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


Revisiting Paul Rudolph


Image 1: Paul Rudolph overlooking the drafting room of his Yale Art & Architecture Building (now Rudolph Hall), where he served as dean to an influential generation of postwar modernists. Courtesy of Library of Congress, Prints and Photographs Division.

The Tide is Turning for a Pivotal Modernist Master
By Mike Singer

In the late 1950s and 1960s, Paul Rudolph was one of the most prominent architects in the world. (Image 1)

Rudolph, an itinerant Methodist minister’s son from Alabama, taught some of today’s most prominent designers: Norman Foster, Hon. FAIA; Richard Rogers, Hon. FAIA; Robert A. M. Stern, FAIA; Charles Gwathmey, FAIA; Stanley Tigerman, FAIA; David Childs, FAIA. Rudolph also chaired the Department of Architecture at Yale University’s School of Art & Architecture (which he also designed) from 1958 to 1965—a particularly fertile time in both architectural education and architecture.

“Rudolph was this amazing instructor who made you do things and think things you never thought you had in you. In our class there were 15 people, and half were from other countries. He called us his ‘little United Nations,’” says Carl Abbott, FAIA, a former Rudolph student who returned to Yale in 2008 to rededicate the School of Art as Rudolph Hall, after a multimillion dollar renovation by Gwathmey Siegel & Associates.


Image 2: Yale’s Art & Architecture Building, dedicated in 1963 and rededicated as Rudolph Hall in 2008, marked the first appearance of the corrugated concrete walls that became Rudolph’s signature. Photo: Derr Scutt, courtesy of Library of Congress, Prints and Photographs Division.

With its staggered towers, corrugated concrete surfaces, and complex interior spaces, Rudolph Hall was as difficult as the architect himself. (Image 2)

“Rudolph’s whole life was architecture and his students were his family,” says Abbott. “He was very violent to some [students] and amazingly generous to others. If you were in a group he really cared about, he would push you harder than you could ever stand, and he would make you see things in your own work that you could never have possibly seen.”

A mysterious fire gutted Rudolph’s school in 1969, only six years after it opened, damaging the building and destroying student work, instructor materials, and administrative files. It also damaged Rudolph’s reputation at a time when campus unrest—at Yale and hundreds of other schools around the country—represented a perfect metaphor for a broken academic system.

The curricula within America’s “citadels of learning” were out of step with the social change that students desired. But the physical citadels, the results of campus growth and monolithic planning throughout the 1950s and 1960s, were also out of step with burgeoning ideas about community, access, and social equity.

Although he completed an eclectic mix of over 150 buildings, and designed an almost equal number of unbuilt ones during five decades of practice, Rudolph has been categorized—and marginalized—as a Brutalist who fell out of favor in the 1970s when the architectural milieu shifted away from High Modern concepts of form, procession, and materiality.

While that may have very well been the end of Rudolph’s legacy, he has come roaring back in the last several years—and there’s plenty to reconsider.

Restoring the Last Modernist

“[Rudolph] cultivated the image of a maverick who would save architecture from the monotony of the dominant International Style by reintroducing subjects that he said had been ‘brushed aside,’ namely: monumentality, decoration, symbolism, and urbanism,” writes Timothy M. Rohan, associate professor of art history at the University of Massachusetts Amherst, in The Architecture of Paul Rudolph (Yale University Press, 2014). “Rudolph advocated a heroic approach to modernism that extolled individuality, aesthetics, and creativity.” Rohan’s book is the first scholarly monograph on Rudolph since his death, in 1997, and it provides much-needed context for the architect’s long and often misunderstood career.

From Rudolph’s Sarasota, Florida, beach cottages in the 1940s and ’50s—such as the

Healy Guest House

Image 3: Healy Guest House, aka Cocoon House, on Sarasota’s Siesta Key, 1948. Notable for its cantilevered roof and water bank overhang, the house generated widespread national publicity for Rudolph and Ralph Twitchell. Photo by Greg Wilson.

Healy Guest House (Image 3) and Revere Quality House, to his role as one of the developers of the expressive concrete monumentality known as Brutalism in the 1960s’ Government Service Center in Boston, Orange County [N.Y.] Government Center (Image 4), and Endo Laboratories, in Garden City, N.Y. (Image 5), Rohan’s book has prompted a re-evaluation of Rudolph’s work, and his working style.


Image 4: Customized fluted concrete blocks were used in Rudolph’s Orange County Government Center, Goshen, N.Y. (1963–71), which narrowly escaped recent demolition attempts. Courtesy of Library of Congress, Prints and Photographs Division.

“He drew every day, from when he was a teenager to the last weeks of his life,” said Rohan. “He didn’t become a larger-scale shop like his contemporaries I.M Pei, Philip Johnson and Marcel Breuer. At the most, in New York in the late 1960s, he never had more than 30 architects and never partners. He believed that nothing should come between you and your work, and didn’t think architectural partners were a good idea.

“He had close supervision of everything and his approach was very artisanal,” said Rohan. “He was never a brand. His office may have changed, but it always had a nimbleness and an adaptability to it. We are living in an age of low overhead—I think architects today can appreciate that anew.”


Image 5: Bold expressive concrete statements at Endo Laboratories, Garden City, Long Island, N.Y., 1960–64; a national real estate investment firm bought the property in 2005, renovating its interiors for use by a variety of tenants. Courtesy of Library of Congress, Prints and Photographs Division.

After his 1960s rejection Rudolph turned inward, to lavish interior-design projects during the 1970s that made use of reflective surfaces, curvilinear geometry, and experimental lighting, including Rudolph’s own Beekman Place residence and the townhouse of 1970s fashion designer Halston in Manhattan along with numerous Fifth Avenue apartments. In the 1980s, he reworked many of his expressive Modernist ideas in projects overseas, such as the Colonnade Condominium in Singapore (Image 6) and the Lippo Centre in Hong Kong.


Image 6: In the 1980s, Rudolph found work mostly in Asia, where his first completed project was the 27-floor Colonnade Condominium in Singapore, shown here under construction in 1980. Courtesy of Library of Congress, Prints and Photographs Division.

But, unless you were a hardcore Rudolph junkie, you wouldn’t necessarily have known about these projects. They were not part of the Rudolph brand that, for many observers, reached its apogee in the late 1960s; nor were they as prominently featured in architecture media when they were completed.

“How do you preserve a legacy when you don’t know it’s a Rudolph?” asked Sean Khorsandi, AIA, co-chair of the Paul Rudolph Foundation. “I went through a five-year undergraduate bachelor of architecture program at Cooper Union, and I never once heard of Paul Rudolph.

“Rudolph’s government and civic projects may be among his most important, but the range of his career is staggering—including super-lush New York City interiors people never got to know and see,” said Khorsandi. “People like to categorize him as a Brutalist, but he had many phases and was very multifaceted, including prefab, urbanism, interior design, and glass-and-steel towers in Asia.

“He, in many ways, was the last modernist and became a fall guy for Modernism as Post-Modernism ascended. There has been an overabundance of attention on projects that were torn down,” said Khorsandi.

Heightened Awareness, Increased Preservation

It’s not hard to see the connection between a reconsideration of Rudolph and the demolition threats faced by some of his projects. He has become a preservation cause, for sure, but a particularly challenging one due to market forces or, in other cases, failing structure or deteriorating materials. Two of the three public schools Rudolph designed are now gone: Sarasota’s Riverview High School, built in 1958, was torn down in 2009, and the Chorley Elementary School in Middletown, N.Y., built in 1964, was demolished in 2013.

In 2007, Rudolph’s residential oeuvre was diminished with the destruction of three homes: the 1979 Louis Micheels House in Westport, Conn., the oceanfront 1956 Cerrito House in Watch Hill, R.I., and the Twitchell House in Siesta Key, Fla. The destruction of all three is documented in Chris Mottlaini’s revelatory photo essay, After You Left/They Took It Apart (Demolished Paul Rudolph Homes).

SHS Dec 2014_2

Image 7: Rudolph’s sole surviving public school, Sarasota High School (1958), reopened in January 2015 after an extensive renovation that preserved the building’s iconic façade. Photo by Janet Minker.

But the tide may be turning. On January 5, 2015, Randolph’s sole surviving public school, Sarasota High School (Image 7), reopened for the first time since 2009 to nearly 2,000 returning students. Built in 1959 without air conditioning or modern security systems, Rudolph’s aging school was part of a $42 million campus restoration effort that preserved the iconic roofline and façade while taking Rudolph’s structure down to the studs before rebuilding the interiors.

“The construction team put it back as close as we could from an exterior point of view to Rudolph’s original building,” said Paul Pitcher, project manager, Construction Services Department, Sarasota County Schools. “You will hear people say that we destroyed the inside of the building, but we are here to support students and we saved the building. Given the asbestos abatement and what it took to get the building back to where it needed to be, we will have spent more on this building than if we had just knocked it down and built a new building.”


Image 8: Rudolph was a master pen-and-ink draftsman, as shown in this 1956 perspective rendering for Wellesley College’s Jewett Arts Center, his first major commission outside of Florida. Courtesy of Library of Congress, Prints and Photographs Division.

Elsewhere, restoration of the interiors as well as the exterior mosaic patterned sunscreens that envelope the Jewett Arts Center at Wellesley College (1958) (Image 8) has been completed. Executed from 1955 to 1958, the arts center was Rudolph’s first significant project outside Florida—a commission he received over other better-known contemporaries at the time such as Eero Saarinen and Edward Durell Stone.

Following widespread preservation protests, Rudolph’s Orange County Government Center, once on the chopping block, has been saved but stands mostly vacant—at least for now. UMass Dartmouth’s campus, which contains 16 of Rudolph’s best buildings, now operates the website Paul Rudolph & His Architecture that chronicles his work and offers some perspective on preserving not just a suite of buildings, but an individual talent’s legacy.

New Generation, New Appreciation

Today, a new generation of architects and design enthusiasts are paying homage to Rudolph in both word and deed.

Umbrella House restored Photo Bill Miller

Image 9: The lattice-encased Umbrella House, built in Sarasota, Fla., in 1953, is the inspiration for Larry Scarpa’s, FAIA, own solar-powered umbrella house. Photo by Bill Miller.

“I grew up around the Umbrella House” said Florida native Lawrence Scarpa, FAIA, principal at Brooks + Scarpa. “The Umbrella House (Image 9) was built in 1953 [in Sarasota]. Air conditioning existed, yet Rudolph shaded the house with an umbrella canopy, buying tomato sticks from local farmers to construct the slats. It is so ahead of its time—not just in its beauty but in the way it coexists with nature.

“When I built my own Solar Umbrella House [in Venice Beach, Calif.], Rudolph’s Umbrella House was my inspiration,” Scarpa explained. “Like the original, it has proper orientation, shading, and cross-ventilation. But it also has 80 solar panels, and the solar canopy is part of the architecture. Our utility bill is less than $500 a year. When I start projects, I look for historical precedents, and I always wind up in the 1950s and ’60s. It was a magical time of new technologies and building thinking.”


Image 10: The Harkavy House, 1957, on Lido Shores in Sarasota, Fla., where Susan Harkavy grew up. Photo: Ezra Stoller.

Susan Harkavy grew up three blocks away from the Umbrella House in a two-bedroom house on Lido Shores in Sarasota, Fla., that Rudolph designed in 1957. (Image 10) She returned decades later for a visit and encountered a sympathetic addition that expanded the original structure, which remained mostly intact. Memories flooded back on how the house changed her life.

“When I got to college, I found myself veering towards European modern art history classes and I didn’t know why,” said Harkavy, who now lives in New York City.

“I went to Yale—which of course had so much Gothic architecture—and I didn’t realize it but the house where I had lived for 18 years had seeped into my being, and I just felt like Modernism was home. When I started my own business, the clients I chose were all modernists. I ended up writing a letter to the editor of Interiors magazine after it had done a four-page story on the renovation of the Umbrella House, about how Rudolph had charted my career direction.”


Image 11: Walker Guest House, Sanibel Island, Fla., is Rudolph’s first solo commission and will be duplicated and installed on the grounds of the Ringling Museum of Art in Sarasota this fall to increase public awareness of Rudolph as the centennial of his birth approaches in 2018. Photo: Ezra Stoller.

“I didn’t learn anything about Paul Rudolph in architecture school,” said Joyce Owens, AIA, who is now using his original drawings to help re-create a full-scale replica of Rudolph’s first solo commission—the 1953 Walker Guest House (Image 11)—in a project spearheaded by the Sarasota Architectural Foundation.

The house, which still stands on Sanibel Island, Fla., will be duplicated exactly from Rudolph’s original drawings as a kit of parts, so visitors can tour it later this year on the grounds of the Ringling Museum of Art, and in other venues in the future.

“For various reasons, Paul Rudolph was dealt a bad deal at some point. This is my way to help restore his legacy,” Owens said.

As we approach the 100th anniversary of Paul Rudolph’s birth, in 2018, projects like the Walker Guest House, along with increased scholarship and preservation, are painting a new place in modern architectural history for a designer committed to teaching and practice, and driven by a consistent vision to improve and reinvent. He showed the world that Modernism is so much more than a steel and glass box.

Mike Singer is a frequent contributor to AIArchitect.

Paul Rudolph Weekend with Chris Mottalini

Chris Mottalini writes: “I was just down in Sarasota* and had the chance to photograph the skeleton of Paul Rudolph’s Sarasota High School (1959). In its current state, it feels more like a giant sculpture than a building. I’ve gotta say it was beautiful to see the building as Rudolph first envisioned it…I wouldn’t be surprised if these pictures are mistaken for being taken fifty years ago.”

* SAF had the pleasure to host Chris Mottalini March 6 – 8, 2014 in Sarasota, Florida. He gave a presentation at the Paul Rudolph-designed Harkavy House SAF Fundraiser benefiting the SAF-Paul Rudolph Scholarship; a lecture / Q&A / book signing of “After You Left, They Took It Apart: Demolished Paul Rudolph Homes” at Ringling College of Art + Design; and a “Sarasota Architecture Walk and Photography Workshop” of the Umbrella House, Harkavy House, Putterman Residence, Sarasota High School Addition, Cocoon House and Cohen House.

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Rehab Update: Sarasota High School Photos 11-3-13

SAF is periodically documenting the ongoing rehabilitation progress with photos of the iconic Paul Rudolph‘s Sarasota High School classroom building #4. Harvard Jolly Architects and Tandem Construction has completed the asbestos abatement work and has thoroughly gutted the interior. The concrete shell including the dramatic sunscreens is still intact and the original roof profile has been restored.

More Info:

See 9-1-12 post regarding the Sarasota County School Board renovation plans and SAF’s recommendations for effective rehabilitation of Paul Rudolph’s Sarasota High School Addition.

SHS Renovation Project Metrics_Sept2013

SHS Plans_HarvardJolly_Nov2013

Sarasota High School campus plan by Harvard Jolly – Paul Rudolph’s classroom building top right.


Paul Rudolph’s 95th Birthday Celebration

Become a member of SAF (www.saf-srq.org/membership) and join us for a cake and champagne party in honor of the renowned Paul Rudolph. This SAF Members Only free event on October 23, 2013 from 5 – 6:30 pm will be held poolside @ The iconic Rudolph-designed Umbrella House (1953)*, 1300 Westway Drive, Sarasota, FL 34236.

Click to RSVP
Questions: info@saf-srq.org, 941-364-2199
* Please note: This is an outdoor event with no access to the interior.

10-23-13 Paul Rudolph's 95th Birthday



Architectural Lessons from the Sarasota School

Join SAF for a tour of the Cooney House on Sunday, August 4, 2013 from 2 – 4 pm. The featured speaker is Sam Holladay, AIA, principal of Seibert Architects, with special guest Tim Seibert, FAIA. $10 SAF Members; $15 Public – join SAF and admission to this event is free. Click to reserve online. info@saf-srq.org

The following article was originally published August 25, 2001 in the St. Petersburg Times. All rights reserved.

The founder of an award-winning design firm reflects on the exciting creative community of a half-century ago and its continued influence.

On Aug. 4, 2001, Seibert Architects of Sarasota received its second Test of Time award from the Florida state chapter of the American Institute of Architects. In 1999, the firm was honored for the 1966 John D. MacDonald House on Siesta Key, the home of one of Florida’s most distinguished writers and the creator of Travis McGee, detective, rough diamond and defender of the state’s ruined natural beauty.

The 2001 award, presented at the Florida AIA convention at the Renaissance Vinoy Resort Cooney House Tour August 4, 2013 from 2-4pmin St. Petersburg, recognized Seibert’s design for the 1965 Cooney residence on St. Armand’s Key. The award honors works that, by the timelessness of their design, have influenced a particular building variety.

The Cooney house, occupied for a third of a century by its original owners, is an outstanding example of the Sarasota School of architecture. This school, active between 1941 and 1966, is characterized by horizontal lines, open plans, large expanses of glass that merge indoors and out, bArchitect Tim Seibert, FAIAroad roof overhangs and a lack of ornamentation.

Seibert Architects’s founder, Edward J. “Tim” Seibert, now retired, offers these thoughts on the Sarasota of half a century ago, an incubator for design creativity, and on the state of architecture today.

For more on the Sarasota School of Architecture, visit www.saf-srq.org/sarasotaschool.

* * *

Clarity of concept and meticulous detail and workmanship, using ordinary materials, are what make this design work. Thirty-five years ago this house was built on a 50-foot lot as simply and inexpensively as we could make it. It had bearing block walls, a flat roof, stock windows and stucco and drywall finishes.

What was special about the house was the pavilion living area with its 10-foot ceiling, full-height glass walls, and visual extension to the outdoors. We took advantage of the heavily planted neighboring lots for the view from the living pavilion and porch, but the remainder of the four-bedroom house turns inward, providing a contrasting experience in the more intimate bedroom and service spaces. On one end, the master bedroom wing opens to a private, walled courtyard, while the opposite end of the house contains two bedrooms, a bath, family room, kitchen, laundry and garage.

The simplicity of form required perfect detailing. A successful flat-roof design requires clean flashing and perfectly straight gravel stops and a way for the water to leave the roof without staining white walls. Both interior and exterior walls had to be perfectly fair and flat so that the spare geometry would have perfect shadows in the strong Florida light. “Less is more,” but the “less” must be flawlessly done.

For a third of a century the house has served its owners well. It was featured in the summer 2000 issue of Echoes magazine, for 80 years a key resource for 20th-century modern design. Last January it was on the Sarasota tour of the Southern California Society of Architectural Historians. In November it will be included on the “American Legacy” tour and symposium sponsored by the Fine Arts Society of Sarasota. The Florida Chapter of the American Institute of Architects has now recognized the Cooney house with its 2001 25-year “Test of Time” award.

The Modernist work being produced 35 years ago by a number of architects in our community is what later became known as “the Sarasota School of Architecture.” This architecture is about the enclosure of space and capture of light. Clarity of geometric and structural concept, economy of means, and honesty in the use of materials were also the signatures of this native Sarasota architecture. While the basic theories had originated in Europe with the Bauhaus in the 1920s, Paul Rudolph and others of us adapted European Modernism to Florida’s landscape and climate to make a new regional architecture.

I believe this was the appropriate architecture for our times in Florida, a unique new heritage for this special place offering fresh social, economic, political and historical ideas. It was a time for new ideas, in Sarasota and all over America. Ours was a premonition of a new way of life, not only in architecture but also in literature, art, furniture, tableware and politics.

Paul Rudolph, today acknowledged around the world as one of the important architects of the last century, started his career right here in Sarasota. I believe most of the principles of the Sarasota School (so named in 1982) originated with him. Nearly 50 years ago, as a young draftsman, I heard him discuss with Henry-Russell Hitchcock (who named the International Style in his book) the idea that lesser talents in architecture needed an academy, with a set of design principles and standards for those of less godlike talents to follow, as had been the case once for those trained in the Beaux Arts school.

Listening carefully to this and other conversations, I divined that I was to be one of these lesser mortals, and that Paul Rudolph was to be elected master and teacher, a new Vitruvius. I decided to learn my lessons from the master, and I remember now with joy those lessons. Like some others, I believed I had found the answer. This, for many of us of the school, was our beginning. Those of us who have worked hard and are especially creative sometimes successfully break the rules, as Paul did, quite often.

I opened my own office in 1955, and for about a dozen years I lived in an architect’s paradise, although I didn’t realize this at the time. I thought it must be like this everywhere! Sarasota abounded then in people who understood a new architecture, and wanted to be part of it.

It is difficult to explain the ambiance of the Sarasota of that time. By the start of the 1950s, the county had about 25,000 people. It was a small and pristine place, and its unsullied beauty attracted writers, painters, sculptors and intellectuals of all sorts. There were real artists, famous writers, professional bohemians, fakes, people with independent incomes, bums and some with brains who did menial labor to stay in this small-town natural paradise.

Sarasota was alive with ideas about art and architecture then, and we spent our bibulous nights talking about it. It was a happy and exciting place to be in those times. There was camaraderie of optimism among us who believed we were the inventors of new art forms.

Looking back 35 years, I am confronted with huge changes that have taken place in architecture. In the last several decades, goofy Post-Modernism has done its damage to architecture, and I believe to all art. Now science is developing so quickly that it is difficult to see what direction architecture will take.

The computer makes it possible to design buildings of complexity formerly impossible. Now buildings are made with shapes that once could not have been described on paper, much less built. The Guggenheim Museum in Bilbao, Spain, is such a building. Are its spaces friendly to humans? Does it work for the display of paintings? Or is it simply a huge advertisement, a tour de force symbol for a city, as the Eiffel Tower is for Paris? How will its titanium skin weather? One must see the building to make any real judgment, because most of the architectural press is full of blather and hype. This architecture could be the future. I hope it is. Computer design will require more talent and good judgment than we used before.

For most of the architects who must produce the everyday work of the world, those who are not media stars, architecture’s lack of an accepted modern direction is a cultural flaw that drives architects to do meaningless, irrelevant work, as evidenced by our disturbing commercial corridors. Many architects become plan services for the unknowledgeable. The results can be seen all about us in the creation of whatever badly crafted “style” the client may have thought he or she wanted. Some 60 years ago the schools quit training in the classics (the so-called Beaux Arts approach), so the formal discipline which once attended Mediterranean-style buildings, say, or Georgian, or whatever, is today gone.

So now we see “McMansions,” a sort of pastiche of what the untutored think is classical. Some governments want to solve the strip mall aesthetic by assigning a “style” to a community, not understanding that now no one is trained to do “styles” well, or that in today’s world doing “styles” right is unaffordable, for to do the detail and proportion correctly is enormously expensive.

That’s the reason modern architecture was invented in the last century, and that’s the architecture anybody under 70 is trained for today. It is sad to see young architects betray their training and ideals to earn a living. I look back 40 years ago to the joy we had here then, doing our best work, our pleasure in the work, making it not labor at all, but a way of life. We weren’t getting rich, but we had a hell of a fine time, and we thought we were rich.

There are more fine young contemporary architect-designers in Sarasota now than ever before (the community is, after all, some 15 times as large as at the time of which I write), and Sarasota certainly reaps more than its share of architectural awards these days. The Fine Arts Society is raising public awareness of design with a symposium in November 2001. The designers in my former firm delight me with their work on my weekly visits. The Sarasota School of Architecture lives!

For more information, please visit www.saf-srq.org to learn more about Sarasota’s architectural legacy and the Sarasota School of Architecture. Email: info@saf-srq.org

Garden House Tour

SAF - Garden House Tour January 26, 2013January 26, 2013
1 – 3 pm
1640 Wisconsin Lane, Sarasota, FL
Tour this 1960 mid-century modern home, a renovation collaboration between architect Gregory Hall, AIA and landscape architect and homeowner Dane Spencer, ASLA. Featuring talks by project architect and landscape architect. Complimentary refreshments.

Suggested Donations go to the SAF – Paul Rudolph Scholarship Fund
SAF Members $15
Non-Members $20two AIA continuing education units
Student with ID $5

Advance reservations strongly advised

1 AIA LU/SD available through the Florida AIA Gulf Coast Chapter – sign-up at event.

Questions 941-364-2199, info@saf-srq.org
NOTE: There is no parking on Wisconsin Lane – on-street parking is available one block away.
Photo © Greg Wilson
Greg Hall architectdane_spencer_logo