Front Cover
 Table of Contents
 Architecture as expression
 Mid Florida Chapter AIA awards
 Practice Profile: Anderson, Johnson,...
 Color theory
 Toward a rendezvous with great...
 FAA foundation 1973
 Back Cover


Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00205
 Material Information
Title: Florida architect
Physical Description: v. : ill. ; 30 cm.
Language: English
Creator: American Institute of Architects -- Florida Association
Florida Association of Architects
Publisher: Florida Association of the American Institute of Architects.
Place of Publication: Tallahassee Fla
Creation Date: January 1973
Frequency: quarterly
Subjects / Keywords: Architecture -- Periodicals -- Florida   ( lcsh )
Genre: periodical   ( marcgt )
serial   ( sobekcm )
Dates or Sequential Designation: Vol. 4, no. 3 (July 1954)-
Dates or Sequential Designation: Ceased in 1996.
Issuing Body: Official journal of the Florida Association of the American Institute of Architects.
Issuing Body: Issued by: Florida Association of Architects of the American Institute of Architects, 1954- ; Florida Association of the American Institute of Architects, <1980->.
 Record Information
Source Institution: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 06827129
lccn - sn 80002445
issn - 0015-3907
System ID: UF00073793:00205
 Related Items
Preceded by: Bulletin (Florida Association of Architects)
Succeeded by: Florida/Caribbean architect

Table of Contents
    Front Cover
        Page 1
        Page 2
    Table of Contents
        Page 3
        Page 4
    Architecture as expression
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
        Page 10
    Mid Florida Chapter AIA awards
        Page 11
        Page 12
        Page 13
        Page 14
    Practice Profile: Anderson, Johnson, Henry, Parrish, St. Petersburg
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
        Page 21
        Page 22
        Page 23
        Page 24
    Color theory
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
    Toward a rendezvous with greatness
        Page 30
        Page 31
        Page 32
        Page 33
    FAA foundation 1973
        Page 34
    Back Cover
        Page 35
        Page 36
Full Text

W A A Flo

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Association. of. the. American. Institute. of-
Architects- and- is- an- official- journal- of- the-

Limited permission to. digitize- and make this- electronic-
version available- has- been- granted- by the. Association-
to- the- University- of- Florida- on- behalf- of- the- State-
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Florida- Association- of. the. American- Institute. of-
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Association' sweb site.

II i~

\I~~~ 9TB `


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1/73 Volume 23 Number 1


4 Advertisers

5 Architecture as Expression

11 Mid Florida Chapter AIA Awards

15 Practice Profile:

25 Color Theory

29 Photos / Grass Roots

30 Rendevous With Greatness

34 FAA Foundation






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A speech by Allen Krathen at a meeting of the
Broward Chapter AIA. Mr. Krathen is presently
a Ph.D. candidate in Architecture at Princeton

Architecture as Expression
Theories on the Inner Necessity of Design

@Allen M. Krathan, 1973

Wassily Kandinsky is reputed to be the
pioneer of abstract expressionism in
painting, having worked in pre-revolu-
tionary Russia and in post World War I
Germany. He is also famous for having
produced that timeless treatise dealing
with the contemplative basis of all art:
Concerning the Spiritual in Art. In this
essay, Kandinsky dealt especially with the
issue of design integrity among artists,
and as if prophetic of the dilemma today
in our society as a whole, he remarked of
his own era much earlier in the century:
During these mute and blind times...
men attribute a special and exclusive
value to external success, for they
judge them by outward results, think-
ing of material well-being. They hail
some technical advance, which can
help nothing but the body. Real spiri-
tual gains are undervalued or ignored
... The question 'what' disappears;
only the question 'how' remains...
Art loses its soul.

It was this essential, artistic principle of
inner necessity that Kandinsky offered as
the only possible recourse in reversing
such dire trends. He went further to
define it as "the inevitable desire for
expression ... (that) the artist must have
something to communicate." "Mastery
over form is not the end," Kandinsky
wisely speculated, "but, instead, adapting
of form to internal significance. ." with
beauty being an "internal necessity which
springs from the soul."

My central purpose in bringing this up
now is to suggest such ideals also, by way
of exploitation, as tremendously relevant
to hopes for improving the general medio-
city of architectural design that we all,
hopefully, recognize as pervading south
Florida for many years now. Are there
lessons for Florida architects today in
such seemingly high-minded sentiments? I
would suggest that indeed there are.

Is Kandinsky unrealistic, impractical? If
we think so, then are we also to abandon
as unrealistic and impractical those con-
cerns in architecture that have to do with
beauty, integrity, and self-fulfillment? It
may not be fashionable to talk of these
things today, in the corporate, computer-
ized world of late 20th century architec-

ture, but certainly this does not mean
they are no longer of great and lasting
importance to serious architectural de-
signers. If it were otherwise, architecture
might as well have no meaning whatso-
ever, at least not as a creative, human

But, thankfully, architects of the recent
past and present have seen fit to take
such concerns quite seriously. Conceiving,
above all, of the architect's most impor-
tant responsibility as centering about his
need for design as expression of himself
and his culture, they have produced
theories of design which have lasting
meaning, especially for us here today.
I have mentioned the architect's "respon-
sibility", though I do not concern myself
here and now with the lately fashionable
issue of the architect's responsibility to
society. Insofar as client selection and
program formulation allows it, of course,
as they affect design for that is the
architect's primary concern, and must
always remain so. Architecture in the
conventional sense that is what we
must begin to restore if we are to take
hold of the reins of better design. I would
refer again to Kandinsky: that profes-
sional responsibility remains one of
design a responsibility to oneself as
architect. An inner necessity, yes now
become a matter of necessity.

A look at architectural theory tells us
how some of the better known architects
have speculated upon such issues: how
they articulate their ideas in respect to
the design of buildings. All of them tell
us, in one manner or another, that archi-
tecture begins and ends with the archi-
tect, that design is still the issue. If
architects here are to offer clients an
alternative to the banal meaningless and
garishness of most public, and nearly all
private structures in this region, it be-
hoves us to take a look at what they said.
With cultural specialization manifesting
itself in architecture in terms of "cor-
porate" firms, with hierarchies of teams,
captains, computers, programmers, con-
sultant planners, economists, and the like,
we are forced to question whether there
is still something valid about the plain
and simple Architect divorced of all
such exotic labels. In an age badgered by

the "Sociologist-Architect", the "Tech-
nologist-Architect", and the "Urbanolo-
gist-Architect" does the Designer-
Architect no longer matter? The designed
integrity of the single building has be-
come a matter of indifference to those
specialists concerned with architecture
only as a social tool, as an instrument for
social good, or architecture merely as a
matter of density, systems, and aggrega-
tion. To an age which now produces
architecture that is dehumanizing in scale,
virtually identical in appearance, and
anonymous in character, is there a better

Is architecture as an artful, expressive
activity no longer meaningful? Is architec-
ture as a philosophical statement about
man and society now to disappear for-
ever? What of the inner necessity of
architecture as an "esthetic activity"? A
profession grounded in humanism first,
and in technology only by consequence?
Contrary to popular and professional
attitudes in this region, esthetics in archi-
tecture have nothing to do with cheap
veneers or post-facto decoration. The
very raison-d'estre of architecture has to
do, instead, with far deeper principles of
thought and design wound up with the
very form and space of the building itself.
The generative, creative concept at the
core of any worthwhile work of architec-
ture is, after all is said and done, the
purpose of it all.

Kandinsky called it the soul of art or
architecture. In this same way, Le Cor-
busier told us that the important thing
about architects was their ability to real-
ize "a conception", as he termed it. Le
Corbusier saw the raw material of his own
architectural conceptions in an expression
of 20th century industrial civilization
which, as creative artist, he chose to
interpret for himself. He thought of the
machine, for example, as "in itself the
factor of economy (in design)". And he
conceived of the house as "a machine for
living in", expressing his belief that resi-
dential activities demanded the same kind
of efficiency in design as does the sparse,
functional inter-dependency of the best
machines. His intention was not, as is
commonly thought, to design a machine
which looked like a house, but rather a


Architecture As Expression, Continued

house which was metaphorically a
machine. And Le Corbusier was always
quick to put right any misunderstandings
about this when he called his house-ma-
chine above all, a "human thing".

Walter Gropius, founder of Germany's
pre-war Bauhaus, and father of two gen-
erations of architects in this country,
suggested' that "honesty of thought and
feeling" were to be the hallmarks of the
architecture of our time. Disdaining sham
and deception, Gropius saw architecture
as nothing less than a total personal,
moral commitment in design to what he
termed the major "intellectual, social,
and technical conditions of our age".
And, the artist that he was, Gropius chose
to expressively interpret such conditions
for himself. Such did Gropius see his
world the basis for his architectural
expression. To Gropius, as it did to
Wright, this "honesty of thought and
feeling" seemed to demand no less than,
among other things, a frank and overt use
of materials as they were found in nature
- neither in imitation of something else,
nor as applied decoration.
And so Gropius exploited what he felt to
be those materials and structural tech-
niques which he believed largely charac-
terized his age as one of industry and
machinery. He used steel, glass, and con-
crete in and for themselves, and he (as did
Mies) standardized his plans in terms of
structure. In all of this Gropius and Mies
sought an expressive concept of the
mass-production and standardization
associated with contemporary factories
and machines. To Gropius but especial-
ly to Le Corbusier light and fresh air in
architecture was invested with moral
overtones. They suggested that mankind
was now free of the dark servitudes and
suffocating ignorance of a pre-industrial
age, that a new "enlightened" existence
lay before us, and that such should be the
basis of expression in the forms and
materials of a new age.

Yet Gropius saw fit to qualify his theory
of design so as not to be misunderstood
as the de-emphasis of art in favor of
technology for its own sake:
Were mechanization an end in itself it
would be an unmitigated calamity,
robbing life of half its fullness and

variety by stunting men and women
into subhuman, robot-like auto-

Gropius had obvious reservations about
confusing means and ends in art and
technology, and especially so in the tenu-
ous equilibrium that exists in architec-

No less did Wright also acknowledge the
necessity for the architect to express the
inner self in architecture, though on
vastly different terms. "Every true build-
ing is of the quality of some man's soul",
he observed, and added further that the
"message" of architecture could be un-
derstood only "in terms of ourselves".
"Man is the matter of the message, after
all is said and done", Wright admitted.
Departing from Gropius and Mies, how-
ever, Wright sought to express a demo-
cratic society, enshrining individuality
and mankind's agrarian dependency upon
the land rather than the expression of an
industrial one which stresses conformity
and mass-production. Wright hated the
mechanization of cities. Nevertheless,
what mattered above all to him was the
expressive potential of architectural
design. For it was "interpretation" above
all, he held, that distinguished serious-
minded architects from those less com-
mitted to their work and from mere
technicians. An elitist view, no doubt.
But to Wright it was the "image-making"
capacity among architects (as he put it)
that mattered most of all: the "image" as
the badge of worthy architecture.

Still another eminent architect, Eero
Saarinen, saw architecture as the design of
a deliberately expressive concept. Saari-
nen's approach was a sort of 20th century
eclecticism, one in which he created his
plans and forms in terms of the differing
programmatic purposes of each of his
commissions. Saarinen's work is based
upon the symbolism of use in a building,
and his criticism of internationalist archi-
tecture is thus understandable: that such
designers seemed to see "the different
problems of our day all fitting into the
same glass and aluminum box," as he put
it, "- all looking the same".

Saarinen sought instead to express
through form and space the differences in

program and purpose among a hockey
rink, for example, an automotive center,
an airline terminal, and a women's dormi-
tory. Structure and materials are all vastly
different from one another, but what
remains the same is Saarinen's inner
expression: a theory of design which
strives to establish a logical corre-
spondence between a building's use and
the three-dimensional image it conveys.
Said Saarinen:
When I approach an architectural
problem, I try to think out the real
significance of the problem. What is
the essence of the problem and how
can the total structure capture that
essence? How can the whole building
convey emotionally the purpose and
meaning of the building?

"To capture the inner meaning", echoing
Kandinsky, was Saarinen's ultimate objec-
tive in architecture. "The one essential
quality of architecture .... aside from
pure shelter for man's activities," held
Saarinen, "is its inspirational value to
man." And he saw the key to all this, like
Le Corbusier, in a design "concept":
When one embarks on a concept for a
building, this concept has to be exag-
gerated and overstated and repeated in
every part of its interior, so that
wherever you are the building sings
with same message.

The TWA terminal, for one, is eloquent
testimony to this ideal.

But it is perhaps Louis Kahn more so
than any other practicing architect at the
moment who speaks most dramatically of
personal commitment to an expressive
concept in design: attempting to interpret
the basic philosophical meaning of an
institution, as originating in the program.
In some respects like Saarinen, Kahn sees
the ultimate objective in architecture to
endow in three-dimensional form the
essential nature of a program, insofar as
the architect is capable of discerning
precisely what it "wants to be", as Kahn
observes. But Kahn's brand of institution-
al symbolism is perhaps not so obvious as
is Saarinen's. Instead, Kahn's ideals lie
deep in the abstract sophistication of
plan, in the coordination of architectural
masses, and in the geometry of interrela-
tionships among buildings in a complex.


Architecture As Expression

In Kahn's view, good architecture is a
consequence of the architect's willingness
to reflect seriously upon the essence of
the institution which the program de-
scribes. To Kahn, knowing "what to
build" as he put it is far more
important than knowing "how to build
it". "The right thing" badly done, in
Kahn's estimate, is of far greater conse-
quence than the "wrong thing" done
well. Creative insight is thus held to be
the architect's first responsibility, and by
far his most challenging task. Kahn de-
fined it as "the thoughtful making of
spaces", and further observed that "an
architect has powers that sense the
psychological entity of something". "He
makes something that belongs to all of

One anecdote of Kahn's is particularly
revealing, and demonstrates an instance
where design is viewed as an expressive
activity. In what follows, Kahn is dis-
cussing the program given him for the
enormous legislative capitol at Dacca
some years ago. He tells us how he began
to reflect upon his task as architect
philosophically, and how he translated
the program into the essence of a strong
architectural concept:
I was given an extensive program of
buildings: the assembly; the supreme
court; hostels, schools, a stadium, the
diplomatic enclave; the living sector;
market, all to be placed on a thousand
acres of flat land subject to flood. I
kept thinking of how these buildings
may be grouped and what would cause
them to take their place on the land.
On the night of the third day, I fell
out of bed with a thought which is still
the prevailing idea of the plan. This
came simply from the realization that
assembly is of a transcendent nature.
Men came to assemble to touch the
spirit of community, and I felt that
this must be expressible.

To Kahn architecture seems a religious
experience, depending upon the ritual of
inspired design. He admits in fact that" a
discipline of the spirit rather than emo-
tional whims produce works of art" and
proceeds to observe that:
Art is the making of meaningful form.
It is very much a part of our life, and

is actually the concrete product of
religion feeling at its greatest
moment is religion .. religion from
which we derive such feelings as mo-
bility that religion.

No wonder architects who hear Kahn talk
of their profession in such a way are
themselves renewed and inspired, as if
having heard the Messiah in a time of

After all this, there may still be those
skeptics among us who continue to won-
der how relevant such theories are to
architects here, in Florida. I have been
talking of other architects and how they
viewed their profession, and would sug-
gest that what they said ought stand as its
own testimony to relevance. Architects
everywhere, including south Florida, are
indeed a part of this "noble" tradition, as
Kahn called it, and therefore ought to be
nourished and encouraged by it. If there
be any one thing which these proceeding
theorists have told us, it is simply that in
order to design architecture worthy of
the name we must first start with our-
selves as creative, thoughtful, self-
responsive designers.

How do architects in Florida prefer to see
themselves and their world? As frivolous
hacks trapped in endless strips of fried
chicken stands and resort hotels and
condominiums which succeed only in
intimidating the sensibilities? Or, more
preferably, as architects who can begin to
take off from the great traditions of
modern architecture. As architects who
seek to address themselves to the best
ideals of the past and present: to re-shape
their thinking by considering those ele-
ments that make Florida so environ-
mentally unique its sun, for example,
its flatness, its light, its liveability.

To be so complacent and insular as not to
be aware of the issues that preoccupy
thoughtful architects elsewhere is to re-
main ignorant of matters absolutely criti-
cal to the best that architecture can offer
as a creative endeavor. To continue to
turn one's back upon such issues is not
only to betray oneself, but the client as
well, who deserves a worthier alternative
than what the speculators and developers

and franchisers have foisted upon them.
Quite simply, it is time that architects
and architecture in this region meet the
demand of creative design and, in this
respect, begin to mature.

I'd like to close with what I believe is a
fitting tribute to architecture as respon-
sible expression an excerpt from Paul
Valery's dialogue between Socrates and
Eupalinos, the architect of mythic antiq-
uity, who observed with great insight the
What is most beautiful is of necessity
tyrannical ... true beauty is precisely
as rare as is, among men, the man
capable of making an effort against
himself ... of choosing a certain self
and of imposing it upon himself.
Just imagine ... what would be the
nature of a mortal pure enough, rea-
sonable enough... powerfully enough
armed... to think out to the ultimate
limits of his being, and therefore to
ultimate reality, to build I know not
what monuments... designed to com-
municate to the soul the emotion of
an inexhaustible accord.
Imagine what edifices!... And for us
what delights! 0




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Retail $15.00, AIA Members $12.00. M-135. Order
from Document Dept., Florida Association of the
American Institute of Architects, 7100 N. Kendall Dr.,
Miami, Florida 33156.

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Solite masonry units.

New building codes have posed a question of
particular importance to owners, architects and
engineers. "If you must provide space separation
for privacy, sound insulation and fire resistance-
why not use the walls for a structural system as
With respect to the minimum Sound Transmis-
sion Class of 45, for example, engineered high
strength masonry units furnish an excellent solu-
tion. Their increasing acceptance and widespread
use in today's construction are the result of their
advantageous properties and demonstrated per- '
STRUCTURAL STRENGTH. Solite lightweight
masonry units made from specially formulated
mixes develop compressive strengths considerably
in excess of ASTM C-90 and C-145. Various
strengths are available for load-bearing construc-
tion, including multi-story buildings. Design man-
uals and tables have been recently prepared which
save a considerable amount of time and calcula-
tions in engineered masonry design.
ECONOMY. Cost comparisons of engineered ma-
sonry units with other structural systems on ap-
propriate projects have consistently demonstrated
far lower structural costs. Other systems must in-
clude the cost of added partitions, which are in-
tegral with engineered masonry units. These sub-
stantial savings cover initial costs, construction
time and eliminating of shoring with a minimum
of scaffolding.
STORIES. Employing SOLITE precast concrete
flooring together with SOLITE high strength ma-
sonry units results in a rapid pace for high rise
construction. Essentially it is a series of one-story
buildings in layers. When masons complete a floor,
other trades can come in and work in a clean, dry
space while the process is repeated overhead. To
owners, this speed means earlier occupancy and a
quicker return on investment.
FIRE RESISTANCE. Positive separation of
spaces with inert noncombustible partitions meets
fire codes for 2, 3 and 4 hour ratings with com-
merically available units.
High strength SOLITE masonry units are readily
obtainable east of the Mississippi, and can be in-
stalled by local masons. Produced to exacting spe-
cifications, they provide a modern rebirth of the
magnificence of masonry in design.
Ask for descriptive folder, test results and en-
gineering data.
Savoy Plaza, Cliffside Park, N. J., J. Virgona, Architect; M. Catani,
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JIM.... lo..---.

Project: The Ludd M. Spivey Fine Arts Center,
Florida Southern College, Lakeland.
Architect: Schweizer Associates, Inc.
Designer: Duane Stark
A bold organization of form and exterior space.
These buildings show a profound understanding
of the scale and exterior space systems of the
AW AR l l existing campus.

In addition to the architectural firms receiving
awards, two special craftsmanship awards were
also given. Mr. Roger Britton, of Sanford, Fla.,
was presented an award of honorable mention
for his various sign constructions used at the
Springs Development, Longwood, Fla. Mr.
Britton performed all of the work of building
I these signs using laminated cypress. The letters
are all routed out as well as the logo shown on
the signs.
For the craftmanship involved in executing the
design of a round wood altar for Zion Lutheran
Church, Deerfield, Fla. Mr. Garrett Stonehouse
of Fort Lauderdale also received a special
Craftsmanship award of honorable mention.
An award of honorable mention was presented
Sto Robert J. Laughlin, of Tilden and Denson,
Consulting Engineers, for his contributions to
S' the field of lighting. Among Mr. Laughlin's
credits is the lighting for Loch Haven Arts
Center, Eastminister Presbyterian Church,
Indialantic, Fla., and the Ludd M. Spivey Fine
Arts' Center at Florida Southern College.
Two community service awards were awarded
by the Mid Florida Chapter AIA. Mrs. Jean
Oliphant, in recognition and appreciation for
her contribution to the arts, was presented an
Award for her origination of the Winter Park
t Art Festival in 1960. Mrs. Oliphant was one of
the four founders of the festival to promote
local artists' work and to give the community
I an appreciation of the arts.
L Dr. James Smith, Orlando physician, received
,jll., an award for his dedication and contributions
to the community in the establishment of the
-- Washington Shores Association for recreation.
Since its inception in 1968, when Dr. Smith
first helped riase the one hundred and twenty
five thousand dollars for the purchase of the
building, Dr. Smith has worked diligently for its


Project: Florida Gas Building, Winter Park
Architect: Murphy, Hunton and Shivers, Pa.,
Clyde Brady associate, with Neuhause
and Taylor of Houston, Texas
Special merit is given to the local architect,
landscape architect, interior designer, who have
produced an overall project of excellence with
great sympathy for its site and general environ-
ment. Indeed the total quality of all the parts is
the mark of all good architecture.

Project: American Federal Savings and Loan,
Colonial Plaza Branch, Orlando.
Architect: Murphy, Hunton and Shivers, Pa.,
Clyde Brady, associate
A refreshing use of space achieved within the
interior of the shopping mall. Its clean detailing
has withstood public use for over five years and
maintains its timeliness in the field of con-
temporary architecture.



Location: new town of Poinciana
Architect: Chicago office of Skidmore, Owings
and Merrill
This building is a fitting gateway to the
proposed development. Its sharp exterior and
careful handling of the site gives it a good sense
of arrival. It embodies the look towards the
future of this, and all, new towns.


Project: Liveoak Village cluster homes,
The Springs, Longwood.
Architect: Murphy, Hunton and Shivers, Pa.,
Clyde Brady, associate
These units create an overall scale that rein-
forces the sense of community which the
architect sought to achieve. The quiet handling
of form and materials contribute to the overall
pleasantness of the homes.


Project: Don Duer Residence, Winter Park
Architect: Don Duer
This is a building that truly understands its site.
A refreshing example for Orlando residential

Project: Redding Gardens, housing for the
elderly, Sanford
Architect: Gutman, Dragash and Matz, with
John A. Burton IV
This is a sensitive solution to a very difficult
problem of developing 100 units of housing,
low cost, for the elderly and a community
center to serve them, on two parcels of land
that were previously occupied by substandard
housing in Sanford.

%-- 4 *r







...and you've
a built-in fire

non A


got yourself

Architect or contractor when you're in the building
business every safety precaution counts. Specify-
ing NON-COM fire protected wood assures your
projects added fire protection. Top quality protec-
tion that comes from pressure treating the wood
the way Dantzler does to produce NON-COM wood.
NON-COM wood actually releases water vapor
and non-combustible gases, rather than the flam-
mable gases and tars normally released by non-
treated woods.
At Dantzler, we like to call it a built-in fire hydrant.
It's just one of the many safety components of NON-
COM wood that has helped it earn the Underwriters'
Laboratory label.
Specify NON-COM, for safety's sake.

P.O. Box 6340, Jacksonville, Florida32205 Telephone: (904) 786-0424 or781-1853 P.O. Box 1419, Pompano Beach, Florida 33061
For more information about non-com* Fire-Protected Wood, write Dantzler at Jacksonville Headquarters

The new approved

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Could save you thousands.

The new CAI90 Ductless Bathroom Fan
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ductwork for venting.
No ductwork. That could save you money.
And a lot of it. And allow you more freedom of
design. You don't have to chop up the structure.
Especially in multi-unit construction.
The basis of the unit's operation is a new safe
chemical manufactured by Rush-Hampton Indus-
tries. It's CA 190. A safe citrus derivative.
CAl 90 does not simply mask odors. It elimi-
nates them by inhibiting the growth of harmful
odor-causing bacteria. CA 190 does not need to con-
tact a surface in order to kill bacteria. It does the
job by air circulation. The unit contains a CAI90
chemical ejector cartridge and
110 V outlet box
'Single phase a quiet electric dispersal fan
60 cycle which can be wired to a re-
CA190 mote switch.
"c0tdoride The fan pulls air into the
unit and through the ejector
cartridge. Bacteria is destroy-
ed and odor eliminated as the
air passes over the chemical.
11-5/8" 10"
The CA 190 Ductless
Bathroom Fan removes the
danger of fire and smoke be-
ing transmitted through duct-
I 1/250 H.P work. The unit is easy to in-
U L. approved stall. Easy to maintain. It
fan motor
wonly gives you less design restriction.
Side View And, it could save you
thousands in construction
r -- costs.

I O Rush-Hampton Industries
I Longwood Industrial Park, Longwood, Florida 32750
I I'd like to know more about the Ductless Bath-
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S E- Have a representative call me.
a~eS Send me more information.
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0f Company
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UL listed. I Phone number





At first glance it looks like a huge round space ship from a dis-
tant planet. You wonder what brought it to rest beside cat-tails
bordering a pond on the north edge of St. Petersburg, Florida.
As curiosity draws you nearer, this other worldly object turns out
to be quite a down-to-earth structure, the headquarters of Ander-
son Johnson Henry Parrish, Architects-Engineers, Inc., at 10500
Roosevelt Blvd. in St. Petersburg.
The official greeter at AJHP is a waterfall outside the main
entrance, a cheerful cascade plunging through tropical shrubbery
into a pool which in turn feeds a brook coursing toward the
pond. The setting lifts your spirits as you cross a foot bridge to
the front door, but you don't realize unless you're told that all
this water also serves a utilitarian purpose. It's recirculating
coolant for the building's air conditioning system.
Why, you may wonder, a round building? In one sense, the shape
symbolizes unity, the firm's commitment to meeting all the
environmental design needs of its clients. Architects Glenn Q.
Johnson, AIA, and John David Parrish, AIA, and Registered
Professional Engineers John A. Anderson and Allen K. Henry
augment and complement each other on any project the firm
From a functional standpoint, the circle provides a light, airy
package for the offices, presentation and drafting rooms,
reception area and other working spaces needed by the four
principals and their 14 in-house employees. (Another man, an
engineer, is in charge of AJHP's new Fort Myers office).

I _

The rooms are predictably wedge-shaped, but
there's no feeling of closure at the narrow end
because the ceiling sweeps inward and upward
toward a central core occupied by the building's
mechanical systems. The total effect draws you
into the structure, inviting you to become part of
what's happening there.

In creating their own professional home, Messrs.
Anderson, Johnson, Henry and Parrish proceeded
as they would for any other client. "We design
every project from the inside out," says Johnson.
"We arrange the interior spaces to solve the client's
problems, meet his needs and make his work or
his home life more joyful."

Every client's needs are different, so every AJHP
building is unique. Spatial relationships dictate the
choice of suitable building materials. The exterior
of the building expresses what goes on inside, and
also the relationship of the structure to its surround-
ings. Because the firm has no identifying visual
"signature", you can't tell an AJHP building just
by looking at it.

AJHP's designs do, however, have one common
element: concern for environmental quality. An
effort is made to respect the ecological integrity of
any site, to enhance rather than disrupt it. The
firm's own office building epitomizes the AJHP
emphasis on grafting men and their structures into
an easy, cooperative relationship with nature.

This approach has proven eminently successful
for the four men since 1960, when their partner-
ship was organized in its present form. That year
the firm's annual construction dollar volume was
$750,000; in 1972 it was $23.4 million.

Back in 1959 a corporate predecessor to AJHP
pioneered the use of air conditioning in Florida
schools. The firm used a standard program for
space requirements and succeeded in designing
Oak Grove Junior High School in Clearwater as a
completely air-conditioned school which could be
constructed at lower cost than similar schools with-
out air conditioning. Subsequently, the U.S. Office
of Education studied the school and its operation
under a Ford Foundation grant, to ascertain how
design innovations could be applied elsewhere.

Over the years AJHP has capitalized on this early
success, designing more school buildings than any-
thing else. However, the firm's practice is broad-
gauged and its commissions have also included
many institutional, medical, religious and resi-
dential structures.

SI _

AJHP Office Building

In recent years, AJHP has received the Architects Annual Building Award for the
Pinellas County Judicial Building (1972), Holy Cross Catholic Church (1972) and
Azalea Junior High School (1968), all of which are in St. Petersburg, and for the
St. Petersburg Beach Public Library (1970). The Oakhurst Elementary School
Kindergarten in Largo earned AJHP the 1970 American Association of School
Administrators Award.

The firm has also received recognition in the form of invitations to its principals
to involve themselves in community affairs. Anderson is now serving, by appoint-
ment of the Governor, on the board of the South West Florida Water Management
District. Parrish is on the board of governors of the Science Center of Pinellas
County, and he and Johnson both serve on the advisory board of the county's
Division of Vocational Technical and Adult Education.

Pinellas County Judicial Building

Not all of AJHP's work is architecture in the strictest sense, of course. The firm's
engineering practitioners are involved in land planning for residential, commercial
and industrial clients; sewage collection and treatment projects; engineering of
streets, earthwork and drainage; correction of existing municipal drainage problems;
and a variety of other civil engineering activities. Sometimes these are undertaken
independently; on other occasions they're in conjunction with an architectural
project. At the moment AJHP is engaged in land planning and architectural design
of apartment complexes for four major builders: Redman Development Corpora-
tion of Dallas, Texas; Mark Builders, Orlando; Lennar Corporation, Miami; and
MetroCare Corporation, South Amboy, New Jersey.

I Rendering of First Marine Bank Buil

Another project now under way is the First Marine
Bank Building at Riviera Beach on Florida's east
coast. The client, General Financial Services Cor-
poration, wanted as much open space as possible
on the office floors of the 10 story, $2.5 million
building. AJHP's solution involves cantilevering
the floors from service towers located at either end
of the building. In the towers are elevators, stairways,
air conditioning and other mechanical systems. From
a visual standpoint the result will be quite attractive,
for the center section of the building will appear to
float airily, bridgelike, between the anchoring

AJHP has also been awarded a $13 million contract
to design a major addition to Manatee Memorial
Hospital in Bradenton. A preliminary concept
being discussed by the hospital trustees involves
twin 10-story towers which would add 242 beds.
For this project, AJHP has associated with one of
the world's largest architectural firms, Perkins &
Will of Chicago, which is serving as a consultant in
the year-long research effort to produce a final

Holy Cross Catholic Church

.-... ....
M uUu




+ ~* p




In the immediate future, AJHP expects to broaden
the scope of its services. To this end Anderson has
become a licensed Realtor and Johnson is preparing
to obtain a contractor's license. By the end of 1973
AJHP will be able to put together a total project
package for a client; secure the land, arrange for
financing, undertake architectural and interior
design, and manage construction by serving as
prime contractor.

"Historically," Parrish notes, "the architect has
been the master builder. We're eager to return to
our traditional, rightful role."

AJHP's drafting room.

I Left tp right: Allen K. Henry, John David Parrish,
Glenn Q. Johnson, John A. Anderson



% VJ


i~Z i71

----, --~-

"Life is short.The sooner amanbegins to enjoyhiswealth, the better."
-Samuel Johnson

The Club on Sailboat Key. A private island offshore Coconut Grove. Apartments from $41,000 to $325,000.
By appointment only. Call Mr. Roger Green, 856-0660




1. Molding qualities Excellent
2. Compression molding temp. *F 300-450
3. Avg. rec. compression molding pressure p.s.i. 500-800
4. Injection molding temp. 'F 300-600
5. Avg. rec. injection molding pressure, p.si. 10000-20000
6. Compression ratio 2.0
7. Mold (linear) shrinkage, in./in. 0.02-0.05

8. Specific gravity (density) D792 0.941-0.965
9. Specific volume, cu. in/lb. D792 29.6-28.8
10. Refractive index, n D542 1.54
11. Tensile strength, p.s.i. D638, D651 3100-5500
12. Elongation, % D638 50-1000
13. Tensile modulus, 10' p.s.i. D638 0.6-1.8
14. Compressive strength, p.s.I. D695 2700-3600
S 15. Flexural yield strength, p.s.i. D790 1000
Z 16. Impact strength, ft. lb./in. of notch D256 0.8-20.0
(1/2 x 'A in. notched bar, Izod test)

17. Hardness, Rockwell D785 D60-70 (Shore)
18. Flexural modulus, p.s.i. x 105 D790 1.0-1.6

19. Compressive modulus, p.s.i. x 10' D695 -
20. Thermal conductivity, 10' cal./ C177 1-12.4
sec./sq.cm., 1 ('C./cm.)
21. Specific heat, cal./'C./gm.(RT) 0,55
S 22. Thermal expansion, 10'/'C. D696 11-13
23. Resistance to heat, *F. (continuous) 250
24. Deflection temp., 'F.
@ 264 p.s.i. fiber stress 0648 110-130
@ 66 p.s.i. fiber stress 140-190
25. Volume resistivity, ohm- cm- D257 >10"
(50% RH and 23'C.)
26. Dielectric strength, short-time, 0149 450-500
/s-in. thickness, volts/mil
27. Dielectric strength, step-by-step, D149 440-600
1/g-in. thickness, volts/mil
S 28. Dielectric constant, 60 cycles D150 2.30-2.35
29. Dielectric constant, 10' cycles D150 2.30-2.35
30. Dielectric constant, 10e cycles D150 2.30-2.35
31. Dissipation (power) factor, 60 cycles D150 <0.0005
32. Dissipation (power) factor, 10' cycles D150 <0.0005
33. Dissipation (power) factor, 10'cycles D150 <0.0005
34. Arc resistance, sec. D495 -

35. Water absorption, 24 hr., 1/s-in. thickness, %

Burning rate (or flammability, in./min.)




Very slow

Molded to your size and specifications from Hi
Density Linear Polyethylene 1/8 Inch Thick. Tested
By Pittsburgh Laboratories And Found To Be Four
Times Stronger Than Materials Now Being Used.

30 X 48
32 X 48
30 X 56

32 X 56
30 X 60
32 X 60



37. Effect of sunlight Unpe.ette milr;il cr.su i rMtly. R*.
qulres bhtck for tlte proectio.
but wathr-.sistnt gred.
ovailUbl in nolteral and cler,

Effect of weak acids



39. Effect of strong acids D543 Attacked
slowly by oxi-
dizing acids

40. Effect of weak alkalies D543 Very
41. Effect of strong alkalies D543 Very
42. Effect of organic solvents D543 Resistant
43. Machining qualities Excellent


to opaque

For Quote Call or Write


Rt. 1, Box 71C Ph. 813-533-3364

Bartow, Florida 33830


REPORT: 7269

APPROVED: 7-7-72

EXPIRES: 7-7-74





Sixth in a Series of Articles Prepared by
FAAIA Practice Aids Committee

Color Theory

H. Samuel Krusg, FAIA

In a recent continuing education survey
made of desires of young practitioners,
high on the list of subjects of which most
practitioners desired education was Color

Superficial investigation shows that
young practitioners are not alone in their
desire for education in color theory.
Many large established offices seeem
monochromatically oriented as if igno-
rant of, or too timid to use color. Such
timorousness is not fitting for people who
design man's environment. Color is one of
the designer's most effective tools for
creating the intangible qualities of space;
color can excite or subdue; it can effect
desirable illusions; it can complement or
mute the shapes of things.

Believing that what is desired by the
young practitioner and obviously needed
by some of our old, established firms
would also be the concern of small office
practitioners, this paper on the funda-
mental color theory is written.

It must be assumed that architects have
received some education in the funda-
mentals about color. In elementary
school education most of us have learned
them, and in college architects are again
exposed to them. But let us refresh the
information stored in the dark recesses of
our minds and review these fundamentals
and, hopefully, regain the courage to use
color with confidence and, at the same
time, have fun using it.

There is a difference in the qualities of
color and visual response to them be-
tween colored lights and pigments. Col-
ored lights and their manipulation is part
of the architect's concern, and he should
know the fundamentals of the effects of
colored lights, but for this paper only
pigmented colors will be reviewed, reserv-
ing the discussion of colored lighting for
another paper.

Although there are many pigments availa-
ble, for all practical purposes the working
palettes for most designers, and artists,
are in approximately six small groups of
about twelve colors each. This is borne
out by the way Magic Markers are sold in
sets. If you study the Magic Marker
Studio Color Chart, you will see that

there is a set of skin tones for portrait
artists, wood colors for architects, out-
door and stone colors for architects all
in sets of twelve colors.

The primary red, blue and yellow con-
stitute the most essential colors, then the
less vivid greens, browns and grays.
Theoretically, it is possible to mix the
entire range of the spectrum with the
three primary colors red, blue and
yellow. But for convenience and uni-
formity sake, factory prepared inter-
mediate and secondary colors are usually

In pigment mixing, pairs of primaries
(red, blue, yellow) give secondary colors
(orange, green, violet) called secondaries.
The intermediate colors (yellow-green,
blue-green, etc.) are made by mixing the
primary color with its neighboring sec-
ondary colors in the color wheel. If we
arrange the colors in a circle in the order
in which they appear in the spectrum, the
pair diametrically opposite each other are
called complementary colors or compl-

A color wheel can be helpful in selecting
color relationships until one becomes so
familiar with the relationships that they
become an integral part of design vocabu-
laries. The wheel illustrated here has a
center triangle with a pointed tail which
should be a cutout turning on a pin in the
center of the color wheel. As the cutout
turns, the three corners of the triangle
will always point to the primaries, or to
the secondaries, or to three of the six
intermediaries. The two little c's, which
are diametrically opposite each other, will
always point to the complementaries.

When speaking of colors the common
terms used to describe the qualities of
color are: hues, values, intensity, tone,

The quality that distinguishes one color
from another is called "hue." The apple is
red red is the name of the color hue
is the name of a color. Hue can be altered
by mixing another color with it. If the
red pigment is mixed with yellow, orange
is produced the hue, red, was changed
to the hue, orange.


Color Theory, Continued

The quality of color that discriminates
lightness and darkness of color is called
"value." It is value that discriminates
light red from dark red. By mixing a color
with something lighter or darker the hue's
value is changed. If black or white pig-
ment is mixed with a hue, the value is
changed but not the hue.

A color in its full natural strength is a
"normal" color, or a hue of normal value.
If lighter, it is called a "tint"; if darker, a
"shade"; or sometimes, "light value" and
"dark value" respectively. Therefore,
when a hue is mixed with white the color
is called a "tint"; with black, a "shade";
but with black and white, a "tone."
Some colors are strong and some weak.
The quality that distinguishes strength
and weakness is called "intensity." In-
- n ..-.. N. tensity can be changed.




(ir )


Intensity of a normal color can be
changed by mixing it with other hues,
graying the color. Intensity can be
changed without changing value or hue
by adding neutral gray of value equal to
the hue.

Colors are active and passive. Some hues
are exciting and restless, others calming
and subdued; some suggest warmth,
others coolness; some heaviness and inert-
ness, others lightness and spaciousness;
and some are advancing colors while
others recede.

Hues of red, orange and yellow groups are
considered warm, and those analogous to
blue on the color wheel, as cool.

Red and orange are considered to have
the greatest force to the advancing hues;
yellow the weakest, unless supported by
other colors. Greens and violets stand
half-way between hot and cold; blue-
greens and blue-violets tend to recede and
have little compelling force.

Cool colors also suggest distance or ex-
pansion and, for this reason are called
"receding" or "retreating"; warm colors
conversely are "advancing." In a land-
scape painting the artist paints the back-
ground in cool colors to show distance
and spaciousness, and the foreground in
warm colors. Warm colors are associated
with light; cool colors, with shadow.


Pairs of complementary colors (yellow
and violet, for example) have interesting
relationships; in mixture they neutralize
each other, producing gray; in juxtaposi-
tion they intensify each other, sometimes
dazzlingly. Designers make great use of
this phenomenon. A designer of a build-
ing sited in bright sunshine makes his
yellows and oranges more vibrant and
intense with blue and violet accents
which through contrast will enhance the
brilliance of the warm tones of the
natural surroundings. In a landscape con-
sisting mainly of greens, a dash of red will
intensify the whole. Nature makes use of
complements; yellow sand beaches con-
trasting with the blue sea and sky; the
purple clouds against a golden sunset.

Many experiments have been made over a
long period of time by many people,
trying to determine the eye's response
and the psychological reaction to the
juxtapositions of colors. M. E. Chevreul, a
nineteenth century superintendent of the
dyeing department for the Gobelin Tapes-
try Manufacturers and a researcher in
color, gives thirteen laws of simultaneous
contrast that should be learned by heart
if skill in the use of color is to be
attained. They are:

1. Colors are modified in appearance by
their proximity to other colors.
2. All light colors seem most vivid
against black.
3. All dark colors seem most vivid
against white.
4. Dark colors upon light colors look
darker than when placed on dark
5. Light colors upon dark colors look
lighter than when placed on light
6. Colors are influenced by adjacent
colors, each tinting its neighbor with
its own complement.
7. If two complementary colors be side
by side, each seems more intense
than by itself.
8. Dark hues on a dark ground which is
not a complementary hue will appear
weaker than on a complementary
9. Light hues on a light background
which is not a complementary hue
will seem weaker than on a comple-
mentary background.

10. A bright color against a dull color of
the same hue will further deaden the
dull color.
11. When a bright color is used against a
dull color, the contrast will be
strongest when the latter is a comple-
mentary color.
12. Light colors on light grounds, which
are not of complementary hues, can
be greatly strengthened if bound by
narrow bands of black or comple-
mentary colors.
13. Dark colors on dark grounds, which
are not of complementary hues, can
be strengthened if bound by narrow
bands of white or light colors.

There are many other properties of color
and the permutations and combinations
seem infinite. If it is desired to delve into
the optical and psychological effects of
combinations and shapes of colors, there
are many books on the subject in univer-
sity and college libraries where art is
taught. The following bibliography is
given to help the SOP expand his knowl-
edge of the use and effects of color. It
does not represent the reading list possi-
ble for the subject, but it is a list of books
and articles considered appropriate for
the SOP's use in building design and
presentation delineations.

Bustanoby, J. H., Principles of Color and
Color Mixing, McGraw-Hill Book Co.,
New York, 1947.
Chevreul, M. E., The Principles of Har-
mony and Contrast. Bell & Dalby,
London, 1870.
Graves, Maitland, Color Fundamentals,
McGraw-Hill Book Co., New York,
Guptil, Arthur L./Sullivan, Catherine,
Editor, Color Manual for Artists, Rein-
hold Publishing Corporation, New
Land, Edwin H., "Experiments in Color
Vision", Scientific American, May
Munsell, Albert H., A Color Notation,
Munsell Color Co., Inc., Baltimore,

To learn how to use color with confi-
dence and skill, a person must use color
as well as think color. The learning is
quickest and best by doing. Acquiring
skill in the use of color, like truth, is its
own soul-satisfying reward. Every archi-
tect should die happy having attained
many, many times this soul-satisfying
reward. 0


_ __I _

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Less strain putting them up.
Panels sized up to 4 by 12 feet are
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the exterior finish. Windows, sliding glass
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More stress with strength.
The strength and stiffness of the S-C
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Stress on good looks.
All exterior surfaces are prefinished with
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Aggregates available in various sizes and
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i ,i


Address by Ralph Warburton, AIA, AIP,
Professor of Architecture and Chairman
of the Department of Architecture and
Architectural Engineering, University of
Miami at a meeting of the Florida South
Chapter of the American Institute of

Toward a





It is a pleasure to be here this evening to
meet you all. Though I have had the
opportunity to talk with some members
of the architectural profession here, I
want to speak with many more in the
coming months and look forward to this
very much.

It is particularly appropriate that we are
meeting tonight to discuss briefly the
subject of design education in south
Florida, or as the announcement put it:
"Can the University of Miami become a
National Center of Environmental Design

I hope you'll be formulating a positive
response as our remarks proceed.


The appropriateness of the subject stems
from the fact that today is the first day
of classes at the University. And we have
the largest number of students in archi-
tecture and architectural engineering in
the 22 year history of the department,
and the 11 year history of the curriculum
in architecture.

Over 250 students are enrolled in the
design sequence, half of them entering
their first professional courses, and the
total number of students will approach
300. Depending on whether one uses
numbers of students or student credit
hours as an index, the increase from last
term or last fall appears to be in the 40%
- 60% range. According to preliminary
information on a sample of the freshmen,
10% come from Florida and 50% are
from New Jersey, New York and New
England. Over 15 states are represented,
from California to Maine, and several
foreign countries. We have a national
student body, drawn to our unique re-

This able and stimulating group is con-
cerned with their education to practice
environmental design in the 80's and
beyond. As they embark on this path
they have many questions on the goals
and nature of the profession and the
school. Certainly the professions and the
schools of environmental design can agree

on the goal of the discipline: to improve
the quality of the developed environ-
ment, thereby contributing to the ad-
vancement of society.


Many resources are available to con-
tribute to the achievement of this goal.
Miami, with parameters as varied as seri-
ous environmental challenges, rapid
growth, and metropolitan government,
offers an unsurpassed setting for design

Within the activities of the building indus-
try, the American Institute of Architects,
American Institute of Planners, American
Society of Landscape Architects and
other professional societies are important.

Particularly vital is the Florida South
Chapter of the AIA, and the local chap-
ters of the other societies. Your support
of the Student Chapter of the AIA at the
University of Miami is noteworthy among
your activities, as is the Advisory Com-
mittee to the University. I am proud to
be associated with this Chapter and its

It was very pleasing to me to learn of the
Architectural Guild activity, as such an
organization uniting the profession, the
suppliers, the builders and the university
can be of great help in advancing environ-
mental design. I expect to work with it

And, of course, the University of Miami is
a tremendous foci of physical and human
resources. The four greater academic
objectives of the University are: teaching
and research regarding sub-tropical
regions; the marine environment; Latin
America and the Caribbean; urban and
regional problems. If we remember that
Buckminster Fuller, among others, has
developed concepts for floating cities, it
is easy to realize that all these objectives
relate to architecture.

We have the enlightened leadership of the
Board and of President Stanford, which I
will be referring to again later. Carl
McKenry, Vice-President for Academic

Affairs, is perhaps the only such individu-
al in the nation who was formerly the


_ __I ___

executive director of an urban coalition
and director of a university center for
urban studies and who is an honorary
member of an AIA chapter! I feel particu-
larly fortunate in being able to work with
these men, and many others in responsi-
ble positions in the University such as
Deans Harrison and Harrenstien, for their
vision and support has been and is -
essential to our progress.


In a year when a resolution at the AIA
national convention called for architec-
tural education aimed toward the prac-
tice of architecture, it is indeed a pleasure
to recognize that thrust among the Facul-
ty of my Department. When I came
aboard over 3/4 of the Faculty were
licensed to practice a ratio that may
well be unexcelled across the country and
will not be diminished in our faculty

The development of a larger faculty has
been a principal recent concern. We have
been fortunate indeed to be able to
appoint three new Associate Professors:
Harold Malt, Philip Steel, and Ronald
Frazier. Mr. Malt is nationally known for
his work in street hardware and has
recently published "Furnishing the City",
the definitive current work on the sub-
ject. Mr. Steel brings to the students
extensive practice experience from Penn-
sylvania, where his designs have won
several awards. Mr. Frazier is an architect
who has been active here in inner-city
planning for some years.

In this context it is a pleasure to note
that Professor Richard Langendorf, a
former colleague of mine at HUD and
new Director of the Center for Urban and
Regional Studies, will serve on the Archi-
tecture and Architectural Engineering

In July I had the opportunity to review
the disappointing results of the recent
Florida State Board Examination in site
planning. This reinforced my conviction
that this area must be developed. Accord-
ingly, Walter Chambers has accepted an
appointment as Visiting Professor of
Landscape Architecture. Mr. Chambers
was formerly head of landscape architec-

ture at Harvard and the University of

In addition, Edward D. Stone, Jr. of Fort
Lauderdale will serve as Adjunct Profes-
sor and David Peterson as Adjunct Associ-
ate Professor of Landscape Architecture.
As most of you know, Mr. Stone is one of
the country's leading landscape
architects. Mr. Peterson is chairing a new
elective course this fall in site develop-
ment, and registration has greatly
exceeded our expectations.

Another new elective, in Interior Archi-
tecture, has also proved to be very popu-
lar. This will be taught by Dean New-
berry, Adjunct Assistant Professor of
Interior Architecture.

I am particularly pleased that Sam Kruse
has agreed to serve again as Adjunct
Professor; and that Jim Garland and Dick
Schuster will also be helping in adjunct


Three new adjunct faculty will be con-
cerned with our developing program of
extra-mural studies. Under this program,
a small number of carefully selected
senior students will become involved for a
term or so with leading national institu-
tions. They will gain unique educational
benefits and be granted university credit.

Arrangements are now being made with
three institutions. At the Institute for
Architecture and Urban Studies in New
York City, affiliated with the Museum of
Modern Art, students will become inten-
sively involved in projects relating to
design theory. At the Research Division
of the National Bureau of Standards in
Washington, students will gain consider-
able expertise in materials, methods, and
performance-oriented standards. At the
Structures Branch in the Office of the
Chief of the U.S. Army Corps. of Engi-
neers, substantial background in building
systems and socio-physical approaches
will be imparted.

These efforts will be directed, respective-
ly, by Adjunct Professors Peter Eisenman,
Director of the Institute for Architecture
and Urban Studies; James Haecker of the

Building Research Division at NBS, and
Arnold Prima, Chief of the Special Proj-
ects Section in the Corps.

As you can tell, our faculty and academic
programs have developed in quality and
quantity. I might add that we are a
leading university department in terms of
faculty integration by race, sex, etc.


I also want to report briefly on our
emerging research involvement. Professor
Prestamo recently was a prime mover in
organizing a program for key officials of
the Guayaquil, Ecuador government. He
and other members of the Faculty are
now initiating work for the United Fund,
and are exploring strong potentials with
Dade County HUD, U.S. HUD, HEW, etc.
We are developing a research program
appropriate to a nationally oriented
urban school of environmental design.


All these activities strengthen our present
programs of architecture and architec-
tural engineering toward the objectives of
accreditation and re-accreditation by the
professional groups. The Engineers Coun-
cil for Professional Development will be
re-accrediting the architectural engineer-
ing curriculum this academic year. Upon
advice from the National Architectural
Accrediting Board, we are planning for
their visit during the 1973-74 school year.
We believe we will be well prepared for
these visits, and trust we will have your
accelerated support at these crucial times.


We will also be considering curriculum
development, not limited to but including
architecture and architectural engineer-
ing. We will expect to develop means of
broadening the architects competence in
building design, and relate effectively to
the new NCARB examination ap-
proaches. We plan to develop greater
strength in the a-e curriculum in mechani-
cal and electrical aspects of building and
urban developments.



I _

Rendezvous With Greatness, Continued

As you may have noticed, a number of
our full-time faculty 6 at present are
experienced in community planning to
the extent recognized by the American
Institute of Planners, and thus a curricu-
lum in planning would be eligible for AIP
accreditation. We have this under serious
current study.

The popularity of our new landscape and
interiors offerings is among the stimula-
tors for curricula studies in these areas,
and we are proceeding here as well. It is
obvious that this progress will have a
great beneficial impact on environmental


I have referred several times to support
from the profession to the university.
Conversely, we would like to support
each of you in expanding your knowledge
of the state-of-the-art. Accordingly, we
will be sending each member of the
Florida South Chapter a questionnaire
inquiring as to his present interests in
advanced studies. We want to determine
and be responsive to these needs, and will
appreciate any information you may care
to send beyond that called for in the


In conclusion, let me summarize my
remarks this evening. Architecture at the
University of Miami has a growing nation-
al student body, an increasingly strong
faculty with broad experience, developing
curricula and research programs with na-
tional import, the strong backing of the
University administration, and an unsur-
passed location to foster professional
objectives. And I trust we have your
general support now as in the past, and
that we can call upon you as specifics

In his address to a recent meeting of the
university faculty, President Stanford
proclaimed the fact that the University of
Miami has a "rendezvous with greatness."
I agree in general and in particular with
regard to architecture. We in
environmental design have a rendezvous
with greatness! These brief remarks indi-
cate, I trust, some progress toward that
event and I believe that you will soon see
its realization: a great national foci for
environmental design at the University of


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Watson and Company, architects-engineers of Tampa and
Orlando, wishes to establish a dialogue with a small ar-
chitectural firm. Our objective is to add some or all of that firm's
professionals to our existing large staff of architects. Our com-
pany offers the size, experience and support personnel that a
design firm must have for long-term prosperity in today's
market. We are thus able to obtain and handle the large con-
tracts, as well as the distinctive smaller ones, that provide
challenge and growth for our people. If you and your staff wish
to investigate what would be a demanding, rewarding and
broad-horizon future, you are invited to write or telephone R.
Daniel Harnly, AIA (813) 876-2411, Watson and Company, P.
O. Box 18405, Tampa, Fla. 33609. Thank you.


FAA Foundation 1973

. Samuel Kruse, FAIA, President,
FAA Foundation

In 1965 on 21 September, the State of
Florida issued a charter creating the
Florida Association of Architects Foun-
dation. The charter listed William T.
Arnett, James Deen, Forrest R. Coxen
and Dana B. Johannes as subscribers and
as officers: Robert H. Levison, President,
Hilliard T. Smith, Jr., Secretary and Fotis
N. Karousatos, Treasurer.

By issuing this charter the State of
Florida provided a philanthropic organiza-
tion with tax-exempt status to the archi-
tects of the State for supporting and
conducting those non-profit activities
which will improve the profession of
architecture and its related disciplines.
Prior to 1965 there was no Florida
Association organization through which
research could be supported, educational
programs conducted, scholarships given,
medals, certificates or other recognition
given for activities benefiting the profes-
sion on a tax-exempt philanthropic basis.

The Foundation started its work with the
production of the film "Florida the
Beautiful", showing those areas in the
State that should be improved if Florida
were truly to be beautiful. The film was
shown to public groups throughout the
State to awaken public interest in doing
something to thwart urban degeneration
and out-right blight.

Recently more ambitious efforts are be-
ing undertaken through cooperative
efforts with other disciplines to provide
the public a basis for evaluating environ-
mental and ecological issues. The Oklawa-
ha River Basin Charette and the Red Flag
Charette are examples of the efforts in
1971 and 1972.

The Foundation elected new officers and
expanded its Board of Trustees in the
Summer of 1972 and in August defined
its program for 1973. A Program Com-
mittee, consisting of Jack West, Chair-
man, Arnold Butt and Jack Stefany met
in Tampa to develop a program by which
the Foundation could expand its re-
sources and provide support for projects
of general benefit to society and within
the sphere of professional concerns. The
following five point program evolved and
was accepted by the Board of Trustees
for the 1973 trust:

1. Solicit "Seed Money" in the sum of
$5,000 from FAAIA membership
through appeals through The Florida
Architect, Contact, Chapters and Sec-
tions, and organizations interested in
FAAIA programs.

2. Solicit worthwhile projects of
general benefit to society and for
which the profession would have cred-
ibility to administer. In this effort
members and chapters will be encour-
aged to run programs, which meet this
criteria, through the Foundation with
the understanding that the Foundation
would not interfere with program nor
diminish funds by this process, since it
is beneficial to the Foundation's pur-
poses to have all architect activities in
the State recorded in the records of
the Foundation.

3. Print and circulate an instruction
brochure to describe the objectives
and the history, as well as the tax-
exempt status of the Foundation.

4. At the completion of a year's activi-
ty, prepare and circulate an annual

5. Solicitation of FAAIA membership
shall be continuous and of institutions
and corporations for the funding of
specific projects of special interest to
the donor.

Several projects which are currently being
funded by local agencies are worthy of
greater support so that local activities can
also become State activities. Florida
Central Chapter's slide show appeals to
the school systems to integrate ecological
and design awareness in the curricula of
all levels of education. Such appeal has
statewide application and the money to
support a statewide program in this area
of activity is one of the projects of
interest to the Foundation.

In 1973 the Foundation program will
involve the active participation of every
architect in Florida. It is the Founda-
tion's optimistic prediction that 1973 will
be the year of maturity for Florida

architects, the year that good individual
works are given greater breadth and ef-
fectiveness. 0


_ I




*ES(Sh AN *N0P

To MA AN smor OEVL




DUNAN E1333131~Y~

8 7h AE. N H
(305 5825760(305 887152

JUntver6tty of Flort la :.1,rart.e!
Archit.ect;-3 .i Fine Arts ,.itrary
201 Rudo.ph V eaZ~ r lall
Caineaviile, Fla. 3260:

7100 N. Kendall Drive
Miami, Florida 33156
Accepted As Controlled Circulation
Publication at Miami, Florida

Four myths



"T'b the
is no object!'
The truth is that
in the new science of
fast construction, it is
architects who are the
pioneers. Using new
techniques like"Fast
Track" and "Critical
Path," they are
meeting and even
beating some
murderous deadlines.
At the site for
Memorex's huge new
headquarters in
Santa Clara,
California, architects
had steelwork up in
3 weeks, the first
products rolling off
assembly lines within
9 months, and the
entire complex (4
buildings, which won
awards for their good
looks) finished inside
of 2 years!

"He loves to
spend your
money because
his fee is a
The truth is that
architects today will
often negotiate a fixed
fee before they begin
work. But the
architect who did
Cities Service Oil's
headquarters in Tulsa
was working for the
traditional percentage.
He found a way to use
the outer walls as a
truss, thus reducing
the cost of the building
by $1,000,000
clipping a sizable sum
off his own fee!

"His estimate
is an under-
The truth is that
despite the dizzying
impact of inflation,
architects' estimates
have proved to be
surprisingly realistic.
A random sampling
of 25 architectural
projects in North
Carolina last year
showed that final
construction costs
were $3,195,843
under the architects'
original estimates.
And there's no reason
to believe that North
Carolina's architects
are any shrewder
than the rest.

"He cares more
about the way it
looks than the
way it works.
Ten businessmen
who've dealt with
architects recently
have taken the
trouble to demolish
this myth. They
describe how their
architects gave them.
buildings that work
in ways they would
never have thought
of themselves, and
we've put their stories
into a booklet.We'll
send you a copy, free:
Just drop a card to
Florida Association of
the American Institute
of Architects, 7100 N.
Kendall Drive, Miami,
Fla. 33156.
(It happens to be a
good-looking booklet,
as well.)