Residence

What's In A Name? When a "Rudolph" Really Isn't One

A home in Chester, NY that the owners claim was designed by Paul Rudolph. Image from a previous listing on Weichert Realtors.

A home in Chester, NY that the owners claim was designed by Paul Rudolph. Image from a previous listing on Weichert Realtors.

When you represent the estate of an architect who has designed residential properties, you eventually receive word that they are going to be sold. At that point, in steps a real estate agent with the marketing vocabulary and poetic license to find a new owner.

As Christine Bartsch writes in her blog Writing Creative Real Estate Listing Descriptions: 3 Pro Tips (and a Warning!), “The better your listing description is, the better your chances are that buyers will come see your home in person. And the more showings you have, the higher your odds are to get multiple offers.”

It can sometimes be hard to find a new owner for a Rudolph-designed home. They can be of a certain age that they seem too small for today’s buyers (like the Cerritto Residence) or in a location that is no longer remote and in danger of being demolished for a bigger house (like the Walker Guest House) or they can be in a style that can make them hard to love (like the Micheels Residence).

In some cases the owners reach out to the Paul Rudolph Heritage Foundation and we work with them to find a new owner who will preserve the property. We list these properties on our website with instructions here.

As we state in our mission statement, one of our goals is to help provide connections between sellers of Rudolph properties with preservation-minded buyers and design-sensitive real estate professionals. In order to ensure the properties are preserved, it is important they are owned and maintained.

So its interesting that - while its already challenging to preserve original Rudolph designs - we come across properties that claim they are Rudolph designs when there is no evidence that they are.

Note: The following homes are not included in Rudolph’s project list and we have no evidence (in either drawings, photographs or written communication) that they are Rudolph designs. We are happy to update our archives if the owners contact us and can provide supporting documentation.

Let’s take a look at three of these homes:

904 Virginia Drive in Sarasota, Florida

The original house in 2007

The original house in 2007

The new house in 2020

The new house in 2020

According to the property’s listing:

This entertainer's dream home is located in the heart of Sarasota's Cultural District. This home was designed by renowned architects Ralph Twitchell and Paul Rudolph in 1940 with construction being completed in 1941. The home was remodeled and expanded in 2009, and refreshed in 2019. The design is a perfect blend of contemporary and mid-century modern.

As soon as we read the listing (sent from a Rudolph fan) we knew the Rudolph reference was mistaken because he joined Twitchell’s office in the Spring of 1941 - the same year construction was completed.

We reached out to several friends in Florida and learned the original address is indeed a Twitchell design, known as the ‘Second Lu Andrews residence’. Pictures of the home appear in John Howey’s 1997 book The Sarasota School of Architecture, 1941-1966.

We were provided a note by a previous owner in the 1990’s that explains a short history of the home. Below is an excerpt:

“There was a small piece in our paper yesterday in the real estate section about the Lu Andrew home in Tahiti Park. I was moved to give a brief history of her second home built in 1939, which my husband and I owned about six years ago. Both homes were built by her boss Ralph Twitchell.

When Pat and I started looking to buy our first home we were living on Hickory street and had both been living here and there in the IBSS neighborhood for years. It was our hope to find a house in the area, and we spent a year looking.

Walking our dogs we came upon 904 Virginia Drive, a for sale sign had just been erected and we immediately went back home to call our realtor to inquire about this charming modern house. We set up an appointment for the very next day, the price was a bit out of our range, but with the idea of negotiating we remained positive.

Meeting the realtor at 904 we knew right away that the outside of the property was a dream, and once the door opened we knew instantly that we had finally found our home. It was small, 900 square feet, perfect for two. It was important for us that the house we bought wasn't entirely bastardized.

Walking into 904 we were delighted by the original integrity, design and layout. Putting an offer in quickly, and dealing with owners that loved the house and yard, it was a given that it would all work out.

Once we occupied the Twitchell house we started to research it's previous owners and history. In the hopes of meeting it's original owner we went to see if Lu Andrews was home at her Tahiti Park address.

Arriving there, we knew from the looks of the house that it hadn't been lived in for quite some time. One of her neighbors saw us and we all started talking and she told us that Lu's son had put her into a nursing home just a few months ago. She knew a lot about the history and about Lu, and was kind enough to let us know where Lu was now living. We called the nursing home and made an appointment to meet with her.

We learned that Ralph built the home for Lu and her son, that Lu slept in the living room on built-in day beds (no longer there) that her son slept in the back bedroom and the front room was to rent out to someone so that it was affordable for Lu. Times ware tough in Sarasota in the 40's, the building boom declined rapidly and when the war broke out work was hard to get. Being a single parent with a son to raise, Lu moved to Washington DC to work as a secretary. She had lived in 904 for a short time, never to return. she moved back to Sarasota after the war and the Tahiti Park house was built for her by Ralph, but the materials used were more humble as the economy here was still tight. She was a dear lady, and her memory faded back and forth, but we were still able to extract this brief history.

Once our children arrived the house was becoming quite small, so we investigated adding on and hired the architect John Howey. We felt John would be perfect as he had just published a book on the Sarasota School of Architecture. Plans were drawn and during the process my neighbor across the street had decided to sell his home, and it was offered to us. Economically it was a wise decision, building the addition was expensive in comparison. We would be going from 900 s.f. into 2000 s.f. without the headache, but with the loss of our sweet Twitchell home.

Sometimes we make decisions with the hopes the what we decide will stay the same, unfortunately two years ago 904 was forever changed.

The beautiful 100 year old river cypress torn away from the walls - paneled throughout the ceilings and walls - piled high into dumpsters. When living at 904 while reading in bed my eyes could not help but to always delight in the beauty of the cypress grain, every bit worthy, of it's title, River Tide, as the grain looks like the water moving along the shore. As if the cypress tree is so ingrained into the life of the water from which it is born.

Twitchell often left a whimsical signature in the homes he built, stars cut out from the cypress, and the cut out itself, neatly imposed near entryways. As the demolition continued at 904, Pat was able to salvage the star paneling and many paneling boards.

On the back of some of the boards was a stamp from the lumber mill from which the cypress originated. In 1922 Cummer Sons Cypress Company was built on 100 acres in Pasco County, in the town of Lacoochee, Florida. The town of Lacoochee thrived for nearly 40 years, where Cummer Sons Cypress, a giant in the logging and lumber industry, made their last stand near the Withlacoochee river. It closed in 1959, and with its demise the town fell into hard times, as the mill was the main employer, providing jobs and housing mostly for African Americans.

I still dream about 904, mostly that I have forgotten a treasure, tucked away in the beautiful memory of a cypress tree.”

The home was modernized in the 2000’s and then later sold to a new owner who demolished 95% of the house and rebuilt it. As our source in Florida told us, “Twitchell at 904 Virginia Drive is long gone.”

On a side note - a wonderful SketchUp model of Lu Andrews’ 3rd house at Tahiti Park referenced in the note above can be found here.

1212 East Sierra Way in Palm Springs, California

A photograph of 1212 East Sierra Way from the property’s listing on Zillow.

A photograph of 1212 East Sierra Way from the property’s listing on Zillow.

The AirBNB listing for the 4,100 s.f. property states:

This iconic mid-century multi-level home in the prestigious Indian Canyons neighborhood was designed by renowned architect Paul Rudolph. Casa Colibri is a sprawling property with expansive rooms and an abundance of floor-to-ceiling windows that shed light on the spectacular, mid-century interior.

In this case, we were alerted by Docomomo - a non-profit organization dedicated to the documentation and conservation of buildings, sites and neighborhoods of the modern movement - asking for confirmation. The listing says the exact location will be provided after booking. A little digging and we discovered a similar listing for ‘Casa Colibri’ on Vrbo which also states, “this iconic mid-century multi-level home in the prestigious Indian Canyons neighborhood was designed by renowned architect Paul Rudolph.”

What caught our eye was the Vrbo listing headline - “3 bedroom 5 bath mid-century 4100 sq ft home featured in modernism week tours.” When members of the Paul Rudolph Heritage Foundation were in Palm Springs for Modernism Week in 2019 to see the Walker Guest House replica we had no idea we were only a 6 minute drive away. No one we spoke to mentioned a Rudolph-designed home was in town, and information about Rudolph at the replica’s installation made no reference to it.

A public records search of Palm Springs (along with a little flying around via Google Earth) and we learned that Casa Colibri is located at 1212 East Sierra Way. According to the property records, the residence was built in 1977. We also found a Zillow listing for a previous sale by Douglas Elliman in 2017 that states:

A house of pure architecture and one of Indian Canyon's most dramatic houses. The different levels recall the work of modernist architect Paul Rudolph and are part of what makes the sight lines so interesting. Extensively renovated by Solterra Construction in 2008 this home has comfortable yet contemporary style and lots of architectural drama.

Within a few years a house that ‘recalls’ Paul Rudolph has become ‘designed’ by him.

19 Greentree Lane in Chester, New York

Photo from the Property Description Report from the Orange County, NY Municipal website

Photo from the Property Description Report from the Orange County, NY Municipal website

The 7,202 sqft home - which sold for $285,000 in 1995 and then $238,000 in 1999 - jumped 1,034% in price to $2,700,000 in 2014. According to public property records, the home was originally built in 1986 and last modified in 2000-2001. The additions include a 240 s.f. carport, 650 s.f. attached garage and 80 s.f. covered porch. No date is available when the heliport was added on the property.

The residence was listed and delisted several times since 2013 and marketing mentions Paul Rudolph although you might miss it based on the spelling:

“The Hudson Villa is named after its historic origin. Created by the renowned architect Paul Rudolf, the estate is a masterpiece of design and craftsmanship featuring a private white-sand beach and a resort-like setting less than an hour away from New York City.” - Hudson Valley Style Magazine, 07/09/2020

On its own website, the property description states:

“Designed by the renowned American architect Paul Rudolph, the home pays homage to the lodge tradition - precise craftsmanship is evident in architectural accents including cathedral ceilings, light-flooding skylights, and warm stone elements. Security and privacy are front of mind in the design, layout, and features of the property.”

We encourage you to visit the website and judge Rudolph’s participation for yourself based upon the pictures of the home’s interior.

Or, you can check this listing from the Off The Mrkt blog in September 2018:

Reality TV personality and mentor on Scared Straight and MAURY, Dave Vitalli, is selling an aspen style safe house in Chester, New York for $3,088,000.

This safe house located at 19 Greentree Lane was originally built by Paul Rudolph, a renowned architect, in 1986. Rudolph spared no expense when it came to making sure the house would withstand the threats of the world outside. 

The safe house is built of thick slabs of concrete and reinforced steel to help maintain the structure just in case something were to happen. It also has generators, wells, and septic systems in place to allow for comfortable off the grid living. This property has also been previously used as a retreat for diplomats, celebrities, and dignitaries through the years.

The site includes a link to Rudolph’s wikipedia page, because they wouldn’t be able to find a link for the home in our project archives.

Its also interesting to note that the home’s location - Chester, NY - is located in Orange County. Orange County is best known for several Rudolph-related preservation controversies including the destruction of the John W. Chorley Elementary school in Middletown and the partial destruction and insensitive addition to the Orange County Government Center. Could the controversy and Rudolph’s name in the local paper have inspired the marketing connection?

The USModernist organization - which follows and promotes the preservation of modernist homes - says the house was “for sale 2014-2018, advertised as a Paul Rudolph design, based on a claim by the owner. We found no evidence to support that claim whatsoever, and the owner declined to produce any.

USModernist contacted the property’s real estate agent in 2017, who could not produce any documentation but that Rudolph’s authorship is something ‘the family told them.’ The agent also said the owners commissioned Rudolph to do the renovation.  However, they bought the house in 1999 after Paul Rudolph had passed away in 1997.

After speaking with us, USModernist informed the sales agent and asked that the record be corrected. Instead, the house was delisted only to return yet again as a Rudolph in several relistings with different agents ever since.

Rudolph comes up a few times in the history of this property - either ‘sparing no expense’ in 1986 or renovating the property in 1999 from the afterlife. We note with irony that the renamed ‘Hudson Villa’ is trademarked on the listing’s current website, while taking liberty with the mention of Rudolph’s involvement in the ‘trademark’ design.

Why Now?

Several sales of Rudolph properties have been in the news lately, so we aren’t surprised that Rudolph’s name is being used as a marketing tool.

In 2019, two original Rudolph properties were sold. The 1952 Walker Guest House in Sanibel, Florida was sold at auction by Southebys-New York in December for $750,000 and, with auction house fees, the total came to $920,000. As we reported earlier this month, it is in the process of being moved to a location in California.

The other sale was Rudolph’s 1986 Triestman Residence which went through a subsequent interior modification by the new owner.

In 2020, Rudolph’s 1949 Bennett Residence was sold for $395,500 after being listed for just 3 days. We learned that the new owner purchased it sight unseen for the full asking price - even in the middle of a pandemic.

This year also saw the sale of the Walker Guest House Replica that was on display during Palm Springs Modernism Week (a short drive from the would-be Rudolph) by Heritage Auctions. Bidding began at $10,000 - the budget for the original home when it was first built.

So when we find sellers using Rudolph’s name as a way to get more attention, we take it as a sign of success in our efforts to keep Paul Rudolph’s work in the public’s consciousness.

None of this is meant to make a value judgement about the homes mentioned above, just that they are not Paul Rudolph designs. As is the case with art or architecture, its buyer beware and in some cases definitely not ‘you get what you pay for.’

McMansion Hell's Kate Wagner on Open Plans vs. Walls [And its resonance with Paul Rudolph's spatial archetypes]

The floor plan of Paul Rudolph’s Revere Quality House, used as an example of residential open-space planning in Kate Wagner’s article. The house was built in 1948 in Siesta Key, Florida, and was widely published. © The Estate of Paul Rudolph, The Pa…

The floor plan of Paul Rudolph’s Revere Quality House, used as an example of residential open-space planning in Kate Wagner’s article. The house was built in 1948 in Siesta Key, Florida, and was widely published. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

KATE WAGNER STRIKES AGAIN

Everyone loves Kate Wagner’s site, McMansion Hell—well, almost everyone, for we can imagine the chagrin of being subject to her clear-eyed assessments of “McMansions” which have saturated the housing market. We’ll skip showing a picture of the house which was the focus of one of her analyses—but here’s a sample text from Kate Wagner and one can get a clear idea of her tone:

“If you combine all of the insipid elements of the other houses: mismatched windows; massive, chaotic rooflines; weird asphalt donut landscaping; pompous entrances, and tacked on masses; you’d get this house. The more one looks at this house the more upsetting it becomes . . . . What sends this one over the top is its surroundings: lush trees and clear skies that have been desecrated in order to build absolute garbage.”

More—much more—can be seen at her site, as well as the site’s archives. But it’s important to know that her work is not just about take-downs of dimwitted design and comatose construction. Ms. Wagner has delved into other design-related topics of significance—like land use, urbanism, and the history of architectural styles—and she’s one of the few writers on design to give a fascinating (but accessible) look at the intersection of acoustics and residential design. Nor is her work published only on her own website—Wagner has been a featured writer in Architectural Digest, The Atlantic, Curbed, and other venues.

It is an article by her, on the ever-fascinating CITYLAB website, that has our attention, as it intersects with a aspects of Paul Rudolph’s work and philosophy—and, as noted at the top of this post, a Rudolph house plan was used as one of the article’s illustrations.

“THE CASE FOR ROOMS”

Her post, The Case for Rooms is subtitled: It’s time to end the tyranny of open-concept interior design.

A screen-shot of the opening of “The Case for Rooms”, an article by Kate Wagner on the CITYLAB website. The illustration—showing diverse activities through the house—makes a case for the usefulness of separate rooms.

A screen-shot of the opening of “The Case for Rooms”, an article by Kate Wagner on the CITYLAB website. The illustration—showing diverse activities through the house—makes a case for the usefulness of separate rooms.

She opens by clarifying the definition of her topic:

“Much has been written about the open floor plan: how it came to be, why it is bad (or good), whether it should or shouldn’t be applied to existing housing. The open floor plan as we currently understand it—an entry-kitchen-dining-living combination that avoids any kind of structural separation between uses—is only a few decades old.”

She then gives a history of the [pre-“open concept”] development of separate rooms for different functions and family members—a significant evolution in residential design—and then covers the reasons (historic, social, economic, industrial, and aesthetic) why there has been a departure from such spacial differentiation. That departure is manifest in the open concept arrangement of so many houses and apartments today: where living-dining-cooking spaces meld into each other.

The Revere Quality House, a 1948 design by Paul Rudolph, was widely published—and is used in the article as an illustration of “open concept” home planning which began to permeate residential design in the housing boom after World War II.

While Rudolph’s elevations for the Revere Quality House are not included in the article, it is worth looking at them to see that design’s large expanses of “see-through” areas (at the Porch, Living Room, and Dining Room)/ They confirm the characteri…

While Rudolph’s elevations for the Revere Quality House are not included in the article, it is worth looking at them to see that design’s large expanses of “see-through” areas (at the Porch, Living Room, and Dining Room)/ They confirm the characterization of the house as an open plan (or “open concept”) design. Those rooms are examples of Rudolph’s “fishbowl” spaces. By contrast, the Kitchen, Bedrooms, and Bath use more solid walls and partitions—conferring on them the protective spatial quality of what Rudolph called “caves.” © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

Today—to judge from the floor plans, photos, and renderings seen in real estate advertising, the “open concept” approach prevails in the layout of houses and apartments.

The article goes on to question open concept planning on practical terms:

  • whether houses laid-out this way can give their residents the visual, acoustic, and mental privacy that is useful and healthy

  • whether they promote (or get in-the-way of) communication

  • whether they are energy-wise

  • whether the fixes that have been invented to compensate for their problems (like having a separate “mess kitchen” which is visually hidden from the open-plan areas) are just masking an overall planning mistake

Another Paul Rudolph design, from the post-World War II building boom era: the Lamolithic House of 1948, built in Siesta Key, Florida. As shown in Rudolph’s perspective rendering, the Living Room, Dining Room, and Kitchen merge into each other, and …

Another Paul Rudolph design, from the post-World War II building boom era: the Lamolithic House of 1948, built in Siesta Key, Florida. As shown in Rudolph’s perspective rendering, the Living Room, Dining Room, and Kitchen merge into each other, and are primarily bounded by large (and openable) glazing. This arrangement is a manifestation of the open planning approach which was becoming increasingly popular—and also worked well to allow for cross-ventilation in a hot region like Florida (and a pre-AC era). The Bedrooms and Bath are more conventionally enclosed with walls and shuttable doors. These two sets of rooms adhere to Rudolph’s differentiation of “fishbowl” and “cave” spaces. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

The article provides a deep (and wonderfully-illustrated) dive into these issues, the emergence of the open plan approach, and its permutations through the 20th (and now 21st) Centuries.

Kate Wagner’s right, as always: open plans can have problems—and this has been observed not only in residential design, but also about the quality-of-life within open plan offices (though a recent study is beginning to challenge that), schools, health facilities, restaurants, and architecture/design/art studios. In all of these, the lack of acoustical privacy and its evil twin—noise—are prime offenders. But so is the absence of visual privacy. Moreover, in a set of joined open plan spaces, missing are the strong visual cues which gives that sense of security that helps occupants feel situated in the world. Peninsula shaped built-in seating and conversation pits try to make up (though not always completely) for absent walls and doors.

FINDING A BALANCE

As with many design problems, perhaps the real issue is disproportion—a lack of balance in the various forces and approaches: plans which rely almost exclusively on open planning will have the above-mentioned problems. But plans which only include closed-off spaces—having one door-shuttable-room-after-the-other—are doomed to architectural claustrophobia, and maybe induce a kind of over-privacy that is also destructive.

RUDOLPH ARTICULATED THE POLARITY (AND VARIETY) OF SPATIAL NEEDS

It’s one of Paul Rudolph’s most provocative quotes:

“We desperately need to relearn the art of disposing our buildings to create different kinds of space: the quiet, enclosed, isolated, shaded space; the hustling, bustling space, pungent with vitality; the paved, dignified, vast, sumptuous, even awe-inspiring space; the mysterious space; the transition space which defines, separates, and yet joins juxtaposed spaces of contrasting character. We need sequences of space which arouse one’s curiosity, give a sense of anticipation, which beckon and impel us to rush forward to find that releasing space which dominates, which acts as a climax and magnet, and gives direction.”

There, Rudolph was challenging the aridity of mainstream Modernism’s approach to city planning—but he might as well have been talking about the need for such variety within residences—and, as his career went on, he’d practice what he preached.

Distilling this even further, Rudolph spoke of the two archetypal spaces which humans create and need—the poles on the range of spaces that we inhabit. He called them The Fishbowl and conversely, The Cave.

We can describe and give examples for each:

THE FISHBOWL is the open/exposed space. Sometimes it is the type of residence where a Living Room flows into a Dining Room and then into the Kitchen (the planning approach for homes, which is the topic of Kate Wagner’s article)—but it could describe places as civically grand as the podium of the Pantheon or the balcony from which the Pope addresses the crowd in St. Peter’s square. The most frequent way that the entry spaces of an opera house are characterized are as “places to see and be seen”—a perfect example of this spatial type! You’ve probably seen the way the offices of a newspaper newsroom or a police precinct interior are depicted in films and on TV: there’s a glazed-in office within which sits the editor or police captain (observing and directing the action—but also being the object of observation).

THE CAVE is the enclosed space—maybe cozy, maybe fortress-like in its defensibleness—but above all protective and evoking security. A place where one is not exposed, but where one can be (and share) one’s private self. The most frequently cited room-type would be a bedroom—and every child who has ever built a “sofa cushion fort” will know the sought-after feeling of security of such spaces. But ‘the Cave” would also apply to other kinds of spaces: entry vestibules where potential visitors are vetted (and, if necessary, warded-off), rooms for medical examinations and healing, offices and studios for quiet creation, library spaces for study, chapels for contemplation, galleries for art appreciation, and restaurant booths for sharing confidences.

Rudolph knew (and preached) that well-planned residences, workplaces, museums—indeed whole cities, and all the places we live—need to have both.

A RUDOLPH DESIGN WHICH ACHIEVES BOTH

Early in his career (in his first independent commission) Rudolph designed a house which allows the owner to have either the character of a Fishbowl -or- a Cave—and every graduation in-between. His Walker Guest House—a work from 1952 which was built in Sanibel, Florida—had adjustable flaps on most of the house’s perimeter, and they provided almost infinite options for achieving a sense of enclosure -or- openness.

Paul Rudolph’s drawings of his Walker Guest House, showing how the exterior flaps work: the hinged panels (balanced by a simple counterweight system) swing open and closed, and can be set at almost any angle. This allows for flexibility in dealing w…

Paul Rudolph’s drawings of his Walker Guest House, showing how the exterior flaps work: the hinged panels (balanced by a simple counterweight system) swing open and closed, and can be set at almost any angle. This allows for flexibility in dealing with changes in sun, wind, and rain, and desire for privacy or openness. © The estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

RUDOLPH’S DEPARTS FROM THE OPEN PLANNING APPROACH

It is interesting that, as Rudolph’s career progressed, the open concept approach appears less frequently in his residential designs. This may have been due to several factors:

  • The more complex programs for which he was asked to design

  • The increased budgets he was given to work with

  • Much of his early work was in Florida was designed & built well before air conditioning was widely and economically available—so open plans that allowed for cross-breezes were a practical (and “green”) way to work within that subtropical climate. As Rudolph did less work in Florida (and as AC became more affordable) open layouts were less needed.

  • The evolution of his own thinking about the Modern movement in architecture. Rudolph made his first trip to Europe at the end of the 1940’s. His experiences of the spatial and formal variety of traditional cities and buildings spurred him to seek for a a richer approach to the making, shaping, and modulation of spaces.

Paul Rudolph’s axonometric-plan drawing for the Edersheim Apartment in New York. which was built in the early 1970’s. Separate spaces for the Dining Room, Living Room, and Library-Office occupy the right-most third of the plan—and Bedrooms and other…

Paul Rudolph’s axonometric-plan drawing for the Edersheim Apartment in New York. which was built in the early 1970’s. Separate spaces for the Dining Room, Living Room, and Library-Office occupy the right-most third of the plan—and Bedrooms and other spaces are each accessed off a central corridor. In contrast to his early residential works in Florida, the spaces here are almost hyper-differentiated by function—and privacy is readily available to each family member. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

In Paul Rudolph’s civic work, he used a range of spatial archetypes (including the Cave and the Fishbowl) to create spaces appropriate for each of a building’s functions. A building with as varied a program as Rudolph’s Boston Government Service Center is a prime example of this—and in their July, 1973 issue, Architectural Record published an article which highlighted this way of analyzing the complex.

The cover of Architectural Record’s July 1973 issue, on which is shown a staircase within Rudolph’s Boston Government Service Center. That area’s enveloping shape, the organic curves, and its warm lighting come together to create a space which can b…

The cover of Architectural Record’s July 1973 issue, on which is shown a staircase within Rudolph’s Boston Government Service Center. That area’s enveloping shape, the organic curves, and its warm lighting come together to create a space which can be characterized as belonging to the “Cave” spatial archetype. Image courtesy of US Modernist Library

The article on the Boston Government Service Center, in Architectural Record, analyzed the building complex in terms of a range of spatial archetypes. Using text by Carl John Black, photographs, and Rudolph’s renderings and sketches, it culminated w…

The article on the Boston Government Service Center, in Architectural Record, analyzed the building complex in terms of a range of spatial archetypes. Using text by Carl John Black, photographs, and Rudolph’s renderings and sketches, it culminated with “The Cave”—as exemplified by the building’s chapel. Image courtesy of US Modernist Library

THE OPEN PLAN REMAINS MANIFEST IN RUDOLPH’S WORK

But Rudolph did not totally abandon the open plan approach. He could (and did) deploy it in some projects—but with increased spatial variety, and a more developed sophistication than in his early Florida work. In these buildings’s public areas, he often used changing levels (as well as varied ceilings) to delineate different spaces. This provided the occupants a sense of spatial grounding—a sense of “here-ness” (if not always complete acoustical privacy.)

A prime example of his use of open planning—but with intense spatial variation through level and ceiling changes—would be his Deane Residence, a house design from the late 1960’s. The house’s rooms may flow into each other, but the occupant is made aware of the shift in uses—Living Room, Dining, Library, Music, and various Sitting Areas—by a banquet of level and ceiling changes (and articulations), almost unrivaled in Rudolph’s oeuvre.

An architectural model of the Deane Residence—a residence designed by Paul Rudolph in the late 60’s and built in Long Island, NY. It shows the volumetric and compositional complexity that he was achieving in his buildings—and contrasts with the more…

An architectural model of the Deane Residence—a residence designed by Paul Rudolph in the late 60’s and built in Long Island, NY. It shows the volumetric and compositional complexity that he was achieving in his buildings—and contrasts with the more platonic forms he used near the beginning of his career (like the two houses in Florida, that were cited earlier in this article). But even the sumptuousness of its exterior forms only hints at the richness of the spaces inside. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

Paul Rudolph’s section-sketch for the Dean Residence more than hints at the variety of levels he used to differentiate the house’s various spaces—and Rudolph’s scale figures (which he sprinkled throughout the drawing) assist in perceiving his intent…

Paul Rudolph’s section-sketch for the Dean Residence more than hints at the variety of levels he used to differentiate the house’s various spaces—and Rudolph’s scale figures (which he sprinkled throughout the drawing) assist in perceiving his intentions. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

Paul Rudolph’s floor plan of the Deane Residence’s main interior area—or rather, areas-plural: the spaces for various functions—Living Room, Library, Dining Room, and various nooks and areas for study, music, and sitting—flow together, but are also …

Paul Rudolph’s floor plan of the Deane Residence’s main interior area—or rather, areas-plural: the spaces for various functions—Living Room, Library, Dining Room, and various nooks and areas for study, music, and sitting—flow together, but are also delineated by multiple changes in level and ceiling heights. Plan © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

John Dessarzin’s lushly photographed view of the Living Room of the Deane Residence gives as sense of the house’s spatial variety—and that’s a quality which allows it to use open planning, while not giving up a sense of distinction between the space…

John Dessarzin’s lushly photographed view of the Living Room of the Deane Residence gives as sense of the house’s spatial variety—and that’s a quality which allows it to use open planning, while not giving up a sense of distinction between the spaces (and the sense of that some of them are “fishbowls” and some spaces are “caves.”) Photograph by John Dessarzin - Copyright Reserved

PAUL RUDOLPH’S OWN HOME - HIS FAMOUS “QUADRUPLEX”: THE BEST COVERAGE

The cover of FDR: FLORIDA DESIGN REVIEW, showing the living room of Paul Rudolph’s multi-level apartment in New York City. That issue’s coverage was the most comprehensive (and best photographed) article to ever appear about this most personal of Ru…

The cover of FDR: FLORIDA DESIGN REVIEW, showing the living room of Paul Rudolph’s multi-level apartment in New York City. That issue’s coverage was the most comprehensive (and best photographed) article to ever appear about this most personal of Rudolph’s architectural works. The magazine is now out-of-print, but copies are available through the Paul Rudolph Heritage Foundation’s “Shop” page.

FDR: FLORIDA DESIGN REVIEW was a magazine devoted to architecture, interior design, and the allied arts. Its large format and high-quality photography allowed readers to have a rich and immersive experience of the buildings and spaces upon which they focused.

The magazine didn’t just look at design in Florida. They showed projects in a variety of locations—and in their issue number two (2007), they featured Paul Rudolph’s own home in New York City.

We’re frequently asked about Rudolph’s famous apartment—a design which he experimented with and refined and revised over many years. It contained some of his most spectacular residential spaces, and was certainly his most “personal” project.  It was a “quadruplex”—a magnificent four-story penthouse apartment, facing New York City’s East River. He used it as a “laboratory” for exploring ways to shape space and create dynamic experiences.

While Rudolph’s apartment was widely published, that issue of Florida Design Review is important, because it has an 18 page article on the quadruplex: the most comprehensive coverage ever published of this richly conceived & fascinating residence.

The author, Richard Geary, is himself a distinguished designer. The photographs in the article (often printed full-page) are by Ed Chappell. Also included in the article is a design sketch by Rudolph, as well as two of his famous section-perspective drawings of this multi-level apartment.

The bad news is that Florida Design Review is now out-of-print, and copies can be hard to find. But—

But the good news is that the Paul Rudolph Heritage Foundation has a number of copies of this issue available. It can be purchased through the PRHF’s website, on our “Shop” page (along with a number of other interesting Paul Rudolph publications and items.)

PAUL RUDOLPH’S MILAM RESIDENCE: HISTORY & VIEWS OF AN ICON

An “elevation view” (a straight-on shot) of the Milam Residence in Ponte Verda Beach, FL. This photo, of the beach-facing side, was taken in 1962, not long after the building was completed. Photograph by Joseph W. Molitor.Courtesy of the Joseph W. M…

An “elevation view” (a straight-on shot) of the Milam Residence in Ponte Verda Beach, FL. This photo, of the beach-facing side, was taken in 1962, not long after the building was completed. Photograph by Joseph W. Molitor.

Courtesy of the Joseph W. Molitor architectural photograph collection, located in the Columbia University, Avery Architectural and Fine Arts Library, Department of Drawings and Archives.

A FASCINATING HOUSE

Our recent article about the Milam Residence went viral—and so we thought it would be good to share some more information about this landmark of 20th century design. Here, we’ll cover two other interesting aspects of the building: the story of its construction, and how the design was received by the architectural and lifestyle press.

BUILDING AN ICON

We asked the Robert C. Champion, the son of the original owner, to tell us about the origin of the project, including the Milam’s relationship with Rudolph. He answered several of our questions:

Q: Do you know anything about the relationship between your parents and Rudolph, and how they found-out about him?

A: My stepfather, Arthur Milam, knew of Rudolph’s work in Sarasota. My stepfather was a graduate of Yale Class 1950. Rudolph became Chair of Yale Architecture in 1958, so they had a common bond. Also my stepfather was a big collector of modern art, so he was interested in an architect and specialized in modern art.

Q: Do you know what “program” they presented to Rudolph (what set of requirements he was asked to fulfill?)

A: My stepfather gave Rudolph free rein to design the house. He did tell him how much square footage and how many bedrooms, but other than that he left the whole creation to Rudolph.

Q: Do you know how the architect-client relationship went with them all? [We’re guessing they got along pretty well, as Rudolph was invited back to do the additions/alterations.]

A: They got along very well as far as I know. My stepfather left the creating to Rudolph.

Q: Did you hear anything about the construction period—for example: stories about things that needed adjusting because of site conditions?

A: Rudolph wanted to build the house in poured concrete and rebar. When they calculated the cost it was very cost prohibitive so they changed it to concrete block with rebar and all concrete poured cells.

Q: Was this a year-round residence—or—primarily a vacation home?

A: It was a year-round residence.

Q: Any reflections of your own, about growing-up in it?

A: It was by far the largest home in north Florida when it was built. Most of the homes on the ocean were second homes and were cottages made out of cedar. So this house really stood out. It was known as the crazy house of rectangles and was labeled so on the fisherman’s map. We had very few neighbors back then. We had one neighbor a half mile to the north and another a half mile to the south.

Mr. Champion’s notes about the Milam’s initial knowledge of Rudolph meshes well with the information in a fascinating document: the National Register of Historic Places’ Registration Form for this building—which is also linked-to on the Paul Rudolph Heritage Foundation’s Project Page for this house. The National Register’s document gives a complete history of the site and context---both physical, historical, and cultural—and a detailed description of the building, inside-and-out. It also includes an evaluation of the building’s significance and how it fits into Rudolph’s overall oeuvre, as well as drawings, maps, and photographs.

The building went through several phases:

  • Original state: As designed by Paul Rudolph, for Arthur and Teresa Milam—with the house being occupied at the beginning of the 1960’s.

  • Alterations by Rudolph: Rudolph was brought back more-than-once, by the Milams, to make alterations and/or additions. Their extent is well described in the National Register’s report:

    “After the house was complete, the Milams contacted Paul Rudolph for his design services once again. In the early 1970s, Milam had Rudolph add two ancillary structures on either side of the main house—one for a three car garage and one for a guest house/studio. Rudolph used the same materials and design vocabulary for the new wings. The two original garages, which flanked the house to the north and to the south, have been converted into a dining room (on the north side), and an office (on the south side). The addition, which runs perpendicular to the house on the south side is a guest house/office. The pool is on the west side of a courtyard, with the house on the east facing the ocean. So it fits together around the center courtyard. In 1973, Paul Rudolph designed a smaller addition southwest of the main house that serves as another family room with a downstairs bath and upstairs sleeping loft. A breezeway connects it to the main house. The original south garage was converted into an office, with a folding partition that hides away storage. This alteration connects to the breezeway and does not significantly alter the building’s facade. This alteration is complementary to Rudolph’s design and to his 1973 addition. During the Rudolph addition, phase, Teresa Milam redesigned the original kitchen. These additions and alterations are sympathetic to the overall vision of Paul Rudolph, and are considered to be contributing elements.”

  • Post-Rudolph: After Rudolph’s passing, KBJ Architects (a prominent Florida architectural firm, based in Jacksonville) was asked to add a weight room and an additional garage.

AN INFLUENTIAL DESIGN

Robert Adams Ivy, Jr., the editor of Architectural Record, told Ernst Wagner (founder of the Paul Rudolph Heritage Foundation) that when the Milam Residence was published, it was a powerful and compelling design—and that it influenced a whole generation of architects.

The evidence is strong that this was a remarkable design for it’s time—in that it was widely noted and remarked upon by the editors and writers of architectural and lifestyle publications. Both American and international magazines covered the Milam Residence, either focusing on it individually, or including it as an indicator of larger trends in contemporary architectural design.

Prominent among the magazines which published the house (near the time of its completion) were:

  • Architectural Record (three times)

  • House and Garden

  • Vogue

  • Architectural Design (UK)

  • House and Home

  • Architecture D’aujourd’hui (France)

  • Architettura (Italy)

  • Zodiac (Italy)

The coverage seems to have, near-universally, given praise: either about the house itself, or about it as a representative of positive trends in residential design, or about its architect. Here are some examples:

HOUSE AND HOME:

Their April 1964 issue had an article about Modern trends in home design, “Three Houses WIth Daring New Shapes,” and illustrated it with designs by Eric Defty, John Rex, and Paul Rudolph. The introduction explained their viewpoint—and mentions Rudolph’s house with praise:

“Architecture worthy of the name never leaves the viewer bored. It is dynamic, exciting and often daring because the juxtaposition of shapes and volumes sets up a flow of space related to the textures, patterns and colors in the house. Often, it artfully contrasts a sense of openness with the security feeling of shelter. Too many of today’s houses are familiar, static and so impersonal they hardly qualify as architecture. Not so the houses shown at the right and on the following pages. Architect Paul Rudolph’s beach house in Jacksonville, Fla. has a three dimensional facade of concrete block that spells out the interior arrangement of rooms and floor levels. The working facade—some architectural critics believe it has started a whole new trend in design—is a series of deep squares and rectangles that look out on the sea and shade the interior. Inside the house, seven floor levels follow the pattern of the facade and help define the flow of space.”

The article’s extended captions pointed-out various features of the house’s design:

“Changing levels and varied ceiling heights emphasize the different uses of space in Architect Paul Rudolph’s concrete-block beach house. For example: the floor plane drops to form a big conversation pit in the high-ceilinged living room, then rises two steps in the rear to the open dining room and rises another three steps to an intimate, low-ceilinged inglenook. Space flows smoothly from one area to another.

Plan orients the active living areas and master bedroom to the sea. The basic planning module is the length of a concrete block. View of ocean, seen here from the dining room is framed by deep sun-breaks. The conversation pit is in foreground, the inglenook at right. View of living and dining areas from the inglenook in the foreground shows variety of floor levels and ceiling heights. Moors arc terrazzo. Facade on the sea is a geometric arrangement o f sun-breaks , or brise-soleils , that hint at the interior arrangement of space. Sand-colored concrete-block rectangles are deep enough to shade the interior and help keep the house cool without drapes which would block the magnificent ocean view. The lowest sun- break, at lower left, frames a utility room; the highest make a rooftop lookout — a widow’s walk in a modern idiom.”

House and Home’s article on contemporary examples of residential design had a section on the Milam residence---and it included some atmospheric views.Image courtesy of: US Modernist Library of 20th century architectural journals.

House and Home’s article on contemporary examples of residential design had a section on the Milam residence---and it included some atmospheric views.

Image courtesy of: US Modernist Library of 20th century architectural journals.

The article’s extended captions pointed-out various features of the house’s design:

“Changing levels and varied ceiling heights emphasize the different uses of space in Architect Paul Rudolph’s concrete-block beach house. For example: the floor plane drops to form a big conversation pit in the high-ceilinged living room, then rises two steps in the rear to the open dining room and rises another three steps to an intimate, low-ceilinged inglenook. Space flows smoothly from one area to another.

Plan orients the active living areas and master bedroom to the sea. The basic planning module is the length of a concrete block. View of ocean, seen here from the dining room is framed by deep sun-breaks. The conversation pit is in foreground, the inglenook at right. View of living and dining areas from the inglenook in the foreground shows variety of floor levels and ceiling heights. Moors arc terrazzo. Facade on the sea is a geometric arrangement of sun-breaks , or brise-soleils , that hint at the interior arrangement of space. Sand-colored concrete-block rectangles are deep enough to shade the interior and help keep the house cool without drapes which would block the magnificent ocean view. The lowest sun- break, at lower left, frames a utility room; the highest make a rooftop lookout — a widow’s walk in a modern idiom.”

VOGUE:

While not an architectural journal, the fashion magazine, Vogue, did supply its readers with news about other trends in contemporary culture---including about architecture. An article, in the magazine’s September 1963 issue, focused on the architect (and showed the Milam residence), and it was titled “Paul Rudolph: Young Mover, Changing The Look Of American Architecture.”

The fashion magazine, Vogue, told its readers about new trends in design, including architecture. This 1963 issue carried an article about Paul Rudolph, and—as part of the article—included the Milam residence.

The fashion magazine, Vogue, told its readers about new trends in design, including architecture. This 1963 issue carried an article about Paul Rudolph, and—as part of the article—included the Milam residence.

ARCHITECTURAL RECORD:

Architectural Record seems to have been especially taken with the house, including it in their pages several times during the decade—and it was honored to be among the designs chosen for their annual Record Houses issue in May 1963.

Architectural Record included the house in it’s 1963 Record Houses issue. This is the opening page of the article about the house---and the layout featured a photo by Ezra Stoller.Image courtesy of: US Modernist Library of 20th century architectural…

Architectural Record included the house in it’s 1963 Record Houses issue. This is the opening page of the article about the house---and the layout featured a photo by Ezra Stoller.

Image courtesy of: US Modernist Library of 20th century architectural journals.

Architectural Record’s comments are worth quoting at length:

“One of the most uniquely different designs among this year’s Record Houses, is this one with its very sculptural use of concrete block. The exterior of the house is dominated by the powerful composition of rectangles forming a sunshade across the rear facade (shown above i the original sketch and completed structure). The spirit of this wall is continued on the interior of the house, where the floors rearranged on seven different levels. Comments of the owners, after having lived in the house for some time, are worth noting: “We knew enough of Mr. Rudolph’s previous works to know that the end result would correspond to our ideas of beauty . . . (and) our faith in the architect was well placed. We are extremely fond of the house. Externally, it is a beautiful piece of sculpture-blending graciously with the sea and the sand surrounding it. It is very comforting inside ... different ceiling heights, different views, different floor levels make it always interesting, always varied

The house is a very spacious and conveniently arranged one. All the living areas are essentially one room, with areas for dining, sitting by the fireplace, and the like, created principally by changes in the floor levels. The hallway linking the upstairs bedrooms is treated as a balcony, and adds yet another level to this varied space. As a counterfoil, colors and other decoration are subdued. As can be noted in these photos of the Milam house, the already big living areas are made to appear even larger and more open by using very few pieces of portable furniture. In fact, about the only ones are the dining table and its seats. Basic seating for conversation and lounging is formed by cushioned units supported by one of the floor levels. The house is constructed of sand colored concrete block, left exposed inside and out. The main floor is terrazzo, and the second floors are hardwood or carpet except for tile in the bathrooms. Ceilings are acoustical plaster for noise absorption in the big areas. The small windows in the baths are supplemented for daylighting by plastic skylights. One of the baths also has an outside exit and stair to serve as a dressing area for swimmers from the beach. Bedroom closets are provided in the nooks near each entrance. The kitchen is conveniently placed for access to the living and dining areas (via a pass through), to the garage for unloading groceries, and to the front door. The entire house is air conditioned. The cost of the house itself was about $88,074.”

OWNING A MASTERPIECE

If you’re interested in possibly purchasing this distinguished house in Ponte Verda Beach, Florida, please contact:

Mr. Robert C. Champion (904) 755-4785 robertchampion@bellsouth.net The asking price is $ 4,450,000

Milam Residence - with beach restored - put back on the market in time to celebrate NATIONAL PRESERVATION MONTH

It doesn’t get more “classic Rudolph” than this: the Milam Residence’s beach-facing elevation. The house is located in Ponte Verda Beach, FL, and this striking view was taken in January, 1962, one year after its completion. Photograph by Joseph W. M…

It doesn’t get more “classic Rudolph” than this: the Milam Residence’s beach-facing elevation. The house is located in Ponte Verda Beach, FL, and this striking view was taken in January, 1962, one year after its completion. Photograph by Joseph W. Molitor. Courtesy of the Joseph W. Molitor architectural photograph collection, located in the Columbia University, Avery Architectural and Fine Arts Library, Department of Drawings and Archives.

Human beings are, for the most part, naturally acquisitive beings: if we see something desirable, we want it - to hold it, to keep it, to own it, and - hopefully - to protect it. There’s no shame in that yearning - it’s a response built into us, a product of our evolution. How much the better when our eyes and tastes are attracted to excellence: when our desires are for things of the greatest beauty, elegance, and high achievement. Well, you can now fulfill that thirst in the domain of architecture: one of Paul Rudolph’s most important homes - a true “signature” work - is now available.

The Milam Residence in Ponte Verda Beach, Florida, by Paul Rudolph, was completed at the beginning of the 1960’s, and instantly became one of - maybe the - paradigm image of what great, Modern, American residential architecture could be. And no wonder: Rudolph’s design elegantly combines:

  • visual richness, via a celebration of geometry

  • striking clarity in composition

  • functional rigor in planning

  • sensible response to the environment’s potential for creating intense solar gain and glare

  • a diversity of spaces which allow for varied uses—and a relaxed-but-elegant way-of-living

  • a practical approach to construction

  • superb siting along an attractive beach

Rudolph commented on his design:

“A composition of considerable spatial variety with vertical and horizontal interpenetration of spaces clearly defined inside and out. Gone are the earlier notions of organization through regular structure with subdivisions of space freely spaced. Spatial organization has taken the place of purely structural organization. Floors and walls are extended in elaborated forms toward the views, thereby making of the facade a reflection of the interior space. The brises-soleil also serve as mullions for the glass, turning the exterior wall into a series of deep openings filled only with glass. The exceptional wild Florida site 60 ft. above the Atlantic Ocean is a counterfoil to the geometry of the structure.” [Paul Rudolph quoted in: The Architecture of Paul Rudolph. New York: Praeger, 1970]

The family of Arthur W. Milam, who originally commissioned the building, have been owner-residents since the building was finished, and have cared for it with pride. Now, they are making the building available - and they are hoping that the next owner will be struck by the building’s many beauties and virtues, as well as understanding its importance as a work of truly great Modern architecture.

The Milam family has also been doing some site restoration: installing a new retaining wall along the beach. This stabilizes the beautiful terrain which ascends up to the house.

A new retaining wall has been installed, stabilizing the terrain on the beach-side of the house. Photo: courtesy of the Milam family.

A new retaining wall has been installed, stabilizing the terrain on the beach-side of the house. Photo: courtesy of the Milam family.

This could allow the next owner the option to build decks and/or stairs, as needed, upon the site—perhaps ones like Rudolph himself envisioned in his superb drawings of the house:

Paul Rudolph’s drawing of the Milam Residence’s site plan, and his perspective of the beach side of the house. They show his proposed design for stairs and platforms: they would elegantly cascade from the house, down the dunes, towards the beach below. Drawings: Paul Rudolph Heritage Foundation

You can learn more about the Milam House (and see more images) at the Paul Rudolph Heritage Foundation’s project page for this building.

Interested? As William F. Buckley once said “I cannot imagine that anyone who has the money will put off the purchase …; or that anyone who hasn’t the money will put off borrowing to buy…” We endorse such enthusiasm for excellence—and we’ll be happy to put you in-touch with the owner. Just contact us via our email at office@paulrudolphheritagefoundation.org

AN OCCASION FOR CELEBRATION

The National Register of Historic Places is the official list of the Nation’s historic places worthy of preservation. Authorized by the National Historic Preservation Act of 1966, the National Park Service’s National Register of Historic Places is part of a national program to coordinate and support public and private efforts to identify, evaluate, and protect America’s historic and archaeological resources.

We are happy to note the Milam Residence is on that distinguished list. It achieved that status in 2016, and you can see their official page on the house here—and their extensive and deeply researched report on the house here.

It is always a good time to celebrate Paul Rudolph—and the combination of Preservation Month and news of the restored beachfront at the Milam Residence is a double-treat.

Paul Rudolph's Parcells Residence

Paul Rudolph’s Parcells Residence. Photo: The Architect’s Newspaper; photo by Michelle & Chris Gerard

Paul Rudolph’s Parcells Residence. Photo: The Architect’s Newspaper; photo by Michelle & Chris Gerard

Location:  3 Cameron Place, Grosse Point, Michigan, 48230
Designed for:  Dr. Frank H. Parcells and Mrs. Anne Parcells (and their five children)
Design initiated:  1967
Construction completed:  1971

A MOTIF EXPLORED—AND RETURNED TO

Paul Rudolph’s oeuvre was large: he did many projects, built & unbuilt, over a half-century career - and the over 150,000 drawings that he and his team produced (with no computers in sight!) are testament to his energy & activity. 

And his oeuvre was broad: he worked on everything from government centers to churches to guest houses to a dentist’s office.

Further, his oeuvre varied:  Many people only associate him with concrete, used in bold and/or sculpted forms. But Rudolph worked in all kinds of materials (including some handled with great delicacy), and his formal vocabulary varied with the project, from severely volumetric to balletically nimble.

For facade design, one of the formal motifs he explored—over the decades—could be characterized as a Mondrian-like composition of overlapping/interpenetrating rectangles. In one of his very greatest, most iconic designs, the Milam House (Jacksonville, Florida, 1961), he uses rectangles that are made of concrete block (for the vertical elements) and concrete slabs (for the horizontal elements). The rectangles, facing the water, have deep recesses which work very well for sun-shade, and they give the building its signature “Mondrian-ian” look. The faces of the rectangles are all in the same plane.

The Milam Residence. Photo: Joseph Molitor, courtesy Avery Architectural & Fine Arts Library

The Milam Residence. Photo: Joseph Molitor, courtesy Avery Architectural & Fine Arts Library

Decades later, Rudolph returned to these motifs in the 58th Street elevation of the Modulightor Building in New York City (which commenced construction in 1989). It is the home of the Modulightor company (that Rudolph co-founded), and the place where he had his office for over half-a-decade. But there, instead of the rectangles having a primarily planar relationship, they move back-and-forth in space, receding and advancing: Rudolph is sculpting with those elements. Also, instead of masonry & concrete (as at Milam), the Modulightor facade is made from a very different pallete: primarily steel and glass—and that gives it a significantly lighter feel. It is Mondrian meets Mies---but sculpted with significantly greater spatial complexity than Mies brought to most of his facades.

The Modulightor Building, home to the Paul Rudolph Heritage Foundation. Photo: Annie Schlecter, Paul Rudolph Heritage Foundation Archives

The Modulightor Building, home to the Paul Rudolph Heritage Foundation. Photo: Annie Schlecter, Paul Rudolph Heritage Foundation Archives

More than a half-decade after Milam, in the Parcells Residence, Rudolph returns to the Mondrian-ish mold. As with his Callahan Residence project (of 1965—approximately the same time) Parcells is also a symphony of interpenetrating & adjacent rectangles, with the plane of the window glass well recessed from each rectangles’ face plane.

Callahan Residence project, Birmingham, AL, 1965. Image: Paul Rudolph Heritage Foundation Archives

Callahan Residence project, Birmingham, AL, 1965. Image: Paul Rudolph Heritage Foundation Archives

But in Parcells (and Callahan)—in a design done more than a half-decade after Milam—he plays with them in a different way:  the rectangles become less actors in an integrated planar facade, and instead turn into identifiable, separate rectangular volumes. These boxes, of various sizes and proportions, are composed in a complex interplay: it is Mondrian’s “neo-plasticism”—but this time in three dimensions.

PRECEDENTS AND LINEAGES

Some may claim that Rietveld’s Schröder House, of 1924, anticipated this three-dimensional exploration—but a careful viewing of that architectural icon will show that it is more about the play of planes than of volumes.

Schröder House, Utrecht, Netherlands. Photo: Husky from Wikipedia

Schröder House, Utrecht, Netherlands. Photo: Husky from Wikipedia

A similar claim could be made for Frank Lloyd Wright’s Fallingwater, of the mid-1930’s. Wright is often cited as one of the two great influences on Rudolph (the other being Le Corbusier). We would never want to begrudge anything to Wright—that master and “force-of-nature”—but in this case, Fallingwater might not be a very relevant precedent. Fallingwater’s signature view shows giant, dramatically floating and separate volumes, rather than the interpenetration and close association of volumes that Rudolph achieves at the Parcells Residence.

With all the citations of possible precedent and influences - the historians’ favorite game! - perhaps it might be fairest to say that Paul Rudolph was working in a lineage (or a family) of forms & relationships that had been earlier pioneered by several of the founders of Modernism - works that Rudolph would be well aware of.

THE PARCELLS RESIDENCE

Michigan Modern—an organization devoted to researching, celebrating, and expanding apperception of the “Great Lakes State’s” extensive legacy of Modernism—has a web page devoted to the Parcells Residence. It gives this excellent summary of the project:

The house at 3 Cameron Place in Grosse Pointe was constructed in 1970 for Frank H. Parcells, his wife, Anne, and their five children. Desiring a contemporary design for their new home, the Parcells attended numerous open houses in the western Detroit suburbs and conducted research to hone in on their architectural likes and dislikes. Acting on a friend's recommendation, they contacted and eventually selected architect Paul Rudolph for the commission.

The Parcells' program for the new house included five bedrooms on multiple levels, an office with a separate entrance, views of Lake St. Clair from the kitchen and living room, and "lots of wood." Although the Parcells' home would be one of the first constructed in the new subdivision, they were sensitive to the fact that they would be inserting a contemporary design into a neighborhood that consisted largely of traditional Colonial and Tudor-inspired residences. The lakefront property's location at the end of a cul-de-sac and its abundance of trees created a somewhat isolated setting and worked well to buffer the house visually from the rest of the neighborhood. Construction of the residence proved to be a challenge for local builders. Ultimately, they prevailed and the Parcells moved into their new home in January 1970.

The Parcells House is located in an affluent neighborhood in Grosse Pointe. The lake-front property is located at the extreme southern end of Cameron Place, and the house is sited in the center of the lot. Landscaping consists of a manicured lawn on the lake side of the property to facilitate views of the water from the house, while the rear, or street-side of the property, is heavily planted with large trees and bushes to provide privacy. The lot is accessed by a narrow drive extending from the end of the cul-de-sac. The house is barely visible from the public right-of-way. The three-story residence is sculptural in its form. The south elevation facing the water consists of a series of box-like projections, differing in size and shape and infilled with walls of glass. The tripartite window walls are recessed within the "boxes" and are divided by heavy muntins with a light-colored spandrel panel below. A porch supported by wide wood columns projects from the center of the elevation. The entire building is clad with horizontally oriented redwood boards painted dark brown. The north-facing elevation is made up of similar projecting boxes, however, there is much less glazing present. The boxes extend further from the central mass of the structure on this elevation. The extensions include two offset single car garage bays.

They also point out that “The Parcells House is the only residence in Michigan designed by renowned architect Paul Rudolph.”

SITING

For the context, it is worth looking at this aerial view. The Parcells Residence is at the bottom-center of this image (in this picture it has a pinkish roof) - and one can see its pleasurable relationship to the water. The circular drive (at top-center) is the cul-de-sac at the end of Cameron Place.

Image: Google Maps

Image: Google Maps

A LESSER USED MATERIAL?

Notable is Rudolph’s use of wood in this house. Paul Rudolph is most often identified with concrete (and later, concrete block)—but throughout his career, Rudolph used about every possible material, and was sometimes quite adventurous in his choices. Wood was certainly prominent in the first phase of his work in Florida, where it was often dominant (along with glass) in the houses he designed. But, though less-used by Rudolph, from time-to-time he returned to wood during his career: sometimes as the frame within buildings, sometimes enclosed in another material (as in the Micheels Residence of 1979), and sometimes as exposed structure (as in the hefty interior beams of the Tuttle Residence of 1984). Rudolph did not often go for a “woodsy” material look (as at Parcells)—but it was not utterly alien to his palette, and one can see an elegant example of his using it in his Bernhard Residence Addition of 1976

Bernhard Residence Addition by Paul Rudolph, using primarily wood elements. Photo: Paul Rudolph Heritage Foundation Archives

Bernhard Residence Addition by Paul Rudolph, using primarily wood elements. Photo: Paul Rudolph Heritage Foundation Archives

A PARCELLS PORTFOLIO

Below are some images of the house: drawings, and exterior & interior views. They convey the creativity and attention which Rudolph brought to projects like this.

The issue of “attention” is an important one—and this residence is an example of what’s been called “through design”: where the architect designs everything from the overall conception though to the smallest details. But “through design” doesn’t only indicate an attentive designer, it also denotes a project where the overall concept has been faithfully expressed at all scales.]

DRAWINGS:

Ground Floor Plan. Image: Paul Rudolph Heritage Foundation Archives

Ground Floor Plan. Image: Paul Rudolph Heritage Foundation Archives

Second Floor Plan. Image: Paul Rudolph Heritage Foundation Archives

Second Floor Plan. Image: Paul Rudolph Heritage Foundation Archives

Third Floor Plan. Image: Paul Rudolph Heritage Foundation Archives

Third Floor Plan. Image: Paul Rudolph Heritage Foundation Archives

Section through the building. Image: Paul Rudolph Heritage Foundation Archives

Section through the building. Image: Paul Rudolph Heritage Foundation Archives

CONSTRUCTION PHOTOS:

EXTERIOR VIEWS:

INTERIOR VIEWS: