Merry Christmas, 2015

Sketch by John Tackett for John Tackett Design

Happy holidays to all my Devoted Readers.  2016 will bring many posts that are hoped to be particularly interesting, along with updates of projects by John Tackett Design.  Best wishes to you all! _ John

Parish-Hadley Tree of Life

PARISH-HADLEY TREE OF LIFE
is a new book to be published October, 2015.
 

There is a new book in the works, PARISH-HADLEY TREE OF LIFE: AN INTIMATE HISTORY OF THE LEGENDARY DESIGN FIRM, being developed by Brian J. McCarthy and Bunny Williams that will focus not only on the firm, but will also feature thirty-one of the former employees who have gone on to successful careers on their own.  Because of the unique learning environment created by Sister Parish and Albert Hadley, the "graduates" of Parish-Hadley are known in the design profession as "alumnae" with their experience compared to an advance degree in design.  Each of the 31 alumni interviewed have a chapter in the book giving a personal reflection of the firm with illustrations of their work past and present.

The Parish-Hadley story is an very unique one; no other interior design firm - ever- has produced so many designers who left to establish their own studio.  Brian had the idea for the book about eight years ago.  He developed an outline and discussed it with Mr. Hadley (who passed in 2012 following Mrs. Parish's death in 1994) who was very excited about the project.  But Brian's own book, LUMINOUS INTERIORS: THE HOUSES OF BRIAN McCARTHY, came first.  When Brian told Bunny about his idea when they were both at the Nashville Garden & Antiques Show, she was very enthusiastic and promised her full support.  The next week, Bunny was in a meeting at Abrams and happened to mention the idea; the publishers jumped on it, giving the book an immediate green light for Stewart, Tabori and Chang, using the same book agent Jill Cohen, art director Doug Turshen and creative team that both Bunny and Brian had used before on their own books. In addition to the very readable text, the book also promises to be visually interesting.  Advances in digital imagery will avoid the muddy results of historic black & white photos that have plagued design books in the past.  Plus there are many new color never-before-published images.

The image used for the book jacket (and that may change) is one of my favorites of the Parish-Hadley projects, the Living Room of Nancy Pyne in Peapack, New Jersey.  Both partners had a hand in the design and the result is quintessential Parish-Hadley -- comfortable yet refined and with an architectural sensibility in the furnishings without being too rigid.

The title of the book expresses Albert Hadley's appreciation of the traditional motif, the Tree of Life.  The mythology of the sacred tree dates back to a number of ancient civilizations including the cultures of pre-Islamic Persia and ancient Egypt as well as other Asian, European, and Native American beliefs.  The motif gained wide-spread exposure as a popular design on 17th century printed cotton bedcoverings from India, the palampores which often featured a Tree of Life as a central figure.  The Tree of Life motif was also developed in Persia and China in the 18th century with adaptations for the European market where various goods were marketed.  Crewel embroidery was also used to represent the motif in England, often a natural color wool yarn on a colored background;  a wallpaper representation of this was an Albert Hadley favorite.

And not insignificantly, there will be a short chapter on John J. Tackett that Devoted Readers will not want to miss.  Plans are for an October 13, 2015, release with Hearst Publications -- Elle Décor, Veranda, and House Beautiful -- hosting a gala launch on that date.  So there will be plenty more about the book in the magazines in the coming months.  But for those who cannot wait to see the book on store shelves, pre-ordering at a discount price is available here.

Another Storey

John Tackett Design.
A Proposed Addition and Improvements
to a New House Under Construction.
Image: The Devoted Classicist blog

A colleague has interior design clients building a very large house custom designed by a local architect.  In addition to a substantial main block, there are extensions in both directions with almost endless passages to room after room on the Ground Floor.  So it was a surprise to be contacted about a possible expansion while the house was just starting construction.

There was interest in having parents occupy the planned Master Suite on the Ground Floor, requiring the homeowners to relocate to the Second Floor and push the guest rooms to a new Third Floor.  The interior designer wisely advised against expansion of the Ground Floor, already a maze many time larger than the main block.  The program for John Tackett Design was to suggest an upward expansion of the main block without increasing the overall roof height, and propose some detailing to give more architectural interest.  The foundation was complete and framing underway but the structural engineer gave approval for the proposed added storey.  My quick sketch over a reduced-size print of the original construction drawing is shown.

A very deep porch is replaced with an entrance terrace (already in place) with a rusticated limestone first floor giving a visual base for applied limestone pilasters and a limestone pediment.  Instead of the over-sized brown brick with white mortar originally planned, I suggested a traditional-sized brick in a buff ochre color with matching mortar to compliment the proposed buff Minnesota limestone.  The windows were already on order, but I did suggest changing the Upstairs Center Hall window over the front door, and the window of the two-story Secondary Stair Hall seen on the front of the house.  Also, my design changes the front door to a narrow pair and alters the sidelights, transom and limestone surround.

The interior designer who had apparently expressed concerns throughout the original design process was thrilled with my proposal.  And the homeowners were ecstatic.  But the parents, who were not part of the discussion, balked at the thought of moving in with their adult offspring.  "Never!" was their reported comment.  So this has been one last view before going into the Unbuilt category in the files.

Merry Christmas

A sketch by John Tackett Design
for the Small Dining Room of a new house
proposed for Palm Beach, Florida.
The Devoted Classicist

There is a long tradition, over 35 years now, of my making my own holiday greeting cards.  Some have been printed with rubber stamps and one year, the fold-out cards were printed using the diazo process, the ammonia vapor "blue-line" print that was used for architectural drawing reproduction at the time.  There was even a linoleum block print one year.  But by far the most common printing was done by photo-copying my own sketch, using the common Xerox machine and card stock.  Usually, a bit of color was added with felt-tipped watercolor pens.  The image here was colored with Prismacolor pencils with the wreath added to the bust just for illustration of this post of The Devoted Classicist.

Image via MapQuest.

A John Tackett Design project is often the subject illustrated for the cover of the card.  In recent years, however, it has sometimes been an unrealized project.  That commission may have been "put on hold," a status used more often than a definite cancellation.  So, the holiday card illustration was an opportunity to revive an old sketch, with a wreath or Christmas tree added, to get one more chance to spark some interest.  Such is the case this year.


Image via Christian Angle Real Estate.

The scope of the project was to do a preliminary study to build a new house on a vacant waterside lot at 488 Island Drive, on Everglades Island on the Intercoastal Waterway.


Image via Christian Angle Real Estate.

The site is a little over a half-acre with water frontage on two sides.  There are views to the Lake Worth Lagoon and the marina to the north, and to the golf course of the exclusive Everglades Club to the east.  The vacant land is still available, at this writing, and can be yours for $9,975,000.  And if you do decide to buy it, please feel free to contact me.  I have some great ideas for it.

Best wishes to all my Devoted Readers for a very merry Christmas and the happiest New Year ever!

One Sutton Place South



A view from the Entry Vestibule to the Gallery Foyer and Dining Room beyond of an apartment at One Sutton Place South, Manhattan, with improvements by John Tackett Design.
Photo by Jaime Ardiles-Arce for Architectural Digest.

 It is always satisfying to see good architecture hold its value, and that is certainly the case with an apartment in a Manhattan building designed by architect Rosario Candela, 1890-1953.  Although some of Candela's commissions were for middle-class buildings, he is now best remembered for his grand apartments that are among the most expensive and sought-after today.  No. 1 Sutton Place South was designed by Candela in association with Cross & Cross for Henry Phipps Estates and completed in 1926.


A vintage view of One Sutton Place South, Manhattan.
Photo by Wurts Brothers, collection of the Museum of the City of New York.

 The brick, free-standing, apartment building is handsomely embellished with limestone detailing.  But the most distinctive exterior feature is a colossal arched, inset porte cochere entrance that allows autos to pull right up to the front door, eliminating the need to cross the sidewalk.  For many security-conscious residents, this is a valuable feature.

A vintage view of the entrance to One Sutton Place South, Manhattan.
Photo by Wurt Brothers, collection of the Museum of the City of New York.

An original feature was a garden overlooking the East River, with an indoor tennis court underneath and a private dock for yachts.  These features were destroyed when the FDR Drive was constructed along the river, but a garden was rebuilt in 1939 on top of a deck covering the drive, with a fifty year lease to the building at $1 per year.  Although the occupants of the building generally avoid publicity, the plans by city and state agencies to retake the garden and build a quarter-acre public park were met with public legal resistance.  After several years of litigation, reports in February, 2011, announced a resolution was near, but The Devoted Classicist has not been able to learn if there has been an outcome of the $10 million compensation lawsuit.  (The residents have agreed not to comment on any part of the issue).

A typical floor plan of One Sutton Place South, Manhattan.
Image from THE NEW YORK APARTMENT HOUSES OF ROSARIO CANDELA AND JAMES CARPENTER by Andrew Alpern, Acanthus Press, New York City, 2001.

In the original plan, there were 33 apartments of 12 or 13 rooms, both simplex (one floor) and duplex (two floors).  When all but crucial construction stopped during World War II and the demand for housing was critical, several apartments were subdivided in 1941 and a few since that date.  However, the co-op board no longer allows subdivision.  The apartment improved by John Tackett Design is in the "A" line, although the floor plan is altered slightly from the typical floor shown in the image above.

A view from the Gallery Foyer in the Library (shown on the original floor plan as a bedroom).
Photo by Jaime Ardiles-Arce for Architectural Digest.

The clients' former Central Park West apartment had been decorated by Tom Britt for the Mister and his wife during a previous marriage.  Those furnishings were re-installed in this apartment but the new Lady of the House soon set about changing it to her liking and Britt was no longer actively involved by the time of the John Tackett Design improvements although some decorating vestiges remained.  The scope of work for the Foyer involved adding architectural interest while preserving the marbleized painted walls.  The addition of mouldings to create a paneled effect provided a route for electrical conduit to be channeled into the masonry walls for sconces on each wall, requiring only the minimum of touch-ups.  The existing steel jambs were kept but embellished and pedimented overdoors were added to frame the new mahogany doors.  A new plaster cornice was added here and in some other rooms as well.

The Dining Room (shown on the original floor plan as the Living Room) with the sideboard similar to ones in the White House.
Photo by Jaime Ardiles-Arce for Architectural Digest.

In the Dining Room, the curtains visible in the first photo were destroyed in an accident, leading to the new design by John Tackett that was featured in the March 8, 2011, post of The Devoted Classicist.  The sideboard was said to be designed by Stanford White for The White House.  Similarites to those in the State Dining Room can be seen in the image below, painted white and gold by Stephane Boudin of Jansen for his decorating scheme for the Kennedys. 

The State Dining Room of the White House as decorated by Stephane Boudin of Jansen.
Photo from the John Fitzgerald Kennedy Library.

The plaster cornices for the apartment improvements were provided by Hyde Park Mouldings, but all the doors and millwork were custom made to the specifications of John Tackett Design and executed by the general contractor I. Grace Company.

The color photographs of the apartment are from the magazine Architectural Digest with subscriptions available here.   More about the architect Rosario Candela can be read in THE NEW YORK APARTMENT HOUSES OF ROSARIO CANDELA AND JAMES CARPENTER by Andrew Alpern, Acanthus Press, NYC, 2001, available here.  The White House image is from DREAM HOUSE, THE WHITE HOUSE AS AN AMERICAN HOME by Ulysses Grant Dietz and Sam Watters, Acanthus Press, NYC, 2009, available here.  More about the decoration of the Kennedy White House can be learned through DESIGNING CAMELOT;  THE KENNEDY WHITE HOUSE RESTORATION and JANSEN, both by James Archer Abbott available here.

Follower Appreciation Gift

In grateful appreciation to loyal Followers of The Devoted Classicist blog, a Give-Away drawing will be held next week with the gift being a pair of limited edition prints.  In the process of considering reproduction of some of the original pen-and-ink drawings by John J. Tackett, some prints were made to study size and color.  While these prints are not of the quality of an 18th century engraving, they do have a decorative quality and are signed in pencil and the very, very limited number is indicated.  This pair of prints in the following two images, without the blue watermark lettering of course, will be prize.

Each print would fit into a standard 8" x 10" frame, or larger if matted.  But to enable easy mailing, the prints are neither matted nor framed, so Followers from other countries are also eligible for the drawing. For customs and/or tax reasons, the value of the envelope will be declared as $0 as there will be no comparable prints ever available for sale.

The only qualification to enter the drawing is to be listed as an official Follower in the sidebar at the right. The order of Follower registration is divided into two parts with those having an image and those who do not, so scroll through to verify status.  Those wanting to become a Follower can sign up any time prior to the close of the drawing, Monday, September 19, 2011, at noon Central time;  click on JOIN THIS SITE.  To enter the drawing, Followers can just leave a comment and the pair of prints will be awarded based on a number drawn to correspond with the order of the entry.  Make sure your comment is shown with the same name as your registration as a Follower;  use the name/url option in leaving a comment if necessary to make the identification match.  If you are reading this from the Follow-By-Email version, please be advised that you are not necessarily registered as a Follower and should go directly to the blog site http://tdclassicist.blogspot.com/  to verify status and enter the drawing.  The winner will be revealed in a blog post and asked to send a mailing address to receive the prize.  Thanks to all who are regular readers of this blog, The Devoted Classicist.


New readers will want to visit the selection of books on architecture, interior design, and all the decorative arts available for purchase through The Devoted Classicist Library, in affiliation with Amazon.  For books that were especially selected in conjunction with the Central Gardens Home and Garden Tour, see the Historic District category here.

Nonesuch House, Smaller Version



A Detail of the Preliminary Design for Nonesuch House by John Tackett Design.

 The owner of Nonesuch House, a new residence designed by John J. Tackett, originally wanted it to be built of stone with a slate roof.  The change to handmade brick and a standing seam copper roof is a story that would not be of interest to the readers of The Devoted Classicist, nor would the reasoning behind the increase from 5,000 to 8,500 square feet.  (Well, they might find it interesting as the process of home building, but it is too personal for this public venue).  However, it is thought that this preliminary scheme, smaller than the final version, would be of some interest.  The previous post showed the initial presentation of the proposed house in a bird's eye view.  This preliminary design, a quick 1/8" scale free-hand series of drawings showing all the floor plans and exterior elevations, was prepared for approval before commencing the construction drawings.  As the plan was beginning to be developed, I added a shallow vestibule at the main entrance (to be changed in the construction drawings for the larger house to a projecting pavilion with an entrance porch) and a fireplace at the end of the Living Room which occupied the angled wing on the left, a match to a Guest Bedroom not seen on the right.  (The fireplace was located on the long rear wall of the Living Room in the final plan, not visible in the photo of the previous post).

The Rear of Nonesuch House, a new residence by John Tackett Design, as shown in a preliminary drawing for approval.

Another hallmark of new houses by John Tackett Design is that all exterior elevations have architectural significance.  In this case, a wild forest immediately beyond the house prevents any long distance view of the exterior faces of the house, but it would still be seen up close.  While the functions of the interior were given preference over exterior symmetry here, the rear of the house held its own, none the less.  (In the larger scheme, the Master Bedroom occupies a whole final wing of the house above a screened outdoor living room with a fireplace).

A proposal for a latticed terrace above the service court at Nonesuch House by John Tackett Design.

In the previous post showing the service court on the north side of the house, a long narrow terrace tops the covered entrance to the double garage.  French doors lined a passage outside the Dining Room and I had originally feared that service vehicles might be in view in the court below, so I proposed a lattice screen for that terrace.  This lattice also shows in my exterior sketch of the area in the September 6, 2011, post.  As soon as the framing went up, however, it was realized that these concerns over sight lines were unfounded and the lattice was not needed.

Many have commented that the preliminary designs for my new houses and renovations are as interesting as the final schemes, so it is hoped that readers of The Devoted Classicist also find this to be the case.

Nonesuch House

The initial proposal for Nonesuch House, a new residence in Nashville, Tennessee,

 by John Tackett Design.

Several years ago, John Tackett Design was commissioned to design a new house in Nashville, Tennessee, for a single woman moving back to the city of her birth after living abroad for some time.  The client had purchased a 1970s contemporary house with an indoor swimming pool solely for the lot;  although the house was designed by one of Nashville's leading architects, it was one of the ugliest and poorest designed houses imaginable.  My interview for the commission was held at the house shortly before it was demolished so I could see the site, a forested hilltop with no neighbors within view.  A steep drive scissored up the hill, building anticipation, only to be confronted with the face of the garage at the end of the long, narrow house.  To the side, the front door and kitchen door were adjacent and only slightly varying in design importance.  Inside, it only got worse.  The client had definite ideas of what room was to go where on the limited building site to maximize the light and views at specific times of day, and wanted a formal yet somewhat casual design that had a strong French influence. 

A new Gatehouse that also provides lodging for a caretaker matches the architectural details and materials of the main house.

I love a challenge, and came up with the design shown in the ariel view of the leading sketch of this post that was immediately accepted.  The scope changed a bit along the process and grew from 5,000 square feet to 8,500 (which is another story in itself).  The house, designed to be light and airy since privacy was not an issue, ended up being decorated as a dark, introspective retreat.  Although intended to be comfortable for the single occupant, it was also to be able to accomodate 200 for cocktails.  The client did not want an ostentatious house, so only a portion of the house is visible on entry into the courtyard and the rest of the house is not revealed until the visitor progresses through the sequence of interior spaces.  Because of the restrictions of the site, the full size of the house is apparent only from the Service Entrance, not visible by the typical guests.  The heavily forested site makes photography difficult, but the house was featured in a creatively written chapter (with the owner's name changed) in the book A House in the South with those photographs reproduced here.

John Tackett Design's sketch for the service entrance to Nonesuch House, Nashville.
Since this side of the house is viewed by the owner on a daily basis, it was given architectural interest.

To down-play the formality of the house, the stairs were relatively modest and located in a hallway adjacent to the Entrance Hall, an octagon with mirrored doors that opened to closets and a passage to the service area.  All of the floors, including the Kitchen, were made of salvaged wood planks except for the bathrooms and the Stair Hall which was a last minute change to stone tile by the client's best friend/decorator.

The Stair Hall with the Entrance Hall beyond.
The canape was relocated for the photo.

The Living Room was located in the southern angled wing that faced the courtyard on the east, and terrraces of the south and west to maximize the light and views.

The Living Room of Nonesuch House features light-absorbing upholstered walls.

The Dining Room occupies the core of the house, flanked by galleries along both long sides, accessed by arched pocket doors glazed with mirrored Restoration Glass.

The Dining Room walls are upholstered in fushia silk.  The white cabinet is from the owner's previous residence in London.

Although the house is equipped with an elevator, there is a downstairs Guest Bedroom suite that could serve as a Master if desired.  The other Guest Rooms each have a gracious dressing room and private bath as well.

The Gatehouse can be viewed from a second story Guest Bedroom suite.

The Master Suite is an architecturally distinctive arrangement with His and Her accomodations.  Following the principle that a bathroom is just another room in the house, but happens to have plumbing fixtures, Her Master Bathroom has an antique marble Louis XVI chimneypiece, one of three sourced in Europe by my colleague Hector Alexander. 

The bathroom for the lady of the house features a gas-ignition wood burning fireplace.

The house is constructed of new handmade bricks, custom made to approximate the color of clay consistency in the Nashville area.  The windows, doors, and decorative hardware are all custom made as well to the specifications of John Tackett Design.  The roof is standing seam copper.

A portion of the service entrance to Nonesuch House, a new residence by John J. Tackett.

The fiberglass sculpture is a reference to a part of the owner's real estate investment portfolio, the land and buildings of a chain of restaurants.  More about this new house will be featured in future posts of The Devoted Classicst.

All the color photos are reproduced from the 2005 book by Frances Schultz and Paula S. Wallace, A HOUSE IN THE SOUTH;  OLD FASHIONED GRACIOUSNESS FOR NEW-FASHIONED TIMES available for purchase through The Devoted Classicist Library.

Villages of Coral Gables

The "Gate House" garden pavillion, 1033 Hardee Road, Coral Gables.
Photo:  John J Tackett for The Devoted Classicist blog.

The Devoted Classicist cannot move on without presenting one more of the many fabulous historic aspects of Coral Gables, Florida.  As mentioned in the previous post on Venetian Pool, George Merrick began to realize his City Beautiful vision of a Mediterranean style community in 1921 with the help of a team of architects, artists, and landscape architects.  Merrick relinquished some control, however, in 1925 by deeding over 100 building lots to the American Building Corporation, and investment group based in Cincinnati, Ohio, and former Ohio Governor Myers Cooper.  A series of as many as twenty period revival theme villages were considered with a thousand residences.  But fewer than 80 were ultimately constructed in six villages.  The 1926 hurricane and the depression that followed ended Merrick's dream and, heavily in debt, he was removed from the Coral Gables commission.

A perspective rendering of French City Village, Coral Gables, by Schell Lewis, 1925.
Drawing:  THE ARCHITECT, December, 1925.

My favorite is the French City Village designed by Mott Schmidt because it is such a successful semi-urban enclave.  Schmidt partnered with Anderson Fowler, a New Jersey developer and attorney, to create a contiguous but slightly varied group of small classical villas will walled gardens and garages in an interpretation of the eighteenth century French style.

Block plan of French City Village, Coral Gables, Florida, from the original working drawings.
Drawing:  Mark Alan Hewitt, from THE ARCHITECTURE OF MOTT B SCHMIDT.

Construction photo of French City VIllage, circa 1926, showing the intersection of Leonardo Street and Hardee Road.
Photo:  City of Coral Gables, Historic Preservation Department,
from THE ARCHITECTURE OF MOTT B SCHMIDT.

Consisting of a total of eleven original lots on a block bordered by Hardee Road on the south, Cellini on the east, Cotorro on the north, and Leonardo on the west, the houses form a desirable grouping that anticipated the "townhouse" developments that started becoming popular forty years later.  The corner garden pavilions which appear as gate houses are an especially nice touch.

The intersection of Hardee Road and Cellini is shown in this circa 1926 construction photo of French City Village, Coral Gables.
Photo:  City of Coral Gables, Historic Preservation Department,
from THE ARCHITECTURE OF MOTT B SCHMIDT.

New houses in a sympathetic design have now filled in the remaining lots, except for 1042 Cotorro Avenue;  it is listed for sale for $790,000 and includes a design for a small villa in the same style of the neighboring houses.

The east end of 1032 Cotorro is shown with the vacant lot at 1042.
Photo:  John J Tackett for The Devoted Classicist blog.

The Devoted Classicist is enamored of the abandoned shell at 1032 Cotorro at the intersection with Leonardo Street.  (Early readers of this blog might recall some coincidental similarities to the new house by John Tackett Design featured in the December 19, 2010, post of The Devoted Classicist).  The classic proportions and siting so close to the sidewalk are noteworthy;  despite the current condition, it is a wonderful semi-urban house.  The real estate ad notes that it is a Short Sale, subject to bank approval;  the listed price is $1,550,000 as is.

1032 Cotorro, Coral Gables.
Photo:  John J Tackett for The Devoted Classicist blog.

1032 Cotorro, Coral Gables.
Photo:  John J Tackett for The Devoted Classicist blog.

1032 Cotorro at the intersection with Leonardo Street.
Photo:  John J Tackett for The Devoted Classicist blog.

The house at the corner of Hardee and Leonardo, 1033 Hardee Road is listed for sale at $2,495,000.  (See the July 4, 2011, post of My Little Housing Blog, linked in the Blog Roll on the right margin of this page, for more photos).   And 1013 Hardee is listed for $1,095,000.  More information on these property listings can be found by a Google search of the address.

A view along Leornardo Street showing No. 6105 on the left, and 1033 Hardee on the right.
Photo:  John J Tackett for The Devoted Classicist blog.

1013 and 1009 Hardee Road, Coral Gables.
Photo:  John J Tackett for The Devoted Classicist blog.

1025 and 1021 Hardee Road, Coral Gables.
Photo:  John J Tackett for The Devoted Classicist blog.

1001 Hardee Road, Coral Gables.
Photo:  John J Tackett for The Devoted Classicist blog.

The "Gate House" garden pavillion at 1001 Hardee Road.
Photo:  John J Tackett for The Devoted Classicist blog.

The ground floor plan of 6105 Leonardo Street.
Drawing:  Mark Alan Hewitt, THE ARCHITECTURE OF MOTT B SCHMIDT.

The ground floor plan of 1013 Hardee Road.  Note:  the scale is not the same for these two plans.
Drawing:  Mark Alan Hewitt, THE ARCHITECTURE OF MOTT B SCHMIDT.

The floor plans of the huoses are variations of a common theme.  They all were designed with the ground floor to have an entrance hall with stairs, an adjacent vestibule with coat closet and powder room, a living room with a fireplace, a dining room, a serving pantry, a service porch, at least one small porch suitable for entertaining, and two servant's rooms sharing a bath.  No second floor plans were available, but the original scheme was smaller than the ground floor footprint;  my guess is that there were usually three bedrooms and two baths upstairs.

An original single house in French Provincial Village, Coral Gables at 501 Hardee Road.
Photo:  John J Tackett for The Devoted Classicist blog.

An original double house in French Provincial Village, Coral Gables, 516 - 520 Hardee Road.
Photo:  John J Tackett for The Devoted Classicist blog.

Nearby, Phillip Lippincott Goodwin was the architect of the French Provincial Village.  It has some charming houses, but the development lacks the cohesive quality that helps make Schmidt's block so successful.  Goodwin teamed with Henry Killam Murphy to co-author the 1924 book French Provincial Architecture which proved to be an inspiration for houses around the country.  Murphy designed a development in Coral Gables as well;  his Chinese Village is surely one of the most exotic examples of 1920s residential architecture in the whole country.

The Chinese Village, Coral Gables, San Sovino Avenue at Maggiore Street.
Photo:  John J Tackett for The Devoted Classicist blog.

The other unique development that sparks my imagination is the Dutch South African Village by architect Marion Syms Wyeth.  The white stucco walls, shaped gables, and twisted column chimneys are delightful.


6704 So Le Jeune Road, Coral Gables, Dutch South African Village.
Photo:  John J Tackett for The Devoted Classicist blog.



A view from Maya Avenue of 6705 San Vicente Street, Dutch South African Village.
Photo:  John J Tackett for The Devoted Classicist blog.

6776 South Le Jeune Road (SW 42nd Avenue), Dutch South African Village.
Photo:  John J Tackett for The Devoted Classicist blog.

All these unique homes are cherished today and any proposed renovation must keep the integrity of the original design.  The City of Coral Gables Historic Committee reviews all plans for the required approvals prior to issuing permits for construction.

For more information on the architect Mott Schmidt, see The Architecture of Mott B Schmidt by Mark Alan Hewitt, the source for the measured drawings and historic photos shown in this post.  It was published by Rizzoli in 1991.

A special thanks to Ian MacDougald for his expert navigation and driving in taking The Devoted Classicist to these locations.