#1078 Hotel Lindbergh/Deco Plaza 1984
CITY OF
MIAMI
BEACH
PROJECT PROFILE
November, 1 984
DECO PLAZA REHABILITATION
Project Description: This is a private rehabilitation project taking place in the South Pointe
redevelopment area. Using federal housing and Community Development Block Grant funds,
the firm of Mount Rushmore Associates is rebuilding the former MacArthur Hotel, and
transforming the structure into a low-to-moderate income apartment building. Plans call for
one and two bedroom apartments and efficiencies renting for between $275 and $375 per
month. After gutting the structure to install new electrical, air conditioning and plumbing
systems, the facade will be renovated to its original Art Deco motif. Existing retail space o"n
the first floor has been allocated for 14 stores which owners hope will be rented by young
professionals and service-oriented businesses such as restaurants, a corner market,
bookstore, or ice cream par lor.
A. Cost and Funding
The $1.75 million project is being funded by low interest and subsidized loans. The
city's Community Development Multi-Housing Rehabilitation Program is providing
Mount Rushmore Associates a $403,843 interest rate subsidy on the $1 million private
sector loan. The U .5. Department of Housing and Urban Development is providing a
$650,000 loan at an interest rate of 5%. Mount Rushmore Associates will spend
approximately $100,000.
B. Timetable
The project should be completed by the end of November, 1984.
C. Principals
Owners are Neil Berman and Martin Ergas, general partners in the firm of Mount
Rushmore Associates.
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Separa ted by an alleyway, yet connected by a br idge,
two vintage three story structures had been serving a decay~ng
neighborhood area as a hotel until 1983, when fire gutted one
of the wings. After opening in 1930, the hotel operated with
48 hotel rooms situated on two lots. By 1936, the area's
relative Depression era prosperity caused the owner to add a
second, nearly identical, wing, with another 48 rooms on an
adjacent two lots.
In 1983 two you~g lawyers" sensing that the area may
"have "bottomed out"'~ purchased the age~, condemned structure
for $487 ,000 -- a little more than fair market value of the
l'and "alone. Their goal was to convert the hotel into 44 modern
apartments, and to preserve, or enhance, the exterior art deco
features, and to attract the young urban professonal away from
the sprawling "ice cube tray" design of the apartments
increasingly scattered the downtown business district. If this
could be done in New York's SoHo, or the upper West Side, they
reasoned, it could be successfully done elsewhere.
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The Department of Community Affairs saw the old 42,000
square foot hotel, located on a wide and landscaped street, as
a ca~alyst for change. The Department, through its Interest
Subsidy Rehabilitation program, disbursing Community
Development Block Grant funds and administering H.U.D.'S S 312
program, worked with the develof>ers to provide financing for
the hotel's rehabilitation. A :pl,OOO,OOO fixed rate 10 year
balloon (25 year amortization) conventional first mortgage
(with 14.25% annualized interest rate subsidized by the City to
an effective 6%) was obtained through a local savings and loan
association. HUn's S 312 program provided a second mortgage of
$650,000 while the developers invested another $300,000 to
provide the difference in rehabilitation costs.
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The idea was to convert the 96 hotel rooms into 44
apartments on the top two floors, and 12,000 square feet of
commercial/retail space on the ground floor. In all, there are
34 .~'one bedroom, 6 two bedroom, and 4 studio units. The mix was
not so much a reaction to demand -- the market seems to prefer
two' bedrooms in a greater ratio than the building offers -- but ·
a product of some of the necessi ties of design around old
building columns, installation of elevators where none had
existed, etc. Revenue, too, was not an insignificant factor.
Ttie uni ts are r ela ti vely compact:.' one bedrooms aver ~ge 495-
square feet while the two bedroom Ulli ts are 675 square feet."
studios are 445 square feet. Opened after a year of
construction in January, 1985, the residential units are nearly
rented out. Because of parking shortages, which the developers
believe will be solved by the end of summer, only half of the
cOffilnercial space has been committed, although expressed
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interest for it is high. None of the commercial space is yet
occupied, but tenants are expected to move in during summer
1985, and will include a real estate broker I s offices, law
offices and a fitness center.
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This project has constituted the first major
investment and the first new housing provided in this area
after many years. It is a perfect example of a working effort
and blending uses of public and private money.
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Design Quality
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When first seeing the burnt-out building, the
challenge to the designer was overwhelming. The question to be
answered was, "How could this building become the symbol of the
renaissance of a decaying area?". Its loca tion places it one
block away from a nationally registered architectural
district. Therefore, this building would act as the transition
from one district to the other. In designing the exterior, he
took into account that the building would have to be a striking
example of restoration with embellished Art Deco details.
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The beginning process was one of research into the
original architectural merit of the building, using the
existing details and applying new motifs to the structure.
While analyzing the old drawings and surveying the structure,
he had found the or iginal configuration of the upper story
window design. The designer and his client agreed that these
details should be added. In addi tion, on the store level of
the building, still in place, were wonderful horizontal
fr iezes, pi laster s, bases and capi tols along wi th beau tifully
detailed wood storefronts and transoms. The client, wanting to
carry out quality restoration of the existing architectural
features, had them removed and sent to a mill worker to be
fabricated in the exact profile of the original. When
installed, the mullion design mirrored the rhythm of the
windows on the apartment floors, thereby adding a cohesive
design interaction. The color philosophy had to take into
consideration that the building would be the symbol at the
gateway to the National Registered District. The designer felt
that the building needed to have a visual impact on this
decaying area in order to stimulate further rehabilitation. To
accomplish this goal, he established several color schemes of
highly contrasting but sophisticated colors, and worked out the
proportions and placement of these colors. The design
philosophy for painting this building, "Volumetric Painting",
enabled each architectural form to be enhanced by painting it a
different color. This enchances the visual perception of the
building.
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The horizontal friezes that have been added to the
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building on the upper floors were done because of a philosophy
in the Deco period which determined that banding should occur
in the "established threes". Due to possible underfinancing in
the '30s, these details were not included at the time. Finding
a craftsman capable of producing the molds in the quanti ties
and quality necessary and at a feasible cost was difficult, but
ultimately successful. Tiles were removed and brought to the
craftsman's studio where he created plaster reliefs with even
more definition and accuracy than the original. To the tiles
of these finished friezes, he applied four contrasting colors.
~ihen these were installed, they added greatly to the
architectural merit of the building.
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The building not only .has been restored to the
original, but enhanced to its full potential. The colors
chosen interact wi th each other to crea te a subtle vibra tion.
'rhe finished product has accomplished its goals to become a
catalyst for other rehabilitation and revitalization in the
district.
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. '0J0. fJ1./lTi;;.. Woody Kepner Associates, Inc. Public Relations
\J\!J~ Dadeland Towers, Suite 300 - 9200 S.Dadeland Blvd.- Miami, Fla 33156 · (305) 666-7110
HISTORY OF THE HOTEL LINDBERGH
The Hotel Lindbergh, later to be the MacArthur Hotel, was
ready for occupancy in the fall of 1930. The Miami Beach land
boom had reached its zenith and declined, the hurricane of 1926
had brought its devastation, and the whole nation had been hard
hit by the Great Depression. Many would have said it was a bad
time to open a tourist hotel, yet some Miami Beach businessmen
believed that America's hard-working middle class needed a vacation
spot it could afford.
The lots on which the Lindbergh was to stand were purchased
by Wade H. Harley in 1922 from Wells A. Hutchins. (It The four
adjacent. lots within Block 57 of the Ocean Beach subdivision had
been part of the Lummus brothers' original holding. (2) They
remained in Mr. Harley's ownership well into the '40s. (3) Since
the lots had been part of the Lummus holdings, they were not subject
to the restrictive covenants, whose strictures excluded Jewish
residents from the hotels north of 14th Street. (4)
The Lummus brothers' upbringing in a small southern town left
them, thankfully, free of anti-semitism. (5) Their lack of prejudice
augured well for the future development of South Beach, as it made
possible the cultural blending which gave the area its distinctive
and vital neighborhood spirit.
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For a greater part of the '30s and '40s, the lots were under
lease to Dr. Maurice Sturm, (6) either in his own name, or through
his company, Masturm Realty Inc. Records indicate that it was
Dr. Sturm who gave the assignment to design the Lindbergh to Miami
Art Deco architect T. Hunt~r Henderson in 1930. It was certainly
Dr. Sturm who later commissioned Henderson to design an addition
to the hotel in 1936. (7)
Henderson, a graduate of Georgia Tech, came to Miami in 1925
as an early protege of Carl Fisher. (8) While he was less famous
than such Art Deco luminaries as Russell Pancoast and Henry Hohauser,
he maintained a steady business designing small hotels and apartment
buildings on Miami Beach in the '30s and '40s. Many of his designs
attracted favorable notice in Florida Architecture Magazine, notably
the Hotel Astor and the Sun apartment building, completed in 1937,
the Monroe Towers Hotel of 1940, and the Atlantic Towers Hotel
in 1941. (9)
Adjusting his business to the economic climate, as well as
to his own inclination, Henderson opted to bid for the moderate-
sized jobs, and thus avoid the risk and irritations of maintaining
a large staff. (10)
The original design for the Hotel Lindbergh provided for 96
hotel rooms on the second and third stories, and six retail shops
on the ground level. One may infer that the hotel was successful,
as Dr. Sturm commissioned an addition in 1936 which increased the
number of rooms by 50 percent, while doubling the number of retail
shops. (11)
The date of the hotel's construction suggests a special reason
for the owner's choice of name. Charles Lindbergh had been a hero
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to all the nation since his solo transatlantic flight in 1927,
but in 1930 he was a special Miami hero as well.
In that year,
Col. Lindbergh was flying a Sikorsky for Pan American Airways out
,. (12)..
of the seaplane base at Coconut Grove s Dlnner Key. Mlamlans were
very conscious of the honor of having a national hero based in
their young city.
Lindbergh was not the first famous man to have visited that
recently developed Miami area. Part of Carl Fisher's success on
Miami Beach stemmed from his genius in attracting famous people
to his booming resort in the '20s. As celebrities flocked to
Fisher's palatial hotels north of 14th Street, the nouveaux riches
followed suit.
Miami Beach was riding high in the '20s, but after the crash
of '29, the area's business people had to meet the needs of a more
modest clientele. The small residential hotels on Fifth Street were
the response to the new economic reality. The synthesis of what
the area had to offer, and what the new group of winter visitors
was able to bring, created a distinctive and vital subculture.
of South Beach.
As one prominent historian of Miami has written, "Rather than
the waterfront Mediterranean mansions and the luxury hotels of
the Fisher days, smaller hotels and apartments buildings characterize
the thirties decade.,,(13)
The City of Miami Beach was apparently willing to cooperate
with local businessmen in promoting the new tourism on South Beach.
Minutes of a City Council meeting held on April 2, 1936, indicate
that city fathers voted to grant Dr. Sturm a special building
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permit to construct a second story bridge connecting the new
addition to the original structure of the Lindbergh. One
councilman remarked that it was the first such permit ever
granted. New times demanded new measures. (14)
In studying the clientele who came to the Fifth Street hotels
in the 1930s and '40s, the social historian has a rich resource
of oral tradition upon which to draw. The sources used by this
researcher in evolving a picture of life on South Beach are listed
in the footnotes.
The clientele who patronized the Lindbergh before the war
were mainly young and middle-aged people from New York or Chicago.
Some came down for a few weeks' holiday, (15)others were able to
, (16)
stay south for the entire three-month season.
In the '30s,
the season generally began around January 15th, rather than in
November, as in later years. Visitors to the Lindbergh and similar
hotels often bought a hot plate, or rented a room with a primitive
kitchenette, and prepared to enjoy life on South Beach.
Local residents recall that hotel guests in the area were
a mixture of Christians and Jews in those years, but the end of
the winter season was firmly punctuated by the departure of the
young Jews who returned north to spend Passover with their families. (17)
Many of the northerners staying at the Lindbergh in the '30s
were on a limited budget, and yet the immediate South Beach neighborhood
offered a wide variety of affordable day and night entertainment.
Visitors walked along the beach, and sometimes stopped for
a swim at Smith's Casino, a popular recreational bathing spa. Some
fished from the wooden fishing pier on South Beach, and if they
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were unable to catch their own, went on to Joe's, later Joe's Stone
Crab, and bought a fresh fish lunch. Founded in 1913 as Miami
Beach's first restaurant, Joe's was well on its way to becoming
an institution by the '305. Then, as now, Joe's was operated by
its founders, the Weiss and Sawitz families. (18)
In the evenings, winter visitors and year-round residents
alike attended the Miami Beach Kennel Club in great numbers. One
long-time resident recalls that the club was a focal point a~
night, and had more impact on the community than any other
. 1 .. h. (19)
recreatlona actlvlty at t at tlrne. \
The Kennel Club was founded in 1929 by such notables as Tex
Rickard, George R. K. Carter, and o. P. Smith. (20) When the track
was opened in 1929, all forms of gambling were illegal, although
gambling in many different forms had been a mainstay of the Beach
economy for years. In 1931, the Florida State Senate legalized
pari-mutuel wagering, managing to override the governor's veto
to pass the measure. (21)
The new law ensured the Kennel Club's success, and an evening
at the track remained an important part of South Beach life until
the dissolution of the the club in 1980.
Another important feature of South Beach neighborhood life
was the all-night drugstore just across from the Hotel Lindbergh,
at the corner of Fifth Street and Washington. Residents recall
that the establishment was really like an old-fashioned country
store in a city setting, and guests were attracted across the road
from the Hotel Lindbergh to make a wide selection of purchases.
Since it was the only all-night establishment in the area,
the drugstore served as an unofficial clubhouse for winter visitors
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and local residents alike. The owner, Mr. Al Galbut, was a popular
and public-spirited man, generally referred to by his neighbors
as "the mayor of Fifth Street.,,(22)
Mr. Galbut offered a wide range of services to his community.
He sold his neighbors cold beer and sandwiches after the greyhound
racing, or coffee and Danish after an all-night party. He operated
an auto tag agency from the same premises, and provided a large
bulletin board for the convenience of local residents. So much
was this store at the very center of community life that at one
time the Mayor of Miami Beach had an office over the store.
.Yet the drugstore was more than just a neighborhood social
club. It was also known as a "Celebrity Corner." Popular performers,
many of whom sometimes stayed at hearby Fifth Street hotels, including
Hotel Lindbergh, made a habit of stopping by the store for a late
night snack after the last curtain. Their presence added a little
extra glamor to the neighborhood. Long-time residents proudly
recall that Ted Lewis, Henry Richard, Sophie Tucker and the Ritz
Brothers were frequent visitors to the drugstore and the
neighborhood. (23) South Beach may have been "small town" in the
thirties, but thanks to the seasonal influx of urban northerners
and to the bona fide celebrities, the area never felt itself to
be at all "backwoods."
Testimony confirms that South Beach felt good about itself
in the '30s. One visitor remembers that the ability to afford
a Miami Beach visit was in itself a sign of prestige in those
Depression days. (24) Those who managed a stay even in a fairly
modest Fifth Street hotel had accomplished a feat millions in the
country could only dream of.
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Winter and full-time residents concur that there was an electric
feeling to South Beach in those days. There was an eagerness for
pleasure and excitement which could not be dampened by hard times
or limited means. People could and did walk the beach at three
or four in the morning with no fear of crime. (25) The excitement
of the place was such that during the season, few wanted to spend
much of the night in sleep.
With the onset of World War II, South Beach had another influx
of people. Twenty thousand recruits in the Army Air Corps were
billeted on the Beach.
The Army Air Corps was headquartered at the big hotels like
the Roney Plaza, but the small hotels on Fifth Street were also"
called into the war effort. (26) zoning records indicate that the
Hotel Lindbergh, soon to be called the MacArthur "Hotel, was taken
b h A. .. (27) h o. 1 hOt t
over y t e Army lr Tralnlng Corps. T e orlglna arc 1 ec
of .the Lindbergh, T. Hunter Henderson, was called in to supervise
the conversion of the hotel to military needs.
The massive military infusion was accepted with empathy and
good humor by the community in South Beach, perhaps in part because
the young airmen were about to play a role in what was considered
to be a justifiable war. In addition to arousing patriotic sentiments,
the military presence made it possible for hotels on the Beach
to remain open year round. Before the war, the hotels had to make
their yearly income during a rather short season, and would close
entirely in the summer.
Residents recall watching sympathetically as the young men
marched up and down Fifth street in the hot afternoon sun. Mr.
Galbut at the drugstore found he could sell 1,000 pints of milk
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a day to the thirsty trainees. In the ground floor of the Lindbergh,
a new ice cream freezer was installed.
When curfews could be eluded, many trainees joined local residents
in seeking entertainment and refreshment in nearby establishments.
Some recruits attracted particular interest. Well-known
volunteers like Clark Gable and Keenan Wynn marched by in front
of the MacArthur, their every move eagerly watched by residents
as well as being approached by persistent journalists staying .at
the hotel.
CONCLUSION
Miami Beach, bouyed up in part by its resilient and adaptable
tourist industry, weathered the Depression years with a good deal
of elan. The area emerged from the Depression earlier than the
rest of the country. Money spent on new hotel construction rose
from four million dollars in 1939, when the Lindbergh was built,
to three times that by 1936. (28) According to a prominent historian,
"Most of this development was taking place on the south end of
Miami Beach.,,(29)
By concentrating on the urban middle classes. the South Beach
hotel owners developed a clientele less fickle than the celebrities
and magnates who came to the Beach with Fisher's boom in the '20s.
This urban, largely Jewish clientele remained faithful to the South
Beach area well into the 1960s, until the changing age structure
of this group began to dictate a change in spending patterns.
The. Hotel Lindbergh typified the small South Beach hotels
whose modest aspirations enabled them to weather the lean times
of the Depression era. Part of the Lindbergh's historical
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significance lies in the very fact that it was typical of its era
and its location. It represents a special section of Miami Beach's
past.
The overriding significance of the Lindbergh lay, however,
in its impact on the whole South Beach community. The Hotel
Lindbergh, later the MacArthur, was part of a neighborhood and
part of a subculture in the '30s and '40s. Some of the values
and spirit of that subculture are worth honoring and rehabilitating
today.
Some of the big hotels farther up the beach mai have had a
larger share of celebrities in their guest registers, but the active
and positive people who stayed at the modest Fifth Street hotels
had an historical significance in their own right. They represented
the resilient spirit of the American middle class, which could
not be totally crushed by the gloom" of those Depression years.
And they represented a winter visitor population which merged easily
wi th the year-round resid'ents and, wi th them, contributed to the
spunk and gaiety that characterized South Beach even in the darkest
times.
The late '70s and early '80s again brought dark times to South
Beach, and to the MacArthur Hotel, but things are beginning to
turn around.
The government of Miami Beach has shown its commitment to
South Beach in various ways. The area has just been renamed South
pointe, as part of an attempt to raise local morale. Citizens
of Miami Beach showed their dedication to upgrading the community
by passing a bond issue to improve and update various city services.
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Investors like Cheezem Associates-are putting up hotels and enter-
tainment facilities where the old Kennel Club used to stand. The
proprietors of Joe's Stone Crab are improving and extending their
facilities.
In sympathy with this drive, Mount Rushmore Associates are
rehabilitating the Lindbergh/MacArthur, converting it to apartments,
and renaming the project "Deco Plaza." Like the Lindbergh in the
'30s, Deco Plaza will provide the community both "additional
accommodation and retail stores. Like the Lindbergh, Deco Plaza
will help create a lively, progressive neighborhood.
Not just buildings may be rehabilited by projects like Deco
Plaza. Whole neighborhoods can be revived and, with them, the
cheerful and cooperative spirit that once animated those neighbor-
hoods. That spirit, research with oral sources has revealed, is
not dead. It still lives on in the memory of older residents.
Recognition of the former Hotel Lindbergh as an historical
site indicates cognizance of the importance of an era and a
particular subculture. This acceptance can reinforce and signal
the neighborhood revival presently under way at South pointe.
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FOOTNOTES
1. Microfilm records of the Ocean Beach subdivision
Office of Mortgages and Deeds
Dade County Courthouse, Miami
2: Ivan A. Rodriguez, et ale From Wilderness to Metropolis,
The History and Architecture of Dade County (1825-1940),
published by the Office of Community and Economic Development,
Historic Preservation Division, 1982.
3. Microfilm records of Ocean Beach Subdivion, as above.
4. Interview with Mr. Paul Galbut.
5. Mr. Galbut
6. Microfilm records of Ocean Beach Subdivision.
7. Building card. Obtained through the files of the Zoning Board,
Miami Beach City Hall,~ courtesy of Mr. Phil Novick.
8. Interview with Mr. T. Hunter Henderson III.
9. Florida Architecture Magazine, 1937, 1940, 1941. Florida
Collection, Miami Downtown Library.
10. Interview with T. Hunter Henderson III.
11. Building card, Miami Beach Zoning Board records.
12. Interview with T. Hunter Henderson III.
13. Rodriguez, From Wilderness to Metropolis, as above.
14. Minutes of the City Council Meeting, April 2, 1936. Office
of the City Clerk, Miami Beach City Hall.
15. Interview with Mr. Hal Hertz.
16. Interview with Mr. Paul Galbut.
17. Interview, Paul Galbut.
18. Interview with Raymond, Luncheon Maitre d', Joe's Stone Crab.
19. Interview with Mr. Hal Hertz.
20. Interview with Mr. Johnson at The Greyhound Racing Record.
21. Ibid.
22. Mr. Sturm
23. Mr. Paul Galbut
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24. Mr. Paul Galbut.
25. Mr. Paul Galbut.
26. Mro Hal Hertz.
27. Building card, Zoning Records, City of Miami Beach Zoning
Board.
28. Rodriguez, From Wilderness to Metropolis, as above.
29. Ibid.
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