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Terms & Conditions
This page details the general and specific terms and conditions that apply when you make a purchase at www.lifestyleflooringuk.co.uk. We request you to go through these terms and conditions in detail and understand them well before proceeding to purchase.
Who We Are
We are an online retailer dealing in flooring products and accessories. We run and maintain the website - lifestyleflooringuk.co.uk. Our online company is registered in England details of which include:
Company Number: 11318290
VAT Number: 293398750
References such as "we", "us", and "the company" stand for Lifestyle Flooring UK, which uses the trade name lifestyleflooringuk.co.uk.
"You" is a reference to the consumer or customer.
If you are a minor (below 18 years of age) shopping on our site, you cannot place an order unless you have a permission from a parent or guardian.
No contract will come into existence with regard to any product sold on lifestyleflooringuk.co.uk until we give a confirmation that the product is currently in stock and that we have dispatched it. Confirmation will be provided through an email.
In case we discover an error in the price of the product(s) ordered, one of our team members will contact you at the earliest to inform you about it. If the error is discovered before we dispatch the products, then we will inform you of the same and refund the entire order amount immediately.
Please check that the details provided in the confirmation email are correct. We strongly recommend printing out a copy of the email for your records. This will help in case you want to notify us of any errors in the order, before dispatch, which otherwise could attract an additional charge.
You agree that you'll use a unique email address when using lifestyleflooringuk.co.uk. You also agree to email being employed as a primary medium of communication over long distances. You agree to emails being sufficient to send notices that are required in writing legally.
You may be required to validate personal information such as name, address and other, as part of our process to minimise the unauthorised use of your credit cards and discourage online fraud.
We may verify your personal details by comparing them with details in databases of registered fraud prevention agencies and credit companies. By making a purchase with us, you agree to such verification.
Delivery Policy
2.1 - We provide the following delivery options: Standard, Next Working Day and International
2.2 - For Next Working Day option, orders need to be placed before 12:00
2.3 - Standard Delivery method takes 2 to 3 working days
2.4 - Delivery timings are from 8:00 to 18:00
2.5 - Deliveries are undertaken by a third-party agency. Deliveries are made kerbside. Delivery does not include any obligation on the delivery person's part to deliver the product inside your premises.
- We take every care to deliver products ordered by you in good condition. But, you are responsible to check the products for damages on delivery. Mention that the goods have been damaged while signing for the delivery.
We do not accept responsibility for replacing products that have not been mentioned to be damaged in product delivery acknowledgement papers.
- Since deliveries are undertaken by a third party, Lifestyle Flooring UK is not liable for any property damage. Property type includes, but is not limited to, pathways, driveways, garages, verges, and flower beds.
In the rare occurrence of any such damage, get in touch with us and we will let you know of the delivery company against which a complaint needs to be raised.
- We are not liable for expenses that you may incur due to late delivery of products. We are, therefore, not liable for reimbursing expenses towards hiring service providers such as carpenters, fitters, and joiners. We strongly recommend that you hire tradesmen only after the products are delivered on site.
- If no one is present at your premises during delivery, and the delivery does not therefore realise, you are liable to pay for re-delivery. The cost will be according to the delivery company's rate structure.
- You'll receive no guarantee from us that the product you ordered will be delivered to you in a single shipment as we may need to receive products from multiple warehouses in some cases. There is no reason to worry as your complete order will reach you on the specified day.
- Once products are in your possession, they become your responsibility unless you return them to us accompanied by a sign of one of our staff members. We are not liable for any potential loss or damage of items once delivered and accepted. There are no exceptions to this clause.
Returns and Cancellations
We have been dealing in quality flooring products for over 35 years. We are quite sure that the products you buy from us will not give you any cause for complaint. But, in a rare case of you wanting to cancel an order or return one of our products, here are our policies:
3.1 – You cannot cancel an order after 14 days of receiving the product. This is in accordance with the Consumer Contracts Regulations 2013 law applicable for sales realised on or after 13th June 2014.
This rule does not apply to tailor-made products, which are customised to your specifications; this includes products that undergo cutting to exact specifications.
3.2 – If products in your order have not been sent yet, the payment cardholder is entitled to a complete refund of order amount. The refund will be sent to the cardholder within 5 days from the date of refund request.
3.3 - In cases where products have been dispatched, or you have accepted delivery, you must contact us through email to know about what you should do next. We will explain how you should send back the product to us, and provide the address where the goods need to be sent.
You must pack the product carefully to keep it safe from any potential damage. We can charge you for any damage that occurs to the product while on its way to our Head Office.
Products that are returned after opening the delivery package will be accepted only if they are in saleable condition.
All products that are returned to us are thoroughly examined.
3.4 – You'll be responsible for any product that you accept delivery of, by signing the receipt. In case you are returning the product, it will be your responsibility till one of our staff members signs the product as being returned to us.
3.5 – You will have to bear the expenses of returning the product to us.
3.6 – If you receive your order and choose to return where there is no manufacturer fault then a 20% re stocking fee applies in addition to the carriage cost to return.
Damaged Goods
We take meticulous care when packing your goods. So, any damage to your product is highly unlikely. But, in case of such a rare event, these terms apply:
4.1 – In case you discover any damage to the product when delivered, we will replace and repair the product, or refund the order amount. For this clause to apply, you'll have to specify the damage in the courier documentation available during product delivery.
4.2 – We are not liable to compensate for any product damage or loss once you accept the delivery and sign for it without mentioning any damage. We strongly recommend that you inspect the product immediately after delivery, and then sign for it.
Sample Service
5.1 – To give an authentic representation, we choose samples from the present stock at random. We do not subject samples to any kind of change or enhancements to provide exaggerated product representations.
5.2 – Samples provided will not be the same as ordered products. This is because natural products undergo changes naturally, which enhances their look.
5.3 – Size of the sample may differ. We try sending larger samples to give you as close a resemblance as possible to the product.
5.4 – In case stocks are available, samples will be dispatched to you within a period of 48hrs. If the stock is unavailable, we will issue a back order.
6.1 – A buyer must pay the order amount in full before the product gets dispatched.
6.2 – We accept the following methods of payment: MasterCard, Visa, Visa Electron, Visa Debit, PayPal, Switch, Maestro, Amex, bank transfer, and cheque payment.
6.3 – Processing of payments will be done at the time of order placement. The order will become void in case payment is declined, and will remain void till payment is approved.
6.4 – We owe no liability for any bank fees or processing charges such as overdraft expenses that you may incur following a purchase from us.
6.5 – We don't retain any details of payments by buyers.
7.1 – By accessing www.lifestyleflooringuk.co.uk website, you agree that the text, design, images, and graphics, presented within, are copyrighted to Lifestyle Flooring UK.
7.2 – We grant permission to users to browse this website electronically, and to print and copy content for purposes limited to non-commercial and personal use. We strictly prohibit the use of website content for any other purpose. This website is covered by international and UK copyright laws.
7.3 – Unlawful use of the website, or an act of copying content uploaded on the website, can result in facing a claim for damages.
Wood Grading
8.1 – Rustic Grade – This grade of flooring is also referred to as ABC or Millrun. The flooring of this grade comes in different patterns of striking colours. It is characterised by a huge number of knots of different sizes.
Floors of this wood grade can be figured and may feature heavy grain markings, mineral staining, and a little amount of sap.
Rustic grade floors may come with machining defects, and can feature black knots and cracks on the surface. Fillers of black-grey or orange-cream colours are usually used to cover the defects. These colours also go with the floor's oak grain tone.
A major proportion of flooring raw materials is rustic grade. This flooring type provides superior stability and tolerance to wearing. It offers best returns on investment too.
8.2 – Prime Grade – This grade is the highest-ranking flooring grade. It also goes by the names of AB or Select grade. Floorings made of this grade of wood are the costliest because raw materials are available in highly limited quantities – supply comes from just 10% of an entire oak tree.
Floors of Prime Grade feature a uniform look though slight colour differences exist among boards.
An exception to the uniform look is timber, which features colour variations; these variations serve the purpose of enhancing the look of the floor. These variations form a distinct and key feature of this type of flooring.
Prime Grade floors feature grains that are straighter than grains found in other wood grades. Flooring boards may also feature a few small knots here and there, which forms another distinct and appealing feature of timber.


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Check out Louis' new interview on "How to avoid callbacks once the job is completed" in the "Lowe's Pro Services Library"
Nobody likes getting called back to a completed project to fix something. And yet, those calls do come in, and how you handle them can make a huge impact on your company's success.
"Getting callbacks only costs the contractor money—money they don't have anymore because they've already spent it," says Louis Krokover, president and CEO of NewDay Development Inc. in Sherman Oaks, California. But for Krokover, there's also a very personal reason for avoiding callbacks: maintaining the family's reputation. Krokover's grandfather started the company in Beverly Hills, California, in 1912, and the business has been known for top-quality work ever since.
To avoid callbacks, Krokover focuses on quality control. "I didn't know my grandfather—he passed away in World War II—but my dad taught me what he learned from his father. And I learned from my father's partners and associates and subcontractors that it's easier to address anything up front than after the fact," Krokover says.
Of course, there's no substitute for experience. "The owner of the company has to have a real knowledge of the industry," Krokover says, noting that many contractors care little about the quality of their work. "They just have a license. They don't know the trade. To them it's all about how quickly they can get in and out and what their profit margin is."
Another key to avoiding callbacks, Krokover says, is hiring good people. "That means I have to pay more," he says. "But I have very talented people who learn to look for what I want, and they know the quality standards that I set—and my standards are much higher than those of my clients." Having qualified personnel who are his eyes and ears when he's not on-site goes a long way toward alleviating problems. "Probably 95 percent of the problems are dealt with very early up front," Krokover says.
Thomas Kearin, chief operations officer for Heidbreder Building Group LLC in Vernon Hills, Illinois, is in substantial agreement. "You can avoid callbacks just by doing things right the first time," he says, "but I actually welcome it sometimes if somebody has a complaint. There's an old saying that the customer who complains is still a customer." Because his company looks at the whole process as a relationship, employees welcome such calls as feedback on the relationship.
"We look at our company more as a customer service business that happens to do construction," Kearin says. Glenn Heidbreder, the company president and Kearin like being customers themselves, so they focus more on the relationship with their clients, Kearin says. "We like to treat our clients as customers too, not just consumers of what we have to offer," he says.
In that spirit, Kearin says he has taken clients' dogs to the vet and helped out in numerous other ways. "Whatever it takes, that's what we do," he says. "And in a lot of ways that avoids negative callbacks. You might still get a call when something's not working, or you forgot to do this little thing. But it's never in a negative sense. It's more of a friendly reminder."
In short, the emphasis shouldn't be on avoiding callbacks so much as anticipating them, so they are fewer and less intense. "Things will go wrong—they always do," Kearin says. "So it's just a matter of how you handle it and when you handle it."

subset: commoncrawl


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- Why Might There Be No 15th Dalai Lama? Pure Politics - September 17, 2014
- The Business of Business is Business - September 15, 2014
- Time to Stop Worrying About GMOs - September 7, 2014
Reverence and veneration of our national flag has long been profound in the United States, far more so than in other countries. Veneration of the Stars and Stripes has evolved beyond mere respect for it as a symbol of national identity, but as an almost religious emblem of American values and the American way of life.
That general reverence has led, over the years, to many state legislatures and the federal Congress passing legislation banning the desecration or burning of the flag. Such legislation generally follows similar language, effectively banning the desecration of the national flag in protests, or other acts of discontent. So far these bans have been struck down by the Supreme Court, which in 1989 described them as contrary to the principle of free speech. The last attempt at the national level was made in 2006, and popular support for such a ban remains high.
Proponents of a ban argue that the special symbolic value of the flag to the American people is such that it must be protected by law, and that the right to free speech does not extend to the desecration of the emblem of the nation. Yet that argument seems to curtail a form of free speech that could undermine the ability of people to protest the policies of the government.
A Visceral Action
There can be no doubt that the act of flag desecration is powerful. It causes anger, sadness, even shame in many patriotic citizens who recognize what it stands for and the sacrifices many brave men and women have made to keep it flying high.
Yet it is that very visceral quality that makes flag desecration such a potent, and important, expression of free speech or protest: it is an expression to which many people will respond.
Jarring statements grab attention, and can force attention onto an issue. A conventional protest can be overlooked, but images of a flag being burned immediately drag in media attention and start a commentary. While some of that commentary does inevitably center on the issue of flag desecration itself, it also brings focus to the cause.
When protesters are called to explain themselves, they get a chance to explain their views and promote their cause to a much wider audience than they might have been able to reach otherwise. For that reason, flag desecration can be very valuable for gaining attention, and if done thoughtfully, to generate meaningful discourse.
Patriotic Flag-Burning
Burning a flag may not be an act of "un-Americanism", in the sense of opposing widely held principles emblematic of the United States, at all. The flag can be burned as an act of patriotism. When individuals feel the state is doing something contrary to the ideals of the nation, the ideals that the flag represent, burning the flag can be symbolic of the state's non-adherence to the values it is meant to defend. The act of desecration thus serves to connect the cause of the protestor to the very ideals of the nation, and shows that it is central to the discourse of what the nation's values are and how they should be maintained, rather than simply being the ancillary opinions of a few people that can simply be discarded.
It is also important that a free society be able to question its values and how they are realized. Banning something on the basis of majority opinion and their easily offended sensibilities is little more than a heckler's charter. If views are banned simply because the majority disagrees with them, it is little more than the tyranny of the strong over the weak. The very reason there are checks and balances in our government is to prevent such tyranny. This is exactly why the Supreme Court has stood against the laws passed by the federal and state legislatures banning desecration of the flag; they protect the rights of citizens with a minority opinion from the majority seeking to take them away.
The Right to Say What Others Despise
For society to be free and democratic it must have provision for the expression of views contrary to the mainstream, even views directly oppositional to it. This must extend to the means by which we convey such messages. Public disgust is certainly not justification enough to deny the right to expression.
The exercise of a right can only justly be denied to someone when there is a direct harm to others by exercising that right. Some people may have a great sentimental attachment to the symbolic significance of the flag, but they should not expect the law to enforce their sentiments on everyone. The flag, like all symbols of beliefs and groups, is not inviolable, nor is anyone's piece of mind or health so attached to its wellbeing that the desecration or defacing of it could cause any true harm.
Furthermore, the patriotism of individuals watching a flag burning is not affected by it. This view is upheld by the Supreme Court opinion in Texas v. Johnson, when the opinion argued that there could be no better response to a flag burning by someone opposed to such an action than waving their own flag or saluting and paying respect to the burning flag. People can thus show their opposition peacefully without infringing the right of a protestor to burn a flag.
Banning flag desecration on account of a sense of moral disgust, or of the threat to public order caused by angry counter-protestors, is the prohibition of an otherwise lawful act for the reason that others will commit crimes in response. Clearly, these are not justification for banning flag desecration.
The strength of a free society lies in its ability to tolerate opposing views, even those that are antithetical to the constitutional or civil laws as they stand. The protections we enjoy and jealously guard for ourselves only have meaning if we extend them to all citizens.


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Photos From My Recent Time Travel Adventure
So guess where I was when I saw this yesterday:
A Dharma Initiative station? That's what I thought when I saw it. In actuality, I was in a lecture hall at UBC, where I was invigilating my class's exam. Seriously. This is what you find in the desk at the front of the room for the lecturer to control the audio-visual system. Let's have a closer look:
Thank goodness we can control the TV, film and slide projectors and the audio tape! Because I totally love to play cassette tapes in class. In 2009.
And then I also saw this:
That was in the desk at the front of the lecture hall as well. You know, a big red phone with no numbers for dialing. I'm pretty sure this is a direct line to the president. Or Batman.


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'Serial kisser' at Metro station, public goes wild!
Actor Emraan Hashmi was at a Metro Station on Wednesday for the promotion of his upcoming film Dirty Picture, but had to return from the gates
Actor Emraan Hashmi was at a Metro Station on Wednesday for the promotion of his upcoming film Dirty Picture, but had to return from the gates
It was just short of a major stampede at the Metro Station exits of Connaught place (CP) as the team of upcoming flick -- Dirty Picture -- led by Emraan Hashmi, was suddenly seen among the crowd. The actor was in the city for the promotion of the film.
Check me out! Film actor Emraan Hashmi was trying to enter Rajiv
Chowk Metro station on Wednesday, but due to the frenzied crowd,
could not board the Metro. Pic/Subhash Barolia
Not informed
According to police officials, they had no prior information regarding the security arrangements. A lot of people had gathered near the Metro Station, trying to catch up with Hashmi. As per the official spokesperson of the movie, "Emraan and his team had already taken the permission to board the Metro from Rajiv Chowk till Patel Chowk. But, as a matter of fact, when he entered the Metro gates, the persistent crowd created havoc and he could not board the Metro at all and had to return."
Authorities unaware
The Delhi Metro Rail Corporation (DMRC) authorities, however, maintained that they were unaware of any such incident. "The actor had come for the promotion of the film and apart from CP, they went to Parliament Street, Nizamuddin Dargah and Gurgaon," said the official spokesperson of the film.
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Orange County Photographer
Orange County photographer Doug Catiller spent over 20 years working in the Information Technology field, all the while maintaining his true passion for photography. Especially between 2000 and 2008, he did photographic assignments including small portraits, Church events and weddings for family and friends. Between 2004 and 2007, Doug shot promotional photos for UCI's 'Madrigal Dinner', which was a Christmas themed dinner theater event.
Late in 2005, a non-profit theater – The Chance Theater in Anaheim Hills – needed promotional photos for an upcoming play. Doug captured production photos during a technical rehearsal for that show, and returned to photograph all ten of The Chance Theater's productions the following year. Since then, Doug has been the resident photographer for The Chance Theater in Anaheim Hills, and his photos are regularly published in The Orange County Register, OC Weekly and many other local periodicals. With more and more requests for his work, Doug's passion for photography grew substantially. In October of 2007, with a shot of courage and an incredibly supportive wife, Doug made photography his full-time career.
Doug began his professional portrait photography career by working in a local Irvine portrait studio full-time, where he was able to work on developing both his photographic and studio management skills. Doug worked with the owners of the studio to clean-up a production back-log, update and automate the digital workflow and photograph portrait sessions. In January of 2008, the owners of the studio retired, leaving Doug to choose between returning to his old career or to continue in photography.
Church and Commercial Photography Services
Doug opened True Image Studio on April 1st, 2008. Orange County photographer Doug Catiller with True Image Studio, specializes in the following…
- Business Portraits
- Commercial Product Photography
- Studio photography
- Catholic Sacrament photography including First Communion photography and Confirmation photography at Orange County Catholic parishes.
Since starting True Image Studio, Doug has been on a personal quest to push himself outside of his comfort zone. He has offered a number of different photography services including family photography, commercial photography, wedding photography and school photography. After about 5 years of offering these services, True Image Studio has decided to focus primarily on commercial photography services.
Doug's approach to photography comes with a passion that goes back over 25 years, when he first began to explore it. His tag line for True Image Studio, "You are more than a photo…you are a work of art" describes the Doug's beliefs about the people that he photographs. Each human has a unique beauty, and that is what should be captured in a portrait.
Doug is a member of:
Doug is proud to be doing what he loves the most, and is working with some of the best photographers in Orange County.


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Sunburn Vs. Windburn: What's the Difference Between These Two Winter Skin Concerns?
When it comes to skin woes, most of us have probably suffered from sunburn or windburn — or both — at one time or another. In fact, on a ski trip last year that my parents promised would be fun, I somehow managed to amass both afflictions, and proceeded to spend the rest of the weekend getaway slathering aloe and Aquaphor onto my inflamed cheeks. (Mom, if you're reading this: It was so not fun).
Needless to say, I doubt I'll be hitting the slopes anytime soon, but on the off-chance that I do, I want to be better prepared. It's for this reason that I decided to take a closer look at sunburn and windburn, because, despite their similar names, the two are not mutually exclusive. You see, people (myself included, clearly) tend to get the two confused seeing as they both end with the word "burn" and elicit similar symptoms, but believe it or not, they're actually very different from one another.
"Windburn and sunburn are completely different," Adam Friedman, an associate professor of dermatology at the George Washington School of Medicine and Health Sciences in Washington, D.C., tells Allure. Windburn, he says, occurs as somewhat of an "irritant dermatitis" in that the wind hits the skin and pulls water out of the stratum corneum — a.k.a. the top layer of the epidermis.
Sunburn happens when we're exposed to the sun's harmful UV rays, which causes direct damage to our skin cells' DNA and can result in discoloration and age spots down the line. Sunburns can also put us at greater risk for skin cancer, which we should all know by now.
The takeaway: You definitely want to avoid both ailments at all costs, but ultimately, sunburn is more severe when you consider its long-term effects. Joshua Zeichner, the director of cosmetic and clinical research in dermatology at Mount Sinai Hospital in New York City, explains that with both windburn and sunburn, the skin becomes inflamed, but the cause, type of damage, and the treatment are different. "Windburn is essentially severe skin dryness with disruption of the skin barrier, leading to inflammation," he says, adding that weather with low humidity puts a strain on the outer skin layer and microscopic cracks in the skin barrier can lead to loss of hydration and inflammation.
To prevent windburn, Zeichner recommends protecting the skin prior to going outdoors with a heavy-duty, humectant-packed moisturizer. "Look for a product with purified petrolatum which forms a protective seal over the skin to shield it from the environment," he says. Nowadays, rich creams come in non-greasy formulations, like Elta's The Melting Moisturizer, so you don't have to worry about looking like an oil-slick.
And, if you do develop a windburn, keeping the area hydrated is key — Zeichner says you can even use a thick ointment, like Aquaphor in especially bad cases. What's more: He advises avoiding any harsh cleansers or products that will strip the skin, as it's crucial not to further disrupt the skin barrier.
Sunburn is different in that it's caused by UV light penetrating into the skin. "When skin cells become damaged from UV light they undergo programmed cell death and shed from the skin's surface, in a process we see as peeling," explains Zeichner. To ensure you stay sunburn-free, protection is imperative: wear at least SPF 30 and make sure it's a broad-spectrum formula.
What to do if you get a 'burn? For starters, Sejal Shah, a dermatologist and founder of SmarterSkin Dermatology in New York City, suggests cooling the skin down with cool compresses, applying aloe vera to the affected area, and slathering on a soothing moisturizer, like Belif's The True Cream Aqua Bomb, while the skin is still damp. (Pro tip: Do not use any petroleum-based products immediately after getting a sunburn, as it traps the heat in the skin, which will only make the situation worse.) Take an anti-inflammatory by mouth to help with any discomfort from the burn. Finally, drink all the water-based fluids you can get.
To quickly recap, windburn and sunburn are not the same, and shouldn't be treated as such. That said, both can be prevented by protecting the skin: SPF for sunburn and petrolatum-based moisturizers for windburn. Should you have to heal either, hydrating creams and ointments should be your go-to for windburn, while sunburn requires anti-inflammatories and soothing topicals, like aloe vera.
Lastly, if you're headed to a climate where both could occur simultaneously (like the ski slopes, for instance) be sure to lather up with sunscreen and a protective base before subjecting your skin to the elements.
Now, get the latest skin cancer news:
This Woman Found Out She Had Skin Cancer With The Help of An App
Find out how to tan safely:


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What Separates Southface from other
marketing firms?
Southface has been well known for exceeding expectation when it comes to content delivery and media.
Whether your need is social media, television, print or you have some other need, we have the knowledge to make it happen.
We have unique relationships that have given us the opportunity to help position our clients for growth. With over 50 years of combined sales experience we work at some level with nearly every major outdoor retailer in America.
Because of our team's time in the marketing industry, we bring a level of expertise that goes beyond just marketing. Our team can help you develop a plan that puts your business on a track for growth.
We're a team of people who want to help you and your business grow.
Print Media
Digital Media
Our projects
we love what we do, and hope you do to.
Southface is group that not only delivers incredible products but over-delivers on projects. They've helped take our brand to the next level and have grown our business.
We have worked with this crew for over 10 years, Besides the amazing results that we have gotten from Southface media, I believe there is an unmeasurable value to working with people who care about you and your business.
Working with Southface Media is always so easy. The guys are great in the field and take fantastic footage and photos for us. It seems like they over deliver every single time. The video editing and other content is very creative and thoughtful to fit with our marketing and brand agendas. I highly recommend them to anyone.


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R&D Tax Credits
Research and development – take credit for your innovation
One of the often-cited strengths of British Business is its ability to innovate and for many years governments of all hues have attempted to incentivize companies to invest in Research and Development.
For businesses that spend their cash on development, there's a valuable tax benefit available that helps offset some of the expense and may make further advances possible.
The R&D tax credits scheme makes tax credits and allowances available to companies for expenditures on research and the great news is that it applies to a fairly broad spectrum.
There are two distinct schemes in operation currently; SME R&D tax relief and Research and Development Expenditure Credit(RDEC) for larger organizations.
The SME scheme relates to companies with less than 500 staff and €100m turnover however you may well need to add in any development partners or linked companies when working out if you fall into this category.
If the project has been subcontracted to an SME from a larger organization then the contracting company must use the RDEC method.
The R&D benefits for SMEs are much more generous than for larger companies with a relief of 100% of qualifying expenditure together with a 130% uplift giving a total credit of up to 230% of qualifying spend.
For larger companies using RDEC then tax relief is restricted to 11% of qualifying costs and whilst this is significantly less than the SME scheme it still represents a valuable tax credit.
What projects qualify?
HMRC have a fairly detailed explanation of what type of project can be included in a successful claim for R&D relief.
The initial question to ask is whether the outcome of the work was largely certain at the outset. R&D credit is given to companies that carry out work where there is an inherent risk so projects that simply build upon an already established project in some minor way are out of scope.
However, a project which radically advances knowledge in an area or produces a major step change in a sector is most definitely in scope.
Tax reliefs aren't applicable to research that only benefits your company. Instead, you will need to show that you have made a development that will benefit a sector as a whole and has a wider application.
The advance also needs to be in the area of science and technology. Other areas of advances such as the Social Sciences, theoretical physics or pure mathematics would not qualify for R&D tax credits.
Claimants must show that there was a clear development path, from the point where the idea was born with all of the built-in uncertainties around the feasibility, to the initial scoping and design of the project, through the testing and analysis phase and if applicable the implementation and usage.
It's a mistake to think that a claim for RDEC or SME tax relief will only succeed if the development path was straightforward and simple. In fact, being able to show that there were missteps along the way, failures and adjustments to the original thinking will add weight to the case by proving that the research was indeed a step into the unknown.
What expenses can be claimed?
Although a business may spend money on development and testing of their wares it would be wrong to believe that only costs of tangible goods are allowable against tax.
Naturally, any consumables that are used in the design and development can be claimed as well as the costs of directly attributable utilities.
In addition, staff costs can be included and these may consist not only of basic salaries of research staff but also their pension costs and Employers National Insurance Contributions. If the people working on the project are contractors then the company can claim up to 65% of the invoice costs.
It is also possible to claim support costs if you can show that they were incurred to support the business and aren't a result of business as usual. A good example would be taking on a temporary admin assistant to carry out tasks on behalf of the project team.
Understandably there are some costs that don't qualify for R&D tax credits and these would be things like Rent, Rates, capital expenses such as machinery and vehicles together with land and buildings.
How to claim
It's important that you take advice before you embark on the project. You'll need to do some preparatory work to show what uncertainty the research is aiming to solve and that your work is not repeating what someone has done or is already doing. Good record keeping is vital and this is where that admin assistant can prove so valuable.
Claiming R&D tax relief is a simple process. For SME's, once they have the total of allowable expenses then they simply include 230% of the allowable value on their tax return.
Similarly, for RDEC larger businesses take the allowable expenditure and multiply by 11%, including the result in their CT600 tax return.
It should be noted however that there is a time limit for claims of two years from the end of the project.
Another point to bear in mind that businesses don't need to be profit-making to benefit. After all many new starts conduct intensive research and development in the early days and this causes them to be loss-making. In these cases, it is possible to convert an allowable expense to a tax credit to be used later once the business is more established and profitable.
If your company is considering entering into some major piece of research then it makes sense to think about the benefits that may be on offer by offsetting much of the costs against a future tax bill. Being organized from the start and planning your claim could save you money.


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A Addison Mizner Architect of Dreams and Realities
I-d 0
< 3-
Addison Mizner
^ Architect of Dreams and Realities
In the 1920's Addison Mizner was most certainly
the best-known and most-discudssed living American
architect. "He was emulated by many architects, an
emulation which continues in Florida to the present.
He was employed by the privileged few, for Mizner was
a "social" architect whose greatest testaments are
mansions and private clubs. Addison Mizner was an
architect with a philosophy and a dream. Personally,
he was an intelligent, articulate, and extremely well-
read, kind, sensitive man. He was a man with,a great
sense of humor of outspoken wit. It is this last
quality which many people remember foremost and
unfortunately often to the detriment of his architmctur-e
and decorative arts. Mizner could joke with and about
his clients. He was honest and courageous enough to
admit, "If an architect could chloroform his client,
the house would be more attractive and coherent." But,
as a designer he was not the buffoon which Palm Beach
folklore presents. It has become an accepted fact that
Mizner forgot kitchens, baths, staircases, and any and
all other essentials while remembering to include "forty
car garages" in his buildings. This is absurdity."1
"Every once in a while in the course of the world's
development some architect gets a supremely good chance
to impress his personality upon his local background.
That happened when Pericles passed over the adornment
of the Acropolis to his personal architect, and when the
Renaissance Popes entrusted the new St. Peter's to
Bramante and Michelangelo. And, if the comparison be
thought not too topheavy, a similar occasion was offered
by Palm Beach to Addison Mizner. Against the at times
tawdry and gingerbread meretriciousness of the pre-
Mizner Palm Beach background the solidity and opulence
of the Mizner architecture scheme stands out with a
definiteness which, to an almost justifiable degree,
is comparable with that of the Acropolis and St. Peter's
against their background."2
Addison Mizner
Architect of Dreams and Realities
1872 1904
Addison Mizner was born in 1872 in Benicia,
California. The family was well established with his
father, Lansing Bond Mizner, being a successful
landowner, lawyer and politician who had run for the
Governorship of California and lost by only a small
margin. Addison had four older brothers, Lansing, odgar,
William and Henry, each of which entered respectable
professions, and his only sister, Min, married to
advantage. It seems that at an early age Addison became
interested in the arts, and architecture specifically,
but his family frowned upon his goals. The outspoken
Addison, referring to his families attitude, wrote in
1893 : "When William took his first trip to China as
ship's doctor, I was sent along to prevent my becoming
an artist, which the family said was the lowest form
of long-haired, flowing cravat ass existence,"3
If we retrace a bit we will realize that Addison's
childhood was a cosmopolitan experience. Benicia is
located on the northern part of San Francisco Bay, and
at the time of Addison's youth was the capital of
California. In 1889, when his father was appointed
ambassador to the five republics of Latin America,
Addison made his first trip to the area and was so
impressed that he wrote "It probably was the greatest
day of my life, for there lying white in the sun was my
first Spanish town."
"From that moment Mizner was captivated by Spa;:.
architecture and the remainder of his life, with a few
moments taken out for fun, was dedicated to unde--',tand ":-n
the essence of-Spanish sixteenth and seventeenth
century architectural design reinterpreting, 1ynth'-i' 5,
and updating its aesthetic principles. The impact that
Guatemala had upon the impressionable, romantic .,':sor
can probably not be overstated..5
Addison studied at the National Institute in
Guatemala City and became fluent in Spanish, a tool
he found very valuable for the remainder of his
architectural career. He was able to visit all five of
the countries that his father was dealing with and
spent much of his time sketching with watercolors.
In 1890 Addison returned to San Francisco to atten':!
school and prepare for the architectural examinations
at the University of California at Berleley, but because
he had no foundation to build an education on he fP.led.
At the age of twenty, Addison was still in San
Francisco preparing to attend the University of
Salamanca in Salamanca, Spain. "In the late nineteenth
century aspiring artists and architects often matriculated
at European universities without any intentions of receiving
degrees, which were then still considered unnecessary
in the United States. American architecture schools
were new phenomena and were principally geared to
mechanical drawing and engineering rather than to
architectural history and design. Most Americans attended
the Ecole des Beaux Arts in Paris, but others chose to
study in London, Berlin, Italy or Spain. Mizner
presumably went to Salamanca because of his interest
in Spanish architecture, his fluency in the Spanish
language, and the potential benefits from family connections.
At the University, Mizner would have attended courses
in the division of humanities receiving a heavy dose
of Spanish history, literature and philosophy. No
architecture per se was taught, but in Spanish humanities
education, art and architecture have always played
prominent roles. From his later architecture, des]igi
scrapbooks, and writings, it is apparent that Hizencr
was fond of Salamanca, well-versed in its simple
golden-stoned architecture, and influenced in his own
design by the city."6
9 Addison received his practical training from .,
1894 to 1896 in San Francisco with the firm of Polk
and Polk. It is almost certain that he did some designing,
although his primary responsibility was drafting,
"It is certain that Addison considered himself an
architect for in the city directory of 1895 he placed
the following listing, "Mizner, Addison C., Architect,
residence) 1520 Clay." And the point which must be
made is that the rest of the world considered Mizner as
an architect. For turn-of-the-century people Mizner
had completed all of the requirements necessary to be
an architect, and in fact his credentials would have
been considered quite prestigious. No degrees were
required. No examinations were given. No licenses were
issued. Demanded was a thorough knowledge of architectural
history and practical training in drafting. Whatever
buildings Mizner may have designed and drafted with
Willis Polk remain unidentified, largely in part to
the loss of archival materials and actual buildings
in the fires of the 1906 earthquake."7
Mizner's salary at this time was microscopic,
and half of the time he went unpaid. Even so, the time
that he spent with the Polk firm was well worth the
effort. "The experience of working with Willis Polk
must have been a most positive one for Mizner. He
mingled with the young intelligentsia and was a part,
although to what degree it is no longer known, of the
avant-garde movement, architectural, artistic, and
literary of the 1890's in San Francisco. It was a
provocative learning experience, exactly the non-
academic impetus that Addison needed."8
It was also at this time that Addison, along with
a few close friends, got together and worked on a
publication titled the "Lark". It was a delicate
combination of spoof, cynicism, and avant-gardism.
The Lark was a whimsical but ingenious little maja,ine,
and, although the publication was relatively short-
lived, it did receive national attention and Addi"on
must have been in his glory.
In November of 1897 Addison, along with his
brothers William and Wilson, went up to Alaska in an
effort to strike it rich in the gold fields. This was
all a result of the families dismal financial situation.
Addison returned in 1899 with a sizeable "purse".
Soon after, he moved to Honolulu with the promise of
a large architectural commission but when this deal fell
through he left Hawaii and moved on to Apia, Samoa, and
another round of new experiences.
"In 1904 Mizner recognized that working as a
draftsman didn't seem to be getting him anywhere and
every successful architect was a doddering old man.
He decided to return to Guatemala, supposedly to
negotiate lucrative coffee contracts. Once again
Guatemala captured Mizner's romantic mind and he
reimmersed himself in Spanish Colonial Architecture. The
country was in a state of political, economic, and
religious upheaval. Catholicisim was all but defunct
with churches and monastaries in abandon more often
than in operation. Mi.zner, loving the Spanish Colonial
artifacts, purchased them with1the prospect of resale
in the United States. Spanish had become quite the
vogue in New York and priceless Guatemalan church
vestments, silver, choir stalls, and all other religious
accouterments were being pilfered by the natives or
left to rot in the natural elements. Exportation was
preservation as well as profit. Mizner carefully and
correctly explained his actions, "I mean no disres;Act
to the church, and it should be understood that it was
legitimate at this time for the priests to sell, and
that they were near starvation." There is no doubt that
Mizner bought in quantity with the idea of resale, but
he was only participating in what was an acceptable
trade for Americans until well after the second World-
War. Perhaps the description of an old monastery Mizner
purchased will enlighten everyone as to his intent and
vision. He wrote, "The reason I wanted it was that eight
of the side chapels of the church were intact and in
each stood, thirty feet high, carved wood alters
with heavy gilding. I could see in my mind's eye a
beautiful panelled room made from them."9
At the end of 1904 Mizner returned to the United
States and went to New York to start his new career,
Addison Mizner
Architect of Dreams and Realities
1905 1917
"New York was the glittering city a place
difficult to brave but essential to confront the r.ucial,
cultural, architectural center of the United States. In
the fall of 1904 Mizner took an apartment in the Old
Livingstone House at 24th street and began to sell
his Guatemalan treasures. Assured of an income from
these sales and his old Klondike investment, he felt
able to struggle with architecture again."10 A .:'t
turning point for Mizner came in 1905 when he was
introduced to Stanford White of McKim, Mead and White,
the great architectural firm. White allowed Mizner to
handle some of the minor details of the larger fSir'\s
commissions and for this Mizner was very thankful,
"Mizner's admiration for Stanford White cannot be
overstressed and it is unfortunate that more cannot be
discovered about the friendship. Years after chi vi
success Mizner wrote in his autobiography, "I got to
know Mr White very well and as I was not pushing for
jobs, he used to like to sit and talk architecture
to someone who knew so little about it. I worshipped
him, for he was my God."11
Mizner considered his first significant commission
to have been the completion and interior decoration
of a townhouse at 154 East 70th street for Mrs Stephen
Brown. "In claiming this as his first major achievement,
Mizner did himself some disservice, although it may have
been the first commission for the social set who were
to be his main patrons. In 1907 he had supervised the
refurbishment of the Hotel Rand, also known as the
Mizner and Barnes Hotel, at 142 West 49th street. In 1910
Mizner had restored and altered a Colonial clapboard
house, The Old Cow Bay Manor House, at Whitestone
Landing near Port Washington, Long Island for his own
residence. An early article on the house in Architectural
Record is most revealing, for although Mizner made
alterations to the building hehad respect for its
historical place in American architectural design.
The original portion of the house dated from 1673 with
additions in 1795, 1812 and in 1910 by Mizner who
did not touch the old portions of the house, retainer:
its neo-classical front door, its wainscotted dining
room, and its formal stair set in a narrow hall. He
added a kitchen and a pantry and extended the front porch
to three times its original width while keeping the
old columns and their capitals in a portico effect.
i 'Among Mizner's known architectural commissions, and
there are countless which will never be known in this
period, is a residence for Mr and Mrs John Alley FDrker
of Sands Point, Long Island. The extant drawings for
that house bear the following stamp, "Addison iizner
Architect, 103 Park Ave., New York" and are dated in
January and September, 1912. The residence has details
which anticipate Mizner's later style."12 The side
facades are austere and reveal an influence in fenestration
from McKim, Mead and White, while the rear facade is
crowded and disjuncted. Mizner was still formulating
his thoughts and learning his profession; there is no
doubt, but, the pattern of design focal point,
personal scale and a shift to grand scale is typical
of his work. His architectural practice was progressing
smoothly until the outbreak of World War I when there was
a tremendous national slump in building and his practice
dwindled to almost nothing.
Projects 1905 1917
1907 Alterations to the Rand Hotel, 142 W. 49th street, N.Y.C.
1910 Alterations and additions to the Old Cow Bay -iianor House,
Port Washington, Long Island.
1912 Completion of Town House for Mrs Stephen Brown,
154 E. 70th street, N.Y.C.
1912 Residence for William A. Prime, Roslyn, Long Island,
1912 Residence for Mr and Mrs John Alley Parker, Sands
Point, Long Island.
1914 Residence for Raymond Hitchcock, Great Neck, Long Island.
1914 Residence for Bourke Cochran, Sands Point, Long Island.
1914 Chineese Tea House for Mrs O.H.P. Belmont, Great
Neck, Long Island.
1914 "White Pine Camp" for Archibald White, Adirondack
1915 Beach House for Mrs O.H.P. Belmont, Great Neck,
Long Island.
1916 Residence for J. Townsend Burden, Greenvale, Lor.;
1917 Residence for Mrs Stephen Brown, Piping Rock,
Long Island.
Addison Mizner
Architect of Dreams and Realities :
1918 1924
Mizner came with Paris singer, as his house
guest, to Palm Beach on January 3, 1918. He found the
architecture satisfactory but completely out of place
in a semi-tropical setting, he said "Northern architecture
didn't register. I couldn't get away from that fact,
There was one New England Colonial house that was
placed in the midst of cocoanut trees and it was an
abortion. The house wasn't bad it had good simplicity -
but in florida it was out of the picture. It couldn't
hold its own in that strong color and light, and, with
the cocoanut trees hanging over the front door, it
certainly looked absurd."13 Wealthy Americans for
almost one hundred years had traveled to the world
famous hotels and spas of the south coast of France
and of Monaco. With this playground inaccessible,
Americans turned to Palm Beach and its Flagler hotels.
The community grew and prospered while merchants
and hostelers alike struggled to develop the image
of Palm Beach as the American Riveria.
Paris Singer was among the wealthy Americans
ousted from Europe by the War. Originally Singer
hired Mizner to design a war hospital for wounded
6 soldiers to rest and return to health in, but the war
ended and the concept for the Everglades Club emerged.
"Mizner wanted to design in his Spanish mode for Florida.
He had ideas for Palm Beach. He threw himself into the
design and construction of the Everglades Club teaching
men to make tiles, others how to read plans, flagging down
passing dredges and .weet-talking their operators into
a little job on the sly. He turned Joe's Alligator
Farm, a muddy, mosquito-infested quagmire into the
Everglades Club in six months, a phenomenal undertaking
with unskilled labor and with severe wartime shortages
of construction materials."4
SHe was doing a thing which the natural beauty
of the place cried for. Construction was of hollow
tile with stucco walls and red* tiled roofs. The interior
of the club provided spacious rooms with boxed pecky
cypress beams which were internally supported with
steel, bowing therefore being an aesthetic ruse rather
than a structural deficiency. The building is typical
of his spatial and detailing concepts as a thorough striy
/1 will prove.
"Mizner wanted to transform Palm Beach. He
disliked the wooden buildings, finding them northern,
alien, and unsuited to their tropical surroundings.
He overlooked the modern Villa Zilla which Frank Lloyd
12 Wright had designed on the ocean in 1912. Mizner was
at heart a nineteenth century classicist who admired
refinement and gracious elegance in architecture. He
was pragmatic enough to realize that modern society
had demands not answered by sixteenth and seventeenth
century buildings. He also recognized that to copy
was to stultify and nowhere in his architecture did
Mizner ever copy directly. At times it can be said
that he was inspired by specific architectural parts.
To describe all of Mizners architecture 1 .Lween
1918 and 1933 would be excessive. It is much more
important to understand Mizner's design philosophy
and then, informed, look ar Mizner's buildings with
the philosophy in mind." 15 To spend time searching
for historical precedents is to miss the point and
beauty of his design.
q "Mizner succinctly stated his'architectural
philosophy in an interview for Arts and Decoration:
There should be no mechanics in art. Art should be
a restful thing a state of mind where one has
forgotten a T-square and the dividers. Ninety percent
of the beautiful old things in Europe were done
before machinery was invented. In those days architectural
forms were cut out by hand and by eye. Everyth.i.- in a
house should be made a part of the harmony of restful
,c pleasing lines. Mizner has been chastised for "changing
things when building" and "working without plans",
The latter accusation is untrue. Extant draw,,-- i>-:cat>
that each building had an extensive set of planT;.
It seems that Mizner would do a watercolor, g .u'cho,
or quick pencil sketch of an idea for a build' rnrd
turn it over to be further designed, drawn, pn'.m-..,
and orchestrated by his very competent architectural
staff. Mizner might consult his design scrapbooks
Io for ideas. One of his chief architects has c.r-'itd' "Mr
Mizner had innate perspective. He worked with his
imagination from pictures." Initial plans and elevations
would be drawn up, usually for Mizners personal inspection.
When approved, and there are frequently correctIon,- or
changes written in by Mizner, the architects and r'flsr.
assigned to that specific job drew up finished elevations
and plans and did drawings for important architectural
details, often to one-quarter inch or even full scale,
Construction would then begin with Mizner
frequently visiting the site, teaching skills, s -.'ervising
delicate work, and making, usually minor, design changes
as the building was going up. Windows might be lowered,
16 a balcony added, or in one instance an entire floor
was inserted. But changes in buildings under construction
are never uncommon when the architect is present on
the site. It should also be realized that construction
was extraordinarily quick. Building for a forty-room
residence usually began in March or April and the house
was to be open, completely decorated and landscaped,
by the following Januart. This was an enormous feat
for Mizner who was sometimes working on six major
residences at once and who often had to rely upon
unskilled labor with building materials in short supply.
It is primarily for these reasons as well as hic love
for handcrafted products in a building that '.izner
10 formed Mizner Industries which supplied him with roof
and floor tiles, stonework, furniture, wrought iron,
pottery and glasswork.
The reasons for Mizner's selection of the old
architecture of Spain as a basis, and he himself used
the word "basis", are clearly stated in the Arts and D.coC.rtion
interviews I based my design largely on the old
architecture of Spain with important modifications
to meet Florida conditions and modern ways of livh~ig
I studied the architecture of Spain itself and re'.' co,'.h.at
on my knowledge of Spanish tropical America. Architects
') today try too much to copy from each other, insw'a
of absorbing the best of the old world and letting it
run out of their pencils. The old art has withstood
the criticism of centuries."
Mizner knew that his clients who were either rV'lMe r-
of the aristocracy or of the nouveau riche were consev,-tive
2 in their tastes. But that is precisely why Mizner was a
success in Florida. He too was conservative. He recognized
the pleasure the wealthy took in nostalgic, romantic
images of Europe because he shared their same memories.
But, Mizner's love of Spanish architecture went far
deeper. His personal library, which remains intact at the
Society of the Four Arts Library, is one of the
q best possible on Spanish and Spanish Colonial architecture
and decorative arts. Mizner was brilliant at his own
version of twentieth-century Spanish because he innately
understood Romanesque, sixteenth, and seventeenth century
design. He knew it so well that it was a part of
his mind, heart, and soul.
Wr' Mizner also had analyzed the peculiarities of
designing in Florida and he stated some of his resp ,nes
to those peculiarities: ...I adapted Spanish architecture
to Florida with color, lots of color. There is a
very strong light down there, reflected from the sands,
and the ocean glistens like an opal, with pinks,
blues, and greens. I used all sorts of pastel colors
; on the exterior of my houses to kill the glare -
nearly always choosing light and transparent rather than
sombre colors of the north. Mizner is a master of color
which was an essential component of his architecture.
Watercolors were always used to create delicate hYuu'
which changed with the light."17
"Since after fifty years no original paints remain
on the exterior of Mizner buildings, an original
ceiling gives the most accurate glimpse at Y .:nr.er's
color sense. The native pecky cypress is highlight- d
26 by soft celadon and moss green with accents of umber
and sienna. The result is powerful but not oppre.s ve.
Facades of Mizner buildings are simple and flat,
usually pierced by almost haphazard groupings of windows
2qyof different styles. Flatness is emphasized. Shallow
set-backs range across a long facade to create a quiet
.,movement along the surface. The only distraction is a
strong architectural motif, sometimes an ornate entrywayy
as in the Casa de Leoni or a mirador with the top floor
heavily windowed as in the Villa Mizner or an external
stair as in the Rasmussen and many other residences,
These architectural attractions are focal points which
3 are meant to intrigue and involve the visitor in the
structure. Lester Geisler described the Rasmussen stair
in particular;
I remember Mizner's sketch. He started
with a big circle. Why he did I don't know. Maybe he
had talked with Mrs Rasmussen and sold her the big stair.
But he started with a circle. Then he worked his rooms
around it, I was the office steerer for that particular
job. It came to me then, being the engineer, to make it
stand up. The workmen who put up the stair were afraid
it would fall down. It hasn't yet. There is no central
support. You don't need it. You build around in a circle.
Its like building an arch, every step holds up every other
step. It's confined with concrete and steel or it would
fly out. Your reinforcement is a spiral.
Mizner found Baroque architecture overornamented
for Florida and thus he concentrated on special attractions
played against flat, tall facades. Just as the background
for architecture intrigued him in Guatemala, so too it
was a concern for him in Floridas
...Florida is flat as
a pancake. You must build with a strong skyline to give
your building character, you must get effects with changes
in level of a few feet, as in the case of gardens and-
..,in a flat site, a house must have stronger
interest than where it is a spot against a big landscape
background. The landscape gives you no help in Florida.
You must make your own."18
"The typical Mizner residence had an austere
facade with an architectural detail as a focal point
and an interior courtyard, designed on a. very human scale.
This courtyard or patio usually had several entrance
points from public rooms which ranged along one or two
sides and from a hallway or cloisterway which gave access
3g: to groundfloor bedrooms. The public rooms were spacious,
light-filled with many windows which opened for breeze
and view. Almost every residence had a living room, a
loggia room, a dining room, and a library with the
orientation discussed above. The loggia room usually
had windows which recessed completely into floors or
walls on three sides. The room could become almost
an enclosed patio and it could be considered the forerunner
of the Florida room. Houses were designed for entertaining
u^ with public rooms adjacent and accessible via wide
doorways. Most residences were used as beach houses and
thus Mizner design-,i baths, often with showers, to either
side of the main entrance door. The loggia rooms, double
baths, and cloisterways with heavily-glazed columed
q walls can be considered trademarks of Mizner interiors."9
"To Mizner architecture meant far more than the
exterior and plan of a building. He saw architecture
as an integration of the structure, its interior decorations,
ij. and its landscaping. To ensure that the interior furnishinrs
harmonized with his architectural design, Mizner require'
that clients permit him to decorate at least the first
floor of their building. Mizner Industries, which is discussed
later, played a key role in the decoration,
t^ Landscaping, which was often sub-contracted,
was still initially planned by Mizner and the architectural
firm. Swimming pools, garden fountains, garden walls
and gates, coral stone patios and steps, flowered terraces,
all emanated from the architect. Native plants and trees
were used against pecky cypress, brain coral, and patterned
Spanish and Mizner Blue tiles. The whole idea was to
accent semi-tropical Florida and to fortify the indoor/
outdoor aspects of Mizner's buildings.
Mizner's busiest design years were 1921-1925, although
5 he never suffered for commissions after the Everglades
Club. It is impossible to fully reconstruct the T.Miner
Yi6 firm, but there were a few chief architects and several
trusted draftsmen over the years. Lester Geisler, who later
designed the Hialeah racetracks, was a designer for
Mizner from 1923 to 1926 and an "associate" from 1928
to 1931. Byron Simonson, who was later responsible
for much of the development of Hilton Head, worked for
Mizner in the mid-1920's and returned to design for him
in 1931. Principle draftsmen, including structural
advisors, and possible designers were; Adrain Barragan-
Dorcas, Luis Barragan-Dorcas, A.E.R. Betschick, and
T.P. Davis. In 1925 there were no less than twenty-one
41e different draftsmen's signatures on drawings from the
Mizner firm.
In 1924 and 1925 Mizrne completed the Via Mizner and
the Via Parigi respectively. These two shopping alleys
at the west end of Worth Avenue are perfect examI 1-l .'
of the functionalism of Mizner's architecture,
of public walkway, commercial space,_ and private residenceV
creates the excitement of the Vias. At each turn there was
a new discovery a garden spot with a restaurant, an
overhanging balcony laden with bougainvillea, a tl'.r- stairway
surprisingly tucked beneath a bridge, and always little
shops to tantalize.L-
Mizner's own residence occupied the mirador or
tower on Worth avenue.The Bridge over Via .Uiizner corn:utepd
the hallway of his home to the drafting studio, The main
floor of Mizners villa is on the second floor with access
by elevator and stair from a massive doorway and porch
on the Via Mizner. The paneled dining room and the larg.
living room are joined by a vaulted hallway. A totally
private terrace overlooked Worth Avenue. Bedrooms occupied
the third and fourth floors, while in the single fifth
floor room Mizner had spacious accommodations for study
and designing and relaxing. Structurally, the building
is very sound, with extremely thick walls to hold the
The genius of the Vias is that they not only create
intimacy but also generate movement. The visitor is
immediately at ease and no matter how frantic upon entrance
to a Via he slackens his pace and begins to stroll
at leisure.'The Vias and the shops within the cloistered
arcade on Worth Avenue seem separate from the rest of
Palm Beach. They become their own village. The builIn.
are tall, then low; with intricate stonework, then .tt. :y
plain; and all seem compressed and condensed. li-,er
described their quintessence:
This is the charming Via
Mizner a row of tiny shops at Palm Beach, with the
picturesqueness of Old Spain the narrow st"ee'ts of
Granada. Characteristic also, are the light stucco
walls, in pastel tints, topped with the tile roofs arnd
weathered cypress woodwork, and the inevitable, cc'.*:,.nut
tree with its decorative tufted shape and ploy of light a~d 1. .e
against the stucco wall."20
Projects 1918 1924
1918 The Everglades Club, Worth Ave, Palm Beach,
1918 1926 Maisonette Buildings, Everglades Club,
Worth Ave, Palm Beach, Florida.
1919 Residence for Mr and Mrs Edward Stotesbury,
Palm Beach, Florida.
1919 Residence for Mr Harold Vanderbilt, Palm
Beach, Florida.
1919 -
1919 Residence
1920 Residence
1920 Residence
1920 Residence
1920 Residence
1921 Residence
1921 Residence
1922 Residence
1922 Residence
1922 Residence
1922 Residence
1922 Residence
Charles Munn, Palm Beach, Florida.
Gurnee Munn, Palm Beach, Florida.
W.L.Kingsj-ey, Palm Beach, Florida.
H.C.Clark, Palm Beach, Florida.
Edward Shearson, Palm Beach,
for Leonard Thomas, Palm Beach,
for John S. Phipps, Palm Beach,
George Sloan, Palm Beach, Florida.
W.S.Kilmer, Palm Beach, Florida.
Barclay Warburton, Palm Beach,
for Joseph Cudahy, Palm Beach,
for Edward S. Moore, Palm Beach,
for Mrs and Mr William Gray Warden,
Palm Beach, Florida.
1922 Residence for Mme Jenette Gais, Palm Beach,
1923 Residence for DeGrimm Renfro, Palm Beach,
1923 Residence for Mr and Mrs George L. Mesker,
Palm Beach, Florida.
1923 Residence for Dr Preston P. Satterwhite, Palm
Beach, Florida.
1923 Residence for D.H.Carstairs, Palm Beach, Florida.
1923 Residence for Joseph Speidel, Palm Beach,
1923 Store Building for H. Bendel, Palm Beach,
1923 Residence for Angier Duke, Palm Beach, Florida.
1923 Residence for Arthur B. Clafin, Palm Beach,
1923 Residence for Joshua S. Cosden, Palm Beach,
1923 Residence for William Woods, Palm Beach, Florida.
1923 Gulf Stream Club, Gulf Stream, Florida.
1924 Residence for Wilson Mizner, Palm Beach, Florida,
1924 Via Mizner and Villa Mizner, Palm Beach, Florida.
1924 Singer Building, Palm Beach, Florida.
1924 Residence for Ysabel Chase, Pebble Beach, Calif.
1924 Residence for Mr and Mrs Neat Spingold, Palm
Beach, Florida.
1924 Residence for John F. Harris, Palm Beach,
1924 Residence of the honorable C.T. Wynn, Palm Bach,
1924 Residence for John Magee, Palm Beach, Florlida.
1924 Residence for George Rasmussen, Palm Beach,
1924 Residence for Paul Moore, Palm Beach, Florida.
1924 Residence for Rodman Wanamaker, Palm Beach,
1924 Residence for Anthony J. Drexel Biddle, Esq.,
Palm Beach, Florida.
1924 Seaboard Railroad Station, no location.
1924 The Plaza Shops, Palm Beach,'Florida,
Addison Mizner
Architect of Dreams and Realities '
1925 1933
"The dream lay in Boca Raton. Mizner, frustrated
by the rapid development of Palm Beach and lured by
the prospect of designing his own complete town,
developed his dream for Boca Raton. The scheme for
Boca Raton was ideal, but not idealistic, at least
not for the boom year 1925. Mizner had had tremendous
successes in Palm Beach, was known nationally as an
architect, and had the financial support of some of
the richest people in the country.
Mizner development corporation, the legal
developer of Boca Raton, advertised
Boca Raton is not an addition however worthy -
to an already existing community. It is not a suburban
development however distinguished of a crowded
commercial center. It is a cosmopolitan world-community -
destined to be the world's most architecturally
beautiful playground.
Mizner envisioned a luxury hotel with golf courses on
the mainland side of the Boca Raton Inlet, large homes
and a second hotel along the strip of oceanland,
and a splendid highway to approach this opulant community.
6S He also planned his own castle home for a small island
to be reached by drawbridge. There was to be a jockey
club, polo fields, an air strip, and even a floating restaurant
designed as a Caravelle. A magnificent cathedral dedicated
to the memory of "Mama Mizner" was to be the best
work Mizner had ever done. Dreams must be made before
they can become realities.
The Distrito de Boca Raton was to be a restricted
residential community. Requirements for this area were
quite stringent acceptance for property purchase was
theoretically by a social committee, ocean houses had
to cost $40,000, second tier homes $30,000 and all
others $20,000.
But Mizner was also pragmatic and realized that
his hotels and mansions needed a support system. He
planned housing for the service staff, a residential
development (Floresta) for the management and community
leaders, a water tower, two railroad stations, a town
hall, a radio station, and he even reserve a section
for factory, presumably a subdivision of Las Manos.
56 The plan was a comprehensive one. All buildings were
to be in the Spanish style an architecturally
cohesive community.
Mizner recognized that he could not design all
g of Boca Raton, but as Mizner Development Corporation
advertisements pointed out, "No structure, large or
small, can be erected in Boca Raton without the .pprov. 1
of Addison Mizner. Acreage had to be sold to the small
home developer as well, and even small investors
wanted something for their money."21
"The dream was partially fulfilled. El Camino
Real, a 160 foot wide highway with a central canal
patterned after the Botofago in Rio de Janiero, was
completed. The Boca Raton Ritz-Carlton on the oceanfror.-
was never begun, but the Ritz-Carlton Cloister on the
mainland was opened in February, 1926."22
ig "The Distrito de Boca Raton, the exclusive
ocean, lake, and inlet property, had sold well and
Mizner had completed designs for several houses, although
none were ever constructed. The Administration Building
which housed the sales office and chief architects,
"' engineers, and personnel working on the project was
completed. It was patterned after El Greco's house in
Toledo, a building which even a novice in architecture
in the Spanish style could recognize, particularly
after being politely slipped the information. The
selection was a politic one, although from his design
60 scrapbooks it is apparent that Mizner generally admired
the artists home.
Sales to smaller home developers must have been
healthy. One article reported for the Corporation, "We
signed up three different contractors for lots for
house building. One bought fifty lots, another sixty-
five, and the third two hundred and twenty." Mizner
designed small homes for the Drucker Development, which
was apparently never built. He also designed and
constructed a section of Boca Raton called "Floresta",
The Reverend Henry Mizner, Addison's older brother,
had a two-story house in "Floresta" which was more regal
and more customized than those of his neighbors.
The houses of both developments relate to ome*
designed by Mizner and published in a Ladies Home
Journal article,"Bungalows in the Spanish Manner Adapted
to American Ideals" of 1927.23
"While undertaking his own development at Boca
6 Raton, Mizner was also designing Paris Singer's new
project for the uninhabited island across the northern
inlet from Palm Beach. Singer had sold his home and the
Everglades Club in 1924 to amass capital for his project.
g Presumably Singer planned a residential development, as
well as the Blue Heron Hotel, which was the only building
to even begin construction. It was approximately seven
stories tall and bizarre in plan, probably a result
of Mizner's effort to provide all of the rooms with
ocean views. Most interesting in the Singer Island
project was Mizner's design for an aerial ferry to
cross the inlet and connect Palm Beach to Singer Island.
It was a;visionary idea and doubtless an impossible one.
Without tongue in cheek it was reported:
The ferry, copied after a famous structure in
Europe and similar to a bridge at Duluth, is to cost
approximately three-quarters of a million dollars. The
span is a hundred and thirty six feet above the water,
and suspended from this is a transporter ferry accommodating
twelve cars...
Both Boca Raton and Singer Island failed when
the Florida land market broke in 1926 and the hurricanes
of 1926 and 1928 assured their financial failure. It
should be realized that, almost without exception,
economists and land speculators believed, until the
last moment, that the Florida land market was sound,
albeit inflated. Mizner was the most respected developer.
In 1926 reputable economic commentators wrote, "..,
Mr Singer is developing Palm Beach Ocean, and a few
miles farther south Mr Mizner is projecting at Boca
Raton, a resort community which is planned to rival
Palm Beach not only in beauty but exclusiveness" and
"Florida's boom has only begun" Charles Donald Fox in
The Truth About Florida proclaimed
I know Addison Mizner. I know the high ideals
which have guided his every activity, and being familiar
with his work I know that all who locate in Boca Raton
will see promises fulfilled....I am convinced that
Boca Raton will rise to a well-merited prominence imon.g
the delightful settlements which dot the lower ea:,
coast of the newest golden state. Where the rare talents
of Mr Mizner are loaned there development must come.
Addison Mizner is a genius, and though his great gifts
have always been known, it is in the role of empire
builder that he shall gain his greatest fame."24
"Although Mizner was deep in debt and naturally
depressed by the failure of his dream, his career was
far from over. After 1926 he remained in Palm Beach but
made more frequent trips to Carmel, California, where
he had purchased a small ranch and built a large home
for his niece, Ysabel Chase, Lester Geisler was an
"associate" in the firm from 1928 to 1931. Among the
many architectural projects in this later period are
designs for several clubs, most notably the Sea Island
Club in Sea Island, Georgia and the Embassy Club in
Palm Beach. There were also plans for the Beauville
Beach Country Club ib Pittsburgh. Residences across
the country were commissioned. One of Mizner's finest
Florida Spanish houses was built in 1929-1930 for
the Dietrichs in Monteceito (Santa Barbara) California.
Mizner had more national commissions than at any
other time in his career. Of course, due to the statewide
land crash and the stigma of failing at Boca Raton,
?Mizner's building in Florida was seriously curtailed,
but not stopped."25 4 1s e v .,: f,4 P/305 0 1 ':- ,
"In 1931 Byron Simonton rejoined the Mizner firm
and was responsible for much of the designing. From
this period most remarkable are designs for the Palm
Beach Post Office, for a complex oft movie theater,
hotel, and restaurant in Belle Glade, and for the
Williams residence in St. Petersburg, Florida. Mizner
died in February, 1933 and the firm was dissolved after
accepted projects were completed.
Mizner's contributions to the architecture of Palm
Beach and of Florida are significant. With his
innovative architecture which was romantic and yet
conservative, witty and yet functional, people began
building private residences on a grand scale. Mizner
provided the conviences his clients demanded. He
designed with the wealthy in mind. He had an ability tO
create a building at once hospitable. Each building was
distinctive and unique, but never theatrical. As his
chief architect observed, "His work fit the place. It
did not become tiring. It has an abiding quality.
Palm Beach was transformed. By 1925 Palm Beach
had established itself as the resort community of the
United States. As Arthur Roche attested;
Palm Beach is the most delightful place in the
world. I have traveled abroad and seen the French
and Italian Riviera. There is no comparison to be drawn
between the Cote d'Azur and Palm Beach...To compare it
to the Mediterranean resorts would be to their great
More importantly, however, Mizner set the finest
example for building in a Spanish style in Florida.
Architects and contractors alike copied Mizner,
not original Spanish, because Mizner had created a
style appropriate to modern Florida. The loggia room
has survived as the Florida room. The changing room
is now an essential. The focal point, now swimming pool
with bridge or hanging basket chair, creates the
necessary element of excitement. Native building
materials are touted. Red tiles remain a precious
commodity. Pastel colors prevail. Meandering streets with
boutiques are today's key to a successful commercial ovrlnuur':.
The advantages of mixed residential and commercial
space have become obvious. And all of this still
created in the Mizner style, as the real estate
advertisements and developers' brochures will attest.
In the 1920's Carol Kennicott of Main Street
and H.L. Mencken, the outstanding observer and wit,
agreed on one thing. Carol, depressed by the u;lin'si
of her mid-western town pleaded, "Get a great architect
and have him plan a town that would be suitable to the
prarie. Perhaps he'd create some entirely new form
of architecture. Then tear down all these shambling
buildings...." H.L. Mencken acerbically remarked "I have
seen, I believe, all of the most unlovely towns of the
world; they are all to be found in the United States."
Addison Mizner tried to oblige them by contributing
romance, beauty, and unity. For this we owe him our
continuing thanks.",,26
Projects 1925 1933
1925 Residence for Mrs William K. Vanderbilt,
Palm Beach, Florida.
1925 Boynton Town Hall, Boynton, Florida.
1925 Woman's Club, Boynton, Florida.
1925 Ritz-Carlton Cloister Hotel, Boca Raton,
1925 Administration Building, Boca Raton, Florida.
1925 Hotel Garage, Boca Raton, Florida.
1925 Town Hall, Boca Raton, Florida.
1925 "Floresta" Housing Development, Boca Raton,
1925 Residence for Mr and Mrs Halpine Smith,
Palm Beach, Florida.
1925 Via Parigi, Palm Beach, Florida.
1925 Bridge for Boca Raton Inlet, Boca Raton, Florida.
1925 Housing Development, Boca Raton, Florida.
1925 Residence for Anderson T. Herd, Esq. Boca Raton,
1925 Residence for Countess Bai-Lihme, Palm Beach
or Boca Raton, Florida.
1925 E.B.Davis Office Building, Boca Raton, Florida.
1926 Las Carreras Jockey Club, Boca Raton, Florida.
1926 Apartment Building for W.H.Dunagan, Esq. Boca
Raton, Florida.
1926 Residence for Dr Maurice Drucker, Boca E-ton,
1926 Small development houses for Dr Maurice Drucker,
Boca Raton, Florida.
1926 Whelan Villa, Boca Raton, Florida.
1926 Residence for Mme Frances Alda, Boca Raton,
1926 Residence for Mrs H.Marshall Taylor, Jacksonville,
1926 Riverside Baptist Church, Jacksonville, Florida.
1926 Blue Heron Hotel, Singer Island, Florida.
1926 Boat House for Alice DeLamar, Palm Beach,
1927 Bradley Ranch, Colorado Springs, Colorado.
1927 Renovation for Mrs Glen Hodges, Palm Beach,
1928 Residence for Mr and Mrs J.D.Gedney, T.analapin,
1928 Beauville Beach Club, Windsor, Canada.
1928 Residence for Dan Murphy, Los Angeles, Calif.
1928 Nurses Lodge, Good Samaritan Hospital, West
Palm Beach, Florida.
1928 Embassy Club, (now the Society of the Four Arts)
Palm Beach, Florida.
1928 Sea Island Club, Sea Is4and, Georgia,
1928 Office Building for Harris Winthrop, Miami,
1928 Residence for John F. Harris, Miami Beach,
1929 Residence for Percival Foerderer, Bryn Mawr,
1929 Memorial Fountain, Palm Beach, Florida.
1929 Fox Chapel Country Club, Pittsburgh, Pennsylvainia.
1930 Residence for Mr and Mrs A.E. Dietrich, Santa
Barbara, California.
1930 E.F. Hutton Brokerage Co., Palm Beach, Florida.
1930 Residence for Hugh Dillman, Grosse Point.
1930 Residence for Mr and Mrs Alex Camp, Dallas, Texas,
1931 Palm Beach Post Office, Palm Beach, Florida.
1931 Residence for Mr and Mrs F.C.Williams, St. Petersburg,
1931 Bonsack Shopping Complex, Miami Beach, Florida.
1932 Residence for Mr and Mrs K.D.Alexander, Boca
Raton and Palm Beach, Florida.
1932 Hotel and Theater Building, Belle Glade, Florida.
Addison Mizner
.... Architect of Dreams and Realities.
Mizner Industries
With the construction o*f the Everglades Club in
1918, Addison Mizner was faced with a decision. Should
he compromise his architectural design philosophy
by building in those shabby materials available to
him or should he extend himself as had the Medieval
architect to make his own tiles and brick, metal and
stonework, to serve as craftsman and designer?
The World War I shipping embargo prevented Mizner from
importing handmade roof tiles from abroad and the
comparable American roof tile was unacceptable to
Mizner who wrote "All the commercial ones were stamped
out and looked like painted tin when they were laid
and were a horrible, lurid color, that made a roof
look like the floor of a slaughter house." The solution
to the dilemma must have been an obvious one for
Mizner who had geared his architectural education
around observation and for whom inquisition was as important
a scholarly tool as the proverbial architectural text.
His biographer and friend Ida Tarbell wrote
In all of his wanderings over the world, studying,
buildings, looking, sketching, he had never been content
until he knew how the thing that attracted him was made....
How did the Spaniards get these irregular shapes for their
roof tiles? The color of these glazes? That rough surface
in the plaster?
Mizner, feeling assured of his expertise, purchased,
with the financial aid of Paris Singer, "The Novelty
Works" and began his own manufacture of roof and floor
tiles with a sideline production of ironwork and! furniture.
The company was rudimentary, struggling to
produce even the quantity of materials necessary
for the construction of the Everglades Club. Las Manos,
the Spanish word for "handcrafted", was the name for the
firm, which was situated in West Palm Beach just east
of the railroad.
Clay shipped from Georgia arrived in great quantities.
A hoist, kilns, and drying sheds had to be constructed.
Workers had to be trained,"27
"Mizner was also producing light fixtures, andirons,
and ornamental gates and grilles on a limited basis.
With the completion of the Everglades Club, Singer's
direct need for Las Manos ended. In 1919 Mizner bought
the buildings and equipment from Singer, speculating
that his own architectural commissions would cover the
costs of production and that Mizner clay products, beiri.
first-rate, had a sales potential to other architects
and individual clients. He commented, "There was no way
of figuring out whether it was a winner or looser, as
we were making something that could not be bought in
the United States."
The adventure was successful. By 1925 the firm
had been considerably expanded with quarter-million
dollar net profits. Mizner Industries, Incorporated
was formed, buying out Las Manos, Addison Mizner Industries,
and Antigua Shops, Inc, Mizner Industries, Incorporated
advertised itself as "Manufacturers of pottery, roof
and floor tile, period furniture, wicker, upholstering,
antique millwork and hardware, bronze sash, wrought iron,
stained and leaded glass windows, reconstructed and
ornamental stone, and imitation marble." A sales office
was opened on Via Mizner and sales brochures were widely
"Mizners name was associated nationwide with two
colors which he had popularized; Mizner blue, a turquoise,
and Mizner yellow, a soft lemon. The colors were in vogue
for everything,"29
"Another important product of Mizner Industries
was ornamental pottery. The pots were produced in
plain clay or in solid glazes.4 The styles were numerous,
but all were designed "to follow as nearly as possible
the original productions of Old Spain." Most popular
was the "Ali Baba" which came in at least two sizes; one
which would have provided ample hiding space for a man.
Most jars were named after cities in Spain, but the
styles were so generically Hispanic that naming them
was merely a convenience for the client."30
"Stonework also came to be an important division
of Mizner Industries. Quarry stone, brain coral, was brought
via railroad from a Mizner-owned quarry on Islamadora
in the Florida Keys. Quarry stone was used principally
for outdoor terraces and stairs, but Mizner used it
in a rough cut form as the foundation for the Paul More
Artificial or cast stone was developed by ,izner
and Mizner Industries to decrease building construction
time and to keep down costs."31
"Immediately it must have become apparent to
Mizner that even if his clients could addord to pay
the charges for authentic Medieval and Renaissance
doorways, columns, and windows, there was not a sufficient
number available for import from Europe and Latin America.
Shipping was slow. Reconstruction was difficult. Since
native Florida stone was scarce, the experimentation with
poured stone was undertaken. Although the specific
contents remain undefined, the material poured was
a mixture of coquina shell, lime, and a cement compound,
Mizner Industries designed its own pieces and it copied
examples from Spain. Moulds were made and poured at the
factory. The pitting and slightly brown coloring in
cast or poured stone is a result of voids made by gasses
escaping from bicarbonate of soda, another ingredient
of the final casting compound. Chips, cracks, and breaks
in the authentic pieces came out identically in the
finished products. Soon even original production
moulds were made with realistic mars and fractures.
Workmen, under Mizner's instruction, did intentional
damage to their finished products in order to make
the pieces look antique. One stoneworker whose story is
typical related:
I got so mad once when Mr Mizner came along,
He said the job was good. "Do you have a hatchet?" I
thought that he was kidding me, so I went and got a hatchet.
He knocked corners off my pieces here and there.
Then he told me to patch them on again but so that the
patches were noticeable from 25 feet away. I couldn't
believe it.
The production of the stonework division was
extensive in diversity and in quantity of products.
Available to the interested buyer were all items
imaginable from small medalions to sixteen-foot cloister
windows. There were columns, capitals, crests, fireplaces,
fountains, doorways ad infinitum. One of the major
difficulties in identifying Mizner buildings is the
presence of Mizner Industries stonework on non-Mizner
buildings. All local builders and architects purchased
from the factory."32
"The craftsmanship of the wrought iron was exceedingly
fine. The metal shop included machine tools, but much
of the finishing was by hand. In a grille for example,
soldering was avoided and banding, the traditional method
of linking parts together, was used. The latter is much
more difficult and time-consuming, but the product
is much finer structurally and aesthetically. It was
the small touches which assured the superior quality of
Mizner products.
An aging process was used on the ironwork
products because Mizner disliked the highly-polished
black surface of new wrought iron. A workman described
one such process, "At Mizner's we let the ornamental
wrought iron rust. We dipped kamps or whatever in an
acid solution and overnight they would rust. Then,
we'd rinse them off and put regular floor wax on them
and then rub them with "rotten stone"."33
"After 1924 Mizner Industries began producing
doors and room paneling in woodite, a composite
material of wood and a cohesive compound which could
be poured and cast. Woodite could be painted, stained,
nailed, and sawn like regular wood. The woodite process
was patented and Mizner Industries was seeking ways
to make production even more economical. Woodite
reproductions made from moulds taken from original
Spanish doors and dados were reasonably cheap, in
comparison to the original, authentic in details,
highly believable in appearance, and moreover permitt'
the paneling of a complete room without an extensive search
in Europe for a room suitable for re-installation.
Mizner Industries remained solvent after the
1926 land crash and still prospered after the two
hurricanes. It was financially a significant help to
Mizner when he was struggling to recoup his losses.
The plant was sold from Mizner's estate and continued
to operate until the mid 1950's as Mizner Industries,"34
Mizner, Addison. Cynic's Calendar of Revised Wisdom,
n. p., San Francisco, 1903-1909
Mizner, Addison. Cynic's Calendar Revived, n. p.,
San Francisco, 1917
Mizner, Addison. The Lark, Willis Polk et al., San
Francisco, 1895-1897
Mizner, Addison. The Many Mizners, Sears Publishing Co.,
New York City, 1932.
Mizner, Addison. Untitled, Incomplete Manuscript, ca. 1932.
Orr, Christina. Addison Mizner, architect of dreams and realities,
Norton Gallery and School of Art, Palm
Beach, Florida, 1977
Secondary Sources;
"Bungalows in the Spanish Manner Adapted to Meet American
Ideals", The Ladies Home Journal, February, 1927, p.36.,
"The Florida House", an interview of Addison ..izner by
John Taylor Boyd in Arts and Decoration, Vol. 32, January,
1930, pp. 36 40.
Johnson, Alva, The Legendary Mizners, Farrar, Straus, and
Young, New York City, 1942 (1950, 1952, 1953). (A relatively
accurate book written in entertaining journalistic language.)
Johnson, Alva. Profile on Addison Mizner, New Yorker,
Vol. 28, November 22, 29, December 6, 13, 1952.
"The Old Cow Bay Manor House", Architectural Record,
March, 1917, n.p.
"A Spanish House in Monterey", Architect and Engineer,
Vol. 80, February, 1925, pp. 50 51, 92 95.
Tarbell, Ida M. Florida Architecture of Addison Mizner,
William Helburn, Inc. New York City, 1928.
1 Addison Mizner, Architect of Dreams and Realities,
by Christina Orr, Norton Gallery of Art, Palm Beach
Florida, 1977, P.5
2 Addison Mizner and Florida, a review by Curtis
Patterson, International Studio, 1928, Vol. 90
p. 72
3 Addison Mizner, The Many Mizners, Sears Publishing
co. New York City, 1932, pp 64-65
4 Ibid, p.45
5 Addison Mizner, Architect of Dreams and Realities,
by Christina Orr, Norton&Gallery of Art, Palm Beach
Florida, 1977, P.7
6 Ibid, p.9
7 Ibid, p.9-10
8 Ibid, p.10
9 Ibid, p.11
10 Ibid. p. 14
11 Ibid, p. 14-15
12 Ibid, p. 16
13 Ibid, p. 18
14 Ibid, p. 19
15 Ibid, p. 20
16 Ibid, p. 20-22
17 Ibid, p. 22
18 Ibid, p. 24
19 Ibid, p. 27
20 Ibid, p. 37
21 Ibid, p. 40
22 Ibid, p. 41
23 Ibid, p. 43
24 Ibid, p. 45
25 Ibid, p. 46
26 Ibid, p. 46
27 Ibid, p. 52
28 -
29 -
30 -
31 -
32 -
33 -
34 -


text:
Habitat500 Training Tip #1
Posted: 2009-02-09 09:19:44
How to Keep Cool and Stay Pumped
1. Take a deep breath, focusing on riding your race when you exhale.
2. Expect the unexpected--a flat tire or a broken spoke. Visualize yourself handling any eventuality. Nothing can rattle you.
3. Smile no matter what. Mimic the cringe-grin of Lance Armstrong ascending a mountain.
-Tom Seabourne
May 2001, American Fitness


text:
Measuring transit time between
pulse waves taken from a patient's finger
and toe. Test results return in 2 minutes.
Vascular aging
Measuring transit time between
Solution for measuring arterial stiffness
This independent risk factor predicts cardiovascular morbidity-mortality, and all causes of death, better than commonly known risk factors such as diabetes, hypertension, cholesterol, and tobacco use.
iHeartWatch, the online bracelet
The iHeartWatch® facilitates the automatic measure of cardiovascular markers without any additional action required from the user while also enabling your Smartphone to track the measures in the form of a trend curve. The combined analysis is performed to detect cardiovascular events as well as the warning signs for heart attack and stroke.
Most recent publications
Outpatient measurement of arterial stiffness in patients with type 2 diabetes and obesity
BACKGROUND: Pulse wave velocity (PWV) is a marker of arterial stiffness. The aim of the present study was to compare PWV in patients with type 2 diabetes mellitus (T2DM) or obesity and healthy subjects in an outpatient setting. METHODS: A cross-sectional study was conducted in patients with obesity without T2DM (n = 37), T2DM without obesity (n = 40),…
Evaluation of arterial stiffness by finger-toe pulse wave velocity: optimization of signal processing and clinical validation
Carotid-femoral pulse wave velocity (PWV) (cf-PWV) is the gold standard for measuring aortic stiffness. Finger-toe PWV (ft-PWV) is a simpler noninvasive method for measuring arterial stiffness. Although the validity of the method has been previously assessed, its accuracy can be improved. ft-PWV is determined on the basis of a patented height chart for the distance and the pulse transit time (PTT) between the finger and the toe pulpar arteries signals (ft-PTT).
The Predictive Value of Pulse Wave Velocity for Anastomotic Leakage After Colorectal Surgery.
Arterial perfusion defects are a risk factor for anastomotic leakage (AL) following colorectal surgery. Measuring arterial stiffness using pulse wave velocity (PWV) is known to reflect the performance of the arterial network. The objective of this study was to assess the predictive value of PWV for AL after colorectal surgery.
Axelife® SAS is a French company that, since its formation in 2010, has specialized in the field of health. It designs and develops medical devices, and its flagship product, the "pOpmètre®", is a device that diagnoses arteriosclerosis and accelerated arterial aging.