Blog - ARCHITECTURE JOYCE OWENS LLC

Forbes Names Architecture Joyce Owens to Top 200 Architects List

Tue, 11 Mar 2025 18:31:44 GMT

Florida's Coastal Architect recognized for redefining beachside construction of resilient homes

Architecture Joyce Owens has been named to Forbes’ 2025 list of America's Top 200 U.S. Residential Architects.

According to Forbes, its inaugural Top 200 U.S. Residential Architects list was conceived with the aim of facilitating a new platform for clients and architects to connect. "Our intention was to cultivate a list that extended far beyond just those who reside in the nation’s top markets."

The result of an rigorous system of evaluation of more than 18,000 architectural practices, Forbes says the list is unprecedented in its scope and diligence, representing firms in 42 states plus the District of Columbia. "These are the nation’s finest practitioners of the creation of “home.”

Modern Architecture Designed for Sustainability

With offices in Fort Myers, Sanibel, and Naples, Architecture Joyce Owens has become a recognized architecture firm across Florida with an extensive portfolio that includes landmark commercial and community spaces, as well as distinctive tropical modern island homes .

“Modern architecture designed for sustainability can help lessen the impact on the fragile ecosystems of Florida’s beachfront,” Owens explains.

Always aiming to improve the relationship between nature and buildings, the Fort Myers-based architecture firm’s groundbreaking modern architecture and minimalist interiors incorporate key design elements and sustainable principles.

For more information, call 239-425-5773 or email info@studioajo.com .

Rebuilding Florida Stronger Smarter

Fri, 20 Jan 2023 20:21:40 GMT

Lessons in Resiliency

Since Hurricane Andrew in 1992, Florida’s building codes have been changed for the better. Homes built since then have been built to be stronger in the face of catastrophic storms. However, 30 years later, the devastating impact of Hurricane Ian makes it clear that buildings haven’t necessarily gotten smarter.

While Florida Building Code has improved, many homes are still built on wood pilings that deteriorate over time and can never provide the strength of concrete. Many windows are still installed in ways that leak air and water.

Architecture Joyce Owens (AJO) has been designing coastal homes across Southwest Florida, with a focus on Sanibel and Captiva islands, since 2007. We are committed to designing for strength and sustainability in Florida’s unique conditions, while helping to lessen the impact of building on the fragile ecosystems of our beachfront.

Launching AJO’s Florida “Rebuilding Smarter Stronger” (@AJO_FLRSS) series on Instagram, with more details in our blog, we are working to provide architectural design knowledge for buildings that can not only withstand the devastating weather and sub-tropical climate extremes of Florida, but thrive as communities for the future.

Our expertise comes from decades of experience and knowledge. Together, we can build toward a smarter, stronger, and safer Florida.

Discover more in our special series dedicated to helping Florida Rebuild Stronger Smarter

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FEMA SFHA (Flood Zones)

Thu, 19 Jan 2023 23:08:00 GMT

Series FEMA SFHA (Flood Zones) — AJO’s REBUILDING STRONGER SMARTER SERIES

Our series of "Rebuilding Stronger Smarter" focuses on the "smarter" aspects of architecture and construction.

In the process of figuring out the best way to build (or re-build) your home, the first step is to find your flood zone. This process can be complicated, but this series on FEMA Flood Zones is here to help walk you through it.

Scroll to learn more about FEMA Flood Zones and how to find yours.

Step 1: Type Your Home Address

Step 1 is easy. Just go online to the FEMA Map Service Center and enter your full home address in the search box.

It should be formatted without commas, using a 2-digit abbreviation for the state.

Note on Flood Zone Abbreviations

There are a bunch of different categories for FEMA flood zones, but the two to pay attention to are those that start with A or with V.

If your home is located in Zones A or V, then you're located in what's called a "Special Flood Hazard Area."

That means the 50% Rule applies to you. Check out our post on the 50% Rule for more information.

Step 2: Flood Zone Map

After you've entered your address into the FEMA Map Service Center website, it should show you a map with colored areas.

The aerial can be a bit difficult to read, but you'll be looking for a note that says "Zone __ (AE, VE, etc.)" with a number below it (written like EL. #).

That is your flood zone indicator. Go onto Slide 5 to learn how to read that indicator.

Step 3: Flood Zone Indicators

The Flood Zone Indicators convey two important pieces of information:

1. Your Flood Zone Type. If it reads "Zone AE" or "Zone VE", the 50% Rule applies to your property. If it reads "B", "C", or "X", then it means you're in a low-hazard area, in which the rules for building and re-building are less restrictive.

AND

2. Your elevation number. This is the height above sea level that FEMA requires your new house or re-built house be built at or above.

Step 4: Elevation Certificates

The next step involves finding what the existing elevation of your home is. If your home is located in a flood zone, then you will have been provided with an elevation certificate when you purchased the house. It will tell you your elevation above sea level, read as "Top of bottom floor = ___ feet."

For example, if your elevation certificate says that the "Top of bottom floor" is 1.1 feet, and your flood zone is "Zone AE El. 7", then if you re-build the home (or if you trigger the 50% Rule), then the house will have to be raised from 1.1 feet up to the flood zone elevation.

If you can't find your elevation certificate, reach out to your local government. They will have a certificate on file.

Step 5: Free-Board Elevation

Here in Florida, the process of raising your home to the FEMA flood zone elevation includes something called the "Free-Board" elevation.

In Lee County, for example, the "Free-Board" elevation is 1 foot. That means that your new-construction or re-built home has to be raised to the FEMA elevation (for example, EL. 7) + 1' (Free-Board)...8' above sea level.

Verify with your local jurisdiction, as the "Free-Board" elevation can vary.

FEMA Flood Zones Recap

The process of determining your flood zone and its implications for your home is complicated. Just remember these rules:

IF your house is in a flood zone beginning with A or V,
AND your house has to be elevated (either because of the 50% rule, or because you are re-building your house).

AND your elevation certificate shows a number that is BELOW the FEMA Elevation + Free-Board...

Then the first floor of your house has to be raised at least to the FEMA Elevation + Free-Board elevation.

Remember that any construction you do must also comply with all of the current local and state building code regulations.

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How the FEMA 50% Rule Works

Tue, 10 Jan 2023 20:36:00 GMT

Series FEMA 50 — AJO’s REBUILDING STRONGER SMARTER SERIES

Our series of "Rebuilding Stronger Smarter" focuses on the "smarter" aspects of architecture and construction.

Series FEMA 50 talks about how there are many homeowners who are in the midst of repairing and improving their homes in the wake of hurricane Ian and Nicole.

For those of us whose homes are located in FEMA flood zones, the elusive 50% rule can be very confusing and CRITICAL to understand during the re-construction process.

Scroll to learn more about the complex FEMA 50% rule.

When Does the 50% Rule Apply?

First, it's important to know that the 50% rule everyone is talking about applies SPECIFICALLY if your home is located in a Special Flood Hazard Area, AND when you've decided to make improvements or repairs to your home. This is REGARDLESS of whether these repairs or improvements are in relation to a natural disaster, or merely because you'd like to improve your home. Look for our post on flood zones for more info on finding your flood zone.

What Does 50% Mean?

In general, the 50% rule means that if the cost of your home repairs or improvements is equal to or greater than 50% of your home's value, then the ENTIRE house must comply with FEMA's requirements.

Because every jurisdiction will calculate that value differently, IT IS CRITICAL to check with your local building department.

50% Rule Compliance Requirements

The requirements that you must follow if your home improvements trigger the 50% rule are:

House must be elevated above the flood zone elevation
Construction must comply with current building codes
Areas below the flood zone elevation must be built with flood-resistant materials, and can only be used for parking, storage, and access to the house above

50% Rule Example

The simplest calculation of the 50% rule is to divide your home value in half. In general, that 50% value is the threshold for triggering the compliance requirements.

But there are other complicating factors. Check with your local jurisdiction, and ask them about these keywords:

1. "Are we a cumulative community? What does that mean for me?"
2. "Does our city (or town, county, etc.) have a buffer added to the home value when determining substantial damage?"

Some cities are cumulative, which means they will factor in the cost of improvements made to your home in the past during their calculation of the 50% rule (this is not usually to your benefit). Meanwhile, some cities will give a boon to the homeowner by letting you add a certain percentage to the value of your home (thus raising the threshold for "50%").

Always consult your local building department, as each jurisdiction has different ways to calculate the 50% rule.

If you're making improvements to your home in a non-disaster-related context, the work can be split into several permits.

Depending on the timing, you might not trigger the rule at all! Consult with an architect, a general contractor, or your local building department for more information.

HOWEVER, if you're making repairs in relation to a natural disaster (such as Hurricane Ian or Nicole), you are required to include the TOTAL cost of ALL improvements or repairs all at once, and have the work done in a single period of time.

Consult your local officials, as well as local professionals for specifics and guidance.

So You’ve Triggered the Rule…

At this point, you have two paths to follow: If you're improving a house unrelated to a natural disaster, you can always reduce the scope of work until its cost is low enough to not trigger the 50% Rule.

But if you're repairing a house that was damaged by a natural disaster, then the compliance requirements must be followed. Again...CONSULT YOUR BUILDING DEPARTMENT to discuss your options going forward.

Good luck, stay safe. Together, we can rebuild Florida to be stronger AND smarter.

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Windows: How Flashing Works

Wed, 04 Jan 2023 12:53:00 GMT

WINDOWS — PART 3B in AJO’s REBUILDING STRONGER SMARTER SERIES

Part 3B: WINDOWS: HOW FLASHING WORKS (and why it’s important!)

Our series of "Rebuilding Stronger Smarter" focuses on the "smarter" aspects of architecture and construction.

Series 3B continues the discussion about the importance of windows, by talking about how window flashing is (usually) a hidden component that is CRITICAL to the longevity of your window and ultimately the building as a whole.

Flashing is installed before the window is placed into the wall, and if missing or done improperly, it will certainly lead to a window's failure to protect the inside of your building.

Check out the rest of Series 3B for more information!

Two Types of Flashing

Most window flashing comes in two varieties: tape (or peel-and-stick) and liquid-applied.

While they will both work, they each have their strengths and weaknesses. Liquid applied flashing will give a tighter and more uniform seal to the window opening, but many contractors will have more experience installing the more traditional tape flashing.

Liquid Flashing: Step 1 of 4

How to Install Liquid Window Flashing

Step 1. Prepare the window opening.

Use 2x4s, trimmed to size to frame the inside of your opening, making sure to align to the interior side of the wall.

This will give the window a visual shadow when it's finished, as well as provide a bit more overhang from the outside for added protection from rain.

Liquid Flashing: Step 2 of 4

How to Install Liquid Window Flashing

Step 2. Paint the liquid flashing around the whole opening according to the manufacturer's instructions.

Ensure that the liquid covers the 2x4 wood nailing bucks, and laps over the exterior building wall at least 6 inches on all sides.

Liquid Flashing: Step 3 of 4

How to Install Liquid Window Flashing

Step 3. Install the window on top of your wood 2x4 bucks, and use caulk sealant around the edges, according to the manufacturer's instructions.

DON'T seal the bottom of the window on the outside, because that's where any trapped water will escape to the exterior of the building.

Liquid Flashing: Step 4 of 4

How to Install Liquid Window Flashing

Step 4. Install your window sill and trims, making sure to use proper drip edges to keep water away from the window.

Use more caulk around the edges of the window to conceal the joints between the window and its trim.

What if my installation is different?

When dealing with your existing windows, remember to:

INSPECT the window frame for damage, missing caulk, and spalling or bubbled window sills.
REPAIR caulk and exposed damage to surfaces.
REPLACE broken or worn out windows. Aluminum impact-rated windows are best, but vinyl replacement windows will also work!

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Windows: Why They're Critical and How to Tell if You Should Replace Them

Wed, 21 Dec 2022 19:32:00 GMT

WINDOWS — PART 3A in AJO’s REBUILDING STRONGER SMARTER SERIES

Part 3A: WINDOWS: WHY THEY’RE CRITICAL

Our series of "Rebuilding Stronger Smarter" focuses on the "smarter" aspects of architecture and construction.

Kicking off with windows, Series 3A discusses why windows are critical to the life of your building, and how you can tell if your windows are in good shape, or need to be repaired or replaced.

Keep scrolling to learn more!

Repair? Replace? Leave As Is?

A simple way to tell whether your window needs replacement or repairs is to look around the edges.

If the caulking around the edge of the window is missing or damaged, repair it!

And if there is any damage to the window frame, glass, or rusting or other damage to the sill, replace it!

WATER & AIR

Windows can typically fail your home in two ways:

Moisture damage, where water or moisture has made its way through the window opening to the inside of your house
Air intrusion, where the window hasn't been properly sealed, and outside air is able to mix with your inside conditioned air.

Both scenarios can lead to mold and other hazards.

FAILING INSTALLATION

This picture shows an example of a failed window installation.

It may have been adequate when it was completed 60 years ago, but today, you can see chipped paint and rust marks, indicating air and moisture damage to the inside of the frame over time.

Windows that look like this should absolutely be replaced.

PRETTY GOOD INSTALLATION

Now this window was installed fairly recently, and you can tell because the sealant is visible and clean; it hasn't been worn away.

The vinyl frame doesn't have any obvious signs of damage, and the sill is a non-porous material that hasn't eroded.

This window can likely stay as is, with minor repairs.

SMARTER INSTALLATION

The workmanship in this installation photo is superb!

The caulk sealant around the interior side of the window is barely visible; it's been protected from scraping or other damage to ensure a longer-lasting seal.

The window frame is extruded aluminum, which has fewer assembled pieces than vinyl, which mitigates moisture damage to the inside of the window frame.

This is the better way to have your windows installed!

WHAT SHOULD WE DO?

When dealing with your existing windows, remember to:

INSPECT the window frame for damage, missing caulk, and spalling or bubbled window sills.
REPAIR caulk and exposed damage to surfaces.
REPLACE broken or worn out windows. Aluminum impact-rated windows are best, but vinyl replacement windows will also work!

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Permits: What Needs a Permit & Who Can Help You With Permits?

Tue, 06 Dec 2022 17:21:00 GMT

PERMITS — PART 2C & 2D in AJO’s REBUILDING STRONGER SMARTER SERIES

Part 2C: WHAT WORK REQUIRES A PERMIT?

The process of permitting can be confusing, even for professionals!

In this series of "Rebuilding Stronger Smarter" we walk you through What requires a permit and Who can help you get the permits you need.

When in doubt, ask a professional. Architects, engineers, and contractors deal with permits every day, and are more than happy to help you out.

Keep reading for more on how these professional help you with the permits you need.

WHAT WORK REQUIRES A PERMIT?

It depends…

Some work ALWAYS requires a building permit.

Certain types of building permits are required across jurisdictions.

Typically, these are when you're changing the structure of the building, and/or creating new buildings. For example:

New Construction
Renovations
Additions

SITE ELEMENTS

A lot of permitting depends on the jurisdiction. The following types of site work typically require a permit, but you should confirm with your local jurisdiction:

1. Driveways
2. Fence or Landscape Walls
3. Pools
4. Screen Enclosures
5. Sewer and Utilities

EXTERIOR ELEMENTS

The following types of exterior work typically require a permit. If you don’t see your project, keep in mind this is not a complete list. You should confirm with your local jurisdiction before starting your work:

1. Windows and Doors
2. Awnings and Canopies
3. Decks (and Balconies)
4. Shutters
5. Roofs and Roofing

INTERIOR ELEMENTS

The following types of interior work typically require a permit. This list is not exhaustive, so be sure to confirm with your local jurisdiction:

1. Drywall replacement (the exact amount varies by jurisdiction)
2. Air Conditioning (new or replacement)
3. Electrical (adding switches, outlets, modifying circuits, service, etc.)
4. Plumbing (relocating or adding toilets, sinks, baths, showers, etc.)

THINGS THAT DON’T (USUALLY) REQUIRE A PERMIT

There are some things that typically don't require a permit. In most jurisdictions, you can usually do the following indoor and outdoor project without permits:
1. Replacing floor finishes
2. Replacing wallpaper or other wall-coverings (interior)
3. Painting (inside or outside)
4. Landscaping (for single-family homes, NOT including irrigation!)
5. Minor repairs to various elements of the building or property. What you consider minor repair may actually require a permit - be sure to check with your local office.

Since this is not exhaustive, consult your jurisdiction before starting any work!

Remember that architects work with permits every day and are happy to help you get started with your project!.

PART 2D: WHO CAN HELP YOU WITH PERMITS?

Finishing up Series 2 of "Rebuilding Stronger Smarter," let's look at the professionals who you can work with to help in your permitting process.

Architects, engineers, contractors, and the city are all critical in the permit and construction process.

Let’s look at each of these and how and why they're important in your building journey!

ARCHITECTS

Architects are often a first step in beginning your journey toward a major renovation or new building.

Whether you have an empty lot or an existing building for major renovation, architects are well-versed in designing and obtaining the necessary building permits.

Architects are trained in designing safe, healthy buildings that fit your needs, and are well-versed to navigate the permit process, as well as coordinating with the Contractor during construction.

ENGINEERS & OTHER SPECIALISTS

While architects will almost always work with a handful of engineers to design buildings, you may also find yourself in need of other specialists depending on your circumstances.

Architects can help guide you through these decisions.

CONTRACTORS

Whether you have major renovations and repairs on an existing home or new construction, contractors are the people most directly involved in the actual construction of your project.

If you've got a complex building (like a new house or a large renovation), you'll want to get in touch with a General Contractor. Otherwise, specific contractors for various trades will be able to help you out with repairs and replacements.

YOUR CITY, COUNTY, ETC.

Your local jurisdiction is heavily involved in the permit process,

Zoning and Building Departments review the building plans for compliance with building codes. When your project is complete, the Building Department is tasked with final review and issuing the Certificate of Occupancy.

INSPECTORS

Inspectors from your local jurisdiction will periodically visit the job site during construction to verify that the work is being done safely, that it matches the drawings your architect provided, and that it meets all local codes.

These inspections are crucial to ensuring that the building you inhabit will be safe and sound for years to come.

The process of permitting can be confusing. When in doubt, contact a professional. Architects, engineers, and contractors deal with permits every day, and are more than happy to help you out.

In Part 3 of this Series we focus on the smarter aspects of architecture and construction focusing on better, resilient design.

Click below to follow the series and @AJO_FLRSS on Instagram.

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How to Find Your Local Permit Office

Tue, 18 Oct 2022 19:44:00 GMT

PART 2B in AJO’s REBUILDING STRONGER SMARTER SERIES

The process of permitting can be confusing, even for professionals!

That’s why we devoted Part 2 in our series to all you need to know about permitting.

In Part 2A , we looked at WHY you need a permit when rebuilding.

Here, in Part 2B of "Rebuilding Stronger Smarter," we help walk you through HOW to find your permit office.

When in doubt, ask a professional. Architects, engineers, and contractors deal with permits every day, and are more than happy to help you out.

KNOW YOUR JURISDICTION

The first step is to find out which jurisdiction your work falls within. With dozens of neighborhoods spread across multiple cities and counties, navigating this process can get overwhelming.

Scroll down as we go along the Gulf Coast, county by county. From Sarasota in the north, down to Collier County.

SARASOTA COUNTY

In Sarasota County, if your project is within the city limits of Sarasota, Venice, North Port, or Longboat Key, then your jurisdiction permit office is in that city.

Otherwise, your jurisdiction is the county!

DESOTO COUNTY

In DeSoto County, if your project is within the city limits of Arcadia, then your jurisdiction permit office is within that city.

OTHERWISE, your jurisdiction is the county!

CHARLOTTE COUNTY

Next up, with Charlotte County, if your project is within the city limits of Punta Gorda, then your jurisdiction permit office is within that city.

OTHERWISE, your jurisdiction is the county!

LEE COUNTY

Moving onto Lee County, if your project is within the city limits of:

Fort Myers
Cape Coral
Fort Myers Beach
Sanibel
Estero
Bonita Springs

...then your jurisdiction permit office is within that city. OTHERWISE, your jurisdiction is the county!

COLLIER COUNTY

Finishing up Series 2B on How to Find Your Permit Office, with Collier County.

If your project is within the city limits of Naples or Marco Island, then your jurisdiction permit office is within that city.

OTHERWISE, your jurisdiction is the county!

While Everglades City does have its own building department, permitting servicees are contracted to Collier County.

The process of permitting can be confusing. When in doubt, ask a professional. Architects, engineers, and contractors deal with permits every day and are more than happy to help you out.

In Part 2C of this Series we discuss specifics of WHAT types of building and rebuilding work require permits, and what types do not.

Click below to follow the series and @AJO_FLRSS on Instagram.

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Permits: Why Do You Need Them?

Wed, 12 Oct 2022 18:41:00 GMT

PART 2 in AJO’s REBUILDING STRONGER SMARTER SERIES

Whether you’re repairing damage, re-building after a storm, or designing a new resilient building in Florida, you’ll likely run into the need for building permits.

Series 2 of AJO’s “Rebuilding Stronger Smarter” is focused on permits, starting with answers to the most common question: Why do you need a permit?

Scroll down to find out how permitting your work can benefit you in the long run.

2A.1: SAFETY

Getting a building permit involves a process of submitting architectural/construction drawings and other information to your local building department, who reviews that information against building codes. This ensures that the work has been thought through with a standard of building safety in mind.

Your building permit will also have to be received and paid for by a licensed contractor, who has been tested and certified to do the work correctly.

Finally, throughout the building — or rebuilding — process, local inspectors will review the work to ensure that what’s being built matches what you and your builder agreed to, as well as complying with the building codes for safety!

2A.2: Value

Local permits for your construction work are also valuable financially. Often times, title insurances will not cover ANY un-permitted building activities. If something happens to your property during or in relation to un-permitted work, you may end up in a sticky situation with your insurance.

On the flip-side, having building permits filed with your local jurisdiction make it easier for property assessors to value the work you’ve had done, allowing you to more easily re-sell or assess your property for what it’s truly worth.

2A.3: JURISDICTION

All jurisdictions require building permits for various types of work, whether you live in an incorporated city (such as Fort Myers or Naples), or within your County (such as Captiva, Iona, or Immokalee).

Many types of work permits are standardized across jurisdictions, such as new construction, additions, replacement of windows, doors, electrical or plumbing work.

HOWEVER , scroll down to the next slide for the MOST IMPORTANT TIP when it comes to permitting.

2A.4: KNOW YOUR LOCAL RULES

The MOST IMPORTANT THING when it comes to permitting is to always verify with your local jurisdiction.

Some jurisdictions require drywall replacement to be permitted when the repair is over 100 square feet; others require permits to replace roofing that’s more than 200 square feet.

WHEN IN DOUBT, ask your jurisdiction, or ask a professional.

Architects, Engineers, and Contractors deal with permits daily as part of their jobs, and will be happy to help you figure out what you do and don’t need.

In our next AJO_RSS Series we discuss specifics of what types of building and rebuilding work require permits, and what types do not.

Click below to follow the series and @AJO_FLRSS on Instagram.

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What to do After a Storm

Fri, 07 Oct 2022 18:26:00 GMT

PART 1 in AJO’s REBUILDING STRONGER SMARTER SERIES

Florida’s temperamental climate.

Storms that bring enough water and wind often cause damage to buildings, which must be treated as quickly as possible to prevent further problems.

Series 1 of AJO’s “Rebuild Smarter Stronger” focuses on the steps that should be taken when assessing hurricane damage to floors, walls, and roofs.

Scroll down to find out what you need to do for your house in the aftermath of a hurricane.

1.1 FLOODED FLOORS

If your house has been flooded, you need to act quickly to prevent the spread of mold, which can be toxic to your health.

Start by looking at what kind of flooring you have, and assessing whether it’s on a concrete slab or on wood joists, and whether or not there is a vapor barrier (plastic or felt sheet sandwiched underneath the finish floor).

1.2 FLOODED FLOOR EXAMPLE

If you have a concrete slab, it’s likely that your carpet, vinyl plank, or even hardwood has been installed on top of a felt or plastic underlayment. If your house has flooded, this underlayment is likely soaked through.

If that’s the case, it will need to be removed completely so that the concrete slab can fully dry.

1.3 SOAKED DRYWALL & BASEBOARD

If your house has been flooded, you need to act quickly to prevent the spread of mold, which can be toxic to your health. You can look at your walls to visually determine where flooding has occurred, and how high the water reached.

Drywall and baseboards, as well as wallpaper that have soaked through should be immediately removed and replaced, as they are perfect breeding grounds for mold.

1.4 DRYWALL & BASEBOARD EXAMPLE

Often, flood damage to walls will be visible as a line of dirt and muck that coats from the floor up. Other indications may be that the wall paint will have bubbles or ripples in it that squish down when you touch them.

Use a reciprocating saw, rotary saw, or even utility knife to remove the affected areas, or ask a contractor to help you. When the structural wall (whether wood studs or concrete block) is dry, install new drywall as soon as possible to protect the structural surface from further damage.

1.5 ROOF DAMAGE

Hurricanes can damage roofs, either by impacting them with objects such as trees, or by ripping off the roof cladding with wind. When a roof is damaged in a storm, the most critical action you must take is to remove debris and any rain-damaged materials, and then cover the roof with a tarp to prevent further damage to the interior of the building.

1.6 ROOF DAMAGE EXAMPLE

The photo above shows a white “TPO Membrane”, which is common for flat roofs. The right side of the building has had its membrane ripped clean off, exposing the sheathing underneath.

This sheathing must be covered immediately so that the elements don’t damage it further. The roofer or a certified mold assessor should verify that the sheathing is completely dry, as covering wet sheathing can cause foul odors and mold to build up inside the building.

1.7 AFTER THE STORM: SUMMARY

Hurricane Ian is only the most recent example of the damage and destruction torrential rains, storm surge, and flood waters can cause to buildings. We’ve outlined above some of the immediate assessments and steps to take to begin to treat and address damage as quickly as possible and prevent further problems.

In the next series, we look at permits and what you need to know and get before you begin re-construction to help you rebuild your Florida home stronger and smarter.

Click here to read more in our Rebuilding Stronger Smarter series.

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AIA Florida Honors Joyce Owens with 2022 Gold Medal

Tue, 19 Jul 2022 22:25:00 GMT

A jury of Florida’s top architects presents the highest honor to Fort Myers-based architect, Joyce Owens, FAIA, RIBA

Architect Joyce Owens’ founder and principal architect, Joyce Owens, FAIA RIBA, is the recipient of the American Institute of Architects (AIA) Florida’s 2022 Gold Medal award, recognizing her leadership and impact as an architect.

Owens is immensely honored to be awarded AIA Florida’s highest honor, and in doing so, breaks a longstanding barrier in the male-dominated profession.

Each year, a select jury of past AIA Florida honor award recipients and member architects, confer eight Honor Awards recognizing architects for significant contributions to the architecture profession, their communities, and architecture at large.

The Gold Medal is awarded to an individual who has a profound impact on the architecture profession and demonstrated noteworthy leadership within the AIA, as well as notable accomplishments in their community. Owens received the 2022 Gold Medal during an awards ceremony July 30, at the AIA Florida annual convention, at The Breakers in Palm Beach.

In 2020, AIA Florida awarded Owens with the Medal of Honor for Design , its highest design honor, recognizing her influence on design as one of the most significant architects in the state.

Owen's recognition for excellence in architecture extends beyond Florida. In 2018, she was inducted into the prestigious College of Fellows (FAIA) of The American Institute of Architects, a distinction held by only three percent of architects nationwide. From 2019 to 2021, Owens served on the AIA National Strategic Council and is currently a member of the organization's Public Outreach Committee. In 2017, Owens served as president of AIA Florida.

Launching Architecture Joyce Owens | Studio AJO in Fort Myers in 2007, Owens quickly established her reputation for environmentally-sensitive coastal design across Southwest Florida. By integrating architecture with the design of interior and exterior spaces, Owens maximizes the coastal lifestyle experience for every project, from the 12,000-square-foot Community Parish Hall at Fort Myers St. Cecilia Catholic Church to distinctive, modern coastal homes in Naples, Sanibel, and Captiva Island.

Owens and her architecture firm are responsible for the recent renovation of Sanibel Captiva Community Bank headquarters and are currently relocating the Sanibel Captiva Trust Company to its new headquarters on Periwinkle Way.

Owens also has an extensive portfolio of residential and commercial architecture in London, England, as the founding partner of Azman Owens Architects for more than a decade. As principal of an international architecture design studio, her clients included prime minister Boris Johnson, fashion icon Alexander McQueen, and luxury retailer TAGHeuer and her design work has received awards from the United Kingdom’s Royal Institute of British Architects and other international competitions.

Modern Architecture Designed for Sustainability

“Modern architecture designed for sustainability can help lessen the impact on the fragile ecosystems of Florida’s beachfront,” Owens explains.

For more information, call 239-425-5773 or email info@studioajo.com .

How Architecture Of The Past Influences Tropical Modern Design

Wed, 01 Dec 2021 19:48:00 GMT

Looking to the Past to Design Modern Homes for the Future

At Studio AJO, our signature Tropical Modern designs have always been greatly influenced by a fascination with the historical architecture of Southwest Florida, namely residential concepts from the early 19th century.

After all, our beautiful climate has always been hot, humid, and prone to tropical downpours. So, how did residents that came before us keep their homes cool without the luxury of modern inventions like air conditioning?

Today we’re exploring what we’ve learned from digging into the vernacular architecture of Southwest Florida and how we apply those teachings in our approach to energy efficiency and Modern Tropical design. First, let’s talk about what they did in the past that worked so well in response to our Subtropical environment.

The history of Southwest Florida architecture

The Native Seminole tribe originally inhabited Southwest Florida lands after escaping conflict with American forces. They built temporary houses known as “Chickee,” using the natural materials found in their environment.

Chickees were raised off the ground, and the space underneath protected inhabitants from snakes, insects, and flooding. Steep roofs allowed warm air to rise and kept air cooler at living level, and also helped tropical rainwater drain easier.

Decades later, a group of settlers known as “Cracker farmers” (they ate a lot of cracked corn - hence the name!) replicated and built upon the basic principles of ventilation seen in Chickee homes.

Cracker farmers not only built homes raised off the ground, they also positioned windows opposite each other to allow for cross ventilation and increase airflow through their homes.

These “Cracker” homes were often situated among the cooling cover of trees and foliage and featured deep porches with wide overhangs, providing optimal shade from the harsh sun.

Reinterpreting the past to design more sustainable homes for the future

With the increased risk of rising temperatures due to climate change, it’s never been more critical to design with heat offset in mind, especially in Southwest Florida.

However, in the past 30 years, many of these historical design principles for tropical climates have been largely ignored, replaced by large, ‘white box’ homes that rely entirely on air conditioning to keep them cool year round.

Conversely, at Studio AJO, the homes we design take inspiration from passive energy efficiency methods used in the past and are distinctly tropical in design aesthetic.

Our homes are designed to reflect the natural beauty of Southwest Florida, while offering our clients maximum comfort and protection from its tropical heat.

We work to celebrate the grounded, earthy tones and textures found in our environment and invite nature into our designs at every opportunity.

By exploring how our ancestors kept cool without relying on air conditioning, we can create homes using their core principles while using modern technology and sustainable materials to reduce their carbon footprint.

Taking inspiration from the Chickee and Cracker style homes, the interiors and exteriors of our Tropical Modern homes are designed with the following elements in mind:

1 - Increasing airflow

Our designs are heavily focused on creating as much natural ventilation as possible to minimize the need for air conditioning, thereby conserving energy.

This means strategically placing windows and doors for better air flow and using raised floors and high ceilings to allow cool air to circulate and hot air to rise.

Windows also help to showcase the views and accentuate the connection to nature—blurring the line between inside and outside.

We often design with courtyards or outdoor pool areas in the middle of large homes for even more ventilation and a feeling of airiness throughout the house.

2 - Creating shady spaces

Here in the Subtropics, it’s imperative to maximize daylight to reduce reliance on artificial light and, at the same time, minimize direct sunlight to lower dependency on energy-hungry mechanical systems.

Borrowing from Chickee and Cracker traditions , we incorporate deep overhangs and large covered porches, adding pergolas and canopies wherever possible to deny egress of the searing sun, and create outdoor areas shielded from the heat where it’s possible to enjoy nature in comfort.

Careful consideration of the house orientation increases both shade and ventilation while tall tropical trees and plants add lush greenery to outdoor living areas and provide additional shelter from the sun.

3 - Inviting light without the heat

Evaluating and understanding how the sun will interact with the specific property site informs much of our design and is key to keeping the home cool without searing heat.

Once we know when and where the sun will hit the building and exteriors, we can place windows appropriately, protect windows with coverings, plan for overhangs or pergolas, and add vegetation in direct sunlight areas to maximize shade.

With modern insulated glass, we can keep the home cooler by keeping the heat out and design our interiors to keep direct sunlight to a minimum.

4 - Embracing nature

The vegetation in Southwest Florida is incredible. Our gorgeous climate is flourishing with colorful tropical plants and leafy trees everywhere you look.

Studio AJO’s Tropical Modern houses are designed to bring that natural beauty inside. Large sliding glass doors and vast panoramic windows frame views that bring the outside in.

While our interiors often include plenty of indoor plants, the exterior landscape designs work in harmony with these interiors, creating an easy transition from inside to outside.

By blurring the lines between the tropical environment and the home, our architecture and interiors create a feeling of lightness, openness, and a real connection with nature.

5 - Using natural materials

Chickee and Cracker farm houses fused with their natural surroundings by using indigenous materials found in their environment.

We also love incorporating materials that mirror these elements indigenous to Southwest Florida, whether that’s local natural stone or wood that adds a natural harmony to the property.

It’s essential to ensure the materials we use are suitable for our tropical climate and harsh coastal environment. As much as possible, we opt for sustainable choices when designing a new home or taking on a whole-house remodel.

6 - Reflecting the Florida lifestyle

We work closely with each client to understand their needs and desires, and then design a home that genuinely speaks to their lifestyle while also making sense for their environment.

That means designing comfortable, low-maintenance spaces that offer our clients more time to relax and enjoy coastal living while also reducing energy consumption.

Many of us in Southwest Florida gravitate towards the outdoors. By creating homes that focus as much on outdoor spaces as interior space and bringing natural elements inside, Studio AJO’s Tropical Modern approach responds to that desire for space and freedom.

7 - Designing for the Environment

The homes we design are created explicitly for the tropics, meaning less money spent on air conditioning and homes that respect their natural surroundings with energy efficiency in mind.

The wonderful thing about using principles from the past in our Tropical Modern homes is that we can create inherently energy-efficient homes and include new concepts that further respond to the climate crisis.

Tropical Modern Architectural design at Studio AJO

In our experience designing homes using tropical architecture concepts, we know what works – and what doesn’t – for our hot and humid climate.

And it’s by looking to the past that we’ve been able to look forward, informed and inspired to create more eco-friendly architectural, interior, and landscape designs for our clients.

Want to learn more about Tropical Modern home design?

At Studio AJO, we’re known for this distinctive tropical style and environmentally-conscious residential and commercial architecture. What we’ve learned from our ancestors still informs our designs today. See this expression of the past combined with Tropical Modern design for yourself in our portfolio.

You can find more about designing your tropical paradise in “ Why Tropical Modern design is just right for Southwest Florida. ”

If you’re interested in our architecture services for your coastal Florida home, get in touch with Studio AJO to get started.

Building Methods Thai'd to Coconuts

Tue, 29 Jun 2021 20:00:00 GMT

I have a “Coconut Theory.”

Bear with me and read on—I promise there really is a connection between coconuts and architecture and building.

Coconuts … really?

I first visited Thailand in summer of 2008, however even today, I can’t stop thinking about coconuts.

In Thailand, the coconut is integrated into every part of life. The nut (or more appropriately, the seed), is found raw, frozen, cooked, juiced, shredded, roasted, oiled, milked and dried. The sweet sap from the seedpod provides delicate palm sugar. The hearts, from the tender young shoots, are tasty vegetables, and the fat and oil of the coconut are used in cooking and have proven medicinal benefits.

The hard shell of the coconut is made into utensils and bowls, musical instruments and furniture. The coir (the fiber from the husk) is used as charcoal or to stuff mattresses, and like the fronds, can be used for thatching roofs.

Parts of the tree are used to make mats, rope, lumber and other building materials. Coconut oil as biofuel is even proving to be a cheap and eco-friendly replacement for diesel.

Every part of the coconut is precious and put to good use. The coconut plays an important role in the environment, health, food security, and livelihoods of the Thai people.

What do coconuts have to do with architecture?

My fixation on the coconut has led me to think about architecture in Southwest Florida, especially the building materials and construction methods of the recent past 50-60 years.

A generation or two ago, our parents and grandparents arrived in Florida, bringing with them their knowledge and experience of building from another place. Generally, they put up buildings just like back home.

OK, maybe the style of the building wasn’t entirely the same. Here in Florida, it was possible to use barrel tile roofs and stucco, which reflected an ideal of living in a warm climate. Adding to that the use of lighter colors and furniture that resembled bamboo, it was possible to build a home that gave them a kind of resort lifestyle.

But, even if the building looked more tropical or Mediterranean in style, the construction methods and materials remained the same as they were “up north.”

If it worked there, it was sure to work here. Or so they believed.

Material Lessons Learned

But that approach ignored both the realities and the opportunities of the Florida climate.

Time and experience have made it apparent that the construction approach brought from other places didn’t work in this humid and wet climate where the wind and rain can blow at 130 mph and the sun’s rays can melt the asphalt on a roof.

Construction practice is now responding to this place. Building codes have evolved to match the needs of the environment, for example, requiring hurricane and impact-resistant windows and doors, and ensuring we strap our buildings together to minimize the damage caused by strong winds.

Energy and energy conservation are increasingly critical factors in architectural design and construction materials and methods. In Florida, we insulate our buildings not to keep the cold out but to keep cool, air-conditioned air in.

But, we have learned from experience... or have we? Increased insulation reduces the ingress of heat, but it also limits the ability of a building to breathe and dry out — imperative to preventing mold in a humid climate. As a direct result, we have an increased dependency on mechanical systems, i.e. air conditioner units and dehumidifiers. And to maximize the efficiency of these mechanical systems, new buildings must be airtight and gaps in existing buildings filled (further preventing the building from breathing).

More energy-efficient buildings come at a price. Achieving true efficiency in this climate demands good materials and good workmanship. However, more than ever, armed with the current data that the energy consumption of buildings is nearly 40% of carbon emissions it must become the norm.

Finding our Coconuts

Remember how every bit of those coconuts are used in practically everything in Thailand?

Perhaps now, here in Southwest Florida, with construction costs rising and reduced availability of building materials it makes sense to reconsider and pursue our own locally available materials. Now is the time to identify possibilities here and cultivate them.

Southwest Florida is searching to diversify the area’s economic base and reduce dependency on real estate and tourism. Investing in the research of local building materials makes sound economic and environmental sense.

The Thai people have learned to use coconut in a cementitious board made from coconut coir, cement and water. High insulating properties make it an ideal component for energy-conscious buildings. If a coconut can be used to insulate a building, what can we source locally? What about bamboo and soybeans, which grow prolifically in Florida?

With time comes a greater understanding of place and how to live with the climate, just as time and local knowledge makes the most of a valuable local commodity in Thailand. With experience, we gain insight into the best methods and materials to build for our hot and humid environment.

Maybe the coconut is simply a metaphor for the hard-headed old-school thinking that stubbornly clings to the practice of using materials and building techniques that are not appropriate for Florida and sub-tropical climate.

Or maybe, (call me an optimist, but just maybe), the versatile coconut can be a symbol of understanding and embracing local resources to build and how we can best live in harmony with our amazing piece of paradise.

Joyce Owens, FAIA, RIBA

A previous version of this article appeared in Joyce Owens’ “Architect About Town” column in the Fort Myers News-Press.

What does it take to Remodel, Renovate, Reimagine a Big Waterfront Home?

Wed, 17 Mar 2021 16:20:00 GMT

AFTER

Let’s start with the truth: Home improvement shows lie.

There, I've said it. We've all seen the home makeover shows with at least one big, scary, costly surprise — They discover the entire electrical system is outdated and must be updated to meet code, or the wall they are removing is a supporting wall, or old water damage in the upstairs bathroom means the wall needs to be replaced all the way down to the kitchen below.

Suddenly the whole project is derailed and the budget doubles.

Of course, it's no surprise to anyone who has renovated or remodeled a large home that costs and time can quickly add up. But, in my years of experience as an architect, I know many of those unexpected surprises are avoidable.

And when it comes to taking on the needs of a whole-house remodel for a large, waterfront home, there are plenty of surprises you want to be sure you avoid.

How to Avoid the Scary Surprises of a Whole-House Remodel

The solution can be as simple as involving the right people in planning before starting on a complete home renovation, long before anyone shows up with a sledgehammer or a box of new tiles.

Taking time at the beginning to do thorough homework and planning — with a team of professionals — not only helps reveal issues and problems so they can be accounted for in the schedule and budget, it also provides for a more comprehensive and collaborative approach to project success.

As an architect, I have so much experience with large, high-end home renovations, especially old buildings, I won't mislead you: A complete, whole-house remodel isn't easy, it isn't fast — and it isn't the low-budget answer. But our clients tell us it's worth it.

Honestly, these projects take more than a talented architect and skilled contractor: It takes great clients with patience, vision, and a willingness to invest time and money in renovating their home.

Start with an Architect

No matter the size or the scope of your remodeling project, most homeowners need help making decisions about the available options and understanding what's feasible and appropriate for their needs, budget, and schedule. And what can really work with the existing building. This is especially true when the goal is to completely remodel and redesign a large home.

An experienced architect understands the process — from beginning to end — and recognizes what can be accomplished to ensure the project is based on good design that meets the objectives, works with the limitations and condition of the existing home, and complies with local building codes.

Most of all, the expertise an architect brings to your whole-house remodeling project will help avoid costly surprises and mistakes. By engaging an architect early, they have the time to study the existing situation and understand your ideas and needs so they can begin to outline initial solutions.

That early stage of consultation and idea exchange with your architect includes answering many questions, such as, will the needs of the family be different in a few years and are the new plans flexible enough to accommodate change? Will the changes or increased floor area overwhelm the existing? Will the new space be seamless and appropriate for the home? Does the budget match your dreams? Can you commit to the timeline and budget required to achieve what you want and what is needed?

As you and your architect make progress on your remodeling plan, add a great contractor with remodeling expertise to complete your team. From that point on, we can all work collaboratively and collectively to get to the end goal.

Moving from ideas and preliminary concepts to drawing up plans for construction and permitting is an investment that will be quickly recouped when the first mistake is avoided.

Then, by keeping your architect on board during the construction phase, they can help you ensure the construction work is done in accordance with the drawings, answer questions, check material selections, maintain progress, and keep the budget in check.

Not all Remodel Projects are the Same

As an architect experienced with remodeling old and new buildings and large waterfront homes, I appreciate the power and limitations of renovation. And some architects, like me, licensed to do interior design as well, are able to provide a holistic service from outside to inside, ensuring both function and an attractive unified look.

Moving a wall or adding windows to incorporate daylight can energize an ordinary space — and an architect knows which wall to move. Bad space planning, poor lighting, and old furniture can be roadblocks to getting the results you want.

At Studio AJO, when we talk about complete home renovations, remodels, or more to the point, re-imaginings, we aren't about the quick fix or the shortcut. The remodeling and renovation projects we take on are always more than new cabinets and tiles in the kitchen or bathroom.

We focus on lovingly restoring and reinvigorating the whole home. And we know that a successful complete house remodel takes commitment, time, and budget.

One of our most recent whole-house, waterfront home remodel projects is a great examples of what can be accomplished when we work with clients who are committed to a complete remodel that respects the history and integrity of the original design, while re-imagining and reshaping the space for the future.

Sol Mates Cottage

Sol Mates Cottage is a unique waterfront home. The original wood frame house began its life in 1912 on Useppa Island and was barged to its current location on the dunes of Captiva Island in 1948.

In a day and age when so many older homes are simply torn down, the current owners bought this property committed to renovate, update, and save this custom classic.

After nearly a century, this historic house had fallen into disrepair. In the early 2000’s some essential repairs were made, but structural damage and prominent issues with the original layout remained.

Working closely with the owners, Studio AJO's renovation plan for the cottage include further remedial work to deal with years of moisture issues that had ruined the floors, walls, windows, and roof. But the real opportunity presented was to reorganize interior space, and improve the flow, light, and utility of the home.

We removed clusters of room partitions in favor of open space, and leveled awkward interior elevation changes and sagging floors. Our renovation plan gave priority to gathering spaces and the Master Suite, opening up the view outward over the dunes toward the Gulf of Mexico.

From start to finish, the Studio AJO team worked closely with the homeowners and together with a contractor who was experienced in such extensive remedial remodeling and renovation work.

The whole-house renovation of this historic home took the commitment of great clients with patience, vision, and the ability to dedicate both time and money to the process.

View more images from this whole-house remodel

Is it Time to Rethink and Reimagine Your Home?

Homes have always been more than an arrangement of rooms — and over the past year, our homes took on new meaning, adapting to new purposes, and inspiring many of us to consider our homes in a different light. Now, people look to their homes to provide space for comfortable living, as well as full-time work, a child's remote classroom, outdoor living and entertaining space, and more.

Consider the home you live in now and how a complete remodel may be the solution for your needs.

Maybe it's time to put that remodel project back on the front burner. If you have access to funds and can commit to the long-term timeline of a whole-house remodel, invest now to make what you have work better for you, and enjoy your home for less than you'll pay later.

And, because you want a workable solution that helps you keep surprises to a minimum and respects your budget, start by consulting with an architect. As with any smart upfront investment, you'll reap the rewards and maximize your assets with the end result.

With a complete home renovation, the only surprise should be saving money. And that begins with investing wisely from the start.

Joyce Owens, FAIA RIBA

Learning from Crackers & Chickees

Tue, 08 Dec 2020 19:00:00 GMT

What Florida's historic Chickee and Cracker homes taught me about successful modern home design

Is there an architectural style that is truly native to Southwest Florida?

And, if there is, what can we learn from it that’s relevant to architectural design in today’s world?

Shortly after I moved to Fort Myers for the first time, my brother asked me to design a home for his family on Sanibel Island. I had just graduated from architecture school. Together we decided that his family needed a contemporary house that would fit into the island surroundings and respond to the local climate.

I started by looking backwards to an impossibly primitive era, a time that predated the invention of screens and air conditioning. Imagine! How had people survived? With its insects, excessive heat, humidity and subtropical rains, Florida has never offered settlers a comfortable climate.

But in that year, my research ran parallel to my own life — I was living in an apartment in a 1920s building with no air conditioning. For two years, I had to rely on the simple, common sense principles used by those early settlers:

Maximize shade, and
Maximize natural ventilation

Like the very earliest inhabitants of Florida, I had to work alongside nature, not against it.

Chickees and Crackers - Simple home designs that made Florida's climate bearable

In the early 19th century, when large landowners from the North sought Seminole Indian land, a series of conflicts with American troops drove the native inhabitants from their permanent homes toward the Everglades. There, they constructed temporary open structures known as chickee (the Seminole word for house). Chickee were quick to build and easy to abandon. With steeply-pitched, thatched palm roofs and raised floors, the simple design provided cooling and protection from floods, insects, and snakes.

In the decades that followed, other white settlers arrived in Florida. Known as Cracker farmers after the cracked corn that made up the majority of their diet, they copied principles of shade and ventilation from the simple shelters of the Seminoles, raising their floors off the ground to avoid flooding and allowing cooler air to circulate beneath the house. Tall, double-hung windows were strategically located to provide continuous cross-ventilation, and steep gabled roofs allowed the warmer air to rise out of living spaces.

Originally designed as a single room home, these modified versions of the chickee structures would have been located on higher ground and oriented to minimize direct sunlight, take full advantage of breezes for ventilation, and utilize the shade of nearby trees. Characteristically, these houses also had deep front porches covered by large overhanging roofs to add further protection from the searing sun, and steeper pitches of the roofs more easily shed the soaking, subtropical rains.

Common to all of these houses were the materials used: Wood framing made from the tall straight pines felled to clear the land, horizontal cypress siding inside and out, and metal roofs.

At the time, cypress was plentiful and had extra benefits as a building material — it contains a natural preservative oil (cypressene) that renders it relatively resistant to rot and insects. Metal roofs were cheap, readily available, and — at least until they rusted — reflected the sunlight.

So as to our first question: Is there an architecture native to Southwest Florida? The answer is definitely, yes! These Cracker and chickee structures are the original vernacular.

Designed for function rather than beauty, these buildings were not self-consciously styled. And more to the point, they were energy efficient because they had to be.

Early pioneer families were able to survive in our harsh climate without air conditioning by incorporating simple passive solar and ventilation principles, just as I did in my airy apartment on the second floor nearly 200 years later. Luckily for me, the architect who designed the apartment building understood these concepts, and most of the time it was remarkably livable (let’s be fair, sometimes even air conditioning can’t make the heat in Southwest Florida bearable).

Applying lessons of the past to modern architectural design

Learn from the past. Borrow from what works. Steal a good idea and adapt it for your purpose. These are principles that architects live by.

And for my brother’s house, I did all three.

All my research had equipped me to propose a cost-effective and energy-efficient design for the new house. Not that I expected my brother and his family to live without air conditioning, but I knew that by incorporating proven architectural ideas from the past, they could rely on it less. And, more often than not, the benefit was that I was able to maximize the effect of natural air conditioning (Gulf breezes) in my design of their new home.

The result was a simple island house, combining the practical elements of Florida Cracker buildings with contemporary modern architecture.

For me, this new island home design marked the beginning of a lifelong interest in exploring a new vernacular for Florida that both borrows from an instinctively energy-efficient theory of design, nearly abandoned since the invention of the air conditioner, and embraces the latest advances in technology and energy-conscious building practices for the future.

Joyce Owens AIA RIBA

A previous version of this article appeared in Joyce Owens’ “Architect About Town” column in the Fort Myers News-Press.

Designing for a More Resilient Future

Mon, 16 Nov 2020 17:06:00 GMT

There’s plenty of talk about climate these days and lots of questions are being asked, especially in Florida, across the southern coastal states in the United States, and in other subtropical and tropical environments around the world. Some examples of questions being asked are:

Is the weather changing?
Were the king tides higher this past month?
Has rainfall increased?
Should we anticipate greater storm surges during hurricanes?
And, are these potential changes a result of greater greenhouse gases?

We’ve learned that the carbon produced by buildings — in the construction of them, the materials used to build them, and the energy used to heat, cool, and light them — is responsible for more than 40% of all greenhouse gases.

Current thinking is the “greenhouse effect” is a contributing factor to these climate issues and questions.

For professionals engaged in the building and construction industry, from architecture and design through engineering, construction, and materials suppliers, we must answer one question:

Is it time to take a good look at how we can design and construct buildings that combat the greenhouse effect, are more resilient, and inevitably, more sustainable for the future?

Learning from the Past

As an architect, my personal fixation on the climate discussion has led me to think about building techniques in Southwest Florida, and how the materials and methods have changed over the past hundred years.

I often find myself studying older buildings to understand what works and what doesn’t and what we can learn from the past.

A generation or two ago, our parents and grandparents arrived in Florida from the north, bringing with them their knowledge and experience of building from another place. Generally, they put up buildings “just like back home.”

OK, perhaps the style of the building wasn’t exactly the same as back home. Here in Florida, with no freeze/thaw cycle, it was possible to use barrel tile roofs and stucco, which reflected the ideal vision they had of living in a warm climate. Similarly, using lighter colors and bamboo-styled furniture, it was possible to live the dream of a resort lifestyle.

However, construction methods and materials initially remained the same as up north, ignoring both the realities and the opportunities of our sunny climate.

Yet they kept building, “If it worked there, it was sure to work here!” Or so they believed.

However, time and experience have made it apparent that the construction approach brought from other places doesn’t work in this humid and wet climate where the wind and rain can blow at 170 mph and the sun’s rays can melt the asphalt on a roof. Ultimately, that transplanted approach would lead to problems and require re-thinking and local response.

Building for the Future

Eventually, construction practices did begin to respond and evolve to adapt for this subtropical location and its specific climate challenges. For example, building codes now ensure we strap our buildings together and tie them to the ground to minimize damage caused by strong winds. Impact glass in doors and window can now resist flying debris smashing into them with the incredible force of a hurricane.

Energy has also become a critical factor. In Florida, we insulate our buildings not to keep the cold out but to keep it in. But experience is teaching us, as insulation increases, the ingress of heat is reduced, but so is the ability of a building to breathe and, dry out — imperative to preventing mold in a humid climate. As a result, we’ve increased our dependency on mechanical systems, i.e. air conditioner units and dehumidifiers. To maximize the efficiency of these mechanical systems, new buildings must be airtight and gaps in existing buildings filled. Yet, while this solves one problem, it leads to new problems.

It’s become a cycle where mechanical systems use more energy and contribute more carbon emissions. And, these stronger and energy-responsive buildings come at a price. Buildings here now demand good materials and highly-skilled workmanship, so costs rise.

Leading to Resilience

That 40% contribution to greenhouse gases is a significant amount that must to be considered. Globally, nationally, and even locally, the building and construction industry needs to be thinking about what’s the next step in advancing building design, methods, and materials that will make for more resilient construction in Southwest Florida.

As an organization, the American Institute of Architects (AIA) is facing this challenge head-on and as architects we believe that it must be a shared effort. AIA released a statement to its members that takes a stand on the future of building in communities across the county, stating that architects must be unequivocally prepared to aid in addressing the way we design and build going forward.

The goal is to prioritize and support the efforts of those in the industry, in the both the design and construction of buildings, that will reduce carbon emissions and make a pledge to net-zero designs (buildings that omit zero carbon) by 2050.

That’s a tall order. But we are committed to meet these goals.

Better Solutions & Lasting Benefits

As architects, our comprehensive understanding of passive design methods, technology advances in energy systems, and the thoughtful use of more local low-impact materials make us uniquely positioned to work with owners, developers, and contractors to make a collective difference. And we are redirecting our resources and energy to assist the industry and Building Officials to change legislation so new codes will mandate better building practices and mitigate the potential effects of a changing climate.

It makes economic sense to design and construct low-maintenance and energy-efficient structures built for longevity and a sustainable future. This approach also saves maintenance costs in the long run, reduces running costs, and deters insurance companies from increasing premiums when our buildings become a risk in this now fluctuating situation.

Whether you are a climate change believer or not, we will all benefit if we build better and become good stewards of our delicate Florida ecosystem.

Joyce Owens, FAIA RIBA

Joyce Owens FAIA, RIBA, is the recipient of the 2020 AIA Florida Medal of Honor for Design. She is an award-winning international architect recently elevated to the American Institute of Architects College of Fellows and is a member of AIA National’s Strategic Council tasked with identifying opportunities and threats to the profession.

The Material Difference

Tue, 29 Sep 2020 15:00:00 GMT

Why architectural design must consider climate and materials to succeed

A thousand years from now, archaeologists digging through the ruins of buildings will notice that they suddenly began rotting at an alarming rate beginning in the second half of the 20th century.

As they research why these buildings crumbled, they'll discover the formula:  Air Conditioning + Modern Materials = Permanent damage and decay .

The culprit will have been air conditioning combined with sophisticated innovative materials, and the resulting terrible things that will have done to these structures. Air conditioning can be to buildings what steroids are to our bodies — an instant improvement that can cause permanent, irreversible, damage.

But the advent and popularity of air conditioning is only one half of the equation. Modern materials used haphazardly cause more harm than good.

The Modern Evolution of Building Materials

Before World War II, buildings were constructed from materials found in nature: Stone, trees, clay, lime, sand, and sometimes horsehair. Boards were cut from logs in the woods. A trip to the general store for nails, tar, and paint completed the job.

Inevitably, these materials, combined with construction methods and design of the times, allowed these buildings to “breathe.” Moisture seeped in but was also able to dry out.

After World War II, man-made goods began to replace natural materials. At first, gypsum board replaced lath and plaster, plywood replaced wood boards, and metal studs replaced wood.

A little later, house wrap replaced tarpaper. Vinyl and aluminum replaced the wood frames of windows. Walls and roofs were insulated, and for good measure, a layer of plastic or polyethylene — the “vapor barrier” — was installed inside almost everywhere.

Most of these materials come in large sheets that seal up buildings so they no longer breathe. And the materials themselves are not very absorbent, if at all.

Moving into the last quarter of the 20th century, there was an increasing emphasis on new-fangled energy-efficient materials like the insulation, windows, lighting, and appliances. While these items may help save money on monthly utility bills, they also deprive the building of the heat and ventilation badly needed for drying. The nearly "air-tight" results meant moisture not only condensed inside the now-cooler walls, but it couldn’t escape and it couldn’t evaporate.

It should be mentioned that new building materials didn’t develop in parallel, either. Each manufacturer was selling their particular piece of the puzzle, claiming the product was the greatest thing since TV dinners. Consumers, building materials suppliers, contractors, and architects were often too quick to adopt the latest and greatest.

Building components were replaced one by one, but no one understood the big picture. Each piece did its part but didn’t necessarily serve the interest of the building as a whole. It was like freeform jazz where different melodies were being played at the same time.

Rot set in. So did mold.

While buildings could now be mechanically cooled, air conditioning wasn’t integrated into the plan and design of the building. It was an afterthought. The air conditioning industry didn’t talk much to construction companies, let alone architects, other than to argue about space for ductwork.

It got worse.

The uncoordinated combination of high-performance insulation and sealing cold air ducts increased the potential for moisture to occur and diminished the ability to dry out. That resulted in more condensation. More cold. More rot. More mold.

Buildings aren’t like freeform jazz, though. They’re more like a symphony, with everyone playing their part of an carefully orchestrated plan.

Learning from the Past to Improve for the Future

Fortunately, things are getting better. So too is our understanding of how to build in a hot, humid climate and which materials to use and, most importantly, which to avoid. Attics are now sealed with more foam insulation, and less polyethylene is used. High-performance air conditioners are paired with old-fashioned dehumidifiers.

Space Age coatings on glass cut 75 percent of the sun’s heat without hindering views or distorting color with unnatural tints.

Beyond improvements in materials and construction, we have seen a return to age-old principles of vernacular architecture: Think of the buildings created in the pre-industrial era — simple, practical space built with local materials and knowledge.

These principles include careful consideration of the building's orientation to minimize heat gain, provide shade, and create cross ventilation that allows cooler air to circulate and excess moisture to evaporate — all of which reduce energy consumption.

Incorporating newer systems into a well-designed building while avoiding unwanted condensation and mold require the services and expertise of skilled professionals.  Anyone can go to a big box store and buy plywood or weather stripping, or get advice on double-glazing or vinyl siding, but all these pieces must be holistically integrated to maximize their effectiveness.

Making all this work in concert is like composing and directing the symphony. With their skills and education in design, building materials and techniques, code requirements, and understanding of your vision, an architect brings a unique understanding to their role as conductor. Guiding the orchestra, your architect can help keep all the musicians on the same page, and might even bring in the HVAC (heating, ventilation and air conditioning) engineer to help turn the pages.

Joyce Owens, FAIA RIBA

A previous version of this article appeared in Joyce Owens’ “Architect About Town” column in the Fort Myers News-Press.

A Good Architectural Designer will Help you See the Light

Mon, 24 Aug 2020 18:00:00 GMT

“By day the house you built for us changes with the sunlight and the clouds, the spaces lighting up or withdrawing into quietness. The light feels like a part of the architecture as it slices across walls or fills the space.

By night the house is completely different, transformed, glowing, the spaces flowing into one another without the light ever being obtrusive or drawing attention to itself.

The lighting enables the house to speak a different language, one of warmth and protection as well as possibility.”

So wrote Geraldine Bedell, novelist and client of the award-winning home designed for her by my architecture practice.

Designed correctly, light has a profound positive effect on building and occupant and a strong influence on mood, morale, behavior and even productivity. More than just illumination, it generates drama, creates balance and focuses interest.

Sure, anyone can add more light to brighten a space. At the business, just throw a few fluorescent lights in the ceiling grid. At home, scatter a few can lights across the ceiling, one in each corner. Easy, yes. But these easy solutions miss out on the impact, quality, and benefits great lighting can add to those spaces.

As an architect, I can use light as an element to design and define space, and to shape the experience people have in that space. This involves careful consideration and planning of the placement, size, and style of windows, and added artificial light sources.

Successful lighting is directed and considered

It’s worth the effort to understand a few basic principles of light and the effect it can have on the built environment.

Natural Light

Obviously, increasing daylight involves positioning glass openings to take advantage of the sun. Daylight reduces dependence on artificial light, though remember, in a sunny climate, it requires restraint.

Getting the maximum impact of natural light is influenced by the orientation of a building and exterior features — natural and man-made — that block or reflect sunlight.

North light has long been exploited for its subtlety being soft and consistent. Lots of glass on a building’s north side allows a space to glow without heat gain. Depending on the season, southern exposures provide direct sunlight for much of the day.

East-facing glass openings welcome the morning sun, while western windows frame beautiful sunsets but also let in the hottest sun of the day. In cool climates and winter weather, a sunny western or southern exposure can bring welcome warmth, but in summer months these inevitably require shade protection, especially in tropical environments like Florida.

Skylights are rarely used to their potential. Locating a skylight adjacent to a wall is far more dramatic than one located in the center of a room. In this way, light no longer drops straight down to a spot on the floor; instead the light cascades across the wall constantly forming organic patterns as the sky changes.

Clerestory windows, typically a row of windows running along the wall above eye-level or close to the ceiling, can fill a space with natural indirect light making even small rooms feel more open.

Artificial Light

Artificial light can be designed with similar intent. For example, recessed cans shine only on the floor. Instead, bouncing the light — directing it onto surfaces, walls, counters, desks, and ceilings — is remarkably more effective for producing comfortable and relaxing lighting.

By locating cans (or down lights) near the wall, the reflected light will make a space brighter and less taxing on your eyes. It no longer shines directly on your head or the floor and that exhausting glare disappears.

Ever looked in a mirror that is lit indirectly? There are no shadows — which does wonders for your age and attitude. That’s the trick. Make light indirect. It is more comfortable and less stressful.

By the way, progress in LED light development is revolutionizing the lighting world. But not all LEDs are the same. Like most things in life, inexpensive does not equal quality. Most LED light bulbs and light fixtures sold to the general public are poor in color quality and sure not to last as long as the box claims. A good lighting store will direct you to lamps and fixtures with the latest technology and those built to last, provided you ask nicely.

General lighting, or ambient light, should be low and appropriate for the space: Do you need reading light levels in a corridor or the parking lot?

Bright overall light isn’t necessary, but it is critical to have it right where you need it — on the kitchen counter, next to the reading chair, on the desk or right above the dining table.

Task lights, pendants, wall sconces, colorful bulbs, and lamps, as well as landscape and architectural lighting, can create impact that stops onlookers in their tracks.

Many who design buildings don’t consider lighting a priority, but a talented architect or designer understands how incorporating lighting at the start can change a space from average to awe-inspiring.

Joyce Owens, FAIA RIBA

A previous version of this article appeared in Joyce Owens’ “Architect About Town” column in the Fort Myers News-Press.

AIA Florida Awards Joyce Owens The Medal of Honor for Design

Wed, 15 Jul 2020 18:54:00 GMT

A jury of the state’s top architects awarded the highest design honor to Joyce Owens

FORT MYERS | TALLAHASSEE, Fla. (July 14, 2020) — The American Institute of Architects (AIA) Florida/Caribbean has awarded architect Joyce Owens the 2020 Medal of Honor for Design , the pinnacle design award for the profession, recognizing her as one of the most influential architects in the state.

The annual AIA Florida/Caribbean Design & Honor Awards recognize architects for their significant contributions to the architecture profession, their communities, and architecture at large. Several juries comprised of past honor award recipients and member architects convened to confer eight honor awards in May, including awarding Owens for design.

“The top design award honors a body of work over an extended period of time so it’s humbling and exciting to be recognized by the top design leaders in the architecture profession,” says Joyce Owens, owner and principal of Architecture Joyce Owens | Studio AJO, the Florida firm she founded in 2007.

Owens’ firm has become a recognized architectural practice across Florida with an extensive portfolio that includes landmark commercial and community spaces, as well as distinctive modern island homes. Studio AJO is known for being an advocate of good design and incorporating passive and active sustainable principles into every project.

With offices in Fort Myers, Sanibel, and Naples, Owens and her team recently completed Marian Hall, a new 12,000 square foot parish hall at St. Cecilia Catholic Community Church in Fort Myers. Owens continues to work with the Diocese of Venice in Florida on master plan projects, including improvements to Bishop Verot High School and a new chapel for the school. Studio AJO is also responsible for the architectural design and renovations to create the new Sanibel Captiva Community Bank headquarters on Sanibel.

Design highlights from architect Joyce Owens and Studio AJO

Studio AJO integrates architecture with the design of interior and exterior spaces and landscaping to maintain continuity between the inside and outside, and maximize the coastal lifestyle experience.

Owens is also recognized for her distinguished modern residential architecture and minimalist interiors, seen in a portfolio of custom coastal homes on the barrier islands. “Florida’s beachfront properties provide a unique opportunity to demonstrate the use of modern architectural design to lessen the impact on fragile ecosystems,” she explains.

While an “office style” does not exist, Owens and her team put an emphasis on designing spaces and places that are environmentally and regionally sensitive, as well as culturally appropriate for their place. Whether the projects are new-build or renovations, each is tailored to the client’s needs and budget and is always specific to its place and the climate.

The AIA Medal of Honor for Design celebrates the high quality and originality of an architect’s work as well as advancing public awareness of the value of good architecture.

“It's great to see Florida is now on the map for the kind of modern architecture that fits beautifully into its lush natural surroundings,” says Owens. “Architects and clients from all over are looking to the groundbreaking work our firm is creating, which incorporates key design elements that improve the relationship between nature and buildings.”

The Medal of Honor for Design also distinguishes recipients for their inspiration to others in the profession. Recognized for her leadership in the industry, Owens was president of AIA Florida in 2017 and, in 2018, was elevated to the prestigious College of Fellows at the national level of the American Institute of Architects. She currently serves on the national organization’s Strategic Council and the national Public Outreach Committee.

Owens also has an extensive portfolio of residential and commercial architecture in the United Kingdom, where she was the founding partner of an international architecture design studio for more than ten years. As a founding partner at the London-based firm Azman Owens Architects, her clients included then-London Mayor Boris Johnson, fashion icon Alexander McQueen, and luxury retailer TAGHeuer. Her work has received awards from the United Kingdom’s Royal Institute of British Architects and international competitions.

Owens graduated from Notre Dame University with a degree in architecture before winning a Rotary Foundation scholarship to study in London.

View more award-winning designs from Architecture Joyce Owens | Studio AJO.

Architecture Joyce Owens | Studio AJO is a Florida-based architectural, interiors and design firm well-known for its distinguished coastal modern designs and minimalist interiors, often set in a lush tropical environment. Founded by Joyce Owens in 2007, the firm has received numerous awards and international acclaim. The firm currently has projects in Florida, the United Kingdom, and Italy. For more information, call 239-425-5773 or email info@studioajo.com .

Architectural Design Speaks Volumes About Business & Brands

Tue, 30 Jun 2020 19:00:00 GMT

Buildings send out clear messages

Can architecture speak to us?

Of course buildings don’t talk, but it is certainly possible for a building to communicate. By effectively incorporating architectural vocabulary, a well-designed building can send out clear messages.

But what kind of messages? Different building speak to us in different ways.

Obvious examples are religious buildings. Their particular architectural vocabulary — bell towers, domes, steeply pitched roofs and steeples — have, over the centuries, become symbols of the invitation to worship.

Today's modern counterparts still use a similar vocabulary to identify their function: Familiar forms and materials, the expressive use of glass and light, and height — a universal gesture toward the heavens — combine in a visual language that communicates with clear meaning, even if it’s abstract.

Governments often choose classical architectural design in establishing buildings that meet a variety of needs and house a wide range of services. Schools, post offices, emergency service buildings, hospitals, and importantly, those structures housing legislative and administrative activities, represent an investment in quality architecture along with a commitment to serving the people.

The best of these government buildings remind us that they stand for democracy. Think of the classic courthouse that dominates a town square, publicly announcing the central role of democracy in a community.

As architectural tastes change, the design of these buildings may adapt to more modern or current styles. But the architectural characteristics remain the same. They are likely to be constructed of enduring materials, often stone or brick, speaking to us of permanence and stability.

Symmetrical designs – a legacy of ancient Greek architecture symbolizing democracy – express principles of order, balance, and security. No matter the period or style, these strong elements of symmetry ensure the buildings are likely to dominate their surroundings.

Mixed Message or Memorable Meaning: Purpose, Brand, and Architectural Design

Sometimes, a building can communicate the wrong message. Think of ornate office buildings designed to imitate the architectural style of Italian villas. Should a place of work evoke false promises of rest and relaxation and the hope of charming courtyards filled with flowering bougainvillea?

Generic retail centers don’t identify function, and applying random architectural styles and ornamentation does not take advantage of the opportunity to explain what’s happening inside the store.

Office and retail buildings that do not rely on architectural language depend on signage to communicate. The results are roads cluttered with advertisements that bombard and overload our senses: Images, words and colors all competing for attention of drivers. Signs may be cheap, but simple architectural guidance can prove far more cost-effective and have far greater impact.

Consider what happens when architectural design is deliberately created to reflect the brand, the purpose, and the message.

Apple Inc. understands the power of branding its message in and on its stores, known as “architecture as billboard.” The consumer electronics company has become a pioneer of building innovation and style that matches its values and provides a place to retail its cutting edge products.

Apple’s giant glass cube on Fifth Avenue in New York, the hanging glass walls at The Grove in Los Angeles and the glass stair in the London store all say high-tech, great design, hip, modern. Even in Southwest Florida, Apple remained committed to this branding philosophy by applying a sleek modern entrance of aluminum and glass to its store at Coconut Point Mall, an otherwise very Mediterranean-styled retail center.

Similarly, the newest BMW and Mercedes car dealerships in Southwest Florida, are examples of matching architectural design to brand identity. With clean, modern, and confident architectural designs, each of the new dealerships reflects a commitment to manufacturing legendary, state-of–the-art automobiles that customers expect from those automakers.

The Language of Memorable Architectural Design

It’s not surprising that sometimes, architecture will scream to be heard.

There was a time when buildings were designed to resemble the product sold inside. These types of buildings flourished by mid-century, as business looked for ways to capture the attention of a public who began passing buildings at 35 mph.

Once found all over the U.S., especially before interstate highways, these buildings were labeled “roadside architecture.” Sometimes characterized by elements of whimsy and exaggeration, these were easily recognizable icons to the road-weary traveler.

One local example is found in San Carlos: The Twistee Treat, designed to look like a giant ice cream cone, silently shouts just what can be found there.

Sometimes architectural language helps create a memorable landmark, even if unintended. One modern office building on College Parkway, a major road through Fort Myers, features a distinctive, wavy yellow roof. An otherwise simple and elegant office building is topped off with a colorful “floating” roof that provides both shade and a bold identity. That single architectural design element has made it a recognizable and often-referenced landmark for locals.

Good Architects Design Buildings that Talk to the Community

Whether you like the building or not, it makes an impression — an architectural signpost more effective than any road sign. At times, the architectural language of a building will subtly convey its function, while another may use vocabulary that boldly shouts and captures attention.

A well-designed building is a tool that can communicate a message, a brand, or market a business. The secret isn't in applying one style or another, but the ability of the architect to be clever with architectural vocabulary.

What does your building say about your brand? Let’s talk about how architectural design can communicate for your business.

Joyce Owens FAIA RIBA

A previous version of this article appeared in Joyce Owens’ “Architect About Town” column in the Fort Myers News-Press.

Every Project Needs to have an Architect

Tue, 19 May 2020 16:10:00 GMT

Too many people still think architects are necessary only for designing the big building projects — museums, schools, baseball stadiums, hotels, or corporate headquarter buildings.

However, the truth is, an architect can make any building project more comfortable, functional, energy-efficient, and even more cost-effective.

Let's start with the myths and misconceptions that people tell themselves when they don't hire an architect:

"I can't afford an architect."
"I don't need an architect, it's such a simple project."
"I don't think an architect can add anything, my contractor has it all covered."

So, why would you hire an architect? What benefits will they bring? And, in difficult economic times, how do you justify the cost?

The answers are found in understanding what an architect does, the in-depth knowledge and experience they bring to a project, and the oversight and guidance they can provide from start to finish.

The Making of a Licensed Architect: Education, Training, and Testing

The skills and talent—and value—of an architect are far broader and deeper than drafting a set of blueprints. In fact, the scope of their education and training truly runs from A to Z—from arts to zoning, and so much in between.

An architect's training focuses on solving problems and creating ideas. Combined with a broad education in the arts, engineering, and construction, architects gain an overall approach to building design, site studies, construction methods and materials, the climate, codes, zoning, contracts, budget and project management.

The formal professional training to become a licensed architect is long and arduous. Depending on the university, it takes five or six years to get the professional degree(s), typically a Masters in Architecture. That's followed by two to three years of supervised practice working with an established architect, before being allowed to take the rigorous, national Architect Registration Examination (ARE) leading to licensure.

Altogether, that can add up to be as much time as it takes to become a physician. So, whether you are seriously ill or serious about building, isn't a professional your first call?

Working with an Architect — from Idea to Built

At the project's start, an architect is able to interpret a client's needs and provide solutions that get the function, size and budget right.

When a small budget is the big issue, a licensed architect has the training, expertise, and experience to enable an owner plan and create smart, cost-effective solutions for the specific needs of the project.

Engaging an architect from the beginning can translate into saving money up front and avoiding costly mistakes in the construction phase.

After working with Joe Madden on his law office in downtown Fort Myers, Florida, I heard him elucidate:

Architects Design for Style, People, Environment, Place—and for Your Success

Importantly, the architect can immediately determine: Are you being realistic? That's an answer prudent to know at the beginning.

A good architect will investigate the site or building, consider the climate and determine how all existing conditions will impact the design and then, present not only a design but a solution.

Drawings, often presented in three dimensions, make it easier to visualize proposals and avoid surprises. Changing a drawing or a computer model is far less expensive than making a change in the field, after construction has started.

Suggesting appropriate proposals and suitable materials is only one skill. How many times has an item, originally put in to save a few dollars, had to be replaced? Architects understand the advantages and problems that come not only with certain building design decisions, but also with the selection of materials, fixtures, and furnishings.

Designing energy efficiency into a building at the outset also saves money on running costs and reduces the consumption of natural resources.

Studying the history of art and architecture, not only architectural design and construction, prepares an architect to incorporate balance and proportion–the key to making buildings look good.

Consider the difference between some of the mass-produced houses in some gated communities—with massive overhead garage doors dominating the front of the home and hiding the entrance—and the appearance of a home custom-designed by an architect to reflect the owner’s ideas and to make ideal use of the site’s space and environment.

The architect will use the vision of a client to produce dynamic creative space that serves users and makes buildings efficient and comfortable.

Architects provide more than just four walls and a roof: They create environments, incorporating daylight, views and the climate, inside and out. And, did you know a considered design is even conscious of the space between the buildings?

Architects Provide Valuable Work throughout the Construction Process

It is important to remember, if it can go wrong on the building site, it will. Inevitably, it is the time when the budget will spiral out of control. Given the opportunity and with cooperation from the construction team, the architect can be the one to keep a handle on costs.

Their comprehensive understanding of a building produces solutions to site problems that will make the least impact on all aspects of the building - minimizing cost increases. And, if they monitor changes and substitutions, quality is rarely reduced.

The Real Value Adds Up

So, if the cost of hiring a professional still seems high, think of it as an investment in the long term: Include the actual costs of the mortgage, and fees will average about 1-2 percent of the overall expenditure.

That's a small price for a building with improved quality of space, greater efficiencies, better materials, fewer maintenance issues, and a reduced impact on the environment.

And further down the road, consider the resale value. Good design sells.

Remember what Red Adair, the American oil well firefighter, understood: "If you think it's expensive to hire a professional to do the job, wait until you hire an amateur!"

Joyce Owens FAIA RIBA

A previous version of this article appeared in Joyce Owens’ “Architect About Town” column in the Fort Myers News-Press

Tropical Modern Design: An Architectural Style Solution just right for Florida

Mon, 11 May 2020 17:00:00 GMT

As many of us are rethinking our perceptions of what is essential, we see similar rethinking and adjustments in building design.

Prospective clients ask for buildings less extravagant and more personal than the oversized sealed boxes of recent decades. They’re searching for something more appropriate for themselves and their lifestyle, and — especially here in Florida — design that works for our year-round summer environment.

What is the Architectural Solution for Florida’s subtropics?

One of the more enduring solutions — a climate-sensitive architectural style called “Tropical Modern” — has been explored since the 1950s.

The common thread of all Tropical Modern design is the acknowledgement that the sun is hot.

Often seen in the architecture of Asia and the islands of the Pacific Ocean, the style has been successfully experimented with in many resorts on the east coast of Florida and new condominiums in Miami.

However, despite the suitability of Tropical Modern building design to our subtropical environment in Southwest Florida, few regional architects have considered this approach here.

Tropical Modern works for a variety of structures with different uses, including commercial, residential, and resorts. Although an innovative building style, elements of traditional architecture of a region can be easily identified. Yet it is distinguished from the local vernacular by subtly fusing the positive aspects of the historical with modern architectural vocabulary and materials.

What is Tropical Modern Architecture?

These buildings are designed to be a natural defense against the harsh elements of the tropics and subtropics, while maximizing the advantage of living in a warm and sunny environment.

Symmetry is not a priority in Tropical Modern design. Instead, every building component, i.e. walls, doors and windows, can be purposefully located. The result is a fluidity of space and light flowing in, out and around. This is demonstrated in five of the hallmark features of Tropical Modern architecture:

1. Light - Water, exterior courtyards, open floor plans, white surfaces reflecting the sun and shade are consistent elements of Tropical Modern.

2. Shade - Creating protective shade is paramount. Deep porches, extra-wide eaves, verandas, covered walks, lanais and canopies are incorporated to offset the heat. Shelter from the sun also means shelter from summer rains.

3. Ventilation & Views - Encouraging cross-breezes is a critical component of the design. Strategically located windows and large sliding doors facilitate ventilation while providing transparency, views and daylight.

4. Seamless Space - Living areas extend outside onto porches, gardens and breezeways, creating a seamless transition between indoor and outdoor space.

5. Simple & Natural - Tropical Modern differs from the traditional by incorporating simple clean lines. And unadorned details are made richer — inside and out — by combining sensuous local materials with metal, stucco, glass and dark woods.

Critically, Tropical Modern architectural design effortlessly integrates itself into the landscape and creates a harmonious relationship with nature. Architecture and landscape merge. Here’s a look at how we have incorporated these features into many of our architectural design projects:

1. Light: Colorful skies and coastal water blues reflect in the windows and off the clean white exterior of this Sanibel Island Coastal Retreat. The ever-changing quality of light provides an essential element of this design, transforming from the sunny reflections of day to the crystal glow of night.

2. Shade: A methodical design of extra-wide overhangs and deep porches provides this coastal home with shelter from the sun and rain. The careful selection and placement of windows and glass doors invite natural light indoors with the cool comfort of shade.

3. Ventilation & Views: Villa Captiva’s strategically located, expansive windows and sliding glass doors provide cross-ventilation, promote a seamless flow from indoors to outdoors, and frame stunning views of the Gulf of Mexico. The result is a quiet sanctuary where interiors, art, architecture, and life effortlessly blend.

4. Seamless Space: Living areas extend through expansive sliding glass doors into gardens, onto pool decks, and beyond. With a design that provide a seamless transition between indoor and outdoor space, this Sanibel island home embraces its lush environment.

5. Simple & Natural: Embracing its natural environment, this beachfront Sanibel Island retreat, emphasizes modern clean lines and simple details with the contrast of light and dark and a rich combination of materials and textures.

Tropical Modern Architecture for Southwest Florida

This design style is an especially appealing architectural response to the subtropical climate and lush vegetation of Southwest Florida.

Florida Modernism of the mid-century explored similar ideas. Looking back at this style and the climate-friendly Florida Cracker structures, it is possible to glean their most successful elements and integrate them with current architectural principles and eco-conscious technology for naturally tropical designs.

In many hot and humid climates, the evolution of Tropical Modern architecture has exploded into a responsive building style that is garnering international attention for being energy-efficient and sensitive to the environment.

Ironically, Tropical Modern is not new here. In the late ’70s and ’80s, this style was explored on the islands and still looks fresh and contemporary today.

It is a design style we embrace at Architecture Joyce Owens as we explore the possibilities of integrating building and landscape, blending the old with the new. The outcome? A refreshing architectural solution that is responsive to its place, and undoubtedly of its time.

Joyce Owens, FAIA RIBA

A previous version of this article appeared in Joyce Owen’s “Architect About Town” column in the Fort Myers News-Press

Joyce Owens on the history of architecture in Southwest Florida

Mon, 27 Jan 2020 18:33:00 GMT

Studio AJO featured in 50th Anniversary Edition of Gulfshore Life

In its 50th anniversary edition (01/2020), Gulfshore Life magazine interviews Joyce Owens, FAIA, principal at Architecture Joyce Owens, for a closer look at the architectural identity of Southwest Florida and how she draws on the lessons of the past to design for a more sustainable future.

The article includes images from two recent coastal homes by Architecture Joyce Owens, Villa Captiva and Captiva Peace , which were selected for 2019 Honor Awards from AIA Florida Southwest.

Download Building a Sense of Place >>

Architecture Joyce Owens is well-known for its distinguished modern designs and minimalist interiors adapted to Florida’s lush tropical environment. AIA Florida Southwest recognized Architecture Joyce Owens as the Firm of the Year in 2018.

Owens was president of AIA Florida in 2017 and is known for her leadership in the industry. in 2018, she was elected to the prestigious College of Fellows at the National level of the American Institute of Architects. She currently serves on the American Institute of Architects Strategic Council, which advances the profession by informing the national organization’s board of important professional issues and opportunities. Owens

Prior to forming her architecture firm in Fort Myers in 2007, Owens was a co-founding partner at the London-based firm Azman Owens Architects, where she worked with high-profile private and commercial clients including British Prime Minister, Boris Johnson, fashion icon, Alexander McQueen, and luxury retailer, TAGHeuer. Her work has received awards from the United Kingdom’s Royal Institute of British Architects and international competitions. Owens graduated from Notre Dame University with a degree in architecture before winning a Rotary Foundation scholarship to study in London.

To learn more about Architecture Joyce Owens | Studio AJO, please call 239-425-5773 or email info@studioajo.com.

January 27, 2020

Download Building a Sense of Place >>

Architecture Joyce Owens Honored for Modern Captiva Home Designs

Tue, 26 Nov 2019 16:53:00 GMT

Award-Winning Tropical Modern Style takes Southwest Florida by Storm

Architects celebrated the modern coastal design of Architecture Joyce Owens | Studio AJO with top honors.

At the 2019 AIA Florida Southwest Design & Honor Awards, Architecture Joyce Owens LLC received two Honor Awards for Captiva Island homes, cementing the firm’s reputation for modern coastal residential design.

(President AIA Southwest Florida, Ryan Richards at left, with Architecture Joyce Owens team members, Cristina Reis, Joyce Owens FAIA RIBA, and Josh Fisher.)

The AIA Florida Southwest (AIA FlaSW), a chapter of the American Institute of Architects, recognized Architecture Joyce Owens | Studio AJO with two Honor Awards for Captiva Island homes, cementing the firm’s reputation for modern coastal residential design.

“These two homes on Captiva Island demonstrate how the elements of modern design are perfectly suited for Florida’s hot, sunny, and humid environment,” Joyce Owens, FAIA, RIBA, Principal Architect, Architecture Joyce Owens

“Modern design has a rich history in Florida and is steadily gaining a foothold in Southwest Florida. I’m honored that my peers have recognized two of our tropical modern homes,” says Joyce Owens, the principal of the Fort Myers-based architecture firm she founded in 2007.

At the 2019 AIA Florida Southwest Design & Honor Awards, the firm received the Interior Architecture Honor Award for Villa Captiva and the Restorations and Additions Honor Award for Captiva Peace .

“These two homes on Captiva Island demonstrate how the elements of modern design are perfectly suited for Florida’s hot, sunny, and humid environment. That’s because they maximize the benefits of the natural tropical settings while offering shelter from the elements,” says Owens.

For example, at Villa Captiva the cross-ventilation combined with strategically located windows and glass promote a seamless flow from indoors to outdoors. At Captiva Peace, the extensive overhangs deflect harsh sunbeams but still allow plenty of indirect sunlight. In addition, this design shields the home from the afternoon tropical downpours, keeping the rain from seeping inside.

Both beachfront homes also feature interior design work by the firm. Captiva Peace includes custom furniture designed by the architect. Inspired by the angles of the original house, the pieces provide natural wood accents using wood from a fallen walnut tree on clients’ property.

To learn more about Architecture Joyce Owens | Studio AJO, please call 239-425-5773 or email info@studioajo.com .

November 25, 2019

10 Best Readers' Choice: Best International Skylines

Mon, 25 Aug 2014 04:00:00 GMT

Written for USA Today's 10Best - Source Article

CHICAGO, IL, USA

Great skylines are instantly identifiable by the profiles of their great architecture. Chicago has a world-renowned mix of modern skyscrapers and early “high-rise buildings” (load bearing masonry buildings – the precursor to skyscrapers), which certainly fit the bill. A spectacular location directly along Lake Michigan provides the perfect opportunity for breathtaking.

Hong Kong, HK

Along with the silhouette provided by unique and identifiable skyscrapers, water and interesting topography always creates a dramatic setting. Hong Kong has an abundance of both.

NEW YORK, NY, USA

A long history of world’s tallest buildings (Empire State Building, Chrysler Building and the original World Trade Center Towers) provided NYC with a compelling skyline for generations. New additions, the New York Times Tower, Frank Gehry’s recently completed 12 Spruce Street and the elegant One World Trade Center have made a positive contribution to its distinctive skyline and continuing NYC’s tradition of exciting and appealing architecture.

SYDNEY, AU

An iconic building can steal the show. Sydney Opera house makes this skyline dramatic and instantly identifiable throughout the world. The water setting is contribution as well ;-0

ST. LOUIS, MO, USA

Similar to the distinctive skyline of Sydney on the other side of the globe, the iconic St Louis Arch creates a profile that can’t be confused with any other skyline.

WASHINGTON DC, USA

Simple and minimal, the light colored marble and sandstone buildings, bridges and monuments all exquisitely lit at night create a memorable image as a great capital city.

ROME, IT

While limited in height, the combination of Ancient and Renaissance religious and civic architecture, nestled among the well-known Seven Hills of Rome, is a cherished combination.

SAN FRANCISCO, CA, USA

San Francisco’s skyline does not disappoint. Icon buildings and dramatic bridges, old and new, combined with theatrical topography and reflective water views from all angles make San Francisco the crown jewel of the west coast.

SHANGHAI, CN

The city of Shanghai has transformed with lighting speed in the past 20-30 years. Now, albeit without the historical past of some of the great historical cities (NYC and Paris), an abundance of uniquely shaped modern skyscrapers distinguish Shanghai from many of its neighboring Asian cities.

LONDON, UK

The best way to experience London’s Skyline: flying parallel along the River Thames on the way to landing at Heathrow Airport. What’s left of the ancient Roman City is difficult to discern from above but the Medieval Street patterns that remain intact host a plethora of architectural forms. The skyline today varies from Tower Bridge and the recent high tech buildings in the East that stretch from the City of London to the Dockland’s Canary Wharf (Renzo Piano’s colossal Strand to Norman Foster’s beloved Gherkin) to the lower but no less sculptural structures in the West End and Westminster; (Westminster Abbey, Westminster Cathedral, Big Ben and the recognizable London Eye). Saying that, the most famous and most recognizable sight of the London skyline, despite a total transformation over the centuries, continues to be Christopher Wren’s magnificent St Paul’s Cathedral, whose 366-foot dome dominates views from every direction.

Joyce Owens FAIA RIBA

London: Architectural Spaces in Which to Eat

Sat, 03 Aug 2013 16:00:00 GMT

London is enjoying an explosion of extraordinary restaurants. And as a bonus, the capital city is chock full of grand spaces often dramatically converted and transformed by architects sympathetically combining traditional and modern.

Galvin La Chapelle

Sometimes eating can be a near-religious experience. This is no more so than at Galvin La Chapelle in Spitalfields, where the conversion of historic St. Botolph’s Parish Hall created a magnificent dining room with 100’ high original wood-trussed ceilings, tall arched windows, and robust granite columns. Architectural studio designLSM successfully styled an understated restaurant interior to subtly enhance the magic of the existing cathedral-like space. A bonus for patrons: the food earned a Michelin star just one year after the restaurant debuted.

St. Pancras International Railway Station

Labeled “Cathedral of Railway Stations” for its romantic Victorian architecture, St. Pancras International offers a multitude of grand dining opportunities. Sipping bubbles from the tiny Searcys Champagne Bar on the Eurostar platform is heavenly beneath a celestial glass roof. But in the adjacent 1873 Midland Grand Hotel are three glorious dining spaces: The Booking Office and The Gilbert Scott Restaurant , and the often-overlooked Gilbert Scott Bar with ornately painted ceilings and marvelous bell chandeliers.

The Wolseley

Occupying the prestigious showroom of the former Wolseley Motor Car Company, The Wolseley is self-described as a “café-restaurant in the grand European tradition.” Its opulent interior was restored with the help of David Collins Studio prior to its 2003 reopening. Black and white marble floors, tall arched windows, grand stairways, dangling chandeliers and high vaulted ceilings supported by sophisticated black-lacquered Doric columns all combine to make The Wolseley the most glamorous eating experience in London.

Oblix Restaurant and Bar

In every great city, tall buildings offer the opportunity of 360-degree views, although often for a price. London’s recently competed tallest building, The Shard, designed by renowned architect Renzo Piano, offers a stop at the Oblix Restaurant and Bar. Your time here will be spent drinking in the most magnificent views offered in the City of London. Renowned architect Claudio Silvestrin has created a stylish dining experience that appropriately serves as a subtle setting to the splendor of the city beyond.

Caravan - Granary Building

For the very latest in trendy restaurants, check out Caravan, located in the historic Granary Building - refreshingly converted by architects Stanton Williams and is also the new home of world-famous Central Saint Martins School of Design. Caravan’s expansive interior is a simply furnished majestic warehouse but the real draw is the alfresco dining. In the shadow of the massive Victorian façade the urban piazza is London’s new public space for gathering and people watching.

Windsor Castle Pub

No list of architecturally pleasing restaurants would be complete without a selection from London’s multitude of historic Public Houses. Off the beaten track and hidden behind Westminster Cathedral, Windsor Castle Pub (formally known as The Cardinal) has been recently restored to its former glory. Wooden partitions, extensive etched glass, parquet floors, high ceilings with traditional tin panels and lots of brass make this a very striking traditional pub. 23 Francis Street, Victoria, London SW1P 1DN, UK.

The Black Friars Pub

In sharp contrast - and a favorite of architects - is The Black Friars Pub, built on the site of a 13th Century Dominican Priory. A familiar landmark to Londoners, this pub’s entry is marked by a larger-than-life statue of a jolly friar who welcomes all. Inside, patrons find extravagant interiors uniquely completed in the Art Nouveau Style. Similar to an overly ornate cathedral, the pub’s walls and ceilings are adorned with green, red and cream marble and abundant reliefs of merry, busy monks.

Victoria and Albert Museum Café

In 2006, architectural firm MUMA revamped the Victoria and Albert Museum Café at the world’s largest museum of decorative arts and design. A striking modern serving area links the three original “refreshment rooms” named after famous British designers. It’s difficult to choose a seat in the lavish Morris, Poynter and Gamble Rooms, all showcasing the best in British modern design and craftsmanship of the Victorian era, or in the peaceful stylish John Madejski Garden courtyard.

Konditor and Cook Bespoke Bakery and Café

Konditor and Cook Bespoke Bakery and Café occupies a double height space in the base of architect Norman Foster’s landmark Swiss Re building (affectionately dubbed “the Gherkin” for its pickle-like shape). A hanging, irregularly shaped steel mezzanine cradles Konditor and Cook’s kitchen, which dramatically cantilevers over the retail space below it. Jamie Fobert, architect of the café, was adamant that his modern insertion neither interrupted the space nor subtracted from the significance of the building’s curves and fashioned an attractive functional café for K&C’s legendary cakes and savories.

The Café

The glamorous Café Royal Hotel recently reopened following restoration by modernist architect David Chipperfield. A meticulous visual balance between old and new, the hotel offers a selection of restaurants and bars - either exquisitely restored or agreeably modern. The Grill Room (est.1865) extravagantly returned to its original Louis XVI detailing while The Café , practically carved of golden Sienna marble, is reminiscent of a traditional European café but with a minimalist approach appropriate to the 21st century. 68 Regent Street, London W1B 4DY, UK.

Joyce Owens, FAIA RIBA, writing for USA Today's 10Best

Joyce Owens FAIA RIBA

Mary Colter's Architectural Legacy to National Parks

Mon, 13 May 2013 16:00:00 GMT

Unlike her domesticated contemporaries of the early 1900s, teacher, architect and designer, Mary Elizabeth Jane Colter, navigated a man’s world. From Los Angeles to Chicago her work made a significant impact on America’s public architecture of the West. A collection her buildings are gathered along the South Rim of the Grand Canyon National Park in Arizona. Most difficult to reach is Phantom Ranch at bottom of the canyon - accessible by only mule.

Her 50-year career with the Fred Harvey Company began in 1901 when she was hired to decorate the Alvarado Hotel in Albuquerque. Her refreshing design talent and tough capable approach in the field quickly established her as “chief architect”, building and decorating the shops, restaurants, and hotels rapidly opening along new railways. Bright Angel Lodge built with local stone and actual trees set the precedent for a new architectural style labeled “National Park Service Rustic.”

National Park Service Rustic buildings evoked a romantic relationship with the earth. Harmonious with the land, Lookout Studio appears to have grown up out of wall of the Grand Canyon. The vertical tower, provides not only dramatic views and stunning opportunities for photography, but architecturally reflects the vertical rock formations found in the canyon. Described by many as a “piles of stones”, Colter intentionally designed Lookout Studio to resemble a decaying primitive Indian structure.

Throughout her life Colter collected old Indian artifacts, jewelry, baskets and pottery; which she used in her projects and sometimes kept for her own collection. Hopi House , just steps away from the Grand Canyon El Tovar Lodge, was profoundly influenced by this passion for Indian Culture and Art. Built to resemble the indigenous Hopi dwellings of the nearby ancient settlement in Oraibi, it stands as a tangible reminder of Indian culture and lifestyle.

At Hermits Rest , a public rest stop at the end of the West Rim Drive, randomly heaped stones and large irregular tree trunks evoke the image of an ancient mountain dwelling in ruins. Horizontal lines of the canyon are reflected in low hugging and haphazardly built stonewalls. Hermits Rest embodies Colter’s design philosophy that a building must grow out of its setting and embrace the history of the location. It must belong to its place.

Watchtower , the last of Colter’s canyon concession buildings is located at the end of the easterly 25-mile scenic drive to the Desert View service area. The landmark tower resembling an over-scaled Pueblo Watchtower is a manifestation of her considerable research into archeological prototypes and construction techniques of the prehistoric towers discovered in the Southwest. Inside, circular forms create dramatic interior spaces reminiscent of the religious and social events of the ancient Native Indians.

Meanwhile other architects were creating buildings for the National Park Service. At the terminus of the Grand Canon Railway on the South Rim, Charles Whittlesey, Chief Architect, for the Santa Fe Railway, designed El Tovar Hotel built in 1905. An early park lodge, this hotel stands stately and elegant on the exterior in sharp contrast to the crumbling romantic style of Mary Colter.

Notable too is Gilbert Stanley Underwood’s Grand Canyon Lodge on the North Rim . Similar to Colter’s buildings, the original Lodge built of local limestone and timber in 1928 mirrored the shapes and colors of the Canyon and blended seamlessly with the landscape. Tragically, a fire destroyed the magnificent lodge four years after completion. A lodge built in 1937 on the foundations dramatically changed the appearance but not the rustic sprit nor romantic relationship with the canyon.

Nearby in Winslow, Arizona, La Posada Hotel , listed in the National Register of Historic Places has been restored and shortlisted as one of the “World’s Best Places to Stay”. Often considered Colter’s masterpiece, this romantic Spanish style hacienda and its gardens mender and meld into the surroundings. To create a framework for her design, legend has it Colter crafted her own fantasy about a wealthy four generation Spanish family who might have lived there.

A 4-5 hour drive west just outside the Park, Skywalk the engineering marvel, cantilevers out over the Canyon. Balancing 70 feet beyond the canyon edge this horseshoe-shaped glass bridge provides unimpeded canyon views and a sheer drop experience of its floor 500 - 800 feet below. The original architectural renderings fittingly portray a contemporary National Park Service Rustic styled Visitor Center resembling canyon outcroppings. Disappointingly, the actual structure built does not reflect that style.

When Mary Colter retired in 1948, her extensive collection of Indian artifacts, pottery and jewelry was donated to the Mesa Verde National Park in Colorado. The recently completed Visitor and Research Center will display a portion of her collection. Colter would be pleased the center is architecturally harmonious with the land and references both modern and Indian heritage.

Joyce Owens AIA RIBA

Written for USA Today's 10Best

Highlighting mid-century gems in Southwest Florida

Sat, 17 Dec 2011 17:00:00 GMT

Structures from the mid-century featured in the McMo-SWFL Exhibition are at times hidden and often remain in remarkably original condition.

The McMo SWFL Exhibition, which highlights mid-century modern architecture in Southwest Florida, opened November 11 and continues through January 14. Co-hosted by The American Institute of Architects FlaSW and the Southwest Florida Museum of History in Fort Myers, it spotlights some well-known and lesser-seen local examples of the architectural style.

Here’s a closer look at a few of the lesser-known structures that are part of the exhibit:

A TALE OF TWO HOUSES

Cordova Houses Architect William Frizzell 1957 Photo: Joshua Colt Fisher

Fort Myers comes by its rich heritage of the Sarasota School of Architecture honestly, but not easily, as evidenced by two homes found on Cordova Avenue near downtown. The homes would never have been built had Charlotte Bever not coaxed her friend, also recently widowed, to come to Fort Myers and purchase one of her adjoining lots.

A young William Frizzell, having just returned from his early apprenticeship in Sarasota, designed the houses for the two widows in 1957. Apparently however, they were too radical for the neighbors, who tried to stop their construction. Charlotte, so the story goes, made it clear to the local Coca-Cola distributor and other vocal neighbors that their products might not find space on the shelves of her store. Charlotte’s “store,” founded by Charles D. Bever and Charlotte in 1923 under the name B&B Cash Grocery in Avon Park, was the predecessor to the U-Save Supermarkets.

The objections stopped and eventually homes were built. Both received state architectural awards.

The houses remain fairly unknown. An evolution of the early designs of the Sarasota School, they rival some the best designed homes of the era, including the local Walker Guest House on nearby Sanibel Island or those more often found in or near Sarasota.

One is still owned by Charlotte’s grandson, whom it is rumored has lovingly retained the midcentury interiors of the house right down to the cups and saucers.

The two close women friends, who had a direct telephone line installed between the bedrooms of their respective houses, could not have appreciated the valuable contribution their small homes would make towards understanding mid-century architecture in south Florida.

STILL SERVING ITS PURPOSE
(Contributed by Christopher Sowers)

Inter-County Telephone and Telegraph building, Gundersen & Wilson Architects, 1961. Nelson Photography.

Finished in 1961, the Inter-County Telephone and Telegraph building on Lee Street is not only one of the undiscovered gems of the period; it is one of the most whimsical modern buildings in downtown Fort Myers. The expansive entrance overhang features wonderful rolling flutes. The vertical fire escape shimmers red at night — a result of stair lights filtering through small solid colored panels.

Randomly arrayed telephone handsets, which originally adorned the street side façade but now painted over, were a good-humored tipoff of the building’s interior function. Combined with a sculptural signal tower sitting atop, these handsets would have playfully signified the building's function as a telecommunications operator.

Now owned by Century Link, the building is also an attractive example of abstract composition with vast expanses of solid walls perforated in areas with stretches of glass or deep recesses, a depending on the activity behind the wall.

Only minor changes have been made to the exterior of the building in 50 years. Gundersen & Wilson Architects were passionate about understanding and making use of materials that were appropriate in a subtropical climate.

A look at the building today shows very little wear — it stands today content and comfortable in its urban environment.

REFLECTIVE . . . CONTEMPLATIVE . . . SOMBER . . .

Fort Myers Memorial Gardens, Gundersen & Wilson Architects. Photos: Joyce Owens.

But Gundersen & Wilson Architects’ most overlooked project is not a building at all but a collection of marble faced interior and exterior structures, serving as a final resting place for many local residents.

Rectilinear and formal, the sculptural tombs of the Fort Myers Memorial Gardens built in the late sixties are carefully positioned to create a sequence of courtyards that transcend the division between the built and natural environment. Space flows between the exterior walls of tombs and the manicured courtyards conveying a feeling of Zen. It is place of quiet repose, solemn but ever changing - a consequence of light and shadow reflecting on smooth marble surfaces and through porous walls of decorative concrete block.

A small chapel and a mausoleum form part of the complex as well.

The attention to detail is worthy of mention; rhythmic rows of stacked marble drawers where caskets rest above ground contribute to the formality, simply adorned with only understated raised metal letters identifying those who have passed and a petite bronze flower pot hanging from each.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Mid-century modern architecture plus ten ways to identify local architecture of the mid-century

Sat, 12 Nov 2011 17:00:00 GMT

Mid-century modern, the celebrated style with parallel design trends in multiple disciplines, emerged following the austerity of the World War II years and flourished in the prosperous decades that followed.

In architecture, columns, capitals and load-bearing walls were replaced by uncomplicated post and beam construction. Together with organic shaped reinforced concrete forms, such as inverted roofs resembling soaring butterflies, the profile of buildings changed forever. Mid-century architects explored innovative materials and pushed technology to new levels. A more functional approach to building resulted — absent the historical detail.

The Sarasota School, the local interpretation of mid-century design, is a spinoff, which proved to be more than just a stylish segue. It was an instinctive and straightforward architectural response to the climate, location and a revolutionary new way of modern living in the subtropics.

To learn more, visit the exhibit at the Southwest Florida Museum of History, “McMo SWFL: Mid-Century Modern in Southwest Florida.” The exhibit celebrating mid-century design in Southwest Florida opened Thursday and runs through January 14th. It’s co-hosted by the SWFL Museum of History in Fort Myers and the American Institute of Architects FlaSW.

But how is possible to identify these buildings? Here are 10 ways to identify the local architecture of the mid-century:

Photo 1: Early Photo of St. Cecilia Catholic Church from church brochure. Gundersen & Wilson Architects-1966. Photo courtesy of St. Cecilia Catholic Church.

1. EXUBERANT SHAPES: Buildings took on flexible profiles using sweeping roofs, extended cantilevers, and curved walls while residential buildings were often characterized by rambling horizontal forms with flat or low-sloping roofs.

Photo 2: Mid-Century House Photo: Joyce Owens

2. ABANDONED SYMMETRY: Most often asymmetrical, these progressive buildings are in complete contrast to the designs of the past. Instead they relied on balance, proportion and scale to outwardly communicate the function of space within. The slope of the roof is expressed both inside and out creating novel interior spaces and allowing buildings to be read from the outside - higher roofs and therefore higher ceilings imply public space while lower roofs identify more private spaces like bedrooms or bathrooms.

Photo 3: Mid-Century House. Photo: Joyce Owens.

3. INNOVATIVE CONSTRUCTION: Traditional load-bearing walls of the past were abandoned. Post and beam construction, which supports horizontal beams by means of vertical posts of thin steel or wood columns, replaced traditional construction thanks to longer beams and stronger columns. Thus, external walls could be made of glass.

Photo 4: Cordova House Number 2: Architect William Frizzell 1957

4. LIGHTNESS OF BEING: Extensive expanses of glass, louvers, and/or screens were used in these sizeable openings, giving the mid-century structures a remarkable lightness. Doors were often sliding and windows often jalousie, permitting natural breezes to ventilate the interiors. These openings could be located in a building according to the interior function and the requirements of the occupant - as opposed to the rigid rules of traditional styles.

Photo 5: Lee County Administration Building. Architect Gundersen & Wilson. Photo by Joshua Colt Fisher

5. CLIMATE SURVIVAL BY PASSIVE DESIGN: The orientation on the site avoided direct sunlight and made use of shade to reduce heat gain, and ventilation was encouraged to keep air cool. The shape of the building was critical in controlling airflow, and deep overhangs in a variety of shapes provided shade to large glass openings below and protection from tropical downpours. By incorporating these simple rules of passive design it was possible to live and work in south Florida without air conditioning.

Photo 6: Interior Residence Martin Gundersen Architect 1958 Photo Courtesy of Gundersen Family

6. FLOWING FLOOR PLANS: Open spaces were the norm - low walls or screens that never touch the ceiling, made of a variety of materials, defined space without enclosing rooms. That contributed to air movement and increased the space perception.

Photo 7: Mid-Century House Architect Edgar Wilson. Photo: Joyce Owens

7. PRIVACY PRINCIPLES: Privacy from the street side was common. Small windows faced the road and buildings often featured a private entry hall or courtyard. But once inside buildings became more transparent, often with considerable openings at the back, framing views overlooking the water, an outdoor patio for entertaining or simply, a well-manicured backyard.

Photo 8: Mid-century House Architect William Frizzell 1957. Photo: Joshua Colt Fisher.

8. EXTERIOR MOTIVES: The relationship with the outdoors was paramount. Not only did large openings blur the relationship between the inside and out, but this seamless transition reinforced the relationship with the landscape as well. Houses, in particular, were small but by opening out to paved patios, screened porches and courtyards, essential well-loved living space was created.

Photo 9: Mid-century interiors. 1959. Photo: Joyce Owens.

9. MATERIAL INTEGRITY: Buildings were fresh and original, taking advantage of new materials and new technology, as well as new construction methods. Materials were honest: terrazzo floors, decorative brick or stacked concrete block, exposed timber structure or wood paneling - not painted or covered but left bare. And for the first time materials passed from inside to out - further emphasizing the ambiguity between the interior and the exterior.

Photo 10: Cordova House Architect William Frizzell 1957 Photo: Joshua Colt Fisher.

10. GREAT LIGHT, COOL SPACES: Natural light was indirect - a result of carefully planning the orientation of the building combined with deep overhangs. Loads of daylight came in but never direct sunlight. The light sources of artificial lights was indirect as well, often hidden in coves or above cabinets bouncing light up to the ceilings and subtly washing walls.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

SWFL McMo Exhibition

Sat, 20 Aug 2011 16:00:00 GMT

New music, new materials, new methods, new shapes — the middle of last century turned traditional design upside down.

Following the austerity of the World War II years, the prosperity of the decades that followed ushered in new era of style.

With men back from the war and mass distribution of washing machines, clothes dryers and the dishwasher, women found more leisure time in a new suburban lifestyle. A few years on, hubby found himself sipping his martini at the barbecue grill, flipping through Playboy, sideways, and fancying himself in a Corvette.

In this new lifestyle, fashion evolved from concealing to creating the hourglass figure. First came the poodle and pencil skirt, cone bras and small waists, progressing to the elegant form-fitting shifts of the impeccably styled Jacqueline Kennedy and her pillbox hats. Epitomized by the cool 1957 Chevy, iconic cars of the era changed as fast as fashion and were easy to identify by brand and year.

Did you know there was a similar evolution in architecture in the mid-century?

In south Florida, architects translated modernism to suit subtropical conditions, meanwhile creating an avant-garde and stylized approach to shelter suitable to a hot and wet climate while paralleling the design trends of multiple disciplines; furniture, fashion and graphics and more.

Back in the 1970s, communities struggled to save pre-Depression era buildings from the bulldozer.

Fast forward to 50 years later — it’s time to pay attention to the designs of fifty-sixty years ago — stylish buildings appropriate for here. As a bonus, they offer great light and cool spaces and are made of remarkable local materials used in a distinctly modern manner.

In November, the local chapter of the American Institute of Architects and the Southwest Florida Museum of History will jointly celebrate local architectural and period style of the middle century by hosting a retrospective, affectionately titled “SWFL McMo” (Southwest Florida — Mid-century Modernism).

The exhibition is three-fold: a look at our best local buildings of the midcentury and their impact and influences today; a borrowed exhibition from Sarasota showcasing renowned architect Paul Rudolph’s revolutionary Florida Houses; and a sampling of classic modern Herman Miller furniture and fashion of the era.

Come to the Southwest Florida Museum of History November though January to experience the evolution of midcentury style and architecture of southwest Florida. It’ll be as cool as a collection of 1957 Chevys. Come early and you may even get the back seat.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Area’s best buildings: Standout structures help identify, Southwest Florida: Councilman Flanders Favorites

Sat, 19 Mar 2011 16:00:00 GMT

Architecture does many things: makes you wonder, makes you smile or, perhaps, makes you wince. But we can’t exist without it — at a minimum, its most basic function is shelter from the heat, the cold and the rain.

In the past few months I’ve been asking about local buildings that have made an impression on you. Have you sent in your nomination?

It could be a midcentury modern standout such as Paul Rudolph’s Walker Guest House on Sanibel or Bert Brosmith’s Hart Cottage on Keewaydin Island south of Naples. It could be an adorable bungalow (or bungalows) in Punta Gorda, or a Mediterranean Revival standout along or off McGregor Boulevard in Fort Myers.

Public buildings qualify too. The possibilities are almost endless — so let us know some of your favorites.

I invited Michael Flanders, architect and councilman for the city of Fort Myers, to share his choices and explain why such standout buildings work.

To begin, I asked Flanders how his education and experience as an architect play a role in his position as a councilman. As noted on the City Council page of the city of Fort Myers website (cityftmyers.com):

“Councilman Flanders believes his professional background, as a Florida architect is a valuable guide in city decisions involving planning, construction and design. One of his goals is to always improve the quality of the man-built environment within the city, thus influencing the quality of life of the citizens who dwell in it.”

Flanders noted in an e-mail that the recently completed Fort Myers Downtown Utility and Streetscape Improvements Project is a good example. As an architect who understands utilities, history, materials and pedestrians, he has worked with the city since the 1980s implementing this renovation. More than just streetlights and benches, the Streetscape project includes an infrastructure overhaul.

Councilman Flanders' Favorites List

Favorite regional building in Lee County: Southwest Florida International Airport (2005 — Miami Architect: Spillis Candela DMJM), which integrates the bold concept of a cantilevered airplane wing into the architecture. Huge areas of glazing allow for a tremendous amount of daylight and plenty of opportunities to view planes on the runway.

A straightforward white color scheme using terrazzo flooring sprinkled with shells; white, aluminum and stainless steel finishes; and uncomplicated vehicular circulation make this huge facility exceptionally elegant and functional.

Favorite public building in Fort Myers: Lee County Administration Building, the Courthouse Annex (circa 1960 by Gundersen Wilson Architects). He chose this one for all the right reasons: good circulation, natural ventilation, abundant daylight and as an exemplary addition to a historic building. No other public building in downtown offers more outdoor courtyard space or fixed sidewalk seating.

Favorite commercial building in Fort Myers: The Richards Building (circa 1920s) on Hendry Street: a traditional urban building with a presence. A substantial brick façade contrasts with an airy light-filled open entrance. The high canopy appears grand from underneath and reflects daylight into interior spaces through high transom windows and it has sizable operable windows on the upper floors.

Favorite residential building in Fort Myers: Without a doubt, the Henry Ford Home (circa 1910) on McGregor Boulevard. After seeing the damage done to Thomas Edison’s pre-fab home (imported from Maine) just after a hurricane, Henry Ford chose to invest in local hardwoods. He insisted that all structural members be oversized.

This house has deep overhangs providing maximum shade and forcing rain away from the house — appropriate for our climate while creating beautiful porches. This modest bungalow uses appropriate and attractive materials: shingle siding, metal roof and handcrafted details in both wood and masonry.

Favorite building designed by Flanders Architecture: Dean Street Court is an historic building (1412 Dean St., circa 1926) married to a new office building (1404 Dean St. circa 2000). The buildings share a stair, elevator and easements to make the two buildings feasible and code compliant. The entry is the centerpiece; an open-air courtyard created when the historic Dean Street facade was preserved but the original one-story building behind was demolished.

This project has it all: demolition, historic preservation, renovation, new construction, urban infill and a public courtyard.

About MICHAEL FLANDERS

Born: 1955 in Arcadia
Education: Graduated in 1973 from Fort Myers High School; bachelor of design degree from the University of Florida in 1977; master of architecture from Virginia Tech in 1981
Career: Flanders decided at a young age to become an architect. His father, then the superintendent of schools for DeSoto County, hired architect William Frizzell to design a school. When the families became friends, he became curious about architects and wrote a school paper saying he’d be an architect. He has practiced architecture in Fort Myers for 27 years.
Houses: He grew up in a brick ranch-style house; lived in a Michigan model home after moving to Fort Myers in 1968. He lives with his wife and daughter in a midcentury home.
Political career: Flanders ran for Ward 4 City Council after sitting on three volunteer city boards. He’s been re-elected to the council twice.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Listen closely for the sounds of Fort Myers

Sat, 19 Feb 2011 17:00:00 GMT

In Southwest Florida, we are removed from the commotion of the big city and the noise pollution that accompanies it. Here in paradise, the din that big-city folk are forced to tolerate morning until night just isn’t an issue.

Over coffee with Joshua Fisher, a graduate architect with a passion for acoustical design and photography, we discussed the variety of sounds the built environment generates here in Southwest Florida.

Southwest Florida’s sounds of nature are legendary: the sea gull cawing high overhead. Lapping waves. Rustling palms. Summer rain pounding on a roof. Frogs at dusk, cicadas at night, and, on occasion, the lonely cry of a boat horn in the distance. And notably, the glorious silence.

Cities, though, are recognized by their own individual sounds as well. Rome can be nearly deafening: honking horns, chaotic traffic and that distinctive post-siesta clatter when shopkeepers roll up their shutters and reopen for business. And don’t forget the constant church bells.

Is Fort Myers audibly distinctive from other cities?

Like Anywhere USA, interior spaces here buzz with the white noise of technology: air conditioning, phones, computers and cheerful muzak for a start. Stores are filled with multiple beeps, bleeps, intercoms and clattering carts.

It doesn’t get any better at home, jampacked with the electric buzz of the latest wizardry of kitchen gadgets, the promise of “silent” appliances, multiple televisions and the neighbor finishing the yardwork.

Outside, cities have a generic acoustic landscape. On the sidewalk the idle chatter of restaurant patrons, cell phone users and pedestrians resonates off hard building frontages of brick and glass. On the street there is the sound of moving vehicles and deliveries — at a variety of volumes dependent on population.

Buildings today are completely reliant on mechanical equipment to provide comfortable indoor environments — here we rely on air conditioning to survive the humidity and heat. The combined result is an unrelenting hum in every direction, generating a very urban experience.

So how is our downtown different? Strolling down the sidewalk, is it possible to establish you are in Fort Myers just by what you hear?

Just listen. The newer brick streets create an atypical cadence of place as cars slowly pass over them. (ba ba ba bump). The canopies that serve to protect business clientele from rain and sun are unique to our downtown and acoustically create chamberlike spaces that intensify sound and often reflect vocal compositions of spirited pedestrians as they pass.

Uniquely, our city breathes with the seasons. The ebb and flow of a seasonal population makes an impact on traffic noises, both vehicular and pedestrian. In addition, ordinarily manageable events like Art Walk and Music Walk swell the acoustics found in here — changing the dynamics by the sheer volume of people and an abundance of music.

Patio de Leon, a traditional urban square, provides a rare oasis from the drama of the street. Small entrances from the street shield it from traditional downtown noises. As one of a number of hidden pedestrian-only places, it becomes like an ancient church or temple — once the only quiet retreat available from hubbub outside.

The intensity of sound disperses near the river. The lack of buildings in this area diffuses the volume. Nature meets urban place and a change in hierarchy results in harmony.

Sound is only one of the many facets of a city and its architecture and can be so much more than just quiet or loud and pleasant or annoying. It can add great value to the experience of the city — but only if you are listening.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Collier County island cottage ailing

Sat, 15 Jan 2011 17:00:00 GMT

Irene Fascher loves Hart Cottage because it exists in harmony with the environment, climate and native essence of the quiet island.

Her in-laws in the 1970s purchased the cottage on Keewaydin Island, a barrier island south of Naples that is accessible only by boat.

"Far from the urban surroundings, which are man, Keewaydin immerses you in Mother Nature's habitat, lulling you into a peaceful perspective of life," wrote Fascher of the cottage, dubbed "Noble Camp" by its creator, architect Bert Brosmith.

Time and location have changed the cottage, though. Noble Camp, like so many of these humble icons of modernism, is showing its age.

The core of the 1959 building is solid, but the cantilevered decks are structurally unstable and the whole place requires renovation.

Its location on an island accessible only by boat is making renovations cost prohibitive for the current owners. They have found renovation estimates to be triple or quadruple mainland costs.

Sadly, the location intrinsic to the essence of its appeal has also become the root of its demise, leaving its owners, Irene and her husband, Sig, mulling its place in their future - and that of Southwest Florida.

WHY IT MATTERS

Buildings like the Hart Cottage are an essential part of the region's rich history. It's a superb and culturally significant example of mid-century architecture in Naples.

Just as important, Brosmith and the cottage he designed are direct links to the Sarasota School of Art and Architecture - the regional modernist architecture championed by Paul Rudolph, who left Sarasota to become one of the most important American architects of the 20th century.

While better known for controversial Brutalist landmarks such as the School of Art & Architecture at Yale, Rudolph liked to say that his favorite design was the Walker Guest Cottage on Sanibel, a clever and compact response to the island's subtropical climate. He dubbed it the "Sanibel Spider" for its light-footed approach to its sandy location.

Brosmith designed Noble Camp, his first solo project, five years after he was asked to run Rudolph's Sarasota office in 1953.

Rudolph's modern architecture attracted the attention of Peter M. Hart when he lived in Waterbury, Conn. Hart found Rudolph - by then the dean of nearby Yale's School of Architecture - too busy to take on such a small project, but Brosmith was ready to venture out on his own and discussed the project with Hart.

It was a good match, and Hart invited Brosmith to design the family's island home.

Hart, 92, has nothing but praise for his architect, who subsequently went on to design an "extraordinary" family beach house in the West Indies years later.

"Bert is a designer all the way - so very particular in all aspects of location and prevailing climate, etc. His knowledge of construction seems limitless and so, too, his patience with builders who lacked experience," Hart said in an e-mail.

LIFE AMID NATURE

Brosmith succinctly describes the cottage as "a simple elevated platform on a secluded island." The central square platform is raised on four columns with decks cantilevered from these columns on all sides.

He designed Noble Camp high enough to be above the vegetation. Raising the cottage high off the ground saved it from flooding and spared it serious damage when Hurricane Donna slammed Southwest Florida in September 1960.

External walls of large sliding windows or screens allow natural breezes to ventilate and cool the interior.

Inside, it's open and abundant with daylight. And in the beginning, before the trees grew too high, views were offered in every direction: over the island, the inland waterway and the Gulf of Mexico.

Screened porches are positioned to overlook the inland waterway to the east and the Gulf of Mexico to the west.

Irene Fascher particularly relishes the timeless pleasure of watching the tides.

"Throughout the seasons, during the neap tides and spring tides, especially in the evening, the place takes on an ethereal and spiritual quality which really makes me thankful for the beauty of the area," she wrote.

WHAT TO DO?

But like many modern structures built within living memory, Hart Cottage is now threatened to deteriorate beyond repair and at some point may simply be torn down despite its significance.

In practical terms the cost of renovation is difficult to justify - more than likely these costs will be greater than the monetary value of the property. Not surprisingly, builders add in high margins to justify the risk of working in a remote location with unknown variables such as weather and unforeseen problems such as rot.

Ideally, neglected modern properties such as Hart Cottage can be rescued before it is too late. There is much to be learned from them.

But in order to save Hart Cottage, public money or private sponsorship will be necessary to subsidize the renovations.

That's a challenge, but not impossible, in today's recovering economy.

"We are still in the 'limbo' stage ... contemplating the 'regs' necessary to even get started," Fascher wrote recently. "We want to save the cottage, but need financial assistance to augment the cost."

The family is exploring partnership/shared use possibilities, and volunteers are welcome. The family would be happy to bring others appreciative of its charms into this mid-century masterpiece's magical island circle.

"When looking out from the decks or windows of the cottage, the feeling tone is one of complete connection to nature," Fascher wrote.

"The bonding of the viewer to the flora and fauna is incredible. It generates an appreciation and respect for the land."

BERT BROSMITH

Born: In 1928 in West Hartford, Conn. He lives in Westchester County, N.Y., and still is a practicing architect.
Education: Completed graduate work at the University of Pennsylvania, where he met and befriended visiting professor Paul Rudolph.
Brosmith's natural talent caught Rudolph's attention and he was selected to run the office in Sarasota in 1953 when Rudolph moved to New Haven to become the Dean of Yale's School of Architecture and take on larger projects (a big honor right out of school).
Approach: Brosmith learned from and with Rudolph about "architecture as space," which he still feels is the essence of architecture. It's not about focusing on what is built, i.e. the walls, floors, doors and windows, but defining boundaries and connections between functions and the outdoors and understanding how a person navigates between spaces. It's the "space" that creates the experience.
Born: In 1928 in West Hartford, Conn. He lives in Westchester County, N.Y., and still is a practicing architect
Education: Completed graduate work at the University of Pennsylvania, where he met and befriended visiting professor Paul Rudolph.
Brosmith's natural talent caught Rudolph's attention and he was selected to run the office in Sarasota in 1953 when Rudolph moved to New Haven to become the Dean of Yale's School of Architecture and take on larger projects (a big honor right out of school).
Approach: Brosmith learned from and with Rudolph about "architecture as space," which he still feels is the essence of architecture. It's not about focusing on what is built, i.e. the walls, floors, doors and windows, but defining boundaries and connections between functions and the outdoors and understanding how a person navigates between spaces. It's the "space" that creates the experience.

Brosmith, like Rudolph, advocates site-sensitive design, incorporating indigenous materials in construction and building in harmony with the native landscape, environmental conditions and the culture.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Architecture surrounds Lee, Collier county lives

Sat, 11 Dec 2010 17:00:00 GMT

Architecture is defined as the design of structures, and its most basic function is to shelter us — but it’s more than that. We’re surrounded by it and it impacts our lives on a daily basis, sometimes for better and sometimes for worse. Most often, it’s unconscious.

Buildings play a continuous role in our lives, but what is it about a building’s design that makes an impression?

In architecture, design is a plural concept with multiple tangible factors: size, function, location, style, and age to name a few, as well as subjective meaning and interpretation. The experience of a building will vary from person to person based on their background, their education and cultural and economic status. It’s a personal and individual response.

More than just bricks and mortar, well-designed architecture serves its inhabitants and responds to its place. It may not be large or eye-catching or trendy but it serves its purpose well and makes a positive contribution to its location and society.

Sometimes architecture is sculptural or aspires to be art — the most public form of art. Think of the old Edison Theatre downtown.

At times it creates attractive outdoor space. Think of the Bell Tower Shops.

Involuntarily, architecture affects our senses; it can enrich our lives and can provoke disgust. The best inspires positive emotion, good memories or an intellectual response.

Last month, as president of the local chapter of the American Institute of Architects, I had the privilege of presenting our members with the prestigious AIA Design Honor Awards. The winning designs, both built and unbuilt, exceed expectations and are recognized for design excellence.

Selected by design professionals from out the area, every architect is honored to have their building recognized as a “superior design” by their peers.

But it is time the community has its say.

I want to hear from you. Is there a local building that has enriched your life — a structure that caught your attention or moved you? Let’s identify the best in Southwest Florida together and celebrate them.

Perhaps it’s classical, like the Sidney & Berne Davis Art Center, historically significant like the Edison Home or even strikingly modern like the landmark Dental Office on College Parkway with the wavy yellow roof. Be it a home or a public building: a church, a school or place of work — tell me about it. I want your input, your nominations and your votes.

And what is it about the building that impacted you? Is it an interior space, its scale, the materials, textures or color, or the light? It may be its remarkable appearance or a feeling evoked when you entered, or perhaps you noticed an increase in productivity of the workforce that occupies it.

Like the people who live here, architecture in Southwest Florida reflects a variety of backgrounds with a rich history. Local and international architects have provided the area with a mix of styles and building types. We have a large pool from which to choose.

Old or new, big or small, here is your opportunity to voice your opinion about the buildings in Southwest Florida that have made an impact on you.

And let’s learn from them. By determining the most influential and appropriate buildings in our community, we will determine what good design and good architecture mean here. Ultimately, arming ourselves with the tools to make educated decisions to better navigate the growth and changes of our built environment in the future.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Oasis designer gets "A" for effort

Sat, 13 Nov 2010 17:00:00 GMT

A weekend in Chicago, the First City of American Architecture, and I found myself immersed in a sea of Architecture with a capital A — buildings appropriately designed for their time and place. With tall buildings still fresh in my mind, I went questing among those recently built along the Caloosahatchee for Appropriate Architecture.

In the past few years I’ve watched the high-rises crop up with curiosity and some apprehension. But one in particular, Oasis, caught my attention since the unveiling of the pre-construction billboards back in 2005.

So I jumped at a timely invitation to tour the waterfront condominium community and interview the developer, Jorge Perez. Perez speaks of Oasis as an experiment, recognizing it is architecturally ambitious for Southwest Florida but insisting the outcome is not about style but instead a suitable response for Fort Myers.

He talks passionately in broad concepts: light, air, breezes, indoor/outdoor lifestyles and importantly, paying attention to local sensibilities — location and climate.

From the beginning, Perez knew what he didn’t want: a high-rise with small windows, dark insect screens and bulky railings that restrict marvelous views of the Caloosahatchee and downtown and hamper natural daylight and river breezes.

Cuban-born architect Hector Valdivia was appointed to conceptualize his ambitious ideas and together they have created what the marketing brochures don’t tell you: Oasis is an elegantly designed complex characterized by a response to the climate, making the most of a fantastic waterfront location in a challenging neglected neighborhood.

The outcome is not shockingly modern, but appropriate and timeless.

Riverside Park and a growing appreciation of the nearby historic architecture have prompted the beginnings of regeneration in an area that has been less desirable for years, and Perez is determined his development will contribute, not detract, from the progress made in recent years.

Tall and slender, the residential towers of Oasis stand gracefully at the water’s edge. The two buildings are by design thin to reduce the visual impact inherent of high rises. The bonus: shallow floor plans that encourage breezes to easily flow through the units.

Gently curved balconies serving as sunshades to the units below mimic ripples on the water and unconsciously soften the perception of the new towers in the neighborhood. Notably, every elevation is equally well-designed. The outcome: no side turns its back to the street.

Inside, both public and private spaces, e.g. the units and common areas, encourage an indoor/outdoor lifestyle and from inception were designed to maximize views out and usher daylight in.

Modest in size, the living units are open plan: kitchens flow in to living/dining spaces and the units extend front to back. Oversized sliding doors, floor-to-ceiling windows and clear glass balustrades ensure unobstructed views. Daylight pours in and makes its way deep into the units. The balconies wrap the buildings, not only encouraging outdoor living but psychologically expanding the indoor space out.

Common areas get the same treatment. They are filled with daylight and oriented toward the water.

Perez has watched over every detail large and small — right down to choosing the artwork — ensuring an atmosphere that is contemporary but not brutally modern. After all, this is Fort Myers, not Miami or Buenos Aires.

One might argue in hindsight that Southwest Florida doesn’t need two 32-story high-rise condominium towers, but it's difficult to argue with the outcome — a sophisticated upgrade to a long ignored neighborhood-right on the river.

And the considered design is certainly “A”ppropriate for here.

As for the other high-rises — their residents will benefit the most. From high up they will enjoy the best view of the two elegant towers.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Architectural screens in transformation

Sat, 09 Oct 2010 16:00:00 GMT

Ever notice those decorative concrete screens used on older homes around town? The semi-transparent block walls typically found on homes built in the 1950s and ’60s?

Architectural screens found on commercial buildings and residences are aesthetically pleasing, but more often than not, they are versatile and functional and fun. I often wonder — why did they fall out of fashion?

In hot climates, a variety of architectural sun protection screens appeared during the midcentury in an assortment of materials and styles; the most common were masonry walls, wood louvers and metal grilles.

Here, screens were often made of 16-inch square semi-open concrete block, referred to as “screen or solar block” — standardized off-the-shelf decorative units sold locally. But exclusive patterns were sometimes produced for a distinctive look.

On occasion, bricks were used. Laid at various angles, airspace made brick walls semi-transparent as well. Suddenly load-bearing brick and block walls appeared lightweight and delicate.

Metal screens and wood louvers crafted during this era were used as infill panels, vertically and horizontally. Whether modestly linear or designed with complex organic forms, they were elegant and transparent functional works of art with that space age, futuristic feel of the era.

While architectural screens created to filter harsh sunlight have early roots in Islamic architecture, mid-century screens are a distinctly American product that became very appealing in Sun Belt communities, including Southwest Florida.

Interestingly, patterns were individual to their own region. Hundreds of different designs were manufactured but what they all had in common was geometric repetition — regularized patterns put together to form more complex rhythmic configurations.

Whatever the material or pattern, these screens are multifunctional. Not only do they provide sun protection, but they offer diffused light and security without windows or shutters while providing permanent ventilation.

Initially they can appear static, but the patterns ensure endless variation. Depending on the time of day and season, shadows alter the surface and the appearance of the cutouts, while behind the screens, intricate shadows and reflections evolve and transform.

On my own street, which has an unusually high number of midcentury CBS (concrete block stucco) homes built in the late ’50s, courtyard entries are common. Screen blocks, in a variety of patterns, create semi-private outdoor rooms. These permeable walls guarantee breezes flow through open windows beyond and light gently transfers from one space into the next, blurring the line between inside and out.

Fortunately, architectural screens are not something of the past, nor have they fallen out of favor. In fact, they are currently experiencing a remarkable resurgence and advances in technology are allowing for endless reinterpretations.

They have progressed; now they fold, revolve, bend and slide and can be found made of mesh, wood, and woven or perforated metal in a multitude of patterns, or made of resin and twisted and turned into sculptural forms. They’re handrails, space separators, lights, protection from impact, horizontally hung as a ceiling or simply ornamentation or art — and are still used as defense against the sun.

The architectural screen isn’t lost, and elsewhere, it is undergoing an amazing technical evolution.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Illumination has key role in plans

Sat, 11 Sep 2010 16:00:00 GMT

Would it come as a surprise to learn an architect doesn't design a building by starting with the plan? Initially we consider the site; topology and built and un-built characteristics; views, adjacent structures, vegetation and direction of the winds and the sun. Then we imagine the volume of the building and determine where it should be located.

Illumination plays a crucial role in determining the plan. I anticipate the effect of natural and artificial light on the building, how it will be experienced from the inside and how it will be perceived from the outside — not only in the day, but importantly, at night.

Will the building glow from the inside? Which means glazed openings must be strategically located. Or, should it be lit from the outside? Which implies solid walls to reflect light.

Some areas require accent light while less significant sections need only subtle light, or left shadowy and dark. Illumination just outside a window or door creates the perception of the inside extending out.

Architectural lighting can be functional for purposes of safety, to light a path, a parking lot or a flight of stairs, but once mastered will differentiate a building or place. It is possible to create something moody, artistic and playful as well.

I have designed blank walls with the sole intention of lighting vegetation in a manner that generates dramatic shadows that become animated in the darkness — well before I have even considered the plan.

Is it evident I am fascinated with the possibilities of light? Apparently, despite evidence that outdoor lighting is becoming a lost art, I am not alone.

Marc Schmitz, area manager at Envision Lighting Systems LLC, has worked in the lighting industry since 1992 and passionately shared his expertise.

Initially Marc identifies focal points — areas that will benefit most from accent lighting. For additional visual interest, secondary architectural features and objects in the foreground, vegetation and sculptures, are more subtly lit. This technique creates depth and perspective.

His favorite trick is “grazing.” Grazing refers to light gently spread across a surface. It requires placing the light source directly adjacent to the surface instead of several feet away.

Marc explains that light directed at a surface from a distance tends to wash out texture. Grazing objects, whether a building or a royal palm, looks spectacular at night. Textures emerge from the dark.

When asked about which lights are the most effective outdoors, Marc confirmed metal halide lamps are his choice. “They are more efficient. Not only lumens per watt, but dollars per lumen — they’re the best bang for the buck.”

“LEDs are coming along too but must be used with care. Unfortunately, there are so many new LED products springing up. It’s easy to get sucked into using an inferior fixture just to lay claim to using LEDs.”

The light outside, artificial or otherwise, is as critical as light inside. It is a fundamental design factor, one of many, essential to be considered before plans are drawn.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Miami Modern earned the status it deserves

Sat, 10 Jul 2010 16:00:00 GMT

A couple of hours’ drive and Miami feels a million miles away.

I was there exploring a few weeks back and easily identified an assortment of fine architectural styles particular to Florida’s east coast. Over the past century, this investment in good design has paid off, creating an architectural identity unique to that area.

During the land boom of the 1920s, the rich and famous who discovered the temperate winter climate of South Florida built landmark estates and resorts in the Mediterranean Revival Style — an eclectic combination of styles originally found in Tuscany, Venice and Spain.

On Miami Beach, the international Art Deco style evolved into “Streamline Moderne” Art Deco, i.e. long, low horizontal buildings reminiscent of ships: incorporating curved forms and minimal, often nautical details. The traditional decorative and geometric Art Deco was stripped of its excess perhaps as a reaction to the simpler and more austere economic times of the 1930s.

But on the east coast there is much more than just the well-publicized Art Deco of South Beach and the occasional Spanish Revival landmarks.

The designs of the past 20 years are sleek, chic, typically white and often designed by internationally known architects. The architecture of recent years has made Miami and its environs a world-class city worthy of note.

What struck me, however, is the lesser-known and until recently, neglected postwar Miami modernist architecture — better known by its acronym MiMo (MY-Moe).

Like the midcentury architecture of the west coast of Florida, MiMo was a regional response to the modern movement in progress globally since the 1920s.

Similar to the buildings on the west coast of Florida, modern buildings in Miami were deliberately designed to adapt to the climate; providing relief from the sweltering sun and shelter from torrential rains of south Florida, simultaneously incorporating modern technologies of the day.

However, on the east coast this midcentury style split into two styles. First, the more functional sub-tropical approach, not dissimilar to the architecture of the Sarasota School. The other became a more fashionable architecture, which mimicked the mind-set of the rich and postwar growing middle class.

MiMo resort architecture playfully integrated elements of fun: vibrant color, cantilevers, curves and circular openings. Instantly these buildings became affiliated with the exotic as well as the glamour and extravagance of a resort lifestyle. Soon Miami’s unique modern style was easily recognized, not only in resorts, but also in monuments, commercial and residential buildings.

Although scattered along the east cost, the largest concentrations of MiMo can found on Miami Beach at the north end of Collins Avenue and the length of pedestrian promenade of Lincoln Road, and in Miami, along Biscayne Boulevard and dotted throughout the Design District. MiMo can also be found in abundance in Fort Lauderdale.

The Fontainebleau (1954) and the Eden Roc (1956), adjacent hotels on Collins Avenue designed by whimsical architect Morris Lapidus, are luxurious resorts that epitomize MiMo. Lapidus did not agree with the modernist school theory — that “less is more”. Instead he sincerely believed “Too Much is Never Enough” (coincidentally, the title of his autobiography). His interiors and exteriors are frivolous, fun and flamboyant. He created buildings to make holiday-goers happy.

Today, these buildings are being recognized as valuable to the identity of their community and are being preserved. On our coast we have buildings of similar architectural interest and value, but little is being done to protect them. These carefully considered, strong designs shouldn’t be lost but treasured.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Architecture: Historic designation process explained

Sat, 12 Jun 2010 16:00:00 GMT

At the 2010 Annual Statewide Preservation Conference of the Florida Trust for Historic Preservation in Fort Myers in May, I joined two preservationists from the east coast to present a seminar on creating historic districts.

But just what does all this preservation jargon mean? What are the designations and what do they mean for the owner of a historic building?
I went to Jared Beck, principal planner for Fort Myers, and asked questions. He took me through the programs and the opportunities.

Q: What does designation mean in the city of Fort Myers? Does it differ from national designation?

A: A local designation, district or individual, allows a property or neighborhood to be formally recognized by the city for its historic significance, enabling property owner(s) to work with city staff to make design decisions that respect the historic nature of their property. National designation is similar, but a more rigorous process and far more prestigious.

Q: What is a neighborhood designation?

A: Known as a “district,” it is a concentration of historic structures within a concentrated area, such as Downtown or Dean, Edison and Seminole parks.

Q: How are important buildings or neighborhoods chosen?

A: The reasons vary. A key component is age. However, they are typically selected for their architectural significance and historical importance. If someone of great local or national influence occupied the structure, or if it was the site of a significant historical event or activity, it can be considered.

Q: What are the benefits of designation?

A: There is a great range of benefits:

Financially the city offers the ad valorem tax exemption for both commercial and residential properties when a significant investment is made.

A great sense of community and place is created when an assurance that the character and charm of a neighborhood can be maintained. Therefore properties within designated districts sustain higher property values and often sell more quickly even in a recessed market.

There are financial benefits for the city and state too. Preservation and its related activities is a $4.2 billion revenue generator for the state annually. It stimulates job creation for skilled labor, promotes heritage tourism and increases property value.

Q: What are the restrictions of a designation?

A: Outside of downtown, very few restrictions exist beyond the land development code.

The program is not designed to be restrictive. Instead it provides a mechanism for owners to work with city staff to assist with design decisions to help maintain the historic character of a property and/or neighborhood. Designation does not require approval for routine repair, maintenance or in-kind replacement. And there are no color restrictions of any material, including paint.

Approval is required only if there is a change in materials. And even then, staff recognizes that an owner’s needs will change over time and are flexible about recommendations and decisions.

Q: Can you explain the recently adopted “administrative approval process”

A: This new mechanism, which will be a great benefit to property owners within established districts, allows staff to approve many routine alterations without the need to go to committee.

Q: Will you be looking to designate other neighborhoods?

A: Yes, but we are still in the early stages of the program. There are four exceptional districts already in place. With the greatest concentration of historic structures in Southwest Florida within the city limits, in particular, those neighborhoods along the McGregor corridor, there is potential for a number of additional districts in the future.

Q: Dean Park is an interesting example of a district. How can neighborhood designation tie in with revitalizing an area?

A: Great example. Dean Park had been in decline and faced many challenges prior to designation. As a result of achieving historic designation and by working together with the city, Lee Trust and others, the neighborhood has experienced a renaissance. It is currently in the process of pursuing a National Designation.

Q: What role did the preservation program play in downtown?

A: The program, combined with the city’s tax exemption, allowed the city to work with and incentivize the property owners to research, document, gain approvals, and ultimately restore and rehabilitate nearly all of the historic structures within the district. Today, these efforts combined with the completion of the new streetscape, has made the City of Fort Myers a real gem in Southwest Florida.

Q: Is the list limited to only buildings or neighborhoods?

A: No, in fact, the Tootie McGregor Terry Memorial Fountain on the front lawn of the Fort Myers Country Club and McGregor Boulevard are both locally designated.

Q: Lee Trust for Historic Preservation is also an advocate of preservation. What is their mission?

A: It is the largest nonprofit preservation organization in Southwest Florida and has been a tremendous ally for preservation not only in the city but also throughout Lee County.

Q: Do you get a plaque?

A: The city does not provide a plaque, however The Lee Trust does for individual buildings. For neighborhoods, the Trust is able to work with property owners and various grant sources to pursue installation of plaques.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Midcentury Modern a tool for learning

Sat, 08 May 2010 16:00:00 GMT

Writing an architectural column for The News-Press seemed like a golden opportunity to locally explore and identify the best structures, the best building methods and who was responsible for creating them — past and present. My aim has been to define what good design means in Southwest Florida in order to build more effectively and appropriately for the future.

This year, along with writing and running a business, I am president of the local chapter of the American Institute of Architects (AIA Florida Southwest). With the construction industry hurting it is a challenging — and perhaps less glamorous — time to be at the helm. However, the slowdown in construction has provided the design profession time to reflect on the recent boom and its repercussions on the community and the environment. And think about what comes next.

When the Southwest Florida Museum of History approached the chapter about collaborating on a historical architectural exhibition, looking to the future seemed as relevant as looking to the past. The exhibition shouldn’t be limited to a passive look at the earliest buildings and their history but could be a tool to study those that have stood the test of time in this hot and humid climate.

What can we learn from these earlier structures?

Collectively, it was agreed to focus on the modern designs from the middle of the last century. Examining of this younger indigenous architecture may provide just the right insight into why and what buildings really work here.

This joint exhibition, scheduled for 2011, will celebrate midcentury modern architecture in Fort Myers and its environs.

Our architecture is being recognized internationally for its functional and stylized design tailored to this place — the sun, the rain and occasional extraordinary winds. The Lee County administration offices downtown, the Walker Guest House on Sanibel and Harbour Towers on West First Street all spring to mind.

There is so much to learn and glean from these buildings. And now, we need your help.

The museum is looking for drawings, photos, even surviving architectural models of buildings, commercial, public or residential built from 1940-’60s (possibly into the ’70s). These buildings may still survive or regrettably have been demolished. Unaltered homes and public buildings are being sought for inclusion in the exhibition as original examples of this style.

In addition, the museum will be documenting relevant existing structures for public records, even if not for the exhibition.

In Florida, architects reinterpreted modernism to suit our subtropical climate, resulting in an unconventional approach to shelter specific to this area with its hot and wet climate. I have noted before that the west coast of South Florida is recognized as the birthplace of some of the finest examples of midcentury modern buildings in the world.

WHAT IS MIDCENTURY MODERN?

Midcentury modern is a term used to define developments in furniture and product design as well as architecture and interior design from approximately 1945-’65. In architecture, midcentury modern is a reinterpretation of the modernist principles of the 1920s and 1930s, which responded to their location, regarding materials and climate.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Architect offers perspective on growth

Sat, 13 Mar 2010 17:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

GEORGE BAIL

Age: 89
Wife: Meryon
Education: Graduated from Fort Myers High School in 1939. Learned drafting in his father's office and attended Princeton. Finished graduate school by 1948 after his education was interrupted by the war.
Career: Worked with his father, Frank, for 17 years. Partnered with William R. Frizzell in 1966 for the next 24 years. Was architect of record on churches, hospitals, nursing homes, college buildings, condominiums, private houses (including several off McGregor Boulevard), commercial and industrial buildings; car dealers, libraries, offices and banks.

Did you know?

Did you know there was once a NASA tracking station in Lee County, located just off Daniels Parkway? George Bail designed it during the early part of his career.

Referring to the home her husband had designed in the mid-1950s, Meryon, wife of Fort Myers architect George Bail, quietly pointed out with pride, "You could get to Europe from that house."

Though it was Frank Bail, George's father—also an architect—who bought land on the Caloosahatchee for himself and his family, it was George who designed the houses for his father and his father's sister, himself and his sister, his wife's parents and her aunt. He created a compound of homes that took advantage of the river location with a small lagoon, the natural breezes and spectacular views.

For Meryon and himself, he designed a unique three-winged house for living, cooking and sleeping. Strategically located around a courtyard, the orientation captured the view and the breeze. Each wing was only one room deep to maintain continuous airflow.

The living unit was a multipurpose living space located on the edge of the river. It served foremost as living room and a dance studio where Meryon could teach but over the years filled numerous other functions - a temporary sanctuary for Sunday services of a start-up church, a banquet hall, an intimate concert hall and a ballon volleyball court. It had even been used for roller-skating! The raised wood floors were ideal.

In February George and Meryon Bail joined architect Victor Latvish and me for a local architectural tour. George provided enormous insight into the growth of the area from the 1930s through the '80s.

I had met George a year before -- at his retirement home. It was then he had talked about his father arriving in Southwest Florida in the mid-'30s to "fish for a year" after his large, successful Cleveland architectural practice ran out of work during the Depression.

In 1938, Frank Bail decided to stay, opening a new practice above the First National Bank building at Hendry and First streets in downtown Fort Myers. George jumped a freighter to see the world after graduating from high school.

When he returned, he spent six months in his father's office learning to draft. It was then he knew his father's profession would become his own. He headed to Princeton where he studied architecture under Jean Labatut. While there, he met a number of the most influential architects of the era: Wright, Gropius, Saarinen, Neutra, Mies Van der Rohe who visited lectured at the school during that time.

After finishing graduate school, he returned to Fort Myers. George joined his father for the next 17 years. Fort Myers wasn't really growing yet so he found himself working on projects all over the state, including the master plan and a high rise dormitory for Florida State University, large projects for the military, the Army Corps of Engineers and even NASA.

On our tour, George pointed out where a revolutionary church once stood on Colonial Boulevard. Distinctly of its time, in the age of the automobile, it was a “drive-in church.” Colonial Boulevard United Presbyterian Church was one of two he designed (the larger one is in Bradenton). The church seated 300 inside. Through through glass walls the elevated pulpit under a large skylight was visible to parked cars arranged in arcs on both sides of the sanctuary. Drive-in theater type speakers served each car space.

That's right—it was possible to remain in the car for the entire service.

In time the sanctuary was moved to the McGregor end of the street, ultimately demolished to make way for the Mid-Point Bridge.

After his father's death, in 1964, military work began to slow and in 1966, George joined a partnership with a dynamic architect in town, William R. Frizzell. The firm soon incorporated with Frizzell serving as president until his death in a private plane crash in 1978. George retired as president in 1986.

W.R.Frizzell Architects Inc. grew, with offices in Fort Myers, West Palm Beach, Orlando, and Naples, completing more than 1000 projects.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Big plans for Fort Myers go way back

Sat, 09 Jan 2010 17:00:00 GMT

Imagine the growth of an area without regulations to guide the height, the area and use of buildings to designate open spaces and to propose recommendations for roads, vegetation and plantings.

In fact, that is exactly what was happening in the early 1920s when the Coastal Railroad arrived and the Tamiami Trail linking Tampa to Miami through Fort Myers was completed. This area was booming. Fortuitously, city officials followed the lead of other growing cities and recognized the importance of creating a master plan to direct growth. Well-known city planner Herbert S. Swan of New York City was wisely appointed to prepare the very comprehensive Fort Myers Plan in 1926.

“If one circled the globe, he could not find a location for winter months more conducive to health and enjoyment than is to be found on the Western coast,” Swan said of Fort Myers. Of the downtown, he noted, “First Street was one of the most attractive streets in the world” and he praised the use of the royal palm as a street tree claiming, “one of the greatest assets of Fort Myers is the luxuriant and tropical character of its vegetation shown alike in its gardens and its streets.”

Appreciating the inherent beauty of the area, Swan proceeded to outline an outstanding development plan for the whole city. He placed a high priority on coherently connecting the city with a comprehensive traffic and railroad plan and suggested the acquisition of specific sites for more parks and parkways. He also pushed for a major public recreational area on reclaimed riverside land with an integrated yacht basin and public pier, which would become vital to visitors and residents alike.

The plan also contained advice on schools, street cleaning, sanitation and a planting plan, and recommendations to regulate public buildings/housing and zoning, including the establishment of a building department and a code specific to construction in South Florida.

Prophetically, Swan warned attention should to be paid to its neglected river. “The Caloosahatchee River is, second to its tropical climate, Fort Myers’ greatest natural asset. Yet the city has up to the present practically turned its back upon the river as if it is ashamed of it,” he indignantly noted. His advice was to immediately prevent further pollution and begin the river park, cautioning against waiting too long.

The Fort Myers Downtown Plan, prepared in 1986, for the new Downtown Redevelopment Agency, kick-started the renaissance of downtown after years of decline. Don Paight, executive director since the inception of the DRA (now referred to as the Fort Myers Redevelopment Agency), feels it was a vital plan that provided the catalyst for creating Centennial Park, the building of Harborside Event Center and encouraging the public acquisition of private land, ensuring city and county government offices would remain downtown.

This plan too emphasized the development of the riverfront.

Most recently the 2003 Duany Plater-Zyberk Plan seeks to re-establish an urban character downtown and, with the completion of the downtown streetscape project, has successfully brought the city visually back to its original splendor.

Currently in the approval stage, another master plan spearheaded by design firm Populous focuses on the area adjacent to the river. It is this proposal that may finally bring to fruition the most urgent project of the Swan plan: the development of the riverfront, providing an opportunity for Fort Myers, in Swan’s words, “to become the most attractive city in South Florida, unrivaled in many respects.”

From 11 a.m. to 4 p.m. on Jan. 16, the city will celebrate The Anniversary, a historic celebration of the architectural, social and cultural significance of the downtown Fort Myers River District and the 20 years it has been listed on the National Register of Historic Places.

At this event, the local chapter of the American Institute of Architects will be hosting an exhibition of Downtown Master Plans — including the Fort Myers Plan of 1926 — in the McCrory Building, 1525 Hendry St. Here you will be able to see the evolution of the city and the plans for the future.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Midcentury Modernism goes to church

Sat, 12 Dec 2009 17:00:00 GMT

My father, a wise man, always told me to become a church architect. Perhaps when he was a young man, he witnessed religious designs depart from the traditional and radically evolve into community places of worship that provided endless opportunities to explore new forms and innovative ideas.

Last month, when I mentioned a few midcentury architects and their buildings in Southwest Florida, I received dozens of replies from readers, reminding me that churches designed during this period provide excellent examples of the modern architecture of the middle 20th century.

Local architects here were designing in parallel with the architects of the Sarasota School of Architecture, experimenting with forms, climate, daylight and the latest in technology and materials.

In Sarasota, one architect, Victor Lundy, pushed the limits of technology and tried new shapes. His two influential churches of this period for the congregation of St. Paul’s Lutheran still stand side by side: the smaller built in 1958, which served as the original church until the adjacent grander sanctuary was built over the next 10 years or so.

Lundy used curved laminated wood beams in both roofs to span great distances and leave the interior spaces column free. With their impressive inverted arched roofs, which soar steeply upward like the Gothic churches of Europe, both have become icons of the era.

Here, there are countless impressive examples that reflect a similar level of the experimentation in modern design.

St. Francis Xavier (circa 1940s) on Victoria Avenue subtly hints of early change. The exterior and the interior details are contemporary for their day, though the roof forms and crucifix plan — meaning it is a cross shape from the air — remains traditional.

The First Church of Christian Science (1961) at the southern end of West First Street and St. Hilary (1967-68) at McGregor and Colonial boulevards — designed by architect Robert H. Matts — are major departures from time-honored religious designs. The crucifix plan was abandoned and instead Matts incorporated understated cut corners in the former and a circular sanctuary in the latter, creating very distinct interior spaces.

Shortly after, St. Cecilia was built (1968), designed by church architect Edgar Wilson of the practice, Gundersen Wilson Architects. The elegant curved roofs and large sweeping overhangs were undeniably fresh and new.

Wilson was a master of ecclesiastic designs during this time. For two of the Catholic churches designed 15 years apart by he and his practice, St. Cecilia in south Fort Myers and Church of the Resurrection of Our Lord (1983) on Cypress Lake Boulevard, rejected the trend to build large hall-like spaces and instead, adhered to more traditional church plans. Nonetheless Wilson clearly positioned them, inside and out, in the 20th century. In sharp contrast to the lavish and ornate Catholic churches of the past, they are simple and unadorned.

Zion Lutheran Church on Winkler Road, also a Gundersen Wilson design, is a large hall but the ancillary buildings, the walkways and the bell tower — gently abstracted elements of conventional church design — are stunningly handsome.

Often overlooked while driving at high speeds on Cleveland Avenue are the dramatic sloping roofs and walled religious complex of St. Luke’s Episcopal. An award-winning design built in 1969 and designed by McBryde Parker Architects, (now Parker Mudgett Smith Architects), it was cutting edge in its day and only the large white cross on the road identifies it as a place of worship.

Interestingly, the expansive mono-pitched roofs, white walls and internal courtyards don’t architecturally scream “church,” but the covered arched arcades, its chunkiness and the sparseness of details are monastically reminiscent inside and out.

There are countless others as well. Advances in technology allowed religious buildings of the middle century to move away from traditional forms. The architectural vocabulary pushed new limits, representing a crossroads in design that paved the way for even more radical church and temple designs in the later half of the century — McGregor Baptist on Colonial, St. Columbkille on Iona Road and Temple Beth El on south Winkler, to name a few.

And yes, my father was right. When I got my chance, I found ecclesiastical design more fulfilling than any other building type — though admittedly, I was appreciably influenced by the innovative ideas tested by a whole generation of very good architects before me.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Buildings remain, but who were the architects? Modernist examples abundant locally

Sat, 14 Nov 2009 17:00:00 GMT

Recently, in the office, we conducted a simple visitors’ survey: name an architect other than Frank Lloyd Wright. The most common answer: Mike Brady, the Brady Bunch dad who faked some dreadful, made-for-TV designs. Second, a handful of mentions for architect Michael Graves, not for his buildings but for the cool products he designed for Target.

It makes me wonder — why do architects, who shape and influence so many aspects of the peoples’ lives, remain anonymous?

Every place has its own unique history and frequently it is the buildings that remain, which remind us of the people and events of an era and an area.

In the middle part of the last century, this area was growing exponentially. Modern buildings were designed then with simple forms and a lack of ornamentation, and the climate-sensitive mid-century style became the dominant approach for religious, institutional and residential architecture for at least three decades.

Currently, the rest of the country is experiencing a revival of modernism. Public awareness, magazines and Web sites are on the increase. Oddly here, where we have countless fabulous examples due to the significant growth during that era, there is little or no appreciation. This time frame of development has not yet been acknowledged as “historical,” even though these buildings, now up to 60 years old, contribute greatly to the uniqueness of south Florida.

Many of the structures here, built after World War II, were the vision of talented local architects. But just who were these modernist architects who were instrumental in shaping the built environment of the middle 20th century?

In February, at the funeral of Edgar A Wilson (1924-2009), local architect, who designed some of the finest modern buildings in the area, it became obvious it was time to focus on the visionaries of these buildings, which hold a part of our middle 20th century history.

Wilson’s experience was diverse. His earlier projects include Fort Myers High School, built in 1949, when he was working locally for a Tampa architect. And shortly after, on his own, he designed the playful modernist fire station at Central Avenue and Dr. Martin Luther King Jr. Boulevard.

Other significant landmarks — either in partnership with Martin Gundersen or on his own — include the Lee County Administration Office Building (a fine example of mid-century architecture), The Sanibel School, the U.S. Post Office Building on Fort Myers Beach and numerous houses, including several of his own, on Hill and Grove Avenues in Fort Myers.

Churches were his true passion. He designed at least 17, including St. Cecilia, St. Leo’s, and Resurrection of Our Lord Catholic churches.

His churches alone position Wilson as an architect exemplifying great talent and showcase his humble ability to create extraordinary places and spaces.

There are other local architects: Martin Gundersen, Ray Jenson, George Bail, Mark Hampton, William Frizzell, Bert Brosmith and school architect Bolton McBryde, to name a few, who each made their contribution to this era.

Do you know of a local architect or a modern building that has inspired or impacted you? Perhaps you live in a house, or work in an office designed by one of the area’s legends. Or perhaps you have knowledge of mid-century or modern building that has been demolished, which must be remembered.

I would like to solicit your help. Do or did you know one of these men, or others? Do you live or work in a unique modern or mid-century home or office? Do you have an architectural anecdote? Email me , send photos, tell me a story and I will try to piece together the history of an era through the buildings that remain.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Good design will save energy

Fri, 09 Oct 2009 16:00:00 GMT

This past month I did an “energy audit” on my house and identified the things that needed to change to bring my bill down.

I’m fortunate; I live in a 1950s house successfully designed for the Florida climate. We already have low cooling costs and though the air conditioner is old, it’s not used enough to justify a new one, even with the federal tax credits available. My appliances are Energy Star and we use minimal hot water.

So, a few minor adjustments to the lights and fans made us about as efficient as we can get in a hot and humid climate.

Why is it that some buildings are naturally more energy efficient than others?

Designing for the climate makes it possible to save energy and money in the long run. But don’t listen to the snowbirds about how they build up North. In the Sunshine State, it’s often necessary do just the opposite.

Take “passive solar” design. In most of the country, passive solar refers to maximizing sun exposure, and saving the heat generated by the sun as a method of supplementing heating systems. The warmth captured in the day is saved for heating at night.

Whether remodeling or building new, in the home or place of business, passive solar design in Florida is about simple design considerations that significantly improve cooling, not heating.

From the start, consider the orientation and how the angle of the sun affects a building. Remember the sun’s location in the sky changes with the seasons: in the summer the sun is high and in the winter it is very low.

This far south, it is essential to keep the sun out three quarters of the year. In the winter, when it is low, it can be used in small amounts, to warm buildings.

As a general rule of thumb, orienting the length of a building east to west is best everywhere.

However, in the South, exposing the long southern wall to the sun maximizes heat gain. Using substantial overhangs or a porch can effectively shade the wall and the windows. Carefully locating landscaping works equally well — two huge live oaks in my backyard keep the roof and south wall shaded all day long.

At the very least, ensure all windows on this side are protected with sunshades, awnings, shutters or sun control films.

It’s important to be strategic when locating windows and doors. The north side is for daylight: lots of windows, great light, and less energy needed for artificial light.

In Florida, east and west facing walls are traditionally difficult because the strongest sunlight comes in at a low angle, especially late on a hot afternoon. These should be the short sides of the building. Use fewer, smaller windows or consider locating porches or balconies on these ends as well. They shade walls exposed to a variety of sun angles, and can help cool the air before it comes inside.

To minimize the heat gain of the late afternoons, locate the garage or storage space on the west side for an effective insulator between the hot sun and air-conditioned spaces. My open carport and walk-in storage room in the west side completely shield me from the searing western sun.

For roofs and walls, down here, the lighter the color the better, and reflective materials such as metal roofs are ideal.

Know enough? Go ahead and conceptualize your next building, or do your own energy audit on the one you’re in to make it more energy efficient.

Now you know the principles that drive my designs — except we didn’t discuss methods of building to keep the cool in, the hot out or how the inside can encourage the exchange of air: cool air replacing hot air.

There’s a whole other set of considerations that reduce the consumption of energy.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Remodeling makes more sense these days

Sat, 12 Sep 2009 16:00:00 GMT

I’ve been traveling again: three countries in three weeks, and wherever I went I raised the question, how do you feel about the economy? The answer was always the same: phew, the worst is over.

Combined with the national news that the rise in unemployment has slowed and people have savings for the first time in five decades, it makes me think - is it time for Southwest Florida to start building again?

With an overabundance of strip centers and foreclosures, I'm not advocating building more of the same. Whether it's your workplace or home, right now it's remodeling that makes sense when there is so much existing stock.

It's time to put that remodel project back on the front burner - before the builders get too busy again or inflation kicks in. If you have access to funds, and have considered making a change, invest. You'll use and enjoy your investment now, for less than you'll pay later. Make what you have work better for you.

But if you want a workable solution and keep costs in check, don't forget the architect, an upfront investment that will repay your efforts in money saved and the end result.

No matter the size or the scope, most building owners need help making decisions about the options available and understanding what's feasible and appropriate for their needs, budget and existing building. It is the experienced architect who understands the process from beginning to end and recognizes what can be accomplished to ensure it's good design that meets the objectives, complies with local building codes, and avoids costly mistakes.

As an architect experienced with old and new buildings, I appreciate the power and limitations of renovation. And some architects, like me, licensed to do interior design as well, are able to provide a holistic service from outside to inside, ensuring function and an attractive unified look.

In business, bad space planning, poor lighting and old furniture can be as cumbersome to production as that old computer in the back room. At home, the creative architect recognizes, for kitchens and bathrooms, it's more than new cabinets and tiles. Simply moving a wall or incorporating daylight can energize an ordinary space.

In few hours it is possible to study the existing situation and propose simple outline solutions. Will the increased floor area overwhelm the existing? Will the needs of the business or family be different in a few years and are the new plans flexible enough to accommodate change? Does the budget match your dreams?

Of course, drawing up plans for construction and permitting is a larger investment, but will be quickly recouped when the first mistake is avoided.

It's no surprise to anyone who has done a renovation project to watch costs and time get away. Keep the architect on board during the construction phase, to ensure the work is done in accordance with the drawings, answer questions, check material selections, maintain progress, and keep the budget in check.

Surprised to learn you'll actually save money? You can if you invest wisely from the start.

These days, it's all about minimizing your investment and maximizing your assets.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Gora's final thoughts recalled

Sat, 08 Aug 2009 16:00:00 GMT

Last weekend in Tampa, Bruce Gora was posthumously honored at the annual Florida American Institute of Architects convention with the 2009 Silver Medal Award for Community Service. His wife Carolyn, two brothers, his business partner, Dan McGahey, and colleague, Ken Buschle, accepted the award on his behalf.

I sat with Bruce in his modern house in Fort Myers last November, a few weeks before he passed away Dec. 18.

We covered all subjects architectural: the good, the bad, the ugly, the expectations, the frustrations and what we could anticipate for the future.

Bruce’s eyes looked very tired, but his mind was racing and he wasn’t able to hide his enthusiasm or his frustrations about the industry. A deeply passionate man, he cared about his community on many levels.

“There was a certain simplicity about the buildings in Southwest Florida when I arrived here in 1976. The older buildings of the ’50s and ’60s were designed by talented architects greatly influenced by the Sarasota School — elegant modern designs that acknowledged the climate, an overabundance of sun and the torrential rains of the summer...Even the more recent building of the ’70s, though less about the artistic and all about function, were clean and straightforward structures, built for this place,” he said.

Not long after Bruce settled here, he set up his own practice, building medical and other office buildings. He got the reputation as an architect who exceeded the client’s expectations by creating buildings that not only functioned but were pleasant places to live or work.

Early clients, often doctors, still practice in the same buildings because they are full of natural light with floor to ceiling windows that open out to mature vegetation.

More recently, though, it hasn’t been easy to convince clients that good design pays off. “It just isn’t the priority it once was in Florida, when some of the best buildings in the world were being designed right here,” Bruce unhappily admitted.

A number of factors have influenced architecture and the public’s perception of what should be built.

Design Committees have sprung up in every community, which frustrate the natural process of design. The guidelines created by these groups were originally intended to provide a framework for limiting scale and articulating mass. Instead, booklets have been produced that contain cartooned examples of buildings that are interpreted as Mediterranean or mediocre old fashioned buildings. In order meet the codes, the guidelines encourage developers and clients to poorly replicate traditional designs instead of innovating new.

Historical boards, organized for the purpose of protection and preservation of old buildings now dictate new buildings look old. Bruce and I concurred, new buildings, next to old or within an historical area must be differentiated from the structures of the past. They must be new, functional and of our time, otherwise, we are creating a fake history – a historical architecture that never existed.

As practicing architects, we both agree it is more difficult than ever to convince clients that hiring an architect is not just a necessary evil to get plans through the building department.*

Bruce spoke highly of other talented architects in the area, his contemporaries and often his professional rivals.

Again, I sensed a profound frustration as he expressed concern about the talented young architects who arrived here during the building boom. He deliberated how to keep them here to benefit our community in the future. Even in November though, the recession had taken a toll on the construction industry and he appreciated with few projects and even less of them, interesting design, they would move on.*

Bruce had no regrets about his past but remained deeply concern about the present and most importantly, he still cared, passionately, about the future.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

*Submitted but not published = Gora Unplugged

Joyce Owens FAIA RIBA

Sarasota icon gone but not forgotten - Riverview High School

Sat, 11 Jul 2009 16:00:00 GMT

Riverview High School, age 51, of Sarasota, Florida, was reduced to a pile of rubble on June 13.

Built in 1958, Riverview was the first public building in Florida designed by Paul Rudolph. The internationally respected architect, who designed several houses in Lee County - including the iconic Walker Guest House on Sanibel - was the undisputed leader of the Sarasota School of Architecture, which is south Florida's own regionally adapted version of modern architecture of the mid-century.

Testimonies and letters from preservationists, historians, architects and concerned citizens from around the world made clear to the Sarasota School Board its historic and architectural importance. After much debate, fundraising and an international design competition to find another use, it could not be rescued.

Despite this global campaign, the school board voted last year to move forward with the demolition.

So just why is it that many modern buildings like Riverview High School - once considered daring, slick and iconic models for social change - are now forgotten, neglected, altered beyond recognition or even bulldozed?

Modern architecture is defined as a variety of building styles that share simplicity of form and a lack of ornamentation. Although the principles were conceived and adopted in the first half of the 20th century, the popularity of this building style did not catch on in the United States until after World War ll.

In Florida, the Sarasota School's distinct approach to modern architecture considered the local climate and created a relationship with the landscape. Sunshades, large sliding doors, ventilation and jalousie windows are common features of this style, built between 1940 and the mid-1960s.

Riverview High School, one of the most progressive schools of its day, epitomized the Sarasota School's principles.

When I toured the school in the summer of 2007, what struck me most was how effectively these buildings had been tailored to a subtropical climate.

Pioneering solutions integrated natural daylight, minimized direct sun and maximized ventilation.

The buildings were arranged in a 'U' shape, creating an open plaza in the center. A distinctive freestanding covered walkway of horizontal planes completed the square on the fourth side. This configuration ensured students were always protected from the sun and rain.

The two-story classroom buildings were designed with generous corridors open at both ends to ensure a constant cross breeze. Internal high-level windows in the classrooms ran the length of these corridors and on the second level; the floors once had narrow slots open to below along each side. Hot air was naturally drawn out of the classrooms and corridors, rising up and out clerestory windows in the hallway.

Before air conditioning, it worked. But the incorporation of air conditioning was the beginning of the end. Never designed to be airtight, the buildings suffered from mold. Inappropriate alterations in the last few decades followed, as well as poor maintenance. Restoration became cost prohibitive. The Rudolph buildings will be replaced with a parking lot.

Abundant examples of architecture influenced by the modern movement, and specifically the Sarasota School, survive in Southwest Florida. Should they be allowed to suffer the same fate?

These days many old buildings are saved, not necessarily because they are well-designed, but because they visually preserve history. Structures once considered modern may not look old, but are equally important. They too need to be saved for future generations to experience and appreciate.

Fortunately, a growing appreciation for the modern architecture of the past century is emerging, everywhere.

Despite its demise, Riverview High School will remain one of the most important buildings of its time and place. In life, and in demolition, let it remind us of how not to treat a modern icon.

Rest in peace, Riverview High School.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Ave Maria founder says if you build it well, they will come

Sat, 13 Jun 2009 16:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

Voices soften when visitors tour the Oratory on the campus of Ave Maria University. The soaring height of its interior, the intricate steel structure overhead and the abundance of natural light combine for breathtaking dramatic effect.

A simpler feature — a carved marble baptismal font at the start of the main aisle — catches the eye. Three simple stacked crosses are delicately etched on the front and back of the block of lightly veined Carrara marble.

Atypically, the crosses are located slightly left of center, an understated move that creates balance on this otherwise symmetrical solid mass of stone.

“This font is my own design,” says Tom Monaghan, the founder of Domino’s Pizza and visionary of Ave Maria University, the Catholic university that Monaghan has created, along with the town of Ave Maria, near Immokalee.

Keen to the finer points of design, he understood that putting the crosses off-center made it more dynamic than if he placed them in the center.

Monaghan, 72, is primarily known for founding Domino’s Pizza. He sold the multimillion-dollar business in 1998 and has added to his reputation by dedicating his energy and fortune to creating a world-class Catholic school from scratch in the heat and scrub of inland Southwest Florida.

Fewer know of Monaghan’s passion for architecture, though — a passion that quickly becomes clear during a tour of the campus that features designs that he has not only supervised, but has had a hand in creating.

“My favorite times of my life have been when I am building,” Monaghan says. Of all his varied interests, architecture is his foremost passion, he adds.

Lengthy Interest

As a child, Monaghan roamed the halls of St. Joseph Home for Children, a Catholic orphanage housed in an ornate old mansion in Jackson, Mich. Its grand spaces, huge fireplaces and opulent stone carvings fascinated him.

And a book introducing him to the innovative buildings of Frank Lloyd Wright, which he read at an early age, stirred an appreciation for Wright’s organic type of architecture, which naturally evolved from the context of the site, the climate and the needs of the clients. Monaghan had never seen such expressive buildings.

“The book had three buildings: the Robie House ... Fallingwater ... and the Johnson Wax Tower in Wisconsin, each building so different,” he says. “Who was this architect? And so began my lifetime love for Frank Lloyd Wright.”

Years later, while out with a local girl, Monaghan mentioned his interest in architecture. In an unusual coincidence, she told him that her parents had commissioned Wright to design her family home. He convinced her to take him there.

As it turned out the neighbors too had commissioned a home by Wright — a hexagon plan house nicknamed “Snowflake,” which Monaghan later bought.

Smitten for life, it became Monaghan’s mission to absorb everything he could about Wright.

From then on, Monaghan dreamed of studying architecture at the University of Michigan, but an initial lack of money and later business responsibilities ruled it out.

Getting Involved

So Monaghan undertook a life of learning about architecture on his own. A well-designed, unique building can provide architectural identity, and Monaghan incorporated this philosophy into his own enterprises.

The headquarters of Domino’s Pizza — Domino’s Farms in Ann Arbor Township, Mich. — was created as a self-contained office village built on 270 acres of mostly open land. It has retail amenities for employees, fitness facilities, formal gardens, a chapel and even a petting farm.

It is an architecturally significant office campus, designed by prominent architect Gunnar Birkerts. Inspired by Wright’s architectural principles, it features unique linear buildings with deep overhanging copper roofs. The buildings seem to rise from the landscape.

Art and architecture historian Vincent Scully describes it as “the ultimate example of [Wright’s] Prairie Style house type.”

Similarly, Monaghan and the developer Barron Collier Cos. agreed to make the town and the Catholic university of Ave Maria distinct. Blake Gable, who has worked with Monaghan for the past seven years, says he has encouraged good principles of town planning and well-designed buildings from the start.

“Tom is very creative; he is always pushing the envelope for others, always sketching and constantly designing,” says Gable, vice president of real estate at Barron Collier.

More to Come

The Oratory dominates the main square of Ave Maria, serving as a visual and spiritual anchor to the town and adjacent university. As the focus of the town center, which Monaghan refers to as “Annunciation Circle,” it is the essence to creating a development unique to Southwest Florida.

But Monaghan is anxious to see it complete. Still to come: a 150-foot bell tower, a rose window, a 28-foot bronze crucifix in front of the Oratory, a stone carving of Mary on the main façade, the “Pillars of Ave Maria” — brick pillars that embrace the public space like the colonnade of St. Peter’s Basilica in Rome — a permanent outdoor farmers’ and craft market, and an adoration chapel designed by Monaghan himself.

“The architectural success of Ave Marie is a lot less than it is going to be,” he says confidently, referring to the university as well.

His plans there are ambitious too. Drawing after drawing of projects awaiting funds fill his office: already designed are street signage, brick arches that flank the University Green, trellises covered with bougainvillea to connect the campus buildings and the Oratory, much more landscaping and lighting — much of which was envisioned by him from the start.

Most impressive are the Prairie-style garden walls intended to surround the campus: 20-foot segments of low brick walls intended to be tailored to families who patronize them, with plantings, benches, grottoes, memories and even private places for prayer.

All this time and money spent, with more to come, is important because good design matters, he says.

“My justification for those expenditures is to recruit good students and faculty. By paying attention to the campus design, you send the message that you will pay attention to their needs as well,” he explains.

Joyce Owens, FAIA RIBA, Architect About Town - Special to the Fort Myers News-Press

Joyce Owens FAIA RIBA

Leadership, vision keys to Fort Myers riverfront plan

Sat, 09 May 2009 16:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

When I returned to Southwest Florida 22 years ago, I moved into the Miles Building on McGregor Boulevard, right downtown.

I loved that Fort Myers had such a unique center. The lure of historical buildings and a spectacular location on the Caloosahatchee River is unrivaled along on the west coast of Florida.

But in the late 1980s, the vibrancy of the past had been sucked out to the suburbs.

Still, there was so much potential. Fort Myers had all the makings of a great city: an interesting history, reasonably maintained buildings, a diverse economy. Most importantly, “time” had provided the opportunity for the city to evolve and grow without feeling artificial. Top that off with extraordinary waterfront real estate.

Then, I left for London. I returned 15 years later to find little had changed, despite major efforts over the years to bring downtown alive. I was disheartened but, on the positive side, no major disasters had occurred.

Currently, the new streetscape is helping the city break out of its dormant period — an important first step. Small improvements are cropping up everywhere. Collectively, these efforts contribute to the atmosphere that “downtown is back.”

But if Fort Myers aspires to the success of numerous cities around the country, larger objectives are necessary to achieve something more profound.

Downtown must become a destination and the riverfront location positively exploited for public use.

Chicago, though much larger, is comparable. A critical decision to reserve the lakefront for the public is the envy of other cities. Places like Detroit, which used its riverfront for manufacturing, struggle. Fort Myers remains a blank slate.

The city is making progress with Aquest Realty Advisors — brought on to create a development plan for the riverfront property.

Leading the team are local architects Parker Mudgett Smith; design firm Populous, formerly HOK Venue; and retail developer Boorn Partners.

Aquest’s objectives are to expand Harborside, construct an adjacent hotel, consider parking and incorporate mixed-use entertainment components. The five-acre area of public and private land parallels the river and is bordered by Centennial Park, Harborside and the Yacht Basin..

Aquest understands the challenges faced by struggling urban areas, and has experience in making public-private proposals financially viable.

So far, genuine optimism has been generated. But skepticism is understandable. Over the past 20 or so years, citizens have seen repeated investment without results.

John Shreve, lead architect from Populous, spearheading the master plan, believes that “by creating a distinct focus downtown, currently absent, people will gather, enjoy a stroll along the river, dine outside and collectively appreciate the things that give Fort Myers its unique qualities — fine historical buildings, an intimate scale, a distinctive heritage, the water, cool breezes, shadow and light, and layers of green.”

The current proposal makes the most of its location by extending City Pier, with an active boardwalk of restaurants and other attractions. This element pulls the city out into the river.

In a bold move, a major water feature cuts in at Hendry Street, all the way back to First Street — and the river finds its way into town. The rationale is two-fold: first, to create an active and vibrant water by increasing water frontage and second, as an environmental strategy to filter and clean stormwater runoff before it’s returned back into the river.

Centennial Park is expanded as a water park with walkways and a fishing pier around the mangroves — an emphasis on pedestrian access.

This scheme makes the most of the city’s great asset, the Caloosahatchee.

Parts of the new proposal feel confident and daring — these components will create the focus Shreve mentions. Other ideas are tried and tested principles of good city planning that make streets walkable, inviting and active.

This new master plan is exciting and looks achievable financially.

What we now need is leadership, vision and a cooperative spirit to make this attempt a success.

I have a thriving architectural business downtown. Selfishly, I want the city’s efforts to pay off.

For everyone else, the River District is the most precious community real estate we have. It makes sense to re-establish it as the center of our community. Not only will it visually enhance the city, but it stimulate the local economy.

The benefits of creating a safe and economically viable center for all ages to gather will be one of the most significant efforts we make for future generations.

Joyce Owens AIA RIBA

The lure of Miami architecture

Sat, 11 Apr 2009 16:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

When a larger bus was ordered and there was still a waiting list, we knew we had stirred interest.

Two Saturdays ago, the American Institute of Architects organized an architectural tour of Miami. For the first time, architects were the minority.

It wasn't a historical tour, nor was it billed as such.

Zach Smith, an energetic young member of the AIA, consciously put together a day trip focusing on modern.

Deliberately, he selected buildings that were not victims of mediocrity. They varied in style and function yet all created a similar response:

Wow.

Everyone on the bus found it a thought-provoking and unique opportunity to tour Miami while getting the inside story on some very cutting-edge, modern structures.

For those of us who practice architecture, it was a massive injection of Architecture with a capital A, i.e. the real thing.

Vince Noble, a high school teacher who joined the tour, was compelled to forward his thoughts:

"Born in Chicago, and son of a man who left books of the great 20th century modern architects strewn around, a fascination with architecture is embedded in my genetic code. It didn't require convincing to get me on a bus bound for Miami.

I found Miami incredible. We passed buildings I loved, more often than not, the modern ones. Not surprising, as I find modern architecture more dramatic, challenging and, mostly, cool. We also saw buildings I hated. Several were simply awful.

That's what I enjoyed about the tour: Nearly all evoke a genuine response. Love 'em, or hate 'em, they made you think and react with legitimate emotion.

Florida International University campus is a great example. The School of Business is a stunning building - trendy and dramatic. A great use of color, texture and forms create a grand simplicity, and, in the courtyard, exciting rhythmic devices and water features provide a lively but measured focus.

And, for a government building constructed within a tight budget, it communicates an abundance of commitment and vision from both the university and the architect.

A short walk away is the School of Law. I didn't get it. To a novice, it looked like a building that couldn't make up its mind - first it's contemporary, and then, traditional.

The scale of the lobby eluded to the grand spaces of old courthouses, yet, it was too tall, and made me feel unwelcome - uncomfortable and small. It reminded me of the teenagers I teach everyday, who want to be something important but are not sure how.

At the University of Miami's School of Architecture, we toured the Jorge M. Perez Architecture Center, designed by a world-renowned architect and theorist of Urbanism and advocate of traditional architecture.

Again, I didn't get it but this time, I also wanted out. Perhaps a lack of architectural expertise gave me no tools to appreciate the Perez Center - it was lost on me...

A long time ago, a teacher told me that if it doesn't make you think and doesn't make you feel, it's not art. Seems to me that they figured out the same thing about architecture in Miami."

So why do buildings in Miami provoke emotion, make us think, and feel ... something?

There is something extraordinary there. Civic leaders, planners, developers and architects work toward the same goals. Building a concrete box and randomly applying architectural ornamentation evoking another time or place is not on the agenda.

Average is not good enough and vanilla is not allowed on the plate. New ideas are explored, technological advances thrive and, remarkably, architects are encouraged to take risks and push the envelope.

Inevitably, the result is a higher quality, well-thought-out building, judged not only by how much money it makes but, notably, on design merit as well. If you want to sell in Miami – safe won't suffice.

Joyce Owens AIA RIBA

St. Cyr's house a fitting legacy

Thu, 01 Jan 2009 17:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

In last month's column, I recounted the accomplishments of Sanibel architect Joe St. Cyr and shared my impressions of a man who was my mentor and friend. Many others wrote about their respect and admiration for Joe and his appreciation of family, the community, his clients and the environment.

This past Sunday evening on the Sanibel Causeway, I joined these friends and family members not to mourn Joe's death, but to celebrate his rich and full life.

It was the second such event I attended this past month. Sadly, another distinguished local architect, Bruce Gora, passed away on Dec. 16. Fortunately, just two weeks before, I sat with Bruce and chatted about his career and architecture in Southwest Florida. I plan to share his stories and views in a column soon.

As I stood on the causeway on Sunday, I reflected how both men had touched the lives of so many and how buildings designed by good architects mirror their lives.

Inevitably, I drew that parallel between Joe's life and the home he and Pat, his wife of 56 years, created together on Sanibel.

A home is often a manifestation of a person or family. The St. Cyr house perfectly synchronizes a lifetime together.

As an architect, Joe promoted a comprehensive building philosophy, and integrated the same attitude into his life: as a fisherman, a volunteer fireman, a father, a pilot and a lover of nature, to name a few.

Pat is a potter by education, a sculptor by trade and a successful businesswoman.

It's hard to talk about one without the other. And with their house, it is the same. It is difficult to distinguish who is responsible for what.

Former residents of Livonia, Mich., who visited Sanibel, the St. Cyrs made the move permanent in 1981. While in Michigan, St. Cyr Architects & Associates designed more than 100 churches, schools and office buildings. During the years I knew Joe, he designed countless buildings and private residences on the islands and the Florida mainland.

When the St. Cyrs were ready to build their home on Sanibel, they found a canal site, just yards from the San Carlos Bay. It was a sleeper site, adjacent to a main road with a bridge blocking the sun and views.

That bridge, however, crossed over a canal that provided a perfect location for Joe, who cherished the outdoors and loved to fish.

Joe suspected views of the bay awaited - once above the bridge and the trees. The story of him renting a cherry picker to ensure he got the design perfect left a huge impression on me as a young architect.

In all his designs, Joe demanded flexibility to accommodate future changes. No building better exemplifies this than the couple's Sanibel house.

Under threat of a local building moratorium in the early 1980s, Joe quickly designed and erected a straightforward island house - double pavilions with pyramidal shaped roofs, raised up on pilings.

But Pat was not impressed. "Who do you think is going to live here?" she recalled asking him. It was nothing more than a simple dwelling, and nothing as nice as the home/workplace they designed together in Livonia.

Fortunately, Joe managed to get the bones of the design right and, over the years, the house evolved into one of the most unique on the island.

In fact, I can't ever remember a time when some building project wasn't under way. The addition of an office, a studio, a deck, an elevator and a bay window for a breakfast table overlooking the canal all marked a response to the St. Cyrs' changing needs.

It is designed to be in complete harmony with nature. Outside, native vegetation shields the house from the sun and provides privacy from cars and cyclists passing by. From inside, this abundance of greenery creates the impression of living in a tree house.

As you arrive, an uncomplicated fountain bubbles to mask any noise created by cars passing by.

When the front door opens at the top of the stairs, sliding glass doors frame a view of the bay, confirming that indeed, you are on an island.

Inside, natural light floods through full height doors and open interior balconies into wonderful double-height living spaces that weave in and around, and open out to deep shaded porches.

Although modest in size, it accommodates the numerous guests who drop in for a quick visit or for dinner. It is possible to sit inside or outside, either screened from the insects or out in the sunshine.

On one level, it is a contemporary interpretation of a pragmatic Florida house: a simple shelter that provides shade, maximizes ventilation and creates a close link with nature. On another level, it is a strikingly warm and comfortable home created by Joe and Pat and reflecting the remarkable life they shared.

The interior is simply furnished with a mixture of styles and art, incorporating Pat's own work. You sense Joe's character and remember his infectious laugh, as his friends do.

"I will miss this dear fellow, and we were so lucky to have this nourishing spirit grace our community with his heartfelt presence. Joe St. Cyr ... such a true Island Treasure," wrote glass etching artisan Luc Century.

Joyce Owens, FAIA RIBA

Joe St. Cyr enriched industry, personally influenced my career

Sat, 13 Dec 2008 17:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

Running his hand through his thick, prematurely white hair, he unrolled a set of drawings and explained how he changed the interior plans of his beachfront condominium to make it more open, create the illusion of space flowing inside and out, and how these modifications took advantage of the Gulf views and breezes.

He was tall, down-to-earth and most memorably, exuding confidence. I was 12, and it was the first time I had met an architect.

My family — my parents and we five children — had fortuitously rented the condo across the hall from Unit 521 the Christmas of 1971, where architect Joe St. Cyr, his wife, Pat, and young son, Joe, were among the first to own a condominium at the Sanibel Moorings.

It was the beginning of a long friendship my family had with the St. Cyrs and I, as a young person, had with the architect who became my mentor and my friend.

When I decided to pursue architecture at the University of Notre Dame, he encouraged and followed my progress. He was known for his great stories and on numerous occasions took the time to share them with me. Early on he told me that Minoru Yamasaki, internationally known architect who would later go on to design the World Trade Center, juried his final project in architecture school.

Joe’s designs made a huge impression, and Yamasaki offered him a job.

As a young architectural student, I hung on Joe’s every word. He was remarkable. He earned enormous respect for his expertise and his enthusiasm for life and work.

By the time I met Joe, he was in his early 40s and already an accomplished architect.

Born and raised in Dearborn, Mich., he set up his own practice there in 1955, only two years after completing his master’s degrees in architecture at the University of Michigan. Over the next decade and a half, his office grew to 40 or so staffers with Joe at the helm. St. Cyr Architects & Associates designed more than 100 churches, schools and office buildings.

And during the years I knew Joe, he designed countless buildings and private residences on the Islands and the Florida mainland. Among these are The Sanibel Fire Department, Island Water Association, the Robb & Stucky Building in Bonita, Big Arts Original Building & Amphitheater, Sanibel Captiva Conservation Foundation and, near to Joe’s heart, a collection of buildings for the Clinic for the Rehabilitation of Wildlife (CROW).

No matter how many people pressed him, he would never slow down. At 79, sharp as ever with a lifetime of experience under his belt, he was still taking on new projects.

But then, architecture was Joe’s life. He began working with architects at the age of 13 and was the only graduate of Fordson High School with a major in architecture.

Notably, he became the youngest registered architect in the state of Michigan.

When I would stop by the office, located below his house, he would show me the huge bump on his right finger, a pre-computer result of too many hours and years at the drawing board. He was making a point that I should be prepared for long hours, but emphasized the rewards could be enormous.

Joe believed it was necessary to holistically embrace building construction — not just how to design a building but ensure it was suitable for its environment.

Renowned architect, inventor and futurist Buckminster Fuller was visiting professor during Joe’s undergraduate years, and he instilled in his students the importance of comprehensive design. “Bucky Fuller,” as Joe fondly referred to him, “insisted on creating a totaldesign.”

That inclusive philosophy of building stayed with Joe throughout his long career.

When he finally settled on Sanibel in 1981, he had already established a reputation for designing buildings appropriate for Southwest Florida.

Joe’s commercial buildings and residences often incorporated metal roofs with deep porches, reminiscent of the early Florida Cracker buildings. Because, he would insist, “form must follow the function.” He didn’t design buildings that were transplants from Michigan, but intuitively understood a very different climate required a very different response.

He insisted I understand that hurricanes were a major factor in designing for South Florida, and took the time to explain that materials and methods of buildings must be able withstand high winds and intense rain. Buildings should be raised up, roofs securely fastened and glass openings protected with real shutters. That was 20 years before Hurricane Charley struck in 2004.

When I was living and practicing in London in the 1990s, I’d stop by Joe’s office during my annual return to Sanibel. I’d bring him photographs and publications of projects I’d recently completed, and he would pore over them.

He was encouraging but appreciated that I was now charting my own course.

When the Sanibel Elementary School was taking bids from architects for the new school, I phoned Joe from London and asked if he would like to team up. He was delighted by the prospect of working together. A week later, he called to say the additional cost of indemnity insurance made designing a school so late in his career prohibitive.

On my next visit to Sanibel, we talked about the lost opportunity of working together.

He opened a drawer and pulled out a pile of drawings — schools he had designed all over the country. Only then did I learned how influential St. Cyr Architects & Associates had been during a time when school design and teaching methods were being radically rethought.

Joe was instrumental in the integration of open plan schools that allowed for flexibility. He also experimented with mobile storage systems of varying sizes and functions.

When I returned to Southwest Florida years later, I had the opportunity to design the new high school for Canterbury School in Fort Myers. Joe took a keen interest in my design proposals and expressed approval that client and climate were considered.

He couldn’t have been more congratulatory and delighted that two short years after returning from England, I was quickly finding my feet here — and taking into account the advice he had given me over the years.

Thank you, Joe, for making a positive and lasting influence on my life and career.

Please know, you will remain in the hearts and minds of those who drive past, or inhabit, any one of the hundreds of buildings you designed. They remind us of your huge passion and curiosity for life, people and nature.

Joe St. Cyr died Tuesday, Nov. 25, 2008, and on that day, Southwest Florida lost a great architect and I, like many others, lost a dear friend.

Joyce Owens, FAIA RIBA

Annual conference stresses we embrace green future

Sat, 13 Sep 2008 16:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

We were looking at a collection of elegant buildings, nearly all of them white on the exterior but some with exposed concrete. Unique, askew roof planes sloped upward, shading large expanses of glass carefully designed and located to direct the views out.

Inside, modern minimal spaces made warm and comfortable with textures and colors opened out to courtyards and splendid landscaped settings.

We architects, and our advocates, were watching a slide presentation, a sampling of contemporary buildings spanning 40 years. They were designed and built by the architectural practice of architect Carl Abbott — a longtime resident of Sarasota and member of the Sarasota School of Architecture (“Architect About Town,” June 2008).

As architects, we always look forward to the annual AIA (American Institute of Architects) chapter design conference and award ceremony to meet with our professional peers from all over Southwest Florida and catch up over cocktails and dinner.

A prominent keynote speaker from a different city or state is invited to share his or her experience and expertise, and an outside jury critiques buildings designed by members of the local chapter. Our talent is distinguished with awards and honors for their accomplishments.

During the day, relevant classes are offered to keep architects current on codes, technology and green building principles. Like most licensed professionals in Florida, education courses are required by the state to maintain a professional standing.

Among the classes offered, we got an update from the Regional Planning Commission, learned about the impact of lighting advances on our buildings and the environment and how important it is to plan early if a building is to be a green, environmentally friendly structure.
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Jaime Correa, of the University of Miami, presented a more theoretical course. With the rising cost and looming scarcity of fossil fuel, it is necessary to rethink our communities. Circumstance is forcing us to consider “localization” not “globalization.”

He speculated communities will return to a society much like traditional settlements of the 18th and 19th centuries — smaller but more populated communities, self-sufficient and resourceful. The local production of food and clean energy is vital and it all, literally, happens in the backyard — if not on the roofs and walls of buildings.

Architects should embrace the imminent change. Designs need to function and be visually pleasing to neighbors living in close proximity. Solar, wind and biomass energy (biomass means “natural material” and when burned, releases heat that can be captured and used) is not the future, but now. Why shouldn’t water reclamation such as rainwater cisterns and wind turbines be attractive?

Correa presented examples of energy-producing public art, wind and solar, in the United Kingdom and China.

Known in the industry as “Solar Dell” — Dell Jones, of Regenesis Power LLC — shared his expertise in solar technology. Did you know that solar collectors have been with us since the turn of the century? The same principle is used today to draw on the energy of the sun to heat water. Solar electric panels or photovoltaic energy, however, is a more recent innovation that converts the sun’s energy to electricity, with the potential to power an entire home or building.

And, if more energy is collected than a building can use, the excess energy can be sent back to the power company. As of last year it is possible to connect into the FPL electrical grid, and sell back the excess electricity.

OK, they don’t give you money but you can be paid in kilowatts — when your electricity goes back in to the grid, the meter goes backward, offsetting the cost of the energy taken from the grid.

Alternatively, with a battery system, the excess electricity can be stored, ready to be used when the panels are not producing energy, ie, when there is no sun.

Progress in solar technology is exploding. It is possible to install walls of glass with a thin-film photovoltaic coating that can collect sunlight and produce energy. Research is concentrating on laminating this photovoltaic film to a variety of rigid or flexible building materials — roofing membranes and shingles are already available. These products, used in Europe, are ready to be used here, too.

Envision how the integration of these new products will change the way we build and design in South Florida with its abundance of sunshine. As fuel prices increase, why not start in the Sunshine State? New buildings in this area can be on the cutting edge of solar integration. And state and federal tax credits available for residential and commercial projects may just be the catalyst to jump-start the trend.

Dell does advise, however, that using solar panels to heat water is still the most effective method to incorporate solar into a building. It has been around awhile, and is an inexpensive and effective method to use the sun’s energy.

In a whirlwind day full of information and ideas about the future and new directions in building, it all boiled down to an opportunity to think about how Southwest Florida can lead the way to making Florida a green and energy-conscious state.

Joyce Owens, FAIA RIBA

A little bit of home in Singapore

Sat, 09 Aug 2008 16:00:00 GMT

This past month, I had the opportunity to visit Southeast Asia. It was a trip I won't soon forget. On the flight home, wedged into seat 47H on Delta Flight 7851, I considered how different this area is from my comfortable hometown: the people, the food, the culture. But the climate would be familiar to anyone from this part of Florida: hot, humid and green.

Architects in both countries face the same difficulties and, interestingly, although some solutions there may appear unique, many are familiar to anyone building for the climate challenges here.

Exceptionally privileged to be "on assignment" in Singapore, I took the opportunity to visit two high-rises designed by the architect most familiar with the challenges of designing for a tropical climate: Paul Rudolph, who spent his formative years in Southwest Florida, learning his profession.

In my last article, I mentioned the two remaining Rudolph houses in Lee County and how in Florida, he experimented with innovative construction methods of the early 1950s and explored fresh, modern architectural concepts of space, light and a response to climate.

Paul Rudolph's early work in South Florida was prolific — mostly in Sarasota, some in Miami. He designed houses and public buildings; offices, schools and churches.

These projects were regularly highlighted in the national press.

It was that attention that earned Rudolph the invitation to become dean of the School of Architecture at Yale University and open an office in New York City, where he practiced from 1965 until his death in 1997.

The buildings I visited have only recently been recognized as modern icons and two of his finest projects. Both are in central Singapore City: The Colonnade, a residential high-rise (built in 1980) and The Concourse (started shortly afterward, in 1981), a mixed-use development with a 41-story office tower, a residential hotel and shopping mall.

What struck me about these buildings was the blatant use of ideas developed in Rudolph's early projects in Florida.

His familiarity with design in the tropics was apparent, and the outcome was a considered response to shade, ventilation and protection from the rain. But here, Rudolph translated the lessons learned on small buildings into large structures that functioned on an urban scale. And nearly 30 years later, they are vibrant and working astonishingly well.

Of the two buildings, The Colonnade most successfully typified the early principles of Rudolph's work. Immaculate after 28 years, the apartments, available only for lease, are spacious and luxurious. It is a revolutionary building. The units are not traditional one-story apartments. Instead, a high percentage of the 90-plus units are double height units with living and dining rooms ceilings 30 feet high and tall sliding glass doors opening onto deep terraces.

Rudolph used an exposed structural framework of round concrete columns, giving the 24-story apartment block its name. One-story "boxes" are inserted between the columns, creating intimate bedrooms and outside, blocks that protrude out beyond the columns. They appear to float and deliberately protect the largely glazed living and dining spaces and terraces of the unit below.

On the exterior, this creates a solid/void effect much like a wooden "Jenga" tower about to topple (have you played this game?)

Rudolph's obsession with complex space creates intricate voids between the boxes and terraces, allowing natural light and ventilation to freely filter through the interiors.

The views of the lush landscape are spectacular.

It is easy to recognize the original ideas and details of shading and ventilation Rudolph used in the design of the Walker Guest House on Sanibel Island 25 years before. However, Rudolph's Asian masterpiece is a much more complex structure, able to be appreciated by the most demanding architectural critics. Its popular appeal can be found in its simplicity, like the beach house on Sanibel.

This simplicity creates an inherent livability that makes it one of the most highly sought addresses in Singapore.

And although his boldest projects were built far from Florida, and often outside the United States, we can be proud that his roots are here. How fortunate we are to have the architecture of this region influenced by one of the greatest modern designers of the second half of the last century.

Architect About Town - Special to the Fort Myers News-Press

Joyce Owens, FAIA RIBA

Blueprints reveal rare surviving structure

Sat, 12 Jul 2008 16:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

“We live in a Twitchell-Rudolph home. We discovered this fact when we found the deteriorated blueprints in the shed. Whether we own it or it owns us, we have yet to decide. The house has many of the features you mentioned: clerestory and large picture windows, wide overhangs and no load-bearing internal walls. Bringing it back to livable conditions has been a labor of

love or lunacy ... depending on one's point of view. The house never lets one forget where you live. It is always filled with light and the green of the trees.”

So wrote Maggie Stevens, owner of what may be the only surviving house in Fort Myers designed by the internationally respected architecture team of Ralph Twitchell and Paul Rudolph.

Subsequent to my last article, my inbox overflowed with letters from owners of mid-century houses similarly passionate about their homes and eager to learn more about the Sarasota School — our very own regionally inspired American modernism.

Many asked, “How can these buildings look so much more modern than what we see built today?”

Between 1946-52, Twitchell Rudolph Architects became the most successful partnership of the mid-century Sarasota School movement. And later, on his own, Rudolph’s innovative solo designs influenced the appearance and function of buildings in South Florida, eventually altering the course of modern architecture in the United States and abroad.

In the 1920s and ’30s, avant-garde architecture was greatly influenced by the “Bauhaus School,” the German school internationally celebrated for its approach to modern design — not just architecture, but in the areas of arts and crafts, interiors, graphics and industrial design as well.

Also known as the International Style, the original designs of the Bauhaus rejected ornamentation, combined function with aesthetics and promoted the concept that mass-produced items could be used to express artistic freedom. While studying under the founder of the Bauhaus — architect Walter Gropius — Rudolph was introduced to those principles, which guided him throughout his career.

While other notable architects like Philip Johnson and Ludwig Mies van der Rohe were busy building glass boxes in the manner of the Bauhaus teachings, Twitchell and Rudolph became leaders amongst the designers of the Sarasota School.

In South Florida, architects were reinterpreting modernist principles to suit a subtropical climate, creating an unconventional approach to shelter suitable to a hot and wet climate. Their buildings were raised off the ground to keep the air beneath cool, had low, broad overhangs to create shade and used large openings to maintain natural breezes.

Sound familiar? The designs incorporated courtyards and vegetation for privacy, ventilation and shade. While these options were similar in character to Florida Cracker and Spanish Revival styles, the buildings were fresh and original, taking advantage of new materials and technology.

When the partnership dissolved in the early 1950s, Rudolph’s designs continued to evolve and interpret Florida regional architecture. He experimented with novel ideas of space and new construction methods. The resulting structures rejected load-bearing walls of traditional buildings and replaced them with straightforward structures of thin steel or wood columns.

Incorporating large expanses of glass, Rudolph created buildings with a remarkable lightness and open, functional floor plans. These buildings took many shapes but were often characterized by horizontal forms with flat or low sloping roofs. They were rarely symmetrical. Not unlike Florida Cracker buildings, they were not really a style but an instinctive response to the climate, location and a new way of modern living.

Using louvers and screens in large openings to maintain natural ventilation, Rudolph explored volumes of space inside the building and extended inside space out to blend with the natural surroundings.

Like many of his Florida buildings, our local Rudolph example, owned by Stevens and her husband, Steve Funnel, was built with local materials — often, conventional items found on the shelf of the local hardware store.

Now, as they lovingly restore their historical jewel, they look to other well-documented Rudolph houses of this period, relearning methods originally employed to create these unadorned, airy, open places. Mr. and Mrs. D. K. O’Mahony, who commissioned the architect in 1953, would have been proud to see their house so well cared for today.

The Walker Guest House on Sanibel Island, affectionately know as the Cannonball House, is the only other known Rudolph structure that remains in Lee County. In this tiny beach cottage, Rudolph perfected all the principles of space and construction explored during the years that he worked with Twitchell. It’s a simple, elegant reinterpretation of primitive structure meeting modern lifestyle.

Examples of Rudolph’s early work were once abundant in Sarasota and South Florida. Today only a few have survived the trend to demolish smaller mid-century homes to make way for larger McMansions. It is believed that at least two or three other undocumented Rudolph houses once existed in Fort Myers but unfortunately, have been demolished.

Thankfully, those that still stand are in the hands of devoted owners that appreciate their historic significance. And from what I can tell, these important homes of the mid-century are not going to be put on the market as “tear-downs” anytime soon.

Joyce Owens, FAIA RIBA

Sarasota School teaches lesson of fine modern architecture

Sat, 14 Jun 2008 16:00:00 GMT

Architect About Town - Special to the Fort Myers News-Press

Recently out for a drive in my red VW bug, admiring the variety of architectural styles in the older neighborhoods off McGregor Boulevard in Fort Myers, I was disheartened to see an older home, from the 1950s, bulldozed to make way for an oversized house that randomly borrowed aspects of many different architectural styles, none regional.

This house could have been built anywhere in the United States.

In many parts of the country, houses and buildings from the mid-20th century are enjoying a renaissance.

Did you know the west coast of South Florida is the birthplace of some of the finest examples of mid-century modern houses in the world? That this area was once the center of an art and architectural movement, internationally known as the "Sarasota School"? And would you believe this movement, with its revolutionary use of new technology and new materials, altered the way we live today?

Following World War II, when suburban neighborhoods gained momentum, the prominent house type became the ranch style with all its variations. These ranch houses are easy to spot in our area.

The particular one I see on my drive is a simple earth-hugging California ranch house. First built during the 1930s, the ranch took its inspiration from single-story Spanish ranches built at the turn of the century by the early Mexicans who had settled in California. This version was new and modern.

The particular house I'm looking at was built in the early 1950s, when this style was at the height of its popularity.

Built with low sloping roofs, deep eaves and large picture windows, the ranch appears horizontal, long and narrow. It has a slightly rambling layout - open kitchens and living rooms with sliding doors to a private backyard and an outdoor patio.

The ranch reflected a new suburban lifestyle. It was perfectly suited for the trend toward casual entertaining.

Progressing from the ranch is the simple but elegant mid-century modern: a term used to define developments in furniture and product design as well as architecture and interior design from 1945-65. In architecture, mid-century modern buildings evolved parallel to the developments in technology, notably steel and glass.

Architecture of the Sarasota School refers to mid-century modern buildings designed specifically for this area and its sub-tropical climate: buildings that respond to this climate, use local materials and borrow ideas from the original local regional architecture. Remember those discussed in past articles - except they are modern, i.e., new and novel.

Low and long like the ranch, this architecture became even more open and less formal.

I nearly drive into the water when I spot an exceptional example of the Sarasota School located directly on the river. This house uses "post and beam" construction, which supports the structure by means of vertical posts holding up horizontal beams, instead of load-bearing masonry, where the wall bears the weight.

Post and beam construction - a new option thanks to advances in steel manufacturing, which allowed for longer beams - permitted external walls to be made of glass for the first time. Peering inside, that's exactly what I saw at the back of the house overlooking the river.

I could also see that the house had an open floor plan, creating the illusion that the space inside and outside the house was nearly the same. The arrangement allowed for uninterrupted views all the way from downtown to the Midpoint Bridge.

The house is bright and welcoming. Tall, extensive sliding doors let natural breezes ventilate and cool the interiors and allow the family who live there and their guests to easily enjoy an indoor/outdoor lifestyle.

The low sloping roofs on this house extend well out beyond the walls to shade these openings as well as the high clerestory windows nestled just below the roofline at the top of the walls. Daylight is abundant, but direct sunlight is not.

More than 50 years later, this house still manages to look incredibly modern.

As I drive away, I realize my description is nowhere near complete. In fact, I have only scratched the surface of the Sarasota School and how this style progressed and adapted to our cultural and climate. In the coming months I will take a more in-depth look at these buildings and their worldwide influence.

But next time you go out for a drive, look carefully at the buildings you pass and see how many have been influenced by this style. The great thing about Southwest Florida is that you don't have to go far to find existing and influential architecture of the 20th century. Sometimes, you'll even find it on the street where you live.

Joyce Owens, FAIA RIBA

Blog - ARCHITECTURE JOYCE OWENS LLC

Forbes Names Architecture Joyce Owens to Top 200 Architects List

Florida's Coastal Architect recognized for redefining beachside construction of resilient homes

Modern Architecture Designed for Sustainability

Rebuilding Florida Stronger Smarter

Lessons in Resiliency

Discover more in our special series dedicated to helping Florida Rebuild Stronger Smarter

FEMA SFHA (Flood Zones)

Series FEMA SFHA (Flood Zones) — AJO’s REBUILDING STRONGER SMARTER SERIES

Step 1: Type Your Home Address

Note on Flood Zone Abbreviations

Step 2: Flood Zone Map

Step 3: Flood Zone Indicators

Step 4: Elevation Certificates

Step 5: Free-Board Elevation

How the FEMA 50% Rule Works

Series FEMA 50 — AJO’s REBUILDING STRONGER SMARTER SERIES

When Does the 50% Rule Apply?

What Does 50% Mean?

50% Rule Compliance Requirements

50% Rule Example

So You’ve Triggered the Rule…

Windows: How Flashing Works

WINDOWS — PART 3B in AJO’s REBUILDING STRONGER SMARTER SERIES

Part 3B: WINDOWS: HOW FLASHING WORKS (and why it’s important!)

Two Types of Flashing

Liquid Flashing: Step 1 of 4

Liquid Flashing: Step 2 of 4

Liquid Flashing: Step 3 of 4

Liquid Flashing: Step 4 of 4

What if my installation is different?

Windows: Why They're Critical and How to Tell if You Should Replace Them

WINDOWS — PART 3A in AJO’s REBUILDING STRONGER SMARTER SERIES

Part 3A: WINDOWS: WHY THEY’RE CRITICAL

Repair? Replace? Leave As Is?

WATER & AIR ﻿

FAILING INSTALLATION

PRETTY GOOD INSTALLATION

SMARTER INSTALLATION

WHAT SHOULD WE DO?

Permits: What Needs a Permit & Who Can Help You With Permits?

PERMITS — PART 2C & 2D in AJO’s REBUILDING STRONGER SMARTER SERIES

Part 2C: WHAT WORK REQUIRES A PERMIT?

WHAT WORK REQUIRES A PERMIT?

It depends…

Some work ALWAYS requires a building permit.

SITE ELEMENTS

EXTERIOR ELEMENTS

INTERIOR ELEMENTS

THINGS THAT DON’T (USUALLY) REQUIRE A PERMIT

PART 2D: WHO CAN HELP YOU WITH PERMITS?

READ MORE from our Rebuilding Stronger Smarter series.

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How to Find Your Local Permit Office

PART 2B in AJO’s REBUILDING STRONGER SMARTER SERIES

KNOW YOUR JURISDICTION

SARASOTA COUNTY

DESOTO COUNTY

CHARLOTTE COUNTY

LEE COUNTY

COLLIER COUNTY

In Part 2C of this Series we discuss specifics of WHAT types of building and rebuilding work require permits, and what types do not.

READ MORE from our Rebuilding Stronger Smarter series.

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Permits: Why Do You Need Them?

PART 2 in AJO’s REBUILDING STRONGER SMARTER SERIES

2A.1: SAFETY

2A.2: Value

2A.3: JURISDICTION

2A.4: KNOW YOUR LOCAL RULES

In our next AJO_RSS Series we discuss specifics of what types of building and rebuilding work require permits, and what types do not.

READ MORE in our Rebuilding Stronger Smarter series.

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What to do After a Storm

PART 1 in AJO’s REBUILDING STRONGER SMARTER SERIES

1.1 FLOODED FLOORS

1.2 FLOODED FLOOR EXAMPLE

1.3 SOAKED DRYWALL & BASEBOARD

1.4 DRYWALL & BASEBOARD EXAMPLE

1.5 ROOF DAMAGE

WATER & AIR

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