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Contact us for more information or to arrange a personal tour. 305.371.2888

A limited number of residences remain, available for immediate occupancy priced from $1 .15 million . Created by Swire Properties, master developer of Brickell Key

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Dade Heritage Trust Dade Heritage Trust is committed to advocating on behalf of Dade's historic properties and for sustainable community revitalization solutions on a local, state, and national level.

Preserving the Past. Enriching the Future.

Carlton Fields' Olga M. Vieira serves on the Dade Heritage Trust Board of Trustees. Ms. Vieira practices in the firm's Miami office. w: e:

p: 305.539.7379


2011 ISSUE

Becky Rope

Artistic Director/

President's Message .................. ..... . .. . ..... . ..... . ........... . .. . ... .. 5 ,. ,'/

From the Chief Executive Officer ..... . ...... .................... . ........... 7


Classic Cars and Cocktails .. .. ... .. .... . .... .................................. 8 Advertising

Dade Heritage Days .................. ... ....................................... 10

Robin Korth

Preservation Awards ... ........................ ..... . ...... ..... . ..... .. ... .. ... 13 Hubbard/Alvarez Bungalow ........................................ .. .. . ...... 16

Contributing Writers


Hilario Candela William Cary Teri D' Amico Deborah DeSilets Don Finefrock Enrique H. Gutierrez Randolph C. Henning Jan Hochstim Morris Hylton III Nina Korman Robin Korth Laura Lavernia Carie Penabad Randall Robinson Frank Soler Deborah Tackett Don Worth Nina Weber Worth Ellen Uguccioni PhotogrQll.h~

Hilario Candela Greg Clark City of Miami City of Miami Beach Planning Department Teri D' Amico Leslie Harris Randolph C. Henning Robin Korth Becky Roper Matkov Bob Powers Dereck Winning

Saving Florida's Mid-Century Modem ......... . ........ . .. .... ..... ..... . .. 18 MiMo Past, Present and Future .. . .. . ... .. . .. . ................................ 20 Miami Native Meets MiMo ... ..... . .. . ... ........ . ... ... ..................... 22 Miami ' s Diverse Mid-Century Legacy ................. . .... . ..... . ..... . ...23 Morris Lapidus' Eden Roc .................... . .. ...... ... . .... .............. .25 Morris Lapidus at the Eden Roc ..... ... .. . ........ ..... ...................... 29 Bacardi: Building a Lasting Heritage .... . .......... .. .. .. ................... 30 Miami Marine Stadium ......... ..... . ........ . .. . .............................. 34 "Meet MiMo" ........................ . ........ .. . .... , . .. .. .... . ................. 36 Living Legends Honorees .......... ............................................ 38 Marion Manley ...................... ................................. ... ... ..... 43 Mission 66 Architecture ........... ............................................. 44 I ••


Building Mid-Century Key Biscayne ............................. .. .. ... . ....45




~ j


Palm Grove ......... . ............... . ................................. . ...... . .. ..47 Preservation Happenings .......... . .... .. ....... . ..... . ........... . ..... . ..... .48 Old Miami High Flag Dedication ................................. ... ......... 53 A Tale of Two Cities ................... . ....... ... ..... .. ...... ... . .... .. ...... .56 Thank You, Thank you! .......................................................................... 58


Preservation Today is published by Dade Heritage Trust, a non-profit 501 (C)3 historic preservation membership organization. Reproduction in whole or in part without permission is prohibited. Copyright © 2011 Dade Heritage Trust Dade Heritage Trust 190 SE 12th Terrace Miami, FL 33131 305/358-9572 * Fax 305/358-1162 * email:


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2010-2011 OFFICERS President Bertram "Chico" Goldsmith First Vice President Jorge Hernandez Second Vice President W. Robert Smith Treasurer Hugh Ryan Secretary Francena Koch At Large Ann Marie Clyatt Enid C. Pinkney Past President Walter Alvarez Trustees Marcia Anderson Hilario Candela Sebastian Eilert Linda Collins Hertz Megan Kelly Nina Korman Lisa Mackie Judy Pruitt Don Siesnick III Violette Sproul Venny Torre Kendell Turner Olga Viera Lilian Walby Don Worth Advisors George Neary Leslie Pantin Arva Moore Parks Elizabeth PlaterZyberk Jeanette Poole Norah Schaefer Don Siesnick II Herb Sosa Ellen Uguccioni Bruce Matheson Mary Young Thomas J. Matkov William Murphy Michael Beeman Gay Bondurant Gary Held Adolfo Henriques Ruth Jacobs Sallye Jude Penny Lambeth Nancy Liebman Dolly Macintyre

From the President Cars, Boats, Buildings and Coppertone: Why I'm a Preservationist


m I a preservationist? What is a preservationist? I looked it up in my "Funk & Wagnalls" and in part it read-"a preservationist is someone who protects places and things of historical interest." So read on ... I became involved with Dade Heritage Trust many years ago almost by accident. I had

read a story about the Coppertone Girl sign and her little dog looking for a new "home" when their building was going to be demolished. I remembered seeing that landmark on Biscayne Boulevard and always thought that it was a really wonderful sign, and such a part of Miami. Since my family owned the Concord building in downtown Miami at 66 W. Flagler Street I volunteered the east side of the building to be their new home. This was in the early 1990s. We had a very large party with a lot of Miami's [illest to celebrate the homecoming of the girl and her little dog. From that point on I was slowly brought into the DHT family by none other than Becky Matkov. (Not too many people say no to Becky! ) There have been many DHT preservation projects since I've been on the Board of Dade Heritage Trust, including the Dice House, Old Miami High, and the Key Biscayne Lighthouse. I grew up on Key Biscayne and was very familiar with the lighthouse before it was restored. (One day in my youth my name just happened to appear painted in bold letters on top of the lighthouse ... ) Since I worked in downtown Miami I would drive the Rickenbacker Causeway a lot and saw the Marine Stadium being built, and then I raced in the first race that was held there. We all know the history of the stadium with the many boat races-thunder boats being the best-the evening pops concerts, Elvis Presley's Clambake movie (I was an extra!) - Jimmy Buffett-and water skiing shows. After a long down time, the Miami Marine Stadium is now on the road to recovery, and I'm proud that Dade Heritage Trust has been a major force in moving it along. My family also went out to Stiltsville on many weekends. We appreciated Dade Heritage Trust's support in saving these unique houses in the middle of the bay from destruction when they were taken over by Biscayne National Park. I also own a 1962 Corvette and belong to the Sunshine Corvette Club and the Antique Automobile Club of South Florida, preserving the past of automobiles and the memories that go along with theIn-old roads, places, and friends. It was great fun to showcase Guy Lewis' collection at DHT's Holiday party-and we'll be displaying 1950s and 1960s car classics at DHT's Bacardi Party for the MiMo Conference.

Don't get me wrong, I really like the new "stuff," but we need to preserve and remember the good old days too. Chief Executive Officer Becky Roper Matkov

So does that make me a preservationist? You bet. Bertram J. "Chico" Goldsmith



From the CEO

The Latest Chapter in a Never-Ending Story Twelve years ago, on December 13, 1999, Dade Heritage Trust held a press conference to announce our first annual "Most Endangered Historic Sites List." On that list-and printed in our Preservation Today magazine-- were the Freedom Tower, the Miami Circle, the Curtiss Mansion, Gusman Center, South Florida Bungalows, Lummus Park Neighborhood, the Barnacle Addition, the Redland, Miami Modern (MiMo) hotels on Miami Beach--and Virginia Key and the Marine Stadium. Dade Heritage Trust has played a major role in saving many of these. Thanks in good part to DHT's advocacy and media outreach, the Freedom Tower, once threatened with neglect and then overdevelopment, is now in the good hands of Miami Dade College and is listed as a National Register Landmark. In Lummus Park. DHT persuaded a developer to redesign his low-income highrise project to save seven historic houses, which resulted in an award-winning success story for his company.

The Miami Circle, the 2000-year-old archeological site at the mouth of the Miami River, was saved after DHT spearheaded a campaign and media blitz to prevent its destruction. It is now owned by the State of Florida and being run as a park by HistoryMiami. Glenn Curtiss Mansion in Miami Springs, once vandalized and in danger of demolition, is now being restored, thanks to funding that DHT succeeded in placing on the Miami-Dade County General Obligation Bond. Gusman Center, though still underfunded, has undergone major restoration, which DHT supported through publicity, events and advocacy. South Florida Bungalows-well, we couldn't save them all, but DHT restored the wood frame 1917 Dice House-and the 1905 Old Miami High--and purchased and restored the finest example of a belvedere bungalow in Miami, saving it from demolition and returning it to "award winning" community use. Virginia Key Beach is now a historically designated city park that has undergone major restoration and is run by the Virginia Key Beach Park Trust, on which DHT Trustee Enid Pinkney has played a leading role. The Miami Marine Stadium was saved from planned demolition when DHT nominated and secured its historic designation and waged an advocacy and PR campaign for its restoration and reuse. Three million dollars has been allocated for its renovation from a GOB Preservation Fund that DHT initiated. MiMo Hotels on Miami Beach-some have been lost, some unappreciated, some beautifully restored. By publicizing the architecture of Miami Modern, and holding the MiMo Conference at the Eden Roc March 11, 2011, DHT hopes to generate even more interest in their preservation and rejuvenation.

From the Miami Circle to the Marine Stadium and "MiMo." Dade Heritage Trust continues to work on the next chapter in Miami's ongoing. never-ending story.

Becky Roper Matkov


Classic Cars & Cocktails The fabulous collection of classic cars owned by Guy and Loyda Lewis was the venue for Dade Heritage Trust's Annual Holiday Party December 11, 2010 in Pinecrest. Over 100 guests enjoyed a cocktail buffet and a chance to admire the museum-quality antiques.

and Erik Vieira

Frank and DHT Trustee and Party Co-Chairman Lisa MackIe, host Guy Lewis, DHT Trustee and Party Chairman Ann Marie Clyatt, hostess Loyda Lewis, and DHT President Chico Goldsmith

. 'Ht

Jane Muir, Toby and Celeste Muir and DHT Advisor Tom Matkov ~

.. ,.

.1'\ 路 '. Betsy and Jim Tilghman

Debbie Tackett and DHT Office Manager Luis Gonzalez

Christopher and Tania Baros


Marlin Ebbert and Carlton and Andrea Cole

Carol and Ari Mil/as


Jim and Betsy Blake & guests

Alan Roser and Anthony Atwood

DHT Trustee Francena Koch DHT Trustee Venny Torre and Coco Torre

DHT Trustee Judy Pruitt and DHT Adviso~ Do~/y Macintyre; standing Bruce Matheson, Julie Ziska and Gayle Duncan

Guy Lewis, Trent Chaffin and DHT Trustee Sebastian Eilert

Rose Lewis

Huber and Phyllis Parsons


DADE HERITAGE DAYS For Dade Heritage Days 2010, DHT orchestrated over 70 events throughout Miami-Dade County to showcase historic landmarks and neighborhoods. The theme of "New Faces/Old Places" encouraged Miamians and visitors alike to explore and delight in Miami's historic treasures, from the 1855 Cape Florida Lighthouse to the Mid-Century "Miami Modern" of Miami Beach.

Walking tour of the MiMo Biscayne Historic District

Miami RiverDay

Cape Florida Lighthouse on Key Biscayne

Tourists at the Wagner Homestead in Lummus Park Dwight Jackson, Commissioner Audrey Edmonson, Enid C. Pinkney, Chairman, African American Committee of DHT, and scholarship winners of the DHT Essay Contest, "Why I Am Proud of My Heritage"

Re-enactors at Ft. Dallas


A MiMo tour on Miami Beach

Peter Hairston leads boat tour of Coral Gables Waterway Dance Now! Ensemble performing at Historic Coco Plum Woman's Club

Spotting manatees Dragonboat tour of the Miami Marine Stadium

Re-enactors at DHT's African American Women's History Luncheon

William Cary leads a tour of the Fontainebleau Hotel

Deering Estate Foundation's Deering Seafood Festival


DHT.s Antique Show and Tell Antique lovers brought their heirlooms and garage sale finds to Dade Heritage Trust's historic headquarters for a free Open House during Dade Heritage Days. Antique Roadshow appraiser Tara Finley of Anubis Appraisal and Estate Services, Inc. gave a talk and evaluated everyone' s treasures.

Lois Randall and Murry Diamond Appraiser Tara Finley

A bustling porch Bearing gifts

Sarah and John Nyitray and Sue Kaye-Martin


YES! Sign me up for Dade Heritage Trust membership

Help fight to save Miami's historic landmarks and neighborhoods

At the following level:

with Miami's largest nonprofit historic preservation organization.

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City, State, Zip _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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DHT's Annual Preservation Awards DHT's 2010 Preservation Awards ceremony was hosted by St. Bernard De Clairvaux Episcopal Church at the Ancient Spanish Monastery. Following a reception at the beautiful landmark, originally built in Spain in 1141, DHT honored individuals, organizations and restoration projects for outstanding contributions in preserving Miami's historic places. Awards for Distinguished Community Service by an Organization were presented to: City of Miami Beach Planning Department DHT Advisor Penny Lambeth with Henriette Harris Award winner Mona Ball

Lemon City Cemetery Collaboration, honoring Biscayne Housing Group, Carlisle Development, Lemon City Cemetery Community Corporation, and the YMCA of Greater Miami Historical Museum's Historic Sites Visits Program

Awards for Distinguished Community Service Awards by an individual: Miami-Dade County Commissioner Katy Sorenson Miami-Dade County Commissioner Carlos Gimenez City of Miami Mayor Tomas Regalado

Henriette Harris Award for many years of dedicated community service for historic preservation: Newly installed DHT Board members Nina Korman, Marcia Anderson, Lisa MackIe and Venny Torre

Mona Gilbert Ball

Pinecrest Mayor Cindy Lerner, DHT Vice President Jorge Hernandez, Pinecrest CouncilMember Joseph Corradino, DHT Trustee Linda Hertz, and Richard Heisenbottle and Ivan Rodriguez of RJ Heisenbottle, Architects, PA, at presentation of award for the restoration of the original Parrot Jungle entrance

DHT Chairman Chico Goldsmith presents DHT's Distinguished Community Service Awards for an Individual to Miami Mayor Tomas Regalado, Miami-Dade Commissioner Katy Sorenson and Miami-Dade Commissioner Carlos Gimenez, joined by DHT CEO Becky Roper Matkov and DHT Past Chairman Walter Alvarez


Dade Heritage Trust 2010 Awards for Outstanding Restoration Projects


Country Club Prado Entrance, Coral Gables

Beach Patrol Headquarters 1001 Ocean Drive, Miami Beach



Betsy Ross Hotel 1440 Ocean Drive, Miami Beach

Greynolds Park Boathouse 17530 West Dixie Highway, North Miami

Hubbard/Alvarez Bungalow

Parrot Jungle Original Entrance

138 N. W. 16th Ave, Miami

11000 S. W. 57th Ave, Pinecrest

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ubbard-Alvarez Bungalow Dedication Dade Heritage Trust celebrated the restoration of the historic 1921 Hubbard/Alvarez Bungalow in Little Havana with a ribbon cutting on February 19, 2010. DHT had bought the house in 2003 to save from demolition lithe finest example of a belvedere bungalow in the City of Miami." DHT used funding from its Preservation Revolving Fund to purchase and renovate the house. DHT secured historic designation of the property to

cation organization with outreach to underserved communities. use of the Hubbard/Alvarez Bungalow demonstrates the value of conserving, rather than deIts restoration saves an important part of Miami's architectural heritage, and its new use will r~~"" lrr~

and inspiration for the entire community.

Cutting the ribbon to dedicate the restoration of the Hubbard/Alvarez Bungalow are Arsenio Milian, Chairman of Citizens for a Better South Florida, Miami-Dade County Commissioner Bruno Barreiro, DHT CEO Becky Roper Matkov, Miami Commissioner Frank Carol/o, Miami-Dade Commissioner Katy Sorenson, Contractor Hugh Ryan, Miami Commissioner Francis Suarez and Dade Heritage Trust Chairman Walter Alvarez


DHT Advisors Bill Murphy and Gay Bondurant, DHT Trustees Megan Kelly and Linda Hertz, ancfDHT Treasurer Hugh Ryan, who oversaw construction

Walking through the newly restored Hubbard/Alvarez Bungalow is Miami-Dade Commissioner Bruno Barreiro, Miami Commissioner Frank Carollo and DHT CEO Becky Roper Matkov, who initiated and spearheaded the project

DHT Chairman Walter Alvarez, DHT Advisor and pro bono real estate attorney Tom Matkov, and Gilbert Betz, attorney for Citizens for a Be South Florida


Saving Florida's Mid-Century Modern Past By Morris Hylton III ((Every generation revolts against its fathers and makes friends with its grandfathers. " Lewis Mumford Florida's Mid-Century Modern heritage is in danger. A confluence of forces threatens to diminish, even erase, the historical record encapsulated in the Sunshine State's many postwar resources. The sheer number of potential Mid-Century Modern landmarks in Florida is overwhelming. Some fifty percent of the state's built environment was constructed during the three decades that followed the Second World War (1945 to 1975), a result of population growth spurred in part by an influx of new residents and the baby boom.


with identifying, assessing the significance, and, possibly, landmarking so many potential buildings, landscapes, and neighborhoods, many of them modern in design. Unfortunately, the recent economic turmoil has greatly reduced the amount of funding needed to support the surveys and research needed to designate Florida's Mid-Century Modern sites. There is also less money to address the maintenance and proper repair of the industrial, largely prefabricated materials and technologies that help characterize postwar modem design.

This rapid expansion also coincided with the acceptance of Modernism as the most appropriate design idiom to represent the prosperity and optimism that would come to define that era.

Designed with limited life spans ranging from 25 to 50 years old, many of these systems are now failing. In lieu of full financing, expedient, inappropriate replacement of potential character-defining features such as steel and glass windows could impact authenticity, a determining factor when a site is considered for designation as a landmark.

Many of these Mid-Century Modern buildings and places are at least 50 years old-the age when most sites are considered for designation as local landmarks or listing on the State and National Register of Historic Places.

There is also the issue of functional obsolescence. Adhering to the modem dictum of "form follows function," many Mid-Century Modem buildings were designed to support very specific programmatic uses and are viewed as difficult to adapt to new needs.

Not since the passage of the 1966 National Preservation Act and the establishment of Florida's Division of Historical (State Historic Resources Preservation Office), has the nation and state been faced

This was the case with Riverview High School (1958) in Sarasota, Florida-an icon of the Sarasota School of Architecture by renowned Mid-Century Modem architect Paul Rudolph. Despite an advocacy campaign and international competition

led by the Save Riverview Committee of the Sarasota Architectural Foundation, the local school district demolished the structure in June 2009. The functional obsolescence argument is exacerbated by the often held view that that new is always better, an ideal that many Modernist architects and designers helped perpetuate. However, the biggest threat to Florida's Mid-Century Modem heritage is public apathy. As described by Henry N g, who oversees the World Monuments Fund's Modernism at Risk program, " ... we are hard pressed to find the right 'emotional' reason for people to care about Modem buildings ... the public may feel alienated by the theories and intellectual concepts that lie behind Modernist buildings and it sometimes takes time and distance to see how these buildings fit into the continuum of a longer history of architectural creativity and innovation." Despite these challenges, there has been progress toward preserving Florida's Mid-Century Modem legacy. In 2006, a Florida chapter of

the international organization DoCoMoMo (Documentation and Conservation of Buildings, Sites and Neighborhoods


of the Modem Movement) was founded with the mission of researching, documenting, and conserving the state 's modem landmarks and disseminating information to a global audience. The Florida Trust for Historic Preservation has increasingly focused on the issue of preserving modem buildings and sites, offering educational sessions at the last three annual conferences. In fall 2008, the Florida Trust partnered with the University of Florida and the State' s Division of Historical Resources to hold a workshop titled "Evaluating Resources from the Recent Past in Florida." The white paper that came out of that meeting, which was attended by a range of experts

and stakeholders, addressed some of the distinct issues impacting the preservation of the state's midcentury modem sites. Last year, the exhibition Modernism at Risk: Modern Solutions for Saving Modern Landmarks , co-sponsored by the W orId Monuments Fund and Knoll, Inc., opened at the University of Florida and then traveled to The Art Institute of Tampa and the Palm Beach Preservation Society. The Dade Heritage Trust's Meet MiMo: Miami Mid-Century Modern Conference contributes significantly to this statewide movement. Miami has long been a leader in efforts to preserve recent past and modem resources. Designated a National Historic Landmark District in 1977, the South Beach Art Deco listing was the first in the country to be

comprised of mostly twentieth-century structures. This progressive approach to preservation has continued with recognition and restoration efforts of MiMo masterpieces like the Fontainebleau Hotel (1954) and Lincoln Road Plaza (1960), both by Morris Lapidus. With the MiMo conference, Dade Heritage Trust is advancing an international appreciation for the area's postwar heritage and helping secure the future of Florida's Mid-Century Modem past. Morris Hylton is Acting Director of the University of Florida 's Historic Preservation Program and Director of the Preservation Institute, Nantucket.

Past, Present and Future By Nina Korman & Teri D'Amico In 1998 a big thing happened in a little house in Bay Harbor Islands: Interior designer Teri D'Amico and planner Randall Robinson coined the term "MiMo." It was a snappy acronym for the many varieties of Miami Modem architecture designed between 1945 and 1972. The duo had resolved to begin saving those stylish structures. And experience taught them that mounting a successful preservation effort meant eliciting in the public the very same passion that spurred the protection of Art Deco structures years before. A succinct, catchy word describing the midcentury buildings in question could only add to the cause.

Since the late 1990s, "MiMo" has grown from a mere worq, inhabiting the lexicon of more than just South Floridians, into a full-blown movement which has taken hold of the popular imagination. The ar-

chi tecture has been featured in numerous movies, television shows, and commercials. The architects, many once obscure or derided, are now celebrated figures, their work earning respect internationally. Preservation efforts too have progressed farther than anyone had ever imagined. Demonstrations to save the Carillon and Bel Aire hotels in North Beach kicked things off in 1998 as did tours featuring signature structures. Rapidly gaining momentum, the movement added many advocates to its ranks. The Urban Arts Committee of Miami Beach was one of them, forming for the express purpose of showcasing eye-catching MiMo buildings via stunning photographs. Its "MiMo: Miami Modem Architecture 1945-1972" and "Beyond the Box~ Midcentury Architecture in Miami and New York" exhibitions in 2001 and 2002 respectively would feature the work of Arthur Marcus, Thomas Delbeck, and Robin Hill, spreading the wit, whimsy, and wow of MiMo

from the Sunshine State to the Big Apple. The City of Miami Beach took the lead in preserving MiMo architecture in 2000 by designating the Collins Waterfront Historic District (22 nd to 44th Street), which includes Roy France's Saxony Hotel (1948) and Melvin Grossman's Seville Hotel (1955). In 2004 the city moved further up the avenue, designating the North Beach Resort Historic District (6yd to 71 st Street), home to Melvin Grossman's Deauville Hotel and Nonnan Giller's Carillon Hotel, both from 1957. In 2008 and 2009, the Normandy Isles National Register Historic District and the North Shore National Register Historic District were both added to the National Register of Historic Places. And last year the city designated the Morris LapiduslMid 20 th Century

Historic District (44 th to 53 rd Street), which includes the divas of MiMo, the Eden Roc and the Fontainebleau Hotels, among its stellar structures.

Miami-Dade County has now joined the movement and recently designated three MiMo multi-family buildings in North Bay Village. Although the little Bay Harbor Islands house where the In 2004, proof positive that MiMo was term MiMo originally was coined as indeed making a _ _.~-_. well as many other gems mark upon the pubhave been demolished, the lic consciousness town still boasts the largcame in the way of a est collection of MiMo book when Chronibuildings in the county. cle publishers reHopefully its town council leased the informawill begin to truly undertive and richly illusstand the importance of trated MiMo: Miami preserving the islands' Modern Revealed, quality of life and history written by Randall in addition to honoring the Robinson and Eric vision of its founder ShepNash. ard Broad. By 2006, the City of In the meantime, the counMiami [mally ty is exercising its jurisdicjumped on the tion in Bay Harbor Islands MiMo bandwagon and is in the process of (or better said jumped in the tail-finned designating two multi-family buildings convertible!) by designating 27 blocks on the northern tip of the East Island, along Biscayne Boulevard (NE 50 th to which were designed in the early 1950s 77 th Street) as the MiMolBiscayne by architect Charles McKirahan. One of Boulevard Historic District. The area them, the Bay Harbor Club, has been now houses the largest collection of featured on the Showtime television MiMo motels. The Bianco Motel at 52 nd series Dexter. Street, the district's first renovated moHistorically destel, made its debut in January 2010. ignating strucThe New Yorker at 65 th Street soon foltures of the relowed. Despite the recession, the district cent past has also is experiencing a renaissance with severbecome a priorial new businesses opening, and it celety for the Nationbrates MiMo at an annual festival each al Trust for HisMarch. Currently plans are in the works toric Preservato extend the historic district up to 87 th tion, which has a Street. full-time staff member running Last year the City of Miami made an its TrustModern exception to the 50-year-old rule and initiative. This honored a pair of very young buildings past February, with historic designation: the fabulous the National Bacardi Buildings on NE 21 st Street and Trust brought Biscayne Boulevard, designed by Enseveral donors to rique Gutierrez and Ignacio CarreraMiami for a Justiz in 1963 and 1973 respectively. whirlwind weekOne the most endangered buildings in end of tours and programs, which feathe United States according to the Natured plenty of MiMo buildings. tional Trust for Historic Preservation, Key Biscayne's Miami Marine Stadium, On the local level, Dade Heritage Trust designed by Hilario Candela in 1963, continues to actively advocate for was also recognized by the city in 2009 MiMo architecture. DHT organized the thanks to efforts by Dade Heritage Trust.

stellar "Meet MiMo" Conference on Mid-Century Modem Architecture March 11-12, 2011 at the Eden Roc Hotel to attract national speakers and publicity, with a "Living Legends" luncheon to honor Mid-Century architects Alfred Browning Parker, Hilario Candela, Jan Hochstim and Enrique Gutierrez. DHT is also helping to create the preservationists of the future. Under the auspices of DHT, students from William Jennings Bryan and Shenandoah Elementary schools were given tours of the architectUre of Bay Harbor Islands earlier this year and were commissioned to create MiMo-inspired art. Their work will be displayed at DHT's annual meeting in late spring. Another young preservationist is Hannah hnberman, a local high school student and Girl Scout, who has been collecting personal testimonies documenting the history of the Miami Marine Stadium for a book titled JjSeats Could Talk. There is no question that the indelible term MiMo, coined a little more than a decade ago, has helped gamer worldwide recognition for a very deserving set of uniquely Miami structures. For all who have toiled so tirelessly toward this end, it is heartening to see that the preservation torch still bums bright and has been passed to a new generation.


A DHT Trustee, Nina Korman is a Miami-based joumalist specializing in design, architecture, and the performing arts. A licensed interior designer, Teri D'Amico is the founder of D'Amico Design Associates.


here for a weekend or a lifetime!" This style, marked by whimsy and practical use of structure, has brise soleils to filter the sun and allow the ocean breezes to cool buildings before air-conditioning was the norm. There are "bean pole" columns in sometimes gaudy colors to support the flying overhangs of off-angled designs that sought to welcome an America that now drove by at 40 miles per hour.

As a Miami native of the Baby Boom generation who has spent the majority of my life in the Magic City, I was delighted and excited when I was asked to work on this issue of Preservation Today. As I got into the project and spoke with contributors and advertisers, my dedication increased and, of necessity, so did my understanding that I needed to be educated as to what MiMo really is. I started with Wikipedia: "Miami Modernist Architecture, or better known as MiMo, is a style of architecture from the 1950s and 1960s that originated in Miami, Florida, as a resort vernacular unique to Miami and Miami Beach. It was a popular response to the various Modernist and PostWorld War II architectural movements that were taking place in other parts of the world, adding glamour, fun and material excess to otherwise stark, minimalist, and efficient styles." But I needed to get to know more about MiMo from those who were here on the ground in Miami and had been onboard with the movement from the beginning. With this goal in mind, I went to visit Teri D' Amico, who along with Randall C. Robinson, Jr., coined the term "MiMo." She continues to be a powerhouse and advocate for the preservation and maintenance of


MiMo buildings in Miami-Dade County. Sitting in Teri's MiMo apartment building I was taken on a journey through events that marked my own parents' days in Miami right after World War II and through the days of my childhood here in the 1960s. I did not realize that the buildings, businesses and restaurants that I ventured into as a child were examples of this wonderful Miami -tropical American spirit singing a new song of exuberance and growth to the country. I thought "MiMo" would be a specific mode or model of building, found in specific places and sections of Miami. What I found out was that MiMo is also a frame of mind. These buildings, constructed of stucco and glass, with asymmetrical lines, shout out, "We won the war, it's time to celebrate and anyone can come to Miami and experience it as a tropical dream; there is magic and fantasy here." MiMo is not just the hotels and restaurants along Biscayne Boulevard and Collins Avenue with the "loud" welcome of cantilevered porte cocheres calling to an on-the-move nation to stop for the night or a meal. MiMo is also an era of people and personalities. It is Jack Kennedy and Marilyn Monroe; it is the "Rat Pack" of Sammy Davis, Jr., Dean Martin, Joey Bishop and Peter Lawford. MiMo is Jackie Gleason and the Beatles. It is the calling of Miami to the country at large, saying, "Come see what the Magic City is all about. Your dreams can be found

As I sat and listened to Teri on that Wednesday afternoon, looking out the "cheese holes" that grace her MiMo building in Bay Harbor Islands, I realized that MiMo is the reflection of my childhood and the spirit of those magical days of being a kid in Miami. The original Burger King restaurants were MiMo, as were the first Publix grocery stores that opened with modem dash! The Crossroads Building in South Miami, with its front reaching out to the intersection of Sunset Drive and Red Road, is MiMo. Lourdes Academy, where my sister and then my daughter went to high school, is MiMo. And more than a few childhood family Sundays were spent in delight at the Parrot Jungle-now reincarnated as Pinecrest Gardenswith its 1954 MiMo "new" entrance. Now that this Miami native understands what MiMo is, I see it everywhere! As I drive by a government building, shopping center, hotel, restaurant or an "old-fashioned" strip mall, I hear the joy of Miami in the 1950s and 1960s. I remember carefree days in the sun and a Miami that was shouting to the country!

Miami's Diverse Mid-Century Modern Legacy By Randall Robinson

and high-style offIce and commercial buildings has become Greater Miami's hippest enclave. More recently much of North Beach was placed on the National Register by virtue of its large and cohesive ensemble of Mid-century Modem neighborhoods and landmarks.

In recent years, Greater Miami has made great strides in recognizing and protecting its Mid-Century Modem legacy. Still much remains to be done. As the fIrst local Post-World War II engineering marvel to be recognized for its architectural value, the designation of the Miami Marine Stadium marked a milestone in Miami-Dade historic preservation. That came a few short years after the creation of the MiMo District on Biscayne Boulevard between N.E. 50th and N.E. 76th Streets in Miami proper. The MiMo architectural wonderland of modest motels

Barely a year ago, Miami Beach created the Morris Lapidus / Mid-20 th Century Architectural Historic District encompassing such globally recognized icons as Lapidus's Fontainebleau and Eden Roc hotels, as well as several of his condominiums including the Crystal House and two of the Seacoast Towers. Other local Mid-Century master architects such as Melvin Grossman and Charles McKirahan are represented in this district, also referred to as 'the Palisades. ' Weare now looking for historic designation by Miami-Dade County of two of McKirahan's fInest works within the outstanding ensemble on Bay Harbor Islands' East Island, and much more. These buildings and districts illustrate the great variety and richness of Greater Miami's Mid-Century Mod-

em legacy. After all, the Post-World War II years were an extraordinary time in American history and it was a period of great expansion in Miami. Only 54 years old in 1950, Greater Miami was destined to be the American metropolis with the greatest proportion of 1950s and 60s architecture. The period's advances in industry, technology and affluence are written across the cityscape. By 1950, American industry had retooled to serve the consumer and churned out automobiles for nearly everyone. Miami responded with the motel strips of Sunny Isles, and Biscayne Boulevard. While the Sunny Isles motels are mostly a memory, one can still imagine how the MiMo motels of Biscayne Boulevard beckoned to weary drivers arriving in the Magic City after long trips from the north. At the other end of the spectrum, advances in engineering and construction technology made possible such landmarks as the Marine Stadium and the late-great National Airlines Nose Hangar building at MIA. Throughout Greater Miami, and still nearly intact, fIne 'modem main streets' developed. Among them are

Road in the Kendall area, features a towering carved keystone mural depicting the relationship of man to water in South Florida.

North Beach Band Shell, 7250 Collins Avenue

N.E. 2 nd Avenue in Miami Shores, 125tb Street in North Miami, Westward Drive in Miami Springs, Sunset Drive in South Miami, Coral Way in Miami proper, Miracle Mile in Coral Gables and Bay Harbor Islands' high -style Kane Concourse. Even Hialeah's Palms Springs Mile, once a poster child for the signage excesses and nascent sprawl of the period, bears another look. In a class by itself is the MiMo wonderland clustered around the intersection of Biscayne Boulevard & N.E. 79 th Street. Once considered Miami's second downtown, 79 th & Biscayne includes the fantastic Biscayne Plaza Shopping Center and former Admiral Vee Motel. We look toward the inclusion of the 79 th & Biscayne area in the MiMo architectural district established south of 76 th Street. Already listed on the National Register are the MiMo buildings that transformed Downtown's Flagler Street in the Postwar Period, including the grand Moderne Burdines department store, now Macy's. Unique iconic structures dot the metropolis. In an awe-inspiring marriage of utility and art, the early Postwar Alexander Orr Water Treatment Plant, on Galloway


Purely symbolic, and at the opposite end of the metropolitan area, in Miami Garden, stands the Sunshine State Industrial Park Arch, a soaring tribute to Saarinen's Gateway Arch. Built to mark the entrance to an industrial park, the arch has been embraced as a local public landmark and is the star of the seal of the recently incorporated City of Miami Gardens. Still there, though difficult to distinguish after decades of expansions, is most of the original 1958 structure of Miami International Airport. Innovative for its time, MIA boasted the first centralized passenger air terminal in the world, greeted the first domestic jet flight in 1958, and featured a hotel ris-

Though countless motels can be found in Miami-Dade County, and quite a few have architectural value, only the Hampton House on NW 27th Avenue in the Brownsville area is truly historic. As the city suburbanized and expressways decimated Overtown, Miami's original black community, the Hampton House catered to blacks wanting the same kind of vacation experience available only to whites in the motels of Biscayne Boulevard and Sunny Isles. The Hampton House was a favorite of Dr. Martin Luther King. It is believed that he practiced his "I Have a Dream" speech there. As the drive-in-screen-size picture of Miami-Dade's Mid-century Modernist legacy comes into focus, the urgency of conferring protection across the spectrum becomes apparent.

03ro The Hampton House, NW 27th Ave., Brownsville

ing at its center. The hotel played a role in Greater Miami's racially divided past. The airport was considered 'neutral ground,' therefore its hotel was able to accommodate visiting dark -skinned dignitaries from foreign lands who otherwise wouldn't be accommodated appropriately in Miami at the time. The hotel remains the most prominent vestige of the original design.

Randall Robinson is a Planner and the Coauthor of MiMo, Miami Modern Revealed


he Morris Lapidus Mid-20 th Century Historic District, designated by the Miami Beach City Commission in 2009, is home to twelve outstanding examples of the Post-World War II Modern resort hotel and apartment design movement in America. Of these twelve, a few stand out as true "landmark"

structures, including the 1954 Fontainebleau and 1956 Eden Roc hotels designed by Morris Lapidus. They are both immediately recognizable by their powerful designs as well as their legendary names. This one-mile stretch of Collins Avenue north of 44th Street, referred to as "Millionaires' Row" historically and still today, began

its development history with extravagant winter estates overlooking the Atlantic Ocean designed for wealthy northern industrialists in the 1920s. These included such household names as Harvey Firestone and John Hertz. Social and economic changes following WWII paved the way for the eventual demolition of the sprawling mansions and a series of lawsuits resulted in this low density estate strip of Collins Avenue being rezoned to allow hotel use and large scale ocean front multifamily residential "towers". Hence, today we have lofty names such as Eden Roc, Fontainebleau, Seacoast Crystal Towers East, House, Imperial House, and The Executive, to name a few. The Fontainebleau Eden Roc Dispute The Fontainebleau Hotel was the first hotel to be built along the Millionaires' Row section of Collins Avenue in 1954. When it opened its doors on January 1,1955 it was also the first major luxury hotel to be built in the United States since the Waldorf Astoria opened in 1932. At the mid -point of the 20 th Century, America was still emerging from the Great Depression and the second of two Great Wars. American values were rapidly changing, and hotel guests' aspirations and expectations were nsmg equally quickly. This gave Miami Beach the opportunity to once again reinvent itself. In 1953 eccentric New York developer Ben Novack commissioned Morris Lapidus to design his first complete building,


a 600-room luxury hotel in Miami Beach. It would be called the Fontainebleau and was to be designed for the 'new' American tourist, a hotel which provided every amenity a guest could possibly want. From the day the hotel opened its doors it met its goal, and Morris Lapidus suddenly became the undisputed leader of Mid-Century Modem luxury resort design in America and beyond. With its powerful embracing curves, spectacular ocean beach and vistas, classical gardens, lavish pool deck, and exotic dining, shopping and entertainment venues, it provided a newfound sense of joy and delight for its mid-century guests. Morris Lapidus' early interest in theater set design in the 1920s, and his brilliant former career in innovative retail store planning and design across America, stood him in excellent stead to fully understand and design for the American post-war psyche. Morris often stated in later interviews, "I designed for the people of my time". He was ever the realist but always with that exceptional sense of delight which was fully manifested in his architecture. While design critics, such as Ada Louise Huxtable, of the New York Times, derided Lapidus' flamboyant and unorthodox design for the Fontainebleau, the hotel's guests and its show-business celebrities couldn't get enough of it.


So it may not have been so surprising that following close on the heels of the Fontainebleau's grand opening and immediate success, Harry Mufson, Ben Novack's former hotelier partner, knew he too must have an original Morris Lapidus-designed luxury resort masterpiece on Miami Beach. So Mufson purchased the property immediately to the north of the Fontainebleau and hired Morris Lapidus as his architect. Mufson became Ben Novack's most ambitious and challenging competitor and Novack was furious and unforgiving of Morris Lapidus for accepting a commission to design Mufson's luxury resort hotel right smack next door to his 'exalted' Fontainebleau. Mufson's hotel would be called the "Eden Roc," and it too would be of ultramodern design and with its own unique classical European design references. Most of all, Mufson demanded of Lapidus that the Eden Roc "scream luxury." Morris would quip decades later, in a conversation in 2000 with William Cary, "I didn't dare use sweeping curves in the design of the Eden Roc Hotel. After the Fontainebleau, the critics would have killed me."

So in direct and intentional contrast with the powerful curves of the Fontainebleau, Lapidus instead gave the much smaller Eden Roc Hotel a "Y" -shaped plan, exploring an architectural symphony of subtle angles, cantilevered balconies projecting boldly out to sea, and dramatic "towers" of aquamarine mosaic tiles symmetrically flanking the center bay of the main facade and gradually changing in color from dark to light shades of 'ocean green' as they rose up the seventeen story height of the building to meet the blue sky of Miami Beach. Memorably capping this modem masterpiece of ocean-side design would be the dramatic funnel of an ocean-liner elegantly screaming "Eden Roc" in Morris Lapidus' own hand script boldly executed in white neon letters. In 1959, however, Ben Novack,

developer of the Fontainebleau, commissioned another architect, A. Herbert Mathes, to design a new thirteen story tower addition along his northern property line. He also directed that Mathes design the

north wall of the building to be entirely windowless and with no architectural definition beyond vast expanses of blank white stucco between unadorned structural columns. This clearly appeared as an attempt by Novack to seriously undermine the Eden Roc's success and popularity by shadowing its pool deck most of the day with this mammoth blank wall. The wall also eclipsed any possibility of scenic ocean views toward the south from the new luxury resort. Instead, hotel guests stared at white stucco. The now infamous "spite wall", as it became known, was the subject of a bitter but unsuccessful lawsuit by the Eden Roc to preserve its right to sunshine and views. Consequently, in 1960 Morris Lapidus was asked by the Eden Roc to design a second outdoor pool deck, but this time at the far northeast comer of the property. Here it would be out of the reach of Fontainebleau's thirteen story shadow. Set into a raised pool deck, much like that found on the deck of a great ocean liner, this delightful 1960 oval-shaped pool is still enjoyed today, including its ' curious' porthole windows opening onto the restaurant below.

gracious hotel guest quarters. These balconies have folded masonry railings that flair outward midway, echoing the concave "folding" of the front fayade and further luring the hotel guest outward to overview spectacular beach and ocean vistas. The Collins Avenue grand entrance to the hotel is highlighted by a projecting porte-cochere incorporating recessed lighting into its original "coffered" concrete ceiling construction. Classically inspired cast-stone balustrades and monumental antique French lamp posts of cast and polished bronze flank either side of a grand entrance staircase of dazzling white terrazzo. Early Restoration Efforts

As is the case with so many historic hotels in America which manage to survive decades of changing guest and hospitality industry expectations over time, unsympathetic and inappropriate changes began to occur in the original Eden Roc. Fortunately, however, Morris Lapidus' original mid-century designs for both the Eden Roc and Fontainebleau Hotels

But by the late 1990s the grand lobby of the Eden Roc had begun to lose its glow. And so in 1999, Morris Lapidus, who was still residing in Miami Beach when he died at the distinguished age of 98 years in 2001 , personally reviewed and gave his blessings to the plans for the first major restoration of the Eden Roc's lobby. The main floor of the Eden Roc 's lobby is white terrazzo, with sharply contrasting black fleur-de-lis motifs boldly encircling a round sunken lounge area. Monumentally framing this sunken lounge are eight spectacular oval Rosewood columns with rounded ridges (or reeding) interspersed with gold bands. The columns gracefully support a sculptural ' floating ' ceiling plane with a delicate foliated edge. The collective composition of these design elements creates a near cathedral-like experience the first time a viewer walks into

The U niq ue Architecture of the Eden Roc Hotel Compared to the Fontainebleau, the Eden Roc appears somewhat restrained. Its front fayade is folded gently inward and features two full-height vertical panels of perforated masonry on a background of Italian glass tile in graduated shades of green. Nautical reference is seen in its distinctive rooftop "smokestack" or "funnel. The subtle Y-shaped structure, complete with a 'tail' projecting toward the sea, affords optimum ocean views. Spacious radically cantilevered balconies are placed on the ocean front and side elevations to expand the space of the


the space, and every time thereafter. It is arguably the most dramatic and successful mid-century modem were so bold and distinctive that the overriding design integrity of these structures has survived largely intact. The collective composition of these design elements creates a near cathedral-like experience the first time a viewer walks into the space, and every time thereafter. It is arguably the most dramatic and successful Mid-Century Modem interior space in Miami Beach and possibly all of South Florida. For many years prior to the 1999 restoration the Rosewood columns had been sadly painted gloss white - they were no longer "screaming" luxury as Harry Mufson had required. The grand staircase from the lobby to the mezzanine still boasts Lapidus' signature zigzag steps, although the original brass railing details, that utilized open ' cage-like' balusters at each step, were required to be removed and brought up to new State building code requirements with glass backing and modified stainless steel framing. Compatible Change In 2005 the Eden Roc Hotel changed ownership. The new own-

ers applied to the City of Miami Beach and the Historic Preservation Board for approval of a new 250-room addition to the hotel along with major new ballrooms, more new swimming pools, and substantial restoration of the original Lapidus building. The City's Planning staff agreed to recommend favorably for approval of this proposal provided that the new addition to the hotel be a 'freestanding tower' set far to the south side of the property where it would not adversely impact the historic architecture. Additionally, the Planning Department required that the new tower be designed to substantially block direct views to the thirteen story blank "spite wall" of the Fontainebleau' s north tower, created by Ben Novack more than four decades earlier. The local architectural firm of Nichols, Sandoval, and Brosch was commissioned for the job, and the Historic Preservation Board shortly thereafter approved the project. The design of the new tower was found to be both "appropriate to" and compatible with the historic architecture because of the manner by which the new design very effectively used repetitive angles in its north fa9ade to successfully create an architectural dialogue with the original angles of the his-

toric Eden Roc. In addition to the new tower, the Historic Preservation Board acknowledged the need for a new and expanded reception area in the lobby of the Eden Roc as well as a new lounge to accommodate the greatly increased number of hotel guests. Consequently, a highly detailed new reception desk area of extraordinary quality materials was set into a former raised 'upper lobby' level, and a custom designed circular bar with a spectacular oval shaped crystal chandelier suspended from the floating ceiling plane above were both approved by the preservation board. Both of these new features are slightly over-the-top in both their designs and materials, just as Morris would have wanted. In addition to these new interior features, most of the lobby of the Eden Roc was remarkably restored to its original elegance. Today the Eden Roc stands reopened with its appropriately designed new additions for all to enjoy. Hotel guests and local visitors are welcome to enj oy a refreshing drink in the lobby lounge, the splendor of the outdoor pool decks and terraces, and especially the ocean front views of this spectacular example of the best of Mid-20th Century American resort design, right here in Miami Beach. As Morris Lapidus best said in his own words (as quoted in Architecture of the American Dream: Morris Lapidus by Martina Duttmann and Friederike Schneider):

"I never consciously tried to recreate Coney Island in my architecture, although some of my critics seem to think so, but all the wonders and magic of the place as I saw them as a child are echoed in much of my work. Consciously or unconsciously, I try to recapture the glamorous and joyous excitement I experienced for others to enjoy. "


Bacardi: Building A Lasting Heritage Condensed from the City of Miami's Historic Designation Report by Laura Lavernia with Ellen Uguccioni

chitecture and corporate image building and has established a reputation for commissioning buildings expressing contemporary values. Patronage of the arts was also part of the Bacardi tradition. Leaders of the company understood the concept of "synthesis of the arts" whereby architecture would be designed with visual art and interior design components creating a unified design ideal. The Bacardi building in Miami is an outstanding example of this concept, popular in Latin American Modernism, put into practice. The Bacardi Building Complex is not only a testament to the creativity of the architect and designers; it also represents a pivotal chapter in the rise of a multinational corporation with significant ties to the City of Miami's history. When the Fidel Castro government seized the assets (estimated to be worth over $76 million) of Bacardi y Campania, S.A. (Santiago de Cuba) in October of 1960, the company was able to reposition itself as a multinational corporation by strengthening its production in Latin America and the Caribbean.


he historically designated Bacardi Buildings at 2100 Biscayne Boulevard in Miami are outstanding examples of International Style Modernist architecture, and relate to Latin American Modernist architecture in their use of materials and stylistic considerations. The tower building is also a tour


de force in its engineering. The buildings have come to symbolize the determination and abilities of the Cuban exile community. The buildings were also constructed at a pivotal time in the Bacardi Company's history as it became internationally known. History The Bacardi Corporation has long understood the relationship between ar-

The relocation of the sales and marketing corporation, Bacardi Imports, from New York to Miami in 1964 was a symbolic move that further internationalized the brand. More importantly, the move also sent a strong political message to the exiled community of Miami, and the international community atlarge, of the corporation's triumph over adversity. The Bacardi story is one of re-

silience and steadfast dedication. The company and the Bacardi name survived wars of independence, alcohol prohibition, and revolution. Miami's tower building, commissioned in 1962 for the new headquarters of Bacardi Imports, the year of the company's 100th anniversary, is evidence of the tenacity of its founders. The story of the largest privately held premium spirit company in the world had its humble beginnings in Santiago de Cuba when in 1862 Don Facundo Bacardi Mass6 purchased a distillery for 3,500 pesos. The fruit bats which filled the rafters of the distillery became the distinctive mark of the Bacardi Company, known the world over. Don Facundo created rum as we know it today with an innovative charcoal-mellowing filtration technique and an aging technique for rum utilizing used bourbon barrels from the United States. The popularity of Bacardi rum and the new Cuba Libre cocktail ushered in an era of success for the corporation, which expanded to the U. S. and Spain. In 1919 when the U.S. Congress passed the Volstead Act, ushering in prohibition of alcohol consumption and production in the United States, the Bacardi Corporation prepared for the worst. However, Bacardi thrived during Prohibition. Bacardi opened a plant in Mexico, and American tourists flocked to Havana on holiday to enjoy world-class amenities, a tropical climate, casinos, and unlimited alcohol. When the U.S. repealed prohibition, Bacardi, under the direction of Jose "Pepin" Bosch, reestablished a corporate office in New York's famous Chrysler Building. In 1956, Bosch commissioned Modernist architect Felix Candela to design a distillery in Mexico. Bosch was also exploring the possibilities for building a distillery in Recife, Brazil. The regime of Fidel Castro took power in Cuba on January 1, 1959. The Bacardi family, including Bosch, at first defended the regime as democratic.

It would not be long before the government would show its true colors. On October 14, 1960 the Communist regime nationalized the Bacardi corporation's property and assets. The Bacardi Company suffered a severe blow, but its internationalization efforts proved to be the corporation's saving grace. The company adopted a Latin American corporate identity and moved its U.S. headquarters from N.Y. to Miami, "the Gateway of the Americas."

The Bacardi building in Miami was constructed in 1963. Bacardi and its president became leaders in the Cuban exile community and a key player in the battle against the Castro regime. They assisted workers who arrived as exiles with job placement, temporary housing, and jobs. By the time Bosch retired as president of Bacardi in 1976, Bacardi had grown into a complex corporate structure comprised of five corporations: Bacardi and Co. Limited (BIL) in the Bahamas; Bacardi Corporation (Puerto Rico); Bacardi Imports (USA); Bacardi y Compania, S.A. de C.V. (Mexico); and Bacardi International Limited (Bermuda), the headquarters of the parent company. Bacardi was distilled in five plants, located in four different countries.


The Bacardi complex located at 2100 Biscayne Boulevard is on an elevated platform, or plaza, raised for the parking garage below. The first building, the Bacardi Tower, was designed by Enrique Gutierrez of SACMAG (Saenz, Cancio, Martin, Gutierrez) International. Ground was broken for the building on January 3, 1963, and the building was formally dedicated January 25, 1964. The second building, The Annex, designed by Ignacio Carrera-Justiz of Coral Gables, Florida, was completed in 1973. The two buildings are situated within an elevated corporate plaza space surfaced with permeable concrete pavers. Between the two, on the floor of the plaza, is a large-scale painted version of the Bacardi logo which is meant to be seen from airplanes flying overhead to and from the Miami International Airport. The floor of the plaza, or roof of the underground garage, is supported by a series of 12-inch columns and was designed with a cast-in-place concrete joist


system. Both structures are accessible by elevator from an underground garage, a site design that is decidedly void of surface parking lots and cars. The 40-car parking garage below was constructed as a "reverse swimming pool" in order to prevent water infiltration (given Miami' s high water table) and is only slightly below grade. The first building on the site, commonly known as the Tower, is located on the eastern-most side of the plaza facing towards Biscayne Boulevard. The tower was commissioned by former Bacardi president Jose "Pepin" Bosch, who had a strong interest in contemporary architecture and commissioned several architects to design modernist buildings for the family corporations during his tenure. For the Miami Bacardi Imports headquarters, Bosch retained the firm SACMAG and commissioned the work of Enrique Gutierrez, a Cuban architect and principal in the firm who had previously worked as local contact for Mies van der Rohe throughout the planning of the Bacardi headquarters in Santiago de Cuba. Gutierrez also collaborated with Mies and Felix Candela for the corporate office and bottling plant buildings in Tultithin, Mexico. Bosch wanted an iconic building that would represent the company's vision of the future, its corporate ideals, and a sense of permanence. As part of the design requirements, the building was to be tall in order to gain visual presence on the busy thoroughfare of Biscayne Boulevard and also to comfortably accommodate no more than 50 employees. The result was a unique structure that spoke to the artistic milieu of the late 1940s and 5Os in Cuba, and to the architect' s personal design aesthetic.

The Tower was built to house the office space, a dining room and a corporate bar. The tower is exemplary of the International Style of architecture in its reductionist logic, emphasis on geometry, and its feats of structural engineering. It is comprised of a rectangular seven-floor tower (measuring eighty-one by thirty-two feet) which appears to cantilever over a bottom glass square pedestal at the plaza level, giving the illusion of floating weightlessly. Gutierrez solved the design problem of creating weightless elegance through a feat of engineering. Skyscrapers must support static loads (weight of the structure, floors , equipment, etc.) and live loads (winds, seismic pressures). To address these considerations, the build-

_ r ..........

ing has three structural components: four reinforced concrete columns, a set of two flat trusses, and two end walls (north and south). The glass pedestal carries none of the weight of the structure. The structure is supported by four reinforced concrete vertical columns faced in whiteveined marble--one pair on the west fayade and one pair on the east- all anchored into the bedrock. The four vertical columns, in tum, support twin longitudinal (flat) concrete trusses which cantilever out twentyfour feet from the columns in both directions, like outstretched arms. From each end of the two reinforced concrete trusses run a series of cables

32 - - - - - -

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that hold up the north and south end walls. These end walls are made of six-inch-thick, cast-inplace concrete panels that are post-tensioned, meaning that cables run down the sides of the panels and also connect each floor of the building to the truss holding them all up. The end walls hold about a third of the static load (weight of the floors , equipment, etc.) that pushes downward. This is counter-acted by the cables that run through them and create upward tension. This system prevents the concrete panels from cracking, and eliminates water penetration and salinization- which causes reinforced concrete spalling, a persistent problem in South Florida and a particular problem with this site, two blocks from the ocean. The post-tensioning of the concrete end walls creates surfaces that will not buckle or crack. A corporate brochure describing the building states that it is almost as if swinging in the air; the bottom pedestal can be demolished and the building would remain standing, unchanged. This glass pedestal served as a public reception and often an art gallery, as a service to the community. The service core tower, which houses the elevators and the service rooms, connects all the floors of the tower with the underground garage. The service tower is a cast-in-place concrete box with eight- inch thick walls that connect via a passage to each floor, in this way the service tower is designed to resist hurricane force winds by absorbing some of the lateral loads. Having the service core (elevators) on the exterior of the structure is a unique design and differs from the usual placement of this core running through the center of structures.

The Jewel Box on a Pedestal As the company grew, it outgrew the Tower and needed more offIce space.

The trusses are situated on the structure' s flat roof. This flat roofa hallmark of the International Style- functions somewhat like an eighth floor. It was purposely left open because of this design and also to conceal noisy mechanical equipment.

The lots behind the Tower, which previously had large estates, were purchased in order to expand the corporate plaza and construct an Annex structure.

The main fa<;ade (east) faces Biscayne Boulevard and is composed of a glass curtain wall (tinted glass) which provides panoramic views of the bay. The east glass curtain wall appears to be divided into three bays. This is achieved, in part, by the location of the support columns, faced in veined, white marble. The west fa<;ade is a glass curtain wall as well, the center of which is attached to the exterior service tower.

Much like its predecessor, the Annex is also an outstanding example of modem design and engineering; it is exemplary of cantilever construction. This square building is raised fortyseven feet off the ground by a pedestal.

Another interesting design element is the two flights of floating exit stairs on either side of the glass pedestal. The stairs add a focal point to the ground floor and visually draw the eye up to the tower, contributing to the visual weightlessness of the structure. This was the architect's solution for demonstrating that the stairs are not structural supports in anyway. An Allegory of the Tropics In contrast to the clean, uniform glass surfaces of the east and west facades created by the glass curtain walls, the north and south end walls are panels of ribbed pre-cast concrete with a stylized painted tile mural. A contemporary azulejo mural with sinuous designs of tropical plants is painted on white tiles with various tonalities of blue. Bosch hired Brazilian artist Francisco Brennand to design and paint the azulejo tile murals for the North and South Facades of the building. Bosch had met Brennand in Recife Brazil- a sugarcane producing re~ gion- when opening a Bacardi plant there in 1961. The commission would be one of the fIrst major commissions for Brennand upon returning to Brazil from Paris.

This two-story offIce space cantilevers out twenty-four feet from its central core on all sides as each floor is hung from 28-foot tensor rods from a reinforced roof. There are over 28,000 6"x 6" tiles creating two surfaces that address the north and south of Miami and are meant to be viewed from a distance. The tiles were fIred in Brazil and installed as a giant puzzle, each tile handnumbered by Brennand. The azulejo murals are not simply decorative. Brennand considered them an "overlay," resulting in a seamless integration of visual arts with architecture. His stylistic influences are Pablo Picasso, Joan Miro, Gaudi, and his friend artist Fernand Leger. His style is best described as primitivist, or that of a trained modem western artist purposely choosing to create art that resembles that of primitive cultures, or self-taught artists. The work evokes images of tropical Brazil and its exuberant flora.

In contrast to its predecessor' s design, the structure supported its central reinforced core. This permits non load-bearing outer walls to be covered in thick hammered "tapestries," stained-glass-like which were designed and manufactured in France by S.E.A.R. under the direction of Gabriel and Jacques Loire of Chartres, France. The stained glass walls are based on an abstract painting by German artist Johannes Dietz. These surfaces tell another story- an allegory of how rum is made from sugar cane. Originally, Bosch envisioned the overall effect of this "jewel box" to read like a billboard, once illuminated at night.



Miami Marine Stadium: Rowing Forward By Nina Weber Worth and Don Worth


dium was shuttered by the City of Miami after Hurricane Andrew in 1992 (though no major hurricane damage was sustained) and has thus far remained unused. Through the persistent efforts of Friends of Marine Stadium, support has risen steadily and the cause has now garnered both national and international attention:

October, 2008: The Miami Marine Stadium was nominated for historic designation by - Dade Heritage Trust, :A'll:.l::::::'") and the City of Miami Historic and Environmental Preservation Board approved its designation. February, 2008: Friends ofMarine Stadium was formed under the administrative umbrella of Dade Heritage Trust (DHT) , to champion the cause to save and restore one of Miami's most beloved and iconic landmarks-the Miami Marine Stadium.

Built on Virginia Key in 1963 and designed by prominent architect Hilario Candela, the 6,556 seat Miami Marine Stadium was a landmark during its operation from 1964-1992. The Stadium hosted a wide variety of events such as boat racing, concerts with performers like Arthur Fiedler, Mitch Miller and Jimmy Buffett, Easter Sunrise Services, and TV shows (Phil Donahue and Mike Douglas). Even part of the Elvis Presley movie, Clambake, was filmed there. The Sta-

March, 2009: The Stadium made the National Trust for Historic Preservation's "11 Most Endangered Sites List". July, 2009: Jimmy Buffett, famous

for his legendary concerts at the Marine Stadium, recorded a public service video in support of the stadium's restoration.

October, 2009: The Stadium made the WorId Monuments Fund Watch List along with iconic sites such as Machu Picchu. November, 2009: The 2009 issue of DHT's Preservation Today Magazine focused on the Marine Stadium. November, 2009: Tomas Regalado elected Mayor of Miami; makes restoration of Miami Marine Stadium a priority of his administration. The Mayor's continuing support and leadership continues to be a pivotal force in the stadium's reinvention.

February, 2010: The World Monuments Fund and Friends of Marine Stadium announce results of engineering study conducted by Simpson Gumpertz and Heger (SGH). This study shows the cost of the concrete restoration estimated to be $5.5-$8.5 million, depending upon how much addi-

tional work is done to extend the life of the structure. This compares to a report prepared for the City of Miami in 2008 which estimated the costs of concrete restoration to be as high as $15 million. SGH recommends that an additional study be conducted to examine the condition of the piles under the seabed and under the land. The SGH figure is for concrete restoration only and does not include other items such as bathrooms, new seats, plumbing, electrical, etc. April, 2010: Miami-Dade County Board of Commissioners approve by a 12-0 unanimous vote, $3 million of funding for restoration of the Marine Stadium from a GOB Historic Preservation Fund initiated by Dade Heritage Trust. The funding will not be available until all other funding has been secured. All of the Commissioners spoke about events that they attended at the Marine Stadium and the importance of it. Miami Mayor Tomas Regalado spoke in favor of the funding. The Miami Herald wrote its fifth editorial in favor of the restoration of the Marine Stadium. July, 2010: Miami City Commission approves Virginia Key Master Plan by a unanimous 5-0 vote. The plan, which includes the Ma-

rine Stadium and Basin, was based on the work of an architectural studio during the spring 2010 semester at the University of Miami led by Friends of Marine Stadium CoFounder and Architecture Professor, Jorge Hernandez and Hilario Candela, architect of the Marine Stadium. The studio worked with a coalition of groups led by the Urban Environment League and the City of Miami Planning Department and Administration. It features the Marine Stadium as the centerpiece of development for Virginia Key. Though the plan does not include any money, it serves as a road map for the future an important step in the initiative to restore the Stadium.

2010: The FIND (Florida Inland Navigation District) Commission approves an expenditure of $175,000 for an analysis, design and permit study to evaluate the water side pilings of the Marine Stadium and the portion of the structure that is above the water. This amount must be matched. If the study is successfully completed, the City may apply to the FIND Commission at a future date for funding a portion of the restoration work. StpreniJer,

NoveniJer, 2010: The Miami City Commission approves an expenditure of $175,000 for the pilings study, matching the FIND Commission grant. The Stadium continues to re-

ceive significant positive press. In the last three months, Miami Marine Stadium has been featured in a web video by Architectural Record, major articles in Modern Magazine, Civil Engineering Magazine, AlA Web Architect, and Business Miami. NEXT STEPS: With the advocacy battle won, the restoration of the Marine Stadium enters a new phase. We have begun to work with Mayor Regalado and the City of Miami Administration and Commission to develop plans for the operations, fmancing, and governance of the Marine Stadium. This is a complicated and challenging proposition, especially in this economic environment. We know this will take time---but we are convinced we are on a positive trajectory.

*** Nina Weber Worth and Don Worth are long-time preservationists who developed exchanges with Shanghai that led to AfDPL's 2007 Art Deco Weekend '''East Meets West: Art Deco in Miami and Shanghai. "Don is a DHT Trustee and a co-founder of Friends of the Marine Stadium. www.marinestadium. org

DHT's Meet MiMo Conference Showcases Mid-Century Architects and Landmarks "Meet MiMo," a conference presented by Dade Heritage Trust on March 11,2011 at the Eden Roc Hotel on Miami Beach, was planned to showcase Miami's unique architecture of the 1950s and '60s that translated International Modernism into innovative design with tropical exoticism, glamour and fun. National experts putting Mid-Century Modernism into an international, national and statewide perspective included

Theo Prudon, president of DoCoMoMoIUSA, Christine Madrid French, Director of Trust/Modem, and Morris Hylton, Acting Director of the University of Florida's Historic Preservation Program. A panel on Miami Mid-Century Modern: Triumphs and Challenges, moderated by architectural critic and author Beth Dunlop, included outstanding local experts:

Teri D'Amico, Interior Designer and Preservationist: Defining MiMo: Bay Harbor Islands Randall Robinson, Planner and Author, MiMo on Biscayne Historic District William Cary, Planner, City of Miami Beach, MiMo Historic Districts on Miami Beach Melissa Memory, Cultural Resources Director, Everglades National Park, Mission 66 in the Everglades Carie Penabad, UM Professor and Author, Marion Manley's Buildings on the University ofMiami Don Worth, Co-Founder ofDHT's Friends of Marine Stadium, Miami Marine Stadium Allan Shulman, Architect and Author, The Mid-Century Modern Tropical Home A "Living Legends" Luncheon was orchestrated to honor renowned architects of the MiMo era, including Jan Hochstim, Enrique Gutierrez, Hilario Candela and Alfred Browning Parker. A special discussion was planned following the luncheon, titled Remembering an Era: Reflections By and About MiMo Architects. Joining the "Living Legends" in conversation: Deborah DeSilets, architect and author of Morris Lapidus: Architecture ofJoy, Sarah Giller Nelson, co-author of Designing the Good Life: Norman Giller & the Development of Miami Modernism," and architect Thorn Grafton. A festive BACARDI Party at the historic Bacardi Building was designed to be the grand finale of the day, with tours of historic MiMo landmarks, neighborhoods and homes arranged for Saturday, March 12th.

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Jan Hochstim: Academic Modernist Jan Hochstim, native of Krakow, Poland, obtained a degree of Bachelor of Architectural Engineering from University of Miami in 1954 and a Bachelor of Architecture from U niversity of Illinois in 1958. In 1976 he was awarded a Master of Arts degree from University of Miami with emphasis on architectural history. He is a full time tenured professor in the School of Architecture at the University of Miami where he started teaching in 1958 specializing in design and history of Modern architecture. After apprenticing with architects in Miami, Nassau and Pittsburgh he opened his architectural office in Miami in 1962 and is still maintaining active practice as Hochstim-Krantz Architects in South Miami. Among his many projects are Pier House Motel in Key West, University of Miami Mark Light Baseball Stadium - winner of Outstanding Concrete Structure in Florida, conversion of famed Marion Manley's 1947 dormitory buildings at the University of Miami into School of Architecture, Grace Church, Holy Cross Academy, South Miami Gymnastic Center Dance Studios and Auditorium and many commercial and residential projects. He is the author of The Paintings and Sketches of Louis

L Kahn (Introduction by Vincent Scully), Rizzoli, 1991 and Florida Modern: Residential Architecture, 19451970, Rizzoli, 2005 and he lectured on these subjects at Columbia University, University of Venice, and various A.I.A. and preservation meetings in Florida and California. He is a member of the South Miami Historic Preservation Board and serves on the advisory board of DOCOMOMO/US Florida and as a member of the Board of Directors of DOCOMOMO/USA.





LIVING LEGENDS HONOREE Enrique H. Gutierrez: Architect of the Bacardi Building In 1960, Gutierrez fled in exile to Puerto Rico with his family, having left Cuba with the threat of execution and a reward for his arrest issued by the revolutionary regime. He continued his career and his relationship with Bacardi. Cuban-born Enrique H. Gutierrez graduated from the School of Architecture at the University of Havana in 1956, winning the Architecture Prize in 1957. He later joined the renowned architectural and engineering firm SAGMAG. One of SAGMAG's main clients was the celebrated rum firm, Bacardi. In 1958, Pepin Bosch, President of Bacardi, hired Mies van der Rohe to design the firm's offices in Santiago de Cuba. It was on this occasion that Gutierrez collaborated with the internationally recognized architect. The advent of the Cuban Revolution in 1959 interrupted Bacardi's Santiago de Cuba project. In progress at the time were the designs for Bacardi distilleries in Mexico and the Bahamas, wherein Gutierrez had the opportunity to collaborate once again with Mies and also with the distinguished Spanish architect and engineer Felix Candela. He also collaborated with eminent architect Richard Neutra, in the design of a Havana residential project. In 1959, Gutierrez became Director of Architecture in the Ministry of Public Works, wherein he created a Department of Fine Arts. Budget guidelines were established in which 2 to 3 percent of all governmental building costs were to be dedicated to integrating the visual arts with the architecture of said buildings, creating an art in public spaces program quite advanced for the time.

In 1962, he obtained the commission for the design of the Bacardi offices in Miami. The design of the building evidences Gutierrez's evolution as a cutting-edge architect, combining International Style vanguard elements with his own unique tropical sensibility, creating a superbly elegant structure that appears to be floating, suspended in space. The

building's huge ceramic murals by Brazilian artist Francisco Brennand, running the height of the building on both the north and south facades, is one of the best examples of Gutierrez's vision for integrating art and architecture, creating one of Miami's most celebrated architectural icons, a justly designated historic monument. For more than 50 years, in Cuba, Puerto Rico and Florida, and with more than 500 projects, Gutierrez has continually strived to integrate murals and monumental sculpture in all his designs. He has commissioned work from such notable artists as Cundo Bermudez, Augusto Marin, Rolando Lopez Dirube, Gay

Garcia and Zilia Sanchez, among others, enriching the community patrimony and leaving a legacy of landmark archi tecture. In 1972, Gutierrez completed the One Biscayne project in Miami, a towering structure that for the ensuing ten years was to be the tallest building in the southeastern United States. The building's Modernist architecture, exposed concrete belying a sophisticated design, included a highly advanced structural system. For the first time in Miami, a concrete mat was used- to replace the traditional piles, confmning Gutierrez's role as a pioneering generational figure. During the 1970s and 80's, Gutierrez developed a highly innovative, patented, modular prefabricated construction system, through which modular units were assembled at the factory level and transported directly to the development site. A total of 27 factories were opened throughout Argentina, Brazil, Jamaica, Florida, New Jersey, Mexico, Puerto Rico, Trinidad and Tobago, and Venezuela. Gutierrez continues today with his successful professional career, incorporating green technology concepts and progressive elements in his designs. He is also extensively designing and collaborating with state and municipal governments, in the development of low cost social housing projects throughout Puerto Rico. He remains committed in his endeavor to create a better world through architecture.

* **


LIVING LEGENDS HONOREE Nationally Registered Douglas Entrance in Coral Gables. This was the first 100% privately funded restoration project in the State and became an active community gathering place as it housed the headquarters for the firm.

Hilario F. Candela: Architect of the Miami Marine Stadium A graduate from Georgia Institute of Technology, Hilario Candela is a Fellow of the American Institute of Architects, the highest honor bestowed by the Institute. In recognition of this significant contribution to Design, the American Institute of Architects has honored him for his "consistent high quality" work over an extended period of time. Candela was a Principal and the President of Spillis Candela & Partners (later Spillis Candela, DMJM) where he led the firm' s design effort for over 40 years. Candela's design work in the U.S. and abroad has been published in numerous professional periodicals and he has lectured at various academic, institutions throughout the U.S. and Latin America. His stature in the profession has also garnered him the appointment to prestigious associations and committees inclusive of the Advisory Committee to the President of the United States in the Arts and Humanities. His dedication to the world of Arts and Designed lead to his being invited


to serve on national selection panels in the field of Architecture and Allied Arts. Presently, Candela continues to be involved in unique projects and in academic and community activities. The Miami Marine Stadium is the earliest known work of global significance by a Cuban architect which initiates a period of professional contributions by Cuban-American Architects in exile. It is linked to a hemispheric Mid-Century architectural movement that includes the work and direct influence of Max Borges, Jr. and Felix Candela. Beyond his dedication and passion for design, Candela's interest in the fields of the allied arts has been exemplified by his relationship with educational and fine arts institutions at the local, state and national levels as well as his involvement with philanthropic organizations in parallel with his professional career. His interest was captured in the origination of the Cuban Museum of Arts and Culture, the Cuban National Heritage (Herencia Cub ana) , MiamiDade Community College Teaching Chair Endowment Fund, the University of Miami Board of Founders and the Dade Community Foundation among others. Mr. Candela's interest in preservation started with his firm's rescuing from demolition the now

Candela has been the designer for several buildings in the U.S. Eastern Seaboard, as well as in Florida, that have since become true icons of the South Florida landscape. These include the City of Miami Marine Stadium, the University of Miami Mailman Center for Child Development and the Atlantic Oceanographic Meteorologic Labs for NOAA. , Miami Dade North, Kendall, and Wolfson/Downtown campuses; Corporate Regional Headquarters for American Express, Florida Power and Light, Motorola, American Bankers, Southeast Bank and Douglas Entrance. Candela's most recent local personal endeavor is the creation of the highly praised Church of the Epiphany in South Miami. His long professional career in Latin America includes corporate and public facilities in Argentina, Brazil, Venezuela, Panama, Costa Rica, Nicaragua and Honduras among other countries, in addition to his volume of work in Spain.



LIVING LEGENDS HONOREE ALFRED BROWNING PARKER: MIAMI'S MAVERICK MODERNIST by Randolph C. Henning include his first home and studio (1943) located at 2921 SW 27tb Avenue in Coconut Grove, his home on Royal Road (1950) that was House Beautiful's 1954 Pace Setter, his Gables Estates home (1962) on Arvida Parkway that was House Beautiful's 1965 Pace Setter and his W oodsong home (1967) located on Seminole Street in Coconut Grove. In a region famous for neo-historical

Alfred Browning Parker is unquestionably recognized as one of Florida's most creative architects and has enjoyed wide reaching national exposure because of his voluminous original works. Practicing for more than fifty years in Miami (he opened his workshop for the practice of architecture on January 1st, 1946), he is well known for his typically innovative residential designs. His mantra has always been, "build strongly, design for use and make it beautiful." Parker's own Miami homes, which he both designed and built,

stylistic replicants, homes he designed for himself and others were always logically singular solutions that satisfied the client's needs and budgets, sensitively respected the sites, and responded appropriately to the climate. He also designed a wide variety of non-residential buildings for a myriad of both private and public uses - religious, commercial, retail, office, medical, recreation, transportation, tourism, food service, research and development, industrial, financial, institutional and urban design.

moved south to Miami in 1925. During Parker's adolescence, he was an active youth with an abundance of both curiosity and energy, enjoying outdoor activities and absorbed in the tropical environment of South Florida. And he soon experienced the ferocious category 4 and 5 hurricanes of 1926 and 1928, providing him an early firsthand education in the fury of Miami's weather. He was always interested in building from an early age and decided to become an architect while attending Miami Senior High (1931-1934). In 1939, Parker completed his

undergraduate work in the University of Florida's School of Architecture and Allied Arts, owing much to his academic mentor Rudolph Weaver. His post graduate work took place through two traveling fellowships (Sweden and Mexico) along with the experience gained building his first home in Coconut Grove and his second in Gainesville.

Parker passionately recognized from a very early age the need to conserve both human and material resources and believed that man should live hannoniously within his environment and its beautifully balanced ego-system. His work reflected that passion, evidenced by his indigenous design for a Tropical Subsistence Homestead (1942) and his architectural work to follow, well before sustainability and green architecture became catch phrases.

When Word War II began, Parker enlisted and was stationed in Miami with the Office of Naval Intelligence. Parker started his own practice in Miami in the mid twentieth century and his timing couldn't have been more fortuitous, with the postwar housing boom experienced in South Florida.

Born in Boston in 1916, his parents

In the years that followed, Parker


produced designs for more than 500 projects. In addition, builders and developers constructed hundreds of speculative production homes throughout South Florida based upon his prototypical domestic designs. Parker produced dozens of masterworks which include his own homes and homes for others throughout the Miami area - Don Gayer (1953), Dora Ewing (1955), Sam and Ann Lee Marko (1955), Parker's own mother Jewel Parker (1957), Graham Miller (1957), Kirk and BLandon (1965), and Frank Magnuson (1965), to name a few. Well known examples of nonresidential masterworks in Miami include the George Washington

Carver School (1949), Bal Harbour Club (1952), Alliance Machine Company (1957), Cloverleaf Lanes (1958), General Capital Corporation (1959), Hope Lutheran (1962), Miamarina (1966), and St. Louis Catholic Church (1978). Sadly, many of his works have been demolished, insensitively modified or have been altered beyond recognition. The existing exceptions are rare treasures in Miami's Mid-Century and later Modem architecture. Parker has attained recognition for his architecture throughout his life, receiving many local, state and national design awards for specific projects. The American Institute of Architects honored him as a Fellow in 1959 for his achievements in design and public service and the Florida Association of the AIA in 1967 as the recipient of their first Award of

Honor for Design. The AIA' s South Florida (now Miami) chapter, over which he presided as president in 1949, bestowed upon Parker the Silver Award for twentyfive years of service and achievement in 1975 and their Lifetime Achievement Award in 2010.


Randolph C. Henning is a practicing architect living in Lewisville, North Carolina. He is the author of the book The Architecture of Alfred Browning Parker: Miami's Maverick Modernist, published by the University Press of Florida.


The achievements of the first generation of academically trained women architects, the few who worked during the late nineteenth and early twentieth century in a profession regarded as "masculine," are only beginning to be recognized. Through the first half of the last century, women seldom won apprenticeships in the most important offices, even less often were able to establish independent practices, and when they did, their practices were usually limited to designing houses that were not published in architectural journals. As a result, the work of these early women architects has remained relatively inaccessible and unknown to subsequent generations.

to shape the architectural character of Miami, first as a competent practitioner in traditional styles, then in high modernist ones, for which she was an early vocal advocate. She was a founder of South Florida's chapter of the American Institute of Architects, served on the editorial board of its journal, and was nationally recognized as only the fourth woman named a fellow of the AlA. Manley' s apprenticeships in the offices of leading local architects of Coral Gables and Miami, Walter DeGarmo and Phineas Paist, provided a foundation in the art of building with local materials, vernacular traditions, and classical themes. She learned the language of the Mediterranean Revival, South Florida' s primary architectural style throughout the 1920s and 30s. Manley's early residential work draws upon this experience and can be seen in her commissions for the Villa Paula (1924), the Villa Scott (1925) and the "Finca" Fink (1938), a home for Denman Fink, George Merrick' s uncle, a

None of these generali~ I zations apply to Marion Manley, except the obscurity of her work, for in fact she did apprentice with the leading local architects, did establish her own office , and did receive important institutional commissions that were University of Miami Memorial Classroom Building, Robert Law Weed and Marion Manley, locally and nationally Pencil Rendering, University of Miami Libraries published. At a remarkably early date, visionary artist of Coral Gables and 1918, she was the first woman in chair of the University of Miami's South Florida granted a license to Department of Art. practice architecture, launching a career that was to span six decades Planning and Building the during which she became a leading University of Miami figure in the local architectural and planning professions. She helped

At the end of the Second World War, Manley acquired her largest and most important architectural commission: the design of a new masterplan for the University of Miami. Her vision for the University included buildings inspired by the International Style and set loosely upon open greens. She studied modernist planning theories at M.LT. where she enrolled in a course in urban planning during the summer of 1945. In collaboration with Robert Law Weed, Manley not only designed the masterplan but also a multitude of campus buildings. These projects were widely published as one of the earliest instances of the use of Modernist architecture for an American campus. While working at UM, Manley maintained her residential practice. She spent her last years developing what she regarded as an appropriate architecture for the climate of South Florida. For it she used local materials, large overhangs for protection from sun and rain, windows and doors arranged to enhance cross ventilation patterns and to maximize the prevailing south easterly breezes, as well as a variety of porches, courtyards and terraces that offered respite from the intense tropical heat. The Paul Wylie House (1953), and the Sam Bell Residence (1954) became emblematic of Manley' s tropical architectural style and were published in leading architecturaljournals of the day. Carie Penabad teaches at the UM School of Architecture and coauthored with Catherine Lynn the book Marion Manley: Miami's First Woman Architect.



Mission 66 Architecture in Everglades National Park By Don Finefrock The back-to-back hurricanes that struck South Florida in 2005 dealt a devastating blow to one of the region's most interesting but overlooked destinations - the Flamingo Mission 66 District inside Everglades National Park where the main park road meets Florida Bay.

Visitation at national parks surged after World War II. In response, the National Park Service convinced Congress to invest heavily in new infrastructure to accommodate more visitors and their automobiles. The program was dubbed Mission 66 in honor of its completion date 1966 - the 50th anniversary of the Na-


Developed in the 1950s by the Na- ~~QI.~~~~~~ tional Park Service, the Flamingo Mission 66 District represents an early example of the modern design and construction methods embraced by the Park Service in the years following World War II. The Flamingo Lodge and Visitor center, the marina store and service station, employee housing and campgrounds were all constructed as part of an ambitious, 10-year capital improvement plan that introduced modern design to national parks across the country. The National Park Service launched the Mission 66 program in 1956 with the goal of expanding and modernizing America's national parks for a new generation of visitors - more of whom were arriving in automobiles than ever before.


Construction of the Flamingo Visito Center began in 1957. The two-stoIJ concrete block structure flanks Flori da Bay with a ramped entrance and ~ breezeway that connects its tw wings. The visitor center was da aged in 2005 by Hurricanes Katrini and Wilma but remains open toda with a fresh coat of paint in the origi nal "Flamingo Pink" color. The Fla mingo Lodge motel and cottages popular spot among fisherman an birders and the only overnight a commodation in the park - did n survive the storms. The Nationa Park Service last year released a mas ter plan for rebuilding Flamingo, bu money is scarce and progress ha been slow. I

tional Park Service. Flamingo today has the largest collection of Mission 66 buildings in the park, but other examples survive, most notably in Shark Valley where the iconic observation tower with its spiral ramp rises like a spaceship from the flat landscape. With the launch of Mission 66, the NPS embraced new construction methods and materials and a style of architecture (known as Park Service Modern) that emphasized modern design, comfort and efficiency. The move represented a dramatic break with the "rustic" style of architecture that dominated park service construction in earlier decades. The Mission 66 program also introduced the concept of the "visitor center" to national parks. Approximately 100 visitor centers were built in national parks as part of the program, including the one in Flamingo. Everglades Nation-


al Park was selected as one of th( pilot projects for Mission 66, anc plans for Flamingo were prepared b~ the National Park Service in collabo ration with local architect Harry L Keck of Coral Gables.

The future of Flamingo is uncertai but the push to rebuild has helped t focus attention on the legacy of Mis sion 66 in Everglades National Par Other Mission 66 buildings in FI mingo include the shuttered servic station that greets visitors upon arr' val, staff housing and the boat she It at the park's maintenance yard. ~ are considered eligible for listing 0 the National Register of Histori Places by the Florida State Histori Preservation Office, and a his tori structures report is being drafted th will provide a preservation prescri tion for these buildings as Flaming ' I

is rebuilt.

*** Don Finefrock is executive director 0 the South Florida National Par Trust, a non-profit organization th supports South Florida's four nation parks - Everglades, Biscayne and Dr). Tortugas National Parks and Big C~ press National Preserve.

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The Mid-Century saw the opening of a new kind of project on the island of Key Biscayne, only recently linked by a causeway to the mainland. The MackIe Brothers, leading South Florida builders in the post WWII years, purchased roughly one third of the island and launched their first city-sized project.




The original "Mackie Homes" as they become known, were modest, 1,200-1,300 square foot "Beach" homes with two or three bedrooms and just one bathroom. The demand for low cost housing in those days demanded some very inventive construction methods. Competitions where held where construction crew would race to fInish a roof. House designs were simplifIed to the extreme. A home would be laid out such that the house could be built without breaking a block. House dimensions and windows were made such that they would confonn to multiples of the standard 16"concrete block and the 8" half-block. Bathrooms were laid out back-to-back with kitchen to minimize the length of drain pipe required.


In the post-war period, even FHA and V A standards allowed kitchen cabinets to be installed without doors, and only the master bedroom was required to have locking hardware. Closet doors were not required. GIs returning from campaigns in Europe and the islands of the Pacific didn't need such luxuries! Affordability was the goal, but that simplicity of design did not detract from the structural quality-as was best demonstrated in Hurricane Andrew. An interesting note, among the challenges to Key Biscayne living at the time, the former coconut plantation wh~ch was fringed on the bay side with its mangrove swamp, was well known for its mosquito population. A new invention introduced in 1952 helped that situation-Central Air Conditioning! The MackIe Brothers were one of the first to offer this luxury amenity in their Key Biscayne homes as an option. Not surprisingly, it proved very popular. Soon not only homes but shopping centers, churches, schools, parks and a fabulous new hotel were part of their business plan. The Key Biscayne Hotel, a world renowned beachfront resort, would be the crown jewel in the MackIe Brothers' holdings for the next twenty-five years.

Photos and text courtesy of the Mackie Family archives.


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Palm Grove Historic District, designated in 2007, is a hidden treasure of the "everyman's" architectural and cultural history of Miami from the 1921 through 1957. The Palm Grove Historic District offers quiet testimony to a period of incredible growth and development for the "City on the Bay," where most everyone "came from somewhere else" and was looking to make Miami their new home. This mostly single-family residential twenty-block historic district is bordered by the Little River on the north, N.W. 54 th Street on the south, Biscayne Boulevard on the east and the Florida East Coast Railroad corridor on the west. Currently the Palm Grove Historic District contains approximately 521 buildings and 68 empty lots. The neighborhood was originally platted in the 1920s with hundreds of dwellings being constructed by the beginning of the 1930s. By the mid-1950s, the majority of the lots had been developed, speaking to the explosion of Miami's population during these years. And, as a result, the Palm Grove Neighborhood contains a significant collection of residential architecture from the early to mid-20 th century. The most dominant styles in the district are Spanish Eclectic and Mission, reflecting the strong influence of the Spanish Colonial and Revival styles in Florida during this period. The district also contains notable examples of the Art Deco, Art Moderne, Craftsman and Colonial Revival styles of the earl 20 th century. By mid-century, other building styles such as Minimal Traditional and Ranch were constructed. Several dwellings were also built in the "MiMo" style. The characteristics of the architectural styles to be found in the Palm Grove Historic District are:

Mission, 1890-1920:_Defming features include tiled roofs, overhanging eaves, parapets or dormers, smooth stuccoed walls and porches with arched roof elements.

Craftsman, 1905-1930: Defining features include low, often gabled roofs; exposed rafters or tails; brackets and porches with posts that often extended to the ground. The Bungalow form was popular with Craftsman-style builders.

Art Deco and Art Moderne, 1910-1940: Defining features include organizing elements in groups of three, employing streamlined bands to decorate facades, using smooth metal and machined surfaces, interplaying light and dark and partnering art with engineering. Art Moderne is a more streamlined version of the traditional Art Deco and made its appearance in the 1930s.

Minimal Traditional, 1935-1950: Buildings in this style typically incorporate low roof pitches, close eaves, single stories and economic materials.

Ranch, 1935-1957: Defming features include larger ground space use, low-pitched roofs, overhanging eaves, asymmetrical fronts and private outdoor spaces

Miami Modern "MiMo," 1945-1970: Defming features of this distinctly Miami style blended traditional Modernist elements with loud, brash and streamlined modem design that celebrates local tropical thematic touches. The MiMo style is one of asymmetrical concrete and glass construction hallmarked by cantilevered entrances, cheese holes and brise soleils. For more information about the Palm Grove Historic District or to participate in the annual tour that occurs on the last Saturday of March, please contact Bob Powers at 305-299-0052.


The interior build-out of the historic NAS Richmond Headquarters Building will begin in March 2011. To preserve the last remaining structure of the WWII blimp base, the building was moved during a three-day event onto the grounds of the Miami-Dade County Zoo Miami Complex. It was the largest historic structure ever moved in the State of Florida. A new foundation was then built under the structure, an engineering challenge accomplished by TurnKey Construction and RJ Heisenbottle, Architects, PA. The project has been pursued with determination by Anthony Atwood, executive director and project manager.

LEMON CITY CEMETERY MEMORIAL DEDICATION A work of art by Gary Moore was dedicated as a memorial in a long-lost black cemetery with a joyful commemorative service on Feb. 15, 2011. In 2009 construction workers for an affordable housing project discovered human remains on what was thought to be a vacant lot. A two-year effort, initiated by DHT Trustee Enid Pinkney and the Mrican American Committee of Dade Heritage Trust, led to the site's historic designation. The YMCA, which owned the property, and developers Biscayne Housing Group and Carlisle Development Group, at a cost of $1 million, redesigned the project to provide a beautiful green park and memorial listing the 523 names of those buried at the site.

Alhambra Water Tower On December 9,2010 a kick-off party was hosted by a Coral Gables' citizens committee called Save the Alhambra Water Tower. George Merrick, the city's founder, did not want the steel frame water tower to distract from the beauty of his newly formed city and asked H. G. Fink, the city's architect, for help. Fink's solution was to design the historic 1924 structure you see today at 2000 Alhambra Circle that resembles a landlocked lighthouse of Moorish design and still conceals the steel frame. Eighteen years have passed since the last major rehabilitation of the water tower. In addition, the hurricanes of 2005 added to the wear of time and further damaged the iconic work of art. Consequently, the Save the Alhambra Water Tower committee has pledged to raise $70,000 to go toward the ultimate cost of the currently planned rehabilitation of the water tower. PARKnership, a green initiative founded by William H. Kerdyk, Jr., pledged $20,000, The Villagers, Inc., Dade Heritage Trust, local foundations, organization and citizens have contributed another $15,000. The Save the Alhambra Water Tower committee welcomes inquiries and invites you to contact Kendell Turner at for further information.


Miami Circle An official dedication of the Miami Circle Park was held on February 23 , 2011. This 38-foot-in-diameter circle was cut into the bedrock at least 2000 years ago on the bank of the Miami River. The 2.2 acre site in downtown Miami was purchased by the State of Florida in 1999 after a huge advocacy and publicity campaign in which Dade Heritage Trust played a major role. The Miami Circle has been designated a National Historic Landmark, one of only 41 Landmark sites in Florida. It will be managed as a passive interpretive park by HistoryMiami.

DHT CEO Becky Roper Matkov with AECOM Landscape Architects Jay Hood and Bruce Hall, HistoryMiami President Bob McCammon and Florida Secretary of State Kurt Browning at the Miami Circle Park dedication

GLENN CURTISS MANSION The exterior restoration of the home of Glenn Curtiss, aviation pioneer and developer of Miami Springs, Hialeah and Opa-Iocka, is nearing completion. The interior will be completed with a loan from the City of Miami Springs and a $1 million allocation from a Dade Heritage Trust-initiated GOB Preservation Fund.

Coral Gables Museum Two thousand people attended a day of events celebrating the opening of the Coral Gables Museum on 10/10/2010. The 1939 building, constructed as a firehouse by the WP A, has been beautifully restored under the direction of architect Jorge Hernandez, a DHT Trustee, with the Fewell Gallery added for exhibits and special events. DHT Advisor Arva Moore Parks is Acting Director and Curator. An exhibit is being planned for May on "Creating the Dream, George Merrick and His Vision of Coral Gables."



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DHT Dedicates 1905 Flag at 0 d Miami High eritage Trust held its Fall Membership meeting at Old Miami High in Southside Park, 198 S.W. 11th Street. Originally constructed in 1905, the wood frame building served as the first Miami High School and later as the first Southside Elementary School. It would have been demolished for a highrise if Dade Heritage Trust had not relocated and restored the old schoolhouse in Southside Park. It now serves as a City of Miami Parks office for youth programs. A 1905 U.S. flag, donated by Arva Moore Parks and framed by the Miami High Alumni Association, was dedicated at the reception.

DHT Advisor Arva Moore Parks and DHT Trustee Ann Marie Clyatt

DHT President Chico Goldsmith, Kathy Moore and Kathleen Kauffman

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eparated by time, distance and circumstance, Havana and Miami share a parallel destiny, provided that New Management can breathe fresh life into the ashes of Havana, on the one hand, and, on the other, that a truly enlightened leadership understands the significance to the human spirit of the proper preservation of the footprints of Miami's past. The City of the Past In my beginning, there was Havana. The city into which I was born and in which I grew into my teenage years was a magic kingdom, romantically steeped in history, filled with ramparts, castles, fortresses, defensive walls, missing treasure troves and piratical lore, and so much, much more --a perpetual kaleidoscope of amazing sights, sounds and aromas that overwhelmed the senses with tropical joy. I knew I was in a special place in time, gifted unlike any other in the world, and silently thanked those who came before me for protecting through the centuries such wondrous treasures as Havana and the entire island of Cuba possessed. Back then, in my early days, the city, established in 1592 by grant

from Spain's King Philip II, reflected its majestic past everywhere to me, primarily perhaps through the explosion of colonial architecture, which showcased the harmonious confluence of diverse cultures and styles -Moorish, Spanish, Italian, Greek and Roman-- against an exotic tropical setting (more than 6,300 species of plants, half autochthonous )-- all bathed by a palette of colors that dazzled the eyes and challenged the imagination. Through those early years, I would come to intimately know, but perhaps never fully appreciate, as one fails to appreciate that which is at its fingertips until one loses it, the privilege I'd been given to live in "such a glorious city, the capital of the island that in 1492, discoverer Christopher Columbus called the "Loveliest land ever beheld by human eyes." Early on, Havana became the most heavily fortified city in the Americas, as befitted the principal trans shipment point for the riches plundered by the Spaniards from the new world and sent to the old. Over my early years, I was privileged to meander through the narrow cobblestoned streets of Old Havana, explore stout military fortifications such as La Fortaleza de San Carlos de la Cabana

(built in 1558-1577) and the Castillo del Morro (1589-1630), which looms over the entrance of Havana Bay; as well as the Cathedral (1748 -1 777) dominating the Plaza de la Catedral (1749), the splendid surrounding residences, that of the Condes de Casa(1720 -1746), the Bayona Marqueses de Arcos (1 746), and the Marquesas de Aguas Claras (1751 -1775). Beyond the opulent residences there were also so many other marvels- architraved columnar arcades everywhere, which earned the city the name of City of Columns, plus a huge number of parks, fountains, squares, small squares, banks, statues, and even the French tombs erected in Havana cemetery, and too many others to mention here, all their architectural eclecticism precisely structured to harmonize with the city's tropical atmosphere. Alas, much of the city' s grandeur lays tattered today, so many years of neglect later. When I was sent out of Cuba by my parents as a teenager in 1960 due to the prevailing political circumstances, I never dreamt I would never go back to the cradle of my early life. I never have, partially out of re-

spect for those who have suffered so much, lost so much, endured so much for so little, or for nothing; but partially also because I refuse to surrender my recollections of one of the greatest cities that has ever existed anywhere, now rendered asunder on the pyre of personal egotism, political ambition, greed, corruption and stupidity-the apotheosies of sad political circumstances that have seemingly always sporadically plagued Cuba since the island's independence in 1902.

The City of the Future I was only five when my parents

first brought me to visit Miami, and I fell in love with the setting, the pastel buildings, the colors that painted everything with technicolor brightness--of the water, of the sky, of the flowers. But what I most remember was the aroma. Miami smelled of salt spray, and the aroma was clean and powerful, and fresh and new and exciting. In a different way, I felt then, Miami was also magical, never thinking that one day the city and environs would become my new home. Many years have elapsed since I settled here as a young man, but I've never lost my love for Havana, my birth place, nor my love for Miami, my adopted home. I've been privileged to live two lives --Dne over there, under one set of circumstances; the other one, later, over here, under another. Both my lives have been equally fulfilling to me, for I've never lost the capability to imagine a better tomorrow, for both cities and for all of us who share in their respective but parallel destimeso I cannot help but wonder what the future holds in store for both. Will Havana ever recover its lost splendor? Will New Management be able to imbue a fresh coat of wonder to the faded city? Will the grand avenues and the plazas and the foun-

tains and the parks ever again reverberate with renewed dreams that all is possible under the bright sunshine? Such questions must be answered at a later date, hopefully much sooner than later. As an eternal optimist, I tend to believe that it will. Such accumulation of architectural and cultural treasures remain there, preserved, still alive beneath the layers of sadness and dust, ready to spring forth and again reclaim their place under the tropical sun. Such a glorious past deserves a far better fate than the pummeling it has received over the past fifty years.

Frank Soler is the founding executive editor of El Miami Herald as well as of Miami Mensual Monthly, the first glossy, upscale Spanish-language monthly magazine in the United States. He is now writing, developing scripts for television and cinema, and negotiating salepurchase of communication vehicles in the us.

And how will Miami fare? Will Miami ever achieve what I first dreamed it could? Will it ever become that modem metropolis from which emerges a new and thoroughly multicultural species of men, women and children, enlightened enough to realize the enormous value to a great future society of the retention of its past? It already has, to a large degree, but much remains to be done. Will it? I also tend to believe it will maximize

its promise, provided visionary leadership that understands that that decrepit old structure over there is not just an historic but the soul ofacommunity, ofa ~r-~~~~~------~~~~~~~~~~~~~~ people, yearning to be brought back to life again, and preserved for future generations. Support the preservation of our past as part of our invaluable heritage? You bet, lest it also disappear beneath layers of dust, as it did over yonder, a grievous mistake that will take us a lifetime to correct.



THANKYOUITHANKYOUI Our Sincerest Appreciation to: Dade Heritage Trust CORPORATE MEMBERS

Swire Properties Shell Lumber DHT Major S~onsors & Donors Florida Department of State, Bureau of Historic Preservation, with the assistance of the Florida Historical Commission Miami-Dade County Cultural Affairs Council Miami-Dade County Mayor and County Commissioners Miami-Dade County Parks and Recreation Department Miami-Dade County Public Schools Museum Magnet School Program Miami-Dade County City of Miami The Goldsmith Family Foundation The Villagers, Inc. Charles N. and Eleanor Knight Leigh Foundation Bacardi U.S.A., Inc. Dunwody White & Landon , P.A. Swire Properties Charles and Mimi Munroe Bruce Matheson Francena Koch Mayor Don and Jeannett Siesnick Betty Brody Jim & Sallye Jude Ann Marie Clyatt Coral Gables Community Foundation Francena Koch Don & Maxine Winer Miami Rowing & WaterSport Center, Inc. Greater Miami Convention and Visitors Bureau

DHT Heritage Members ($100 to $249) Rosa M. Alvarez Walter & Annette Alvarez Gildana Anderson Christopher & Tania Baros

Sam Boldrick Charles Butler Hilario & Eva Candela Lynn & Lisa Chaffin Larry & Judy Clark Ann Marie Clyatt Aristides Diamond Bruce & Alexis Ehrenhaft Diane Eifert Sebastian & Anjenys Eilert Victoria Frigo Neil Fritz & Robert Geitner Bertram J. "Chico" Goldsmith Richard Heisenbottle Jason Gross Priscilla Greenfield Margaret (Peggy) Groves Richard Heisenbottle Jorge & Alina Hernandez Anne E. Helliwell Linda Collins Hertz Alfonso & Carmen Jimenez Todd Johnson Megan Kelly Ann Kashmer & Lee Price Susanne Kayyali Lamar & Kathleen Kauffman Joy Klein Francena Koch Nina Korman Louis L. La Fontisee Penny Lambeth Mary Ann Larsen Joyce Landry Lynn Lewis Dolly Macintyre Frank & Lisa Mackie Bruce Matheson Becky Roper Matkov Thomas Matkov William Murphy National Society of Colonial Dames of America Arva Moore Parks James Parnell Enid Pinkney Julian & Mayra Perez Jonah & Judy Pruitt Janice Pryor The Companies of R & S, Inc. Toni Randolph Suzanne Roff Hugh & Erin Ryan Don & Cecilia Siesnick III Don & Jeannett Siesnick Bob Smith & J. Marc Campbell Florence Stern Amy E. Sussman James & Elizabeth Tilghman

Venny & Coco Torre Ellen Uguccioni Lilian Walby Don and Nina Weber Worth Mary Young Harold Zabsky

DHT In-Kind Donors Actors Playhouse at the Miracle Theater Walter and Annette Alvarez Bacardi U.S.A., Inc. Bertram "Chico" Goldsmith Bunny Bastian Chris, Tania and Constance Baros The Biltmore Hotel St. Bernard de Clairvaux Sandy Macintyre DoCoMoMo-Florida DoCoMoMo-US Chiquita Boutique City of Coral Gables City of Sunny Isles Florida Trust for Historic Preservation Eden Roc Renaissance Miami Beach Miami Design Preservation League Trust Modem-National Trust for Historic Preservation Orchids by Jamie University of Miami University of Florida S~ecial

Thanks to

City of Miami Mayor Tomas Regalado City of Miami Commissioners Wilfredo Gort Marc Sarnoff Frank Carollo Francis Suarez Richard Dunn City of Coral Gables Mayor Don Siesnick II City of Miami Beach Mayor Matti H. Bower City of Miami Parks William Cary Maggie Curran Teri D'Amico Tara Finley Neil Fritz Saul & Jane Gross Peter Hairston Ruth Jacobs Nina Korman Guy & Loyda Lewis Jean-Francois Lejeune Nancy Liebman

Margaret McMahon Joyce Meyers Judy Pruitt Lois Randall Leslie Rivera Randall Robinson Fran Rollason Deborah Tackett Daniel Veitia Barbara Rodger-Wade

2011 DHD Partici~ant List African American Committee of Dade Heritage Barnacle Historic State Park Bill Baggs Cape Florida State Park Biltmore Hotel Biscayne National Park Cloisters of the Ancient Spanish Monastery Dade Chapter Florida Native Plant Society Dance Now Miami Deering Estate Everglades National Park Gold Coast Railroad Museum HistoryMiami Judy Pruitt Kampong of the National Tropical Botanical Garden Miami Beach Botanical Garden Miami Design Preservation League Miami Friends Meeting Miami Memorabilia Collectors Club Miami River Commission Miami Springs Annual Historical Society Miami Springs Historical Museum Miami-Dade Public Schools MiMo Biscayne Association North Bay Village Optimist Club Palm Grove Neighborhood Association Redland Riot Shenandoah Middle School Museums Magnet South Florida National Parks Trust Unity Coalition/Coalicion Un ida The Villagers, Inc. Vizcaya Museum and Gardens Waterway Renaissance William Jennings Bryan Museums Magnet School

DADE HERITAGE TRUST'S CAPE FLORIDA LIGHTHOUSE BRICK PROGRAM Dade Heritage Trust, Miami-Dade County's largest historic preservation non-profit organization, in 1996 completed a $1.5 million restoration and relighting of South Florida's oldest landmark, the 1825 Cape Florida Lighthouse at Key Biscayne. The seven year project involved thousands of volunteer hours and raising hundreds of thousands of dollars in private funds. Public contributions were also received from the Florida Department of Environmental Protection, Recreation and Parks, and the Division of Historical Resources. Additional funding was granted by the U.S. Department of Transportation. To help maintain the Cape Florida Lighthouse and preserve our community's heritage, Dade Heritage Trust offers for a donation of $150 a commemorative brick paver. Commemorative Brick Pavers are handsome red paving bricks, engraved with the wording of your choice and installed along the walkways of the Cape Florida Lighthouse Complex. These bricks are beautiful symbols of your preservation commitment and make lasting gifts for anniversaries, graduation, birthdays and memorials. Donors receive a certificate and a one year membership in Dade Heritage Trust. I would like to order the following Brick Paver for a donation of $150 each. (see inscription lines below) Inscription Line 1 (up to 20 characters) PLEASE ALLOW 4 MONTHS BEFORE PAVER IS PLACED AT LIGHTHOUSE WALKWAY


Please print

Name _______________________________________________________ Street Address__________________________________________________ City, State, Zip ___________________________________________Phone___________________ Email: _______________________________________________________ Form of payment: Check Payable to Dade Heritage Trust Credit Card:


Visa _Amex

Credit card number__________________ Expiration Date_ _ _ __

Please send a gift notification to:

(Please print)

Name: _________________________________________________________ Address: _______________________________________________________ City, State, Zip: _________________________________________________

Dade Heritage Trust * 190 Southeast 12th Terrace * Miami, Florida 33131 *Phone 305/358-9572 * Fax 305/358-1162 Email: *


ALYSE MESSINGER REALTOR@ Miami's my home . .. /'1/ make it yours!

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The Deering Estate at Cutler is a living tribute to South Florida's subtropical wilderness, rich archaeological resources, early American architecture, and pioneer past. A day, even a quiet hour, at the Estate is an experience unlike any other in South Florida.

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Preserving the Past, Enriching the Future

Permit No. 6022

190 SE 12th Terrace Miami, FL 33131 305.358.9572


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Preservation Today 2011  

News and features on preservation of the architectural and cultural heritage of Dade County

Preservation Today 2011  

News and features on preservation of the architectural and cultural heritage of Dade County