Six artists of 51 were accepted to participate: Gianna DiBartolomeo, Fahan McDonough, Kit Mezeres, Adriaan Mol, Patricia Lois Nuss and Richard Reep.
With Central Florida’s growing community of talented artists, the Downtown Arts District wants to generate greater awareness of Orlando as a cultural destination.
Art Basel week in Miami offers an international audience with several art fairs at one time. The Downtown Arts District/CityArts Factory applied and was accepted to participate in the 2017 AQUA Art Miami fair, December 7-10.
Central Florida artists were invited to submit up to five pieces for consideration. The call was a competitive application juried by a distinguished panelist including: Shanon Fitzgerald, Patrick Greene, Theo Lotz, Alya Poplawsky and Tiffany Sanders.
The Special Preview: AQUA Art Miami Fair exhibit at CityArts Factory was curated by Donna Dowless inviting the selected artists and honorable mentions to exhibit one piece each. Honorable mentions went to: Sarah Bender, Victor Bokas, Todd Fox, Esther Gregory, Yvonne Krystman, Mr. KYLE, Martha Lent, Rhada Mehta, Ivaldo Robles, Roland Rockwood, Lesley Silvia, Bonnie Sprung, Ben Van Beusekom, Lillian Verkins and William Drew Weinbrenner.
Kim and Richard’s Tiny House on Rita Street in Sarasota County, Florida is complete. We ride-tested this little tiny house for 5 days over the 4th of July weekend with a load of 4 people, and found that it rode pretty smooth.
We had more visitors – neighbors, West Coast acquaintances, and Rita fans – in 4 days than we had moving in may to Audubon Park. This perhaps speaks more about the West Coast lifestyle vs. the Central Florida lifestyle. Here people are busy, generally keep to themselves, and feel like they are intruding, I guess. In Sarasota, we had multiple visitors that came and enjoyed the Rita’s hospitality. We had real conversations with real people.
The Rita is set in a plane of white gravel which is near-zero maintenance. The boys found a shark’s tooth in the gravel. It is on short concrete piers with a 2′ high crawl space. Riding up on piers allows the land underneath to breathe and for the Rita’s ventilation to work properly like a true Cracker house.
The foundation is fairly solid. There were some interesting secondary vibrations through the house when the washing machine was on the spin cycle. Footsteps did not reverberate.
The front elevation expresses mobility, our age of motion accelerated. And yet it is very static, anchored to the land. The front wall is a grid that is thirteen wide by seven high, interrupted by a simple white band. These two prime numbers plus the partial end corners yield a rhythm that is both complete and incomplete at the same time. The lack of certainty in the front facade expression – nothing is an even number, the ends are slightly unresolved – references our current times of incomplete wisdom and a searching, a yearning for closure.
The central white band can be read in multiple ways. It emphasizes the door, a decidedly un-sarasota-school move (entries were de-emphasized by Rudolph and his peers, you just slipped between two floating plans and presto! you’re inside before you know it). Here the Rita presents the front door to you in a pure, white band.
An element, repeated thrice, has been a theme of our existence together even back in Hawaii days and extending to Norris. Chelsea and Rita both have the number 3 repeated in patterns, solids, and voids in its design.
The interior space, upon entering, fulfilled its requirement to have a series of interlocking functional areas that unite more than they separate. This is typical of nearly all tiny houses but it was particularly important with the vertical space to unite the loft. From 3 people to, at one time, eight, we had plenty of space and it did not feel crowded like a hotel room would if 8 people were in it.
The quality of light was diffuse and generally very high, and it changed throughout the day. The Rita is surrounded by the lush tropical rainforest of Florida’s lower west coast. The greens of the trees highlighted many of the colors inside and as the sun moved across the sky there was a delightful sense of time passing. It was as if the interior of the main space was a little bubble, holding a soft bright light inside.
The wasp-tail between the two wet rooms wasn’t too narrow. One wet room – holding two lavatories and a toilet – was surprisingly spacious. The other wet room had a shower and a tiny washer/dryer combo and it felt fine. It was the smallest room in the house but with a window it was not too claustrophobic.
The bedroom, with its niches, also felt significantly larger than it was, due to the high ceiling.
The loft was perhaps the most successful space of all. With one window facing north, up high, and another window facing west, down low, the loft was filled with stronger light but it had a “treehouse” sensibility being up in the trees. The boys seemed to enjoy it and rarely came down except during feeding times.
As a design experiment the Rita is more successful than I ever expected. Kim Mathis’ interior design talent helped to furnish the interior in a way that enhances the spaces. Scott Stoothoff, the builder, took great care with the construction, interpreting the design skillfully, and the result is an excellent living space with plenty of happy small details that he finished well, so the house will reveal interest and delight over and over again.
[see https://www.facebook.com/theritasarasota/?ref=bookmarks for photos].
Global design award winner Florida Hospital for Women, designed by Richard Reep with a team at VOA Architects, is now being scheduled for its fifth design tour by world-class architects and designers. The tour will take place later this spring, and details will be added to “upcoming appearances”.
July 3 is the expected opening date for the Rita, the experimental residence under construction in Sarasota, Florida. This residence advances the sufficiency and minimalilsm principles of Sarasota School Architecture, and ties them to a contemporary zen-approach to materialism and constructability. An opening party will be announced shortly.
Recently, it was my pleasure to provide “A Design History of Winter Park” which has been requested for a fall “Parlor Series” at Casa Feliz. The talk may be adapted a bit, but the topic is interesting and not well covered by current literature.
“Interim Form” debuted at the Art Gallery at Mills Park, featuring the art of Dina Mack and Richard Reep. Concrete sculptures were my contribution to this gallery. The gallery is about to release a documentary about the exhibit, details upcoming.
I will be going back into the classroom on May 23 to teach ENV 191, “Humanscapes,” which is basically the design history of the city. Since the Olin Library was unable to find room in their tiny computer servers to keep any of the course reserves, we will be doing a very hands-on course with fewer readings. It might be better anyway.
I am fortunate to have been commissioned to prepare a design for the Zion Hill Fellowship Hall, which I will do with my brother, architect John Reep. This is an exciting urban design and architectural design opportunity.
And finally, personally, I am taking a step forward in moving towards minimalism and hope to announce an architectural practice in a newer, smaller location this summer. As families mature, typically they purchase houses larger and larger. We are going against the trend – bifurcating – by intentionally buying a house that is smaller. With a family of 3, we will be able to reduce our basis, our debt, and free ourselves up to make and to travel.