Cocoon House on Bayou Louise

The Sarasota Architectural Foundation (SAF) presented homeowner Dr. Barry LaClair with a framed poster of the Cocoon House, aka Healy Guest House, signed by the illustrator and designer John Pirman. This famous Sarasota School home was designed in 1950 by Ralph Twitchell and Paul Rudolph, and is on SAF’s Top Ten Must-See List of midcentury modern buildings in Sarasota, Florida. The house will be featured on trolley tours during SAF’s fourth annual architecture festival, SarasotaMOD, November 10-12, 2017. Event tickets go on sale August 15, 2017. SarasotaMOD.com

Cocoon House PosterProceeds from the Cocoon House poster benefit SAF’s ongoing programs and will be on sale at the MOD Shop during SarasotaMOD Weekend. For sales inquiries, please email info@SAF-SRQ.org.

Did You Know: In 1953, the Museum of Modern Art (MOMA) in New York City selected the Cocoon House as one of the 19 examples of houses built after World War II as a pioneer design of the future.

The cantilevered roof has steel straps fastened to flexible insulation boards that maintains its curved catenary shape with a sprayed on “cocoon” roofing material.

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

1Rudolph_YaleArtBldg

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.

2RudolphYaleArtBldg

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.

4RudolphGovtCenterGoshenNY

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.”

5RudolphEndoLabNY

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.

6RudolphColonnadeAsia

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.”

7RudolphWellesleyJewettArtCenter

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.”

8RudolphHarkavy1946

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.”

Stoller_WalkerGuestHouse

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.

Sarasota School Reunion

Veteran Sarasota architects reunite for inaugural mid-century design festival on Florida Modernism

By Mike Singer

Gene Leedy, FAIA, started his career as Paul Rudolph’s first employee in the mid-century master’s Sarasota office when it opened in the 1950s. Decades later, at the 1982 AIA Florida annual conference in Tampa, Leedy coined the phrase “Sarasota School” to frame a special sort of design ethos that Rudolph’s firm spearheaded.

“In those days, they used to refer to the architects in Chicago as the ‘Chicago School,’ so I called us the ‘Sarasota School,’ and it stuck,” he says.

Leedy, now 86, returned to Sarasota last month, joining four other AIA fellows, all now in their 70s and 80s, who recalled the Sarasota School’s bright lights—Victor Lundy, FAIA; Paul Rudolph, FAIA; Ralph Twitchell, FAIA; and other Modernist pioneers—and their impact on the subtropical Gulf Coast of Florida, as part of the city’s first-ever SarasotaMOD Weekend, a four-day celebration of mid-century design.

“During the 1950s, Sarasota was probably the greatest place in the world to be an architect,” Leedy said. “To me, it was like Paris after World War I.”

Tropical Modernism and Trying Times

Today, Sarasota’s community preservation leaders are capitalizing on the city’s rich architectural legacy with renewed vigor. The Sarasota Architectural Foundation, SarasotaMOD’s sponsor, hopes the festival will deepen public understanding of an important regional center of Modernism—this year and in subsequent years—and propel architectural tourism and preservation.

From an alfresco dinner at Rudolph’s Sanderling Beach Club (Image 1) to tours by trolley, boat, and foot around Siesta Key and Lido Shores, design enthusiasts got a rare chance to tour privately owned mid-century gems and learn how a town with fewer than 25,000 residents in the 1950s became a hot-bed of Modernism.

“A more informed, motivated and stimulated audience will ultimately result in a better built environment—one that is both respectful of our buildings and our history,” said Carl Carl Abbott Quote_SAF2Abbott, FAIA, chair of SarasotaMOD. “As lovely and architecturally significant as Sarasota is, many of our own mid-century buildings face enormous [preservation] challenges.”
If those challenges can be boiled down to some critical factors, certainly the long-term effects of climate on materials are on that list, as are the technical aspects of maintaining and restoring older Sarasota buildings. Above all, however, those things are made easier by widespread public awareness—not only of important local architectural legacies, but also stewardship of physical buildings and important design principles exemplified by those buildings.

SarasotaMOD panelist John Howey, FAIA, interviewed 22 architects active in the school, from 1941–1966, almost two decades ago for his book The Sarasota School of Architecture (MIT Press, 1997). In the book, he outlines five key principles advanced by Rudolph—largely adopted from Walter Gropius at Harvard—for what a regional school of architecture could mean.

“Clarity of construction, maximum economy of means, simple overall volumes penetrating vertically and horizontally, clear geometry floating above the Florida landscape, and honesty in details and in structural connections,” recalls Howey, “are the guiding principles of the Sarasota School.” Howey, 88, continues to utilize those principles in his Tampa-based practice.

“What happened here in Sarasota was very unique,” says Abbott, 78, a former student of Rudolph’s at Yale University whose work such as the Putterman House (1986, Image 2) continues to draw from the native Kentuckian’s formal experiments in massing and in section.

For Abbott, though, the Sarasota School represents two distinct influences that made it a unique expression of modern architecture: Rudolph and that of Ralph Twitchell, an Ohioan who opened his Sarasota office in 1936 and hired a 23-year-old Rudolph, fresh out of Auburn University, in 1941.

“There were two places in the world where both the Bauhaus School and the Organic School took root together,” says Abbott. “One was in Los Angeles and the other was here in Sarasota. Rudolph studied under Gropius at Harvard, and Ralph Twitchell favored the organic architecture of Frank Lloyd Wright.”

Together, Twitchell and Rudolph designed two important projects before Rudolph’s departure for graduate school at Harvard: their catenary-roofed Healy Guest House and the lattice-encased Umbrella House (Image 3, Image 4). Both projects received positive reviews in the architectural magazines of the day. Upon Rudolph’s return to Sarasota, the two architects formed Twitchell & Rudolph in 1946, a firm that had a productive five-year run before disbanding in 1951.

“Many people don’t know this, but Rudolph was a great merchant,” said Leedy. “He gave the magazines a little package with his beautiful drawings, a story, the whole ball of wax—all they had to do was sign their name to it. Paul made it so easy for all of them.”
Widespread publicity about the early Twitchell-Rudolph experiments attracted other young architects.

Frank Folsom Smith, FAIA, took a leave from his architectural studies at the University of Virginia in the late 1950s to apprentice with Sarasota’s other rising architectural star, Victor Lundy, FAIA, for $75 a week. But, as Smith reports, Lundy and Rudolph were never friendly, despite being classmates in graduate school.

“I always thought about Paul Rudolph and Victor Lundy as fire and ice—because Paul was cool and Victor was hot,” said Smith. “Victor was much more competitive [than Rudolph] and an excellent mentor. He could sit down and start a drawing on butcher paper, never miss a stroke, and end up with a design. He’d hand it to me and say ‘draw this.’”
For Smith, “this” included two landmark buildings: St. Paul’s Lutheran Church complex and the Waldman Building (Image 5, Image 6).

Edward “Tim” Seibert, FAIA, was just 25 in 1953, and a draftsman for Paul Rudolph, when he designed the stilt-raised Hiss Studio (Image 7). Philip Hiss, a visionary Sarasota developer and modern design advocate, sold Lido Shores properties from the office Seibert’s firm designed—including the speculative Umbrella House designed by Rudolph next door.

“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,” Seibert, a panelist at SarasotaMOD, recalled. “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.”

Today, however, the question is: How can preservationists encourage Sarasotans to see that once-new architecture as part of their futures?

Preservation and Expansion: Sarasota’s New Frontier

Sarasota has seen the same rapid growth and development as other Sun Belt cities, and preservation has not always been the rule of the land. Rudolph’s Riverview High School, completed in 1958 (the year he left to accept the deanship at the Yale School of Architecture) and the center of strong local preservation support, was razed in 2009 to make way for a parking lot (Image 8).

“The Building Itself Teaches,” the current exhibit at the Sarasota County Visitor Information Center and History Center Museum, tells the story of nine public schools constructed when Hiss served on the Sarasota Board of Public Instruction from 1953–1960. Hiss’s leadership transformed the county’s public educational environment, marrying modernist design with progressive pedagogy and setting a precedent for school design in postwar America.

Schools featured open floor plans and movable partitions and furniture that allowed for team teaching. “A lot of ideas that are common now about students working with other students, kids teaching kids, team teaching,” said Lorrie Muldowney, Assoc. AIA, manager of the Sarasota County History Center, in an opening-night speech at SarasotaMOD, “and these concepts informed the designs of schools such as Englewood Elementary by Jack West.”

Jack West, FAIA, who worked for Twitchell and Rudolph, started his own firm in 1951, and ultimately formed West and Conyers/Architects and Engineers in 1966, which he led through the 1990s.

Today, only four of the nine schools commissioned by Hiss still stand. However, in a major preservation victory, the façade of Rudolph’s Sarasota High School, 1958, is now undergoing restoration as part of a $42 million campus overhaul (Image 9). Jonathan Parks, AIA, principal and founder of Jonathan Parks Architect, an 11-person firm based in Sarasota, helped guide restoration efforts. Other pioneering schools on the other hand, such as Jack West’s Englewood Elementary School, have been demolished.

Elsewhere in Sarasota, the University of Florida recently launched CityLab-Sarasota, which is on track to offer an M.Arch degree program in the coming year. In a city that never had a school of architecture, Sarasota School examples will become a living lab for graduate students. The new academic program will be housed in a former 1960s furniture showroom designed by Sarasota School modernist William Rupp, AIA, and share the space with the Center for Architecture Sarasota, which opened in 2013.

Even Rudolph’s first solo commission, the Walker Guest House (Image 10), will live on in a new context. While the original, privately owned home still stands in nearby Sanibel Island, the Sarasota Architectural Foundation plans to reconstruct it on the grounds of Sarasota’s Ringling Museum of Art and ultimately take it on the road as a traveling kit of parts and mobile education studio.

“This is a very unusual ‘preservation’ project because we are building fresh from scratch, from the original drawings,” says Joe King, a Sarasota architect, co-author of Paul Rudolph: The Florida Houses (Princeton Architectural Press, 2009), and construction manager for the Walker Guest House reconstruction.

Once completed, the 580-square-foot house will be installed on the grounds of the Ringling Museum of Art in Sarasota, where attendees to SarasotaMOD in 2015 will have the opportunity to tour it, learn about Rudolph’s use of jalousie windows, and experience period furniture and fixings.

“[The client] Elaine Walker is very enthusiastic about the project and wants it to travel to the Walker Art Center in Minneapolis after its run at the Ringling,” says Joyce Owens, AIA, who moderated a panel at this year’s event and helped guide the reconstruction plans based on Rudolph’s original drawings. “After all, it was always one of Paul Rudolph’s favorite buildings.”

Decades may have passed, but the legacy of Rudolph and his trailblazing contemporaries still shines brightly in this southwestern Florida city.

Mike Singer is a frequent contributor to AIArchitect.


Photos shown above:
Image 1: The Sanderling Beach Club cabanas, 1952, overlooking the Gulf 
of Mexico, were Paul Rudolph’s first major non-residential project. 
Photo by Jenny Acheson.
Image 2: Putterman House, 1986, designed by Carl Abbott. Abbott studied 
under Rudolph at Yale and used his mentor's guiding principles of 
“simple overall volumes penetrating vertically and horizontally” in 
this monolithic street façade. Photo by Steven Brooke.
Image 3: Healy Guest House, aka the Cocoon House, 1950, designed by Paul 
Rudolph and Ralph Twitchell. Notable for its cantilevered roof and water 
bank overhang, the house generated widespread national publicity for the 
two. Photo by Greg Wilson.
Image 4: Umbrella House, 1953, designed by Paul Rudolph. The home's 
original umbrella latticework was blown away in a 1996 hurricane and 
replaced in 2008. Photo by Bill Miller.
Image 5: St. Paul's Lutheran Church (Fellowship Hall 1959, Sanctuary 
1968), designed by Victor Lundy. With a soaring roof suspended by steel 
cables, the church's simple exterior encloses a sculpturally curved 
wooden ceiling. Photo by Greg Wilson.
Image 6: Waldman Building, 1958, designed by Victor Lundy. It once 
served as a studio in which the dancers appeared to roadside observers 
as suspended in space. Photo by Greg Wilson.
Image 7: Hiss Studio, 1953, designed by Edward J. "Tim" Seibert. A glass 
box raised on 14 slender steel columns, this was the 1950s sales office 
where developer Philip Hiss sold his Lido Shores modernist houses. Photo 
by Greg Wilson.
Image 8: Riverview High School, 1959, designed by Paul Rudolph. Designed 
in the International Style, Rudolph's first public high school building 
was torn down in 2009 following a highly contentious preservation battle. 
Courtesy of Sarasota County Historical Resources.
Image 9: Sarasota High School Addition, 1960, designed by Paul Rudolph. 
Rudolph's last project in Sarasota, the exterior of the building is 
being restored and the interior repurposed as part of a $42 million 
rebuild of the Sarasota High School campus. Photo by Greg Wilson.
Image 10: Walker Guest House, 1952, designed by Paul Rudolph. Rudolph's 
last project in Sarasota, the exterior of the building is being restored 
and the interior repurposed as part of a $42 million rebuild of the 
Sarasota High School campus. Photo by Greg Wilson.

Parks, Owens, Sparkman: The Evolution of Three Architects

Evolution 3 Architects_pix__April24_2014

Three Gulf Coast architects will each present a project from their early professional life as well as a recent one, followed by an analysis of the contrast and how their development as an architect influenced the changes. The remarkable evolution of their careers will be illustrated by what they’ve learned from the design-build process, working with clients, listening to critiques and finding the inspiration that has motivated them to be who they
are today. A panel discussion and Q+A will follow the presentations.

Jonathan Parks is the principal of Jonathan Parks Architect, Sarasota, FL
Joyce Owens is director of Architecture Joyce Owens LLC, Ft. Myers, FL
Jerry Sparkman is a principal of Sweet Sparkman Architects, Sarasota, FL

Sarasota Herald-Tribune
1741 Main Street
Sarasota, FL 34236

5:00 – 5:30 Check-in
5:30 – 7:00 Presentations, Q+A
7:00 – 8:00 Meet-and-Greet Reception

Become a member of SAF and this event is FREE!

RSVP, pay online www.saf-srq.org/events
Pay at the door: cash, check or credit card

SAF + AIA Members: $10
Public: $15
Student: $5

Questions: info@saf-srq.org, 941-364-2199

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.

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by Architect EDWARD J. SEIBERT, FAIA

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

Holmes Honored for Design Excellence

Article from Tampa Bay Newspapers, Wednesday July 25, 2012

INDIAN ROCKS BEACH – Indian Rocks Beach architect Dwight E. Holmes FAIA, is one of 23 recipients of the American Institute of Architects Award of Honor for Design who were honored at the annual AIA Florida Honor and Design Awards reception and dinner July 21, 2012 at the Breakers Palm Beach.

Through the high quality and originality of their work, by advancing the value and public awareness of good architecture over an extended period of time, and by their leadership, Holmes and the other honorees have provided an inspiration to their colleagues and others. This award is the highest award for design that the AIA can bestow on one of its members.

Holmes and his son, Scott, have just completed an addition to the Indian Rocks Beach Historical Museum. They are working on renovations to Indian Rocks Beach City Hall and they are involved in other city projects.

Don’t miss:
Thursday December 13, 2012
SAF Lecture: Architect Dwight E. Holmes, FAIA Retrospective
Sarasota Herald Tribune, Community Room
1714 Main Street, Sarasota, FL
2 AIA CEUs available through AIA Gulfcoast Chapter

Click to Pay Online
SAF Member $10
Non-Member $15
Questions, RSVP info@saf-srq.org

5 – 5:30pm Check-in
5:30 – 7pm Lecture, Q&A
7 – 8pm Reception