The South Beach Bum is In Chicago Now. Not sure how much blogging I'll be doing, though.
South Beach 1991 - 2009. That's a long, long time on this little island. I may still post some photos from time to time since I have lots of them. But as for me, I'm all packed up and on my way. Best to all.
At some point in the future I'll announce my new location.
I went for a bicycle ride to return some library books yesterday and the streets and sidewalks of South Beach were too crowded to enjoy it much. Every car with its windows down and its own brand of "boom-boom" blasting. Pool parties all along the Ocean Walk were just getting started, but the crowds along the walk made it difficult to maneuver on bicycle.
Last night at 4:00 in the morning, some idiot decided it was a good time to take out his jet ski and blast around the bay much to the delight of his cheering friends. That kept me awake for a couple of hours. I just kept imagining someone getting killed and how much more noise and disturbance that would cause. Otherwise, I would simply have liked him to kill himself and get it over with. I know, I'm a grumpy old man at 4 a.m.
Now, I find out that they will be having a big party here in my backyard by the pool tomorrow afternoon. Oh well, it's free. I'm not a big fan, but I suppose I will show up and take a few pictures of the neighbors getting shit-faced in the middle of the day.
Maybe by having a party here during the day, many of the residents will be too tired to stay up late being rowdy tomorrow night. I'm not very optimistic, though.
I had really, really missed the park -- almost as much as I missed the Venetian Causeway during the YEARS that it was closed and Lincoln Road during the YEARS that it was a giant mud puddle. You don't know what you to 'til it's gone. It's really nice to have it back. Tomorrow, I'll check it out on roller blades! Yay!
Father Tony has some more pictures up as does Steve Rothaus (who I enjoyed a brief conversation with at the Kiehl's event).
I had a perfectly lovely relaxing Sunday at home. Yes, I have a twinge of regret for not making it to the Beach Party, but, honestly, I had such a great time being a volunteer the last few days, the Beach Party itself may have just been superfluous. I'll definitely be volunteering again.
Thanks to Father Tony for the video and commentary:
I think I've hit the wall. One of the benefits of volunteering for the Winter Party is that you get a free ticket to the beach party. You have to work two shifts to earn that ticket. I have worked four shifts in four days. Because I worked the Pool Party set-up yesterday, I also got a free ticket to that event. And I had a great time.
Today's the big day, though. It looks like a cold front may come through the middle of this afternoon some time and perhaps some showers and wind. Still it's beautiful out now and at least for the first part of the party, I think the weather will be perfect.
HOWEVER, I still have to clean the kitchen and shower and get dressed and walk the dog in order to try to get over to the beach party before 1:00 or so. That was my goal and my plan. I was just lying in bed with the dog and thinking, I would much rather curl up with a good book or a movie and the dog and just relax today.
And so it shall be. Sorry, folks, I won't be posting pictures of the beach party because I've just decided I'm too tired to go. Middle age will do that to you.
I hope everyone has a great time and that the weather holds as long as possible. I'm done.
How the hell does this thing work? I know I'm repeating myself, but I was there at 8:00 a.m. on a Red Bull and a No-Doz, so I refuse to apologize. Also, I was out of there at 3:30 in the afternoon (I think), so I'm sure it got better after I left. The story of my life. Oh yeah and despite the quality of the video, the music was LOUD!!
There is a time and a place for careful editing. This is neither.
You think those garbage boxes just make themselves? First they said, "We need 45," then they said, "make sure there are two empty bags in the bottom of each box," then they said, "just keep making more." Then they said, "the ice truck has arrived." Needless to say my breakfast of a No-Doz and a Red Bull could only take me so far.
I'm going to let the pictures speak for themselves. I was there from 8:00 a.m. as a volunteer and it's almost at 11:00 night now. I need sleep.
Everyone was just lovely:)
The Winter Party was in full swing along Lincoln Road last evening. I passed by Diesel and Halo on my way to my shift at Kiehl's. Kiehl's itself was a bit of a zoo -- free Grey Goose and practically naked underwear models and within the hour dancing on the countertops.
Today's weather looks like it's going to be gorgeous. I did not sleep well, but I have to be over to help set up the pool party by 8:00. I WILL BE TAKING PICTURES!
Check back late this afternoon or this evening for the visuals. Gotta go!
One quick observation: I never really liked bossy queens, but I have to say, if you want something done right and on time, put a whole team of them together and they are unstoppable.
I know, another perfect morning, yawn.
Our tenant/houseguest left yesterday so we have the apartment to ourselves for the first time since New Year's Day. He was an incredibly nice guy and we loved having him. We'll also miss him, but at the same time it's nice to have the apartment to ourselves again. I'm just not sure how we're going to get the rent paid for March. It will be late, needless to say.
I have a much lighter volunteer schedule today so I can focus on putting our apartment back in order and taking care of some personal things as well as getting in a real workout and a tan for the parties this weekend. There are a lot of handsome men in town this weekend and I don't want to look like too much much of an out-of-shape old troll standing next to them!
I will be working the Kiehl's event on Lincoln Road from 7:30 to 10:30. Then I have to get right to bed, because I have to be back at the Surfcomber at 8:00 Saturday morning to help set up the Under One Sun Pool Party:
Kiehl's Gives 20/20
8:00 PM - 10:00 PM
Kiehl's Since 1851, 832 Lincoln Road, Miami Beach
Entry: Free
Kiehl's Since 1851 welcomes Winter Party Festival for an exclusive shopping night. Festival guests receive 20% off on all purchases while sipping free cocktails and checking out the newest Kiehl's creations. Stock up on your iconic favorites or the necessities like Facial Fuel and Vital Sun and take advantage of complimentary consultations and chances to win complete skin and hair care regimens. Kiehl's will generously donate 20% of sales from this event to Winter Party Festival.
Ascension's Under One Sun Pool Party
12:00 PM - 6:00 PM
Doubletree Surfcomber Hotel, 1717 Collins Ave, Miami Beach
Entry: Titanium, Platinum, Gold, Florida & 21-25 Passes, $30 advance, $40 day of
Join over 2500 swimsuit-clad hotties, in and out of the water, as DJ Roland Belmares spins one of our most popular events, the Under One Sun Pool Party, presented by Ascension. Décor by RKM.
I got a link from The Circuit Dog?! I am in trashy whore heaven! In case the page has changed since I posted this, I got links to both my THIRTY THOUSAND CONDOMS post and may DAY 2 post. Thanks!
I volunteered at the Welcome Center again today from 10:30 to 5:30. The day began with gift bag assembly. THIRTY THOUSAND CONDOMS will be distributed in the gift bags for this weekend. That's a whole lot of somethin' goin' on. Other than that it was the usual magazines, flyers, some nice Keihl's products, CDs, DVDs, lube.
Then I spent a little time hanging signs from the ceiling.
Then for the next six hours my job was to greet every person who came in to the Welcome Center. Of all the things that I am least suited for. I did have a good time, though. It wasn't really that busy today. Additionally, the person had to be directed to either the "Will Call" area or the "Purchase Tickets" area. If they were purchasing their tickets, then I had to try to convince them to fill out a little two-page survey. While they were doing the survey, I was supposed to try to talk them into getting a temporary Winter Party safe sex tattoo. Needless to say, the only person who wound up with a temporary tattoo today was me! Oh yeah, and THEN I had to hand a gift bag (or two or three) to every person who left the Welcome Center. Yeah, that is sooooo me. And I did not really have any help. Everyone else was working in little teams except for moi. So I didn't really get to interact much with the other volunteers, but I got to interact with everyone else who came in.
Oh yeah, LOTS OF HOT GUYS! Seriously, if I had the nerve I could have just taken pictures of the amazing looking men and posted them. You'll just have to take my word for it.
Now I am pooped. As a volunteer, I get free admission to the party tonight at Score, but I expect to be in bed asleep by 9:00.
Another glorious, perfect day on South Beach. I'm off to the Welcome Center for Day 2. I feel much better after a short nap.
Bloggers in Paradise?
Father Tony
Countess Bedelia
Mrs. (and Mr.) Astor
Things I learned (again):
While the $10 open bar wrist band may be the "best deal," it may not necessarily be the best idea. And, yes, I will have a beer for breakfast.
Some of the organizations that benefit from the money raised at the Winter Party -- and isn't that really the whole point?
South Beach AIDS Project
Nadadores of South Florida
Miami Gay Mens Chorus
Gay American Heroes
SAVE
Switchboard of Miami
Today I worked from noon until 5:30 helping set up the Welcome Center. It was basically all about "ticket fulfillment" which meant stuffing envelopes with tickets and orders. I don't know how many hundreds of thousands of dollars of tickets and passes there were on that table or that we stuffed into envelopes. I was told ticket sales were good, down just slightly from last year. However, there are definitely some events that are already sold out and others that aren't selling that well. The "trifecta" of Pool Party on Saturday, Beach Party on Sunday and the Sunday night "Orbit" party at the Cameo Theater were far and away the most popular tickets. I'm not going to give away too much information, but like I said some events have already sold out and there are others that will probably sell out pretty soon. It was a great way to spend the day. And thanks to Da Leo for bringing lunch!
Unfortunately, I have no information on this building. I just think it's pretty.
It occurred to me that someone might drop by this blog and not understand what the big deal is about Winter Party other than hot guys partying on the beach. Now, there's nothing I love more than partying with hot guys on the beach in the sun; however, Winter Party is a lot more important than that.THE TASK FORCE
Founded in 1973, the National Gay and Lesbian Task Force was the first national lesbian, gay, bisexual and transgender rights organization and remains the community's uncompromising, progressive voice. We fight for equality and justice by building grassroots power through training, advocacy, organizing and forward-thinking research and expertise. We challenge not only the status quo in mainstream America, but politics as usual within the LGBT community, and we refuse to make political compromises that would leave anyone behind.
Headquartered in Washington, DC, we also have offices in Miami, New York City, Los Angeles, Cambridge and Minneapolis. The Task Force is a 501(c)(3) corporation incorporated in Washington, DC. Contributions to The Task Force Foundation are tax-deductible to the full extent allowed by law.
TheTaskForce.org
Winter Party starts today for me. I'll be working at the Welcome Center at the Surfcomber Hotel from 12:30 - 5:30. Then I'll be attending the Departure Lounge party at the hotel. I went a couple of years ago and it's definitely worthwhile. It's very low-key. It's free. The best thing about it is that the local organizations who receive funds from the Winter Party each have a display so you can see who is benefitting from the money you are spending. There's some speechifying, some schmoozing and some very light flirting/cruising. The week is young!
Today's weather looks fabulous and the forecast for the rest of the week and weekend looks like more of the same. They are predicting a slight chance of showers by Sunday, but my guess is they'll never make it to the beach or if they do it will just be enough to give us a rainbow and not enough to spoil the party.
The superstitions (see below) must be true because I got a lovely donation (see DONATE BUTTON to the right) to this blog today. Hooray for the magic porpoises (see below)!
When we first moved in here, E's sister saw one right in front of our balcony. I've heard a half dozen other accounts of porpoises in front of The Flamingo since then, but had yet to see one myself until this morning. E saw them while he was walking the dog and came and got me. I saw at least two different animals three different times (or perhaps it was six different animals one time each), but I could not get them to pose for a proper picture! Still, it's a nice way to start the day. They were beautiful.
According to Cassell's Dictionary of Superstitions:
...the porpoise is generally considered a harbinger of good luck . . . and should never be harmed.
Sitting on the southernmost corner of the intersection of Ocean Drive and 9th Street is the 1937 Waldorf Towers (860).
In this structure, former Chicago architect Albert Anis captured a confluence of styling: Art Deco vertical emphasis and accents above the roofline, Moderne smooth surfaces and plainer low-relief decoration, Streamline curving corners, and finally, a Classical Revival touch in the formal porch and columns.
The most obvious recipient of our attention is the "lighthouse," which carries the Miami Beach Tropical Deco nautical theme. In the early 1980s the City deemed it to be unsafe, and ordered that it be torn down. Without this flight of the imagination, Anis’ design is somewhat bland. Kudos go to the 1986 restoration team for returning this wonderful piece of resort whimsy to Ocean Drive.
Most of the decoration is simple, low-relief fluting, just breaching roofline. Underneath the tower, a glass block transom smoothly turns the corner. The long rows of eyebrows flowing continuously around the corner and the countermanded vertical geometric fluting all speak of the Streamline influence.
The awning and umbrellas hide a large portion of the Classical porch. If you locate the articulated molding running under the first floor windows, you will see how it juts squarely out of the curving corner. Under the awning, ribbed columns support the cantilevered roof of the front terrace, which in turn is framed by a simple balustrade porch with terrazzo floor.
Lately the lobby has been looking a bit worn, but it has a great keystone elevator door surround, wonderful stepped ceiling with Art Deco light fixtures, and a spectacular patterned terrazzo floor.
Next door is the Pelican Hotel (826).
Owned by the Diesel clothing company, the Pelican is one of the most over-the-top hostelries on the beach. This offbeat theme hotel’s notorious interior has been outrageously decorated by Swedish interior designer Magnus Ehrland. Each room has its own theme; for instance, the “Me Tarzan, You Vain” room, the "Executive Fifties" suite, and the "Jesus Christ Megastar" room. Kooky comes to mind. Kitsch? Frivolous? Most of us can only imagine. Celebrity guests have included Grace Jones, Cindy Crawford, Yoko Ono, John F. Kennedy Jr., and Prince Faisal of Saudi Arabia.
Star envy aside, we are really here for the building’s architecture, and this Henry Hohauser design from 1948 seems a little misplaced in this neighborhood. The structure is one massive block, with continuous cantilevered boxes of windows on the second and third floors. The building is capped with a roof terrace and stepped-back penthouse.
The Pelican has symmetry, but with a decidedly horizontal balance rather than the vertical division characteristic of Art Deco. The steel casement windows of the 1940s tended to be tall and narrow, but these "awning" type windows are especially long, filling the interior with light as they extend the horizontal dimension the exterior.
The late forties brought improved highways and transportation, facilitating the introduction of imported new building materials. Stone between the windows replaces the traditional Art Deco or Moderne stylized decorations on the Pelican
The railings appear to be a conscious nod to Art Deco, but obviously this is not an Art Deco or Moderne building. Taking its cues from International Style, the post-war Pelican is a good example of the transitional design that eventually evolved into Miami Modern, or MiMo.
I snapped a quick photo of the pool at the Surfcomber yesterday after the Winter Party volunteer orientation meeting. It will look a lot different in exactly one week. These old party pictures are from 2005.
I went to the volunteer orientation this morning and am confirmed to be working the following:
Wednesday 12:00 - 5:30 Welcome Center Surfcomber Hotel
Thursday 10:30 - 5:30 Welcome Center Surfcomber Hotel
Friday 7:30 - 10:00 Keihl's Gives 20/20
Monday 11:00 - 5:00 Production Office - Breakdown
UPDATE: It looks like I'll also be helping set up the Pool Party on Saturday morning. At 8:00 a.m.!
Bordering the north side of the News’ courtyard is the pretty Shore Park Hotel (820). Designed by E. A. Ehrmann in 1930, it is one of the few Mediterranean Revival buildings on Ocean Drive.
Unlike the concrete construction that dominates the Deco era, the Shore Park is built of wood and masonry, with a covering layer of stucco. A hint of this construction can be seen in the beautiful barrel tile roof on the tower. Its ceiling is composed of wood boards and beams.
An arch theme is carried through the triple-arched arcade and the arched openings on the tower, which are garnished with twisted column supports. Though not easily discerned because of the awnings, the upper windows with the twisted-column mullions have arched transoms, similar to those over the tall windows you can see through the archways on the first floor.
Contrasting with the older buildings on Ocean Drive are a few structures from the 1950s.
The Boulevard (740) by August Swartz was built next to the Colony in 1950. The 1952 Starlite Hotel (750) was designed by one of the most prolific Miami Modern (MiMo) architects on the Beach, Gilbert M. Fein.
Just kidding. I was really not looking forward to or planning on attending Winter Party this year. I was actually going to go out of town to avoid it. I think I've only missed one or two in all the years it has been going on, but for a variety of reasons, I just didn't care this year. Until yesterday when I got on their website and decided I'd volunteer for whatever they'll have me for. Hell, I'm unemployed and bored out of my skull. I figure I might as well spend some time helping out. I'll be attending the volunteer orientation tomorrow morning. Yay, I guess.
Continue to the 1935 Henry Hohauser classic a few doors north, the Colony Hotel (736).
Thought it is considered by some to the first Streamline Moderne building on Miami Beach, the Colony still has its feet firmly planted in Art Deco. The design takes a step toward streamline styling, but we believe Hohauser’s first Streamline Moderne design is at 700 14th Street (see the Clair Apartments, Walk 7), which was built in the same year as the Colony.
The stunning and powerful masonry marquee on the Colony makes it one of the most recognizable buildings on Ocean Drive. The movie theatre marquee is broken up into two parts – a tall bowed band and a squared vertical tower with neon signage. This building is worth a second visit in the evening just to see the illuminated sign.
Long, Moderne styled ribbons of windows, together with their eyebrows, continue around the corner to create a horizontal flow that offsets the powerful vertical sign. An oft ignored nifty decorative band near the cornice supports this flow.
Though hidden by awnings, the ground floor lobby windows are fairly tall. Two-thirds of the way up, they are split by a masonry sill. The upper sections can be seen above the awnings. The bars that cover this section of the windows are actually thin louvers that protect the interior from the high angle of the summer sun.
The Colony Hotel lobby is one that you should inspect, as it contains a good deal of green structural glass. The floor-to-ceiling fireplace is covered in the stuff, with a Diego Rivera derived mural by Paul Simone inset over the hearth.
Next door is the 1936 Beacon Hotel (720), designed by Henry O. Nelson.
A newer attached building on the left was thematically linked to the original by extending the horizontal banding and repeating the half circle boss on the edge of the roof. Most of our view is taken in by the original four-story structure, and it is easily separated from the lower, newer building by virtue of the misaligned windows.
Sans this attachment, the Beacon is one of the best examples of “classic” American Art Deco buildings on Ocean Drive. Three-part symmetry with vertical massing and details create a strong vertical impression, contrasted and balanced by the horizontal stripes.
The subtly complex central segment steps both forward and upward, extending above the roof line. Vertical masonry panels with incised geometric designs reinforce the vertical movement. Along the cornice, half circles and pointed, shield-shaped bosses add more architectural interest.
The café umbrellas lend themselves to the upward movement, so your gaze may at first miss the beautiful bas-relief ornamental panels along the edge of the terrace roof.
Pairs of windows flank the central mass, their horizontal banded spandrels struggling to balance the upward pressure. The terrace, with its broad roof funning across the face of the original structure, mitigates some of the upward thrust; but the tilting umbrellas fight this, forcing our gaze upward again. Along the edge of the terrace roof, a new metal canopy has been painted in the background color of the building in order to disguise it. Underneath that metal canopy there are more horizontal bands.
The new marquee is brushed steel, which for us just does not equal the more appropriate old neon sign. The brushed metal theme is carried into the lobby, which adds a bit of a funky touch to a once elegant interior.
The interior is a spot of amusement. As you step through the large, semi-circle windowed doors, be sure to check out the flamingo etched glass. Act like you own the place and walk up the stairway to your right, onto the mezzanine, for the best views. The metallic theme is rather new and covers the posts, but the railing with the “B” monogram and the sun-like Zuni symbols are original. From this vantage point, you can also see the porthole windows, pretty ceiling lights, and the outstanding terrazzo floor design at the entrance doors.
Across Seventh Street, sitting on the other corner, is the Avalon Hotel (700). It opened as the St. Charles Hotel in 1941.
An angular, asymmetrical Moderne Style structure that is for the most part smooth surfaces, this Albert Anis building is nearly a pure expression of geometric form.
The corner “tower” powerfully extends the vertical image, while the rest of the structure battles to balance its upward thrust. The tower’s three-part st6acked cantilevered ledge, corner windows and eyebrows, flat overhung roof, and horizontally scored spandrels all resist the vertical movement. They need to call in reinforcements: eye-brow-shielded, rhythmic bands of windows.
The upper part of the structure, supported by square columns with beveled corners, appears to “float” over the entrance.
On the ground floor, Anis created an illusion of depth, and a grand entrance. The front wall is pushed back, and the upper part of the building is cantilevered out over the porch. The porch is fronted by a wall with a row of square pierced openings, which adds a bit more depth.
Along the 7th Street side the Avalon forms a long U-shape, with the far end returning toward the street in a series of steps. Note how this side has no decoration other than the eyebrows and the wall extending down the street to enclose a small courtyard.
With this design, Anis offered a razor-sharp alternative to the curvilinear 1930s Streamline forms.
I've been up since 5:00 and I really don't want to come inside, but I need to rest for an hour before I get back out there.
Looks like another perfect day, although it smells a little smoky out there this morning.
Well, this entry starts out kind of funny. I haven't read the entire book in order, so I don't know what that first line refers to:
Perhaps you recall hearing of the Essex House Hotel? There it is, diagonally opposite you at 1001 Collins.
The entire building looks about to head out to sea. The comparison to a ship is obvious, from the found portholes at the roof line, the the sleek curved entry, to the octagonal portholes at sea level on Collins. A quiet paint scheme underscores the nautical metaphor.
The rounded facade is topped by a pylon and signage, a four-sided, neon-illuminated metal spire. Alas, the nifty Buck Rogers space-needle finial is gone.
Widely acknowledged as one of Henry Hohauser's masterworks, the 1938 Essex House set the standard for Streamline Moderne corner entry hotels in South Beach. The main bulk of the building is raised at the corner, creating a ground floor recess for a wide porch and entry. The L-shaped plan, with continuous building frontage on two streets, maximizes the number of rooms with views.
Curves, eyebrow patterns and racing strips (sic?) all conspire to lead the eye to the right, where the building curves again to accommodate a generous south-facing courtyard on 10th Street.
The Essex House design was quickly assimilated, adapted and played back, most notably in L. Murray Dixon's 1939 Tiffany and Tudor Hotels.
I'm obviously not doing these in the order they are in the book:
The last in our trio of 1939 L. Murray Dixon wonders is the Kent Hotel (1131 Collins Avenue).
The Kent has been subject to a number of changes over the years, including the addition of air conditioning units dotting the walls, non-era replacement windows, and the loss of the original Moderne wrought iron garden railing. The honeycomb screen and windows to the left supplant an unbroken column of casement windows. Still, the entire shape and form of the building command our attention.
Maybe becuase of its large, south-facing garden lot, the Kent affects a more esteemed location than the mid-block position it holds.
The Kent foretells the styling of later fifties and sixties long and low roadside motels.
The asymmetrical facade is a series of interlocking rectilinear patterns. The tall staircase column to the left is woven into a pattern of window ribbons and eyebrows that shorten progressively from top to bottom on the right. The roof line step is locked into the contour of the bulding by the futuristic pylon, and the sign is locked into the third floor eyebrows.
The leftmost and lowest step in this pattern is the entryway door, with its keystone surround and canopy. The adjacent lobby window is juxtaposed to a keystone wall on the right. Round openings on this wall intimate portholes. The entire lower ensemble is tied together with a canopy and a rounded corner eyebrow.
Most of the stress and motion in this building is horizontal, creating the image of a much smaller, though impressive, structure. Though now veiled somewhat by the large garden tree, Dixon continued this emphasis and motion with the upper two window ribbons and matching eyebrows along the length of the building's southern side.
The following information is obviously no longer up-to-date:
The Jackie Gleason Theatre of the Performaing Arts (1700 Washington) is across the street from Temple Emanu-el. Originally called the Miami Beach Auditorium, it was here that Jackie Gleason taped his popular 1960s television show. It was renamed after the performer's death in 1987.
Built in 1948, it is the only building to have been triple-teamed by architects L. Murray Dixon, Henry Hohauser and Russell Pancoast. The building was renovated in 1974 by Morris Lapidus, and again in 1988 by two teams or architects, whereupon it received its Post Modern exterior. Pop artist Roy Lichtenstein's first public sculpture commission, the Mermaid, was installed in the spring of 1979. She can be found lounging on the southern corner of the lawn.
The weather forecast was pretty good yesterday and yet by mid-morning, it was still pretty dreary-looking. After a short mid-morning nap (I had been up since 5:00 a.m. and spent 2 hours in the gym), I saw the sun shining out the window and set out to take some photos. I had even made notes about the particular buildings I wanted to photograph.
However, every time I got to one of those particular places, the sun would go behind the clouds until I eventually gave up and just wandered around with the dog. When the sun came out, I took some pictures of whatever was in the vicinity. Eventually, I made a phone call to meet someone at Lincoln Road.
Just as I got there, the sun came out fully for the rest of the afternoon and from that point forward, Lincoln Road was packed with people. It was just incredibly crowded and we had a really nice time. I lost count of the number of folks we ran into including several friends that we had literally not seen in years even though they still live in South Beach. We didn't get home until well after dark.
I moved into this building the week before Hurricane Andrew and subsequently evacuated to Kendall where I would supposedly be safer. We sustained no damage at the Ambassador Court, while the townhouse development in Kendall was devastated -- the roofs came off, the walls fell down, etc. Ambassador Court was painted pink with aqua accents and a big blue neon design in the courtyard in those days. While the place was kind of a dump, those were a couple of great years on South Beach. The first iteration of Paragon and the then new Twist were both within stumbling distance. Because of some maintenance problems, I was able to live there for four months for free at the end.
L. Murray Dixon designed the U-shaped Ambassador Court at 1008 Meridian Avenue. Stand in the arms of the "U" to review this 1945 apartment building.
The rounded corner with curving window and eyebrow obviously marks this as a Streamline Moderne structure. The opposite corner presents quite the contrast, however, with a walled porch and similarly walled balcony above. The entry towers are decorated with a raised patter of blocks in stucco.
A popular Tropical Deco design motif, three lines punctuated with circles, is used as a large vertical accent. Small rectangular windows are set into the circles, creating a porthole allusion.
No idea who they are or what they're selling, but I like their orange umbrellas and pink streamers.
The Majestic Hotel (660) on the southern corner of 7th Street was completed in 1940.
The front of this hotel has the classic Art Deco symmetry, but most of the decoration is provided by two-story, low-relief peaked window surrounds. These features give the building some of that sixties motel "Googie," of "Populuxe," feel.
The exterior flatness is mitigated by sharply edged, vertical zig-zag central window spandrels, which add a bit of texture. High on the parapet, crosshatched panels at the edge of the cornice offset the peaked central ziggurat.
Round fluted columns support the upper portion of the building, which is cantilevered over the front terrace. The terrace masonry railings sport a stylized "M" between the uprights.
The first floor has a small but very nice lobby which is accessible only to customers. You can peek through the large windows to see some of the details. Though the engraved brass elevator door will probably command your attention, don't miss the ceiling light fixtures and the grand terrazo floor.
A friend pointed out this article in the NY Times. I assume I am late to the party as usual, but I found this and the other videos, um, compelling?
As you will see, hotel consolidation is an ongoing trend on Ocean Drive. The Imperial Hotel (650) houses the Park Central suites and an additional sidewalk restaurant.
Dwarfed by the Park Central, the Imperial's small size is somewhat of an illusion, as this three story structure is tightly jammed onto its standard-sized 50 b7 140 foot lot. The Imperial was built in 1939, two years after the Park Central, and you can see how architect L. Murray Dixon gave a nod to the Hohauser motif next door by repeating the 'L' motif, but this time right side up, with the main porch and eyebrows accenting the horizontal stress. The vertical stripes between the windows and the floral bas relief panels help to lift the central facade to a stepped parapet.
In the late 1970s this part of Ocean Drive ws considered to be one of the worst areas on the beach. In the eighties, members of the Miami Design Preservation League refurbished the Imperial's lobby themselves by organizing painting parties.
Make sure you spend a moment to see the terrazo "compass" just inside the open doorway.
