Copyright
        Copyright
    Front Cover
        Front Cover 1
        Front Cover 2
    Table of Contents
        Page 1
    Overture
        Page 2
        Page 3
        Page 4
    trends
        Page 5
        Page 6
    Holy Cross Catholic Church
        Page 7
    Fellowship Lutheran Church
        Page 8
        Page 9
    St. Paul's by-the-sea Episcopal Church
        Page 10
    Christ Presbyterian Church
        Page 11
        Page 12
        Page 13
    A second look at prefab door case
        Page 14
    Advertisers' index
        Page 15
        Page 16
        Page 17
    You are a goodwill salesman, too
        Page 18
    Your building and your architect 2 / what architects do and how to pay them
        Page 19
        Page 20
        Page 21
        Page 22
        Page 23
    The work of the world center for luturgical studies
        Page 24
    Back Cover
        Back Cover 1
        Back Cover 2

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G. WADE SWICORD


Symbol for life...


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THE SYMBOLIC
Symbols initiated primitive man's
visual formalizing of meaning.
A symbol is the precursor of written
language ... a basic message
... a language of sign and symbol which
enabled man to exchange ideas
and information without direct contact
with those receiving his communication.
The signs and symbols most common
in the realm of human experience
were given a spiritual meaning .. .
a visual form depicting the invisible
reality the soul of man
All symbols, both old and new come
together to formalize this
composite ... a logo, if you will.
Communicating the relationship of
religion, architecture and the visual
arts as an expression of man's
desire and ability to understand the
presence of God in all creation .
ANN WILLIAMS







THE FLORIDA ARCHITECT
OFFICIAL JOURNAL OF THE FLORIDA ASSOCIATION
OF THE AMERICAN INSTITUTE OF ARCHITECTS

VOLUME
18
NUMBER
4
APRIL
1968

OFFICERS
Herbert Rosser Savage, President
P. O. Box 280, Miami, Fla. 33145
H. Leslie Walker, Vice President/President Designate
706 Franklin St., Suite 1218, Tampa, Fla. 33602
Harry E. Bums, Jr., Secretary
1113 Prudential Bldg., Jacksonville, Fla. 32207
Myrl J. Hanes, Treasurer
P. O. Box 609, Gainesville, Fla. 32601
BOARD OF DIRECTORS
Broward County Paul Robin John / Robert E. Todd
Daytona- Beach David A. Leete / Carl Gerken
Florida Central James R. Dry / Ted Fasnacht
James J. Jennewein
Florida Gulf Coast Jack West / Tollyn Twitchell
Florida North William K. Hunter, Jr.
James D. McGinley, Jr.
Florida North Central Forrest R. Coxen / Warren A. Dixon
Florida Northwest Thomas H. Daniels / William D. Simpson
Florida South o Robert J. Boerema / George F. Reed
Francis E. Telesca
Jacksonville Charles E. Pattillo, III
Herschel E. Shepard, Jr. / John Pierce Stevens
Mid-Florida Wythe D. Sims, II / Donald R. Hampton
Palm Beach Jack Wilson, Jr. / H. L. Lewis
Charles E. Toth
Director, Florida Region, American Institute of Architects
H. Samuel Kruse, FAIA, 1600 N. W. Lejeune Rd., Miami
Executive Director, Florida Association of the American
Institute of Architects
Fotis N. Karousatos, 1000 Ponce de Leon Blvd., Coral Gables
PUBLICATIONS COMMITTEE
James Deen / Roy M. Pooley, Jr. / Donald I. Singer
THE FLORIDA ARCHITECT
Fotis N. Karousatos / Editor
John W. Totty / Assistant Editor


THE FLORIDA ARCHITECT, Offi-
cial Journal of the Florida Association
of the American Institute of Architects,
Inc., is owned and published by the As-
sociation, a Florida Corporation not for
profit. It is published monthly at the
Executive Office of the Association,
1000 Ponce de Leon Blvd., Coral Ga-
bles, Florida 33134. Telephone: 444-
5761 (area code 305). Circulation: dis-
tributed without charge of 4,669 regis-
tered architects, builders, contractors,
designers, engineers and members of
allied fields throughout the state of
Florida-and to leading financial insti-
tutions, national architectural firms and
journals.

Editorial contributions, including plans
and photographs of architects' work, are
welcomed but publication cannot be
guaranteed. Opinions expressed by con-
tributors are not necessarily those of the
Editor or the Florida Association of the
AIA. Editorial material may be freely
reprinted by other official AIA publica-
tions, provided full credit is given to
the author and to The FLORIDA
ARCHITECT for prior use ... Con-
trolled circulation postage paid at
Miami, Florida. Single copies, 75 cents;
subscription, $6.50 per year. February
Roster Issue, $3.00 McMurray
Printers.


NO J015 165 _5 UV6tNT OR IM~bot"7-
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overture

Throughout the world there arc articulate men who pro-
claim a renewing of religious faith in all denominations,
persuasions and creeds. It is only fitting that some of these
men would be greatly concerned about architecture. In the
last ten years revolutionary strides have been taken in the
field of religious architecture and for the first time since
the Gothic era, the religious buildings of western man are
beginning to once again reflect the spirit of an age. The
four churches depicted here are the result of collaborative
work between churchmen and architects. While the
churchmen prescribe the function and, in a sense, con-
ceptualize the feeling to be conveyed, it is the particular
genuis of the architect to introduce into this pile of stone,
mortar, timber, all of these elements of earth, a sense of
the Mysterium Tremendum remarked on by Edward R.
Sovik who gives this definition of the architects' task. "The
faith our forms express is an attitude, a passion, a commit-
ment to the vision to what is whole and holy. If the
passion is fervent, we shall see the mystery appear in our
buildings. We shall find them to be servants of the lord
and of men and we shall find them monumental in the
best sense."

The new house of worship then, for contemporary man,
would be identifiable only in so far as it represents this
sense of mystery and of passion. Also in this new cultic
environment there exists by the side of the mystery, a true
sense of open-endedness, of non-finality, committed to the
knowledge that the intrinsic and ever changing reality of
the space within are the men, women and children who
gather to worship.
NMS
THE FLORIDA ARCHITECT














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APRIL, 1968


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Some people
believe that
painting
should be
A WORK OF ART


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contractors experienced in the application of protective and decorative coatings
can create a superior job on all interior surfaces with Cerami-Cote.
By using superior ingredients, we offer you a superior product that will complement
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THE FLORIDA ARCHITECT



















trends

In the recent conference on Religious Architecture in New York, Dr. Joseph
Sittler of the Divinity School of the University of Chicago noted that "we live in
a time that is characterized by the erosion or the displacement of values, a time
of new perspectives and new promises for man in privacy and man in the social
order, which are generating fresh energy toward the achievement of novel forms
in all areas. Value is an achievement. This or that is invested with value because
men have found it delightful or expressive or useful or evocative. Man is an
historical being. His thoughts and actions and most decisively so when they
suppose they are not, are drenched in history as time, as memory in the aware-
ness of passingness. This historicalness qualifies everything, our thoughts, our
actions, our creations". These realities, these historical awarenesses which are
within us as a stream of consciousness are the tradition from which our creativity
springs.
Dr. Daniel Callahan of Commonweal expressed his concern over ultimates. He
said, "Never mind ultimate meanings and values, much less ultimate religious
meanings and values. If there is to be religious art and architecture it will not be
found in any attempt to plant ony of these meanings and values in blobs of paint
and pieces of steel by cunning craftsmanship and ingenious symbol mongernng."
Dr. Roger Ortmayer, Head of the Department on Church and Culture for the
National Council of Churches suggested, "The Architectural Community seems
not to have digested what has been happening some of the architects were
surprised to learn that some religious leaders believed that there was no such
thing as religious art". Since art is historically the precursor of things to come it
makes one wonder if religious architecture will continue to be meaningful in
years to come.
Architect Edward Sovik in his text for a display called "Metaphors" which was a
photographic essay on religious architecture, presented these pertinent thoughts,
which embody the directions of many of the religious leaders who speak out for
a renewal in the religious community in defining religious architecture he con-
cerns himself first with the involvement or commitment of the religious human
being and his relationship to his place of worship. The following factors he
believes are held in common with all faiths:
1. Religious people are concerned with what is real, rather than appearances,
conventions, fashions or habits. They wish to peel away masks and affecta-
tions in order to discover and reveal what is elemental and true. Architecture
which is ingenious and forthright, without dissimulations may be thought of
as appropriate to the religious person or community.
2. Religious people are committed to the sense that the universe is orderly and
not absurd and that it has cohesive integrity. Accordingly, architecture which
is orderly in the most profound and vaned ways is expressive of the religious
posture.
3. Religious people are concerned about ethical values. Their convictions urge
them to a concern for the welfare of persons and human society. Architecture
which truly serves the good of people then, can be called religious architec-
ture which demeans, limits, or imposes on people, rather than serves their
welfare, is inappropriate.
4. Religious people agree that they live in the presence of the holy. This is the
mvsterium tremendum, awesome, ineffable, transcendent but fascinating and
inmmanent. The evidence of the holy appears in a great variety of things,
relationships, and events, and the recognition of it is a unique aspect of the
religious vision. Among human enterprises, the work of art is the best analogy
of the holy, and is able to call forth in percentive people the awareness of the
mysterium tremendum. Accordingly, architecture which has convincing
quality as artistic creation is appropriate to religion and that which is ugly,
banal or trite, is not.
APRIL, 1968


FELLOWSHIP LUTHERAN CHURCH






















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UNIVERSITY CHRISTIAN CHURCH
DISCIPLES OF CHRIST
MIAMI
ALFRED BROWNING PARKER, FAIA, ARCHITECT


"The site was bordered on two sides
by heavily traveled roads, the grounds
were a flat grassy treeless meadow
with no distinguishing features except
that the native grass always grew lush
and green. Most of the sanctuary was
covered by earth so that the exterior
effect was a huge mound of grass
dominated by a cross. The cross in
the night was to be illuminated from
the light within the sanctuary. The
crown of precast elements at the top
protected the skylight and afforded
radiance during the day. The earth
mound proposed for this location
would have eliminated noise, simpli-
fied maintenance, reduced cost and
emphasized a community presence of
repose and harmony with the earth."

"The theological considerations were
various. It was desirous to have the
congregation in the sanctuary as a
unified group with as great a reduc-
tion of distance from the worshippers
to the essential symbols of their be-
lief. These essentials were (1) a table
(for the sacraments), (2) a pool (in
the face of the congregation) (3)
pulpit and lecture (to preach the
word)."

"The minister was selected as the
congregation's appointed voice. The
choir was conceived as part of the
congregation to reinforce and to ex-
tend the group singing; it was felt that
they would distract less from the pri-
mary active worship by not being on
display since their function was to
assist and not perform. The space
within was enclosed by a pair of finite
walls (cupped hands) within the infi-
nite space encompassing the exterior
walls by rounding all the angles
formed by the interior surface of the
exterior walls. With the lig h t i n g
scheme in vision the sanctuary would
create an illusion of space much as a
cvclorama. The intent was to make
the space intimate, still inspiring,
acoustically good without electronic
devices, and adequate lighting, both
natural and man made to establish a
sanctuary in all meanings of the
word."
"Although the project came within the
budget, solved the site problems and
the theological requirements, it was
eventually not accepted by the con-
gregation. The Building Committee
appointed by the Church was large
but willing to explore new directions
in church building. When the chips
were down however, both the commit-
tee and the minister decided to sub-
mit the design to the entire congrega-
tion and have a secret ballot over a
period lasting several days. Despite a
well received slide presentation made
to what was supposed to be the entire
congregation, the vote was not unani-
mous in favor of the design. The fatal
flaw was the erroneous concept that
everyone in a large group would be
unanimously in favor of anything at
all."