Group Title: Florida Caribbean architect
Title: FloridaCaribbean architect
Full Citation
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 Material Information
Title: FloridaCaribbean architect
Alternate Title: Florida Caribbean architect
Physical Description: v. : ill. (some col.) ; 28 cm.
Language: English
Creator: American Institute of Architects -- Florida Association
Publisher: Dawson Publications,
Dawson Publications
Place of Publication: Timonium Md
Publication Date: Summer 2002
Copyright Date: 1997
Frequency: quarterly
Subject: Architecture -- Periodicals -- Florida   ( lcsh )
Architecture -- Periodicals -- Caribbean Area   ( lcsh )
Genre: periodical   ( marcgt )
Dates or Sequential Designation: Vol. 44, no. 1 (spring 1997)-
Issuing Body: Official journal of the Florida Association of the American Institute of Architects.
General Note: Title from cover.
General Note: Issues have also theme titles.
 Record Information
Bibliographic ID: UF00004635
Volume ID: VID00020
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: ltqf - AAA5904
ltuf - ACJ1464
oclc - 36846561
lccn - sn 97052000
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Preceded by: Florida architect

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16 18 23
contents, summer 2002
BRPH Companies 14
Fleischman Garcia Archi tects 16
Bermudez Delgado Dfaz 18
Alain Valdes 19
William Morgan Architects 20
RS&H (Reynolds, Smith and Hills, Inc.) 22

Cover photo ofempLoyee caft in RS&H's ADTAccount Service Center in j acksonvilLe. Photo by RS&H.
florida / caribbean ARCHITECT summer 2002


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The new main library for the Ciry of Clearwater will be 90,000 square feet including a cafe, gift shop, children's area teen area, adult services and flexible meeting room space. The building, which was design ed by Robert A.M.Stem in association with Harvard JoUy C1ees Toppe Architects, will cost an estimated $ 14 .5 million. It is currenrly in design phase and scheduled for completion in 2003.

The new CLem'water Library designed by Robert A.M. Stern in association with Harvard joLly CLees Toppe

Slattery and Associ
ates Architects Planners have retail, restaurant and luxury high-rise tional Airport. The design of the
designed the Pine Ridge Commons residential space. The project includes 67,288-square-foor project will be led
Office Center in Naples, Florida. The 55 Miracle Mile, a four-story retail/ by Thomas K. Rensing, AlA.
39,000-square-foot, three-story execu restaurant and office complex and
tive office center contains executive One Aragon, a 15-story retail, park Schwab, Twitty & Hanser Archi
suites with full corporate suppOrt fa ing and luxury residential rental tects (STH) is designing the world
cilities including conference rooms building. T he rwo buildings will be headquarters for Arthrex, Inc. The
and teleconferencing facilities. T he connected at ground level by a Euro company develops and markets prod
project is due for completion in sum pean-sryled pedestrian street that will uctS for arth rosco pic and
mer 2002. function as a space for ourdoor din minimally-invasive orthopedic surgi
ing and gathering. cal procedures and provides
Dorsky Hodgson + Partners educational services for orthopedic
(DH+P) has been named Architect of The team of The Auchter Com surgeons. Anhrex wiU consolidate all
Record for a $57 million mixed-use pany, 5teinemann & Company and of its functions in the new 130,000
development that will revitalize the KBJ Architects Inc. was selected by square-foot faciliry to be located at
eastern gateway to Coral Gables famed the Jacksonville Airport Authoriry to Creekside Commerce office park
"Miracle Mile." The Mediterranean design and construct the new $6.8 north ofdowntown Naples. The rwo
style, two-building complex will million Administration Building at story, V-shaped complex will include
include 309 000 square feet of office, the entrance to Jacksonville Interna class-A office space and warehouses.

floridD. / caribbean ARCHITECT summer 2002

The Robert G. Cunie Partnership, architects and planners in DeLray Beach, is providing design and architecturaL services for renovation and addition to the Jupiter Theatre, fonnerLy known as the Burr Reynolds Dinner Theatre. Theproject wiLL have a dramaticaLly redesignedfacade, the addition of balcony seating, and a new Studio Theatre for chiLdren's productions.
ADD Inc Architecture Interiors Planning, with offices in Miami, Cambridge and San Francisco, has contributed $3,000 to Florida International University's (flU) School of Architecture Lecture Series Program. FlU 's Lecture Series encompasses all areas of design and has been active for the past 20 years. The lectures are directed to both the University and the general public which they benefit by bringing prestigious architects and designers from all regions of the USA, Europe, the Caribbean and Latin America. ADD Inc has donated a total of $30,000 to charities and institutions, including gifts to one design school in each city where the firm has an office.
Urban Studio Architects, Inc. IS the recipient of the local 2001 TOBY Building of the Year Award for Huntington Plaza. The award is presented by the Greater Tampa Bay Building Owners and Managers Association (BOMA). The award recognizes the top building in the category ofless than 100,000 square
feet. Huntington Plaza has been a repeat winner for the past three years.
Wessel Associates AlA, a fullservice architectural firm, has been awarded the 2001 Gold Award at the Gold Coast Builders Association Prism Awards for new homes over $750,000. Wessel Associates is a division ofPeacock + Lewis Architects and Planners, Inc.
florida / ca.ribbean ARCHITECT summer 2002

BRPH Companies melbourne, florida
]DS Uniphase Industrial Assembly and Office Building, Melbourne, Florida
Challenging sire co ndirions and a client imperarive rhar rhe faciliry musr be highly flexible and efficient creared an industrial building rhar has been twice cired fo r design excellence. The client's demand for a world-class producrion facili ry combined wirh innovarive office areas produced a two-story building rhar reflecrs rhe client's high rech business. Funcrional spaces had to sarisfy rhe goal of promoring employee interacrion as well as be efficienr and cosr-effec rive. Sire condirions required rhe arch i recrs to reroure a major drainage canal and con ([ucr a portable bridge over a brirtle 40-year-old old ciry warer main. Since the projecr had to be designed around an abandoned city landfill, rhe sire required subsurface explorarion for possible co nramlnatlon.
T he firsr phase of construcrion of the ]DS U niphase Building houses rhe company's industrial funcrions including assembly of fiber opric rransmitter and receivers for rhe teleco mmunicarions industry. Second floor offices are for order raking, shipping, purchasing and support services.

Phoros, Top: South elevation showing main entrance with entry canopy; Above: Northeast side of buildingfocing the canaL. Facing page, Top: Lobby stair, handrails, lighting and jilmitllre echo the high tech product that is produced in the building; Middle: Typical second floor office units can be easiry rearranged as necessary_ ALL photos by Raymond Martinot; Bonom: First floor p/,an courtesy of the architect.
florida / caribbean ARCHITECT summer 2002

FleischmanGarcia Architects tampa, florida
Centro Ybor Parking Garage, Tampa, Florida
The Ybor City Historic District in Tampa was listed on the National Register of Historic Places in 1975 and has long been recognized for its cultural and architectural importance. F1eischmanGarcia's new parking garage is located in the midst of this Latin-based community which has undergone extensive revitalization over the past 15 years. The extreme challenge of the project was to design a parking structure, on one city block, that could accommodate 1,200 cars and still relate to the scale and detailing of the surro unding buildings.

The architecture in the Ybor City District consists mainly of two-and-three-story brick commercial buildings dating from around the turn of the century. The building volume required to accommodate 1,200 cars ini tially resulted in an imposing eight-story structure that would have been out of scale with the surrounding buildings. In order to achieve a more aesthetically-pleasing building, several design solutions were implemented that enabled the height and general massiveness of the building to be reduced.
A portion of the ground floor was constructed partially below grade, minimizing the overall height. The top, or transfer level, occupied only the center portion of a typical level plan, resulting in a building that is effectively only six stories. The fa<;:ade on the three lower levels emulates the materials and detailing of the historic buildings in the vicinity. Showcase windows were strategically placed at street level with displays supplied by local merchants. T his gives the garage a nostalgic quality reminiscent of commercial store-
ELevator towers also function as clock towers on east and west comers ofthe building.
florida / caribbean ARCHITECT summer 2002

Bermudez Delgado Diaz san juan, puerto nco
Rehabilitation of Mus eo de San Juan, San Juan, Puerto Rico
The objeotive of this rehabilitation was threefold, namely to create an appropriate image for the museum, to p repare one of its halls for a permanent exhibit depicting the history of the Ciry of San Juan and to prepare two additional halls for temporary exh ibitions.
Built in 1853 as the Old San Juan Marketplace and later adapted to use as a museum, the structure has undergone extensive repair work and major improvements have been made to the lighting and mechanical systems. The opening up of interior spaces to accommodate aU rypes of exhibitions was a gesture that heightened the sense of space and emphasized the roof trucrure of th e building.
As in all responsible restorations, it was of the utmost importance to respect the original personaliry of the building. The architect avoided the imposition of personal sryle preferences and stressed the existing building vocabulary using a bold color scheme.
Project Credits: Eduardo Bermudez, AlA: Arch. Omayra Medina; Hector Babilorua and Associates, Mechanical Engineer; Jose Espinal and Associates, Structural Engineer; Carlos J. Ortega and Associates, Electrical Engineer; Edificadora, General Contractor Carimar, Exhibition D esigners.
Pho[Os, [Op: Main entrance to MlISco de San Juan with view into the courtyard; Above: Gallery was designed as part 0/the museum's rehabilitation to accommodate a permanent exhibition showing the history o/the City o/San Juan. Photos by Max Toro.
florida / caribbean ARCH ITECT sum mer 2002

William Morgan Architects jacksonville, florida
Lambertson House, Atlantic Beach, F'lorida
The Lambertson House is one ofsixty projects by William Morgan, FAIA, that will be published this summer in an Images'Master Architect Series monograph entitled William MOI'gan: Selected and Current Works, Books in this series include the works ofSir Norman Foster, Cesar Pelli, SOM, Murphy/Jahn and other internationally-recognized architects, The text for the monograph, including the description ofthe Lambertson House, below, was written by Robert McCarter, former Director ofthe University ofFlorida's School of Arch i tecture.
"Sited several hundred feet from the beach and closely surrounded by neighboring dwellings, this house develops a complex play of volumes on the street side to the sourh, taking advantage of the generous sunlight and greater privacy, forming a deeply shadowed and elegantly proportioned entry far;:ade. At the right lower corner a vertical recessed volume reaches from the ground at the carport to the setback dining room window above, matching the twostory volume carved in the upper left co rner, housing the porch and overlooked by the studio-bedroom at the top. A central stair with walls of glass block rises through the house and culminates in a small observation deck recessed into the roof, with views above the surrounding forest. Ground floor children's bedrooms may be accessed directly from the yard for bathers returning from the nearby beach. The second floor houses the porch, living room, kitchen and dining room, all of which look out through the overlapping double-height volumes to the south. The third floor is Lshaped in plan, the two bedrooms wrapping around the upper volume of the porch. The light and shaded views provided by the south far;:ade allow the other three elevations to have only small windows, maintaining a surprising degree of privacy for the occupants." -Robert McCarter

View ofthe house from the southeast and interior view Olltfrom the kitchen. Photographs by George Cott Chroma Inc,

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Drawings, left ro righr: First, second, third floor and penthouse floor plans courtes), ofthe architect.
20 florida / caribbean ARCH ITECT
summer 2002

RS&H (Reynolds, Smith and Hills, Inc.) jacksonville, florida
ADT Account Service Center, Jacksonville, Florida
Computer modeling was used to develop this state-ofthe-art call center for ADT. The program required the 55,000-square-foot space ro accomodate a staff of 400 along wi th ancillary support spaces and parking on a suburban site. Design goals included the creation of a work environment that recognizes the inward-focus of call cen ter operations while providing sunlight and views to the outside. As a result, the building's major feature is its ligh t, airy and efficien t openoffice work area.
T he building was designed from the inside out, beginning with the needs of the individual workstations. Long span joists provided columnfree space for the layout of the workstations. In the open office area, employees are organized into teams of 20 and the "team" became the basic design module for the space. Structural bays, ceiling and lighting design followed the same concept. Circulation patterns divide the main room inro quadrants with administrative spaces at the front and computer and technIcal support spaces at the rear of the building.

As the plan evolved, the open study/conference rooms. The office call area was placed at the exterior courtyards provide a center of the building flanked by buffer between parking lot and landscaped courtyards and ameniwork areas. ties such as cafe/breakroom and The building skin is primarily
florida / caribbean ARCHITECT sum mer 2002

The Business of "Getting the Business"
Robert A. Koch
The marketing of a1'chitectural services is a business within a
business. It requires education, effort and attention. In a rapidly expanding world where the Internet and video phone conferencing are routine, PI'ofessional selection no longel' has tel'1'itorial boundaries. Practitioners no longer compete f01' jobs within a 1OO-mile radius ofthe office. Architecture is a global
To compete in this exp anded mm'ket requh'es a w01'ld-cLass effort that can, and should, be just as effective with a one-man/woman office as a 500-member f i rm. Company size may be ofsome value, btlt it isn't essel/tiaL. To day's technology aLLows any fj,'m to present an image of quality and content. The difference lies in how weLL an architect connects with a potential client -how weLL they identify with the client's needs and values.
The process ofgetting the sale is a dynamic one. It wiLL become even more so in the future. Ifarchitects m'e to control their own destinies, they must commit to engaging in malket effectiveness.

An architect's formal education focuses on the technical and creative aspects of the profession. The remainder of the designer's career is spent seeking the knowledge and skills needed to survive and succeed in the practice of architecture. Success in the practice of architecture demands a fundamental ability in business, including sales and marketing, accounting, policy making, human resources management and entrepreneurialleadership.
Getting the Business

Getting selected as a designer requires a multitude of skills that differ from those needed to sell a solution. The difference is that they focus on the "promise," not the deli verable. They seek an investment in trust on the part of the potential client. Dissecting the mission of this objective, and looking at its functional components, is the first step in understanding how to successfully market your fi rm. Gather as much information about the client and the project as possible and then evaluate the project and set reasonable goals. Promote the opportunity for third party endorsements. Constan tly evolve. The market isn't static and neither is your competition. Remember, the joy of a great design will be yours only if you first GET THE JOB!
The best way to get selected is to know about an opportunity before the competition. Even in the public sector, where selection processes occur on a level playing field, advantages flow to those who are ahead of the curve. Nerworking is by far the best tool. Private conversations sharing non-competitive positions and independent information are your best sources. Nerworking is not only a source of strategic information, but it provides an early awareness that allows for preemptive presentations directed at the future before decisions are made. Once you know about an impending opportunity, you can strengthen and refine the specifics by learning about the project and who will be making the decisions. Once the grading system has been determined, your response can be groomed to that standard.

Know the Client's Business

Too often design professionals suffer from the Pre-Copernicus attitude that "Architecture is the center of the universe and all else revolves around it." T his false, if not arrogant attitude, will doom you to failure.
To market effectively, architects must understand one fundamental truth -that the decisions they make are part of, and have an affect on, the larger agenda. They must be able to discuss the client's business and be perceived as a peer and not as a vendor. This requires learning about the client's business, its dynamics, its competitors and its vulnerabilities.


Specialization in selected areas of practice will promote the firm's rate of growth and limit the amount of research necessary for each project. Multiple specialization may require multiple marketers representing the
florida / caribbean ARCHITECT summer 2002

Hurricane-Resistant Building Design in the Caribbean and Florida
Paul A. Zilio, P.E.
The nation's top long-range weather forecasters are predicting above-average activity for the 2002 hurricane season, the tenth anniversary of Hurricane Andrew, the costliest natural disaster to strike the United States. Though incredibly destructive, Hurricane Andrew did afford skilled investigators a particularly unique opportunity to study and document t11e effect of high winds on structures.
Although the United States has been spared hurricane landfall ince Hurricane Irene drenched So uth Florida two years ago, the start of hurricane season is a good time to remember how critical hurricaneconscious design is to protecting the public from property damage, personal injury and even death.
Of all of the recurring forms of natural disaster, such as flood, fire, tornado and earthquake, hurricanes offer the greatest potential for widespread damage. High winds are often accompanied by Storm surge, torrential rains, flooding and spin-off tornadoes, along with secondary dangers following passage of the storm, such as power outages, downed power lines, polluted water supply and the saturation of building interiors with salt and water.
Hurricane winds apply positive pressure that pushes against the windward side of a building and negative pressure that applies suction and pulls the building on the leeward side. As these winds pass over buildings, mey produce a force that can lift me roofs off buildings. Wind entering the structure through broken doors and windows can add to mis lifting effect. In fact, a review of damage to most buildings from recent hurricanes in the aribbean and Florida showed that roof failure was the primary damaged element, leading in ome cases to the complete collapse of the walls.
Wi nd forces are also cri tical to the proper designing of exterior cladding. While t11e architect is normally the professional with expertise regarding the performance of cladding, the structural engineer is the one wim intimate knowledge of wind pressures and behavior. Engineers review the architect' specifications for doors, windows, curtainwall, storefront and other critical exterior cladding elements and mey generally present design load criteria in meir structural notes. It is recommended that architects reference these to ensure that structural design criteria are correct and that the applicable code is specified.
Hurricane-resistant solutions like load-bearing reinforced masonry walls, concrete floor ftaming systems and a flat concrete sub roof supporting a sloped steel roof offer several levels of protection from hurricanes. Reinforced masonry is capable of resisting wind forces born against and alo ng the wall, and of providing superior impact resistance. This, coupled with concrete floors, yields a heavy building resistant to uplift forces without special connections or tension piles. The concrete sub roof provides an additional water barrier in case the teel roof is damaged, as well as acting as a roof diaphragm and adding extra weight.
These techniques have proven their merit through such storms as Hurricane Marilyn, which struck the Wyndhanl Sugar Bay Beach Club and Resort in St. Thomas with 115mph winds in 1995, and Hurricane Georges, which hit the Four Seasons resort in Nevis of the West Indies with 115 to 125mph winds in 1998. The result has generally been minimal or no damage to the structure, with varying degrees of damages to cladding.
The Development of Building Codes
The basis for wind design is the governing building code. At its inception in 1957, the windstorm related requirements of the South Florida Building Code, which governed Miami-Dade and Broward Counties, were considered the finest in the nation. In 1988, me American
jloridn / caribbean ARCH ITE T summer 2002


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forida / caribbean ARCHITECT summer 2002

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Buyer's Guide

Architecrucal Coatings Duron PaintS & Wallcoverings (17-20) ........... 6 Architectural Foam Products Foam Concepts Inc. (17-22) ......................... 29 Arch.itecrucal Photography Michael LaGrand Photography
(17-25) ...................................................... 29 Arch.itecrucal Rendering Genesis Studios (17-35) ................................ 36 Associations Florida Concrete & Products Assn.
(17-2 1) ...................................................... 32 Audio Visual Equipment & Servicing Audio Visual Innovations (17-12) ................. 35 Audio Visual Systems Design & Installation Audio Visual Innovations (17-12) ................. 35 AutoCAD Software CADD Centers of Florida (17-13) ................ 28 Digital Drafting ystems (17-19) .................. 28 CAD 0 Digital Drafung ystems (17-19) .................. 28 CADD Services CADD Centers of Florida (17-13) ................ 28 Digital Drafung ystems (1 -19) .................. 28 Carpet Carpet & Rug Institute (17-15) .................... 29 Construction Managers Pavarini Construction (17-27) ...................... 30 Dimensional Graphics and Signs Creative ArtS Unlimited, In c. (17-17) ..... ...... 30 Doors PGT Industries (17-29) ............................ OBC
outhwest Door Company (17-31) ............... 30 Doors &WIDdows Caradco (17-14) ............................................. I Drinking Fountain.s Most Dependable Fountains (17-26) ............ 33 Educational Seminars Florida Concrete & Products Assn.
(17-21) ................................ ...................... 32 Employment Agency ArchiPro Staff Agency Inc. (17-10) ............... 29 EnvironmentalllAQ Carpet & Rug Institute (17-15) .................... 29 Finishes -Inte.rior & Exterior Duron Paints & Wallcoverings (17-20) ........... 6 Fire Retardant/Treated Wood Archwood Protection (17-1 1) ... .................... 33 Floors Pella Windows (17-28) ............................... IF General Contractors Creative Contractors (17-18) ........................ 35 Pavarini Construction (17-27) ...................... 30 Glass VlRACON (17-33) ...................................... 30 Glass Block Glass Masonry Inc. (17-23) .......................... 29 Hardware Southwest Door Company (17-3 I) ............... 30 Impact Resistant Glass Caradco (17-14) ............................................. I Insulation Foam oncepts Inc. (17-22) ......................... 29 Insulation -Spray/Pour 10 Place Foam ICYNE E 07-24) .................................... IBC Insurance Collinsworth, Altet. Nielson, Fowler, Dowling
Inc. (17-16) ............................................... 13 Suncoast Insurance Associates. Inc.
(1 7-32) ........................................................ 8 Multimedia Systems Design & Installation Audio Visual Innovations (17-12) ................. 35 Museum Exh.ihits and Caseworks Creative Arts Unlimited. Inc. (17-17) ........... 30 Outdoor Water Products Most Dependable Fountains (17-26) ............ 33

jlorido / cflribbefln ARCHITECT summer 2002

Paints -Interior & Exterior Duron Paims & Wallcovering (1 7-20) ........... 6 Pella WindowsfDoors Pella Window (1 7-28) ............................... IFC Photography Michael LaGrand Photography
(1 7-25) ...................................................... 29

Pre-Contractor Services Pavarini Consuuction (17-27) ............... ..... 30 Professional Liability Collinsworth, Alter, Nielson, Fowler, Dowling
In c. (\7-16) .............................................. 13 Suncoasr Insurance Associates. Inc.
(17-32) ...................................................... 8

Protective Glazing VIRACON (17-33) ................................... 30 Resorts The Resort ar Longboat Key Club
(17-30) .... ...... .. .. .......................... 13

Rugs Carpet & Rug Institute (17-15) ............. .. 29 Security Wtndows Traco (17-34) ....................... .. ........ 2 Showers Most Dependable Fountains (17-26) .......... .. 33
Staffing Services ArchiPro Staff Age ncy Inc. (17-10) ............... 29 Stucco & Plastering Foanl Concepts Inc. (17-22) ........................ 29 Temporary Agency ArchiPro Staff Agency Inc. (i 7-10) ... ............ 29 Themed Interiors -Museums fRestaurants.Retaii
Stores -Fixtures and Display
C reative ArtS Unli mired, Inc. (17-17). .. .. .. 30
Trade Shows & Exhjbits
Florida Concrete & Products Assn.
(17-2 1) .. ..... ................... .... .. .. .. .. .. 32

PeUa W indows (17-28) ................ .. IFC PGT Indusuies (17-29) ............. OBC Southwest Door Company (\ 7-3 1) ............... 30 VIRACON (17-33) ................................... 30 Wtndows & Doors Caradco (17-14) ............ 1 Traco (17-34) ..... 2 Weather Shield (17-36) ............................... 4-5 Wood -Fice Retardant/Treated Armwood Protecrion (17-\1) ...................... 33
Index to Advertisers
ArchiPto Staff Agency Inc. (17-10) .... ............ 29
Archwood Prorecrion (17-11 ) ........................ 33
Audio Visual Innovations ( 17-12) .................. 35
CAD 0 Cemers of Florida (17-J3) ................. 28
Caradco (17-14) .............................................. \
Carper & Rug Institure (17-15) ..................... 29
Collinsworth, A1rer, Nielson, Fowler, Dowling

Inc. (17-16) .............................................. 13
CreativeArrs Unlimited, Inc. (17-17) ............ 30
Creative Comractors (1 7-18) ......................... 35
Digital Drafting Systems (17-19) ................... 28
Duron Paims & Wallcoverings (17-20) ............ 6
Florida Concrere & Products Assn.

(17-21) .......... ........... .. ....................... 32
Foam Concepts Inc. (17-22) .......................... 29
Ge nesis 0 7-35) ............................................. 36
Glass Maso nry In c. (17-23) ........................... 29
ICYNENE 07-24) ...................................... IBC
Michael LaGrand Photography (17-25) ......... 29
Most Dependable Foumains (17-26) ............. 33
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florida / caribbean ARC HITECT summer 2002

Florida Association of the American Institute of Architects 104 East Jefferson Street Tallahassee, Florida 32301
2001 FA/AlA Officers President Enrique A. Woodroffe, FAlA President-elect Bi ll Bishop, AlA Secretary/lrreasurer Blinn Van Marer, AlA Vice President/Communications Javier Cruz, AlA Vice President/Professional Development Vivian O. Salaga, AlA Vice President/Legislative & Regulatory Affairs James Ruyle, AlA Regional Director Larry M. Schneider, AlA Regional Director Jerome Filer, FAlA Immediate Past President Miguel "Mike" A. Rodriguez, AlA Executive Vice President
R. Scon Shalley, CAE
Publisher Denise Dawson Dawson Publications, Inc. 2236 Greensp ring Drive Timonium, Maryland 21093 410.560.5600 800.322.3448 Fax: 4 10. 560.5601 Editor Diane D. Greer Sales Manager Dave Patrick Sales Representatives Drew Fraser, Thomas Happel, Joyce Fink Graphic Design Mike Horgan Printing Boyd Brothers Printing
Florida Caribbean Archirect, Official Journal of the Florida Association of the American Insriture of Archirects, is owned by rhe Association, a Florida corporarion, nor for profit. ISSN-OOI 5-3907. It is published four times a year and distributed through rhe office of rhe Association, 104 E. Jefferson Srreet, Tallahassee, Florida 32301. Telephone 850.222.7590.
Opinions expressed by contributors are nor necessarily those of AlA Florida. Editorial material may be reprinted only with the express permission of Florida Caribbean Archirect. Single copies, $6.00; Annual subscriprion, $20.00
florid4 / caribbean ARCHITECT summer 2002
Editorial! diane d. greer

In March, each member of AlA Florida received a Magazine Survey via the Friday Fax. Forty-four members responded. The intent of the survey was "ro evaluate the value and substance of the Florida/Caribbean Architect magazine." Forty-four responses only represents fWO percent of the rotal membership 0 the information the survey produced may not be representative of the majority view. However, it's all I have ro go on, so in a nutshell, here is what I learned.
Only 26 of the respondents have ever submitted material for publication. Why not? Most said their projects were not suitable for publication. I wonder about this. Not suitable in what way? Through the years, I have published every type of projeCt from doghouses ro rool sheds and bus covers. Since I would hope the respondents are not referring ro quality, I can only assume the projects are unsuitable in terms of [he available visual representation, i.e., phoros and other graphics. On this point, I would like ro clarify something. It's true [hat [he quality of the phorography submitted is a determinant of what is selected for publication. Snapshots, Polaroids, blurry phoros, etc. make bad layouts and lower the quality of the magazine. Now, however, I am accepting electronic images via email or on CD or disk which should make things easier for everyone. Professional 4x5 transparencies are ever the best in terms of quality reproductions, or slides, but there are alternatives.
I am aware of the fact that the magazine has a regular foLlowing in terms of those firms and practitioners who regularly submit work for publication. It distresses me that there are so many of you I have never heard from. As I travel around the state, I see many new buildings that I would be interested in publishing but have had no information about. Press releases are a good source of info, but only if they are accompanied by a phoro or drawing. Again, only a small percentage of you are gerring the word out about your work via press releases. Too bad because you are your own best spokesperso n!
Generally, [he responses were positive and the criricisms were mild. Several members indicated that the magazine should be bigger and issued more often. Frankly, that suggestion makes me happy and maybe we can accomplish it sometime soon. Other people objected ro the placement and number of ads or that we run ads at all. On the plus side, everyone responded in pretty much the same way ro the question, "What do you like most abour the magazine?" This produced responses about the beautiful phorography, the regional quality of the work, and, I'm happy ro say, the edirorials.
Ofgreat interest ro me was the number of respondents who mentioned that they would like ro see more articles about art and architecture and specifically, public art programs. Travel and technical articles were also referenced, so I'll take this opportunity ro solicit these pieces from you, the reader. But, the rop responses ro "what do you want ro see in the magazine?" were articles about 1) architecture and 2) interior design.
One good suggestion related ro the Work-in-Progress section in the front of each issue. The suggestion was ro publish only phoros of the work with identifying captions, but no copy. This would permit more projects ro be published in the space allocated. This is a good idea and I will begin immediately ro implement it.
"Who should receive the magazine?" produced similar responses from everyone. Clients, potential clients, government officials, libraries, and contracrors ... basically anyone who buys architecture or uses the services of an architect should get the magazine. Some of these categories are already being targeted and others will be added. Some we cannot address. In the private secror, only you know who your clients or potential clients are. Upon request, we will provide you with extra copies of the magazine ro send ro those people or you can always order reprints. Or you can buy subscriptions for clients.
In conclusion, I want ro reiterate a few important things. Submit, submit, submit! I want ro see feature material and work-in-progress. Send phoros, transparencie or electronic images. No project is roo small. Send technical articles, real experiences, travel articles, anything of interest ro other architects.
I look forward ro hearing from you.

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President's Message / Enrique A. WoodroJfe, FAIA
"Design -Design" was the theme at the 2002 AlA National Convention in Charlotte, North Carolina. "Design -Design" emphasized and reinforced the architect's responsibility for providing services promoting good design to clients. As noted by the convention's keynote speakers, "listening to the client in order to deliver good design is a key element in an architectural practice." Tom Peters, a national management consultant, talked about globalization, technology and the need to recognize that we must expand our horizons and include proper management and service that reflect changes in business and delivery systems. Hugh McColl, former CEO of Bank of America, discussed translating a client's needs into reality by finding and providing creative solutions through responsive service which ultimately meets the need for good design. AIA National President Gordon H. Chaog, FAIA, noted that September 11 changed the way we see our world and how new challenges will include the creative talents of architects in addressing such issues as security, safety, technology and relevant design services to clients.
"Reaching Beyond Our Borders" is the theme of this year's FNAlA state convention to be held in Miami, August 7-10, 2002. It recognizes that Florida is a gateway to the Americas, with many untapped opportunities. Speakers will address issues from liveable communities to international trade. Florida's economy thrives on diversity and is fast becoming a global economy with an impact not only in Central and South America, but in other parts of the world as well. Business and public sectOr trade missions are encouraging and promoting partnerships with other countries that benefit Florida's economy and the built environment.
In an effort to promote "reaching beyond our borders" while enjoying the company of our fellow Caribbean architects, members of the AlA Florida/Caribbean region have planned a pre-convention tour (with CEU credits) to San Juan, Puerto Rico from Sarurday, August 3 through Tuesday, August 6. This great opportunity has been planned by the Puerro Rico Chapter to help expand our borders.
As President-elect Bill Bishop, AlA, and I travel the state visiting chapters, we see a commitment by architects to continually improve their communities. As an association of over 2,000 members, we must use our influence to make a difference. Please make plans to attend the FNAlA state convention in Miami, as well as the pre-convention trip to Puerto Rico.
Your association is working to continually improve your education and opportunities. Be a part of the process.
florida / caribbean ARCHITECT summer 2002


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Many offices overlook central courtyard with water features and landscaping while the building skin reflects the high-tech nature of the com pany. Construction of the $17 million facility begins in spring 2002.
Flad & Associates is designing the $18 million, four-story medical office building at Mease Countryside Hospital in Safety Harbor, Florida. The 145,000-square-foot building will enlarge the fastest growing hospital in Pinellas County. It will be occupied by the hospital, as well as several private physician groups. The Graham Group the developer of the proJect, will contlnue to own the building upon its co mpletion in spring 2002.
YOA Associates, Inc. is providing full architectural/engineering services for the new Marine Corps Training Center in Lafayette, Louisiana. YOA is parrnering with Gibbs Construction ofNew Orleans on the design-build contract for the 34,000square-foot facility. The new facility will be one of the first Naval Reserve buildings to incorporate blast hardened construction and stringent standoff requirements based on the new DoD Anti-Terrorism/Force Ptotection (AT/FP) standards.
T he University of Florida has selected CBB Architects to design a state-of-the-art bookstore, visitor center and monumental entrance to its Gainesville campus. Construction has already begun on rhe $15 million project thar is being built in four stages so that design and construction can overlap. The monumental entrance, which will serve as the University's new "fro nt door," features a multistory atrium with information desk and access to the bookstore and visitor center. Completion is slated for spring 2003.

eBB Architects' design for the bookstore and visitor center at the University ofFLorida.

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A second, slightly larger building, will be added to the complex within two years.
Phase I is a two-story building comprised of a simple steel frame grid with masonry core elements, exterior stud walls clad in metal and a membrane roofing system. The streamlined geometry and metallic finishes produced a simple structure with a high-tech aesthetic that reflects the industrial function of the building. Metal louvers,

overhangs, translucent entry canopies and aluminum scuppers contribute to the aesthetics while
providing important envitonmental
benefits. A water feature at the
main entrance extends into the
building and combined with the extensive use of glass, brings the outside in.
Addressing the imperative that the internal workspace be highly flexible, the architects provided an assembly area with work cells that can easily rearranged as necessary. Electric power, compressed air and data communications are all sup-
Project Credits: Architecture, Structural, Civil, Mechanical and Electrical Engineering, BRPH Architects Engineers, Inc., Randall E. Thron, AIA,
Principal-in-Charge; Brian E. Curtin, PE, Project Manager; William I. Kesterson, AIA, Project Architect; Ed Haeck, RLA, Landscape Architect;
Biological Consulting Services, Environmental Assessment; Image Technical Services, Inc., AudioVisual Consultant; Suitt Construction Company, Contractor.
Meeting areas: Gym, Conr~nc:e. Brea" rooms Planter"
_ Shipping receiving I Core eI@.ments cafeteria

Arst Roof Plan
florida / caribbefln ARCHITECT summer 2002

fronts in the area. The upper level facades are constructed of pre-cast concrete set back from the lower brick fac:;:ade. This was done to de-emphasize the height and scale of the building and to direct the viewer's attention to the lower, more aesthetically-pleasing fac:;:ade.
Elevator towers that also function as clock towers and open metal stairs similar to those used in the early 1900s give the building the flavor of the district. A flourishing nightlife, particularly on the weekends, means that the garage will be used a lot at night so safety and security were heavily factored into its design. The open stairways and glass elevators expose circulation to the street creating a userfriendly facility. Since the building can be seen from the distance, the functional requirements, but it perimeter wall panels at the roof also embraces the character of the blend with shapes commonly neighborhood surrounding it. found in surrounding buildings. The garage not only satisfies its

East-West section courtesy ofthe architect.
Project Credits: FleischmanGarcia Architects; Walter P. Moore & Associates, Structural Design and Parking Consultants; Hunt Construction Group, General Contractor; City of Tampa, Owner.
florida / caribbean ARCHITECT summer 2002

Alain Valdes tampa, flo rida
Tool Shed, Tampa, Florida
Alain Valdes, an intern with Gould Evans Associates in Tampa, is a 2000 graduate of the University of Florida where he received a Master ofArchitecture degree. Behind the Tampa bungalow where he and his wife live, Valdes designed and built a tool shed. His rather intriguing design for what is normally a rather utilitarian structure belies the small size of the building. It is a mere 64 square feet. Constructed of unfinished cypress, metal panels and acrylic inserts, the focal point of the design is a metal door on an overhead track. The entire cost of construction, less the designer's labor -$950.

Alain Valdes' unfinished cypress tooL shed is Less a utiLity building than a beautifuLly designed piece ofarchitecture. Photo by Gary Smith.
florida / caribbean ARCHITECT summer 2002

concrete tilt-wall panels with both framed wi ndows and curtainwall. Along window walls, steel pipe columns provide bracing for the glazing system as well as supporting the long span roof joists. Windows are tinted to control brightness and metal sunscreens shade south-faci ng glass to avoid direct sunlight on work surfaces. T he concrete panels and steel roof framing combined to deliver a costeffective structure that was built in a compressed time frame.
Project Credits: Reynolds, Smith and Hills, Inc., Architecture, Engineering, Landscape, Interior Design; Spillane & Company, General Contractor.
Phoros, rop: A formaL Lobby serves visitors and the administrative area; Middle: Above the workstations, the acoustic tile ceiling is shaped as a "foLded pLate, sLop ing from ]4' to 16~ Linear indirect fluorescent
fixtures accentuate the ceiLing shape
while providing a high quaLity
Luminous environment; Borro m:
CircuLation patterns divide the main
room into quadrants. Computer and
technicaL support spaces are at the
rear ofthe building. ALL photos and
axonometric courtesy ofRS&H.
florida / Cflribbean ARCHITECT summer 2002

company, but specializing allows the
long term creation of a regional
reputation. It also improves efficiency and profitabili ty. The more you
understand, the more decisive your judgements become.
The Selection Package
Design professionals are selected by many methods ranging from the pragmatic policy-driven mechanisms of most public sector work to the "good old boy" system used in a tight business click. The more the decisionmaker is accountable to others, the more defensible his or her selection must be.
If, as the saying goes, "Selection is winning the process of elimination," then one of the architect's main goals should be avoiding the pitfalls that result in rejection. Great emphasis should be given to the response package since it is the permanent record of your candidacy for the project. It must stand alone. Its organization and content must clearly outline your response to the Request for Proposal. Those items known to be of concern in the evaluation process should be given the most "point gathering potential." When possible, it should contain as much third party endorsement as the content permits.
"Collaterals" are essential to the marketing process. Collaterals are not just brochures or standard forms used to document information in easily comparable ways. They are, in fact, every written, printed, published and recorded resource used to advance your cause. From a simple business card to an on-line directory, the impact of each piece should be engineered to promote the image you want to project. The various collaterals should be inspired by a clear vision of the company's goal and executed in a manner that leaves little chance for misunderstanding. From paper selection to color, from logo to company motto to corporate attire, all collaterals should be integral parts of a totally unified whole.
Promote the Opportunity for Third Party Endorsement
To endorse yourself and your work, your first instinct may be to assemble letters of referral and personal testimonies. These are positive and valuable resources, but they are not the best. At the top of the list of valuable promotional aids are speaking opportunities and publications in trade periodicals ... or any publication that offers general information to the public. Gaining exposure takes time and effort, but when the opportunity presents itself, your material should be high quality, thoughtfully prepared and thought provoking.
Believe it or not, the media and most organizations are hungry for input. They welcome well-documented projects with good photographs, essays and project experiences. Your focus should always be on gaining acceptance as a qualified speaker, writer or photojournalist. This kind of effort can produce long term results and people will begin to identifY you with your "points of distinction."
Regular news releases to the local press and certain targeted media will, over time, help build recognition. Every time you are quoted or asked to speak or have a photo of your work published, it's a third party recognition that increases your credibility. Getting your name out in any of these venues has the potential for reaching more eligible prospects than a month's worth of cold calls will ever produce.
Polish the Skills of the Close
What all this boils down to is the "close" ... getting the sale. Therein lies the real challenge of winning the hearts of the selection team. The keyword here seems to be "trust." The credentials, the referrals, the demo nstrations of skill and expertise should all focus on the trustworthiness of the design professional. All of the presentation skills from body language to vocabulary, from style to content, from speaking to listening, must come together for the close. The effectiveness of this last stage of the qualifYing process should be rehearsed and critiqued with an eye to constructive criticism. It might even be videotaped for review and self-critique.
When the selection process is over, whether you win or lose the commission, request an audience with the decision-makers. Getting feedback on what they liked and didn't like will become the building blocks of future presen tations.
Robert A. Koch, AlA, is a principaL in the Winter Park firm ofFugleberg Koch, Architecture, Planning, Interior Design, Imaging.
florida / caribbean ARCHITEcr summer 2002

Society of Civil Engineers issued ASCE 7-88. The current edition of the standard, ASCE 7-98, is universally regarded as providing the most accurate and comprehensive wind design criteria in the United States and Caribbean. It is accepted by virtually every major building code, including the 2001 Florida Building Code and the 2000 International Building Code.
Caribbean territories have traditionally adopted various U.S. building codes, such as the South Florida Building Code or the Standard Building Code. The Caribbean Uniform Building Code (CUBiC) Management Team has unanimously selected the 2000 International Codes as the base codes for updating the CUBiC code, which is used in 14 of the 17 Caribbean territories.
A wind tunnel is probably the most accurate means available for determining design wind pressures and is accepted by all major building codes. A wind tunnel is mandatory for certain buildings of irregular shape or site location and permissible for all other buildings. While it may result in significantly lower wind pressures for components and cladding and somewhat lower pressures for the primary structure, thereby reducing the construction COSt, it is cost-prohibitive for many projects.
While building codes have established criteria for calculating wind pressures for years, the South Florida Building Code used forensic
jlorid evaluation of damage to buildings wrought by Hurricane Andrew to establish impact tests for windborne debris on exterior cladding. For projects in Miami-Dade and Broward Counties, the lower 30' of building cladding must resist the impact of a nine-pound two-by-four striking at 50 fe/sec for two impacts, and cladding above 30' must resist the impact of ten-2gram solid steel balls at 130 ft/sec three times. These requirements remain in the 2001 Florida Building Code and, for much of the rest of the state and all of the coastline, are required unless structures are designed for higher wind pressures.
Code changes have caused some confusion in recent years. For example, the design wind speed for South Florida increased from 1l0mph to 146mph. The reason is that the definition of wind speed changed from "fastest mile" of wind before Hurricane Andrew to "3second gust," which more closely relates to hurricane wind speed reported in the media. The effect did not increase design wind pressures significantly.
Unique Problems of the Caribbean
The most dramatic design difference between Florida and much of the Caribbean is not wind forces but seismic, or earthquake, forces. In fact, seismic forces often control the design of the structure and must be considered in the design of exterior cladding and all interior elements.
There are many differences between seismic and wind loading. A building is expected to survive its "design hurricane" with virtually no damage and a catastrophic hurricane with repairable damage. On the other hand, a "design earthquake" is expected to cause (hopefully) repairable damage while a catastrophic earthquake may result in irreparable damage and subsequent demolition of the building. In hurricanes, wind pressures cause external forces on the building whereas earthquakes apply movements to the building through ground motion. While windstorms last several hours, seismic movements last a few minutes at most. There is usually one or more days warning before a hurricane makes landfall, while earthquakes generally strike without warning.
The ultimate goal of hurricaneconscious design is to reduce the element ofsurprise by providing buildings and structures with predictable performance at affordable costs. The team of a knowledgeable architect and structural engineer can achieve this goal.
Paul A. ZiLio, FE. is vice president ofBliss & Nyitray Inc. in Miami, Fla. BN! provides fuLL-service structural engineering services for a wide variety ofbuilding-types in Florida and throughout the Caribbean. For additional information, caLL
(305) 442-7086 or visit

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