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Known as Bienstar, this 1924 Marion Sims Wyeth home was also restored by Robert Eigelberger. The restoration is particularly notable for its blending of old and new construction around interior courtyards and its use of polychrome tiles for decoration. As with Warden House, Eigelberger used adaptive restoration techniques to create six “villas” which surround the original central patio. Despite the changes in usage, the home maintains original features emblematic of Wyeth’s work such as cast stone, wrought iron, and pecky cypress which decorate both the interior and exterior of the structure.

The Warden House, a Mizner house designed in 1920, was in an extreme state of deterioration when purchased by Robert Eigelburger in 1979. His adaptive restoration transformed the crumbling mansion into a six unit condominium which is not listed on the National Register of Historic Places. Throughout the restoration, meticulous attention was paid to recreating original textures, colors, and design features. The restoration took eighteen months to complete and despite the change in purpose, the homeowner estimated that only about 5% of the interior was altered in the process.

The Mission House, constructed in 1923 by master builder Benjamin Hoffman, was a testimony to the quality of architecture that became typical throughout the town during the boom years of the early 1920s. Originally built in the Spanish Revival style, Mission House saw many changes over the years. After many alterations by Marion Sims Wyeth in 1947, it assumed its modern form. In 1983 local architect John Gusman created the original pool area. With its most recent alteration and restoration by its owners Mr. and Mrs. Philp Stein, which included a new garage and apartment, original details were enhanced. This restoration demonstrated how the Palm Beach vernacular could be integrated with modern influences to reflect a new standard of excellence in blending the old and new.

In the case of El Sarmiento, the task of the owner and designer was to look forward in restoring and updating a significant landmark home to accommodate new and different tastes. Working with designer Juan Pablo Molyneux, homeowner Placido Arango restored all of the decayed or damaged details of the 1924 Mizner design to create a restoration that makes a strong and significant architectural statement. From it’s elegant and stately entrance to its columned loggias framing the pool area or its second-floor ocean view patio with pecky cypress Spanish Rejas, this is a house that stands proudly in the best tradition of Palm Beach’s grand homes. One of the outstanding features of this restoration is the rearrangement and redefinition of interior spaces as a setting for striking modern art and trompe l’oeil decorative treatments. This blending of old and new – taking the vitality of the Mizner tradition and revitalizing it to frame changing tastes and lifestyles demonstrates the best of the continuing tradition of Palm Beach architecture.

The Vicarage has been part of life in Palm Beach since 1897, when it was constructed as a simple wood frame clapboard and shingle structure by an unknown architect. The Vicarage was built for the vicar of Bethesda-by-the-Sea; its simple origins recall the bygone days when Lake Trail was virtually the only north-south street in town and people came to the old Bethesda Church by boat. In 1929 Palm Beach’s own notable architect, Howard Major, transformed the simple 19th century structure when he purchased it for his home and studio. He expanded the simple vicar’s home to more gracious proportions with an added wing on the north side. Today, under the ownership of Mrs. Eileen Burns and with the direction of architect Jeffery Smith, the Vicarage has once again been restored, blending the best of the old and the new without sacrificing the personality of the home.

Known as Figulus IV, this home was designed by Kenyon C. Bolton III not as a copy but as a celebration of Palm Beach’s pioneer architectural style- the shingle style. It recalls the original 1893 Bolton home, also named Figulus, which stood nearby. In accord with Mrs. Bolton’s wishes that the house should serve as a vacation cottage for visiting family and friends, Figulus IV is a welcoming house whose east-west orientation, high ceilings, broad porch, and informal plan capture ocean breezes. In creating Figulus IV the Boltons have shown how a new, entirely modern home can recall the best of Palm Beach’s past. The difficult task of harmonizing the new and the old has been achieved with skill and distinction.

Built in 1903 for Palm Beach pioneer E.N. “Cap” Dimick, Buttonwood has lived many lives over the years. Its tower was lost; its octagonal second floor room became a rectangle, and its interior appointments were altered. When they acquired Buttonwood, Mr. and Mrs. Michael Kaiser enlisted the architectural help of Peter Mullen to help formulate plans for the house. The restoration painstakingly reproduced the exact dimensions of the old clapboard coving the house. The simple columns that add elegance to the front porch were split and reinforced before reinstallation. Although Buttonwood has been much altered over time, it retains many of its distinct features such as the third floor dormer in the center of the front façade. Amongst the new features are an octagonal conservatory wing which harkens back to the historic octagonal parlor.

Commissioned in 1928, Casa della Porta is powerfully evocative of architect Maurice Fatio’s vision of an Italianate Palm Beach. Majestic and almost overpowering in its asymmetrical masing and intricate roof line, the house reflects the Tuscan influence that were one of Fatio’s preferred sources of inspiration. Within its beautifully fitted quarry key stone walls, Casa della Porta’s varied window styles and cornice treatments punctuate the weight of its stone. The restoration, undertaken by owners Mr. and Mrs. Howard Gittis, was completed under the supervision of Rusty Homer of Worth Builders with the assistance of the Lawrence Group. In keeping with the rigorous program, which was largely completed in nine months, every patio stone was re-laid. All the evocative details of Fatio’s romantic; Romanesque design, like antique lighting fixtures, were repaired or copied and reproduced.

In his creation of Collado Hueco in 1924, Addison Mizner was forced to balance the architecture and its striking site. As a result, this home is one of Mizner’s most strongly architectural creations. It relies for effect less on typical Mediterranean Revival decorative details than on the massing of solid architectural forms that spill down its hillside site to the lake. The restoration, undertaken by Mr. and Mrs. Alfred Taubman, focused on a faithful recreation of the original home. Floors were removed, re-milled, and refinished. Tiles were reproduced and restored. Original designs were meticulously retraced and repainted or appropriate modern designs were produced as were compatible furnishings. The ultimate goal was to create what the homeowners called the “look of centuries.”

Dating back to about 1910, 319 Brazilian Avenue is a wonderful example of a restored bungalow. Bungalows were the most popular architectural style in America during the early 1900s. With breezy front porches, dormer windows for light and air, bay windows, exposed rafter ends, and broad eaves, they were easily adaptable to resort life and gained a reputation as a universal house type. This restoration, undertaken by Robert E. Deziel demonstrates how beautifully these historic structures can be adapted for modern living. Architect Jeffery Smith pushed out the rear walls in order to create a master suite, dining and loggia area, and to expand the kitchen. Despite these changes, the spirit of the home is maintained reflecting the simple elegance of bungalow life.

Built in 1921, Casa de Leoni is one of Addison Mizner’s most notable town homes. The home relies on the Venetian Gothic style to create a true Venetian villa complete with a water entrance, at the very edge of Lake Worth. Additions were made by Marion Sims Wyeth in the 1950s which include a pool wing. At the behest of homeowner Michael Price, the restoration, under the direction of Jeffery Smith, was dedicated to a faithful recreation of original details. These included authentic period reproductions of the iron lights and solid brass hardware that would have originally been present. In honor of the home’s name, the lion theme is present throughout the building reproduced in wood, cast stone, and tile as well as in hardware.

The Bethesda-by-the-Sea of today with its front entrance figure proudly holding a miniature of the Church itself, was built in 1925 by the New York architectural firm Hiss and Weeks. It is built in the grand Gothic style which testifies to the growing sophistication of Palm Beach in the 1920s. The primary goal of this restoration was to protect as much of the building and its decorations from the punishing elements of its location. Efforts included covering its beautiful Te Deum windows in a clear laminated double glass system which allows the windows to withstand projectiles of up to 150 miles per hour without blocking the vivid colors and patterns from shining through.

Known as Junglewood, this home was built in 1927 by the little known architect Julius Lee Jacobs. Jacobs had a propensity for drama and a talent for combining all the evocative elements of the Mediterranean Revival style which rivalled that of Mizner. Junglewood was described by contemporaries as “palatial,” with a great tower, a winding stair, and remarkable tiles. The original design blended stylistic features such as arches, towers, pecky cypress, cast stone, and iron work creating a dramatic exterior. It’s interiors both historically and today complemented the drama of its exterior. Restoration architect Eugene Pandula provided sensitive adjustments, for example to the front entrance, and he designed the pool pavilion, which both continues the original architectural theme of the house and dramatizes the interior courtyard.

Harkening back to the early simplicity of Palm Beach, this Lake Trail home was designed by John L. Volk in 1938. This neo-classical home stands as one of the last remaining homes to retain its full exclusivity. Under the stewardship of homeowners Mr. and Mrs. Meister, the classicism, balance, and attention to detail which Volk homes are known for are restored to their fullest expression. With the help of Brennan Homes, the owners approached their restoration as an attempt to restore the home to its original glory. In doing so, features such as the extensive gardens and classical gate were restored to fit with Volk’s original vision.

Unlike many Palm Beach structures which were designed by architects who specialized in building on the island, Saint Edward Catholic Church was designed by famed New York Architect Mortimer D. Metcalfe in 1926. The Church firmly reflects the Mediterranean Revival architectural style which is a characteristic style of Palm Beach. After its many years as a pillar of the community, however, the structure was in major need of restoration. Under the direction of architect James H. Anstis, the Church was restored both structurally and stylistically from top to bottom. From a structural perspective, the foundations of the building were repaired with a steel pin piling system which corrected two inches of sagging and ensured the safety of the beautiful interiors. Chief amongst the stylistic restoration of the Church was the return of the roof back to the variegated colors of Spanish tile which was originally present.

Designed by architect Howard Major, 745 Hi-Mount Road serves as one of the most fully realized examples and firmly controlled Bermuda style, a preferred style for Major, creations with its typical capped chimney and trademark octagonal window. This is a house that presents a gentle façade to the street and reserves its embellishments, for the privacy of its owners, Mrs. and Mr. Richard M. Furlough. The restoration, designed by Gene Pandula, reflects the spirit of the original style while enhancing it with features such as a trellised loggia that reaches for the sky and allows the house to flow into its setting. While bringing the home into compliance with modern laws was a priority for the homeowners, it was done with respect to the original design, perfectly blending the old and new.

In contrast to his brother’s home on South Ocean Boulevard, Ronald Lauder’s home on Flagler Drive is emblematic of the Mediterranean Revival style popularized in the 1920s when the home was originally designed. The restoration, spearheaded by Jeffery Smith allows the original architectural character to speak for itself as the volume of arched space carries us forward and up the stairs. While honoring the history of this Wyeth home, there was also a conscious effort to make the home simple and comfortable where in the owners’ words, blue jeans and bare feet are as welcome as formal attire.

Renovated by Leonard Lauder and his wife, this home was designed by Marion Sims Wyeth in 1938. It represents a controlled and gracious neoclassical-Georgian design, which was typical of the 1930s retreat from some of the excesses of the Mediterranean Revival style. While not require, the Lauders went a step beyond renovation and took pains to preserve interior features and furniture. Despite this, changes were made by architect Jeffery Smith. Chief amongst these changes were to open a closed patio and to move the pool making leisure more convenient for the family.

Built in 1936, Southside stands as a wonderful example of the work of Clarence Mack. Known for his use of regency style, Southside exemplifies his use of classical proportions and detailing. The homeowners Jessie and Rand Araskog therefore faced a monumental challenge to balance honoring the legacy of the home while also creating family home fit for the 21st century. The architect on the project Scott Snyder achieved this by nearly doubling the size of the house while maintaining the proportions and details that made it emblematic of Mack’s work. Examples of this include the creation of rooms as mirrors of each other, such as the dining room and library, as well as the addition of a vaulted ceiling in the conservatory while the original arches were preserved.

Designed by John L. Volk in 1938, one of Palm Beach’s most accomplished and prolific architects, Las Palmas is a quintessential representation of Volk’s restrained classicism combined with a sensitive adaptation to a magnificent waterfront location. The restoration, supervised by Gwynne Thorsen, intentionally focused on thorough repairs and changed none of the essential features of the Georgian design. Beyond this, the intent of homeowners Mr. and Mrs. Robert Wright was to honor the scale of the home while changing enough to accommodate a modern active Florida family. An example of this was the transformation of former chauffer’s quarters into a guest house.

Standing on a street that boasts many important Marion Sims Wyeth this home, known as La Campanas is an outstanding example of Wyeth’s early Mediterranean Revival work. This home is set apart from other Wyeth works as it possesses what scholars refer to as one of the grandest and most dramatic living rooms in the history of Palm Beach. In the early 2000s, owners Cathy and Irving Bailey began a restoration, under the direction of Scott Snyder, aimed at honoring the home’s past while also adapting it for modern needs such as lights and access. Stylistic additions such as a seashell themed powder room and additions to the inner courtyard patio blend seamlessly with the original work done and later added to by Wyeth.

Owned by Dudley and Peggy Moore, this historic home is known as Casa de Miel. Renovations of Casa de Miel highlights the faithful preservation of original architectural details while adapting the flow and function to accommodate a more family-oriented lifestyle. Beginning in 1993, after years of neglect, the spirit of John L. Volk’s original interiors and Mediterranean Revival exterior were carefully recreated by architect Jeffery Smith. Where additions were made, such as the new driveway and second floor windows, effort was made to match the spirit of the original home. To this end, the driveway was constructed of coquina stone and brick and the windows replace the jalousie windows likely added between the 1940s and 1960s.

Owned by Hilary and Wilbur Ross, Windsong was designed in 1939 by famed architect John L. Volk. Similar to many of Volk’s works on Palm Beach, this home is in the Georgian Revival style. The renovations which were overseen by Thomas Kirchhoff, made sure to honor and restore the original features of this historic home. For instance, many of the interior design choices, such as the original crown molding, railings, and bas-relief patterns in the dining room survive to today. Additionally, architectural choices that are emblematic of John Volk’s style live on as well. The main departure lies in the updating of features such as the mechanical infrastructure, plumbing, and wiring in order to bring them up to twenty-first century standards.

Standing within the second oldest residential subdivision in Palm Beach, Royal Park, Casarota has lived several lives. First built in the early 20th century as a cottage, it was later redesigned by John L. Volk into the Georgian Revival style in 1937. The redesign turned the home into a two-story house with a hipped roof and a three-bay front façade. The home has been in the Amory family since 1979 and underwent full renovation and restoration in the early 2000s. Under the direction of architect Andrew Parker, many of the design features added by Volk were lovingly restored. In addition to restoration, the goal of the Amory’s was to make the house simple and livable. This included the creation of comfortable and spacious bedrooms and interior design that featured the homeowners family art, photographs, and extensive art collection.

142 Seabreeze Avenue is a fine example of the Bungalow style popularized throughout the United States at the beginning of the twentieth century. It is one of the few remaining examples of the buildings of pre-boom time Palm Beach, therefore representing a unique part of the architectural history of the town. Built some time before 1919, the home contains features common to the style and period. For example, common of the style, there are two triangular knee braces on either side of the lower gable. In their renovations, homeowners Mr. and Mrs. Trifiros undertook a sensitive and exhaustive restoration returning the home to its former glory.

Restored in 2000 by architects Jeffery Smith and Gene Pandula, this 1929 home by Maurice Fatio once again epitomizes the beauty of Palm Beach. Using photographs from the archival collection of Fatio’s daughter, Alexandra, this home has been brought back to its Mediterranean Revival glory. Special attention was paid to recreating original features such as cypress wood shutters made to look like ones originally installed by Fatio and the dark-stained wood paneling in the living room. However, homeowners Mr. and Mrs. Hanley did not let their dedication to restoration prevent the addition of modern comforts. Examples of this are the conversion of a detached garage and servants’ quarters into an elegant guest living room with two bedrooms upstairs.

The house at 257 Oleander was built in 1947. Work Permit No.15847 found at the town’s Planning Department, dated July 26, 1947, indicates that a stucco 2-story duplex was constructed by Mr. Jesse L. Martin for Hanna Halpern at a cost of $12,500. The architect was Carlos B. Schoeppl. Schoeppl was an Austrian architect who first began working in San Antonio and Houston, Texas. He came to Florida in 1927 where he established an architectural practice in both St. Augustine and Jacksonville from 1927 to 1929. While in Jacksonville, he designed some of the earliest Art Deco buildings in the city. By 1929 Schoeppl moved to Miami, where he joined in a partnership with Arnold Southwell in 1932. Today, six of his designs can be found in the Collins Waterfront Historic District of Miami.

Built between 1997 and 1999 for Fritz and Edie Dixon, this two-story home is built in the Georgian style. It was designed by Jupiter architect Thomas Kirchhoff who laid the house out on a dual axis, creating vistas through the two main wings, dedicated respectively to living and dining. Though the overall plan of the house is asymmetrical, each of three elements of the composition was designed to be symmetrically balanced. Fitting within Georgian style, the home feature a dramatic entryway with a double-height foyer and curved flying staircase. The classicism of the style is also reflected through the classical detailing and the orientation of the public, private, and service spaces.

Designed in 1939 by the late John Volk, one of Palm Beach’s most accomplished and prolific architects, Magnolia House is a quintessential representation of Volk’s restrained classicism. The restoration, undertaken by owners Lee Bierly and Christopher Drake carefully recreated the spirit of Volk’s original interiors and exteriors. It intentionally focused on thorough repairs and changed none of the essential features of the building’s design. In keeping with this spirit of preservation, interior changes concentrated on transforming interior traditional spaces to a modern free-flowing format. Today, Magnolia House serves as a superb example of Volk’s ability to create a unique masterpiece under the construction constraints of the post-Depression, New Deal-era.

300 Seabreeze, on Lots 111 and 113, is right in the middle of the length of the street that stretches from the ocean to the lake. The street, platted in 1914, is one of the “Sea Streets” which are part of the Poinciana Park Subdivision. Poinciana Park, one of the island’s oldest subdivisions, was developed by Oscar A. Jose, Sr. It was advertised as a family community, with schools and beaches conveniently available. The house at 300 Seabreeze is documented on the 1919 Sanborn Insurance Map. The map shows that the house stands alone in the middle of the island with the other dwellings mostly concentrated on the ocean and lakesides of the street. The first definitive record of the house in a City Directory appears in 1925.

Owned by Mrs. Kathleen Ford, 300 North Lake Way, also known as “Serenity,” is a twist on the traditional Georgian style seen on Palm Beach. The Georgian style is characterized by proportion and balance, symmetry and adherence to classical rules. Originated in England, Georgian architecture spread to the colonies where it was modified based on local environmental conditions. Thus “Serenity” has more windows than the traditional Georgian house in England which permits spectacular views of Lake Worth from every major room in this residence. In similar fashion, “Serenity” uses loggias and terraces to diminish the distinction between interior and exterior permitting the integration of indoor and outdoor living. The typical stone and brick used on residences in England has been replaced by a buttery yellow façade in stucco which is better suited to Florida.

Designed by an unknown architect and later added to by famed Palm Beach architect John Major, this 1925 British Colonial home has undergone significant restoration and renovation. Owned by Julia and David Koch and renovated by architect Thomas Kirchhoff, the goal was a faithful preservation and adaptation of the original structure and restoration of interior architectural elements while adapting the flow and function to accommodate the lifestyle of the youngest generation of Kochs. Alterations by Major, which took place in 1931, took the wood frame cottage design of Kennedy’s property and transformed it, bringing in aspects of British Colonial or West Indies design such as lofty ceilings, large windows and doors, and thick external masonry. The ground floor arcades – a key feature of Major’s work – are notable in the residence as being presented in a grander form than generally found in Palm Beach architecture of the era.

Noted Palm Beach architect Gustav Maass designed additions and alterations to the residence. Of interest as one of Maass’s earliest Palm Beach works, the house was built in 1924 before Maass’s well-known association with famed architect John L. Volk in the late 20’s and early 30’s. The residence serves as an excellent example of the Colonial Revival architectural style which is so closely associated with Palm Beach. Its relationship to the ‘boom times’ construction of the 1920’s also lends it particular cultural and historical significance.

Owned by Mrs. Lucia Musso and based on the traditional forms of the Bermuda style, architect Raphael Saladrigas worked hard to accommodate the home to 21st century living standards into 148 El Mirasol. Saladrigas had to find appropriate ways to work such contemporary concepts as the media room into the over 100 year-old Bermuda design. Though the house is two-stories with five bedrooms and numerous rooms to relax in, Saladrigas centered his concept around dividing the house into the two ‘use’ types of central rooms and servicing rooms. He expanded on the normally small size of the Bermuda style but maintained proportion and classical organization. The completed home shows well that originality and innovation can thrive even while working within traditional forms.

This home, known as El Castillo, a 1920 Mediterranean Revival, was originally designed by Marion Sims Wyeth and significantly renovated by Addison Mizner in 1927, in particular with the addition of a tower inspired by 16th century Portuguese styles. Homeowners Kenn Karakul and Jim Held chose architect Thomas Kirchhoff to do the restoration and renovation. Careful attention was paid to honor the legacy of the home by returning, as much as possible, to the original vision. The loggia and service area were also extended. The major renovation was to return the kitchen to its original form as a butler’s pantry and then add on a new kitchen and family room. This new kitchen and family room actually restores the foot print of staff quarters that had been removed by a previous owner.

Noted Palm Beach architect Ernest Benjamin Walton, Sr. designed the residence. Beginning in 1911, Palm Beach Mayor ‘Cap’ Dimick cleared land in the middle area of Palm Beach to create a ‘Royal Park’ subdivision, the ‘middle’ bridge flowing out from this construction. In late 1923 Walton began work on the Mediterranean Revival-style house in the area. The residence serves as an excellent example of that architectural style which is so closely associated with Palm Beach. Its relationship to the ‘boom times’ construction of the 1920’s also lends it particular cultural and historical significance. In particular, it is a fine example of the single family homes during that time which reflect the rise of cohesive neighborhoods in Palm Beach.

Styled after the Mediterranean Revival homes made famous by previous Palm Beach Architects, 180 Canterbury Lane follows precedent while also forging a distinctly modern path. Designed for owners Deborah and Tory Maschmeyer, by architect Jacqueline Albarran, made sure to follow the traditionally asymmetrical exterior common in Mediterranean Revival homes. On the interior, however, Albarran used rooms, doorways, and windows to create an internal symmetry. For the Maschmeyer’s and Albarran, it was important to honor the legacy set forth by famous architects such as Mizner, Fatio, and Major.

Known as La Tonteria, this Georgian Revival home was originally designed by John L. Volk in 1935. The current owner, James Harpel chose architect Jeffery Smith to undertake the restoration and renovation of the house, a project which would turn out to take four years, far longer than expected. It is clear that immense effort was made to honor the legacy of the home, perhaps most clearly illustrated by the fact that every original brick was individually removed to be recast and waterproofed. Further, the entrance and exit gates and perimeter wall were all reconstructed to match the original John Volk design.

When Hilary and Wilbur Ross were planning to build a guest house on property adjacent to Windsong, their lakefront residence, the couple envisioned quarters that would not only accommodate overnight visitors, but also serve as a flexible hosting space. The Rosses turned to local architect Thomas Kirchhoff and New York decorator Mario Buatta to turn their dreams into reality. The symmetrical Georgian-style street facade of the Windsong Too guest house is in keeping with the original style of the John Volk-designed main house, Windsong. Kirchhoff also worked with the Rosses on the renovation of Windsong, which received the 2005 Ballinger Award. The guest house, which centers around an oval ballroom with limestone tile floors designed with the grand salon of 17th-century French chateau Vaux-le-Vicomte in mind, subtly echoes the main house’s curvilinear elements and completes the property without obstructing views of the intracoastal.

Designed in 1926 by theatrical set designer and architect Joseph Urban, 1170 South Ocean Boulevard underwent a four year restoration under the direction of Keith Spina and Danny Brown. Urban took the Spanish style of Mediterranean Revival and mixed in both an Islamic-Moorish and Oriental influence. The exteriors and courtyards are sprinkled with a variety of Spanish influences, Islamic-Moorish elements highlight the overall structure and a bit of the Oriental and even Eastern European creep in with interior decorations. The overall effect is one not centered on consistency and harmony of style, but of delight and ease of use. Notable was the discovery and restoration of the original entrance ceiling. The central star-shaped design in the ceiling is typical of Joseph Urban’s original Mediterranean Revival style. It appeared to have been hidden for over 50 years. In the post-1947 hurricane work done by architect John L. Volk the angle orientation of the entrance was changed and in the process the ceiling was made to be covered and hidden. Now it is restored for all to see this unusually deep-relief ceiling, a classic of Urban’s work.

Renovated by Clay Grubman, this home at 403 Seabreeze Avenue is a landmarked home located at the corner of Seabreeze Avenue and Cocoanut Row. The home serves as a clear example of the bungalow style which set the original tone for the center of Palm Beach. Though the standard bungalow is usually one-story, this year’s award-winner at one and half story is not uncommon. The dominant front gable is still there; the front porch remains enclosed; adornment is minimal but nonetheless attractive and of a high-craftsman quality. This renovation put extensive attention to interior fix-ups, including a modernizing update to the top floor’s bedroom, but most interestingly of all was the work done to the back end of the house and pool. A horse carriage house, designed obviously for 1910 modes of transportation was split in half and redesigned to become a two pool guest houses. The renovation is a wonderful story of keeping a property alive by finding a new way to make a use of it; a new function for its original form.

Designed for Donna and Rodney Ward and based in a British Colonial Georgian Style, it then applies to that the symmetrical thinking of the great Italian Renaissance architect Palladio. In addition, it brings in a touch of 20th century modernist architectural concepts of lightness and transparency. It melds traditions to create something new yet immediately recognizable. The site itself is one of particular interests. It is in the south end of Palm Beach – a place often misjudged and misrepresented by many. The residences replaces the Sealord Hotel that had sat on the site. It provides a unique tie between ocean and lake. It sits so comfortably on its beach rise, it has such awareness of place, that many have already remarked that in some ways it seems a house that has been for 50, 80 years.

Built by Addison Mizner in 1924 as part of the original Lagomar Estate, 12 Lagomar road is currently owned by Joanne and Roberto de Guardiola who along with architects Raphael Saladrigas and Leah Cohen of Saladrigas and Cohen Architecture, inc. spearheaded the restoration and renovation of the home. The team’s restoration and renovation was one that emphasized movement and axial room relationships. The exterior of the property was to be viewed in a rotation as one approached it, with each of the 3, now with basement 4 floors, to cascade upwards and downwards off of each other. The interiors would play off of lateral and longitudinal relationships with each other, mimicking the stacked townhouse style the family had come to so love in their northeastern urban homes. Ornamentation varied to keep with Mizner’s original sense of whimsy.

Keeping up the long-lasting tradition of Mediterranean Revival architecture and contributing an important architectural impact to that unique area of town that is Clarke and the Sea Streets. Designed by Jeffery Smith, the home fits what the homeowner Jeffrey Marcus called his family’s “casual lifestyle.” By design, the rooms can easily accommodate entertaining groups while also being comfortable enough for the homeowners daily life. Smith, therefore, described his design as “formal and balanced” with more casually designed rooms that complement the owners preferences for contemporary art. Its layout which is non-traditional for Palm Beach is, by the architect’s account, “actually has roots in Mediterranean architecture” where homes are added to over time.

The landscape by Nievera Williams Design of Palm Beach features clean lines, a limited color palette and spare sensibility designed to complement the contemporary architecture of homeowners Mr. and Mrs. Stephan Dattels’ lakefront house. It is an out-of-the-box landscape by Palm Beach standards, though the designer did choose moderate- to slow-growing plants and palms that are frequently used in area gardens. Setting this project apart from typical Palm Beach gardens is the contemporary style of the home designed by Jeffery Smith. Landscape designers Mario Nievera and Keith Williams therefore, at the behest of the owners, leaned into this contemporary design creating a “similar, if lower-key aesthetic statement” as complement but not to compete with the home.

Known as Villa Artemis, this home was designed by John L. Volk in 1929. For its time, this estate was seen as a great innovation under the financial constraints of the moment was to move from and adapt the popular Spanish architectural style into a more Italian one. This choice was immediately recognized and influential. The restoration and renovation team consisted of the owners, Diana and E. Llwyd Ecclestone, the architects Sophia Lagerholm and Jeff Smith of Smith Architectural Group, Inc. While many areas of the home were touched by restoration efforts, the largest result was to increase the square footage of the residence from just under 15,000 square feet to just over 18,000 square feet for an approximately 3,500 square foot total expansion.

The Klein house by Ed Parker and David Piscuskas may at first seem too contemporary a house to be considered in keeping with the traditional styles of Palm Beach architecture. Yet, on closer inspection, one sees that all the classical considerations of location, sighting, use, and history have been taken into account producing a modern, minimalist reinterpretation of classic Palm Beach design and living. According to the architect, a lot of energy was invested to ensure that the L-shaped house would be perfectly proportioned to the just over a third of an acre lot. To achieve this, a forty-foot wall of glass spans the back of the house, bridging the gap between the indoor and outdoor spaces.

With privacy at the forefront of owner Terry Rakolta’s mind, landscape architecture firm Sanchez and Maddux designed a garden with the feel of Venice, lots of spaces to entertain, and ficus hedges with just enough archways cut through to show off views of the water while shielding the property from passers-by. Medjool palms were used to create a high ‘ceiling’ to the water, giving the view an enclosed feel, with liberal use of jasmine, gardenia, and ylang-ylang trees throughout to follow the wishes of a scented garden. Pocket gardens were added outside of the library and main rooms, and a large courtyard provides space for entertaining. The garden reflects a deep understanding of planting traditional to Palm Beach, while its execution of visual rhythms and tromp l’oeil offers insight into design solutions for the future.

Architect Marion Sims Wyeth designed the property in 1937. It has since been lovingly restored by owners Norma and William R. ‘Bill’ Tiefel who along with their restoration team sought to honor the history of the home. Their team consisted of the architects Jeff Smith of Smith Architectural Group, Inc and Laura Wright of Design Phase Architecture, the contactor Hugh Davis of Davis General Contracting Corp. The team’s restoration and renovation major achievements were the opening up of the house by enlarging the width of the entrance hall by 4 feet, moving the stairwell, adding a second-story skylight, increasing the natural light for the library, living room and dining room, and expanding the loggia. All in all, the square footage of the residence was increased by 1,428 square feet so its current total of inside and outdoor living space is 11,676 square feet.

The house was built in 1929 by Maurice Fatio. It is in the popular Mediterranean Revival-style. The property’s relationship to the ‘boom times’ construction of the 1920’s lends it a particular cultural and historical significance. It is part of the old Royal Park Subdivision begun in 1911. Palm Beach Mayor ‘Cap’ Dimick cleared land in the middle area of Palm Beach to create the ‘Royal Park’ subdivision, the ‘middle’ bridge flowing out from this construction.

First approached by owner Karen Egger in 2010, architect Jacqueline Albarran was tasked with creating an energy-efficient Art Deco home in Palm Beach. The home features a tower with floating stairs and a skylight, protruding ledges over exterior windows, and crisp white walls on the exterior and interior. As for the environmental considerations, the home features a 3,000-gallon, rain-collection cistern and prefabricated concrete walls with a high insulation factor. Albarran’s use of linear, hard edges and angular composition emphasizes the geometric form so key to the style of Art Deco. In all, the house is a great design achievement.

The task of redesigning the gardens of Villa Artemis was no easy job. However, the firm Nievera and Williams has proven that they are more than up to the task. From the beginning, the team, consisting of landscape architects and the homeowners, Cynthia Boardman and Jane and Michael Horvitz, agreed that the landscape should work with the existing structures rather than compete with them. The result is gardens made up of tropical plants rather than foreign plants that would not have fitted with the locale or the grandeur of the estate. To this end, plants such as Australian pines and pittosporum were replaced with green island ficus and hibiscus among others. There were also efforts made to preserve protected plants such as sea grapes and sabal palms.

Built in 1958, by Clarence Mack, 300 Regents Park was one of five speculative homes in the Regents Park development which stands as one of the crowning achievements of the architect’s career. This home is in the regency style that Mack was known for. Amongst its most characteristic features are the home’s high ceilings and windows as well as its classical moldings. Reflecting the period in which it was built, the home features an axial layout which was included to meet the post-war demand for a home not solely for entertaining during the season but also for living in year round. Being over fifty years old, homeowners Mary and Mandell Ourisman as well as their architects at the firm of Kirchhoff & Associates were tasked not just with restoring the historical spirit of the home, but also with bringing it up to modern standards of living and legal codes.

After being attracted to the size of the nearly-half acre lot of this 1952 North-End home, Fernanda Niven bought the property three years before the renovation. Initially a single-story, ranch style house with a rambling design and red-brick exterior, Niven worked with designer Virginia Dominicis to update the property by reorganizing the interior spaces and emphasizing the home’s relationship to the outdoors. Moving the home’s entry to the center of the front facade created a visual axis through the landscaped pool area, designed by architect Mario Nievera. In all, the renovation added 1,300 square feet, and reimagined the exterior facades to a refined Bermuda-style look, showing the possibilities of renovation for small, North End homes.

Designed by Mark Marsh as the home of Tina Bilotti, 109 Jungle Road contains nods to Art Moderne design and even Moorish architecture, certainly reflecting an understanding of Palm Beach’s architectural history and design influences.  Yet, in its stripped neo-classicism and emphasis on high-end craftsmanship, impeccable material choices and counterpointing textures it presents a distinctly contemporary home, of its time, and inspiring to our community. Designed in large part around an extensive art collection it is also about unplugging from the world, something we all increasingly find it too hard to do in the modern world.

Inspired by their trips to North Africa and the Near East, owners Kathy and Billy Rayner set out to design a garden in their North End house after Yves St. Laurent’s 12-acre botanic Marjorelle Garden in Marrakesh. Led by landscape designer Denis Lamarsh and architect Peter Marino, the gardens are shaded by a canopy of mature Royal Palms, building a lush, tropical, and whimsical space accented by a lavish tented entertaining pavilion painted the legendary Marjorelle blue. Following the completion of their Moroccan garden, the owners expanded their property, developing an additional garden and guest house in the Turkish style after the Topkapi Palace in Istanbul. Fragrant pink roses scent the air of the Persian style garden, and stone elephants send water splashing into the reflecting pool. A lush zoysia carpet leads to the “elephant walk” that joins the two properties.

Known as Casa Marius, this the Italian Romanesque-style property was designed by Maurice Fatio in 1928. The restoration and renovation team consisted of the owners, Jeff Smith of Smith Architectural Group, interior designer Susan Zises Green, Mario Nievera of Nievera Williams Landscape Architecture, and Jeff Wildes of Wildes Builders. Their work exhibits a delicate balance, one that is difficult to achieve, between deference to a master work and incorporation of necessities that complement modern living. During the project, years of dirt and mold were removed from the quarried key stone façade allowing the natural beauty and intricate detailing to be fully appreciated once again. For the arched windows in the living room, frames of impact-resistant glass were hidden behind the original carved stone columns allowing for an unobstructed view of the ocean. The redesign of the courtyard relocated a reconstruction of the original fountain allowing for the addition of an open lawn, modern linear pool, and a rivulet garden.

Built in 1920 and restored in 2016 by owners Susan and Allan Kauffman, this home at 159 Australian Avenue is emblematic of the time and style in which it was created. The stucco-clad house, whose architect is unknown, features a low-pitched gabled roof with eave overhangs supported by exposed rafters. Other bungalow details include rectangular double-hung windows and a large front porch. Architect Thomas Kirchhoff of Kirchhoff & Associates Architects and the owners agreed that preserving, updating and enlarging the house would make it more comfortable. The Kauffmans voluntarily brought forward the property for landmarking and took advantage of the tax exemption program afford ed to designated properties.

Painstakingly built for alfresco living, this Northern Italian-style villa on Everglades Island was built for Betsy and Paul Shiverick. Based on conversations with the homeowners, architect Richard Sammons created the villa in classic Italian design, covering 5,300 square feet, with stucco-clad exterior walls detailed by limestone quoins. Special attention was put into the placement of windows and doors throughout the property, ensuring that cross breezes could move through almost every room of the home. Stone and tie also play a key role in the look of the house. Floors in the loggia are covered in Portuguese terracotta tiles, while those in the kitchen and library feature imported limestone.

Designed for owners Frances and Jeffrey Fisher to complement the John L. Volk residence that it surrounds, the gardens of 252 El Bravo are a masterpiece. Designed by Jorge A. Sanchez, of SMI Landscape Architecture, nearly half the property is devoted to the garden. Landscape designer and principle Brian Vertesch’s original goal was to bring the standards back up to Volk’s original design. Garden details include a locally sourced, tall wrought-iron gate with double doors, geometric parterre sections, a towering wall of podacarpus arches, a large blooming magnolia tree, a repurposed antique well, koi pond, and focal point; a Florentine Pan Sculpture. The garden’s coquina is equally suited for formal entertaining or intimate family gardens.

Completed in 1923, 280 North Ocean Boulevard has evolved over time, but continues to be unmistakably Mizner. This home embodies all of the characteristics associated with the Mediterranean Revival style: an asymmetrical façade, balconies, both pointed and semi-circular arches, ornamental cast stone, ironwork, and a red clay barrel tile covered roof. Later, in 1928 the home was altered by another famous Palm Beach architect, Maurice Fatio. In his renovation, Fatio made substantial alterations and additions, however, the defining features and finishes designed by Mizner were largely preserved. In this recent restoration, homeowners Penina and Yoram Weisfisch and their team led by Jacqueline Albarran brought this home into the modern age while also honoring the long and storied architectural history set forth by the renowned architects who came before them.

Built in 1919, this home, known as the Lido, was designed by the largely unknown architect August Geiger. While the home was designed in the Mediterranean Revival style, there have been several renovations in its long history aimed at making it more visually representative of the style. For instance, at some point the unique green roof tiles used by Geiger were replaced with more stereotypical red clay barrel tyles. Additionally, the entryway which was originally designed to be significantly narrower and functioned more as an entry porch was at some point expanded into more of an outdoor living space. Under the direction of Jacqueline Albarran and homeowners Deborah and Charles Royce, many of the original features as designed by Geiger were restored honoring the history and spirit of the original structure.

Owned by Jeanne and David Daniel’s, 322 Seaspray Avenue is a 1919 bungalow-style house. Beginning in 1914, the area was originally platted and developed by Oscar Jose. The home features many of the hallmarks of the bungalow style including low-pitched gable roofs, wide eaves with exposed roof rafters, a front porch and dormer windows. The intent of the owners and restoration architect Gene Pandula was to maintain the scale and relationship of the landmarked building to the streetscape and neighboring properties while also allowing the structure to be updated to meet the owners’ needs and building code requirements. The enclosure of the front porch and reworking of interiors walls on the first floor allowed for a more modern and spacious floorplan. Special care was taken to replicate the original rafter tails and knee brackets. An expertly scaled master suite addition replaced an original garage deteriorated beyond repair.

320 Island Road, known as Tarpon Cove, combines architectural elements found in Bermuda with large entertaining spaces both indoors and out. Owner James Berwind, a trained architect, worked with architect Thomas Kirchhoff of Kirchhoff and Associates Architects to design an authentically Bermudian home that gives the impression that it was expanded over time. Characterized by steeply pitched roofs with decorative gables and thick chimneys, the style was first popularized in Palm Beach by noted architects Howard Major and John L. Volk. Other features associated with the style that are incorporated into the design for Tarpon Cove include dormers windows, a buttery with a stepped pyramidal roof, and a flared entry staircase commonly referred to as “Welcoming Arms” stairs.

Tasked by owners Susan and Paul Efron, Keith Williams of Nievera Williams Landscape Design with using drought-tolerant plants and his design for the front of the property presents both a fresh approach and an environmentally sensitive one in a town strongly associated with well-manicured lawns. The lush landscape, achieved without the use of sod, features patterned gravel and succulent beds along with variegated minima for groundcover. Having lived in London, Sue Efron’s love of gravel gardens inspired the crushed and broken coral paths. In the backyard, a whimsical slat-house-style cabana with metal palm trees anchors the east side of the garden. Grass surrounds the pool area with children and pets in mind. A secluded spa sits under old ficus trees creating another destination in the garden.

Known as Ivor House, the estate was completed in 1937 by the architectural firm of Wyeth & King and is designed in the Georgian Revival style with Caribbean influences. Although built during the Great Depression, the residence was noted at the time as eschewing the prevailing trend towards building “smaller, simpler homes.” The design is representative of the more conservative architectural styles of the time period. Staying true to the history of the home, the current owners of Ivor House, Jordan and Thomas Saunders, have restored two character-defining features of the property that had been lost over time: the formal gardens and chinoiserie decor. Taking inspiration from the gardens of Thomas Jefferson and the gates he designed for the University of Virginia, chinoiserie and Chippendale designs were incorporated into the terraces, paving and gates leading to the extensive gardens on either side of the motor court. Breathtaking murals in the halls of the home were painted by English muralist Graham Rust. The team of design professionals that brought the Saunders’ visions for the property to fruition included: Kirchhoff and Associates Architects, Nievera Williams Landscape Design, Hamptons House Design, and Davis General Contracting.

Restored by Keith Johnson and Glen Senk, 130 Chilean Avenue is a 1928 Volk-designed Mediterranean Revival style house. The home’s rehabilitation took one year, keeping the footprint of the house intact, but reworking the interiors for modern living. The ceilings were raised in the upstairs bedrooms and several small rooms were combined downstairs, creating an open kitchen and dining area. Period-appropriate details were added in other parts of the house, including a new chimney breast for the fireplace in the living room. The dining room features a new fireplace covered in decorative antique tile drawn from the owners’ collection. Artist Jeff Arnold gave many of the walls a burnished Old World-style finish. Flooring was restored or replaced and wood ceilings were added in the living and dining rooms.

310 and 320 Dunbar are excellent examples of infill design that are respectful of the existing streetscape and architectural traditions of Palm Beach. The Spanish style references landmarks from the 1920s in a contemporary fashion that incorporates a creative use of space through an atrium and a light-filled media room that fulfills code requirements for a two-car garage. Having always admired the detail of the Spanish/Italian influences of so many beautiful properties in Palm Beach, the aim of owners Lenni and Peter May, with architect Mark Ferguson and interior designer Bunny Williams, was to build new buildings that were true to those influences but more open and light and more intimate and contemporary, and would work for the life style of today.

Designed by Fernando Wong for Heidi and Michael Kluger, the gardens surrounding a 1920s Mediterranean Revival-style residence at 415 Seaspray Avenue fittingly adapts the work of Nicole de Vesian’s La Louve, to Palm Beach.  Her signature use of stone is executed here in coral stone that juxtaposes with Podcarpus topiaries and clipped balls of boxwood and green island ficus. From the beginning Wong felt that this rather daunting task of conveying de Vesian’s style of soft silvery textures, clipped vegetation, mounds of lavender, and rough stone to the subtropical south Florida climate would not only be thought-provoking but have extraordinary possibilities.     

Over the course of 3 ½ years, homeowners Tomas Maier and Andrew Preston restored Concha Marina, a Mediterranean Revival style estate built in 1921 by Addison Mizner as his personal residence. Today, Concha Marina is a rare example of a Palm Beach estate that is a representative work of three of the Town’s original architects: Addison Mizner, Marion Sims Wyeth, and Maurice Fatio. Restorations relied upon historic images to guide the restoration of significant features that had been lost over time. A full-depth limestone entry was reconstructed according to the original proportions and materials. On the interior of the courtyard, the new pool was elevated like a Roman basin to evoke the original fountain designed by Mizner. The same attention to detail and historical accuracy was also paid to the landscape design. The team of design professionals that brought the owners‘ vision for the property to fruition included: the architectural firm Fairfax & Sammons, Wildes Builders, and the horticulturalist Lopez Group.

According to the Landmark Designation report, the home’s original avant-garde design, intended to resemble a ship, was said to have raised quite a few eyebrows when it was constructed in 1937 on North Lake Way in the quiet “north end” of Palm Beach. With its curvilinear walls, porthole windows, and multiple decks, the building is a rare and exemplary Art Moderne work in Palm Beach. The building is Belford Shoumate’s first commission in Palm Beach after his arrival from Miami Beach where he worked for the firm of Shoeppl & Southwell.

For the design, the homeowners, Kenn Karakul and Jim Held, were attracted to the timelessness of the International style. This style was particularly prevalent in Europe during the 1930s and 40s. In Palm Beach, the homeowners and architect looked to Maurice Fatio’s The Reef for inspiration, which won a gold medal in 1937 at the Paris Exposition for its Art Moderne design.
In addition to its historical reference to early modern design, of particular note at the Karakul/Held residence is the integration of solar panels on the roof. Presenting the Schuler Award to the first home in Palm Beach to be completely self-sufficient through solar energy illustrates that the transition to renewable energy can be made without sacrificing lifestyle or the luxuries of modern life.

Designed by Jorge Sanchez for Leigh and John Middleton, the gardens at 947 North Ocean Boulevard offer a perfect accompaniment to the British Colonial home. Occupying one of the highest points in Palm Beach and featuring a 22’ change in elevation from the road to the beach, SMI’s design for the Middleton residence maximizes both the natural elevation and scenic vista of the site through elegant design solutions. Terraced gardens in the front of the property create a transition from the street and build visual interest that culminates in an unobstructed view of the coastline from the back lawn. In the lower garden, a pair of gazebos flanking the pool evoke traditional orchid slat houses while cleverly concealing mechanical equipment. These architectural elements allow for more garden space by incorporating necessary equipment into the landscape design.

Duck’s Nest was assembled on site by Henry Maddock in 1891 and the Maddock family continued to own the house for the next 125 years. The home was the oldest house in Palm Beach in continuous family occupancy, until it was saved from imminent demolition by Julie and Brian Simmons in 2016 to use as a guest house. Duck’s Nest gets its name from the ducks that roosted on the extensive fresh water marsh, now filled in, that was located east of the building at the time. Palm Beach architects Marion Sims Wyeth and John Volk designed additions to the house over the years. The shingle style cottage has gabled roofs and a large front porch that was typical of the island’s first homes. The home illustrates early pioneer history on Palm Beach and stands as a testament to time that it has persisted for the past century. Duck’s Nest is integral to the architectural history of the town, just one year after the Landmarks Ordinance was passed, it was designated on April 17, 1980.

Designed by Brazilian architect Marcio Kogan of Studio MK27, the home represents the architect’s first private commission to be built in the United States. The minimalist design projects warmth through natural materials and illustrates how a beautiful and livable space can be designed without reliance on variances from the local zoning code.  By focusing on building out rather than up, the one-story building emphasizes a connection with the surrounding gardens and outdoor spaces created by landscape designer Keith Williams of Nievera Williams. The residence is a thoughtful departure from the traditional architecture of its Estate Section location—an area defined by Mediterranean Revival-style estates designed by architects Marion Sims Wyeth, Maurice Fatio, and John Volk during the 1920s—that exemplifies how contemporary buildings can coexist with the historic fabric of the community.

The design and flow of the landscape of 4 South Lake Trail emerged organically as Pannill discovered new plants at the nurseries she visited. And while the landscape design and plant selection are attributed to her, assistance with the design of fences, gates, and other hardscape elements was provided by landscape architect Mario Nievera. The back terrace of the house opens onto textured green and white planting beds and a sweeping lawn that encircles a stunning Ficus benjamina. Flowering orchids hang from the tree, injecting small bursts of color into the monochromatic landscape. Another section of the property, acquired three years after the home was purchased, is defined by the use of color. Beneath its majestic Ficus altissima now grows a lush and colorful shade garden. Multicolored garden beds and a grand orchid slat house—inhabited by hundreds of orchids, begonias, cacti, and succulents—fill the northeastern section of the expansive garden.

This unique residential street was developed by Marion Sims Wyeth and E.F. Hutton in the early 1920s. Over the years the street has retained its unique identity through the dedication of its homeowners. The development and continued stewardship of Golfview Road truly exemplifies Palm Beach’s architectural heritage. Utilizing the Mediterranean Revival style, Wyeth embarked on creating a new neighborhood in Palm Beach according to his ideal vision. The result was a cohesively designed street of five houses on the north side of Golfview Road completed within two years. In 1924, Clarence Geist commissioned Wyeth to build opposite of Hogarcito. The Spanish Baroque style home known as La Claridad provides a dramatic foil to Hogarcito’s Spanish Revival simplicity. The most ornate house on the street, La Claridad showcases Wyeth’s authentic hand when applying the historic Spanish architectural details to the home. La Claridad was split in half by architect Belford Shoumate in 1948. Both single-family homes have recently been restored with respect to their historic legacy.The renaissance of Golfview Road began through the recent restorations of many of Wyeth’s original designs. Today, six of Wyeth’s original designs are Landmarked by the Town of Palm Beach. Continuing the legacy of good design on Golfview Road, other prominent Palm Beach architects such as Clark Lawrence and Maurice Fatio contributed to the streetscape.

In 1921 Addison Mizner designed 89 Middle Road for Alfred and Elizabeth Kay. The Kays, who were involved with Palm Beach Day Academy and the Garden Club, named their residence “Audita”, a combination of their daughters’ names. The style of the residence is considered Mizner Mediterranean Revival. In 1923, Marion Sims Wyeth designed a 2-story garage cottage for Kays. Wyeth later worked on an alteration and addition to the residence in 1954 for the owner William L. Hanley. At this time, the address changed from 582 South Ocean Boulevard to 89 Middle Road. Wyeth’s most significant contributions are the loggia off the south wing and a grand entrance portal to the west elevation.

Now known as Villa Mora, the house exemplifies the work of Mizner, Wyeth, and now Rafael Portuondo. The current owners, the Morassutti family sought to integrate a new wing onto the historic residence, while maintaining the architectural character of Mizner’s work. The Morassutti’s selected Portuondo Perotti Architects and The Cury Group for their project, who have extensive experience renovating historic estates. Every detail was carefully considered, including the new family room wing and the redistribution of interior space, even the garage cottage was updated and honored as significant aspect of the site. All of the materials, such as the hand-made terra cotta barrel tile, are closely tied to the original palette.

The White Elephant exuberantly fulfills the award criteria in its rehabilitation of the landmarked Algemac hotel and contribution to the revitalization of Royal Poinciana Way. Historic properties are the core of a well-established business district. They create an authentic sense of place that encourages people to visit and invest in the area. As the first Mediterranean Revival style hotel built in Palm Beach in 1923, the Algemac was one of the earliest locations where the style could be experienced in a public setting.

Not too long ago, this beautiful building that we are standing in today occupied a dormant corner just off the Town’s historic Main Street. Years of deferred maintenance had taken its toll and it was therefore easy to overlook the property. Today, passersby can appreciate the building’s restored architectural detailing along with an activated courtyard, interconnected balconies, and rooftop terraces. Combined with the Preservation Foundation’s beautification of Bradley Park and the restoration of the Royal Poinciana Plaza, the community now benefits from a more vibrant and welcoming gateway to the Town’s historic main street.

Spanning two lots in the Estate district the home artfully blends the traditional architecture of the area with the modern needs of a 21st century family home. Philip James Dodd stated that “I am a firm believer that the property should inform the design of the house, rather than the other way around. I also believe that the program of a traditionally designed home should express itself through the architecture of the exterior elevations.” The narrow-elongated property faces South Ocean Boulevard. Dodd was inspired by historic estates near the property for the most formal section of the home —an area defined by Mediterranean Revival-style estates designed by architects Marion Sims Wyeth, Maurice Fatio, and John Volk during the 1920s—and recreated the historic architectural details.

The garden of 1237 North Ocean Way was reimagined as a serene naturalistic landscape when the COVID Pandemic halted landscaping services. Due to the lack of landscaping services, their original landscape design from 2011 started to fail, and it became obvious to the Smiths that radical changes were needed to create a sustainable landscape. This led the Smiths to create the following parameters for their next landscape: the amount of maintenance and lawn care should decrease; pesticides must be eliminated; there should be more birds and butterflies; and it had to survive the salty ocean winds. Inspired by Kim Frisbie’s newspaper articles and Pan’s Garden, it was clear that native plants were the answer to their new landscape goals. Transforming from a vast lawn, the main property recreated a shady hammock, and the focal point in the backyard shifted from the pool to the immediate environment. Across the street at the beach cabana, native wind-buffering plants create a lush environment that assists in stabilizing the ocean dune.

Completed in 1930, 124 Via Bethesda was designed by Howard Major in a Creole-French Classical or French Provençal-inspired architectural style. The symmetrical and stately detailing contrasts with the natural rustication of the Cuban coral stone to create a unique and unusual design. The residence was originally designed as an “L” shape with a central courtyard. Renovations by Allen Babcock in 1965 removed the courtyard to open access to the swimming pool. A Pool Cabana was added on the South side of the pool and a Library was added to the West side of the residence. The 2023 restoration was overseen by owners Aerin Lauder and Eric Zinterhofer, and focused on maintaining the original design while addressing structural issues, installing new insulation, and replacing the roof. The project, led by architect Jeffery Smith, interior designer Stephen Sills, and landscape architect Mario Nievera, successfully preserved key elements, including black-and white marble-tile floors and antique paneling. Noteworthy changes included the addition of impact-resistant windows and French doors, updates to bathrooms, and a new-and-expanded kitchen. The restoration team paid meticulous attention to the preservation of the distinctive hermanitas stone on the exteriors, maintaining the house’s patina and character.

While incorporating the classic Palm Beach elements of romance, drama, and whimsy, homeowners, Kitty and John Verbockel, settled on Bermudian and other Caribbean-style motifs to anchor the design including time-honored and durable materials. With the help of builder Tim Givens, Stan Dixon sought to create a home that reflected the casual elegance of Kitty and John and the earlier Palm Beach essence from the late years of its heyday. He broke apart the house’s components and reassembled them creatively. In doing so, he was able to incorporate indoor spaces that flowed seamlessly into outdoor spaces. His landscape designer collaborator Mario Nievera of Nievera Williams was a strong partner in creating these unique spaces that are slightly mysterious and playful. They don’t reveal themselves completely until you are drawn in and led along. Stan took inspiration from the Bermudian Stan sought to design a home appropriate for Palm Beach of the past, that could provide everything a home of the present needs, and continue to be relevant in the Palm Beach of the future.

For so many of us, seeing is believing and that is one of the primary reasons why this project is so important for the town. Lake Drive Park has become a special space in the town where residents can enjoy both the natural beauty of native plants and the island’s scenic quality. The success of the project all began with the Town Council’s visionary leadership in launching the green initiative in 2019. By educating residents on the dangers of pesticides and fertilizers, and adopting a native plant ordinance, they set the stage for one of the island’s leading landscape architecture firms to create a design using native plants in a way that was previously not seen in public spaces in the town. Whereas Pan’s Garden was designed to reflect natural habitats, Lake Drive Park is very much a reflection of Nievera William’s design philosophy and Palm Beach’s horticultural traditions. By grouping singular species of native plants together, their design instills a sense of order while also allowing the unique attributes of that particular plant species to be fully appreciated.

Designed in 1924 by Addison Mizner, Collado Hueco signified a departure from Mizner’s typical construction through its combination of Mediterranean-style coquina stone and Norman-style half timbering. The name roughly translates to “hollow hill” and is likely a nod to the unique site which slopes downward from the Atlantic Ocean to Lake Worth. This home has undergone restoration twice, first in the 1990s and secondly in 2024 under the stewardship of Peter and Stephanie Brant. Renovation were under the direction of French Architect and interior designer Joseph Dirand the three-and-a half-year renovation, meticulously preserved original Mizner details, including the Gothic-style fireplace and coquina, while incorporating modern structural and security enhancements. Their goal was to restore the integrity of the estate while adapting it to contemporary living needs, particularly to house the Brant’s renowned modern and contemporary art collection.

726 Hi Mount Road, overseen by architects Anne Fairfax and Richard Sammons, reflects a sophisticated fusion of classical architecture with modern interiors and environmentally conscious landscaping. Situated around an inviting outdoor living space, the residence seamlessly integrates with its surroundings, embodying Florida design with a European flair. The residence exemplifies the best of traditional Palm Beach charm while incorporating a contemporary interior and forward thinking approach to landscape design that responds to ever-increasing climate concerns. The design demonstrates that you can work in a supremely classical style while still achieving a home that embraces the local climate and takes advantage of a unique site.

Restored by Matt and Callie Holt, Southwood was designed in 1934 by Marion Sims Wyeth, one of the architects who helped define the look and feel of Palm Beach in the early twentieth century. Set on nearly three acres of waterfront, Southwood is often described as a tropical colonial style that brings in southern colonial and Monterey style features. Original owner Elenor Woodward Vietor was inspired by the grand Georgian revival homes in Charleston, South Carolina – and wanted to imitate that style in Palm Beach. Southwood’s architecture favors balance over display, which is a complete one-eighty from the grand and flamboyant Mediterranean Revival style popularized by Addison Mizner during the building boom of the 1920s. Culturally, this shift reflected the realities of the Great Depression, when architecture moved away from overt display and toward a quieter expression of permanence and proportion—an approach that allowed houses like Southwood to feel both dignified and deeply appropriate to their time.

The Flowers’ oceanfront home, located at 525 North County Road— reminiscent of a French château with its limestone façade and Mansard roof—offers a striking interpretation of timeless architecture rooted in Gilded Age refinement. What began as a concept for a Mediterranean Revival home transformed into something more distinctive. With soaring ceilings, intricate plasterwork, antique French boiserie, and interior design by Bunny Williams and Victoria Lindgren of Williams Lawrence, the home is a masterwork of proportion, scale, and craftsmanship. The surrounding landscape, by Jorge Sanchez and Claudia Visconti of Sanchez & Maddox, provides a serene setting, unified with the home’s character. The house was built with extraordinary attention to detail by general contractor Hugh Davis, alongside structural and mechanical engineering led by David Carmo and David Wojcieszak. This collaboration with the Flowers resulted in a home that feels both enduring and intimate.

Tucked behind a tall wall off Peruvian Avenue, Villa Giardino’s gardens date back to the 1920s, when antiques dealer Ohan Berberyan envisioned a public space where visitors could stroll among Venetian inspired plantings while shopping for European treasures. Though the property transitioned into a private residence, its gardens remained a hallmark of Palm Beach character—albeit in need of care. When the Louises acquired the property in 2021, they embraced its legacy with a sensitive, detailed restoration led by Mario Nievera of Nievera Williams Design. Working alongside architect Richard Sammons, the team navigated topographical challenges to better connect the house and garden, adding features such as a new sunken terrace, a cascading fountain inspired by Saint-Jean-Cap-Ferrat, and reworked parterre gardens planted with carmona hedges and citrus trees.

The North Fire Station, at 300 North County Road, has stood watch over Palm Beach since 1927. It is among the oldest continuously operating fire stations in the state of Florida—a working civic building, not a museum piece. Landmark-designated in 1988, it has endured hurricanes, piecemeal repairs, and the steady wear that comes with nearly a century of service. Beginning in 2022, the Town of Palm Beach undertook a $17 million full rehabilitation—not cosmetic, not partial, but a true restoration of a landmarked civic building. And crucially, this was done while maintaining uninterrupted emergency service, through the construction of a fully operational temporary fire station on site.

What resulted is a building that is now hurricane-rated to Category Four, structurally reinforced from foundation to roof, yet unmistakably itself. The historic tower was preserved. Cast stone restored. Original features—including the fire pole and fireplace—were retained. New systems were integrated quietly and intelligently, allowing the building to continue its mission without sacrificing its character. This project demonstrates that historic preservation is not an obstacle to public safety, but a partner to it. The Town of Palm Beach showed leadership in recognizing that a landmarked civic building can be strengthened, modernized, and made resilient—without losing the architectural identity that anchors it to its history and its neighborhood.

At 318 Australian Avenue, Ailes undertook not simply a renovation, but an act of preservation advocacy. By voluntarily landmarking the property, she ensured the long-term protection of one of the few remaining early bungalows on the street. The carefully restored Craftsman-style residence and guest cottage preserve a chapter of Palm Beach history that is increasingly rare. Working alongside architect Yianni Varnava of Varnava Design Studio, contractors Jim McGuire and Dave Tuscani, and landscape designer Adam Mills of the Environment Design Group, Ailes approached the project with a sensitivity that prioritized preservation over reinvention. Historic features were retained and repaired while the property was thoughtfully adapted for contemporary living. Homes such as these reflect an earlier Palm Beach—one shaped not only by grand estates, but also by modest cottages that supported the daily life of the community. Teachers, tradespeople, and workers once lived in neighborhoods like the “Sea” Streets, contributing to the layered social and architectural fabric of the island. Through this restoration, Ailes preserved more than a structure; she protected an important narrative about Palm Beach’s evolution and the importance of safeguarding the diversity of its historic built environment.

The Fischer Residence, at 1025 North Lake Way, is deeply informed by the owners’ travels throughout Morocco. Rather than relying on generalized Mediterranean motifs, the residence draws more directly from North African architectural traditions—embracing courtyards, layered textures, hand-crafted materials, geometric ornament, and carefully orchestrated transitions between interior and exterior space. The result is a house that feels both transportive and remarkably suited to Palm Beach. The influence of Moorish and North African architecture is not unfamiliar to the island. From the earliest days of the Mediterranean Revival movement, architects such as Addison Mizner incorporated elements derived from Spanish Colonial and Moorish precedents into the vocabulary that would come to define Palm Beach style. The Fischer Residence revisits those origins with unusual clarity, creating a design that feels rooted in history while remaining wholly original.

Completed in December of 2017 with the support of the Garden Club of Palm Beach and Town of Palm Beach, the Preservation Foundation spearheaded a $2.7 million campaign. The project transformed an underutilized, 4.4-acre public park located on the town’s historic main street. Previously lacking a comprehensive landscape design, the refreshed park is now a gathering place and a source of pride for the community that marks the northernmost entrance to the town.

Since its dedication in 1989, Earl E.T. Smith Preservation Park has been a noteworthy illustration of the Preservation Foundation’s community-oriented goals. Owned and maintained by the Foundation, this public space is located directly west of Town Hall in the Town Hall Historic District. Formerly the site of a gas station, the park is an integral part of the area’s historic charm and was recently restored for the organization’s 40th anniversary.

The cast-stone church is the third reincarnation of Bethesda-by-the-Sea in Palm Beach. In 1922, James Townsend Russell envisioned a Gothic church surrounded by palm trees and flowers inspired by the León Cathedral in Spain. Cluett Memorial Garden, located behind the church, was designed by Walter Thomas and reflects an Italian influence.

As Mizner’s first building in Palm Beach, the Everglades Club established the Mediterranean Revival style as the standard for the finest homes and clubs of Palm Beach. The building was conceived as a convalescent home for officers during World War I but ultimately became a private club. The Everglades Club features Venetian Gothic windows, Moorish latticed wooden balconies, and a cupola derived from the Spanish missions of the American Southwest.

The oldest schoolhouse in southeast Florida is a frame vernacular structure built 1886. Originally located along the Lake Trail, the schoolhouse became a tool shed on the John S. Phipps property when it was abandoned by the County in 1901. The schoolhouse was relocated to Phipps Ocean Park in 1960 with the demolition of Casa Bendita and widening of North Lake Way. The Preservation Foundation entered into a 99-year lease with the Town of Palm Beach in 1990 to operate a “living history” program for 4th grade students. Today over 4,000 Palm Beach County students visit the schoolhouse each year to experience a school day as it would have been in 1886.

The Palm Beach Synagogue is a series of three buildings united to create a flowing interior space for the synagogue. The buildings were built in 1929 as separate commercial spaces by architect Bruce Kitchell in a Romanesque Revival style with Italian and Mediterranean influences. The goal was to unify the interior space while respecting the unique historic exterior and its relationship with the streetscape.

Florida’s first all-native botanical garden was established in 1994 by the Preservation Foundation of Palm Beach. The half acre garden designed by Sanchez & Maddux consists exclusively of native trees, shrubs, grasses and wild flowers, many of which are endangered. Pan’s Garden takes its name from the bronze statue of Pan of Rohallion that graces the garden’s entrance pool. Designed by Frederick MacMonnies in 1890, the statue depicts Pan – the ancient god of shepherds who protects and guards the flocks – in idealized human form playing his enchanted pipe of reeds. It is a fitting name and symbol for a garden that serves to protect and showcase Florida’s indigenous plants and the wildlife they support.

The Paramount Theatre was designed by Joseph Urban, known for his work at Mar-a-Lago and the Bath and Tennis Club in Palm Beach. He began his career as a theatre designer whose work included the Ziegfeld Theatre in New York. The theatre’s interior was once awash in greens, blues, and silver-toned silk murals and served as a popular location for movie premieres. At the height of its popularity, box seats went for $1000 a season. Slated for demolition in 1980, the building was saved through an adaptive reuse project that converted much of the theatre into office space.

Phipps Plaza began as a development venture of the Phipps Family. In 1924, Addison Mizner was commissioned to design a series of shops and apartments on South County Road, known as The Plaza Building. The Plaza Building, where shops like Brooks Brothers and Bonwit Teller were located, became the anchor for Phipps Plaza. Uniquely built around an elliptical-shaped green space, rather than the usual linear or grid system, Phipps Plaza is an early example of urban design incorporating mixed-use of commercial and residential establishments. From its earliest days, Phipps Plaza has been the locale for architects, designers, and artisans, and is even today.

Completed in 2004, the Preservation Foundation’s Mediterranean Revival–style headquarters was designed by architect Jeffrey W. Smith of Smith Architectural Group. The building reflects the architectural heritage the Foundation is dedicated to protecting—combining classical elegance with contemporary purpose. Inside, the headquarters houses the Foundation’s architectural archives and provides space for lectures, cultural programs, and exhibitions that celebrate Palm Beach’s unique legacy.

In 1958, John S. Phipps commissioned John Volk to create a shopping venue where the northern section of the Hotel Royal Poinciana was once located. The plaza could be designed in any architectural style, but it must endure for fifty years. Volk was inspired by the Regency style and designed an open-plan shopping plaza for commercial and retail establishments that is anchored on the west end by the Royal Poinciana Playhouse.

When Sea Gull Cottage—the oldest house in Palm Beach—was threatened with demolition in 1984, the Preservation Foundation negotiated and underwrote its relocation across the island to its original Lake Trail location. The cottage was meticulously restored in the Victorian style of the late 1800s using original photographs. Through a partnership with the Royal Poinciana Chapel, the cottage continues a useful life of service and connects the community to the island’s early settlement along Lake Worth.

Organized in 1936, the Society of the Four Arts commissioned Maurice Fatio to design a gallery space that same year. The O’Keeffe Gallery, designed by Mizner in 1929, was purchased by the organization in 1947. Originally known as the Embassy Club, the structure was modified to accommodate galleries and an auditorium. Fatio’s building later became the King Library. The King Library’s loggia has murals illustrating the “four arts” of drama, visual arts, music and literature. The nearby demonstration gardens were designed by the Garden Club of Palm Beach in 1938. The Dixon Education building is the newest addition to the Campus and once served as a school originally constructed in the 1920s by William Manly King.

St. Edward Roman Catholic Church was built on land donated by Colonel E.R. Bradley as the first Catholic Church in Palm Beach. Many of the church’s architectural details were crafted by Mizner Industries in West Palm Beach. It is distinguished by its cast-stone Baroque entranceway and bell tower. The Parish house is connected to the church by a cloistered walkway.

In 1924, the site for the Brazilian Court consisted of a few pre-existing bungalows. Rosario Candela was commissioned in 1925 to design the Brazilian Court. He designed a two-story complex of 116 apartments centered on a courtyard in the Mediterranean Revival style. In 1936, the architectural firm of Treanor and Fatio designed the south wing, adding a 49-room addition and penthouse suites on the third floor, extending the complex from Brazilian Avenue to Australian Avenue.

Construction of the Royal Poinciana was quickly followed by the oceanfront Palm Beach Inn in 1896. The two hotels were connected by landscaped paths and serviced by a mule named Molly who drew the door-to-door trolley. The third incarnation of the Palm Beach Inn, an Italianate design by Schultze and Weaver, is known today as The Breakers Hotel.

Originally named the Lido Venice, the charming Mediterranean Revival hotel was designed as a European bed and breakfast where guests could enjoy a fully inclusive Palm Beach season in an intimate setting. The architectural authenticity of the hotel was not lost during Florida’s boom and bust growth periods. The most historically significant restoration was completed by John Volk in 1937 under the ownership of inventor Atwater Kent.

The hotel opened in 1947 and is considered to be the last grand resort built on the island. The 90-room boutique hotel has hosted numerous elite guests including the Duke and Duchess of Windsor, Frank Sinatra, John Lennon, and Presidents Ford, Clinton, H.W. Bush, and Bush. The Royal Room was one of the United States’ top cabaret supper clubs.

Originally featuring a Moorish façade designed by Marion Sims Wyeth, the First National Bank Building, a series of six buildings, evolved over time through alterations and additions by two contemporary architects. Maurice Fatio was the second architect to work on the building in 1927. John Volk designed the Neoclassical addition on the north side of the bank in 1937 and in 1955 replaced Wyeth’s Moorish façade with another Neoclassical temple front.

By the late 1980s, Town Hall was a faded example of a municipal building. Designed in 1926 by Harvey and Clarke as two buildings, it was knitted together by John Volk in 1967 with a sensitive middle addition. Town Hall was one of the first structures landmarked in 1979. The exterior restoration in 1989 brought the historical details back to life, while the interior renovations in 2009 updated the building for use as a modern municipal building. The Foundation’s campaigns raised over $1,000,000 for the exterior and interior renovations.

The Town Hall Square Historic District is the center of local government. Visually, the area remains much as it did in the 1940s and 1950s. One, two, and three story shops of varied architectural styles create a visually complex urban environment. Town Hall and Memorial Fountain center the district. Amongst the supporting structures framing Town Hall, are the Old Daily News Building at 204 Brazilian Avenue and the Buckley Building at 365 South County Road.

In 1929, the U.S. Government granted $80,000 to the Town for a new Post Office in exchange for the donation of land. By 1931, the Florida East Coast Railroad removed the tracks from Main Street and renamed it Royal Poinciana Way. The Company proposed the east end of the street as the new site for the Post Office. The original plans for the Post Office were completed by Mizner, however due to his untimely death, a scaled down version was completed by Louis Simon, the supervising architect for the Treasury Department. The privately-owned Post Office interiors contain murals by Charles Rosen that depict the early history of Palm Beach.

In 1902, Flagler commissioned Carrere and Hastings to design Whitehall, his own Beaux Arts home constructed on the lakefront.

The two original Worth Avenue vias, Via Mizner and Via Parigi, were created as a shopping complex in the 1920s and built in the style of a Mediterranean village, complete with intriguing pedestrian vias, lushly planted courtyards and a colonnade of covered arches on Worth Avenue. Apartments occupy the upper floors of the complex with Mizner’s personal residence, Villa Mizner, located in the tower which dominates the north side of Worth Avenue.