Paul Rudolph's spectacular Burroughs Wellcome Headquarters — a History

Paul Rudolph’s Burroughs Wellcome headquarters & research center in Durham, N.C. Image courtesy of the Massachusetts Institute of Technology, photograph by G. E. Kidder Smith

Out of a half-century career of creative and prolific work, Rudolph’s Burroughs Wellcome headquarters & research center stands out as one of his finest works. We’re now fighting to save this magnificent example of the convergence of corporate & scientific vision and architectural talent—and we thought it would be useful to share an outline of it’s history, purpose, and features.

A SITE FOR GROWTH: THE RESEARCH TRIANGLE PARK

The Burroughs Wellcome building (shown circled here), at 3030 East Cornwallis Road, in Durham, N.C.’s Research Triangle Park. Only a portion of this celebrated research development is shown here, but even in this partial view, one can see some of Burroughs Wellcome’s distinguished neighbors—among them: IBM, Cree, Toshiba, RTI, the North Carolina Biotechnology Center, and the National Humanities Center. Image courtesy of Google Maps.

A closer aerial view of the Burroughs Wellcome complex. Shown here is its current state, after a Rudolph-designed addition to the building (that had been located to the lower-left) had been demolished by the current owner. Landscape features, designed by Rudolph, have also been removed from the site. Image courtesy of Google Maps.

Founded in 1959, Durham, North Carolina’s Research Triangle Park is one of the most prominent research developments in the US. This is where hundreds of distinguished firms and organizations located their headquarters and research centers—and it is here that Burroughs Wellcome placed their US headquarters and laboratories.

They chose Paul Rudolph as their architect, and the project commenced design work in his office in 1969, and was completed and dedicated in 1972.

Burroughs Wellcome was designed for growth: the initial, main body of the building, was followed by several additions—in 1976, 1978, and 1982—all designed by Rudolph. His work in 1982 also included a master plan for the overall site.

The story of Durham’s Research Triangle Park is comprehensively told in Brain Magnet: Research Triangle Park and the Idea of the Idea Economy by Alex Cummings, PhD—and this fascinating study includes coverage of the Burroughs Wellcome building.

THE BUILDING: ITS PURPOSE, HISTORY, AND FEATURES

• In February 1969, pharmaceutical company Burroughs Wellcome purchases a little over 66 acres of rolling woodland in Durahm, North Carolina’s Research Triangle Park. The company is a subsidiary of The Wellcome Foundation Ltd., based in the UK.

• The client requests of Paul Rudolph a design that will be shaped to its needs, yet remain architecturally distinctive.

Burroughs Wellcome’s symbol is a unicorn—and Rudolph wanted to have a statue of a unicorn at the building’’s entry (it’s even shown on his architectural model for the building). When it did not work out to do include the statue, Rudolph came up with a creative alternative: a flagpole that would evoke the Burroughs Wellcome symbol, by being angled to match the unicorn’s horn.

• Flexibility is a primary goal: each major area in Rudolph’s plan—laboratories, administration, and support services—are capable of being expanded by linear addition. To allow for this, Rudolph leaves the expansible ends of the building expressed as a pattern of flattened hexagons, so that the elements can be extended horizontally without disturbing the building’s visual order.

• The building program includes 312,303 square feet of research laboratory and administrative space, including: 140 labs, a library, auditorium, cafeteria, and support activity spaces for 400 workers.

• In plan, the building forms a giant “S”, with opposing arms that form a main entry court and a large service yard. Reception, cafeteria, library, auditorium, and administrative offices flank the entry court. Laboratories, research offices, and testing facilities surround the service yard.

• The building exterior (and parts of the interior) is finished with a limestone aggregate which is sprayed-in-place, into to a plastic binder. [Rudolph used the same textured finish in several subsequent projects.] This exposed aggregate finish was used on 140,000 square feet of exterior walls and 90,000 square feet of interior walls. Rudolph estimated the finish required 20,000,000 stones to complete!

• The building’s structure is an eccentrically loaded trapezoidal steel frame, with columns inclined at 22.5 degrees. Rudolph’s original slant of the design was changed at the request of the building’s structural system. This is the sort of practical accommodation that an architect who’d been long in practice, like Rudolph, would be used to receiving and accommodating.

• The building is dedicated on Friday, April 7th 1972.

• A collectors medallion is issued to celebrate the dedication which features a rendering of the building on one side, and a unicorn (the company’s logo) on the other side.

The ground-breaking ceremony marking the commencement of construction of the Burroughs Wellcome building in Durham’s Research Triangle Park. Paul Rudolph is at the right.

At completion, a commemorative medal was issued for the 1972 dedication.

• As part of the dedication ceremony, Rudolph gives a walking tour of the building. He writes a description of the building saying, “the building is conceived as a man-made extension of the ridge upon which it is built. The building is terraced, each floor being smaller that the one below it. Its placement allows people to enter from below walking through a courtyard and porch into the lobby.”

• The building interior and exterior are used as part of the set for the 1983 science fiction film Brainstorm starring Christopher Walken and Natalie Wood. 

• The building is originally known as the Burroughs-Wellcome Company Headquarters (and later the GlaxoSmithKline Building.)

• The original building has several additions, all designed by Paul Rudolph, including: a Main Building addition in 1976, a Toxicology/Experimental Pathology Building addition in 1978 and a South Building Expansion in 1982. Rudolph also was asked to create a new Masterplan for the site in 1982.

• The building is closed to the public for decades for security reasons, while pharmaceutical companies Glaxo, Glaxo Wellcome, and GlaxoSmithKline (GSK) actively use it as offices and research laboratories. Employees are not permitted to take cameras into the facility, due to the sensitivity of the research being conducted.

• The building is renamed the Elion-Hitchings Building in 1988, honoring Gertrude Elion and George Hitchings - research chemists with Burroughs Wellcome who shared the 1988 Nobel Prize in Physiology or Medicine with Sir James Black. Their prize-winning research was done while they were working at the building.

• On April 21, 1989 four ACT UP activists barricade themselves inside an office in the building: they demand a cut in the price of AZT (at that time the most expensive medicine in history.)

• In 1995, Burroughs Wellcome and Glaxo merge to become Glaxo Wellcome, and a merger between that company and SmithKline Beecham establishes the company as GlaxoSmithKline. The company’s operations are then relocated another facility.

• In February 2010 the building is listed for sale.

• On June 30 2012, Glaxo sells its iconic Elion-Hitchings Building, two interconnected office building, ,and 140 acres of land for $17.5 million to United Therapeutics.

• On October 20 2012, the building is opened for a public tour, arranged by Triangle Modernist Houses (now USModernist) with United Therapeutics. A video of the event can be watched here.

• United Therapeutics demolishes part of the structure in 2014.

• On September 4, 2020 United Therapeutics is issued a demolition permit for the building from the City of Durham. Clear Site Industrial, LLC is listed as the demolition contractor.

SAVE THIS GREAT ARCHITECTURE

Losing Burroughs Wellcome would be a cultural disaster—a titanic loss to our country’s cultural heritage.

When a great building is destroyed, there are no second chances.

FOR NOW, THERE ARE TWO THINGS YOU CAN DO:

• Sign the petition to save Burroughs Wellcome. You can sign it here.

• We’ll send you bulletins about the latest developments. To get them, please join our foundation’s mailing list: you’ll get all the updates, (as well as other Rudolphian news.)—you can sign up at the bottom of this page.

While Modern architecture has often been accused of being color-phobic (and primarily relying on a limited of primarily whites, grays, and beige), that was never true of Rudolph’s work. He could skillfully incorporate even the boldest colors—as shown here in a Burroughs Wellcome interior—which he used to enliven a building’s spaces. Photograph by Henry L. Kamphoefner

NOW UNDER THREAT: One of Paul Rudolph's most amazing designs— the Burroughs Wellcome HQ

Completed in 1972, the Burroughs Wellcome headquarters & research center shows Paul Rudolph at the height of his creative and problem-solving powers. Above, the main building is shown on the right, and the later extension (also by Rudolph) is on the left. Photo by Joseph W. Molitor. Image courtesy of Joseph W. Molitor architectural photographs collection, located in Columbia University, Avery Architectural & Fine Arts Library, Department of Drawings & Archives.

RESEARCH, ARCHITECTURE—AND THE THREAT TO A GREAT BUILDING

Durham, North Carolina’s Research Triangle Park is one of the most prominent research developments in the US. It’s here that distinguished firms and organizations have chosen to place their headquarters and research centers—and it has facilities for hundreds of organizatons, including: IBM, Cree, BASF, Cisco, Lenovo, Underwriters Laboratories, and the EPA.

Some have attempted to construct not only efficient buildings, but ones of architectural merit.—and of all of them, it is Paul Rudolph’s BURROUGHS WELLCOME HEADQUARTERS which stands out.

But now, that building is threatened with destruction. A controversial demolition permit has been issued, and the future of the this architectural masterpiece is in immediate jeopardy. We’ll be giving you updates about this—including how you can help save it. But to start, we thought it would be well worth it to tell you a bit about the building—especially why it’s significant.

The client said they wanted an architecturally distinctive building. They got what they asked for—and Rudolph’s ability to create memorable and forward-looking architecture extended to all the spaces of the Burroughs Wellcome building. This can be seen most vividly in the main entry lobby (which also shows Rudolph’s bold handling of color.). Image courtesy of the Massachusetts Institute of Technology, photograph by G. E. Kidder Smith

A BUILDING dYNAMIC IN ITS TIME—AND FOR THE FUTURE

In a half-century career filled with architectural landmarks, gems, and masterworks, Burroughs Wellcome is on many people’s “top ten” list of Rudolph’s designs—and here are some reasons why it’s significant:

• It is one of Rudolph’s largest constructed projects: So one sees, substantively, how a brilliant designer worked out his ideas about siting, planning, spatial organization, interiors, and finishes in a comprehensive, large-scale way, and over a variety of conditions and spaces.

• A design for growth: Rudolph was concerned for the future—of cities, homes, education, and of individual buildings. He knew that, in very tangible ways, buildings are never finished, and must be flexible to accommodate the future. Rudolph designed Burroughs Wellcome with change and expansion in mind: its striking geometries and planning were designed for growth. In fact, this was not just one building, but a growing complex: the main building being designed in 1969; and with extensions added in 1976, 1978, and 1982—that latter date including work on a master plan for the site. [In architecture, as in other fields, there’s no greater compliment than “repeat business.”—and that Rudolph was repeatedly called back by the Burroughs Wellcome leadership shows that his work was practical and beneficial.]

• New paths in creating space: Even though he profoundly respected Mies and Gropius (and acknowledged their importance to him) Rudolph rejected their “universal space” concept—an approach to architectural planning which led to undifferentiated, bland, grid-like spaces: the kind found so often found in the office and educational building designs of his contemporaries. Like Wright, Rudolph sought to create spaces of variety and richness, ones which would allow for varying uses and inspiring experiences. Moreover, he saw that overlapping spaces had the potential to increase communication among a building’s users—a significant advantage in a building for research, corporate coordination, or education. Rudolph had previously, in his Yale Art & Architecture Building, shown how this can be done within a sculpturally handled rectilinear geometry. At Burroughs Wellcome, his oeuvre moves forward into the dynamic realm of angled forms and spaces—ones which simultaneously offer energy and a sense of stability. [This geometry is so striking that the building has been used as the setting for film and television: it was part of the set for the 1983 science fiction film Brainstorm (starring Christopher Walken and Natalie Wood), and was in several episodes of the TV series Revolution.]

• Humanizing materials: Much architectural work, even of the Modern “masters,” is composed with hard, surgically smooth planes. Rudolph was a pioneer in bringing vivid textures back onto the palette of modern architecture. At Burroughs Wellcome, Rudolph specified an exterior finish using a limestone aggregate which was sprayed in place into a plastic binder (and he used similar finishes in subsequent projects.) Such texturing humanizes a building, moving it away from the sterility of which other architects’ buildings are often accused.

• Careful siting and massing: Here, we’ll let the architect speak for himself:

This complex climbs up and down a beautiful ridge in the green hills of North Carolina and is architecturally an extension of its site. An “A frame” allows the greatest volume to be housed on the lower floors and yet connected to the smaller mechanical system at the apex of the building. The diagonal movement of interior space opens up magnificent opportunities. Anticipation of growth and change is implicit in the concept. — Paul Rudolph, in Moholy-Nagy, Sibyl. The Architecture of Paul Rudolph, 1970

• The opposite of blandness: So many corporate facilitates are dull boxes—uninspiring, and creating no impression of pride or identity. From the beginning, Burroughs Wellome’s leadership recognized the specialness of what they’d built—as evidenced in this statement from the company’s President:

This building is an exciting and ingenious combination of forms [in which] one discovers new and different qualities of forms and spaces . . . a splendid climate for scientific scholarship and for the exchange of ideas. — Fred A. Coe Jr., President of Burroughs Wellcome

• A comprehensive work of “wholeness": Rocco Leonardis, a practicing architect and scholar who had a long association with Rudolph, characterized the essential work of architects as “creating wholes.” At Burroughs Wellcome, site placement, structural elements, exterior shapes, viewing angles, steps and paths, interiors, finishes, details—and even the closets and the placement of the flagpole—all are carefully coordinated (especially within the overall diagonal geometry), creating a “total” work of great power and charm.

Rudolph maintained good relations with the company, and was called back—several times—to do further work on the complex. This is his perspective rendering of the dining area—a dynamic space which was constructed as part of the 1976 extension. That addition has been demolished, and now the main part of the building is under threat too. Image © the estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

Paul Rudolph himself greatly prized the design, as is clear from his using Burroughs Wellcome’s Headquarters building for the cover of the monograph on his celebrated drawings.

WILL THERE BE A FUTURE FOR THIS GREAT WORK?

Losing Burroughs Wellcome would be a cultural disaster—a titanic loss to this country’s cultural heritage.

We cannot let that happen—and when a building is demo’d, there are no second chances.

In upcoming posts, we’ll let you know more about the building. Even more important, we’ll keep you updated about the our efforts to save it from destruction—a fate that’s befallen too many of this great architect’s works, and which should not be allowed to happen again.

FOR NOW: THERE ARE TWO THINGS YOU CAN DO—

• Sign the petition to save Burroughs Wellcome. You can sign it here.

• We’ll send you bulletins about the latest developments. To get them, please join our foundation’s mailing list: you’ll get all updates, (as well as other Rudolphian news.)—you can sign up at the bottom of this page.

Rudolph’s full section drawing through the main headquarters building, indicating the dynamic spaces within—and the building’s relation to the site. Image © the estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

Paul Rudolph's 1982 Edersheim Residence is on the market

The Edersheim Residence in Larchmont, New York in 2020. Photograph by Filip Michalowski of CT Plans, courtesy Houlihan Lawrence

Paul Rudolph’s Edersheim Residence at 862 Fenimore Road in Larchmont, New York is for sale.

The original house was constructed in 1958 and owners Maurits and Claire Edersheim hired Rudolph to design alterations to the property in 1982, following his interior renovation of their New York City Apartment on Fifth Avenue in 1970.

The Edersheim apartment in New York City in 2019. Photos by Ethan Shapiro © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

The Edersheims requested Rudolph design alterations and additions to the property again in 1989 and 1991. Original Rudolph designs include a pool/guest house, main residence entry, covered porch, expansive built-ins, skylights, interior lighting and a complete renovation of the main structure.

The Covered Porch under construction. Photo by R.D. Chin from the Archives of The Paul Rudolph Heritage Foundation.

The Pool/Guest House under construction. Photo by R.D. Chin from the Archives of The Paul Rudolph Heritage Foundation.

The Pool/Guest House under construction. Photo by R.D. Chin from the Archives of The Paul Rudolph Heritage Foundation.

The Edersheims would become some of Rudolph’s most faithful clients, choosing him to design several projects including an office suite for Mr. Edersheim at the Salomon Smith Barney office in New York’s World Trade Center Complex in 1994.

The compound (renovated in 2020) includes the Main Residence, a separate Apartment/Office and a Pool/Guest House. This is a rare opportunity that is perfect for sheltering in place.

Located in Larchmont, NY - just north of New Rochelle and New York City - the home is sited on a 2.49 acre landscaped lot and is listed for $6.4 million USD.

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The property includes indoor & outdoor swimming pools, wet/dry sauna, media room, gym, and multiple work spaces. The open flow floor plan features several additions designed by Paul Rudolph. The Master Suite includes a 21 jet tub, steam shower, rain/body showers, dual water closets, towel warmers, vanity/ dressing area and attached closets.

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About 10,000 sq feet of outdoor living space includes a 1,000 sq ft screened-in outdoor covered porch with an outdoor kitchen for entertaining.

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The residence is located on a unique 2.49 acre private landscaped property in Larchmont and is an easy NYC commute with access to golf, country clubs & the water.

You can learn more about the Edersheim Residence (including more images) at the Paul Rudolph Heritage Foundation’s page for the property’s sale here.

You can also reach out to us at office@paulrudolphheritagefoundation.org for more information.

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.

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 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.

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

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.’

The Bennett Residence - rare Sarasota School Gem - is on the market

Photo: Louis Wery, Archive of the Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

The Allen and Barbara Bennett Residence is now for sale. A rarely available property - and one of the few remaining original Twitchell & Rudolph homes to still exist - the restored residence is looking for a new owner who appreciates Mid-Century Modernism.

Located in Bradenton - just north of Sarasota, Florida - the home is sited on a corner lot and is listed for $395,000.

The design brings together native and modern materials – heart cypress, lime block, plate glass – into a disciplined composition reflecting the principles of the Sarasota School of Architecture.

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Sited at ground level, the floor plan works well for wheelchair access. Glass walls open to the outdoors and a private garden courtyard. The Ocala block fireplace and accent walls ground this unique design in its natural surroundings.

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The home was restored by architect and author Joseph King who wrote extensively about Rudolph, and is featured in the 2002 book Paul Rudolph: The Florida Houses.

You can learn more about the Bennett Residence (including more images and a virtual tour) at the Paul Rudolph Heritage Foundation’s page for the property’s sale here.

Celebrate National Preservation Month by Preserving Paul Rudolph’s architecture

It is always a good time to celebrate Paul Rudolph’s architecture —and we can’t think of a better way to celebrate National Preservation Month than finding a new owner who will appreciate and preserve this modernist gem.

You can reach out to us at office@paulrudolphheritagefoundation.org for more information.