Jaclyn G. RannelsMaster’s Research Project

University of FloridaSpring 2012

Chair | Guy Peterson

Co-Chair | Peter Prugh

THE FUTURE OF OUR PASTA Contemporary Dwelling in Historic St. Augustine

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Special ThanksThank you Professor Peterson for working with me this year and helping me find my way around the University of Florida and in architecture.

Thank you Professor Prugh for joining my committee on such short notice; your contribution to this project was invaluable.

Thank you Becky Hudson for helping make my goal of a master’s degree at the University of Florida a reality.

A huge thank you to my parents, Christa, Jensen and Allie for your love, patience and support every step of the way over the last six years. It has been a long road and I could not have done it without you!

And thank you Ben for always being there for me. We finally made it!

St. Augustine 1776 to 2010

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Proposed site location

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Table of Contents

Description

Foreward

Investigation

Experimentation

Conclusion

Gate to St. George Street

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Foreward

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I want to begin this book by saying that the main reason I chose The University of Florida to earn my Master’s of Architecture is because it gave me the option to work towards a certificate with a concentration in Historic Preservation in addition to the degree. I have always had an interest in the reuse, renovation and preservation of existing buildings and I saw this as an opportunity for me to gain exposure to the preservation side of architecture. I appreciate designers who can successfully mix the old and the new. My goal when deciding on a topic for my Master’s Research Project was to explore an urban site with a historic background that also had a close proximity to the coast. I wanted to do a contemporary residential project that would be surrounded by a multitude of rich historic buildings. I intended to understand and respond to the existing structures while incoporating the notion of 21st century living. Since my final student architecture project would be conducted in Florida, it seemed right to choose a site in America’s oldest continuously inhabited waterside city: Saint Augustine.

St. George Street

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Description

The goal of this Master’s Research Project is to create a 21st Century house design that fits into the context of historic St. Augustine without detracting from the existing culture. I believe that historic buildings should be restored and preserved if they are of significance and are truly a historic structure. That is a debated topic and preservation is not the focus of my project. Instead, I want to acknowledge and appreciate the preservation efforts throughout the city by understanding how it has come to be the way it is today. I will look at past building techniques and materiality and use those ideas to develop a new way of living comfortably without detracting from the historical context of the city.

St. Augustine is America’s oldest continuously inhabited city and it has been occupied by colonists since 1565. It has undergone centuries of change and leadership, creating the very diverse city fabric it displays today. Several architectural styles have passed through the waterside city, leaving Spanish, English colonial, Frame Vernacular and Victorian buildings scattered throughout. There is no definitive architectural type; rather, each era that has passed through the changing city has left its mark in the sense of a visual history. The growth of St. Augustine can be seen through its architecture. Each style and the materiality it displays is a reference to an event that shaped the place at a specific point in time.

There are three distinct historic colonial styles that include Spanish, English and the second Spanish period. Numerous building trends and ideas moved across the site, which was established as a stop along the Spanish Caribbean trade route. The early colonists were not well suited for the sub-tropical Florida climate and initially built using the methods they were familiar with. The earliest homes had thick masonry walls with punched openings, screening known as rejas to create privacy and detached spaces for cooking. As time progressed, glass and fireplaces were added, roofs were pitched to withstand the rain, and courtyards with loggias became prominent. The colonists slowly adapted to the new environment. In 1702, the town was set on fire and every building was destroyed except the Castillo de San Marcos. The products of the complete rebuilding of the town after this devastation are the structures carefully preserved and replicated today. In the early twentieth century, Henry Flagler

brought St. Augustine into its most prevalent era by linking it to prominent cities along the east coast with the railroad. The influx of the wealthy due to the construction of Flagler’s grand hotels was the beginning of tourism in the city.

Today the majority of St. Augustine is deemed a Historic District. There are multiple historic zones, each one controlling what current residents may and may not do with their property. Over the last few decades, these specific building codes have begun to dictate a false historical style. Any new building built within HP Zones 1 through 3 are required to look similar to a colonial era or St. Augustine style house as described in Albert Manucy’s book, The Houses of St. Augustine; Notes on the architecture from 1565-1821. These depictions are generalized drawings and explanations of one house type in the area. The St. Augustine house is of Spanish descent; it is a combination of early Spanish colonial homes, the common house plan, and some materiality of the Native American chickee huts. These elements have come together to develop a house style that attempts to adapt to the hot, humid, coastal climate. At the time, it was a step in the right direction for a colonial building. Yet, we now have new materials, technology and flood insurance requirements to conform to that have made the St. Augustine style obsolete. Unfortunately, these factors are not as important to those in power in the city who are trying to preserve the old-world charm and attraction St. Augustine offers to tourists. Tourism is the economic generator for the town and there is a strategic balance going on between preserving the history and catering to the growing demands of the tourism industry. This puts pressure on the city to provide modern-day conveniences while also upholding the quaint Spanish-American feel that the visitors are expecting. Ordinances have been put in place that require all current and future architecture to be built in specific styles as an attempt at “freezing” the place in time. The history of St. Augustine has stalled in the mid 1900’s; a more contemporary architecture cannot make its way into the city to allow it to continue to grow and change with the time, as it had for hundreds of years before.

“The diversity of styles exhibited in this district reflects historic development patterns which includes colonial settlement, single family residences, vacation homes for seasonal residents, and an institutional and military presence. Permitted styles in HP-1

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include: Spanish and British period Colonial, Frame Vernacular, St. Augustine Colonial Revival, Queen Anne, Mediterranean-influenced styles including Moorish Revival, Italian Renaissance, Spanish Colonial Revival, Mission, Mediterranean Baroque, and Spanish Renaissance; Garage Apartment as a secondary main building, and Bungalow. New construction shall be in the style of the adjacent properties or as approved by HARB within the above list of styles represented in the HP-1 District. For the purpose of this section, immediately adjacent refers only to properties located along the same street, or for corner lots, only properties located along the streets that comprise the intersection.”

Architectural Guidelines for Historic Preservation

With this knowledge about the city, I will begin to analyze the multiple housing types that have existed in the place. I have chosen a site on the corner of Marine Street and Bridge Street. It is a residential corner lot with visual connections to the Matanzas River. It is a few blocks south of St. George Street and surrounded by a variety of architectural styles. I will attempt to design a home that fits in with the dense, historic context surrounding it; however, this home will push the boundaries as set by the St. Augustine Code of Ordinances and aim to present a contemporary interpretation of the St. Augustine home. This study will be a way to make new architecture fit in with the old, not by mimicking what was already done, but by learning what was successful about previous buildings and use that information to move forward into a new architectural design. This design will help the city take a step toward the future and not be another textbook described floor plan from the past. The faux historic architecture is not the way to continue to build an old city. The city must move forward, so future generations will have buildings to preserve and learn about today’s way of living near the Florida coast.

The main elements that I have found in Manucy’s description of the St. Augustine House will be the base upon which my new design will be built. The St. Augustine house began as an evolution of the traditional ‘common plan.’ It was changed to meet the local needs and typically included a simple rectangle with two to four large rooms, a loggia or porch, and a street balcony. Most houses were two stories tall. The loggia is a main part of the living area and typically opens into the yard. It serves as the space between street and home and has been understood as the early “Florida Room” which is popular in

Florida architecture today. The houses were oriented to best capture the southeastern prevailing breezes, so most open walls were along the south and east sides. The walls were of thick masonry to insulate from the heat and cold. Loggias and porches were placed to gain the warmth and light of the low winter sun. The more grand homes had walls along the street and a street door to enter into the property. The loggia was typically celebrated with arches and porches. Exterior stairways were popular. Chimneys were later introduced by British settlers and they were quickly added to many of the existing homes. The dormer window was also introduced later, in 1821, and was added to many of the Spanish-built homes. Tabby was a common building material; an early type of cement, it was made from lime, water, sand and oyster shells. This material was strong, durable, and made use of abundant local resources. Kitchens were initially small and attached to the main house, but as they became larger, there were given separate buildings that sometimes became as large as the home. Properties were typically fenced in and contained a central courtyard. These outdoor living areas were made more habitable with tabby walks and benches built into the walls. The yards also contained wells and the British population quickly added framed stables.

This new house will be a retirement home for a couple with four grown children and it will be about 3,000 square feet. It will include a living room, dining room, kitchen, laundry area, master bed and bath, a home office, and two additional bedrooms with private bathrooms. It will have ample outdoor living space as well as a pool and a garage with storage for tools and yard equipment.

Throughout this research project, I hope to explore the dynamic fabric of a historic city and understand the importance of protecting the existing built environment. However, I feel that is equally important that we continue to add to these places and make the palette of architecture even richer as the country continues to grow and mature. A historic city should not be frozen in the past; it should preserve and embrace its heritage and continue to grow with the new materials and technologies that are making the world a more interesting place every year.

This is a map showing the locations of the five different Historic Preservation districts in St. Augustine. The majority of the city is deemed historic and the new construction restrictions vary with each zone. The most strictly regulated zones are HP-1 through HP-3. These zones are under control of the Historic Architecture Review Board and the building styles are closely monitored to uphold the character of the city. New construction must acknowledge the surrounding historic buildings and be designed in a way that is similar to the most dominant era styles found adjacent to the site. My selected site is on the corner of Bridge Street and Marine Street and it is located in district HP-1.

Images courtesy of Florida Memory Photographs

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HP-1

HP-2

HP-3

HP-4

HP-5

N

HISTORICPRESERVATION

ZONES

17Aerial map with site location

Spanish Revival

St. Augustine

Flagler

Spanish Colonial

Victorian

Late 20th Century

Early 20th Century

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8

7

2

14

12

11

10

9

6

5

4

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N

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This diagram and the corresponding photographs are a visual analysis of the many centuries of dwelling styles located within a few blocks of the selected site. Each building style and it’s material palette represents a different period of inhabitation in

St. Augustine.

1

4

7

10

13

2

5

8

11

14

3

6

9

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St. Augustine House

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Investigation

Off-street porch entry

Later loggia style Courtyard style

Off-street loggia entry

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The following pages examine a select few of the several house styles that exist in St. Augustine. Beginning with the Seminole Indians and the Florida vernacular chickee hut to the modern-day FEMA coastal building requirements in effect today, St. Augustine has seen many very different building styles over the last five centuries. I begin by analyzing six different types and comparing similar features. Then I move on to better understand the development of the St. Augustine style by diagramming two existing homes, the Ximenez-Fatio House and the St. Francis Street House. They both exhibit features that are unique to the St. Augustine style that has become dominant in the center of the city along St. George Street. This is the style in which most of the city’s Historic Preservation Zones require new construction to conform to today.

St. Augustine Dwelling Analysis

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The Houses of St. Augustine

Window detail on Charlotte Street

Pole structure

Raised platform to protect from damp ground and pests

Open walls allowing air circulation

Thatched roof to protect from rainSeminole Chickee Hut | Pre 1565

Common Colonial House | 1565-1784

St. Augustine House | 1784-1862

Coquina structure

Rejas, or wooden screens, to protect women of the house from being seen while allowing them to connect to the street

One room deep floor plan

Thatched roof

Thick walls to cool interior

Multiple stories with main living on the ground and sleeping on the upper levels

Timber and coquina structure with a shingled roof

Shutters to protect from storms and create privacy

Chimneys added for indoor cooking

Off-street entry leading into a courtyard area

Loggia to protect from the sun and create outdoor living space

Thick walls to insulate interior

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Steep pitched roof to shed rain

Post construction allows ventilation and lifts structure off of the ground

Wooden siding and use of local materials such as stone or coquina

Large covered porch

Typically symmetrical facade Florida Frame Vernacular House | 1821-1940

Victorian Era | 1862-1900

Contemporary House | Ponte Vedra Beach | 1945-Present

Raised off of ground to increase height of building

Large covered porch

Towers created areas for views above surrounding buildings and moved cigar smoke up and out of main living spaces

Wood construction

Decorative facade with bright exterior paint colors

Raised on columns to protect from flooding

Hurricane resistant glazing; concrete and steel structure

Large windows for water views

Covered outdoor living spaces

Operable windows to allow for ventilation during cooler seasons

Multiple-level living space

Walls free from structure: open plan design

NOITCENNOC LAUSIVGNIDAHSYRTNEEntry Shading Visual Connection

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NOITALUCRIC RIANOITCETORP MROTSGNIVIL ROODTUOOutdoor Living Storm Protection Air Circulation

Ximenez-Fatio House

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The St. Augustine House | Case Studies

St. Francis Street House

Ximenez-Fatio House late 1800’s

Ximenez-Fatio House courtyard

Ximenez-Fatio House diagramLoggia with arcades

Ximenez-Fatio House east elevation

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St. Francis Street House south elevation

Living space

Storage

Circulation

Outdoor living

Street

Shutter system

St. Francis Street House 1880

St. Francis Street House early 1900’s

St. Francis Street House courtyardSt. Francis Street House diagram

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Present Day Living Considerations

HEIGHT LIMIT: 35’-0” + 9’-0” = 44’-0” for 2-1/2 stories

FEMA Elevation: Zone AE (E-9)

0’-0”

SITE SETBACKS: 3’-0” on sides, 10’-0” in back

SITE :Area: 4,342 sq ftAllowable Building Coverage: Main Building 50% total lot area=2,171 sq ft Total Footprint coverage 70% total lot area=3,039 sq ft

63’-11”

61’-9”

Main Building Area Footprint

Total Allowed Lot Area Coverage

BRIDGE STREET

MA

RINE STREET

MA

RINE STREET

N

HEIGHT LIMIT: 35’-0” + 9’-0” = 44’-0” for 2-1/2 stories

FEMA Elevation: Zone AE (E-9)

0’-0”

SITE SETBACKS: 3’-0” on sides, 10’-0” in back

SITE :Area: 4,342 sq ftAllowable Building Coverage: Main Building 50% total lot area=2,171 sq ft Total Footprint coverage 70% total lot area=3,039 sq ft

63’-11”

61’-9”

Main Building Area Footprint

Total Allowed Lot Area Coverage

BRIDGE STREET

MA

RINE STREET

MA

RINE STREET

N

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Zoning rules for new construction in historic districts are quite stringent. The site I selected is in district HP-1 . Only 70 percent of the lot is allowed to be covered by structure and no more than 7,000 square feet. The main structure must be less than 2,500 square feet, or 50 percent of the total lot size. The front setback is established by existing adjacent structures, so in this case, it is located about five feet from the street edge. Secondary structures must be located on the back 50 percent of the lot. The side setbacks require a minimum of three feet on both sides and the rear setback is 10 feet from the lot line. The house height may not exceed thirty-five feet or two and one-half stories, unless located in a FEMA zone. In that case, the structure cannot exceed thirty-five feet past the base flood line, so in this case the zone is AE-9, meaning the structure can be up to forty-four feet tall. These diagrams show the required setbacks as I interpreted them for this site.

Site Setbacks

SUM

MER BREEZES

WINTER SUN PATH

VIEW

S

WINTER WINDS

SUMM

ER SUN PATH

SITE ANALYSIS

Site features analysis diagram

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This diagram analyzes the summer and winter sun paths, the street traffic flow directions, the summer breeze and winter wind patterns and the proximity and location of desired views. These were all site characteristics taken into consideration when determining how to locate the structure on the property. The goals were to take advantage of southern summer breezes, protect from the east and west sunlight, and capitalize on views to the north and east, as well as maximize openings to the private courtyard in the back. Both Bridge Street and Marine Street are designated as one-way for vehicular traffic; however, Bridge Street has a higher traffic flow with better proximity to Menendez Avenida, the main route along the river. This discovery led to the placement of the parking and garage on the Bridge Street side of the house.

Site Analysis

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Metal roofing has become popular in coastal housing designs due to its durability. With this newest design, solar metal standing seam roofing panels, it is possible to harvest the sun’s energy in a more aesthetically pleasing way than with the traditional solar panel additions residents add to their home.

Solar Energy

Chesapeake Bay Foundation Chesapeake Bay Foundation interior

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The Chesapeake Bay Foundation is oriented to face the water on the south side. In order to take advantage of the southern summer breezes, the building has larger operable windows on the south side and smaller upper level windows on the north. This design allows air circulation to flow into and up through the building, as seen in the section cut and air-flow diagram. The circulation atrium also creates a stack effect by enabling warm air to move up and out of the main spaces.

Natural Ventilation

Walker Guest House

Middleton Place Inn Middleton Place Inn interior

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Since the 1950’s, with the design of Paul Rudolph’s Walker Guest House, operable screens have been added to the facades of coastal homes to help with shading and storm protection. Operable shutters that are positioned to best protect from the heat of the Florida sun can greatly cool a house and reduce energy consumption required for air conditioning. They also protect glazing in the event of a storm. Clark and Meneffee’s Middleton Place Inn uses the shutter system for privacy and as a means of producing an ever-changing, operable building envelope.

Shutter System

Closed shutter studyOpen shutter study

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The new Saint Augustine house will incorporate south facing solar panels embedded in a 5V Crimp Aluminum roofing system, a perforated operable aluminum shutter system for privacy and sun and storm protection, and operable windows to allow southern breezes to flow through the living spaces. The central stair tower will create a stack effect and move warm air up and out of the residence. These features will allow the new St. Augustine house to move into the 21st century.

Sustainable Design Features

Series of massing studies

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Site Study Models

In order to better understand the dynamics of the selected site, I built a series of study models. These helped me explore different design options through massing studies. The height restrictions and site setbacks were incorporated in each study. The physicality of the surrounding built enviroment helped me make decisions that were influenced by the scale that has already been established in the neighborhood. The notion of the car and how to park were factors that influenced the final ground plan. Options for how to move the car throughout the site were explored in all of the studies.

Ground Floor Diagram

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Experimentation

1/8” = 1’-0”

Site Plan

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1/16” = 1’-0”

Ground floor

A

B

Second floor

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Third floor

Front Elevation

Rear Elevation

57Left Elevation

Right Elevation

Section A

59Section B

East side entry

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North side

Master bedroom

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Stair hall and living room

65Courtyard view

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Final model images

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Final model images

Aerial site view

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Conclusion

This project was eye-opening to me as far as designing in a historic district is concerned. In past studios, I have worked on projects in historic areas, such as Charleston, yet I have never focused on the actual codes and requirements that are set and enforced when conducting a project in such an area. This project really allowed me to understand the strict constraints that are placed on designers working in historic districts. I was able to gain two different perspectives on my final proposal. One was from my jury of architects and professors during my final defense. The other review came from members of the St. Augustine Historic Architecture Review Board. Although both assessments were quite opposite, together they gave me a wide range of comments that was beneficial to this year-long study.

During my final review, which was more of a space, form and process assessment, some suggestions that I feel were helpful were notions of bringing down the guest house roof to clarify the hierarchy in the main house. By varying the roof heights or structures between the two buildings, the monotony of the roofline would be broken. This would create a more interesting elevation and allow the building to speak for itself in terms of program organization in each space. Other comments included more articulation of the courtyard space to make it a desirable outdoor living area. This could also be achieved by opening up the kitchen and dining areas so that they could visually and physically connect to the ground level outdoor space. There were a few concerns with the choice of material and whether or not the envelope was completely solved.

Another suggestion was to take my proposal to the City of St. Augustine to have the design board look at it and give me feedback. I was directed to talk to Fred Halback of the St. Augustine Historic Architecture Review Board (HARB) who said that the first thing he noticed was that there is currently a Victorian era home on the selected site. It would not be easy to convince the board that the city would benefit from the removal of a historic home for the purpose of replacing it with a contemporary structure. This comment revealed how difficult it would be to build

any new structures in HP-1 zone, for existing structures, despite their condition, are favored over any newer style of architecture. This would be important knowledge for anyone purchasing property in a place such as St. Augustine. A future resident would have to be aware of all of the ordinances if he was planning on any new construction. Mr. Halback sent my project to another HARB member, Paul Weaver. Mr. Weaver responded to my design with the following:

“This project would not be allowed in HP1. The building is 3.5 stories. The ordinance/guidelines only allow for 2.5 stories so no matter what the design/style the stories would have to be reduced.

The City of St. Augustine has mandated traditionally that new construction be in one of the St. Colonial Architectural styles. The City Commission has recently revised the guidelines for HP1 to allow other styles, but they must be drawn from historical styles common to HP1. Here too the context is important. For example, a large, massive Victoria period dwelling would not be appropriate in the context of one story Bungalows.

So the lesson here is always check the rules before beginning your design, particularly when operating in a historic district. The best of designs is no good if it cannot be executed in the real world. Also, no matter what the rules are I personally believe context is important in design. I thought the architectural analysis and graphics were very well done, but in the end the design and materials as executed seem totally out of context with the surrounding buildings and the HP1 preservation district.”

Response from Paul Weaver, President of Historic Property Associates

This feedback was very helpful in showing me how strict requirements are in historic districts. If a designer does not read, understand and take into consideration all mandates during the design phase, the project will never be built. Although I thought I had read and incorporated the technical guidelines as set by the city and kept them in

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mind while designing, I had misunderstood or misinterpreted things such as the number of floors allowed. I had intended to move away from the required historical style building regulations, so comments in regards to building style were to be expected. I now understand how important it is to involve anyone with power over your project in the design process. Otherwise, you can put effort into a good design that may never be acceptable or constructed in the place it has been created for.

My final review and this informal review by members of St. Augustine HARB offered two very different views of my project. I have continued to learn more about the dynamic organization in the city with every step of this project. Trying to locate, understand and follow city codes in a Historic District proved to be difficult. The board members of HARB are careful to uphold the values that have been established by the city in order to preserve the built environment. This process has explained to me why contemporary architecture has not yet found its way into the city. However, I still feel that despite the critiques of HARB, it is important to acknowledge the surrounding architecture while moving forward with design. My final design for this MRP is by no means the only way to read and interpret the future of a historic city. This project merely offers one solution that breaks away from the repetition of the designated St. Augustine house. A city cannot stay frozen in time; it must step forward into the future to stay viable and continue adding to the many layers of history that have already created it.

Alexander, Christopher. A Pattern Language: Towns, Buildings, Construction. New York, NY: Oxford University Press, 1977.

Architectural Guidelines for Historic Preservation Amendments: http://www.staugustinegovernment.com/the-city/featured-stories-archive/documents/AGHPAmendmentsOctober2011.pdf

Barreneche, Raul A. and Cathy Lang Ho. house: American Houses for the New Century. New York, NY: Universe Publishing, 2001.

Bell, Victoria Ballard and Patrick Rand. Materials for Design. New York, NY. Princeton Architectural Press; 2006.

CBE Liveable Building Awards, comp. Chesapeake Bay Foundation Philip Merrill Environmental Center. Berkeley Press Release, 2007. Print.

City of St. Augustine: http://www.ci.st-augustine.fl.us/

Department of Military Affairs: http://dma.myflorida.com/?page_id=415

Fabral Metal Wall and Roof Systems: http://www.fabral.com/solarssr

Florida Cracker Vernacular Preferred Development Form : http://www.genesisgroup.com/projects/382.php

Florida Memory Photographs: http://www.floridamemory.com/PhotographicCollection/

Florida Solar Energy Center: http://www.fsec.ucf.edu/en/consumer/buildings/homes/designs/cracker.htm

Gorlin, Alexander. The New American Town House. New York, NY: Rizzoli, 1999.

Grumbine, Anthony. Late Victorian Architecture Experiences a New Revival, Noozhawk: http://www.noozhawk.com/noozhawk/print/anthony_grumbine_late_victorian_architecture_experiences_a_new_revival/

Hochstim, Jan. Florida Modern. New York, NY: Rizzoli International Publications, 2004.

Inn at Middleton Place, The: http://theinnatmiddletonplace.com/

Loew, Sebastian. Modern Architecture in Historic Cities. New York, NY: Routledge, 1998.

Manucy, Albert. The Houses of St. Augustine: Notes on the Architecture from 1565-1821. Jacksonville, FL: Convention Press, 1962.

Bibliography

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Mostaedi, Arian. Sustainable Architecture: Hightech Housing. Barcelona, Spain: Carles Boto & Josep Ma. Minguet, 2003.

Nolan, David. The Houses of St. Augustine. Sarasota, FL: Pineapple Press, 1995.

Prodema wood products: http://www.prodema.com/

Semes, Steven W. The Future of the Past: A Conservation Ethic for Architecture, Urbanism and Historic Preservation. New York, NY: W.W. Norton & Co., 2009.

Stungo, Naomi. The New Wood Architecture. Corte Madera, CA: Gingko Press, 1998.

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Warren, John and John Worthington and Sue Taylor. Context: new buildings in historic settings. Woburn, MA: Architectural Press, 1998.

Wedlick, Dennis. Designing the Good Home. New York, NY: Harper Design International, 2003.

Image Credits

pp.6, 10, 14: Florida Memory Photographspp. 20, 22: Albert Manucyp.26: Library of Congress, Albert Manucyp. 27: Florida Solar Energy Center, Anthony Grumbine, William Morgan Architectspp. 32, 33: Albert Manucy, Florida Memory Photographsp. 40: Fabral Metal Wall and Roof Systemsp. 42: SmithGroup Incp. 44: Ezra Stoller, The Inn at Middleton Place