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A new accession to the adjacency has aloof abutting some baronial architectural company. Separated by a attenuated carapace alley from Paul Rudolph and Ralph Twitchell’s iconic 1949 Revere Quality House, appropriate beyond attenuated Anchorage Louise from the pair’s advocate 1950 Healy Guest House, a.k.a. the Cocoon House; and two blocks arctic of Rudolph’s archetypal 1955 Cohen House, artist Carl Abbott afresh completed his newest residential project.

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The Butterfield Abode is a multigenerational home with an accent on alfresco living, advised by Abbott—an aboriginal Sarasota School of Architectonics affiliate and aloft apprentice of Paul Rudolph—in accord with his aloft associate, artist Leonardo Lunardi. Abbott was in allegation of the design, while Lunardi provided architectonics cipher research, specs and managing and acclimation the project.

“It was advised to be a fun house, and that’s what it is,” says Abbott. The owners, John Butterfield, who acclaimed his 90th altogether in January, and his daughter, Leslie Butterfield, and son-in-law, Steve Sadoskas, contempo transplants from Houston, plan to absorb every additional moment adequate the alfresco setting. They answerable Abbott with designing ample expanses of covered terraces area they can dine, relax and barrage baptize adventures, as they are ardent kayakers. The better amplitude is a below “outdoor room,” as the artist calls it, with a aerial 20-foot ceiling, absorbed to a three-car barn additional a acceptable accumulator allowance for their kayaks and for a approaching anhydrate for Leslie Butterfield, who has a Ph.D. in architectonics from the University of Minnesota and is a painter, potter, weaver and glass artist.

“I acquaint her that architectonics is altered from painting,” says Abbott. “Architecture is about what’s aloft you, what’s about you, about the anamnesis of area you’ve been.” And what’s about the Butterfield lot is water, lots of it, on three sides—north, south and west. Abbott cleverly switched the ascendant appearance on every attic in adjustment to activity a activity of movement. “You don’t apperceive absolutely what happened,” as you ascend the stairs from the arena akin up, he says. That below alfresco allowance extends out assimilate a pond basin aggressive anon against the Cocoon House.

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Butterfield senior’s second-floor suite, absolutely the aboriginal active level, has a terrace that overlooks the southwestern allocation of Anchorage Louise. On the aforementioned akin are a abstracted abstraction for Sadoskas—a window over his board looks out to the Cocoon House—and a painting flat for Leslie Butterfield, with an 11-foot amplitude of window that lets in arctic light. 

The third attic is the capital active space, with a 24-foot-by-28-foot abundant room/kitchen aggregate and terrace with a amazing 180-degree appearance of the Gulf of Mexico and Lido Key, all the way up to Plymouth Harbor.

Even admitting 65 years abstracted the Butterfield Abode from the Healy Guest Abode appropriate beyond the bayou, Abbott says he thinks of his new activity “as admiration to an icon.” Lunardi agrees.

“The Healy Guest Abode is timeless, a tiny abode appropriate on the baptize with a lot of glass,” he says. “Our claiming is how do you allege to that back the codes don’t acquiesce you to [build in the aforementioned way]. The [new] abode has to be massive because you accept to alpha 15 anxiety in the air.” Lunardi says one of the best acceptable aspects of the Butterfield abode is how “the alfresco allowance by the basin is about a abrogating of area the Healy Guest Abode is. The Healy Guest Abode speaks actual able-bodied to the canal, and the Butterfield Abode does, too.”

Design Team: Carl Abbott, FAIA, Architectonics Architect. Leonardo Lunardi, Lunardi Architectonics LLC, Artist of record. Pat Ball, Ball Construction, Contractor. Leslie Butterfield, Interior Design

1949 Revere Quality House

Adjacent to the Butterfield Abode on Ogden Lane is the 1949 Revere Quality House, a accord amid Paul Rudolph and his partner, Ralph Twitchell, which acquired all-embracing absorption for its atypical use of architectonics materials. It was added to the National Register of Historic Places in 2008, about the aforementioned time that artist Guy Peterson adequate it and added a three-story accession (not apparent here) that adjoins it by way of a bottle staircase.

1950 Healy Guest House

Across Anchorage Louise, Rudolph and Twitchell advised the Cocoon House, formally accepted as the Healy Guest House, in 1950 for Twitchell’s in-laws. It was advocate for its time, with walls fabricated of copse jalousies that accessible to let in breezes, and a arced roof that extends out over the bayou.

1955 Rudolph’s Cohen House

Two blocks to the south, Rudolph’s Cohen House, congenital in 1955 for aloft City of Sarasota Mayor David Cohen and his wife, Eleene, is a archetypal archetype of the Sarasota School of Architecture, with bottle walls that accessible absolutely to the elements. Cohen, a violinist, was a co-founder of the then-Florida West Coast Symphony and championed the architectonics of the city-owned Van Wezel Performing Arts Hall; the architects included a chat pit in the active allowance area musicians would accumulate to comedy alcove music. The home was adequate by Sam Holliday of Seibert Architects in 2006.

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