the Doo Wop Guidebook

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Wildwoods-by-the-Sea Handbook of Design Guidelines
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doowop
How to
Wildwoods-by-the-Sea Handbook
of Design Guidelines
A project of The Doo Wop
Preservation League
PREPARED BY
Michael Lorin Hirsch
Richard Stokes AIA
Anthony Bracali, RA
EDITING & DESIGN
Jack Wright
BOARD OF TRUSTEES
Dan MacElrevey, Jack Morey,
R. Michael Zuckerman, PhD,
Elan Zingman-Leith, Paul Russo,
Charles Schumann, Clark Doran, PP
Jay Ford, Mary Fox, MAI
Thomas P. Byrne, AAI,
Joseph Salerno, Dennis Anderson,
Arlieen Franco, Randy Hentges,
Lou Ferrara, Bill Huf,
Richard Stokes, AIA, John Donio
ADVISORY BOARD
Michael Hirsch, Michael D’Angelo,
Joanne Galloway, Joanne Duffy,
Andrew Cripps, Alex Shear,
Todd Kieninger, Kirk Hastings
HONORARY MEMBERS
Steven Izenour, AIA (1940-2001)
Dan Vieyra, AIA, Dr. J. Salvatore,
Dane Wells, CHA, Alan Hess
Partially funded by The Byrne Fund for
the Wildwoods, Inc., a philanthropic
fund tasked to enhance art, culture and
educational opportunities for residents
of The Wildwoods.
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Contents
1. Why Does Doo Wop Matter?...... P8
Introduction P10  Task List P14
Doo Wop District Map P16
2. The Doo Wop Vision ................P18
General Design Principles For All
Projects P27  Design Standards For
Rehabilitation P28  Design Standards
For New Construction P28  General
Standards For New Construction P28
3. A Brief Architectural History ....P30
4. Site Design ............................ P 34
Views P36  Site Planning P36
Parking P37  Site Lighting
P40  Landscaping P40
5. Rehabilitation Of Contributing
Structures In the Wildwoods .......P42
Appropriateness Of Use P44
Preservation Of Significant Historial
Qualities P44  New Systems & Code
Compliance In Historic Buildings P47
Types Of Work P49
Concept Of Character In The District
P54  The Miami Experience  P56
A Miami Case Study P60  A Concept
For The Satellite Motel P62
7. How To Doo Wop ......................P64
Site Organization P66  Building
Massing P70  Human Scale P72
Features Of The Facade P73  Doors &
Windows P75  Railings P79
Roof Forms P80  Signage P80
Typrography P81  Materials & Colors
P86  Pools & Landscaping P91
8. Condos With Attitude ..............P94
9. Doo Wop On The Cheap ............P104
10. The 10 Commandments For
Creating A Doo Wop Motel ...........P106
11. Plants & Flowers ....................P108
12. Glossary ..............................P110
Resources .................................P114
6. New Construction In
Historic Districts........................P52
Designing In Context P54  The
LEFT: Wildwood’s boardwalk by night. Photo by Julie Marquart
COVER: An imaginery Wildwoods coastline. Illustration by Anthony Bracali
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PART one
Why does
Doo Wop
matter?
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T
HE America of the 1950s
and early 60s was an optmistic, confident, forward-looking society. After the Second World War, America
had grown into an economic colossus, and its people, particularly the
emerging middle class, were enjoying greater wealth and more leisure
time than ever before. Television
overtook radio as the biggest influence on the culture, and TV began
broadcasting ads for a device that
would transform society: the production line automobile.
At the same time, the Garden State
Parkway, a concept nearly 50 years in
the making, was finally completed in
1955, linking South Jersey to the metropolises of Philadelphia and New
York (from where vacationers had
previously endured six-hour trips to
the Shore). As a result, hundreds of
thousands of new tourists, breathing
in the smell of leather in their brandnew cars, and eager to broaden their
horizons, made the trip to Cape May
County and, in particular, the Wildwoods, where entrepreneurs like Will
and Lou Morey had begun a building
boom, constructing quirky motels,
festooned with plastic palm trees
and gaudy neon signs, inspired by
their trips to the neon fantasyland of
Miami Beach.
“Forty years ago, the Wildwoods
was the South Jersey mecca for bluecollar workers who had enough extra
dollars from the Philadelphia industrial economy to vacation at the
shore. The opening of the Garden
State Parkway, the ever more casual
American society and the rise of the
automobile led to the motel revo10
lution that is the enduring artifact
of present-day Wildwood,” wrote
the architectural historian, George
Thomas.
The seashore architecture of this
era reflected the spirit of the people:
brash, bold and boastful. The motels,
diners, gas stations, even offices,
presented a varied and exaggerated
spectacle of designs. Angular elements, space-age imagery, tropical
themes and colors, with spectactular signage cranked up the volume
even more.
With leisure time and money in
good supply, the masses wanted to
be entertained – and Wildwood accommodated them, with a terrific
boardwalk, amusement piers and a
variety of nightclubs that became
proving grounds for many of the
biggest stars of the day. Bill Haley
and the Comets first performed Rock
Around the Clock here, in 1954; the
first episode of Dick Clark’s American Bandstand was was broadcast
from Wildwood; and the resort inspired Bobby Rydell’s 1963 Billboard
hit, Wildwood Days.
Not only that, but the Wildwoods
enjoyed a wonderful location, with
a beautiful seven-mile stretch of
white sandy beaches. It was no wonder, then, that it soon became one of
America’s premier family seaside
resorts.
PREVIOUS: The Motel Martinique – a bold
and striking sign, by day or night. Photo by
Brian McMahon
RIGHT: Some of the Wildwoods’ gaudilyeffective neon signage. From the George G.
Boyer Historical Museum
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As Ocean Drive in South Beach,
Miami, exemplifies the Art Deco
style of the 1930s, Ocean Avenue in
Wildwood celebrates the soaring designs and imaginative forms of ’50s
architecture. It was a golden age in
American history, one that is preserved today in the architecture of
the Wildwoods, which, thanks to the
continued existence of a magnificent
beach and boardwalk, remains a premier family destination. However,
strong efforts are needed to ensure
that future development on the island does not compromise and ultimately destroy this rich legacy.
This is the mission of this book
and it publishers, the Doo Wop
Preservation League. Our guiding
principles are:
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TO EXPAND public awareness
of the Wildwoods’ time capsule
of 1950s and 1960s culture.
TO COLLABORATE with others
to educate the public about the
value of this unique resource.
TO PROMOTE an environment
for the preservation and the rehabiliation of mid-20th century cultural
assets.
In recent years the League has
heped to capture the imagination of
the national media, with in-depth
articles in publications such as the
Los Angeles Times, The New York
Times, USA Today, Newsweek, Travel
and Leisure and Coastal Living. The
Wildwoods contains the biggest
concentration of mid-century architecture in America.
And like its southern cousin,
Cape May, which boasts the greatest
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collection of Victorian architecture
in America, the Wildwoods needs a
strong set of preservation principles.
But the League also recognizes the
need for development, and to incorporate that into the need for preservation.
This is where the Wildwoods
is unique. Here, preservation also
means innovation. While the Doo
Wop Preservation League is committed to promoting preservation and
awareness of mid-century American
architecture, it also actively promotes
just the kind of spirit of adventure
that helped to capture the imagination of the public half a century ago.
Throughout this book are examples
of new construction and rehabilitation that perfectly capture the spirit
of Doo Wop and which add to the
quality of life in the community.
This book is aimed at everyone,
from major developers of condominiums to small motel owners, homeowners and concerned citizens
who care about the wonderful living,
breathing museum that is the Wildwoods. The fact is that everyone can
play a part, whether it be designing
a high-rise condo inspired by the
funky shapes and colors of the 50s,
erecting a new neon sign on a restaurant, or painting the side of a motel
a concoction of pastel colors. In each
case, it would be adding to the rich
architectural landscape of this wonderful island.
We hope that this book is educational and entertaining and, ultimately, we hope it’s inspiring.
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Y THERE are 275 buildings in the Wildwoods
which in September 2003 were recognized
by New Jersey’s review board to the state
registry of historic places. We anticipate
national recognition in the near future.
Y THIS development shows that the state
of New Jersey identifies the Wildwoods’
Doo Wop (mid-century) architecture as a
cultural treasure.
Y THE opportunity exists for our historic
district to be an important contributor to
our community.
Y MIAMI Beach, Palm Springs, and Savannah have shown that heritage tourism is
growing in popularity with Americans.
Y THIS is why Doo Wop is much more than
a matter of esthetics – rather, it has the
potential to be a major economic catalyst.
Illustrations by Anthony Bracali
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The Proposed Doo Wop
Historic District
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THE district is primarily bounded by Atlanta Avenue to
the south, Atlantic Avenue to the west, Morning Glory
Road to the north and Beach Avenue to the east
Illustration by Anthony Bracali
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D3 D3
The
Doo
3
D
D
Wop
Vision
3 D 3 D
part two
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T
HE Doo Wop Historic
District presents the
opportunity to establish a dynamic and
exciting
community
within one of the most popular family resorts on the eastern seaboard.
The Wildwoods’ location, proximity
to Philadelphia, rich architectural
legacy and ample residential base
evokes a vision of a special place,
full of vitality and imagination. This
vision can be achieved through the
redevelopment of the community
by addressing site and architectural
issues and through consistent and
complimentary additions to existing buildings.
New architecture in the proposed
Doo Wop Historic District, and
within the community, should be part
of a unified composition of buildings
and public spaces. New architecture
should be based on design principles
of form, scale and siting, and made
responsive to their setting and environment. Many of the current new
buildings are in a Victorian cookiecutter style, meaning that inappropriate designs are seen over and
over again. The new image for this
district should move towards the
future, inspired by the boundless
enthusiasm and innovation of postwar, Space Age America.
This design framework will allow
individual property owners freedom
of expression within the personaliLEFT: The Star diner in North Wildwood is a new
building with a refined retro look.
Photo by Brian McMahon
PREVIOUS: The Starlux is a renovation of an
existing motel but represents a 21st-century
interpretation of the ’50s. Photo by Julie Marquart
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The Ebb Tide, Wildwood Crest’s first motel (1952-2003), was notable for walls that angled forward
and back, making reference to the ebb and flow of the ocean. PREVIOUS: Restored Airstreams
at the Starlux continue the tradition of roadside architecture. Photo by Maciej Nabrdalik
ties of their buildings while establishing and maintaining an overall
unifying character and image for the
entire community. In addition, it is of
paramount importance that developers address specific design considerations. These should be derived from
the location and surrounding environment, such as respecting views,
using state-of-the-art building
materials, and reflecting the summer-resort architectural heritage
developed in the 1950s.
Designing in response to our Doo
Wop/Jetsonian (mid-century modern) heritage, adhering to consistent
architectural order, and enhancing
the public experience will enable
The Wildwoods’ Doo Wop Historic
District to define its own identity
– making it a distinct and special
place not just within the context of
the Jersey shore, but in coastal resort
communities throughout the world.
It is our objective to propose the
adoption of this handbook to promote a desirable visual environment and to ensure the continued
visual integrity of this district in
the city/borough. Design guidelines assist architects, builders, real
estate agents and those planning to
build or purchase property on the
island, as well as all residents who
wish to maintain and renovate their
houses or commercial structures in
Eden Roc is unique for its brick face and the first bay of each wing which contains a room that
appears to float over the parked cars, an element that could be seen by passing motorists
The Oceanic, built in 1955, was one of the first motels to have parking underneath,
individual room balconies and interior circulation
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historic district to ensure continued
visual integrity.
In a community that contains the
largest collection of mid-century
modern architecture, we envision
new developments that meet the
needs of today’s homeowner while
continuing to produce great design
and signage to compliment a resort
that combines natural and man-made
pleasures.
General Design Principals
for All Projects
The motels of The Wildwoods were
originally designed to celebrate the
automobile, allowing views of your
car from your room. The buildings
were usually situated perpendicu27
lar to the beach, allowing generous
views of the Wildwoods’ greatest
asset. Rooms were arranged around
a central court, containing the pool,
which was considered an essential
element. While today’s planning
principals generally require that the
car be hidden, we have much to learn
from the siting, scale and thematic
decoration of the historic motels.
Design Standards for
Rehabilitation
Many of the motels are in good repair,
and it is our goal that many of the
existing Doo Wop details – railings
and novelty items such as thatched
and stepped roofs – be maintained.
Many of the historic railings do not meet current building code, but by adding or retrofitting the historic iron rails, it
is possible to meet current code
issues. The old jalousie or curtain
wall systems are often rotting or in
need of repair – but, again, there are
sensitive ways to upgrade that are
complimentary to historic details.
Often the historic pools, lobbies,
signage and colors are thematic
and representative of the Doo Wop
movement. This handbook offers
solutions to the challenges faced
by residents and property owners.
Design Standards for
New Construction
Our vision is that new buildings
within the historic district be compatible with the existing motels, in
terms of both style and scale. Recent
examples such as Wawa, Star Diner
and Harley-Davidson show that
designs in context make for good
neighbors.
General Standards
for New Construction
The architectural portion of these
guidelines is intended to provide a
unified, conceptual framework using
historical Doo Wop references. In
order to maintain a unique and inviting seaside resort, design should be
generated by location, surrounding environment, building materials, and should reflect the seaside
resort heritage.
But within this framework, the
architectural language of buildings
should strive to reinterpret its heritage and look to the future, instead of
simply mimicking the past.
Classic postcards from postwar Wildwood, when Five Mile Beach really began to take off
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The Shalimar promoted the kind of
escapism Morris Lapidus described
(see below) and was typical of the
exotic lengths to which Wildwoods
motel owners would aspire. In the
fall of 2004, the Shalimar was set
for an addition and renovation that
would bring the motel up to 21stcentury standards, with conference
facilities, exercise room, and twostory suites with private roof decks
equipped with jacuzzis. Care would
be taken to preserve the exotic vibe.
“I
WAS convinced that just as a store had to be designed to make people want
to buy what the merchant had to sell, so a hotel had something to sell also.
What was that something? A home away from home? Absolutely not! Who
wants a homey feeling on a vacation? The guests want to find a new experience –
forget the office, the kids, the bills. Anything but that good old homey feeling that the
old hotels used to see with a comfortable bed, a nice rocker on the veranda, a good
solid nourishing meal. Not on your life!
We were coming out of the war and the postwar period. People wanted fun, excitement, and all of it against a background that was colorful, unexpected; in short,
the visual excitement that made people want to buy – in this case, to buy the tropic
luxury of a wonderful vacation of fun in the sun. A sense of freedom from the humdrum lives the guests had. A feeling of getting away from it all.”
– Morris Lapidus (1902-2001), architect who defined the 1950s Miami Beach resort hotel style
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ABOVE: The Bauhaus by Walter Gropius (1925) and, right, the Ministry of Education, by
Costa and Niemeyer with LeCorbusier ( 1943), are examples of the “serious” architecture
that held sway until Morris Lapidus and others introduced fantasy to modernism.
A Brief
Architectural
History
part
three
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W
ORKING-class
and
middle-class families
had rising expectations in the 1950s. The
new motels of the Wildwoods were
created by borrowing details from
the high-style modern architecture
seen by local builders and designers
in magazines and often Miami Beach
and incorporating them in local
structures.
The proposed Doo Wop District
includes a significant concentration
of mid-twentieth century architecture. It contains enough buildings of
similar architecture in a concentrated
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area to create a sense of place and
to recall a specific time in American
history. These buildings embody the
technological/industrial history of
the era in two ways. First, they are a
new building type closely associated
with the postwar boom in automobile
ownership. Second, they illustrate
the concept of “styling” in industrial
design that was a central characteristic of mid-twentieth century marketing and design.
The motels also capture the social
history of the era by reflecting the
upward mobility of working-class and
lower middle-class Americans of the
time. In order to preserve the historic,
architectural and cultural resources
that are contained in the Doo Wop
District, the buildings should be preserved and restored. Changes to those
buildings should be appropriate to
their style and significance. Architectural changes to other buildings in
the district should be designed not to
detract from the sense of place and
character of the district.
Building design also participated
in the shift from “serious” design to
“styling”. Ranch houses, restaurants,
and especially motels used modern elements to decorate essentially
simple boxes. The difference between
serious architecture of the period,
for which the manipulation of space
and light and structure were paramount considerations, and Doo Wop
architecture, where modern decorative motifs were added to completely
conventional structure – is not the
difference between valuable and valueless architecture. It is the difference
between the architecture of a stable
class structure and the architecture
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created out of a period of rising standards for a new middle class.
There is a close parallel between
the Doo Wop and Victorian eras.
During the Victorian era, the new
white collar workers became middleclass after the industrial revolution
of the mid-nineteenth century. Their
buildings combined conventional
construction with a wide variety of
surface ornament to lend style to the
structure. Italianate, Gothic, French
Second Empire, Eclectic, or Aesthetic
Ornament might be added to a conventionally planned and built house
to give it style.
In the late 1950s and early ’60s,
working-class and lower middleclass families wanted new and stylish products. To fill this demand,
cars, appliances, split-level houses,
and motels were created by grafting
symbols of modernism on to conventional structures. Borrowed from
art, science, and high-style architecture, the motifs of modernity added a
superficial layer of decoration.
This superficiality does not make
Doo Wop architecture less important
than high-style architecture of the
period. The Gothic cottages of Cape
May are not at all Gothic in plan or
structure; the Renaissance cornices
are not structural. This doesn’t make
them any less valuable. It makes them
an important part of the social history
of a new class. The Doo Wop motels
of Wildwood are not at all modern in
plan or structure. The canted walls
are not structural. Again, this does
not make them any less valuable. It
makes them an important part of the
social history of a new class.
The Marseilles by LeCorbusier, from 1952, exhibits the kind of architecture that was
accepted as the standard. BELOW: The Casa Bahama (1962) displays a much more playful
approach, but this legacy is every bit as valuable to our architectural heritage.
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part four
Doo Wop
Site Design
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U
THE design principles in this section apply to all projects: rehabilitation,
additions, and new buildings, within the proposed Doo Wop Historic District,
adjacent to a building listed on National Registry document, or to anyone
interested in building a compatible structure in the Wildwoods.
Views
DOO BE DO!

DOO BE DON’T!
These buildings interrupt the rhythm of open space by placing themselves on street edge
OVERVIEW
DOO BE DO!
Historically, buildings in the proposed Doo Wop Historic District
were oriented to maximize views of
the beach. Taller portions of buildings were set back from the street to
allow pedestrians a larger panoramic
view of the ocean. Some motel room
facades were even angled towards the
ocean.
DESIGN STANDARDS
Planned projects should retain, and
reinforce, view corridors to the beach.
Buildings should be located perpendicular to the beach, so as to not block
views for residents beyond. Parking
lots/parking structure design should
also be respective of view corridors.
Site Planning
to respond to the existing pattern of
adjacent buildings. Consider building
setbacks, orientation and open space,
x
Overview
The general site planning of buildings in the proposed historic district
should follow the existing pattern of
buildings situated perpendicular to
the ocean.
DESIGN STANDARDS
New construction should be situated
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These new buildings respect the historic motel by shifting their massing to the rear of the site
Historically, buildings were sited to
encourage a view of the beach. These
scenic views should be respected.
DOO BE DON’T!
x
Respect historic motel siting. This tall
building blocks ocean views and breezes.
PREVIOUS: Plastic palms, the official tree
of Wildwood. Photo by Maciej Nabrdalik
all of which are addressed in more detail in the sections that follow. Abrupt
changes in scale and character at the
boundary edges should be avoided.
Parking
OVERVIEW
Accommodating the automobile was
a major consideration in the design of
Doo Wop structures. By definition, a
motel is a motor hotel. However, the
planning of Doo Wop-era building
carefully considered both the car and
the pedestrian as equals. The balconies, pools, sun decks and hotel lobbies which faced the street provided
pedestrians with a vibrant street edge
with which to interact. The traditional Doo Wop motel provided parking
spaces along the entire perimeter of
the site that could be accessed directly from the street. This model is now
unacceptable under current Wildwood zoning ordinances.
DESIGN STANDARDS
The experience of the pedestrian
should be enhanced by promoting a
walkable community and restoring a
safe, pleasant walking environment.
Streets lined with garage doors are
anti-pedestrian.
Ganged driveways to parking are
encouraged rather than off-street
parking spaces that back on to sidewalks. Provide screening if cars are
parked in view of pedestrians.
For at-grade parking lots, the following shall apply:
*Landscaping shall meet or ex37
DOO BE DO!
Carports often act as a screen of cars from prime ocean views
x
landscaping.
*Parking lots associated with
commercial uses are encouraged to be
located on the side or rear of the main
building when such properties are
located on streets that have a strong
pedestrian orientation.
*Parking lots in the proposed Doo
Wop Historic District are encouraged , where appropriate, to use the
side street as a means of entrance and
exit.
This facade sends a message, “cars
For parking garages and structures,
rule”. Where is the front door?
the following shall apply:
*The ground floor of parking
ceed the standards of the Wildwoods’ structures should contain commerMaster Plans, and the Land Use Or- cial uses, with store fronts and archidinance of the appropriate borough/ tectural detailing, so as not to appear
city. Parking lots should be screened as a garage on elevations that face a
from the street with decorative walls/
north-south avenue. The placement
DOO BE DON’T!
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
Partially submerged parking minimizes height of the Pan American and creates a friendlier street feel
DOO BE DON’T!
x
Pull-in parking is not legal under
current zoning codes
DOO BE DO!

Ganged driveway to parking is encouraged
– the visual impact of cars is minimized.
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at night by multicolored and fanciful site and building lighting. Many
motels have lighting which compliments their architectural features
and makes them even more visible at
night. Lighting can used to further a
theme, complimenting the signage,
or to provide a unique image for a
building, such as the Caribbean’s
multi-colored recessed lighting, or
the Shalimar’s purple lighting.
Multi-colored lighting bathes the fascia
of the Caribbean and combines with the
glowing office and game-room block, and the
shimmering pool at the center of the motel
of commercial uses depends on the
location in the proposed historic district.
*Multiple levels of parking structures should be parallel to grade on
primary and waterfront elevations.
*Stairways and elevators, which
are the most commonly vandalized
areas of garages, should be glass-enclosed or open and clearly visible to
the street or other populated areas.
*Ramps, stairwells and any other
portion of a garage should be buffered
with decorative grilles and screens.
*Parking garages within the proposed historic district are encouraged
to be located on sites which are nonhistoric and non-contributing.
*Locating some space below grade
(parking for example) is encouraged
to minimize scale of new buildings.
Site Lighting
OVERVIEW
The Wildwoods are transformed
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DESIGN STANDARDS
The style of the light and light standard should be consistent with the
architectural style of the principal
building.
Decorative lighting of landscape
features, pool decks and recreation
areas is encouraged.
Use shielded, indirect light sources for all exterior lighting, and avoid
lighting that creates a hazard or nuisance to residential properties.
Colored lighting that highlights
the buildings’ architectural features,
or creates a pattern or rhythm on the
facade is encouraged.
Exterior lighting proposals must
be submitted according to requirements for the borough/city where the
project is located.
See Signage section – Pages 8089 – for information on neon.
Cars are screened in a decorative manner from pedestrian view on a major intersection
Historically, decorative screen block was sometimes used to block view of cars from the pool.
rapidly, becoming the “official tree”
of the area. Natural beach grasses and
evergreens are indigenous to the island, require very little watering, and
can be used for ornamental plantings,
and screening for parking.
DESIGN STANDARDS
Use landscape schemes that emphasize native plant materials like beach
shrubs, dune grasses, plastic palms.
Consider evergreen planting to
establish wind breaks in the winter.
Likewise, deciduous trees will provide shade in summer but allow sun
in winter months. Avoid damage to
natural resources on the site, including established trees. See Page 108
for more information on plants and
flowers.
Landscaping
OVERVIEW
Landscaping can be used to create a resort atmosphere. The plastic palm tree
was first introduced to the Wildwoods
in the late 1950s, and has since spread
The Caribbean is considered to be the first motel to erect plastic palm trees – in 1958
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part five
Rehabilitation of Contributing
Structures in the Wildwoods
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43
U
THE design principles in this section apply to all projects: rehabilitation,
additions, and new buildings, within the proposed Doo Wop Historic District,
adjacent to a building listed on National Registry document, or to anyone
interested in building a compatible structure in the Wildwoods.
Appropriateness
Of Use
OVERVIEW
Reasonable effort should be made
to provide a compatible use for
the building that will require
minimal alteration to the building and its site. Building use
similar to the original use is preferred. A compatible use can be
accommodated without radical
alteration to the original architecture. For example, a motel could
easily become a condominium or
dormitory.
DESIGN STANDARDS
Seek compatible uses for historic
buildings. New uses that require
minimal change to the existing
structures are preferred.
When a more radical change in
use is necessary to keep the building in active service, then those
uses that require the least alteration to significant elements are
preferred. It may be that in order to
adapt your building to the proposed
new use such radical alteration to
its significant elements would be
PREVIOUS: Classic signage at the
Caribbean motel. Photo by Brian McMahon
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required that the entire concept
is inappropriate. Experience has
shown, however, that in most cases,
designs can be developed that respect the historic integrity to the
building while also accommodating
new functions.
Check the Wildwood or Wildwood Crest Master Plan and Land
Use Ordinances to determine which
uses are acceptable in the proposed
historic district.
Cara Mara was converted into a condo-motel with minimal alteration to the exterior. This
would be considered a compatible use for an existing building in the Doo Wop Historic District.
Preservation Of
Significant Historical
Qualities
OVERVIEW
Preserve the original materials and
details, as well as distinctive form
and scale, that contribute to the
historic significance of the structure. Rehabilitation work should
not destroy the distinguishing
quality or character of the property
or its environment.
DESIGN STANDARDS
Respect the historic design character of the building, whether it be
contributing or non-contributing.
Minimize intervention with his-
Imperial 500 motel was altered but preserved significant original qualities. The building
was expanded by adding a fourth floor and an elevator. Photos by Brian McMahon
45
DOO BE DO!

should be treated with sensitivity.
Refer to the Secretary of Interior’s
Standards and Guidelines for Rehabilitation if you intend to rehabilitate a building listed on the National
Registry. There are approximately
200 buildings in The Wildwoods
that have been submitted. A set of
guidelines must be observed in order for a building or property to be
eligible for Federal and State tax incentives.
New Systems &
Code Compliance
In Historic Buildings
DOO BE DON’T!
x
Mechanical equipment should be
suitably screened from view areas
DOO BE DO!

OVERVIEW
Consider enclosing trash containers with a thematic screen, as shown at the Port Royal hotel
toric elements, and preserve historically significant features.
Preserve original ornament and
detail of the facade. Architectural
details add interest to motels and
are a part of the unique identity of
the buildings.
Fascia trim and signage are part
of the decorative elements that add
to the theme. Where portions of
these details have been removed,
refer to photographic evidence of
the earlier condition. Look for details that may have been removed
and stored to use as patterns for
new designs.
Where exact reconstruction of
46
DOO BE DON’T!
x
details is not feasible, consider developing a simplified interpretation
of the original, in which its major
form and line is retained.
Distinctive stylistic features or
examples of skilled craftsmanship
Integrate new mechanical systems
into historic buildings with sensitivity by avoiding cutting new
louvres into walls and locating mechanical equipment where it can be
seen or heard.
DESIGN STANDARD
Minimize visual impacts of new
systems. Especially avoid placing
mechanical and electrical equipment on primary, character defining facades.
Avoid damaging historic materials in order to insert new mechanical and electrical systems.
Screen exterior roof-mounted
equipment.
Refer to the pertinent Master
Plan, which advises to visually
screen service equipment, including transformers, or locate them
out of public view.
Screen or enclose service equipment and trash containers. Integrate enclosures into the design of
the building.
Use a color scheme or the
theme of the motel on screens or
partitions to hide trash areas and
mechanical equipment. Make the
street elevations more attractive
and safer for your guests and pedestrians.
Mechanical and other equipment may be erected or stored
outside of the principal building, but shall be suitably screened
from view from parking areas,
public rights-of-way and adjacent
residential uses. Such equipment
must be situated within the property line of the Principal Use.
47
Types of Work
THERE are various approaches to rehabilitation, and a successful rehab
project may involve a combination
of these approaches.
Adaptive re-use
Converting a building to a new use,
different from what it was originally designed to be. A good project
retains the historic character, while
adapting to the new functions.
Preservation
The act or process of applying measures to prevent further deterioration of materials on an historic property. It may include features of the
site that are important in defining
its overall historic character. Work,
including preliminary measures to
protect and stabilize the property,
generally focuses upon the ongoing
maintenance and repair of historic
materials and features rather than
extensive replacement and new construction.
Rehabilitation
Rehabilitation is the practical compromise of making possible a compatible use for a property through repair, alterations and additions, while
preserving those portions or features
which convey its historical, cultural,
or architectural values. This process remains true to the spirit of the
Maureen Restaurant and Martini Bar was
previously a nightclub. Photo by Maciej Nabrdalik
48
past without sacrificing utility. The
majority of preservation projects in
the Doo Wop Historic District may
be considered rehabilitation projects.
Remodeling
To reconstruct or make over a building without historical consciousness
is to “remodel.” The appearance is
changed by removing original detail and adding new features which
are out of character from the original building. A remodeling project is
unacceptable in the Doo Wop Historic District, and will be ineligible
for Federal or State tax credits for
historic preservation.
Renovation
To make new, or as if new again.
The appearance of the building is
enhanced. The basic character and
significant details are respected and
preserved, but sympathetic alterations may also occur.
Restoration
The act or process of accurately depicting the form, features, and character of a property as it appeared at
a particular period of time by means
of removing features from other periods in its history and reconstruction of missing features from the
restoration period.
A successful rehabilitation project in the Doo Wop Crest Historic
District may involve a historic structure that includes a combination of
preservation, restoration, and other
treatments.
Reconstruction
The act or process of depicting,
49
by means of new construction,
the form, features, and detailing
of a non-surviving site, landscape,
building, structure, or object for the
purpose of replicating its appearance at a specific period of time.
“It is better to preserve than
to repair, better to repair than to
restore, better to restore than to reconstruct.”
A.N. Didron, Bulletin Archeologique, Vol. 1, 1839.
General Rehabilitation Standards
GRS are based on the Secretary of
Interior’s Standards for Treatment
of Historic Buildings. See www.
doowopusa.org for more information.
The guidelines apply to all rehabilitation projects, including additions, within the proposed Doo
Wop Historic District. They apply
to all buildings (primarily motels)
that are designated as “contributing” as well as “non-contributing”
buildings.
These guidelines apply specifically to approximately 275 motels
identified by the National Register
of Historic Places within Five Mile
Beach – the Wildwoods – in New
Jersey.
Contributing
Structures that have been judged to
add to the historic district’s sense
of time, place, and historic development. Those listed on the National
Register of Historic Places should
be protected. If there is a choice between either restoring or losing an
authentic detail it is our hope that
a restoration will not lose or distort
50
the spirit, particularly on the exterior. See the Crest Savings Bank
canopy (right).
No building so deemed or
any portion thereof will be approved for destruction unless
it is judged to be a public hazard, in which case the building
inspector or court must sign the
order for demolition. Even then, all
reasonable measures to save rather than raze will be the preferred
course of action.
Non-Contributing
Buildings which do not add to a
historic district’s sense of time,
place and historic development
may be called an intrusion. A structure is an intrusion because it lacks
compatibility with its surrounding
buildings in the historic district. It
detracts rather than adds or merely
conforms to the scene of which it
is part.
If a building is not contributing,
design alterations should be compatible with neighboring contributing buildings.
BEFORE...
...after
RIGHT: Crest Savings Bank in downtown
Wildwood recently incorporated an
abandoned building into its 1908 classic
revival building, listed on the National
Register of Historic Places in 2000. In Cape
May, preservation is about a moment frozen
in time. In Wildwood, one is able to preserve
in the traditional manner, while also showing
an appreciation for the dynamic Doo Wop
period. A one-of-a-kind bank building for a
one-of-a-kind resort.
51
part six
New Construction in
Historic Districts
52
53
U
THESE guidelines apply to all new construction, including major additions,
within the proposed Doo Wop Historic District, or adjacent to one of the
buildings listed on the National Register of Historic Places document.
The guidelines are also recommended for anyone interested in designing a
compatible building in the Wildwoods.
DESIGNING in CONTEXT
New construction within the proposed Doo Wop Historic District
should be compatible with the
mid-century modern character of
the buildings found there. New designs that respect the general characteristics of the historic buildings; including their basic scale,
form, and materials are likely to be
compatible.
This means that an historic
style need not be copied. Although
historic styles may often be compatible, new design styles can also
respect the basic characteristics
of the district and be compatible
while expressing current concepts.
New construction should consider broad characteristics of the
district that give it its overall sense
of character and that convey the
community’s history.
The visual themes reinforced
the importance of the individual
motel proprietor and his/her personal expression. These features
should be respected in all new construction. Designs that incorporate these basic characteristics but
that do so in such a way as to be
stylistically distinguishable from
historic buildings are preferred.
New construction should be distinguishable from historic build54
ings so that it does not confuse
our ability to visually interpret the
history of the community and how
it has changed over time.
The design of the Star Diner in
North Wildwood is an example of
a compatible style that gives visitors a sense of the character of our
island.
Where tall buildings are adjacent to residential neighbors, new
buildings should be compatible
in height and mass, so as not to
overwhelm the scale of the smaller
structure. Consider height setbacks, so the full building height is
not perceived from the street.
THE CONCEPT of
CHARACTER in the DISTRICT
The surviving historic buildings
create the character of the district
that we seek to protect. In some
cases, newer buildings already exist
that deviate from this established
character, but in no way should
these new buildings be considered
the context with which further development should be compatible.
Reinforcing the surviving historic
character is the goal, not responding to a hybrid character that is influenced by existing incompatible
buildings.
The abrupt scale of new construction in the historic district overwhelm residential neighbors.
PREVIOUS: Subway was a residence and has a new neon sign compatible with
neighboring historic signage. Photo by Julie Marquart
55
The Miami
Experience
By Nancy Liebman, preservationist, former
Miami Beach commissioner, president of
the Urban Environment League
M
IAMI Beach’s development has been a series of
successes, crashes, and
rebirths. By the 1930s, as the country was recovering from the Great
Depression, Miami Beach was well
on the road to new speculation and
the building of a 20th-Century tropical Deco resort area. Following the
war, Miami Beach was the symbol
of glitz and glamour for the tourist
industry. A new hotel was built every
year throughout the 1950s and early
1960s. A wave of condominium highrises replaced the elegant estates in
an effort to bring retirees to the city
for year-round housing.
By the 1970s new resorts and
jet service had diminished Miami
Beach’s image as a tourist destination.
As tourism waned, the city turned its
attention to expanding its convention
center. As the hotels lost business,
they fell on hard times and neglect,
especially in the older neighborhoods
of South Beach. By the 1980s, the
Mariel Boat Lift had brought a horde
of new people to Miami Beach, some
of whom were honest and hard-working and others who became part of
the criminal element that gravitated
to the troubled neighborhoods. Desperate property owners and a negligent administration allowed the city
56
to crash.
While the city’s leaders worked to
maximize zoning, condemn properties, thwart improvements to existing
building stock, and schemed to disembody a neighborhood, the Miami
Design Preservation League, founded
in 1976, went to work to place the
1920s, 1930s and 1940s Tropical
Deco architecture on to the National
Register of Historic Places. In 1979,
the Art Deco District was placed on
the Register despite the city government’s objections.
The collapse of the neighborhood
took place as a result of a building
moratorium which had been designed
to drive residents out and lower the
values of properties ripe for condemnation. The National Register designation of the neighborhood to the
north of the Redevelopment Area
was not recognized as an asset by the
city, and the efforts to preserve, protect, and promote it became a 13-year
battle.
After the National Register Designation in 1979, the Preservation
League created an Art Deco District
Preservation Plan, a vision and a
guide to preserving, protecting, marketing, promoting, and creating infill
for the designated district. The plan
was never adopted or recognized by
the city leadership.
The changes occurred one small
step at a time, with the League following the model of the plan. Grassroots efforts included marketing and
promoting, establishing an economic
arm for development and restoration,
learning grantsmanship, lobbying
for preservation laws to both prevent
demolition and establish a design
TOP: The Royal Palm condo-hotel in North Beach, Miami, has a pattern expressed in the
facade, horizontal fins and decorative signage. ABOVE: This 1930s Miami Beach property has
horizontal fenestration with fins to shield the sun.
57
New condos in Florida show good use of color, horizontal fenestration, and, right, a signature roof.
OPPOSITE: This dynamic window conceals a parking garage, and blends with historic structures.
review process, and creating media
relations to help win over an intransigent city government.
It was a challenge to create the
local legislation necessary to protect
the integrity of the one-square-mile
neighborhood. The city’s leadership
rejected any historic preservation
overlay legislation. A lawsuit by Dade
County finally overturned the city’s
resistance, but only with a change in
political leadership in the early 90s
did the battles turn to successes.
While the Preservation League
was steadfast in its vision to protect
the National Register Art Deco District, the city feared preservation protection for the historic neighborhood
because they wished to build a new
hotel on the ocean near the Miami
Beach Convention Center. The convention center had been expanded as
a fix for the lagging tourist industry,
but now the city needed a new hotel
to serve it. With the Second Bust of
the city in the 1970s and 1980s and
a dead hotel market, the city had not
had a new hotel in 20 years.
The city leadership did not understand the growing phenomenon of a
58
re-energized Art Deco District and
wished to build the new hotel by condemning property on the northern
edge of the designated National Register District. The preservationists
prevailed upon the city administration to hire an architectural consulting firm to demonstrate to the public
that a new convention hotel could
be designed that would incorporate
historic buildings into a plan for new
compatible construction.
This construction would be in
keeping with the existing scale of the
neighborhood and sympathetic with
the pedestrian quality of the Art
Deco District. The study concluded
with a plan that was accepted by the
preservationists, developers, hoteliers, and the tourism convention
industry. The Loews Miami Beach
opened in 1998.
It was a time of new acceptance
for the preservation ethic in Miami
Beach. The grand compromise limited the scale of the new construction
but also allowed for certain portions
of historic buildings to be demolished. The entire boundary of the
National Register District was finally
protected with local preservation
legislation in 1992, two years after
the compromise had been reached.
Miami Beach has learned the
value of protecting its architectural heritage, as this heritage has
been the catalyst for the city’s latest boom. The world now recognizes
Miami Beach’s signature statement,
its thriving Art Deco District.
But with success comes a new
challenge. We must be ever-vigilant
in protecting the atmosphere that
has been created. We must reject the
efforts of those who wish to overbuild and over-commercialize our
popularity.
Cities of quality preserve the
past and use it as a guide to build the
future. Historic Districts and Heritage Tourism are a phenomenon as
well as an economic success. Cities
must have an identity to distinguish
them from the rest.
59
The facade of the original is polished, preserved and connected seamlessly to the addition
at the new Cabana Beach in Miami. The addition incorporates fun details from original Mimo
architecture like the Eden Roc, where you could sit at the bar and watch people swim past.
A Miami
Case Study
T
HE Allison Hotel, designed
in 1951 in Miami’s new North
Beach Historic District, will
be re-born as Cabana, a 210-unit retreat. Architects are Sieger Suarez
Architectural Partnership + BSG Development.
The building is a staid box inter60
sected by a curving plane with windows arranged in horizontal bands.
The eastern facade of the Allison was
underutilized, so just the back of the
building which faced the ocean was
demolished. The new superstructure
frames the view of the ocean, and is
centered around an infinity pool, with
glass walls and floors.
An infinity pool has negative or
vanishing edges, leaving the impression of an endless or infinite setting.
Swimming in the pool you will be able
to see fish swimming in an aquarium
below. Sitting at a bar you can view
people in the pool.
The old hotel had lots of small
spaces used for cold storage, dry storage, management offices, and laundry
areas. This was all taken out and the
space used to provide parking for 100
cars. Additional cars are parked with
valet parking.
Cities like Miami Beach give incentives to encourage adaptive reuse. This is a creative way to accommodate parking constraints that the
Wildwoods don’t allow for. Variances
are granted in order to protect the
historic resources.
As Americans, we don’t have a lot
of history compared to Europe. We
look at the recent past, and say, “Why
keep it, it’s old?” Not so long ago,
people said that about Miami’s Art
Deco district. The City of Miami is
fairly liberal in its historic preservation efforts in what you can do with
the back or side of a building. The Allison is a case in point.
What was once considered old can
become tomorrow’s treasure.
61
A New Look for the Satellite
The Satellite motel was significant for its space age imagery. Our vision
for the Satellite condominium borrows from that – it preserves the
existing office/owner’s quarters as a luxury residence, and keeps the
boomerang roof, which sets the tone. The ground level contains hidden
parking, accessed by a single entrace on the side street. The new structure
surrounds the new pool terrace and steps up gradually to its highest point.
The vision for the Satellite motel is conceptual in nature and was developed
solely for the purpose of this book.
Illustration by Anthony Bracali
62
63
PART seven
How To
DooWop
Elements Of Architecture in the Wildwoods
64
65
U
THE design principles in this section apply to all projects: rehabilitation,
additions, and new buildings, within the historic district, adjacent to a
building listed on National Registry document, or anyone interested in
building a compatible structure on Five Mile Beach.
THE L-SHAPED FORM
THE RECTANGULAR FORM
Site Organization
OVERVIEW
Doo Wop architecture employed a
unique combination of site planning
to accommodate the automobile with
the pedestrian. The public areas of
many Doo Wop motels were open to
the street so that the activity around
the pool area could always be seen
from the streets around. Most Doo
Wop structures in the district form
one of three basic forms:
1. Rectangular
66
THE HIGH-RISE FORM (OCEANFRONT)
2. L-Shaped
3. High Rise (Oceanfront)
DESIGN STANDARDS
New construction should address
the existing rhythm of setbacks and
open space. Renovations to existing
buildings should not compromise the
existing character of the site.
Building Massing
OVERVIEW
Historic buildings found in the dis67
SITE ORGANIZATION
Smaller scale portions of historic motels (such as the lobbies shown in orange) were
situated along Atlantic Avenue in Wildwood Crest to create a buffer zone between the
residential neighborhood and the Doo Wop Historic District. New construction should
respect this pattern of setbacks and open space.
68
TOP: The spectacular pagoda at the Singapore contains not only the lobby, but motel rooms.
ABOVE: Chateau Bleu has a room supported by wishbone columns that act like a porte
cochere, adding unique form to an otherwise common L-shape. Photo by Julie Marquart
69
The Tangiers motel has an exotic hut that serves as an office/game room to contrast with a
three-storey rectangular motel, while the Starlux introduced a new dramatic element
to offset the rectangular shape of the original
trict are dominant forms that establish the perceived mass of the neighborhood. When viewing the district
as a whole, the consistency of building height provides a sense of human
scale on the east-west streets. The
majority of Doo Wop structures in
the historic district are organized
with the taller portions of the building set back from major pedestrian
streets. Large areas at the center or
corners of the site were left as open
space that could accommodate pools,
sun decks, miniature golf courses or
shuffleboard.
Many historic Doo Wop motels
had a signature lobby element with
dramatic interior spaces, roof forms,
and window configurations. These
helped to reinforce the theme of
many motels. They also helped to
70
enliven the pedestrian character of
the street.
There were also many structures
with canted walls. These walls either
angle inward toward the building or
outward towards the street. These are
one of the hallmarks of the Doo Wop
style and suggest speed and modernity.
Canted walls were usually not
structural; they were added to the
vertical, structural walls and created
dead space behind them. They created the impression of daring structure,
however, and announced the kinship
of the modern motel to other modern
buildings like airport terminals.
DESIGN STANDARDS
Design new buildings to be similar in
proportion with the historic context.
Glass canted windows and walls can be seen on the Rio, Caribbean, Eden Roc and Seawind
New structures should not appear
appreciably larger than these buildings. New buildings next to historic
structures should not create a dramatic change in scale. New construction may be taller than the established
norm if the change in scale is not perceived at the pedestrian access. Care-
ful consideration must be paid to any
side of the building connected to the
public right of way.
Locate taller portions (more than 18
feet) of structures to the back or center of a site to minimize the appearance of bulk and maintain pedestrian
friendly scale on east-west streets.
71
DOO BE DON’T!
x
Rhythm and scale of neighborhood is disrupted by locating building without a setback.
Garage doors at street level present an unfriendly face to the pedestrian.
Existing historic structures should
not be dramatically altered. Existing
lobby elements and other features
must be preserved. The lobby element can be a nice addition to a Doo
Wop motel missing that amenity.
Human Scale
OVERVIEW
In addition to creating visual continu-
ity, the consistent small size of most
historic buildings in the Doo Wop
Historic District helps establish a
sense of pedestrian scale that encourages walking and contributes to the
sense of community that the island
enjoys. This pedestrian-friendly
character is a key to the well-being of
the island’s residents and contributes
to the economic health of the area;
therefore, it should be emphasized in
new buildings.
DOO BE DO!
Set back buildings from the street to maintain views and preserve open space. Locate
the lobby element at the corner to soften the scale.
Doo Wop motels paid careful attention to the corners of their
sites. This was critical in establishing a pedestrian scale for the neighborhood. Sun decks or other smaller
scale elements of the building were
often placed at the corners to form
a transition between the taller elements of the building beyond.
DESIGN STANDARDS
New buildings should reinforce the
character of the Doo Wop Historic
District by conveying a good pedestrian scale. Incorporate features
that help establish a human scale in
new construction. Using windows
in shapes and sizes similar to those
found historically helps establish a
sense of scale.
Features Of
The Facade
Windows, balconies and doorways can add human scale and help make a building
inviting to both pedestrians and motorists
72

OVERVIEW
The Doo Wop architecture of the
Wildwoods used themes to imply
modernity, a “jet set” lifestyle and
resort atmosphere. There are a
number of shapes that were applied
as decorative motifs in the Doo Wop
period. Many of these motifs borrowed on popular culture and arts in
the 1950s era.
The personal style of Catalan
painter Joan Miro, or the moving
statues called “mobiles” of Alexander Calder, even the bio-morphic shapes of Pablo Picasso – any
of these sources suggested a new
vocabulary of decorative devices
unrelated to traditional designs.
Amoeba shapes, artists’ palettes,
boomerangs,
parabolas,
kidney shapes, random circular
“cheese holes” all suggested modern
“abstract” art.
Often more figurative decorative
motifs were suggestive of a wealthy
“jet set” life; for example: champagne glasses, martini glasses, and
musical notes, anything suggestive
73
DOO BE DON’T!
x
Gables and parking garages are inappropriate, and the facades are flat
DOO BE DO!

false supports contributed to the
theme.
Historically our mid-century
modern builders treated an end wall
with no function as another surface
to express a theme.
DESIGN STANDARDS
Decorative features of the façade are
an important asset of the historic
district and their general character
should be preserved where possible.
Design overall facade proportions
to be similar to those of the historic
buildings. The overall proportion is
Similar-sized balconies, when
repeated along the building facade,
help to establish a rhythm, or visual
continuity in the district.
Doors & Windows
OVERVIEW
The extensive use of glass on a Doo
Wop building marks the greatest
change from tradition. Prior to the
modern movement, glass was costly
and could not be made in large sheets.
A themed facade and facets make for a vibrant, attractive frontage
DOO BE DO!

Driftwood on the Eden Roc, painted panels on Three Coins and decorative concrete screen block
on the Windward. All are examples of how the founding fathers of Doo Wop – the Wildwoods’
mid-century builders – treated a blank wall as another opportunity to express a theme.
Horizontal fenestration breaks up the facade, while the verticals express rhythm
of tropical vacations – palm trees,
pyramids, glass roofs, Tiki torches, Caribbean references, Hawaiian masks, airplanes, and especially
jets.
Another set of decorative motifs
suggested modernism by referring
74
to new technologies (of the time) –
satellites and space travel by rocket,
and molecular models.
On buildings whose theme was
tropical islands, thatch roofs often
contributed to the Tiki/Polynesian
effect. Unpeeled saplings used as
the ratio of the width to the height
of the building, especially the primary facade. The amount of a facade
devoted to a wall surface as compared to that devoted to openings
should be compatible within the
neighborhood and with the function of the building. The larger the
window area, the more friendly the
building becomes. Most Doo Wop
buildings contained large areas of
glass on the primary facades.
In the 1950s, technology was developed to make glass relatively inexpensively and in much larger sizes
than was possible previously. In modern buildings, when windows are used
for entire walls, this is called a curtain
wall.
The windows in Doo Wop motels
often avoid the standard American
traditional window, the double-hung
window. In the motel units, fixed
75
DOO BE DON’T!
x

DOO BE DO!
This new project in Miami Beach expresses horizontality with its windows and the
exaggerated overhang above, illustrating that mid-century details are still modern today
Doors and windows that
express modernity are
encouraged.
glass windows are most common.
Windows are either made of wood
or mill-finished aluminum.
Several common window types
used in Doo Wop structures are:
1. Awning windows
2. Jalousie windows
3. Fixed sash (decorative muntins)
4. Casement windows
5. Sliding glass doors on private
The Pink Champagne’s decorative muntins
express the long proportions
of the motel’s fixed-sash windows
WINDOW TYPES
balconies.
Larger windows that typically surround the pool can be shaded by the
continuous balconies at the exterior.
Casement
76
Awning
Fixed-panel & awning
Fixed-panel & louvres
Fixed-panel & strip windows
DESIGN STANDARDS
The basic character-defining ele-
ments of windows and glass curtain
walls are; their proportions, the number of divisions, and the dimensions
of the frames. This characteristic
should be preserved wherever possible.
Preserve the functional and decorative features of original fenestration. Such features can include
frames, sills, heads, jambs, and glass
curtain walls. Protect original wood
with paint, varnish, or other protective finish.
New windows could include aluminum or wood and large picturewindow glass. It is important that
a new building have the spirit and
sense of daring exhibited in historic
mid-century modern buildings.
Small punched windows are discouraged unless grouped or to give
77
toric wood windows with new insulated glass.
Railings
This rehabilitated bulge-type guardrail at the Imperial 500 was brought up to building code by
adding a top rail at 42” height. The original distinctive design was retained. Another method
would be to raise the existing guardrail to current required height with infill added at bottom.
ABOVE: Examples of classic Doo Wop railing
designs. BELOW: The Jolly Roger’s railings
feature an elaborate geometric pattern.
The Starlux has a rather simple handrail but it does not detract from the 21st-century
feel with its cutting-edge corrugated aluminum siding.
the effect of larger window feature.
Fake muntins are discouraged.
If replacement is necessary,
replace in kind, to match the original. Maintain original window size
and muntin spacing. Avoid fake
muntins on double hung windows.
Either replace existing windows
with new insulated windows of the
same size, or retrofit existing his-
78
OVERVIEW
Balcony railings were typically
employed as a major decorative element on the facade. These were
always painted steel, fabricated locally. Some railings were simple curves,
while some, as in the Jolly Roger, were
more elaborate, utilizing geometric
patterns and motifs popular at the
time. These railings were whimsical
in design, in order to better contrast
with the simple geometric forms of
the buildings.
DESIGN STANDARDS
Where possible, existing railings
should be modified to meet current
code standards. This can often be
done by adding horizontal rails above
the existing railing system. The design
of new railings should be inspired by
historic precedents. Railings which
employ simple, vertical pickets are
acceptable in some cases. More simple railings can be decorated with
attached panels featuring more complicated shapes cut into them, such
as curves, bulges and diamonds.
Roof Forms
OVERVIEW
In keeping with the spirit of the
island’s notable mid-century modern resort architecture the roof
forms should generally give the
79
impression of modernity and daring
engineering.
In some of the best Doo Wop
buildings, the dominant roof is
unusual. A single slope-shed roof
with deep cantilevers (see Fantasy
Motel) or a round, pleated roof (see
Surfside Diner) make the shape
of the building itself proclaim its
modernity.
Typically the main roof of the
motel was a built-up bituminousfelt roof.
Historically the extended roof
overhang was at least equal to the
width of the balcony. Large glass
areas, particularly with a southern
exposure, provide solar heating in
the winter, while a deep overhang
casts a shadow in summer.
DESIGN STANDARDS
Preserve the original roof form. Preserve the original roof materials where
feasible. Where replacement is necessary, use materials of similar color, texture, and finish to the original
character-defining features. Asymmetrical roof shapes are encouraged.
Avoid traditional shapes like gable,
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gambrel, or mansard. Roof forms are
often the most significant characterdefining elements for motels, their
preservation is important.
Typical roof forms seen in the
proposed historic district include:
blast-off, gull-winged, and terraced.
Signage
OVERVIEW
The most important element of a
Doo Wop Motel was its signage.
Often, the motel owner would go
directly to the signage fabricator
with an idea for a theme or a name,
and the fabricator would design
the signage, incorporating appropriate colors, graphics and type
faces. Thus the sign would set the
theme of the motel.
The colorful neon signs were
considered crucial for attracting
the eye of the passing motorist,
with each sign trying to outdo the
next.
Signage would almost always
incorporate neon, and be designed
to be readable both day and night.
Many of the script signs had no
background, as they become easily
readable at night, when silhouetted
against the night sky.
Signs were one part of a larger
thematic expression and motel
operators looked actively to themes
as a way to publicize their businesses and evoke images of glam-
CLOCKWISE, from left: Round, pleated roof
at the Surfside diner, which is being rebuilt as
the new Byrne Visitor Center; single slopeshed roof with deep cantilevers at the Fantasy
motel; blast-off roof at the Ocean View;
terraced style at The Attache; gull-winged
at the Seagull; and the Starlux, which has a
circular lounge with a projected cantilevered
roof, punctured with cheese holes and
supported by bean poles.
our and exoticism.
Typography
OVERVIEW
Doo Wop typography is self-consciously modern, rejecting both
the serifed, classical tradition and
the spiky, gothic Olde English style.
Sans serif letter faces were standard. Italicized letters, especially
with rounded corners as though
drawn with a marker or brush, conveyed the ideas of speed and informality that were intrinsic parts of
the Doo Wop style. Some motels,
especially those named after a
prestigious foreign vacation destination, might use a traditional serifed typeface to evoke the refined
associations of the other destination.
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Signage was considered crucial for attracting the attention of the passing motorist,
especially in an age before the internet and credit card reservations, when
vacationers would choose their accommodations by cruising the streets.
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Laura’s Fudge Shop is historic Doo Wop, while Juan Pablo’s Margarita Bar and Cool
Scoops are examples of new neon signage that reflect the unique history of the
Wildwoods where “every day is a holiday and every night’s a Saturday night.”
Ultimately the typography further enforced the theme of the
motel, with the intent of allowing
vacationers to forget the routine of
their everyday lives.
Doo Wop motels incorporate
several categories of themes:
1. Geography (Nassau Inn, Biscayne, Catalina);
2. Exotic locations (Singapore,
South Beach, Tahiti);
3. Tropical paradise (Ala Kai,
Aqua Beach, Bali-hi);
4. Space age (Apollo, Astronaut,
Starfire);
5. American heritage, patriotism (Cape Cod Inn, Frontier, Saratoga Inn).
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DESIGN STANDARDS
Preserve original signage and
typography where feasible. New
signage should be similar in scale
and style to those used historically and should incorporate period
typography, colors and shapes.
Signs should be incorporated
into the architecture of the building and should reinforce the theme.
Signage should be designed with
individual letters and as much
neon as possible.
Backlit plastic panels with fluorescent lighting are discouraged.
Check local ordinances to determine any sign, canopy, or awning
prohibitions.
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PanAm hotel’s rotating starbust globe
was inspired by the astronauts of the 50s.
Center and right: the power of neon was
used to seduce the motorist to pull over.
Photo by Julie Marquart
Materials & Colors
OVERVIEW
One of the most typical characteristics of Doo Wop “popular modernism” is the extensive use of materials and color; this characteristic
separates this style from the high end
International Style modernism of the
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’50s and ’60s.
Typically, the Doo Wop buildings
utilized color in inventive ways to
enhance the theme.
Use of color has been associated
with the resort architecture of Miami;
the original inspiration for Doo Wop
architecture. Color can be used to
suggest a resort atmosphere.
The best Doo Wop motels used
color to further the theme, and to create a festive atmosphere. The colors
were usually mixed pink, beige and
tan, or aqua blue/green, and was very
horizontal in emphasis.
Some examples of 1950s colors:
Aqua, Pink, Pale yellow, Pale green,
Powder blue. Some 1960s colors:
bright orange, gold, purple, avocado
green.
A number of materials were used
on Doo Wop facades to suggest either
modernity or exotic locations.
A unit masonry, used as veneer,
was fabricated from Portland cement
and made to resemble long, narrow,
random, ashlar stone.
This stone facing was used on
bases of buildings, on entire facades,
and on canted fins.
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The sign on this recently-built “Doo Wop’d” Wawa is readable by day or by night.
OPPOSITE: The pink and teal colors on the Harley-Davidson motorcycle dealership
are compatible with the significant Fantasy motel next door. Photo by Brian McMahon
DESIGN STANDARDS
Preserve original materials and colors. The color relationship between
adjacent buildings should be compatible (not identical). The bold use
of color is strongly encouraged, and
can be used to break up large wall
surfaces. Pastel and primary colors
are favored. Decorative patterns can
also be used to break up large wall
surfaces. Use of other materials also
can break up the facade.
Painting or plastering over ashlar
stone walls is inappropriate. Consider new materials like cultured
stone if they need to be replaced.
Inappropriate materials would be
aluminum or vinyl siding, polyurethane balustrades, fiber-crete cornices, T-111 siding.
Sherwin Williams has a line
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called Suburban Modern Exterior Color Preservation Palette (see
colors, next page). and Interior
Color Preservation Palette Some
titles hint at The Wildwoods motel
names. These are the official colors
of Main Street Wildwood.
Pools & Landscaping
OVERVIEW
The pool and terrace can further
express the unique quality of the
design. The pool and sun deck are
NEXT PAGE: Doo Wop buildings exhibit
many different types of decorative
veneer masonry, such as, clockwise from
top: tinted ashlar brick, rough ashlar
brick, lava rock, and random dressed
rubble stone. Photos: Julie Marquart
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typically surrounded by wings of
the motel, which provides a public
space for socializing.
The Caribbean has a number
of distinctive features – the suspended curvilinear walkway, Cshaped pool, plastic palm trees,
multi-colored lights embedded in
the futuristic angled fascia, and a
large neon sign. There is a choice
of outdoor areas, covered and
uncovered, and an open trellis at
the top of the ramp. The shape and
floor patterns of the terrace relate
to the curves of the pool, not the
straight lines of the building.
DESIGN STANDARDS
Swimming pool shape and layout
should try and compliment the
architecture of the building. The
shape of a pool is very important,
since it will be viewed from above.
Possible shapes include boomerang, half-round, circular, bow tie,
oval. Consider decorative features
such as waterfalls or fountains,
bridges and islands. Colored concrete paving or colored pavers
around the pool area are encouraged, and patterns created from
different colors can break up large
expanses of paving. The use of
extensive landscaping around the
pool can suggest a tropical resort.
Jacuzzis can be integrated into the
pool design, with a waterfall feature. Consider painting a pattern
on the bottom of the pool, to further enhance the theme.
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The Caribbean and Chateu Bleu represent typical motels at the peak of the Doo
Wop movement – L-shaped units with funky-shaped pools at the center
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The Starlux and Pan American Hotel pools have the visual volume turned up for the
post-millenial traveler
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part eight
Condos with Attitude
W
HAT would a Doo Wop
high-rise look like? As the
original Wildwood motel
builders did, we can look to Miami Beach
for inspiration. Not unlike Wildwood,
Miami Beach was booming in the postwar period. Many large new hotels were
built along the ocean, north of the smaller
(and back then unfashionable) art deco
hotels of South Beach. The pre-eminent
designer of these new hotels was the
architect Morris Lapidus. Lapidus created
fantasy environments
geared toward the newly affluent middle class.
His buildings, while highly modernist in massing
and fenestration, were
often adorned with thematic elements such as
birdcages with live birds,
regency-style interiors,
and highly decorative
lobby stairs to nowhere.
Lapidus was not
above piling on more
and more decoration, as
confirmed in this qoute:
“If you like ice cream, why stop with one
scoop; have three scoops, too much is
never enough. Enjoy, enjoy!”
Many of the original Wildwood motel
builders would winter in Miami, and come
back with ideas based on what they saw.
The Morey brothers, Will and Lou, were
particulary active in Wildwood in the ’50s
and ’60s. They designed and built numerous motels, including the Fantasy and the
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Satellite. Their crowning achievement
was the Pan American Hotel, which was
inspired by the Americana Hotel in Bal
Harbour (1956), by Lapidus.
The Pan American provided a complete beachfront resort experience
(similar to the new Miami Beach hotels)
including indoor corridors, elevators, a
circular swimming pool, a spectactular
lobby, and an adjacent restaurant.
Like the Americana, the Fontainbleu
Hotel (1954) and the
San Souci (1949), both
by Lapidus, inspired the
design of many Wildwood motels. “When
the hotel opened it became instantly famous,”
Lapidus said of the
Fontainbleu, his most
famous creation.
Indeed, the Fontainebleu was visited by
presidents, move stars
and gangsters – Frank
Sinatra and his cronies
were said to have the
run of the place. And it
quickly became one of
the most famous hotels in the world.
Today’s high-rise hotel or condominium can take inspiration from not only the
glamorous Lapidus hotels in Miami, but
also from newer buildings, such as those
designed by the architects Arquitectonica, whose stunning 1982 condomium, The
Atlantis, featuring a 37-foot cube cut out
of the center, was featured on the opening credits of Miami Vice.
OPPOSITE: The Fontainbleu (top) and the Sans Souci, two of Morris Lapidus’s
magnificent Miami Beach creations. ABOVE: The Atlantis condominium, in Miami.
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Concept Condo #1
THE WAVE
THIS project employs a “wave”
motif to create interesting interior
and exterior spaces for each of
the condo units on the floors
above. The base of the building
has several three story condo units
which have small yards that front
the main street. All the parking
for these units is behind them in
a structured garage with a single
entrance to the street.
Concepts by Anthony Bracali
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Concept Condo #2
THE POOL
CONDOMINIUMS can be successfully
integrated with Doo Wop architecture. This
project encloses an indoor gym and health
club in a “funky”, angular, glass enclosed
lobby. The base of the building has a lower
scale feeling since it is only two stories and
steps back at the condo tower above. The
parking is consolidated within a single lot
with one entrance that is screened from
the street. The stair and elevator tower is
a strong vertical element used to organize
signage. The horizontality of each floor is
expressed along the floor edges. The roof has
a deeper overhang to act as a cornice for the
entire building.
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Concept Condo #3
WATERWORLD
THIS hotel in inspired by the swooping,
dramatic sketches of Morris Lapidus. The
main hotel tower is conical and forms an
ellipse in plan. The lobby is on the main
floor of the tower and is ringed by a series
of gently sweeping walkways which allow
guests to move around the building and form
a carport at the entrance. The lower portion
of the building is traditional motel rooms with
balconies that front the streets. The interior
courtyard is raised from the street and has a
pool and bocce courts.
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Concept Condo #4
MARQUEE
THE “Marquee” employs major vertical
lines and a classic post-modernist
entrance element to create a large
scale gesture to the street. The condo
units in each floor above have living
spaces with windows that open onto
the marquee. Each unit has terraces
at the rear which face the ocean views.
The lower portion of the building (on
the left) is a traditional motel with
balconies that face the street. The
main entrance has a large lobby,
restaurant and night club to activate
the corner of the block. Parking for all
these units is consolidated behind the
building in garage.
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part nine
Doo Wop On The Cheap
T
HE Doo Wop style does
not have to be expensive or
complicated. Most of the
historic Doo Wop Motels were
built very inexpensively. The original owners would winter in Miami,
and would come back with ideas
based on the modern hotels they
saw there. They told their architects and builders to add these elements at little cost – one builder
coined the term Wildwoodize.
There are three elements can
that easily provide Doo Wop style
with little or moderate cost: Paint,
Lighting, Signage
Paint
The DooWop motels used paint
to highlight architectural features, decorate blank walls, and
further the theme of the building.
See DooWop resources for appropriate period paint colors,
however the more color, the better.
Doors and trim were typically
painted bold colors, thus creating an overall pattern to the façade.
Paint can be used on blank walls,
with simple blocks of color.
Painted stencil patterns are
cheap, and can create a wallpa-
I
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per effect
Lighting
Lighting was very important to
the original Doo wop motels,
setting a nighttime tone and further enhancing the theme.
Use colored lighting along balconies and walkways. While
colored light bulbs are harder to
find, color gels over modern compact fluorescent or halogen fixtures
offer a wide variety of colors.
Low lighting levels are important in public spaces, thus making it more comfortable to guests,
and not overwhelming signage, as
viewed from the street.
Translucent vinyl can be applied to simple plastic compact
fluorescent fixtures, thus making
the lighting fixture an architectural
feature, and furthering the theme.
Simple colored floodlights on
blank facades can turn the bland
into something unique, creating a
decorative wash of color.
Provide uplighting for plastic
palm trees, which creates a soft
glow at night.
Avoid pole mounted sodium
lighting, which creates harsh
shadows, and poor color rendition.
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Three-dimensional back-lit sign with fun typeface conveys a theme inexpensively
Signage
A Doo Wop motel is not complete without a neon sign. Many
have two signs, a primary, more
decorative sign, and a secondary,
more functional sign.
The neon sign should be the
primary element for conveying the theme of the motel, using
typeface, color, and images.
I
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Signage theme and colors should
also be used for informational
signs – office, parking, etc.
The room signs on doors are a
good place to further the theme
of the motel. Today’s technology allows for inexpensive custom
plastic signs in a variety of colors.
Graphics and photos can also be
incorporated into the sign at little
extra cost.
The
combination
of warm colors
on Beach
Colony’s
faceted wall
provides an
inexpensive
built-in
decoration on
a blank wall
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part ten
The 10 Commandments For
Creating A Doo Wop Motel
Take a simple two- to three-story bar or
L-shaped motel and add the following:
1
A name that evokes the ’50s
– The Rock-N-Roll Motel;
an exotic vacation spot – The
Caribbean Motel; or space age – The
Astro Motel.
2
pinks, baby blue, turquoise, sea
greens, for rails, doors, trim and the
drapes in the picture windows.
7
Create an interior color scheme
using a similar but more subtle
pallette and add Jetson decorations
and furnishings from the ’50s.
Create a wild and crazy high
reader sign with shapes and
typefaces that evoke the name, e.g.,
stars, planets, kidney shapes, and
lots and lots of neon.
8
3
9
4
10
Create a motel office, lounge, etc.
in the shape of some wonderful
wacky image, i.e., a spaceship, a beach
ball, a sailboat, etc. with lots of color,
glass and a decorative paint job.
Create a pool area with kidney
shaped pool surrounded by
bright green Astroturf, and wild and
crazy beach umbrellas and landscape
with plastic palm trees.
5
Create a colorful and distinctive profile for the balcony railings – S-curves, C-curves, the more
curvy the better.
6
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Create an exterior color scheme
made up of ’50s colors, e.g.,
Create a wild and crazy neon
roof sign in the style and typeface of the motel name and high
reader sign.
Create a decorative night lighting scheme, e.g. linear neon
fascia or eave lights, floodlighting,
and thematic, decorative fixtures in
the pool and parking areas.
And last, but not least,
pull this all together in an
idiosyncratic, original and crazy way
that clashes, jumps and jives!
From the Penn/Yale/Kent State Wildwood Study
1997-99. The Doo Wop Preservation League is
indebted to the students, professors and critics
who participated in the“Learning from the Wildwoods” research and design studios conducted by
the University of Pennsylvania, Yale University
and Kent State University, led by Steve Izenour,
Daniel Vieyra and Susan Snyder.
107
part eleven
Plants & Flowers
THE name Wildwood was given by Philip Pontius Baker for the dense twisted forest of
growth that covered the island. An early real estate brochure lists Wildwood Beach as,
“A veritable forest by the sea.” This list is from the Borough of Wildwood Crest Land
Development Ordinance, adopted 1992. It is to be used as a guideline only.
SHADE TREES
Acer pseudoplatanus
Acer Rubrum
Celtis occidentalis
Quercus phellos
Platanus acerfolia
Bloodgood
COMMON NAME
Planetree Maple
October Glory/Red Maple
Common Hackberry
Willow Oak
London Planetree
MINimum SIZE
12-14 ft
12-14 ft
12-14 ft
12-14 ft
12-14 ft
12-14 ft
FLOWERING TREES
Cornus Kousa
Magnolia virginiana
Amelanchier canadensis
Viburnum prunifolium
Malus floribunda
Prunus yedoensis
Kousa Dogwood
Sweetbay Magnolia
Shadblow Serviceberry
Blackhaw Viburnum
Japanese Crabapple
Yoshino Cherry
6-8 ft
6-8 ft
6-8 ft
8-9 ft
8-9 ft
8-9 ft
EVERGREEN TREES
Ilex opaca
Pinus strobus
Pinus thunbergii
Juniperus virginiana
Thuja occidentalis
American Holly
White Pine
Japanese Black Pine
Eastern Red Cedar
Dark American
7-8 ft
7-8 ft
7-8 ft
7-8 ft
7-8 ft
SHRUBS
Ilex glabra
Myrica pensylvanica
Prunus maritima
Viburnum dentatum
Pyracantha coccinea
Rosa rugosa
Rosa virginiana
Vaccinium corymbosum
Ilex crenada
Berberis gladwynesis
Inkberry
Bayberry
Beach Plum
Arrowwood Viburnum
Rutgers Firethorn
Rugosa Rose
Virginia Rose
Highbush Blueberry
Japanese Holly
William Penn Barbery
18-24 in
18-24 in
18-24 in
18-24 in
18-24 in
18-24 in
18-24 in
18-24 in
18-24 in
18-24 in
GROUND COVER
Cotoneaster dammeri
Juniperis chinensis sargenti
Rosa wichuraiana
Juniperus conferta
Bearberry Cotoneaster
Sargent Juniper
Memorial Rose
Shore Juniper
12-15 in
12-15 in
12-15 in
12-15 in
108
CLOCKWISE, from left: the Beach Plum, Red Maple, Crab Apple,
Red Cedar, American Holly and Virginia Rose
109
Glossary
Adaptive Re-use
Converting a building to a new
use, different from what it was
originally designed to be. A
good project retains its historic
character, while retaining the new
functions.
A-frame
A structural frame in the shape of
the capital letter A.
Bauhaus
Progressive school of arts
and architecture founded in
1919 Germany and birthplace
of the European Modernist
movement that emphasized bold
experimental geometric visuals
and typography.
3
Boomerang
Popular parabolic or amoebashaped design motif
“Building as sign”
Building where the shape, size or
color provides identification as
much as signage does
Bungalow
Small house or cottage usually
with a small front porch
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Cantilevered
Structure that projects or hovers
in space seemingly without
support from beneath
Carport
A covered automobile shelter.
One or more sides are open to the
weather.
Clerestory
Windows which are above normal
ceiling height and project into
roofline
De Stijl
Design style that uses asymmetry
and rectangles, term derived from
1930s Netherlands school of
decorative arts
Doo Wop
The seashore architecture of
this era that reflects the spirit
of the people: brassy, bold and
boastful. The motels, diners, gas
stations and other commercial
buildings present a varied and
exaggerated spectacle of designs.
Signage was considered crucial for
attracting the passing motorist
and grabbing attention from
one motel to another. Angular
D
elements, space-age imagery,
tropical themes, and colors,
with spectacular neon signage
turning up the volume even more,
combine to form a fantasyland
atmosphere. The name pays
homage to the great cultural force,
a type of rock and roll music at
the time.
Facade
The exterior face of a building
which is the architectural front,
often distinguished from the
other faces by elaboration of
architectural or ornamental
details.
False front
A front wall that extends beyond
the sidewalls of a building to
create a more imposing facade.
Faux
False (Fake)
Fins
A thin flange projecting outward.
Googie
Coffee shop Modern architectural
style characterized by space-age
graphics, widely angled lines,
fanciful motifs; term derived from
Googie’s coffee shop, designed by
John Lautner
Glazed brick
Brick having a ceramic glaze
finish.
Infill
The use of vacant land and
property within a built-up area
for further construction or
development, especially as part of
a neighborhood preservation or
limited growth program.
Interior Lit
Signage in the which solid letters
are illuminated by obscured light
fixtures.
International
Style characterized by clean, bold
lines and geometric forms; lack
of ornamentation or texture; and
steel, glass or reinforced-concrete
construction.
Jalousie
A shutter or blind with fixed or
adjustible slats which exclude rain
and provide ventilation, shade,
and visual privacy.
Jalousie Window
A window consisting of a
series of overlapping horizontal
glass louvers which pivot
simultaneously in a common
frame and are actuated by one or
more operating devices so that the
bottom edge of each louver swings
toward the exterior and the top
edge swings toward the interior
during opening.
Jet age
See space age.
111
Jetsonian
Term used to describe futuristic
fantastical architecture envisioned
on the 1960s animated television
show. Very similar to the built
world of Wildwood, NJ.
Kidney shaped
Usually a swimming pool shape
like the human organ or bean.
Y
Kinetic
Refers to signage with motion
Mid-century modern
The term mid century modern
refers to the work of the
generation of young architects
who emerged from American
universities in the late 1940s.
They were taught by the leading
modernists of the 1920s Bauhaus:
Walter Gropius, Josef Albers and
Marcel Breuer. Characterized
by the architecture of space, the
unity of arts and architecture,
the new vision of abstraction
in the visual arts and the
new technology of structural
engineering and industrial design.
Miesian
Minimalist geometric shape, term
is derived from the sparse style of
architect and designer, Mies Van
der Rohe
Moderne vs. Modern
Moderne refers to an Art Deco
style which has a streamline look
and pre-dates Modern; Modern
refers to mid-century postwar
style
Mondrian
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Broad flat areas of color
reminiscent of the Modern
painter, Piet Mondrian, who used
color similarly
Pagoda
A multistoried shrine-like tower.
Parabolic
Curved in a way that is not
symmetrical
Populuxe
Author Thomas Hine coined
this term for the hopeful designs
of the ’50s and ’60s fashion,
furniture, architecture, and
automobiles which were linked to
mass-production, space-age, rock
+ roll, and a nation in love with
car culture.
Porte cochere
Covered or shelter entryway for
vehicles, from French means
carriage porch
Portico
Exterior building element that is
supported by columns
Postwar
Historic period after the end of
World War II in 1945, usually
extended to the 1960s.
Roadside
Structures, signage or other
elements that are designed
primarily to attract the passing
motorist
Space age
Also called jet age, technology
innovation in air travel, satellites
and eventually moon travel
translated into Modern motif.
Sputnik
Popular space age design
embellishment that looks like a
starburst with wheel spokes and
balls on the ends; associated with
progress and named after the
Russian satellite launched in the
late 1950s
Sun Deck
A roof area, balcony, open porch,
etc. which is exposed to the sun.
Tiki/Polynesia
Design motif first popularized by
GIs stationed in the South Seas
during World War II; just before
and immediately after Hawaii
first became the 50th state in
1959, a Polynesian frenzy took
place, often reflected in postwar
architecture and motif
Veneer
A thin sheet of wood that has
been sliced, rotary cut, or sawn
from a log; one of several plies
for added strength or as a facing
material on less attractive wood.
An exterior wall facing (brick,
stone,etc.); provides a durable
decorative surface but is not load
bearing.
1
Tropical themed
Motels with reference to locations
with a proximity to the equator.
Morris Lapidus a Florida architect
designed many glamorous hotels
in Miami Beach had a great
influence on motel design.
qAPPENDICES
The following information will be on our website, www.doowopusa.org:
RELOCATION OF HISTORIC BUILDINGS & BIBLIOGRAPHY
113
Resources
Signage
ABS Signs, 3008 Park Avenue,
Wildwood, NJ 08260, (609) 522683
www.abssignco.com
Ultra Neon, F.D. Musso,
Wildwood, NJ 08260, (609) 5234255
Lighting
Moonshine Shades (lampshades)
(214) 827-2211
www.moonshineshades.com
LavaWorld (lava lamps)
(773) 237-5700
www.lavaworld.com
City Sign, 424 Caredean Drive,
Horsham, PA 19044, (215) 4421323
Clothes
Daddy-o’s, 888-900-1950
www.daddyos.com
Plastic Palm Trees
Four Sons Custom Palm Trees
Inc., 800-223-2051
Gift Items & Accessories
Tropical Expressions Inc.,
(732) 889-1733
www.tropicalexpressions.com
Fifties Fabric
Melinamade (fifties
reproductions) (415) 902.8460
www.melinamade.com
Pillow Fiesta (pillows made from
vintage fabrics) (941) 379-6377
www.pillowfiesta.com/
Retro Furniture
Circa 50 (butterfly chairs)
800-247-2250
www.circa50.com
Modernica (classic reproductions)
(212) 219-1303
114
Chiasso (modern furniture,
accessories) 800-654-3570
www.chiasso.com
Umbra (modern furniture,
accessories) www.umbra.com
Do-wah-diddy (602) 957-3874
www.dowahdiddy.com
Cruising USA (retro stuff)
800-444-1685 www.cuisinusa.
com
Vintage Vending (retro vending
machines) 888-242-6633
www.vintagevending.com
Doo Wop Shop at Moreys Pier,
Schellenger Avenue, Wildwood.
(unique retro gifts and
accessories)
(609) 884-5404, ext. 133
LEFT: Retro fittings at the lobby bar at the
Starlux. Photo by Julie Marquart
115
doowop
How to
THE Wildwoods-by-the-Sea Handbook of
LDesign
Guidelines was produced and published
by the Doo Wop Preservation League. It is
intended to provide an educational resource to
the community.
L
THE book celebrates the rich history of
the Wildwoods, and seeks to promote an
understanding of that history.
Our team of architects, planners and
Lpreservationists
have compiled information
and advice on how to manage an historic
Photo by Julie Marquart
116
building, and how to construct new buildings
that complement the character of the giddy
collection of Doo Wop architecture that has
earned this island international recognition.
is our ultimate hope that these guidelines
LwillITinspire
residents to appreciate the great
cultural treasures in our community.