. But sometimes it can be a real learning opportunity. CD: How do you think your roots in drag culture informs what you create today? EC: It's where I get my affinity for exaggeration. I love an exaggerated silhouette. I always pattern my corsets with an exaggerated hip shape, because that's the drag definition of what femininity looks like. I don't think it's my definition of femininity anymore, as a trans woman, but having that exaggeration still live somewhere in my work is a testament to drag culture. It's how I spent my teenage years. There are also so many queens who don't know how to sew and can still do a whole re-creation of a Met Gala look with hot glue. In drag, you can do so much with such little material or proper experience. There's no guidebook on what to do. I bring that same approach to fashion. CD: Thinking back to your drag days, did you ever think you would end up as a designer? EC: Not really. I was really set on doing drag. When I first moved to L.A., all I wanted to do was perform. But once I started my transition, I realized it wasn't drag that I wanted. It was the womanhood and the power. The whole reason I was still doing it was because I loved being able to make the clothes. It was the only excuse I had to wear the clothes and keep presenting feminine. So, when I transitioned, I didn't need an excuse. I could just start making what I wanted to and it didn't have to be a costume anymore. CD: How do you think your relationship to creating clothes has evolved since then? EC: It almost feels like a calling or a necessity. Before it really felt like a hobby, I was so focused on getting my degree and trying to figure out how to be a person, but now my relationship to it is almost primal. I can't imagine doing anything else. The thought of not being able to sell or make clothes is devastating. I know it sounds like it's not that deep, but it is for me. CD: Is it fair to say you've been reaching your goals faster than expected? EC: I can't believe that this is all real. It's crazy — this is all stuff that I make in my apartment. But on the other hand, my vision for what I want has always been so clear in every decision that I make. Everything is really intentional, from the stylists I work with to the types of jobs I take on. This has been my dream for a really long time. I'm in this dream, but I'm in the dream with a map. I have a general sense of where I'm going. It is definitely surprising and not what I would have expected, timeline-wise. 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Yahoo
a day ago
- Yahoo
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Newsweek
a day ago
- Newsweek
Woman Adopts Dog, Then Realizes She Doesn't Know 'Release Command' for Food
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