Morris Lapidus - architect
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photograph is tinted robin’s
nu știu pentru care motiv, azi mi-a venit în minte (obsesiv) numele arhitectului Morris Lapidus. cel mai probabil printr-o asociere de imagini, pentru că arhitectura lui mă duce cu gândul la “…
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Miami Beach, Fl. Temple Menorah, 1962. Morris Lapidus, arch. From D. Desilets, Morris Lapidus: The Architecture of Joy (New York: Rizzoli, 2010), 167. This photo is now part of the Lapidus Collection at Syracuse University. USA: Syracuse University Library has acquired the personal papers of architect Morris Lapidus. Syracuse University Library has acquired the personal papers of the flamboyant and trend-setting architect Morris Lapidus (1902-2001). Although clearly an architectural original, and a man who worked and pleased a varied clientele, Lapidus can also has serious credentials as a Jewish architect. He designed several synagogues, and his Miami architecture was especially in tune with a unique phase of American Jewish leisure life. The Lapidus papers join other collections at the Syracuse University Library Special Collections and Research Center (SCRC) of the other leading modern American architects who also happened to design synagogues, including Marcel Breuer, Pietro Belluschi, Minoru Yamasaki and Werner Seligmann. Pikesville, MD. Temple Beth Tfiloh, 1961. Morris Lapidus, arch. From D. Desilets, Morris Lapidus: The Architecture of Joy (New York: Rizzoli, 2010), 167. Though his interior design and hotels are better known, Lapidus's synagogues deserve study, if only to see have they compare with contemporary work. His Temple Menorah in Miami Beach, for instance, bears at least a superficial resemblance to Gropius and Leavitt's Oheb Shalom in Baltimore, built just about the same time. I'm sorry I did not include any of Lapidus's work when I published my American Synagogues (Rizzoli) book in 2003. Baltimore, MD. Oheb Shalom. Walter Gropius and Sheldon Leavitt, architects. Photo: Paul Rocheleau (2002). Miami Beach, Fl. Temple Menorah, 1962. Morris Lapidus, arch. Photo: Julian H. Preisler. According to the release from the Syracuse University Library: Lapidus, who died in 2001, is perhaps best known for hotels like the Fontainebleau, Americana, and Eden Roc in Miami Beach, Fla., buildings which embodied the growth of leisure in American life during the 1950s and 1960s. The Fontainebleau has served as a backdrop for variety of iconic scenes in American film, including the James Bond thriller "Goldfinger" (1964). Most of Lapidus' buildings exhibited a mélange of historical styles--French provincial, Italian and Baroque--and anticipated the post-modernism of later architects. Lapidus was born in Odessa, Russia, in 1902, but his family immigrated to the United States soon thereafter. As a wide-eyed youth, he marveled at the splendor of Coney Island and he would later impart a similar spirit of excess to his work as an architect. That spirit would place him at odds with his function-minded modernist peers. However, contrary to the editor's choice of title for his 1996 autobiography, "Too Much is Never Enough," Lapidus was interested less in hedonism than he was in a "quest for emotion and motion in architecture." Frustrated by his sometimes antagonistic relationship with the architectural establishment, Lapidus destroyed many of his firm's records when he retired in 1984. However, he retained a core collection of especially valuable papers that he entrusted to his last collaborator and confidant, architect Deborah Desilets. The archive includes a large collection of photographs dating to the 1920s, conceptual drawings, manuscript drafts of his written works and correspondence with his long-time friend, mystery writer Ellery Queen. Desilets approached Syracuse, which has held a small Lapidus collection since 1967, and a gift of the material was finalized in December. Speaking on her decision to place the archive with Syracuse, Desilets says, "The archive is an extremely important missing link in the discourse on Lapidus' influence on 20th-century architecture. I am thrilled to place it in such a distinguished research institution where it will be available for use by generations of students and scholars." In Syracuse's Special Collections Research Center, the Lapidus archive will reside in one of the most important mid-century modern collections in the country. Among the other architects represented are Marcel Breuer, William Lescaze and Richard Neutra, as well as designers like Russel Wright and Walter Dorwin Teague. Syracuse School of Architecture faculty member Jon Yoder offered this assessment of the Lapidus archive's value for teaching and research: "The recent proliferation of architect-designed boutique hotels, coupled with the pervasive disciplinary focus on architectural effects suggests that Lapidus was indeed one of the most influential architects of the 20th century. This acquisition of his personal archive comes as welcome news to designers and scholars who are finally beginning to reassess the lavish contributions of this much-maligned architect across a surprisingly broad spectrum of design disciplines." For more information, contact Sean Quimby, senior director of Special Collections, at 315-443-9759 or [email protected].
Postcards and ephemera picturing the work of Miami-based architect Morris Lapidus San Souci Hotel lobby, Miami Beach, FL (1949) Nautilus Hotel lobby, Miami Beach, FL (1950) Algiers Hotel lobby, Miami Beach, FL (1951) Cortez Plaza Shopping Center, Bradenton, FL (1953) Fontainebleu Hotel, Miami Beach, FL (1952-1954) Eden Roc Hotel, Miami Beach, FL (1954-1955) Aruba Hotel (1955) Kutsher's Country Club Monticello, NY (1955) Americana Hotel, Bal Harbour, FL (1956) Executive House apartment hotel, Chicago, IL (1957) Deauville Hotel, Miami Beach, FL (1957) Lucerne Hotel lobby, Miami Beach, FL (1958) Concord Hotel, Kiamesha Lake, NY (1958) Golden Triangle resort hotel, Norfolk, VA (1959-60 interiors) Lincoln Road pedestrian mall, Miami Beach, FL (1960) Indies House Duck Key Yacht Club and Lanai (1960) Sheraton Motor Inn, New York, NY (1960) International Inn, Washington, D.C. (1960) Alix of Miami department store, Miami, Florida (1960) Loew's Summit, New York, NY (1961) Americana of San Juan Puerto Rico (1961) Americana Hotel (now Sheraton New York), 1962
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photogra
Full Service Auction House located in South Florida. Certified appraisals and valuation services. Estate sales & Liquidation. Morris Lapidus.
Sostengo que ninguna arquitectura ha sido jamás aceptada, ni lo será, a menos de que satisfaga la necesidad primitiva, temprana e inevitable, por ornamentar y adornar. Mies van der Rohe no puede cambiar la naturaleza humana. Ningún arquitecto será capaz de erradicar esa emoción primitiva, el primer amor por el adorno. Y más aun: a menos y hasta que lo aceptemos y lo hayamos satisfecho, nosotros, como arquitectos, no produciremos jamás una verdadera arquitectura de nuestra época —Morris Lapidus
Hotels photographed by Paul Clemence.
on the island's development and the role of architect Morris Lapidus: www.duckkeyonline.com/duck_key_history/resort_growth.htm
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On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photograph is tinted robin’s
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photogra
Explore the artists and artworks of our time at the San Francisco Museum of Modern Art.
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photograph is tinted robin’s
The Fontainebleau hotel in Miami Beach, designed by architect Morris Lapidus and opened in 1954, stands as a timeless architectural marvel that epitomizes postwar America's swagger and style. With its majestic fourteen-story, 550-room structure, panoramic views of the Atlantic Ocean, and a star-studded guest list including icons like Frank Sinatra and Marilyn Monroe, the Fontainebleau became an instant sensation and an enduring symbol of luxury. Groucho Marx famously dubbed it the Eighth Wonder of the World. Now, expanding its legacy, the Fontainebleau is venturing west with a sister property in Las Vegas, promising to redefine luxury once again. This narrative is vividly captured in Forever Fontainebleau, authored by Stephen Wallis and complemented by stunning photography from Peter Arnell, showcasing the hotel's illustrious past and its promising future. DETAILS 220 pages over 100 illustrations English language Released in February 2024 W 9.21 x L 12.09 x D 1.18 in Silk hardcover 3.4 lbs.
Transform intense anticipation into reality. Fontainebleau Miami Beach introduces a new culture. Following a $1 billion renovation and expansion, it is a spectacular blend of Miami's golden era and stylish modern luxury. The Lapis spa at Fontainebleau Miami Beach harnesses the natural qualities of water to create a shared experience that is restorative and renewing and features 30 private treatment rooms. Fontainebleau's new poolscape boasts a large free form main pool, an exclusive European pool, multiple dipping pools, an interactive children's waterscape pool area, 31 cabanas and additional function space. Many guest rooms have breathtaking views of the Atlantic Ocean, as well as the twinkling necklace of lights that reveals Miami Beach at night. Rooms and suites are fully equipped with plasma screen TVs, iMac and ultra-luxurious amenities. Modern, sophisticated interior design creates an atmosphere of quiet and calm for effortless relaxation. The 22-acre ocean-front resort offers 11 dining and entertainment destinations of varying style and cuisine, each showcasing fresh, innovative flavors in warm, engaging environments and providing an ideal setting for visitors whether seeking sophisticated five-star cuisine or light, on-the-go fare.
Recently I acquired Morris Lapidus: The Architecture of Joy, with no inkling of a Mississippi, but found out that we may have some of this nationally famous architect’s work here in the Magno…
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photogra
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photogra
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photograph is tinted robin’s
One of the most iconic buildings in Miami Beach is the Fontainebleau, which reminds the designer of the Lapidus Two-Tiered Chandelier, Sasha Bikoff, of the heyday of Frank Sinatra and the famed Rat Pack. An homage to Morris Lapidus who designed the building in the 1950s, the white chandelier mimics the shape of the arches and the cheese-hole pattern ornamenting the resort. The chandelier is made of wrought iron in a sugar white finish. We offer the Lapidus in a number of designs.
This iconic bust of the famed architect Morris Lapidus will be the perfect piece for a mid-century modernest collection. Note: The piece is fabricated in glazed ceramic on a walnut wood base. Note: Overall dimensions are 14.13" height x 5.75" width x 7" depth. Note: Dimensions of the walnut wood base are 6.50" height x 4" width x 4" depth. Overall size is 14 1/8" high, 5 3/4" w, and 7" deep About Morris Lapidus: Adored for his exuberant and original architecture, more than fifty years of Morris Lapidus’s designs are celebrated in the book "Morris Lapidus - the Architect of Joy". Known for inventing the postwar resort hotel with the Fontainebleau and the Eden Roc in Miami Beach, Morris Lapidus (1902–2001) is revered for his joyful interpretation of modernist tenets through an American vernacular of spectacle and whimsy. Lapidus enthusiastically embraced modernism’s formal freedom and sensuality while rejecting its more rigid principles, producing a unique style that seamlessly blends baroque fantasia with modernism’s clean lines and flowing spaces. His exuberant curving walls, zigzagging facades, and deft manipulation of space created dramatic forms that transform the moods of their occupants. In 2000 Lapidus was honored by the Cooper-Hewitt Museum of Design as an "American Original," an award created especially for him. From seductive modern shops and private residences to iconic hotels and residential towers in New York, Miami Beach, the Caribbean, and beyond, this iconoclast proves that "too much is never enough." less
[Library of Congress, Gottscho-Schleisner Collection] The year was 1953 and Miami's architectural jesus, Morris Lapidus was still a year away from completing his first complete hotel, a structure...
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photograph is tinted robin’s
On the cover of his 1996 autobiography, the American architect Morris Lapidus (1902–2001) strikes a confident pose. The photograph is from 1957; Lapidus is dressed in white, his face framed against a building of his own design, the Aruba Caribbean Hotel. With this unadorned cubic structure as a backdrop, Lapidus seems like a typical modernist architect working in a familiar International Style idiom. But the book’s title and its jacket design subvert this notion. The photogra
