MOD Artist Chair Auction

Ten amazing Sarasota Florida artists – Carl Abbott, FAIA, Jean Blackburn, Jorge Blanco, Olivia Craig and Eric Cross, Grace Howl, Tim Jaeger, Laine Nixon, John Pirman and Nathan Skiles – will paint an iconic Eames chair to be auctioned off at SarasotaMOD 2017.

MOD Artist Chair Auction

Top Row: Carl Abbott, FAIA, Jean Blackburn, Jorge Blanco, Olivia Craig and Eric Cross, Bottom Row: Grace Howl, Tim Jaeger, Laine Nixon, John Pirman and Nathan Skiles

The auction will help raise funds to benefit the Sarasota Architectural Foundation (SAF)’s ongoing programs that educate and create awareness about the importance of the Sarasota School of Architecture movement.

Friday, October 27th online bidding will begin when the chairs are unveiled at the MOD Kick-Off Party at the BOTA Center, hosted by MOD Sponsor and developer Howard Davis. Online bidding continues through MOD Weekend, and the artists chairs will be on display at Home Resource, 741 Central Avenue, Sarasota, FL 34236.

Chair winners will be announced 11:30 am on Sunday, November 12th at the at SarasotaMOD Rosemary District Walking Tour at Home Resource. Tickets On Sale

Thank You to Our Sponsors
Michael Bush
, SAF Board Member and owner of Home Resource and Herman Miller.

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SarasotaMOD Tickets on Sale

MOD 2017 Tickets on Sale

Download MOD 2017 Schedule

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Join us for the fourth annual SarasotaMOD Weekend – tickets go on sale August 15th

2017 SAF – Paul Rudolph Scholarship Winners Announced

On Monday, June 12, the Sarasota Architectural Foundation (SAF) announced the 2017 winners of the sixth annual SAF-Paul Rudolph Scholarships. The awards presentation took place at Ringling College of Art + Design’s Academic Center, Room 207, from 5:30 to 7 pm.

Maxwell Strauss – $5,000 college scholarship
Sarasota Christian School graduate
Bachelor’s Savannah College of Art and Design, Savannah, Georgia
Will attend the University of Texas, Austin

Bailey Jordan – $1,000 college scholarship
Venice Senior High School graduate
Will be attending the University of Notre Dame, IN

Emily Cain – $500 college scholarship
Pine View School graduate
Will be attending Rensselaer Polytechnic Institute, Troy, NY

Morgan Ann Mulholland – $500 college scholarship
Lakewood Ranch High School graduate
Will be attending both Santa Fe College and University of Florida, Gainesville, FL

About the SAF – Paul Rudolph Scholarship Awards
Since 2012, SAF and the Michael Kalman Foundation has awarded $36,262.00 to twelve Florida high school graduates enrolled in a NAAB-accredited professional degree (5-year BA or BA + MA) in architecture. Applicants must be a graduate of a Sarasota, Manatee, Pinellas, Hillsborough, Charlotte, Lee or Collier County, Florida High School and in need of financial assistance.

About Paul Rudolph
Born in 1918, Paul Rudolph studied with Bauhaus architect Walter Gropius at Harvard Graduate School of Design and was later Dean of the School of Architecture at Yale University. Buildings of his design can be found in cities around the world, including New York, Boston, Fort Worth, Singapore, Hong Kong and Jakarta. He continued to design buildings into the 1990s, and died in 1997 at the age of 79.

Rudolph, beginning his career in Sarasota, Florida, was one of the most influential architects in all of Florida in the 1950s and was the lead figure in the Sarasota School of Architecture Movement. Among his many award-winning Florida buildings include the Walker Guest House (1952, Sanibel Island), Umbrella House (1953, Sarasota) Sarasota High School Addition (1958, Sarasota), Deering Residence (1959, Casey Key) and Milam Residence (1961, Ponta Vedra).

For more information, please visit https://saf.wildapricot.org/scholarship

2017 SAF Paul Rudolph Scholarships

Architect Max Strang interprets ‘old-school’ ideas for a new era

By Harold Bubil, real estate editor, Herald-Tribune

Max Strang, a Winter Haven native who made his architectural reputation in Miami,

Max Strang

Max Strang, FAIA, Photo ©Scott Rhea

turned some heads when he returned to his Polk County hometown to design an elegantly bold, contemporary downtown apartment building called Raingarden Lofts.

The town is known for the progressive modernism of architect Gene Leedy. But still, the lofts, completed in 2015, stand out. Winter Haven is not Miami.

The façade of the building evokes Paul Rudolph‘s 1958 Deering House on Casey Key. That is not by chance. In 1980, when he was 10, Strang’s parents bought a rundown house on Casey Key next to Leedy’s restored beach house, which was a few houses up the beach from the temple-like Deering House. Although now largely hidden from street view by a new house on the site, it has become an icon of the Sarasota School of architecture.

“My father purchased a decrepit old shack next door to a house Leedy had renovated for his own use,” said Strang, whose firm is known as [STRANG], complete with the brackets. “I used to go shelling there all the time.”

He also used to visit the Leedy-designed Syd Solomon House on the south end of Siesta. No longer standing because of beach erosion, it was “a powerful space, too,” Strang recalls.

These childhood experiences shaped the architect’s outlook. And he firmly believes Florida’s midcentury modern architecture still has plenty to teach the designers and clients of today.

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The Sarasota Architectural Foundation presented a lecture by Strang, titled “The Evolution of Florida Modernism,” on Wednesday in the Alfred Goldstein Library at Ringling College of Art + Design.

“A good Sarasota School of Architecture house blurs the indoor-outdoor (divide) so well – the walls of glass, the light coming in from different directions,” Strang said Monday in a telephone interview. “For me, it is a sense of peace when you are inside one of those homes.”

He should know. His childhood house in Winter Haven was designed by Leedy, who got his start in Sarasota in the early 1950s before heading to Polk County.

After graduating from the University of Florida, Strang worked for Leedy as an intern. “He sent me to Tampa as free labor for John Howey, doing drawings” for Howey’s 1995 book, “The Sarasota School of Architecture.” He later worked in the firm of the late Pritzker Prize-winner Zaha Hadid. His firm has offices in Miami, Fort Lauderdale and Telluride, Colorado, where he lives.

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Raingarden Lofts, [STRANG] Architects, Winter Haven, Florida – Photo ©Claudio Manzoni


For the Raingarden Lofts (shown above) and the under-construction Tuckman House (shown below) in Fort Lauderdale, Strang and his bright young staff took some clues from Paul Rudolph in considering the site and climate. Both structures have vertical exterior “fins” that help control sunlight, without blocking it. Rudolph showed how this could be done at the Deering House (its beefy beachside columns cast shadows on the interior), Sarasota High School, the Umbrella House , the Milam House on Ponte Vedra Beach and other structures that sought to tame the sun without blocking it completely.

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Tuckman Residence, [STRANG] Architects, Ft Lauderdale, Florida, 2017

“The fins on the second floor, those are in response to climate and privacy in the same way Rudolph’s Milam House did with the staggered squares and the sunshades,” Strang said of the Tuckman House. “The architecture is performing a role to address the climate. The style just comes with it.”

Strang is often approached by clients who want the delicacy of the midcentury modern houses, but the luxury and size of today.

“All the time, I get a new commission to do a house, and the client will bring me reference images of Sarasota School houses, or (1940s) Case Study houses in Los Angeles, yet they are asking for an 8,000-square-foot house,” he said with a laugh. “I think there is a nostalgia for the smaller scale of these things,” a scale that is hard to achieve when flood-zone requirements mandate the elevation of waterfront homes.

“And, there are the strict product approvals in South Florida,” Strang said. “It is hard to get the sizes of the windows that we would prefer. The Florida Energy Code says you can only have so much glass in the house, too. So it is a struggle to match the delicacy and transparency of those early buildings.”

But, the ideas of Rudolph, Leedy, Tim Seibert, Victor Lundy and others endure, and can be reused, if not reproduced, he said. Those ideas include clarity of design concept, the honest and innovative use of materials, using structure to define space and not compete with it, and blending indoors with outdoors.

“It is the repurposing of the ideas, not repurposing the exact iteration of the building,” Strang said. “It underscores the timelessness of the Sarasota School. The modern movement probably got overtaken by schlocky modern buildings too quickly, and the good stuff wasn’t appreciated. Its time ended prematurely. So I am happy to help share the ongoing relevance of midcentury modernism.

“There can be very schlocky modern architecture, too. When someone does a traditional building poorly, it is not as bad as when someone does a modern building poorly.” SAF

Sarasota Proclaims Victor Lundy Week

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What a great night for Sarasota and SAF. Thanks to the City of Sarasota for supporting our architectural heritage. Happy Victor Lundy Week November 7 – 13, 2016!

Above: Sarasota Mayor Willie Shaw, SAF Board Members Elliott Himelfarb, Anne Marie Bergevin, Janet Minker, Christopher Wilson and Michael Bush and SAF Advisory Council Member Lorrie Muldowney.

#victorlundy #sarasotamodweekend #architecture #thisplacematters

The Mayan Connection

Carl Abbott brings an architect’s insight to the legacy of the Maya

May 4, 2016
By Marty Fugate, Your Observer

Carl Abbott is a thoroughly modern architect, a working practitioner of the Sarasota School of Architecture. He’s not a Luddite or the architectural equivalent of Indiana Jones. Abbott looks to architecture’s future. But he also sees surprising echoes of that future in the past.

Ancient architecture fascinates him — Maya structures most of all.

Abbott Maya to Modern

We speak about it at his north Sarasota offices, a low-slung complex on a sprawling tract of land off Whitaker Bayou. It looks like a jungle. It’s easy to imagine a Maya temple rising up in the distance.

I tell him that. Abbott smiles and says, “Sure.” He politely adds that, outside of the fakery of Disney World, a Maya structure wouldn’t really work in Florida. They exist in context. Specific buildings, designed for specific sites.

Well, by definition every building relates to its site. But some do it better than others. Frank Lloyd Wright was the modern architect who did it best. The relationship of structure to site was the foundation of his organic architecture. Abbott follows in Wright’s footsteps with his insistence that every building be “informed by the land.”

A very modern principle. And an ancient one, as Abbott discovered in 1976.

That’s when he and his two young sons traveled to the Yucatan to experience the architectural legacy of the Maya.

“I thought they’d be excited,” he says. “But I was more excited than they were. I could see that the Maya buildings were tied to the sun, to the stars, to the form of the land itself. There was a whole spatial vocabulary and set of connections.”

Abbott had detected a Mayan resonance with the principles of modernist architecture, and his own work. “I realized that what the Maya were doing was very close to what I was doing. Of course, they did it first, thousands of years ago.”

In the years that followed, Abbott explored the Mayan connection.

It started with research and occasional trips. About a decade ago, those trips became more frequent. The architect teamed up with archeologists and anthropologists. This dream team of Ph.D.s includes New College professor Tony Andrews; Millsaps professor George Bey; Davidson College professor Bill Ringle; Tomás Negrón, an archaeological researcher at Mexico’s National Institute of Archaeology and History; and Patricia Plunket, a professor at the University of the Americas (and Sarasota writer Bob Plunket’s sister).

They’re the top specialists in their fields. And far more likely to contribute to National Geographic than Architectural Digest. But Abbott has an architect’s eye. And he saw things they didn’t.

“I’d point something out,” he says. “The initial response was, ‘Abbott, you’re crazy.’ But they finally realized I was onto something.”

The architect has shared his insights at the Maya at the Playa international conference, and at slideshow lectures around Florida and the nation. He shared his insights with me—in a highly simplified form.

Here’s an overview of the Mayan/modernist connection:

Relate to the Land

Before designing for a site, Abbott always goes there in person. He’ll rent a bucket crane tocampeche see what it looks like from different elevations. Work out the permutations of sun, wind and view for a structure that doesn’t exist yet. It’s standard operating procedure. Or it should be.

Abbott lists examples of Western architects and city planners imposing Cartesian order whether the land likes it or not—and the disastrous results that followed.  The Maya were the opposite. “Each Maya structure was different,” he says. “They specifically designed each structure for the contours and orientations of its site. The land always came first. The Maya had organizing principles, but they adapted their sense of order, never imposed it.”

Sun and Shadow

According to Abbott, any decent architect thinks about a building’s relationship to the sun. A good architect thinks about that relationship over time. His latest work in progress is one example — a beachfront house on Casey Key. The structure has two wings, each oriented to tap into the sun’s heat in the winter and offer shade in the summer. The view sides face the water, naturally. The building’s largest overhang directly faces the sun during the summer solstice, he says. “The shadow effect will be very dramatic.”

Abbott adds that it pales in comparison to what the Maya did at Chichen Itza, where every equinox, the stairs cast an undulating shadow resembling a snake as a tribute to Kukulkan, the serpent God.

“The level of engineering and astronomical awareness is astonishing,” he says.

Secrets and Surprises

Abbott lists other parallels between his work and the Maya’s surprisingly high-tech techniques. His stairway at the Dolphin house on Siesta Key is wider at the bottom than the top, creating the illusion of greater height. It’s called forced perspective, and the Maya beat him to it. Another technique? Rotating an element off a building’s dominant axis to create a sense of surprise. Abbott often skews floors at different angles from the building’s main orientation. The Maya did it with stairways and walls.

What’s going on, exactly?

It’s probably the most modern technique of all … mind games. “Psychology,” says Abbott. He says Maya buildings play with one’s perception. “Essentially, the structure creates a set of expectations in your mind, and then it does the unexpected.”

It’s something Abbott does in his own work. It takes one to know one, as they say.

“A static building is dead,” he says. “A building that surprises and engages you is alive. That’s what Wright, myself and others try to do. That’s what the Maya did, and it flowed out of their animist belief system. Their buildings weren’t dead stones; they were alive. That’s what they thought, and, in a sense, they were right. Centuries after they were built, the Maya structures still have life.”


Carl’s Upcoming 2016 Talks: Carl Abbott will speak about the sacred architecture of the Maya at the Florida American Institute of Architects convention July 22, 2016 in West Palm Beach and at the Sarasota Architectural Foundation’s (SAF) talk on August 4, 2016 at Ringling College of Art + Design (Click to buy advance tickets online).