Foreword by Michael Sorkin Introduction by Richard Guy Wilson The years: 1941 to 1966. The place: Sarasota, Florida. The story: a sudden burst of fresh, innovative houses by a group of Americans who caught the imagination of the international architectural community. Inflected by local climate, construction practices, regional culture, and Florida life-style, the work of the Sarasota school of architecture—founded by Ralph Twitchell and counting Paul Rudolph, Mark Hampton, Victor Lundy, and Gene Leedy among its practitioners—marks a high point in the development of regional modernism in American architecture. Although the Sarasota school wasn't a consciously organized movement, it was an important chapter in American modernism that, unlike the earlier Bay Area school and Chicago school, has received little study or published scholarly treatment. John Howey, who practices architecture in the region, provides the first solid documentation of the Sarasota group's designs and theories. He has interviewed all of the surviving architects and original clients and has included a rich archive of photographs by Ezra Stoller, Alexandra Georges, and others whose views, particularly of the houses built between 1950 and 1960, gained world-wide exposure when they were first published forty years ago. Howey first investigates the early influences on the Sarasota group, particularly of Frank Lloyd Wright in Florida. He then discusses such pivotal events as the opening of Ralph Twitchell's office in 1936 and the arrival of Paul Rudolph in 1941. Later chapters illustrate the effect of World War II on the Sarasota architects; early postwar successes of Twitchell and Rudolph; the influences of the Bauhaus and International Style; the tendency of various Sarasota architects to create their own design directions; the arrival of Victor Lundy in 1954; the effect of changing economic, social, and political agendas on Sarasota's culture; and the philosophy and results of the Sarasota school.

Paul Rudolph, one of the twentieth century’s most iconoclastic architects, is best known – and most maligned – for his large “brutalist” buildings, like Yale’s Art and Architecture Building. So it will surprise many to learn that early in his career he developed a series of houses that represent the unrivaled possibilities of a modest American modernism. With their distinctive natural landscapes, local architectural precedents, and exploitation of innovative construction materials, the Florida houses, some eighty projects built between 1946 and 1961, brought modern architectural form into a gracious subtropical world of natural abundance developed to a high pitch of stylistic refinement. Paul Rudolph: The Florida Houses reveals all of Rudolph’s early residential work. With Rudolph’s personal essays and renderings, duotone photographs by Ezra Stoller and Joseph Molitor, and insightful text by Joseph King and Christopher Domin, this compelling new book conveys the lightness, timelessness, strength, materiality, and transcendency of Rudolph’s work.

Sarasota in the 1950s was a small community graced with an alluring natural beauty. What set it apart from so many Florida beachfront towns was the concentration of artists, writers, and architects who gathered there--including author MacKinley Kantor and architects Paul Rudolf and Ralph Twitchell--a unique confluence of talented and daring architects coupled with a hip crowd willing to take risks. Sarasota was a place in which innovation and experimentation were the order of the day, a place where an architect might run into the local watering hole to shout: "I just invented the sliding glass door." Such was the confluence of art and architecture that laid the groundwork for the Sarasota School of Architecture, so named after the fact by architect Gene Leedy at an American Institute of Architecture (AIA) conference in the 1980s to refer to the unique architecture of this region, an architecture that is wonderfully responsive to Sarasota's sub-tropical environment and which has achieved international importance for its beauty, intelligence, and style. Today, Sarasota's treasures are being rediscovered by lovers of innovative architecture, who are buying and restoring these prized homes; but also, unfortunately, by developers, who are recklessly knocking them down. Sarasota Modern, the first book of its kind to focus exclusively on this vibrant community, offers the reader an intimate look into the stunning houses as they are lived in today.

The Building Blocks series presents icons of modern architecture as interpreted by the most significant architectural photographers of our time. The first four volumes feature the work of Ezra Stoller, whose photography has defined the way postwar architecture has been viewed by architects, historians, and the public at large. The buildings inaugurating this series-Eero Saarinen's TWA Terminal, Wallace Harrison's United Nations complex, Le Corbusier's Chapel at Ronchamp, and Paul Rudolph's Yale Art and Architecture Building-all have bold sculptural presences ideally suited to Stoller's unique vision. Each cloth-bound book in the series contains at least 80 pages of rich duotone images. Taken just after the completion of each project, these photographs provide a unique historical record of the buildings in use, documenting the people, fashions, and furnishings of the period. Through Stoller's photographs, we see these buildings the way the architects wanted us to know them. In the preface to each volume Stoller tells of his personal relationship with the architect of each project and recounts his experience photographing it. Brief introductions reveal the unique history of each building; also included are newly drawn plans.

Paul Rudolph (1918–1997) authored some of Modernism's most powerful designs and served as an influential educator while chair of Yale's School of Architecture. His early residential work in Sarasota, Florida, garnered international attention, and his later exploration of Brutalist materials nd forms, most famously embodied in his Yale Art & Architecture Building (1963), earned Rudolph both notoriety and acclaim. Many of the dynamic drawings included in this collection — selected from the architect's archive housed in the Library of Congress — illustrate his highly emotive hand and deft drafting skill. They include his designs for Tuskegee University Chapel, Interama, Lower Manhattan Expressway, his analysis of Mies van der Rohe's Barcelona Pavilion, and his own inventive penthouse on Beekman Place in New York City. A lively Rudolph interview, conducted in 1986, and a newly commissioned introductory essay provide context for the drawings.

Carl Abbott, FAIA, practitioner of the Sarasota school of architecture, presents twenty-six of his designs.

This volume documents the best examples of Florida's residential architecture era, which took place between 1941 and 1966. Many homes incorporate verandas, porches, and raised floors to open out to tropical vegetation, and more importantly, cooling breezes.

Francis Palmer Smith was the principal designer of Atlanta-based Pringle and Smith, one of the leading firms of the early twentieth-century South. Smith was an academic eclectic who created traditional, history-based architecture grounded in the teachings of the cole des Beaux-Arts. As The Architecture of Francis Palmer Smith shows, Smith was central to the establishment of the Beaux-Arts perspective in the South through his academic and professional career. After studying with Paul Philippe Cret at the University of Pennsylvania, Smith moved to Atlanta in 1909 to head the new architecture program at the Georgia Institute of Technology. He would go on to train some of the South's most significant architects, including Philip Trammell Shutze, Flippen Burge, Preston Stevens, Ed Ivey, and Lewis E. Crook Jr. In 1922 Smith formed a partnership with Robert S. Pringle. In Atlanta, Savannah, Chattanooga, Jacksonville, Sarasota, Miami, and elsewhere, Smith built office buildings, hotels, and Art Deco skyscrapers; buildings at Georgia Tech, the Baylor School in Chattanooga, and the Darlington School in Rome, Georgia; Gothic Revival churches; standardized bottling plants for Coca-Cola; and houses in a range of traditional "period" styles in the suburbs. Smith's love of medieval architecture culminated with his 1962 masterwork, the Cathedral of St. Philip in Atlanta. As his career drew to a close, Modernism was establishing itself in America. Smith's own modern aesthetic was evidenced in the more populist modern of Art Deco, but he never embraced the abstract machine aesthetic of high Modern. Robert M. Craig details the role of history in design for Smith and his generation, who believed that architecture is an art and that ornament, cultural reference, symbolism, and tradition communicate to clients and observers and enrich the lives of both. This book was supported, in part, by generous grants from the Graham Foundation for Advanced Studies in the Fine Arts and the Georgia Tech Foundation, Inc.

The Routledge Companion to Women in Architecture illuminates the names of pioneering women who over time continue to foster, shape, and build cultural, spiritual, and physical environments in diverse regions around the globe. It uncovers the remarkable evolution of women’s leadership, professional perspectives, craftsmanship, and scholarship in architecture from the preindustrial age to the present. The book is organized chronologically in five parts, outlining the stages of women’s expanding engagement, leadership, and contributions to architecture through the centuries. It contains twenty-nine chapters written by thirty-three recognized scholars committed to probing broader topographies across time and place and presenting portraits of practicing architects, leaders, teachers, writers, critics, and other kinds of professionals in the built environment. The intertwined research sets out debates, questions, and projects around women in architecture, stimulates broader studies and discussions in emerging areas, and becomes a catalyst for academic programs and future publications on the subject. The novelty of this volume is in presenting not only a collection of case studies but in broadening the discipline by advancing an incisive overview of the topic as a whole. It is an invaluable resource for architectural historians, academics, students, and professionals.

"This landmark volume documents the stunning work of Guy Peterson, who has spent his life pursuing and developing a rich architectural vision carefully tuned to the demands and opportunities afforded by the unique features of Florida and his design-by-removal process that has produced some of America's greatest coastal architecture. The landscape of Florida and its subtropical climate presents any architect with many challenges to overcome while maintaining its rich building traditions. Guy Peterson, by his own example, has recaptured and redirected efforts toward an authentic Florida architecture. This book details the unique process by which Guy Peterson begins with the basics of climate, program, volume, and proportion and creates buildings of simplicity and power. The architecture showcased here is made from simple materials carefully employed to accommodate function, sculp space, and capture light. Architecture that proves again and again that simplicity is the most powerful generator of architectural form. His is a naked architecture."--Amazon website.