Giving flat surfaces an "architectonic" treatment has long been a fascination with designers, and the newest line by Graham & Brown, Shape & Form, has accomplished this beautifully. The collection of wallpapers has a variety of "slights of hand" that provide textural interest, including geometric shapes, optical illusions and natural forms: each exploring the way light and shadow interact to affect perceptions. High gloss finishes, metallic sheens and tone-on-tone combinations lend extra heft to the interest these wall coverings contribute to a room. Shown, above, is Ephemeral in plum, and, below, Checker in white.

Chilewich retired the kicky RayTray in 2000 after a three-year run. Fans of artfully designed products for the kitchen or dining room will be happy to know they've had a change of heart and are bringing it back. The frame of each RayTray "bowl" is covered in a stretch netting fabric that is typically used to make lingerie. It's breathable, removable and machine-washable, which is why it's so perfect for storing fruits and vegetables. It comes in green, off-white, and a combination of black, smoke and off-white. Go to the company's web site to pre-order it beginning Monday, August 16. It's on sale for $125 beginning on September 8.

A Japanese toy designer took a discarded tin can and hammered it into the shape of a U.S. Army jeep in 1945. Crudely painted by hand, and powered by nothing more than an elastic band, the inches-long jeep by Matsuz Kosuge spawned a miniature automotive industry. This and other examples of buriki, as they are called, are being featured in an exhibition at the Japan Society Gallery opening today (through August 16). "Replicating the automotive styling of Detroit's 'golden age' down to the tiniest fin, these pint-sized vehicles helped repurpose Japan's manufacturing sector from munitions to peacetime production," says Joe Earle, Director, Japan Society Gallery. "They also salved a pent-up thirst for glamour and beauty in the then impoverished country, as well as in the newly affluent United States." The 70 tin-toy vehicles on view range from small, rudimentary examples made in the fledgling phase of Japan's postwar toy industry--beginning with a bottle-green Cadillac sedan stamped "Made in Occupied Japan"--to later, elaborate models made for the high-end American market. The latter often sport a combination of battery-powered lights, electric (as opposed to friction or clockwork) motors, remote controls, chrome trim, and retractable parts. Not all of the featured automotive models are sedans: convertibles, station wagons, delivery wagons, buses, trailers, and racing cars are included, as are the "show" cars that so captured the imagination of the American public in the 1950s and 1960s. A handful of jets, helicopters, and speedboats are featured to help provide a sense of the variety of products created by the tin-toy industry in Japan during these years, as well. Among the "concept" or "show" cars on view are a 10-inch-long Pontiac Club de Mer, modeled after a prototype inspired by contemporary aircraft construction; the Firebird II Turbine car, designed by GM's chief designer Harley Earl in 1956; and the 1955 Ford Lincoln Futura, which never made it into production, but achieved immortality as the model for the Batmobile in the Batman television series of the 1960s. Many of the featured tin toys retain their original packaging, including one 1959 Ford Fairlane 500 Skyliner convertible whose cardboard box, on view in the exhibition, touts, "amazing pushbutton automatic top-forward-reverse and steering." Also on view is a blowup of a 1951 board game depicting Japanese children riding every type of American conveyance, including a Jeep and a Cadillac sedan and boxes depicting prosperous families, blessed with ample leisure time, speeding through America's "great outdoors." Early manufacturers of buriki (derived from "blik," Dutch for "tin toy") often had to rely on photographs to style their models, for few American cars and automotive reference materials could be found in Japan in the post-war years. Says Joe Earle: "In those early years, more than half of the metal toys made in Japan went overseas--helping to pay for vital imports such as rice as well as meeting a severe shortage of toys in the U.S." A 96-page, fully illustrated catalogue by Earle, who is also the curator, provides an historical and cultural context for Japanese tin-toy vehicles and documents the 70 works in the exhibition. Published by Japan Society and distributed by Yale University Press. Buriki: Japanese Tin Toys from the Golden Age of the American Automobile, The Yoku Tanaka Collection will be available at the Japan Society Shop and in bookstores nationwide. Are you born to be wild? See the raciest of the buriki on exhibit and get a hit of Steppenwolf on Design Commotion's home page.

by Saxon Henry For those who claim there’s nothing new under the sun, a perusal of the youngest participants in this year’s International Contemporary Furniture Fair (ICFF) proves that a new generation brings with it fresh ideas. In this particular case, it was college sophomores from Philadelphia University who took to material experimentation, and an emotionalization of materials and design like experienced pros.

 The project began when Grace Jeffers, the corporate muse for Wilsonart®, approached professor Josh Owen, whose students would be required to create artifacts reflecting the culture of the corporation using the company’s laminate. After Jeffers lectured the students about the history of laminate, Owen and teaching partner Jason Lempieri guided over twenty students through a month of material experimentation. Once they understood the peculiarities of the laminate—after heating it, bending it, twisting it, freezing it and painting it, they made maquettes of designs they wanted to explore, continuing to fine tune their ideas until they were satisfied that what they’d created was structurally sound (each chair had to support a 400-pound person) and aesthetically on-point. The chairs also had to reflect the student’s perceptions of Wilsonart’s place in American history and his or her aesthetic bent. “Our job as teachers was to help them find consistency in their thinking,” says Lempieri. “A good design professor’s task is to ask the right questions that inspire students to reach into themselves and discover what’s innately theirs.” The students were also charged with constructing the chairs themselves. Wilsonart normally brings one product from each year’s competition to the fair, but the designs were so outstanding this year that the company brought the winner and five runners up to ICFF. “The breadth of creativity, depth of context and high caliber of craft were among the top I’ve seen,” explains Jeffers. “Remember, these are sophomores in college and the results were stunning!”  Aodh O’Donnell, who was the winner of the competition with his Armadillo Chair, used the company’s sample chips to clad a buxom seat. “I wanted to use the shingle effect of the chip to achieve texture,” he says. “You usually only see the product on a flat surface and I wanted to draw attention to it in a different way.” His “celebration” of the chip struck me as important in one other aspect: he used something that most people would toss into the trash once they’ve finished with it. Jeffrey Steel took the chip to task as well, creating his Array Chair, which glorifies the chip chain. “I have always been drawn to math in my education,” he says. “I played with the chip chain, tossing it to see what patterns emerged, and created a chair that reads like an accidental pattern but is really very well studied.”  As Steel points out, it appears that the chips are floating, but they are anchored strongly in order to achieve the strength that was required. “Watching the progress of the chair emerging as I built it was an amazing experience,” says Steel. “When it was finished, I just sat and stared at it for a while because it was the manifestation of all I had hoped it would be and more.”  Julianne Magliaro was in attendance with her Imperial Chair, the inspiration for which came from two sources—one ancient and one modern. “I was inspired by the Qing Dynasty’s Imperial Rector’s Chair for its proportions and I created the lattice work by mapping all of the distributors of Wilsonart products. Margliaro’s original maquette was an interplay of colors celebrating stained glass, but Owen and Lempieri encouraged her to dig deeper to make her design more dynamic. Their advice was dead-on, as the resulting white/black interplay, interrupted by only one solid shape in red, stands up to the most sophisticated designs to come out of the most prestigious design houses.     Geoff Quinter’s Diner Chair exemplifies 50’s era Americana. “I love the aesthetics of the simple Formica table of that period and the streamline appeal of the diner stool,” he says. “I took those visceral images and bent them into a chair that recalls both, which are iconic pieces of Americana.”            Dan Worthers created the Xpress Chair to represent Wilsonart’s dynamic manufacturing process. “It’s a very big chair because I wanted to illustrate how much they’ve grown,” he says. “I considered the colors carefully, selecting the three that the company first produced.” Worthers was inspired to embrace every facet of this process of experimentation equally: “My heart is in being the generalist in industrial design—it’s all about the exploration!” Alyward Omoding was not in attendance, but his Makuu “Pride” Chair was, which Lempieri explained was a celebration of the student’s African heritage. “It pushes the limits of the material and uses it to create an intricate surface of woven construction,” Omoding wrote in his statement about his product. “The chair creates a carpet-like texture that transforms into a chair.”   Seeing young college students taking this project so seriously is a heartening forecast for the future of design. What struck me about the chairs in person is that I could envision  each one of them ensconced in the home of a limited edition or one-off furniture collector or in a furniture gallery—fully at ease among experimental pieces by Marc Newson, Ron Arad and the Campana Brothers. This article was originally written for The Curated Object. Students from Virginia Tech were sporting their prototypical designs at the show. More on DesignCommotion.

    by Saxon Henry

The path from industrial engineer to perfumer may not seem a likely one on the surface, but for YeYe Fragrances’ co-founder Ernesto Sanchez-Bujanda, the mathematical aspects of his education as an engineer are perfectly aligned with his ability to create sensual home fragrances. When he speaks of base notes, heart notes and top notes—the stages of evaporation, and the nine essential oils that intermingle to create each fragrance, the analytical side of creating olfactory delights emerges.

What may be less obvious to the untrained nose is Sanchez-Bujanda’s commitment to quality. “I only use essential oils, even though they are one-thousand percent more expensive than synthetics,” he explains, adding that even some essential oils are better than others. “The trick is to know from what part of the world to find the best sandalwood and from where to order the finest jasmine, for example. I only buy vanilla from Madagascar because of its quality.”

Sanchez-Bujanda, a native of Venezuela, moved to New York City at the age of twenty-one to become a makeup artist. Tiring of the frenetic pace, he moved to Miami Beach in 2005 to open a high-end perfumery that sold hard-to-find European lines. “My life-partner, Ryan York, inspired me to take the next step,” he explains. “We decided to create home fragrances first.”

There are two YeYe collections: basic and complex. Basic fragrances include White Garden, Bosque Imperial and Orrant. The complex scents are Opulence, Phantom and Paradox. Within each collection, there are candles, diffusers and votives, called Pandora. The complex collection also includes natural resin-crystal potpourri.

York, who is vice president of YeYe, designed the packaging—elegantly detailed eggplant and earthy brown canisters, and playfully wrapped votives in chartreuse. “We wanted the diffusers to have an old apothecary feel to them, but one that has a clean touch of the modern,” says Sanchez-Bujanda. Bamboo sticks for the diffusers and the seal on the diffusers themselves are artfully wrapped in leather cord, and rectangular plates that hold the potpourri are handmade in Thailand from palm wood. A diffuser will last from three to four months, depending upon the temperature, and candles will burn for about sixty hours. The natural wax candles range in price from $45 to $55 and the diffusers from $78 to $94. A pound of the potpourri sells for $54, the palm-wood trays run $30 and the votives, which are available in all six fragrances, cost $15.

For a full list of retailers, visit the Design Commotion blog.

             by Saxon Henry So many empty condos, so little time! This caveat served as designer Tui Pranich’s cue to opportunity. His business partner Jason Atkins was looking for a furnished apartment to rent and the offerings were so dire that they made haste and founded Tui Lifestyle. “We can furnish a condo in 72 hours,” says Pranich. “Our packages include everything from custom designed furniture to lamps, picture frames and ironing boards.” Packages range from $14,999 to $50,000.   The rampant rise of condos was also Sam Robin’s inspiration for her Ready to Wear line of furniture, created with Francesco Caracciolo di Marano. “We knew that we could combine great style and affordability,” says Robin, who can supply pieces in this line, which cost between $200 and $5,000, in about three months. When the condo market went schizophrenic, trendsetting designer Jorge Rosso of Studio Rosso Ubarri created Home Therapy. “So many people were asking me how to achieve high design on a minimal budget that I started a service for people who have good things that simply need editing or who need design advice,” he says. A full day of therapy will cost you $1,200. See other design stories by Saxon Henry.

 

 by Saxon Henry DesignCommotion wanted to know how Giulio Cappellini, who is in charge of the artistic direction for Cappellini, manages to stay on the leading edge of contemporary Italian design. Here’s what he had to say:

DC: Your very name is synonymous with avant-garde Italian design: what is it about you that you believe has set you apart in the design world?

GC: The continuous desire to innovate, risk and search for new and interesting creative people in the world. I have always had this coherent approach whilst thinking that there are always more new things to do in the design sector.

 

DC: As you scout and nourish new design talent, what do you look for in the beginning that proves there’s a kernel of genius in the person’s designs?

GC: It is important to understand if there are signs of research, of great personal and original innovation in a young designer, and if they are ready to question themselves, as making a product is something serious.

DC: You have said that one of your responsibilities is to make designers dream. How do you foster this level of synergy with the designers with whom you collaborate?

GC: It is important to find a perfect feeling between myself and the designer. You can discuss, try and work for a long period of time on a project with the aim of creating a good product only if you have the right harmony. 

DC: Why do you think Miami has become a U.S. epicenter for Italian design?

GC: I think that Miami is a contemporary city, open to different cultures and therefore completely open to new stimulus in art and design.  

DC: How have you seen Italian design change over the course of your career?

GC: From the 1950s to the 1980s, Italian design has been characterized by strong stylistic and functional innovation. It seems that in the last few years many companies have concentrated more on presenting lifestyle than extraordinary products, something that I think should be the true vocation of a brand.

DC: You have said that you work to nurture long-sellers rather than bestsellers when you work with designers. Who do you think is your newest long seller?

GC: Most definitely the Mr. Bugatti chairs by François Azambourg and the Lotus seating collection by Jasper Morrison because they are complex, innovative and honest products.

DC:  What do you love most about what you do?

GC: What I most like is to think that there is always so much yet to do in design. It is not true that everything has already been done.

 

 

DC: If you could change anything about your profession, what would it be?

GC: I would try and make products that are closer to the public’s requirements, and that can also make them dream.

DC: What is the most exciting thing you’ve done in your work during the past several years?

GC: Definitely having had the possibility to meet and collaborate with fantastic people such as Achille Castiglioni, Shiro Kuramata, Jasper Morrison and many others. Exchanging ideas with these people has given me the possibility to really grow from a cultural point of view.

DC: When you were a child, were there signs that you would be involved in some type of design? How did your creativity show itself at an early age?

GC: I have always been curious and I have always liked playing with forms and colors, being attracted most of all by simplicity, in a sophisticated and not banal way. My dream has always been to create fascinating and innovative objects.

                  Saxon Henry is now Miami's Interior Decorating Examiner

by Saxon Henry

In her introduction to THAD HAYES: The Tailored Interior, Evelyn Lauder says of Hayes’ skill, “Thad Hayes can make a home fit into its own skin, not into his skin.” A perusal of the 21 interiors in the book proves Hayes’ long-standing client’s point, as the string of residences and retreats range from a pied-à-terre at the Pierre Hotel in New York to the Lauder’s Georgian vacation home in Palm Beach and a Tudor Revival in Texas.

Whether the designer is creating a backdrop for a contemporary art collector in New York City or Leonard Lauder’s collection of art deco posters in Palm Beach, his dexterity in working across styles and periods is apparent. His own Greenwich Village townhouse is among my favorites, as the interiors have a breathless quality to them. This is owed in part, perhaps, to the fact that Hayes had modernist architect Mies van der Rohe in mind when he introduced certain elements, or possibly to his affection for Japanese architecture. “I wanted our house to embrace and fulfill all the romantic notions we have around the idea of ‘home’: the welcoming of friends, cooking, children’s chatter, sitting around a hearth,” Hayes explains. “That was really my expectation.”

For his client’s interiors, he envisions environments that are equally personal, and it’s likely a result of his attentiveness during a project, as described in the introduction by critic Charles Gandee in which he quotes Hayes as saying, “I don’t delegate. I direct everything. I’m in every meeting with every client; I go to every job site. I go to the upholsterer. I know every pillow fabric…every detail.” This attention to detail leads to rooms that reflect “repose, clarity, and restraint,” says one client, but Hayes’ restraint is anything but spare.

One of the strengths of the beautifully photographed book is that it shows the designer’s dexterity and range: a New Jersey Craftsman, a modernist summerhouse in the Hamptons and a gentile home in Baton Rouge were given identities that shrug off any evidence of having been “designed.” In the acknowledgements, Hayes himself writes, “In my line of work it is easy to begin believing one is laboring for one’s art.” Hayes’ art has such a delicately powerful quality to it that even the natural light seems to tiptoe into the rooms, unwilling to allow its harshness to interrupt the quiet beauty that has been achieved. 

     by Saxon Henry    

Forty years ago from May 26^th to June 2^nd, John Lennon and Yoko Ono staged their infamous bed-in at The Fairmont Queen Elizabeth in Montreal. The peaceful protest instantly grabbed worldwide media interest, not surprising since John and Yoko spoke to over 150 journalists every day during the weeklong bed-in. In the US, 350 radio stations carried reports that relayed the actions of the peaceniks, determined as they were to beam their protests against the war in Vietnam to every corner of the world.

In hindsight, one of the highlights of the event was John Lennon's June 1st composition of Give Peace A Chance (original video shot in the suite). He wrote the song off-the-cuff, converting the suite into a recording studio under the direction of André Perry. Some 50 people—including Tommy Smothers, Dr. Timothy and Petula Clark—contributed to the recording of the song, which was immediately broadcast worldwide.

For the duration of the event, John had all the furniture removed from the suite and placed in the hall because he wanted to make room for visitors, media and his entourage (not recommended for your stay in the suite). He took the mattress from the bedroom and placed it on the floor in the living room, and taped posters to the walls with messages of peace. Once he had composed Give Peace A Chance, he had the lyrics written and posted on the walls near the bed so others could sing along during the recording. He also posted two boards with “Hair Peace” and “Bed Peace” in the windows behind the bed for all to see.

 The hotel records show that thousands of guests have stayed in what is now called the John Lennon Suite over the years. Though it has been refurbished several times since 1969 and the furnishings from that era are long gone, some guests report that there remains a palpable mystical aura in the room. The suite’s updated décor includes memorabilia—press articles, framed gold records of Give Peace A Chance with music and lyrics, and color and black and white photographs of the couple taken during the event.

The urbane feel of the hotel’s interiors seems to contradict the fact that one of the world’s most famous protests took place in the locale in1969. Lest we all forget that we are still struggling in conflicts overseas, Yoko has collaborated with the Montreal Museum of Fine Arts  to stage the exhibition “Imagine: John & Yoko’s Pacifist Anthem,” which will be on view from April 2 to June 21 (2009), and will hold various documents, works of arts, records, sound-reels and photographs that relate to the bed-in.

   The hotel has an Imagine Package through June 21, which includes a one-night stay; one CD featuring Give Peace a Chance; breakfast in bed for two or buffet breakfast in Le Montréalais restaurant and a copy of the lyrics of Give Peace a Chance. 

Given the war-weary context we endure these days, maybe remembering John’s and Yoko’s urgent message for peace will be as beneficial as a good night’s sleep in a luxury hotel suite. Imagine that…

           by Saxon Henry

In a world that concentrates all too often on which titles are ranked highest by blockbuster booksellers, I thought it would be a nice change of pace to ask independent booksellers around the country to mention a few of their favorite books relating to design and architecture, and why they chose them. If you're a fan of beautiful books with lush photography, you're going to enjoy these.

 

Anderson Books in Larchmont, NY:

 

Sublime Spaces and Visionary Worlds: Built Environments of Vernacular Artists by Leslie Umberger

This book is art, architecture and design all rolled into one. It chronicles the homes of over 20 vernacular artists. These spaces are offbeat and oh-so-personal. While you might not love each and every space, you cannot help but be impressed by the work that went into each one.

 

Lyn Peterson’s Real Life Kitchens by Lyn Peterson

This is a wonderful book to glean ideas on redoing your kitchen. It is full of practical advice on renovating the most used space in your home. Think of it as a head-to-toe guide (and it’s beautiful to boot). The illustrations are simply wonderful.

 

Rainy Day Books in Fairway, KS:

Farrow & Ball: The Art of Color by Brian Coleman (Author) and Edward Addeo (Photographer)

Brian Coleman provides an inspiration for designers, homeowners, and everyone who appreciates the importance of the role of color in interior design. Coleman hosts a tour of cottages, castles, lofts; then illustrates how paint and wallpaper are paramount to a room’s overall design and feel. From a classically furnished pre-war Manhattan apartment to a post-modern glass and concrete home in Toronto, Edward Addeo’s visually stunning photography of the interiors reveals how color is being taken to a new level of art. This is a must-have for someone considering redecorating, and designers also love it.

Bunny Williams' Point of View: Three Decades of Decorating Elegant and Comfortable Houses by Bunny Williams

World-renowned decorator and gardening expert Bunny Williams makes this observation: “You learn from people with great taste.” As a novice, Williams worked for the legendary decorators Sister Parrish and Albert Hadley, absorbing everything she could about their peerless design sense. Our customers are especially fond of her books—like the best-selling An Affair with a House—in part because they are as much memoir as how-to manual. This luxe volume includes sections on color, windows and other design-related topics with well-illustrated examples. Each example lives up to Williams’ claim that interiors should fit each client “like a couture suit.” The rooms she showcases in her books are chic but not to the point of being museum pieces. We especially like the fact that many of the rooms are filled with books!

Stone & Feather: Stephen Holl Architects / The Nelson-Atkins Museum Expansion by Jeffrey Kipnis

Architecture in Kansas City has a more prestigious history than many outsiders think; Frank Lloyd Wright designed a local church as one of his last commissions, and in 2007 our well-established museum, the Nelson-Atkins, reopened after a lengthy intermission with an addition by Stephen Holl that made every best-of architecture list from the New York Times to Time magazine. So naturally, this full-color documentation history has been the prize find for our proud readers. The book takes you inside the process and reveals the decisions made by the “starchitect” in ways that amateurs and art-lovers can follow, if not fantasize about their own dream houses. (Isn’t that what books are for?)

 Loving Frank by Nancy Horan

Speaking of Wright, perhaps the most popular architecture book at our store in a long while has been this novel about the youthful Frank Lloyd Wright. The historical novel tells the little-told chronicle of Wright’s early romance with one Mamah Cheney (no relation to the Vice President), the one woman who was, well, man enough to keep up with the burgeoning modernist. Horan’s years of research are handled transparently so that the Chicago landscape and other settings might as well be fictional—though knowing that we are reading about real people and historical affairs makes the story all the more compelling for our readers, who can combine their two great loves: art and gossip!

 

Brookline Booksmith in Brookline, MA:

101 Things I Learned In Architecture School by Matthew Frederick

This is a gem as it demystifies things made complicated in the classroom.  It starts with "How To Draw," for example. The author is an architect and instructor who wishes he'd had such a book while in school. Anyone interested in design on any level will benefit from this nifty tome (and the book itself is wonderfully designed!).

Natural Architecture by Alessandro Rocca

Rocca is an architect, architecture critic and professor at Milan Polytechnic. He is also the author of numerous books and articles. The book is elegant with fabulous photographs of architecture in nature, natural and/or manmade environments around the world.

The Not So Big House by Sarah Susanka

The subtitle says it well: A Blueprint for the Way We Really Live. With great photos and clear text, the book shows how to maximize space in reasonably sized houses while creating beautiful interiors.

Eco Design, The Sourcebook by Alastair Fuad-Luke

This revised edition—to acknowledge the huge growth in efforts to go green—shows how to live sustainably with style. From the smallest item to an entire structure, the information you need is here.

 

 Tattered Cover in Denver, CO:

The Architecture of the Absurd: How 'Genius' Disfigured a Practical Art by John Silber

In this book, Silber examines some of the extreme examples of public architecture (such as Gehry's museums) and concludes that these are not always wonderful improvements.

Green Homes : New Ideas for Sustainable Living by Sergi Duran

This has been a big seller in the growing field of sustainable building & greener lifestyles.

Simple Home : the Luxury of Enough by Sarah Nettleton

We are seeing this as another growing trend: simple, open spaces decorated with few, but carefully selected objects.

 

Bookloft in Great Barrington, MA:

Houses of the Founding Fathers by Hugh Howard, photographs by Roger Straus III

This book goes a long way to show us—beyond our 7^th-grade knowledge of say, Mt Vernon—how the homes and places of the founding fathers informed and inspired their patriotism, their deeds and their writings. It’s a lovely book with great text by Hugh Howard, whose previous book was Mr. Kimball and Mr. Jefferson, about Fiske Kimball—an important architectural historian who first reveled that Thomas Jefferson was in fact also a great architect.

 Book Passage in Corte Madera, CA:

Julia Morgan: Architect of Beauty

This groundbreaking female architect designed more than 700 buildings, many in California, and the beautiful book offers an overview of Morgan's work. It also explores the historical and cultural settings in which her buildings were created.

California Romantica by Diane Keaton.

This visually dramatic book features homes in the California Mission and Spanish Colonial style.

Linda Applewhite's Architectural Interiors: Transforming Your Home with Decorative Structural Elements

The ideas illustrated in this book provide lots of inspiration with their rich sun-washed colors and interesting use of architectural elements inside the home.

California Country Style by Diane Dorrans Saeks

This book showcases comfortable, casually elegant homes.

 

 Sundog Books in Seaside, FL:

The New Civic Art: Elements of Town Planning by Andres Duany, Elizabeth Plater-Zyberk & Robert Alminana

As one of the earliest and best-known examples of New Urbanism, this book was an easy choice for us here in Seaside.

# # #

I've visited Seaside regularly over the years and I do believe the buildings nestled into the coastline of the panhandle of Florida represent some of the most serenely beautiful beachside architecture I've ever seen.