Front Cover
 Table of Contents
 Back Cover

Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00243
 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: 1983
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
Holding Location: 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: UF00073793:00243
 Related Items
Preceded by: Bulletin (Florida Association of Architects)
Succeeded by: Florida/Caribbean architect

Table of Contents
    Front Cover
        Front Cover 1
        Front Cover 2
    Table of Contents
        Page 1
        Page 2
        Page 3
        Page 4
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        Page 19a
        Page 19b
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    Back Cover
        Page 57
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Full Text



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Florida Association of the
American Institute of Architects
104 East Jefferson Street
Post Office Box 10388
Tallahassee, Florida 32302
Publisher/Executive Vice
George A. Allen, CAE
Diane D. Greer
Assistant Publisher/
Director of Advertising
Carolyn W. Maryland
Editorial Board
Charles E King, FAIA
William E. Graves, AIA
Ivan Johnson, AIA
John Totty, AIA
Robert G. Graf, AIA
251 E. 7th Avenue
Tallahassee, Florida 32303
Vice President
James H. Anstis, AIA
333 Southern Boulevard
West Palm Beach, Florida 33405
James J. Jennewein, AIA
102 West Whiting Street
Suite 500
Tampa, Florida 33602
Mark T. Jaroszewicz, FAIA
University of Florida
College of Architecture
331 Architecture Building
Gainesville, Florida 32611
Regional Directors
Ted Pappas, FAIA
Post Office Box 41245
Jacksonville, Florida 32202
Howard B. Bochiardy, FAIA
Post Office Box 8006
Orlando, Florida 32806
General Counsel
J Michael Huey, Esquire
Suite 510, Lewis State Bank
Post Office Box 1794
Tallahassee, Florida 32302

Journal of the Florida Association of
the American Institute of Architects,
is owned and published by the
Association, a Florida Corporation
not for profit. ISSN: 0015-3907. It is
published four times a year at the
Executive Office of the Association,
104 E. Jefferson St., Tallahassee,
Florida 32302. Telephone (904)
222-7590. Opinions expressed by
contributors are not necessarily
those of the FA/AIA. Editorial
material may be reprinted provided
full credit is given to the author and
copy sent to the publisher's office.
Single copies, $2.50; subscription,
$20.00 per year. Third class



FALL, 1983
Volume 30, Number 5


9 The Architect and the
Mechanic's Lien Law
J. Michael Huey

21 1983 FA/AIA Awards for
Excellence in Architecture

35 Jacksonville Architecture: A
Tradition Continues
by John Totty, AIA

39 Jacksonville is Building a
Prestigious Skyline
by Geoffrey J. Brune, AIA

40 The Prairie School in Puerto
Rico: Antonin Necodoma
by Thomas S. Marvel, FAIA

44 Tim Seibert: Searching for What
Comes Next in Architecture
by Diane Greer

46 The Rebuilding of a City in
by David Tod Hollister, AIA

56 In Defense of An
Architectural Education
by Paul A. Donofro, AIA


5 Editorial

6 News/Letters

9 Legal Notes

51 Product News

56 Viewpoint
Cover photo of the Porter Mansion, office of KBJ Architects, Inc. by Steven Brooke

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Miami 33137 155 NE 40th Street 305/573-5533
South Miami 33143 5838 SW 73 Street 305/665-5733
Vero Beach 32963 2945 Cardinal Drive 305/231-4166


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The homes can be built on conventional-
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Plans are available for only $50 per design.
For a detailed brochure and design order
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While the supply lasts, architectural firms
requesting information will also receive six
prints of historic Florida Passive Homes, suitable
for framing.

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in order to be considered for this project. Significant evaluation factors
(in order of importance): 1. Professional capacity of the firm to
accomplish the contemplated work. 2. Cost control effectiveness. 3.
Computer Aided Design capability. 4. Ability of the firm to respond to
limited time frames.


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completely manages all payroll activity, estimates project cash-flow based on current
performance, automates receivable, payables and billing activities, includes complete consultant
accounting, and much more. Keystone even uses a sophisticated Integrated General Ledger,
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Chicago is a city dense with soaring monuments to contemporary
design excellence and resplendent with the work of Wright, Sullivan,
Holabird and Root, Richardson and many more. It is a city of infinite
variety with the best of both the old and the new.
I spent three days in Chicago meeting with the 1983 Design
Awards Jury and had the pleasure of seeing some of the city with Diane
Legge Lohan, a partner with Skidmore, Owings and Merrill and a real
Chicagoan. The wonderful originality of design which has gone into
the many tall buildings (and which keeps visitors' eyes turned ever
skyward) also keeps the mind wondering how many different versions
of the skyscaper can exist in one city. Many, I now know; and the diver-
sity of styles and fabrics and shapes creates a constant excitement
in the streetscape and each block is a new adventure.
I enjoyed Chicago in a very special and personal way. After years
of studying the history of architecture, it is regretful that I'd never been
to Chicago until now. So, for me, to see the birthplace of the Chicago
School and to visit the Monadnock Building, Carson, Pirie, Scott, the
Rookery, the Robie House and the Gage Building was the culmina-
tion of years of studying these buildings in word and picture. I was
not disappointed.
For three days, I spent every moment that I was not with the jury
walking the city with my eyes cast upward trying to take it all in. I strolled
the corridors of soaring towers only to come upon wonderful open
public spaces where pedestrians can repose in the shade of silver
maples or in the shadow of a giant Calder or Picasso sculpture while
listening to a good jazz quartet.
Chicago is a city for people. It is a city which gets people outside
and onto the sidewalks and into the plazas. It is a public city. I tried
hard to take it all in... to absorb every little bit. But, there is just so much
to Chicago.
Diane D. Greer



McRae Chosen Dean of UF
Architecture School
Following a nationwide search, John
McRae, AIA, has been selected Chairman
of the University of Florida's Department
of Architecture.
McRae, a registered Florida architect,
is a recognized expert on architectural
design for the elderly and environmental
education for children. He was a partici-
pant in the White House Conference on
Aging and was recently invited to tour
China and the Soviet Union to discuss
design issues relating to the elderly.
Professor McRae joined the Universi-
ty of Florida faculty in 1967 and served as
the College's Associate Dean and Acting
Chairman of the Department of Architec-
ture. He received his Bachelor of Architec-
ture degree from the University of Texas,
Austin and the Master of Architecture
degree from Rice University.

Governor Names "Norman
Giller Bridge"
The Florida Legislature and Governor
Graham passed a bill into law naming a
major bridge in Dade County the "Norman
Giller Bridge" in honor of Florida architect
Norman M. Giller, AIA. This is the first time
that this honor has been bestowed on a
living architect.
This high-level bridge is located at 192
Street in North Dade County and it spans
the intracoastal waterway and is a major
part of the new Lehman Causeway con-
necting the beach to the mainland.
Giller has been a civil activist for more
than 30 years, playing a major role in im-
proving both the physical and social en-
vironment of Dade County. It was through
his leadership as president of Concerned
Citizens of Northeast Dade County, a
40,000 member organization, that the new
bridge was designed, funded and built.
Giller is past president of the Florida
South Chapter, AIA and is the immediate
past chairman of the Florida State Board
of Architecture. In 1982, the Florida South
Chapter presented him its coveted Silver
Medal Award "for outstanding service to
the profession and the community."

Professional Development
Certificate Series a Hit
The Professional Development Cer-
tificate Series on Graphic Communications
was set up to allow FA/AIA members to ob-
tain continuing education units over a two-
year period. Conducted through the
Center for Professional Development at
Florida State University, the series is be-
ing co-sponsored by the FA/AIA and the
School of Visual Arts in the Department of
Interior Design at Florida State University.
First in the series was the Color Draw-
ing Seminar presented by Michael Doyle
on July 21, 22 and 23 at the Center for Pro-
fessional Development. Doyle, who is a
former faculty member at the University of
Colorado School of Architecture, is
perhaps best known as the author of the
book entitled "Color Drawing."
Doyle's entire presentation was
recorded on a color video camera which
was then transmitted to seven monitors
positioned throughout the room so that no
attendee was more than six feet from a
monitor. Ninety-four architects, interior
designers, landscape architects and
graphic designers attended the three-day

John McRae, AIA

Housing Conference Slated for
The International Association for
Housing Science (IAHS) and the Interna-
tional Institute for Housing and Building at
Florida International University are presen-
ting the tenth World Conference on Hous-
ing on November 7-12, 1983 at the
Sheraton Bal Harbour Hotel on Miami
Beach. Quality low-cost housing is the
topic of this World Conference and experts
from the U.S. and other nations will discuss
methods of providing economical, quality
housing. Planning and design, financial
and construction of urban and rural hous-
ing projects will receive major attention at
this six-day conference.
Conference information may be ob-
tained by contacting Oktay Ural, Con-
ference Chairman at (305) 554-2764.

Norman M. Giller, AIA, with the Norman Giller Bridge in the background.

Michael Uoyle's color drawing workshop No attendee at the workshop was more than six teet trom a monitc
is video recorded in color, during the seminar.


d& it -A

The second seminar in the series will
be Peter Goodman's on Photography
which is scheduled for November 4, 5 and
6. Goodman is Director of Photography for
Edison Price, Inc., designers and manufac-
turers of architectural lighting fixtures.
Then, on January 5, 6 and 7, 1984, Kirby
Lockard of the University of Arizona will
present a Freehand Perspective Drawing
Workshop. Both the November and
January workshops will be held in the
Center for Professional Development in
Tallahassee which is a recent design by
Jacksonville architect William Morgan,

Member News

Barbara Hesselgrave has joined
Architects Ladelfa Canerday as staff
Historic Preservation Consultant. Ms.
Hesselgrave has completed the graduate
program in Historic Preservation from the
Graduate School of Fine Arts, University
of Pennsylvania. The first phase of North-
bridge Centre in West Palm Beach,

designed by Schwab & Twitty, Architects,
is comprised of a 20-story tower and a
4-story commercial building. Mike Corbett,
AIA, is project manager for Northbridge
and Jeffrey Lowe, AIA, is the project
designer. John Sacco, AIA, has been
hired to provide interior architecture ser-
vices for J.C.R. Corporation's new 1,300
square foot boutique, Taty's, on North
Kendall Drive in Miami. Construction is
near completion on the first of two 30,000
square foot buildings at Vistana time-share
resort near Lake Buena Vista in Orlando.
Designed by The Evans Group of Orlan-
do, Vistana will eventually comprise two
three-story buildings linked by a
3,000-square-foot glass enclosed atrium.
Chuck Braun, AIA, is now a member of
the Board of Directors of Helman Hurley
Charvat Peacock/Architects. Braun is
past President of the Mid-Florida Chapter
AIA and Chairman of the National AIA
Convention to be held in Orlando in June,
1987. H.H. Gonzales, AIA, has recently
been named General Partner for Ar-
chitects Design Group of Florida, Inc. in
Winter Park. Gonzalez rejoins ADG after
serving as project director for EPCOT for
the past four years at WED Design. Bar-

itH a.~tr^

bara J. Williamson has been appointed
Marketing Coordinator for Hunton,
Shivers, Brady Associates, Architects
P.A. Williamson will oversee market
development, customer relations and other
marketing functions for the firm. David H.
Carrington, AIA, has been named an
Associate with the Miami firm of Architects
Baldwin + Sackman. Carrington has
been with the firm for four years and his
design projects include the Builders
Association of South Florida Office Building
which won the Most Outstanding Concrete
Structure in Florida Award in 1982. Cited
by the General Services Administration as
"a model courthouse deisgn which may
be used as an example for future proj-
ects," Miami's new $18 million U.S. Court-
house opened for business in June. A new
design approach was used in planning the
courthouse. Project designers, Spillis,
Candela and Partners, invited the judges
who will use the facility to become active
participants in the design process. The
Orange-Seminole-Osceola Transporation
Authority (OSOTA) has just selected
Architects Design Group of Florida to
design Orlando's new downtown passen-
ger terminal. The estimated budget is $1

Barbara L. Hesselgrave, A.L.C.

H. A. Gonzalez, AIA

L to R: Gary Brock, AIA, Charles Charlan, AIA, and Brad Young, AIA.


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million with an expected completion date
of early 1984. Andreas Fabregas, AIA,
ASID, is spearheading a group of graphic
and interior designers who are preparing
for a masked ball at the Versailles Hotel on
Miami Beach. The ball is a fund raiser for
the revitalization of the old deco hotels on
the beach. The new firm of Tilden Tachi
& Pales, Architects, has opened offices on
South Bayshore Drive in Coconut Grove.
Principals include Douglas A. Tilden, AIA,
Douglas Tachi and J. Ronald Pales, AIA.
Charlan Brock Young & Associates of
Orlando, who are multifamily design
specialists, have just completed the design
for the Townes of Southgate which consists
of 308 condominium units and recreational
amenities on 39.5 acres in the Florida
Center near Orlando. The Haskell Com-
pany in Jacksonville has been ranked 14th
among the top design-construct firms in
the U.S. by Building Design and Construc-
tion magazine. The ranking makes the
Haskell Company the largest design-
construct firm in Florida and the second
largest in the Southeast. Herschel

Shepard, FAIA, is acting as Preservation
Consultant to Reynolds, Smith and Hills
on the development of a masterplan for the
city of Tabuk, Saudi Arabia. Robert J.
Boerema, AIA, past president of the
FA/AIA and Chairman of the firm of
Boerema, Kurki & Vera, Inc. has resigned
from the firm in order to devote more time
to other business interests. To help
educate the public as to what an architect
is, and what architects do, the Florida
South Chapter (FSC/AIA) was asked to
design the feature exhibit at the Miami/Ft.
Lauderdale Home Show, the largest show
in the country. The FSC/AIA chose An-
dreas Fabregas, AIA, of the firm of
Bouterse, Perez, Fabregas to design the

On August 2, Bob Broshar, FAIA, Na-
tional AIA President, visited the Florida
Northwest Chapter, AIA. Broshar spoke
to the chapter about the direction that Na-
tional is taking, specifically the increase in
member services and making the profes-
sion of architecture more understandable.


Dear Editor:
On behalf of the Trustees of the St.
Photios National Greek Orthodox Shrine in
St. Augustine, I want to express deep ap-
preciation for the absolutely beautiful
photograph of the Shrine on the cover of
your Spring issue, as well as for the
photographs and article on page 15.
Please extend our thanks to photographer
Bob Braun.
We believe that our Shrine is a jewel
and it is especially pleasant and encourag-
ing when professionals visit and recognize
the craftsmanship and efforts of those who
designed and constructed it, and of the
iconographers who executed the magnifi-
cent Byzantine frescoes.

Fr. Dimitrios Couchell

Above: Vistana by the Evans Group of Orlando.
Below: Northbndge Centre by Schwab and Twitty Architects.

John Sacco, AIA

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David Carrington, AIA

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by J. Michael Huey
FA/AIA General Counsel




For the past twenty years, architects
have been granted a statutory lien on real
property improved by their labor. This
statutory benefit is of tremendous value in
securing payment of an architect's profes-
sional fee. However, as with most laws,
continuous questions arise regarding the
application or interpretation of the law. I
hope the following questions and answers
will be helpful to you in your practice.

QUESTION: What persons are granted
mechanic's liens under the
ANSWER: Architects, engineers, land-
scape architects, land
surveyors, contractors, sub-
contractors, sub-subcon-
tractors, laborers and
materialmen are included as
lienors under the statute.
Also, any successor in in-
terest to anyone of these
persons enjoys the same lien
rights as his predecessor.
QUESTION: Under what circumstances
does an architect's lien rights
ANSWER: There are two circumstances
where an architect is entitled
to a lien. If the architect has
a direct contract with the
property owner, he is
granted a lien for his services
regardless of whether such
real property is actually im-
proved. On the other hand,
if an architect does not have
a direct contract with the
property owner, he has a
lien on the owner's real
property but only if the
property is improved.
QUESTION: Is it necessary for an ar-
chitect to provide a notice to
owner, like other lienors,
prior to filing a claim of lien?
ANSWER: A notice to owner is not re-
quired to be served by an ar-
chitect. However, it is not a
bad idea when you do not
have a direct contract with
the owner to send him a let-
ter advising him that you are

performing architectural ser-
vices for improvement of the
QUESTION: Does an architect have to
prepare and serve a con-
tractor's affidavit concerning
unpaid lienors as required of
contractors and subcontrac-
ANSWER: For many years there was
confusion regarding this
question. One district court
of appeal in Florida held that
an architect was required to
file a contractor's affidavit
while a sister court of appeal
found that it was not
necessary. In 1977, the
mechanic's lien statute was
revised and the statute now
clearly provides that ar-
chitects do not have to
prepare and serve contrac-
tor's affidavits on the owner.
QUESTION: When must a claim of lien be
ANSWER: A claim of lien may be
recorded (filed at the court-
house) at any time during
the progress of the work or
thereafter but not later than
ninety (90) days after the
final furnishing of the labor or
services or materials by the
QUESTION: Where should the claim of
lien be filed?
ANSWER: The claim of lien is to be
recorded in the clerk of the
circuit court's office for the
county where the property is
located. If the real property
is situated in two or more
counties, the claim of lien
must be recorded in the
clerk's office in each of such
QUESTION: Must you inform the owner
that you have filed a claim of
ANSWER: Yes. A copy of the claim of
lien must be served on the
owner before recording or

within fifteen (15) days after
recording the claim of lien at
the clerk's office. Failure to
serve the claim of lien within
fifteen (15) days of recording
renders the claim of lien
voidable to the extent that
the failure or delay is shown
to have been prejudicial to
any person entitled to rely on
the service of the lien.
QUESTION: How do you provide a copy
of the claim of lien to the
ANSWER: The law provides several
ways for service of a copy of
the lien on the owner. They
(a) by serving the owner in
the manner provided by law
for service of process, i.e.,
through the sheriff;
(b) by actual delivery to
the person to be served (if a
partnership, serve one of the
partners; if a corporation,
serve an officer, director of
managing agent);
(c) by mailing the claim of
lien, postage prepaid, by
registered or certified mail, to
the person to be served at
his last known address:
(d) if none of the foregoing
can be accomplished, by
posting the claim of lien on
the premises.
QUESTION: Is there any special form to
be used for the claim of lien?
ANSWER: Yes. Section 713.08, Florida
Statutes (1981), spells out
what must be included in a
claim of lien and provides a
sample form to be used by
QUESTION: What does an architect do
after filing his claim of lien
and serving a copy of it on
the owner?
ANSWER: The statutes provide that a
suit to enforce one's claim of
lien must be brought within
one year from the date of fil-
ing the claim of lien. Other-


wise, the lien is removed
from the property. However,
the owner may shorten this
time period by filing a notice
of contest of lien. if the owner
files such a notice of contest,
then the architect must move
to enforce his lien within six-
ty (60) days of service of the
notice of contest on him.
QUESTION: Can the owner remove a lien
on his property in any other
ANSWER: In order to remove your lien
within the one year time
period, the owner may
transfer your lien to security
by paying cash into the
registry of the court or
posting a surety bond for the
amount of the lien. Conse-
quently, you are still assured
sufficient collateral even if the
owner closes out the project.
If the owner elects to do this,
you still must prosecute your
lien within one year or within
sixty (60) days if the owner
has filed a notice of contest
of lien.
QUESTION: In a suite to enforce a lien,
may you also ask the court
to declare the owner in
breach of the contract?
ANSWER: The mechanic's lien statute
provides that in an action to
enforce a lien you may ask
the court to render a judg-
ment for breach of contract
against any party owing you
for your services who is a
party in the mechanic's lien
foreclosure suite. Conse-
quently, if you are due addi-
tional sums from the owner
for his breach of contract,
over and above the amount
sought in your claim of lien,
then you should ask the
court for those sums also.
QUESTION: Does an architect's lien have
priority over liens filed by
others on the project?
ANSWER: Not necessarily. An ar-
chitect's lien attaches and
takes priority as of the time
of recordation of the claim of
lien. Normally, liens of con-
tractors, subcontractors,
etc., attach and take priority
as of the time of recordation
of the notice of commence-
ment. Therefore, it is impor-
tant that an architect who
has not been paid for his

design services to file his
claim of lien prior to the
owner filing his notice of
commencement. Of course,
this may not be possible in
some instances such as fast-
track projects or where the
architect does not have a
direct contract with the
owner. However, it is impor-
tant to remember when an
owner is not paying his ar-
chitect, he most likely is not
paying others, thereby in-
dicating he is in financial dif-
ficulty. Consequently, you
want your lien to have the
highest priority possible.
QUESTION: Is an architect entitled to
recover his attorney's fees in
a suit to enforce his claim of
ANSWER: In any action to enforce a
lien, the prevailing party is
entitled to recover a
reasonable fee for the ser-
vices of his attorney for trial
and appeal. The amount of
the fee is to be determined
by the court.

QUESTION: Can an architect assign his
lien to another party?
ANSWER: Yes. A lien or prospective
lien may be assigned by an
architect at any time before
its discharge. The assign-
ment may be recorded in the
clerk's office.

I hope that the questions and answers
above will provide you some guidance in
utilizing the mechanic's law to your advan-
tage. Of course, you should seek advice
of your counsel in each situation. In order
to assist you, however, you should keep
a current copy of Chapter 713, Florida
Statutes, at your office. Furthermore, you
should become familiar with this chapter
or appoint someone in your office to do so
and establish a uniform procedure for
assuring timely compliance with the
statutory requirements. Additionally, I
recommend that all architects discuss the
mechanic's lien law and their inteniton to
utilize the law with the owner at the time
of contracting. No other professions or oc-
cupations enjoy lien rights other than those
disclosed herein. It is a tremendously
valuable right which should be used in
your practice.




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"pp _ _ _Q



1983 FA/AIA




The 1983 Design Awards jury met in
the Chicago office of Harry Weese and
Associates, and for two days debated and
discussed the merits of the one hundred
and fifteen projects which were submitted.
This year's jury was panicularl,
-rougohilful and careful about the projects
which were selected and it was only after
several reviews and much discussion that

the winners were finally chosen. There was
a great deal of interest in restoration and
rehabilitation projects, four of the twelve
winners fell into this category, prompted
by a general lack of awareness of Florida's
historic resources.
The great care that went into the selec-
tion of this year's winners is evidenced in
the comments that accompany each proj-

ect on the following pages. Along with the
comments of jury members, Harry Weese,
FAIA, Ben Weese, FAIA, and James
Nagle, FAIA, I have added those of Diane
Legge Lohan, AIA. Ms. Lohan is sched-
uled to be the keynote speaker at the Fall
Design Conference and she participated
in the judging of the design awards as a
non-voting member.

Harry Weese Ben Weese

James Nagle

Diane Legge-Lohan

Harry Weese, FAIA, is Chairman of
Harry Weese & Associates in Chicago. In
1938, he received his Bachelor of Architec-
ture from M.I.T. and in the following year
received a Fellowship in City Planning from
Cranbrook Academy. He is registered to
practice in 27 states and is a registered
professional engineer in Illinois. He is a
Fellow of the AIA and past president of the
Chicago Chapter of the AIA. He is the
Publisher of Inland Architect magazine.
Weese has been the recipient of numerous
awards including a number of honorary
doctorate degrees. In 1980, he was Ad-
i visor to the Architect of the Capitol and Co-
Chairman of the Mayor's Architectural Ad-
r visory Committee for the City of Chicago.
Ben Weese, FAIA, is a principal in the
Chicago firm of Weese Seegers Hickey
Weese Architects Ltd. He received his
SMaster of Architecture from Harvard in
1957 and is registered to practice in six
L states. He is a Fellow of the AIA and Co-

founder of the Chicago Architecture Foun-
dation. He is a visiting critic and lecturer
at a number of universities including Har-
vard, the University of Illinois, Iowa State
and Washington University. Past projects
include the master plan for Lincoln Park
Zoo, dormitories, Student Commons and
West Science Building at Cornell Univer-
sity and the Fine Arts Complex and
Olmstead Student Center at Drake Univer-
sity in Des Moines, Iowa.
James L. Nagle, FAIA, is a principal
in the Chicago firm of Nagle, Hartray &
Associates, Ltd. Architects/Planners. Nagle
is a 1964 recipient of a Master of Architec-
ture degree from the Graduate School of
Design at Harvard. In that same year he
received a Fulbright Scholarship to the
Netherlands. From 1969 to 1972, Nagle
was an Instructor of Design at the Univer-
sity of Illinois. He is currently a visiting Pro-
fessor at the University of Wisconsin, Illinois
Institute of Technology and the University

of Illinois, Chicago Circle Campus. In 1981,
he received the National AIA Distinguished
Building Award. His work has been
published and exhibited many times in-
cluding the AIA Convention Shows from
1974 to 1981 consecutively.
Diane Legge Lohan, AIA, is a partner
with Skidmore Owings and Merrill in
Chicago, and under her direction creative
alterations to meet the client's functional
and aesthetic goals are explored and re-
fined. Ms. Lohan recieved her Master of
Architecture from Princeton in 1975 and
she is registered to practice in four states.
Recent projects include 1330 Lake Shore
Apartments, O'Hara Plaza West and the
Olympia Center which is currently under
construction. Ms. Lohan is married to Dirk
Lohan, FAIA, who is a principal with FCL
& Associates, Architects in Chicago. Lohan
is the grandson of Mies van der Rohe.


The Porter Mansion Offices of KBJ
Architects, Inc.
Jacksonville, Florida

KBJ Architects, Inc.
Jacksonville, Florida
KBJ Architects, Inc.
General Contractor
William E. Arnold Company :
The Thomas V. Porter Mansion was built in
1902 and designed by Henry John Klutho in the
"Classic Colonial" style. The restoration concept
was to preserve the original architectural features
of the interior spaces, including decorative cor- '..
nices, mouldings, doorways and hardware. New" '
ductwork, plumbing and electrical systems were
concealed in the attic, closets and in floor and
ceiling joists. Program changes which involved
the greatest change to the building were as-
signed to the basement and the area of the 1928
addition to the house. In an effort to preserve
the historic quality of the original architecture,
contemporary furniture and work stations were
held away from interior walls. Exterior restora-
tion included extensive repair and repainting of
all remaining original features of the building.
Jury Comments
"This is a nicely detailed and complete
restoration of what was left of a Classic Colonial
building."... James Nagle. "Handsome restora-
tion."...Diane Legge Lohan.



The Coral Gables House
(formerly the Merrick House)
Coral Gables, Florida

Bermello, Kurki & Vera, Inc.
Miami, Florida
Project Architect: Gordon Severud, AIA
Architect of Record: Severud, Knight,
Boerema, Buff
City of Coral Gables
Johnathan Seymour
General Contractor
Bama Construction Company
The Coral Gables House was begun as a
vernacular structure in 1899 by the Reverend
Soloman Merrick, father of George Merrick,
founder of the City of Coral Gables. Between
1903 and 1906, a large two-story coral rock ad-
dition was built. In the 1920's the original wood
frame portion was stuccoed and a two-story
garage/servant's quarters built. In restoring the
Merrick House, the City's goal was to create a
place that would be used by the citizens of Coral
Gables not as a museum, but as a hospitable
environment for meetings, receptions, etc. The
building is an historical landmark and extensive
research went into the restoration of one of South
Florida's most historic buildings.

Jury Comments
"The original architect of this building was
complimented by his sensitive successor...a
beautiful restoration."...James Nagle. "An
elegant restoration of a gracious original
plan."...Diane Legge Lohan.


Jack Eckerd Corporate Headquarters and
Distribution Center
Clearwater, Florida

Rowe Holmes Barnett Architects, Inc.
Jack Eckerd Corporation
General Contractor
Mills and Jones
This building has a cast-in-place concrete
frame and provides a 160,000 square foot cor-
porate office facility and adjacent 400,000
square-foot warehouse-distribution -.ac ir, r, a
major retail drugstore chain. The client was sup- 1
portive of "good design", but expressed a con-
cern that the building not be conspicious nor
have a high profile in the community. This led
to the development of a low-rise facility and the :
somewhat subdued palate of natural grey con- -
crete as the predominant exterior building
Jury Comments
"The exterior of this building is very serene
and strong and presents a memorable im- .
age."...Ben Weese. "The building has a very
strong corporate presence."...Harry Weese. A
nicely sited and very restrained corporate state-
ment."...James Nagle.

- 'i.
L+ ,



Private Residence
Dade County, Florida

Roberto M. Martinez, AIA of K.M.P.
Architects, Inc.
Coral Gables, Florida
Consulting Engineer
George V. Pirez Associates
General Contractor
Bentancourt, Castellon Associates, Inc.
This masonry residence was constructed
with reinforced concrete and stucco. Cypress
ceilings and tile floors are combined with glass
block walls to create a good response to both
site and sun. At the owner's request, the public
areas were extended outward to the south so
that privacy was maintained on all other sides

Jury Comments
"This was the best of the submissions done
in the "Modernist Manner."...James Nagle.
"This was the most finished residence of all the
entries. It has a livable plan, cool, composed
elevations and sleek interiors."...Diane Legge
Lohan. "This is a Florida version of the Interna-
tional Style with cool planes and curved glass
block walls."...Harry Weese.

/ .

7 7

1 . .-


Municipal Parking Garage
Fort Lauderdale, Florida

Donald Singer, Architect
Consulting Engineers
Structural: Gaston De Zarraga
Traffic/Mechanical: Wilbur Smith and
Lighting: Douglas Baker
Bradshaw and Associates
City of Fort Lauderdale
General Contractor
Dugan & Meyers Construction Co., Inc.
The goals in designing this parking garage
were to create visual transparency in order that
the building appear open, inviting and non-
threatening and to minimize imposition of the
structure on the surrounding streets and
sidewalks. Public amenities were created within
the structure which establish the garage as an
active, contributing part of the downtown fabric.
It is a large structure which maintains a human

Jury Comments
"This is a place for people as well as for
cars. It's big, but it has good scale breakdown,
material use and concrete detailing."...James
Nagle. "It is very rare to be able to honestly be
enthusiastic about a parking structure. As big
as this is, it is very deft, positive, public and ap-
proachable."...Ben Weese.

'i- J



11 i 1 0

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S.- McGuffey Hill
:Charlottesville, Virginia

Frank Folsom Smith and Partners,
Architects, Inc.
Frank Folsom and Richard J. Funk
McGuffey Hill Housing is located in
downtown Charlottesville, Virginia adjacent to the
historic district. The thirty-eight residences are
- located in five separate buildings uniquely
designed to fit the special requirements of the
site. Each residence includes private balconies,
decks or courtyards. Major glass areas are
oriented to the south for thermal efficiency. There
are three residential prototypes: the Studio, the
Terrace and the Penthouse. The design of
SMcGuffey Hill is responsive to severe constraints
including a complex topography on a center city
site which is an important visual focus of the
downtown area. The bujihir.jg are given
character through a palette of materials including
stucco and wood; a silhouette which is a com-
bination of gables and a scale which blends with
the surrounding neighborhood.
Jury Comments
"This is a building which is all about roofs,
privacy and residential scale. The indented ter-
races are admirably secluded, one from the
other. Least is best in this terne and stucco
ensemble which appear eminently
livable."...Harry Weese. "This is a sensitive site
plan done with simple shapes and livable,
private, outdoor spaces."...Diane Legge Lohan.

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Landmark First National Bank
Pembroke Pines, Florida

Deeter, Ritchey, Sippel, Architects/Planners
Lieber & Uecker,
Landscape Architects
Landmark First National Bank
General Contractor
B.R. Starnes Company of Florida
The main consideration with this small
branch bank was to consolidate three basic sec-
tions of the building: the "gallery" type lobby
with its large rectangular windows, smaller
clerestory windows and entry doors, the main
"body" of the bank housing all the tellers, of-
ficers and ancillary functions with large glass
block windows and the "wing" section which
hovers over the drive-in tellers. The three sec-
tions are joined together by a curving wall that,
at the entrance, steps down and intersects with
a wall which is "pulled out" from the inside, in-
dicating the line of intersection between the
gallery and the main body of the building. This
wall along with the stepping wall creates the
main entrance to the building.
Jury Comments
"A very controlled sculpture that makes
banking fun. A nice siting of an interesting ob-
ject as a solution to the classic prob-
lem."...James Nagle. "An interesting version of
the international style in Florida vernacular with
flying buttress wall reaching beyond the building.
It is a footprint echoing Wright."... Harry Weese.


V,> 1 0 .-

S.. :__ ,

I 1 _



The Treehouse
Atlantic Beach, Florida

William Morgan Architects, P.A.
Consulting Engineers
Structural: H.W. Keister Associates, Inc.
V Mechanical/Electrical: Roy Turnkett
Engineers, P.A.
Morgan Properties
General Contractor
Grider-Riechmann Contractors
The one thousand square foot single fami-
t ly residence is located 250 feet inshore from the
Atlantic Ocean. Major living areas are located
on the third floor for favorable ocean views. The
residence is designed for through ventilation and
is oriented to the southeast to take advantage
of prevailing summer breezes. The building is
vertically massed and designed to utilize stan-
dard construction systems, labor and material
with the view of providing affordable housing
within the parameters of architectural design
Jury Comments
"This project is presented in a totally com-
plete and clear fashion in contrast to many of
the submissions. While one could argue with
some of the internal details, the project reaches
a sensible conclusion and, for its height, has an
unagressive impact on the environment."... Ben
Weese. "Although a rotated square is somewhat
cliche, it is a good job for low budget housing.
The business of living in angles has not been
fully resolved, but the idea of building high to
enhance the view and catch the breeze is ex-
cellent.".... Diane Legge Lohan



First District Court of Appeal
Tallahassee, Florida

William Morgan Architects, P.A.
Jacksonville, Florida
Consulting Engineers
Structural: H.W. Keister Associates, Inc.
Mechanical/Electrical: Roy Turknett
Engineers, P.A.
Acoustical: Jaffe Acoustics, Inc.
Department of General Services, State of
General Contractor
Martin-Johnson, Inc.
The design of this project recalls the nine-
teenth century architectural traditions of North
Florida courthouses. The building is placed at
the center of its site; the plan is biaxially sym-
metrical; steps lead up to the main floor above
a lower service level and two story columns iden-
tify the main entry and support the clearly stated
lintel. The fourth floor is smaller in plan than the
lower floors. The building has 48,500 square feet
and contains fifteen judicial suites, courtroom,
clerk's and marshall's offices, library conference
room and commons.
Jury Comments
"References to Doric in this work are ap-
propriately evocative. This is a mature work of
architecture that represents the possibility that
certain works can transcend monetary stylistic
trends."...Ben Weese. "This is skillful public ar-
chitecture with an exterior that is reminiscent of
plantation homes, but with a beautifully detailed
interior."...Diane Legge Lohan.


Miami, Florida

Osvaldo J. Perez, AIA
Consulting Engineer
H & L Associates
V.I.P. Groves, Inc.
Miami, Florida
General Contractor
V.I.P. Groves, Inc.
This masonry residential complex is con-
structed of concrete block with a stucco finish.
Separation between the units was derived from
formulas required by city zoning ordinances and
preservation of existing trees was imperative.
Jury Comments
"A fine example of Bauhaus modern
adapted to Florida and done in the tradition of
minimalism."...James Nagle. "The strength of
this work is that it is an anonymous understate-
ment. Certain works should be believed as com-
ing straight from the twenties and thirties without
attention to what is currently popular. This is such
a building ....Harry Weese.

j IZ
4-6 L



Florida's Historic Capitol -
Authentic 1902 Restoration
Tallahassee, Florida

Shepard Associates, Architects & Planners,
Jacksonville, Florida
Consulting Engineers
Structural: Gomer E. Kraus & Associates,
Mechanical/Electrical: Evans and Hammond,
Civil: Richard P. Clarson & Associates
Herbert/Halback, Landscape Architects and
State of Florida, Dept. of General Services
General Contractor
Jack Culpepper Construction Co.
Winchester Construction Co.
Hudgins & Co., Inc.
Albritton-Williams, Inc.
The authentic restoration of the 1902 Capitol
was achieved in four major phases: complete
historic and architectural documentation, selec-
tive interior demolition, demolition of three ma-
jor wings which postdated the 1902 structure
and the complete restoration of the remaining
portion of the building. The restored Capitol is
a heavy timber construction with solid brick
masonry loadbearing walls, both exterior and
interior. The project required an enormous
amount of documentation because of the lack
of any "as-built" drawings.
Jury Comments
"A vintage state building true to the original
right down to the striped awnings. Fortunately
the building was spared being totally en-
sconced in Edward Durrel Stone's overpower-
ing monument to bureaucracy."...Harry Weese.
"Marvelously rebuilt interiors and diligent exterior
restoration. The best of its kind."...James Nagle.



~1f' -


P,_ II _


The Design Advocates Inc. Office Building
Tampa, Florida

The Design Advocates Inc,
Tampa, Florida
The Design Advocates, Inc.
General Contractor
Ellis Construction Company, Inc.
This office building, which houses the
Design Advocates architectural firm, represents
the rehabilitation of an existing warehouse. To
take advantage of the enjoyable waterfront view
of the Hillsborough River, a third level was add-
ed to the original two-story building. This also
resulted in abundant natural light which en-
hances the open work area concept of the office.
Jury Comments
"The before and after contract in this proj-
ect is totally provocative and it is terribly impor-
tant to recognize this kind of effort. A throw-away
building becomes a solid useful long term asset
with this kind of rehabilitation. If the owner/ar-
chitect had decided to move the original building
instead of rehabilitating it, the raw material for
developing the H,': iingr facade would have
been lost and a more boring new building would
invaribly have resulted."...Ben Weese. "The ex-
terior of this building has the virtues of a found
object...ruins, patina and all"...Harry Weese.



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Over 80 years have passed since, in
one blinding, hot afternoon, Jacksonville's
architectural destiny was forever altered.
Usually a cataclysmic event creates a void
into which people and events move, chart-
ing a new and different path which was not
previously perceived. In this case, the
event was Jacksonville's great fire of May
1, 1901, which leveled much of the
downtown area of the city. Rebuilding the
devastated scene was a massive effort
which offered an opportunity to outsiders
who wanted the chance to work and turn
a quick dollar.
Fortunately for J ackto'n.. lie. one per-

son who came, and stayed, was Henry
John Klutho*, an architect from New York
who arrived within days of the fire.
Unheralded for years, his buildings today
are among those landmarks which form
the basis of Jic son.ille s architectural
tradition. Many are still in use while others
are being restored and adapted to contem-
porary use.
Other architects left legacies which
add vitality to the community, notably the
late Mellon C. Greeley, FAIA, whose life
spanned 100 years, and Marsh & Sax-
elbye, the forerunner of today's firm of Sax-
elbye, Powell, Roberts & Ponder.

Among work done by Marsh & Sax-
elbye is Epping Forest, the former DuPont
Estate on the St. Johns River which is now
the home of Raymond K. Mason, head of
the Charter Company. Also active during
the 20's was the firm of Mark & Sheftall
whose designs were influenced by the
Prarie style. Their ouii.iriandg landmark,
still in use, is the Black Masonic Temple
on Broad Street in downtown Jacksonville.
Helping build this tradition of fine ar-
chitecture, a number of nationally known
architects are represented in Jacksonville
by at least one work. Among those are
Marion Sims Wyeth of Palm Beach and



by John Totty, AIA

Above: Daniel Building, William
Morgan Architects. On Jackson-
ville's Riverfront, terraced floors rise
beyond a ceremonial deck whose
tensile structure cover recalls sailing
vessels anchored here in the past.
Bottom left: Harry James Office
Building by Alford Associates
creating and refining the butt-joint-
mullionless reflective glass facade.
Bottom right: Jax Liquors
Office/Warehouse by Alford
Associates Architects contains
delicately framed trellis elements
that create illusions of space when
reflected in the mirrored glass
Each photo was provided by the
building architect.

Right: Dyal-Upchurch Building was
H. J. Klutho's first office "tower"
built immediately after the 1901 fire
and recently renovated as contem-
porary office space by The Haskell
Center: The Dionne Apartments in
the Springfield residential section of
downtown Jacksonville were
designed by H. J. Klutho and show
Wright's influence on his work.
Bottom: The Riverside Baptist
Church by Addison Mizner is one
of a very few buildings which he
designed outside the Palm
Beach/Boca Raton area.

-,I" 1W

New York who built Los Cedros, the cur-
rent home of Hugh Culverhouse. Other
buildings include the Riverside Baptist
Church designed by Addison Mizner, and
homes in Southside and Ponte Vedra by
Bruce Goff and Paul Randolph.
In the late 50's, as the post-war surge
of growth waned, the work of a new
generation of architects began to gain
notice. These were the days before air-
conditioning and the curtain wall
homogenized architecture. There was a
diversity of style arid a real sense of in-
dividuality in the early work of William
Morgan, Bob Broward and the firm of
Hardwick & Lee. These firms were produc-
ing work of lasting impact and richness,
usually small projects, and have re-
mained consistent design award winners
through the years.
Forming the basis for notable contem-
porary design in Jacksonville, these offices
became the incubators for many young ar-
chitects whose work is now in the forefront
of Jacksonville design. The larger and
more established offices of the time, while
producing large-scale work of un-
distinguished nature, also contributed as
training ground for young architects.
Notable to mention from this time
period was the brief career of Robert
Ernest, who died tragically in 1962. His few
works indicated a promise of greatness
which would have added richly to the
legacy of Jacksonville architecture.
The photographs on these pages at-
tempt to show, in an all too brief portfolio,
the continued diversity of design which
characterizes architecture in Jacksonville
today. Morgan, while gaining a national
reputation, continues to give to the com-
munity structures of great individual style.
Broward, busier than ever, has become
the conscience of Jacksonville architects,

Left: RS&H Corporate Headquarters
Building by Reynolds, Smith and Hills is a
totally glass sheltered box forming the ex-
terior space. Interior spaces open into a
three-story atrium with skylight.
Center left: Student Center, University of
North Florida,
Clements/Rumpel/Associates. A glass
covered sloping roof over open wood
decks connect the various elements of
this student center hugging the shore of
a campus lake.
Center right: The Police Memorial
Building by William Morgan Architects is
a competition winning design of interlock-
ing concrete masses topped with a series
of terraces and urban park spaces.
Bottom left: The Grande Boulevard Shop-
ping Mall by the design of The Haskell
Company. It is a two-level shopping mall
surrounding a series of courts recalling
the spirit of old Charleston in exterior wall
panels and interior decor.
Bottom right: The Boathouse, University
of North Florida by Boyer and Boyer,
Architects, This shed-roofed, wood-
skinned recreation pavilion nestles on a
campus pond, a centerpoint to the
brickfaced academic buildings.

Top: Prudential Building by KBJ Architects. This
structure is just beginning to rise atop Jackson-
ville's rapidly growing skyline. Prudential will be
two blue-green glass-faced towers of various
heights connected across a local street by
pedestrial bridges.
Top Center: Mandarin Farm School by Boyer
and Boyer. The shed-roofed pavilion form is ap-
propriate to this small private school located on a
wooded site on the south side of Jacksonville.
Bottom Center: Neighborhood Senior Citizens
Center by Pappas Associates Architects is a bold
concrete form enclosing the varied functions of
this leisure center for the elderly. This building is
sensitively sited to retain trees and provide open
Bottom: Fellowship Lutheran Church by Robert
C. Broward, AIA, is a fine example of a number
of small churches designed by him over a period
of years These churches were usually the first
phase of a master plan and featured colored
glass windows designed by the architect.

reminding practitioners of a new scale of
corporate practice not to forget architec-
ture as a humanistic art while rushing from
deadline to fast track deadline.
Small practices dominate the scene in
lacksi.ri.ill and still produce gems of
design such as the Crown Point Elemen-
tary School by MacDonald & Gustafson
and Ted Pappas' work with strong
geometric forms. Don Alford, choosing a
path of refinement of an idea, produces
bright, sharp office buildings which make
an art of the butt-jointed mirrored glass
Clements-Rumpel Associates' designs
are free play of forms and materials tied
together by brightly painted structural
elements. The husband and wife team of
Boyer & Boyer continues to garner design
awards for their wood structures and ar-
ticulated roof shapes.
Other small offices add to the rich
tapestry of buildings while the larger cor-
porate practices are now producing
designs worthy of notice. Kemp, Bunch &
Jackson, long architects of Ja,: :,.n. alle's
skyline, have begun to populate it with
structures of distinction. Reynolds, Smith
& Hill, now a firm of international stature,
occupies a new taut-skinned glass box
headquarters building. The Haskell Com-
pany, as a design-build firm, is beginning
to prove that good design can be an in-
tegral part of the construction process.
Finally, harkening back to a tradition-
filled past, Hershel Shepard brings it alive
again through his outstanding efforts in
reconstruction and restoration.
There have been architects, and there
are others today, more numerous than
space permits mention, who have made
contributions to the continuing tradition
which is architecture in Jacksonville today.
Measured by the yardstick of national
and even international architectural styles
and trends, one might find little of original
nature here, but much which takes from
prevailing ideas of the day and adapts to
local conditions. This in itself produces an
architecture of noteworthy tradition when
handled by the sensitive minds which have
characterized the architectural profession
in Jacksonville. The individual examples
are legion. Perhaps what is needed now
to finish out the century which began with
the fire is a collective welding of talents to
produce, on a large scale, planning and
design projects capable of making
Jacksonville a truly great city.
Soon to be published by the University
of North Florida: "The Architecture of
Henry John Klutho The Prarie School
In Jac 'i.or..ie by Robert C. Broward,
John Totty, AIA is Architectural
Design Services Manager for the Haskell
Company in Jacksonville.





The high rise office building has come
to symbolize the economic revitalization
and reborn image of downtown in cities
across this country. Jacksonville has been
no exception, and in the early 1970's after
consolidation of city and county govern-
ments, city fathers laid the groundwork for
major new development in a then declin-
ing central city. Of the development that
has occurred on the urban north bank of
the St. Johns River, two buildings have had
a great impact on the Jacksonville
cityscape. Independent Life was opened
in 1976 and the Southern Bell Buijding is
now being completed. Both buildings have
contributed to the human environment, not
only in the prestige of the skyline, but in
the spaces that the buildings have defined.
The 37-floor Independent Life building
is a symbol of the economic growth of the
City of Jacksonville. As a company with its
roots in the community, its construction
was the most visible evidence of the
resurgence of downtown. The site location
adjacent to the St. Johns River and ar-
chitectural design have reinforced its
prominence in the City as a successful cor-
poration. The TiOr-i:..iirh i::, expression of the
tower and sloped base are reinforced by
the use of precast panels and reflected
glass. Within the river side of the sloped
base a large landscaped atrium was

developed as the major entry and a focus
for the elevator lobbies and the retail
shops. Because of the private nature of this
corporation, the architecture of the base
did not define public space to the city. In
reinforcing this, vehicular access drives to
the entrance lobby and to the
underground parking garage tend to fur-
ther disassociate the building from the
street. The Independent Life building set
a standard in Jacksonville for first class of-
fice space and the importance of location.
The Southern Bell building is the latest
of several office buildings that have been
developed downtown since the early
1970's. Southern Bell, perceived as a
public corporation, presents a different
relationship to the community, and the ar-
chitecture expresses this. The location of
the building to the north of Independent
Life within the grid of the urban plan forms
a less visible site. However, the buildings
design takes advantage of this downtown
location by creating an integration of en-
try, lobby and public spaces within the
building with the urban elements of street,
sidewalk and public space of the city. A
landscaped entry plaza and a series of
transparencies through the lobby areas
allow the pedestrian to approach the
building from street level both physically
and visually. The monolithic tower has

been fragmented in order to break down
the scale of the 33,000 square foot floor
areas required by the program. The reduc-
tion in scale of the building elements is con-
tinued throughout the lobbies and public
spaces. In this way, the Southern Bell
building begins to develop a sense of
place within the city environment.
For future high rise buildings in
downtown Jacksonville, prestige in the
skyline will be an important design criteria.
Yet, it is the responsibility of both the cor-
poration and designer to be sensitive to the
human urban environment of downtown.
This includes not only enclosed atriums
and landscaped entries but the under-
standing of the impact of contemporary
building elements, the importance of street
level retail and the necessity of a variety
of activities within the spaces formed by
the ouilIdirng. The \iTawt, of the high rise
building within downtown Jacksonville
depends on the vitality of the entire urban

Geoffrey J. Brune is an architect for KBJ
Architects, Inc., the design firm for the
Independent Life and Southern Bell

The Independent Life Building, view of south elevation from across
the St. John's River Photo by Jeff Brune.

The nearly completed Southern Bell Building in downtown Jacksonville.
Photo by Jeff Brune.




by Thomas S. Marvel, FAIA

Above: Iglesia Neo-Gothic Church in Miramar,
Puerto, Rico.
Below: The Roig Residence, main facade.
All photos courtesy of Thomas Marvel.

At the turn of the century, an original
American architecture was being created
in Chicago. A group of architects, George
Elmslie, Walter Burley Griffin, and Frank
Lloyd Wright, among others, were con-
sciously developing a noneclectic style
which complemented the idealism and
dynamics of that new, vital, lively center of
the American midwest. Wright was the
most talented, and through his sense of
public relations, the group's buildings were
being published here and abroad in the
periodicals of the day. Curiously, the Euro-
pean architects were more interested in
this new architecture than their American
contemporaries, and many European
designers immigrated to the U.S. where
there was opportunity to do fresh work in
a free-wheeling, burgeoning society.
Among these was a young European
named Antonin Nechodoma. Born in
Prague, Bohemia (today Czechoslovakia)
in 1877 and evidently trained in the
building arts at a University in Prague, he
arrived in Chicago sometime in the early
1900's. He was listed in the Chicago
telephone book in 1903 and 1904, first as
a contractor and then as an architect. He
had an American wife and two children by
that time.
It is not known whether he had any
direct contact with Wright because there
are conflicting accounts. Correspondence
with Nechodoma's daughter-in-law in 1961
states that Nechodoma's son claimed that
his father had worked with Wright. On the
contrary, Henry Klumb, FAIA, asked
Wright if he had ever heard of

Nechodoma, and Wright replied em-
phatically that he had not. Regardless of
the truth, there is no doubt that
Nechodoma knew about the new Wrigh-
tian architecture and undoubtedly had
some contact with the young architects
who practiced it.
As mysteriously as he arrived in
Chicago, he departed for Jacksonville,
Florida in 1904. It is said that he had a fami-
ly conflict and subsequently ran off with his
Why Jacksonville? Perhaps he was at-
tracted, as H. J. Klutho was, to the city
which had suffered a devastating fire in
1901, and which offered opportunities for
a young architect to help rebuild all that
was lost.
Herschel Shepard, FAIA, found
Nechodoma's name listed as a resident
and member of the architectural firm of
McClure, Holmes, and Nechodoma in
1907. Later, however, mystery surrounds
his sudden departure for Puerto Rico. Why
would he have been a partner in a promi-
nent office in Jacksonville for only a year
or two and then leave for a remote island
in the Caribbean? Information provided by
a person who worked with Nechodoma in
Puerto Rico many years ago leads me to
believe that Nechodoma thought he had
killed his wife in Chicago and, later, while
in Jacksonville, he heard that she was still
Was he fleeing possible persecution?
Did he quickly seek a place off-shore hop-
ing that his past wouldn't catch up with
him? Or did he have an impulse to settle
in Puerto Rico where there was a mild con-
struction boom taking place?
In those days, Puerto Rico was
something of a curiosity to North
Americans. Many travelers visited the
island after the Spanish-American War and
many books were written extolling the ex-
otic culture, climate, and economic oppor-
tunity of the area. In fact, many citrus
farmers from Orlando located there,
establishing large plantations. So, there
were Florida connections to Puerto Rico.
Another character soon enters the
Nechodoma story, a contractor named
Frank B. Hatch. Hatch supposedly told
Nechodoma about the need for an ar-
chitect, not only in Puerto Rico, but also
in the Dominican Republic. In the years
following, Hatch and Nechodoma would
collaborate as contractor-architect on
many of the significant buildings con-
structed up until 1930.
Nechodoma practiced architecture in
Puerto Rico from 1906 until his death in
1928. He was a member of the American
Institute of Architects and used its initials
on his business cards. He maintained of-
fices both in Puerto Rico and the
Dominican Republic. At one time, he was

Sne ueorgemi Mansion exterior.

The Korber Residence in San Juan, exterior.


named State Architect in Santa Domingo
and carried out the restoration of the
cathedral, the design of the Parque de la
Independencia, and many schools,
residences, and commercial buildings.
His work can be roughly divided into
three periods and styles.
The early years, 1906 to about 1914,
were ones in which he did many eclectic
buildings. Neo-Gothic churches, Neo
Classic and Spanish-style public buildings,
and many bungalow-type residences of an
architectural vocabulary similar to the
Chicago Prairie style. As an interesting
aside, it has often been stated that his
bungalows were the precursors of some
of Wright's architecture and some of
Nechodoma's work was published in a
book entitled Bungalows by Henry H.
Saylor in 1911. Also published in The Ar-
chitect and Builder's Magazine, in April
1909, were several of his Gothic churches:
one in Jacksonville and others in San Juan.
About 1914, Nechodoma's work
began to reflect definite Prairie School
characteristics and it might be said that this
era coincided with his acquisition of a copy,
of the Wachsmuth Portfolio, a handsome,
carefully delineated German publication of
projects of Frank Lloyd Wright. This se-
cond period of his work saw some truly
remarkable buildings realized, complete
with stained glass and mosaic ornamen-
tation. His practice was prolific and ver-
satile, including large mansions, bank
buildings, and public schools. In many
designs, it appears that his design formula
was to consult the Wright portfolio. Several
of his schematic plans that still exist were
traced and modified from plans and
perspectives drawn by Marion Mahoney
for Wright. One may fault him for lifting
basic concepts from another architect's
designs, but he must be admired,
nonetheless, for executing the actual
buildings in a most original manner. His
own drawings were delicate and sensitive,
reflecting a fine drafting' hand and sense
of proportion. In all of his designs, he in-
cluded craft which was assembled in his
own studio: ceramic mosaic panels inlaid
in cement, stained glass windows,
Phillipine shell lamps, and mahogany fur-
niture all in the Prairie School idiom.
In 1923, he was commissioned to
design what many consider to be his best
building, the Georgetti Mansion (destroyed
in the late 1960's). It was a grand struc-
ture of reinforced concrete and wood car-
ried out with an almost unlimited budget.
Nechodoma, however, was finally dis-
missed by Georgetti when the cost of the

Stained glass window detail from the Residencia
cot Santiago in Coamo, Puerto Rico.

house surpassed $500,000, an incredible
sum in those days when a fine house could
be constructed for $10.00 a square foot.
It was during the construction of the
Georgetti that Nechodoma entered the
third period of his career. He may have
tired of the Prairie School style, or times
might have changed and people may
have been asking for something more
romantic. Even in Chicago, the style ran
out of steam and Wright experienced some
terrible years with few projects. Public
tastes reverted to neo-classical and
Mediterranean styles. Nechodoma's own
house was a large cottage with a gently
curved roofline and eyebrow windows, sur-
rounded by lily pads and exotic tropical
foliage. Just before he died tragically in an
automobile accident in 1928 at the age 51,
he won a competition for the design of a
Gothic style church at an university in San
After his death, his family disappeared

from Puerto Rico leaving behind all the
marvellous structures which in time
became "old fashioned", out of style, im-
pediments in the path of progress and ur-
ban growth.
As time passed, the significance of his
work faded until in 1960 a few well placed
questions began to uncover details of his
life and work. Many gaps exist in informa-
tion about him, in particular the Florida
years. The design of the Wilson house in
Tampa, an idiom of the Prairie School, has
been attributed to Nechodoma, although
no direct connection has ever been made.
The dates of construction really do not
coincide with his years as a Florida
As for his work relating to the designs
of Wright, for lack of any direct evidence,
we must assume Nechodoma was ex-
posed to the Chicago architects during his
years there, perhaps even involved with
the construction of several buildings. That


Nechodoma and Wright never met is
debatable. Even if they didn't meet in
Chicago, they must have met in Puerto
Rico. Wright, fleeing creditors in the
1920's, visited the island for an extended
stay at the Coamo Baths Hotel. In travell-
ing over land from San Juan to Coamo,
Wright would have passed at least twenty
of Nechodoma's houses and it is hard to
believe that he would have ignored them
or not asked about their author. Even in
the town of Coamo, there stands a very ob-
vious Nechodoma house fronting on the
Plaza with a Sullivanesque arch and
mosaic designs very reminiscent of the
Prairie School. Regardless of whether the
two ever met, Nechodoma certainly had
an intimate knowledge of what was known
at the time as a very esoteric regional style
and he understood it well enough to
translate it in its many intricacies to the con-
text of Puerto Rico.
In many ways, the elements of Prairie
School design were suited to a tropical en-
vironment deep roof overhangs, wide
sets of windows and french doors open-
ing to allow the breezes to pass through
the interior in the days before air condition-
ing was-invented. Massive concrete walls
kept the interiors cool and the ever present
planters and terraces blending the interior
spaces with the exterior gardens. The tile
work and mosaics were brilliant in the in-
tense sun and the stained glass windows
and doors filtered the natural sunlight into
a tolerable, dark by today's standards, in-
terior illumination. If there were some in-
stances of his copying Wrightian designs,
there were many more of his buildings that
demonstrated that he could be original
within the Prairie School vocabulary.
While it can be said that the Prairie
School style arrived in Puerto Rico by total
chance of an individual finding his way
here at a propitious era, the remnants of
his work, the influences he had on architec-
ture in the island for more than 40 years,
and the recent revival of interest in his work
have had an elevating effect on the ap-
preciation and understanding of architec-
ture as a building art for several
Fortunately, some 40 of his designs
still stand, although most are deteriorated
or multilated. During the summer of 1983,
the University of Puerto Rico Campus in
Humacao undertook a campaign to
restore the Roig residence to its original
condition. The structure does demonstrate
the very best of Nechodoma's work on a
moderate scale. It will hopefully be a
showpiece of the remarkable architecture
and craft of Antonin Nechoma, AIA.

Thomas S. Marvel, FAIA is a principal in
the firm of Torres Beauchamp Marvel
y Asociados Architects in Hato Rey.

Detail of entrance to Georgetti Mansion in San Juan
.T4 '

The Wilson House in Tampa is reputed to be the design of Necadoma


Does Bay Plaza Condominium make
a strong architectural statement on behalf
of its designer, architect Tim Seibert, or is
it more of a response to the demands of
the wealthy patrons who are flocking to
Florida's southwest coast?
Or is Bay Plaza both?
Who is going to buy the ultra-luxurious
units in Skandia-America's newest offering
on the Sarasota bayfront? The units are
priced from $225,000 to just under one
million dollars for the penthouse suites.
Part of the answer tothat question is
in the demographics of the area. Sarasota
is the fourth fastest growing metropolitan
area in the U.S. and Florida's second most
affluent, the first being Boca Raton/Palm
While the average per capital income
in Sarasota County is an unimpressive
$12,709, the average income tops




by Diane D. Greer

$37,000 on the nearby bayshore barrier
islands such as Longboat Key.
There is no question that Sarasota
exudes a strong attraction for the wealthy
retiree, American or foreign, who finds
recreation, shopping, an easy lifestyle, a
spectacular waterfront view...and elegant
housing, all in a relatively compact area.
Between November and April, 30,000
visitors come to Sarasota per day and
many stay. Tourism attracts 1.1 million peo-
ple annually and those tourists spend
almost $140,000,000 for food, service and
speciality items.
So, it is clear that the Sarasota environ-
ment is dynamic with prospects for growth
and development and one of the people
who is gaining momentum by making
strong architectural statements is Edward
J. (Tim) Seibert, AIA. ,.
Perhaps Seibert is the ideal architect

to be shaping the Sarasota skyline. He has
lived in Sarasota a long time and has
become known as one of the premier con-
ceptualists of the "Sarasota School" of ar-
chitecture. Over the years, however,
Seibert has evolved an architecture of
buildings with strong sculptural qualities,
structures that are unique when compared
with the more traditional Spanish-
Mediterranean cliches that abound in
Sarasota. Clearly, Seibert's designs seem
to belong to the future of Sarasota.
Seibert has very strong feelings about
the future of architecture. "Creation is a pa-
tient search," he says, and we are
searching for what comes next in architec-
ture. Getting each piece right as we pro-
gress is important. Today's architects are
taking the next logical steps from the work
of Corbu, Rudolph, Gropius and the others
who started us on our way."

Seibert first knew Sarasota as a town
of 6,000 with brick-paved streets. He
remembers when Longboat Key, which is
now the site of many buildings of his own
design, was wild and unoccupied. He
came to Florida in the early 50's to work
with Paul Rudolph, Victor Lundy and Ralph
Twitchell and to experiment with new
materials and new designs. When Rudolph
and Lundy left Sarasota, Seibert stayed
and today he heads the firm of Edward J.
Seibert Architect and Planner a firm
whose multi-million dollar residential
developments have radically changed the
housing industry, social form and architec-
tural profession of Florida's west coast.
Bay Plaza is but one of those residen-
tial developments. The building is a signifi-
cant departure from the typical slab-face
high rise monoliths in the vicinity. The face
of the building has been carefully stepped

to develop an interesting articulation which
follows the form of the site and presents
itself differently from all major approaches.
It is the culmination of the firm's efforts to
be responsive to the climate while capitaliz-
ing on the view.
Seibert feels that in the increasingly
complicated world of today, much more is
required of architects than the aesthetic
mirror of our lives in architectural form.
There are problems of ecology, energy,
and the use of a myriad of new materials.
And, the building must relate to the existing
Bay Plaza does relate to a Florida
skyline which is now punctuated by many
tall buildings. Seibert hopes that his strong,
austere geometrical designs are helping to
shape the future of Sarasota.

Left: Undulating exterior of the 15-story Bay
Plaza condominium.
Above: Motor court entrance from second-floor
Photos courtesy of Betty Siegermann.




by David Tod Hollister, AIA

"The psychological approach
that must be taken when
assisting victims of a large
scale disaster is complicated. It
is a mixture of handholding, a
shove out of the nest and cold
water in the face."

Poor neighborhoods always incur the most damage in a third world disaster.

On March 31, 1983, at 8:18 A.M., an
earthquake measuring 5.5 on the Richter
scale hit Popayan, Columbia. In fifteen
seconds the 450-year-old city lay in ruins.
About 255 people were killed and many
more were injured. Most of the old Spanish
Colonial buildings were completely
destroyed or badly damaged. The people
of Popayan were in shock.
Squatters began moving to Popayan
by the thousands and the cost of building
materials used to repair damaged
buildings and to build new housing was
skyrocketing. Rumors of enormous
amounts of money sent to pay for the
rebuilding of the city were rampant.
Crowds of people pressed at the doors of

the Red Cross in the hope of getting free
food or shelter.
Approximately one week after the
earthquake a team of consultants to the
U.S. Agency for International Develop-
ment, Office of Foreign Disaster Assistance
(OFDA) arrived in Popayan to help the
residents and the City Planning Depart-
ment, all of which were in chaos. I was one
member of the team along with Larry
Birch, an architect and coordinator for the
Experimental Low Cost Construction Pro-
gram at Florida A & M's School of Architec-
ture and Blakely Bruce, a research
associate at the Florida A & M University
School of Architecture. Birch and Bruce
are the authors of a construction training

manual written for OFDA which we were
testing in Popayan along with a new, low
cost reinforced plastic sheeting designed
to cover a variety of structural systems up
to 100 feet long and twenty feet wide. For
OFDA, this was to be the second field
testing of the plastic sheeting.
Our first task upon arriving in Popayan
was to assist OFDA officials in training the
Columbian Red Cross, Civil Defense, the
Army, the Popayan City Planning Depart-
ment and a group of country peasants
(campesinos) how to begin to rebuild their
city after the earthquake.
The psychological approach that must
be taken when assisting victims of a large
scale disaster is complicated. It is a mix of
handholding, a shove out of the nest and
cold water in the face. To rebuild after a
disaster, a community needs to feel that
it, not experts flown in from another coun-
try, is in control of its destiny. This is critical,
because self-reliance is usually the only
available path to redevelopment.
Unlike the United States, the reality of
a major disaster for the people of a less
developed country is that their government
is rarely capable of offering more than
limited relief. Therefore, feelings of self-
reliance must be fostered by those pro-
viding disaster assistance. This requires a
low-profile and streetwise sense of timing
when giving advice to community leaders
who will be in charge of reconstruction
This is a difficult and delicate task to
achieve. Many of the people of Popayan,
especially the very poor, felt that "some-
one" should solve their problems for them.
Rebuilding had to begin and a spirit of self-
reliance had to be maintained and
strengthened by our team throughout that
rebuilding effort.
The goal of our training program was
threefold: to inform the community of the
availability and potential uses of the plastic,
to develop a group of people skilled in the
construction techniques and design of
large temporary plastic covered buildings,
and to construct an actual prototype that
could be repeated at other locations
throughout the city. The plastic sheeting
was to be supported by a structure built
from readily available indigenous materials
using construction systems commonly
used in Popayan. A twenty-foot by 100-foot
dormitory was built supported by a wire-
lashed bamboo structure.
The training manual, which has easy
to understand illustrations and is written in
four languages, is intended for use
anywhere in the world. The manual pro-
vides guidelines for using the plastic in
combination with various support systems
such as rubble from damaged buildings,
timber frames, earth berms or bamboo
poles. The manual focuses primarily on the
uses and limitations of the reinforced


plastic sheeting and how to use the
sheeting with the many support structures
In the case of Popayan, it was deter-
mined after consultation with community
leaders that a locally available bamboo
called guadua would be used for the sup-
port system. The most practical help that
the team received came from the
campesinos who frequently build guadua
buildings with thatched roofs. In fact, it was
the campesinos who designed the final
construction details of the guadua struc-
ture. Working closely with the campesinos,
we used the manual to decide on the three-
meter spacing of the guadua frames. We
then selected a method of connecting the
plastic to bamboo stakes and tying rocks
into the plastic using local fibers. The first
building was completed five days after the
team's arrival in Popayan.
The completed building was a great
improvement over the way the plastic was
used prior to our arrival. Before our train-
ing program, most of the plastic was simply
laid over damaged roofs or used for crude,
low, tent-like structures. Our building and
subsequent ones provided far more sub-
stantial and useful shelters. By the time our
team left Popayan, a building program was
underway which, with luck, would provide
the sixty much-needed temporary
buildings within a month.
The provision of disaster shelters for
developing countries demands of an ar-
chitect skills and sensitivities beyond those
required for a traditional practice. Each day
brings a long series of on-the-spot crisis
decisions, a hands-on knowledge of in-
digenous construction, an ability to handle
people in all kinds of difficult situations and
above all, a good sense of humor. It most
certainly presents opportunities and ex-
periences unlike any found in the comfort
of an office. But, in retrospect, the ex-
perience of living with the people of
Popayan and helping a city caught up in
its own troubles was one I will not soon
forget. It was a good example of seeing
the best come out of a bad situation.

David Tod Hollister, AIA, is an architect
with Rowe Holmes Barnett Architects, Inc.
in Tallahassee.

Top: A Red Cross tent city for the homeless.
Note the simple communal sleeping tent con-
structed before the training program.
Middle: Members of the Columbian Civil Defense
erect one of three bamboo frames destined to
serve as temporary school shelters.
Bottom: A completed dormitory building con-
structed of reinforced plastic sheeting and sup-
ported by a bamboo frame.



A 21/2 Day
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Photography As A Tool
with Peter L. Goodman

Cosponsored by FA/AIA,
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Register by October 28, 1983
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I have read Ms. Bigoney's article and
feel compelled to comment.
Horatio Alger is still alive and kicking,
The chance for advancement is his for the
But whether testing, degree, or IDP,
No more one for the other
It takes all three.
As of June, 1983, approximately
seventeen of the fifty states either already
require a professional degree for licensure
or are in the process of implementing this
requirement. In one year's time, this
number has increased from six states and
before the year is over, two and possibly
three states will be added.
Although Ms. Bigoney feels this is
simply a bandwagon to be leaped upon,
I do not believe it represents the feelings
or reasons why this requirement is being
adopted by a growing number of States.
I feel the reason is due more to the
recognizable fact that a formal education
in Architecture is an absolute and
necessary ingredient for the practice of
Although I agree that colleges hold no
monopoly on education, I believe the vast
majority of registered Architects will agree
that it is impossible for a formal education
to be substituted by office training or prac-
tical experience, and furthermore, that a
substantive education can be received in
an office atmosphere. No office, either
large nor small, wants to take on the role
of educator in trying to develop the minds
of to-be-practitioners.
It is now, I believe, an accepted fact by
the majority of registered Architects
throughout the Country that each of these
facets (education and practical experience)
are part of a triad, each necessary for licen-
sure and designed so that one cannot be
substituted for the other.
At the 1980 Annual NCARB meeting,
Mr. Ed Sovik, a Minnesota architect and
an NCARB Director, spoke to this same
issue as the degree requirement for cer-
tification was being debated. Mr. Sovik was
involved with developing the specifications
for the new Architectural Registration Ex-
amination based on the recommendations
of the validation study of the NCARB Ex-
amination completed in 1980. The follow-
ing is a portion of his remarks, which I feel
were eloquently stated and are pertinent
to this issue.
"Of course there are able Architects
who have come up through that
means (practical experience). I think
there are fewer and fewer, and I
believe there will continue to be
fewer and fewer because of the

availability of education for one thing
and because of other aspects of our
society for another. But they are not
all great Architects. I feel there are
certain elements of a person's
capability to be an Architect that can
be measured by testing. Some other
capabilities can be acquired by ex-
perience. But there is a residue, a
large residue, I believe that, cannot
be so measured or so acquired.
"Where do these qualities come
from? From their homes, to be sure.
But if not from there, from the hurly-
burly, the pressure, variety, the
changes, the frustrations of the
schools of Architecture, companion-
ships and commaraderie where they
are infected by visions of hope and
even by visions of greatness.
"Infected because they are part
of a community of teachers and
learners. People grow immune to
that infection with age. The intensi-
ty of the professional school, the
variety of influences and the liberaliz-
ing of the mind can never be mat-
ched later on in the office and field
The degree requirement is not exclu-
sionary. The number of professional
degree programs in the country have in-
creased significantly over the past two
decades. The State of Florida, now with
three institutions offering accredited
degrees in Architecture, will more than like-
ly have a fourth institution in the near future.
At the present, an alternative route to
certification is being given indepth study
by NCARB and if accepted by the Coun-
cil, another avenue for certification will be
open. However, recognizing the
undeniable fact that it is difficult to equate
practical experience with a professional
degree; any acceptable alternative method
will be in substance an educational route.
The most enlightening information
concerning this issue, that I have become
aware of these past few years, is the
number of lay people who assume that a
professional degree is a requirement to
practice Architecture. Even those poeple
who do not necessarily utilize the services
of an Architect generally realize that Ar-
chitects have to have certain skills, and
also have to have certain social, cultural
sensitivities that do not come from trade
training. A number of public Board
Members from various Architecture
Boards throughout the Country have open-
ly remarked during debate of the degree
requirement how surprised they were to
find that a degree was not required (in

some States) to practice Architecture.
A few comments concerning IDP. I will
not attempt to argue or try to clarify the pro-
cess of accumulating value units or the
process of who signs what. I believe the
whole process will, through use and refin-
ing, become simplified to the point where
even a sixth year graduate or practitioner
should find little difficulty in mastering the
forms. Regardless, IDP is the first orderly
process insuring proper internship for a
candidate. It may not be the total answer.
But to provide a uniform system for acquir-
ing basic levels of knowledge and skills
and become involved in the various activity
of an office, this system certainly seems to
offer a much better training method than
no system at all. All too often proper train-
ing for the young Architect was being
denied or the bulk of training and ex-
perience was comprised of drafting and
nothing else.
What mystifies me concerning Ms.
Bigoney's article, is how she can argue
education can be acquired in an office set-
ting, but to ask the practitioner to par-
ticipate in a comprehensive training pro-
gram, is too much.
To stress the validity of this program,
as of the beginning of this year, over fifty
percent of the States have either adopted
or are in the process of implementing the
IDP program.
To comment on one last point made
by Ms. Bigoney, I do not agree that this
State, nor the Profession as a whole, is
engaged in a heedless headon rush to be
the first to go nowhere.
Florida was one of the first States to
require a Professional degree for licensure
and as pointed out it recognized the need
for education and also recognized that this
educational experience can not be
substituted, traded off, or equated in any
way for practical experience. Other States
followed our leadership and I do not
believe any other State has rushed
heedlessly into taking this action.
I feel rather that all those States have
come to recognize as we have back in
1975, that for entrance into the practice of
Architecture, both a proper education and
good training experience along with a
meaningful examination are all required,
but all are separate entities and none can
be substituted for the other.
Paul A. Donofro, AIA, is President of his
own architectural firm in Marianna, Florida,
where he has been practicing for twenty
years. He is a graduate of the University
of Florida School of Architecture and is the
current Chairman of the Florida Board of


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to open or close I. lh ease. Folding Shutters
are the perfect -\st,-m n r large expanses of
hs rP1 ri.li pliu.. ri-r rl._-..-'i bal.curo i--

m IWHEy.o.. ... .
The rigid PVC Shutter System provides
protection, durability and ease of operation.
Conveniently controlled within your home,
the Roll-A-Flex PVC Shutter System is
operated either by hand crank or electric
control. In its closed position, the shutter
system provides needed protection from ever-
increasing threats of crime and violent
storm. Roll-A-Flex PVC Rolling Shutter
Systems also form an insulating barrier to
keep your home cool in summer and warm in
winter. This extra insulating factor makes
Roll-A-Flex PVC Shutters an investment that
will pay for themselves through substantial
energy savings.

MuLL-A-rirLEA AL.URMINUM a1i-ama
The Roll.A.-Fle. Alumn,num Rolling Shulle-r
). 'h-m i rlp-.iientl alh l.-iriled pv-rliiirdlon-
ah, 'h pr.rI, I a n-1l -1un .,olrm .ar.l ihi.I
This perforated slat design allows fresh air
and filtered sunlight to circulate. This
aluminum rolldown system provides privacy
for your balcony or screenr.i1 patio The Roll-
A-Flex Aluminum System i- aiilahle in
assorted colors that will iumplPmenl your
existing decor.

P. I iErn'il 1 i Tlrr ih.- I radilinan l iit.i.r
1. ip- Co-.1 -hljiv-r Ihe i ip CIl1 i' ..luniil
'hi.iil r ill rnhari. Th. hu.-ul. i-I ouur
hnomnt- hilo pri,-..ini;,l aign1rl -un rtorm
.inid Ihell Thi- i ,. iiirj l "ihuitt r is ui-.-m
nm, inul iIur.- i oil -'tru'.1 aluminumm 1i-r
Innrglatinlma m.nlrllan.agn I rt-r- beaui.

The extrue'.i .ilumirinurnm aham., Shuie.rs.
have been .p'., all k ir.iner.d iou llon Irl
visibility Ir.,m .nsim p '.hild" ,_iomplel_.h
shading thi: ,% ri'i'.o% ..- r La.-h ind t ild .il
slat is slan ,ii -i ., prp'-.'; naglp hi proud,
total priv ,. ,. .* -11, I'll, r,.-I .-uniichi
and fresh I,.r iu. .r. ul.,li' \\ hen ompI. i-I,
closed, th.- R.-h .jrm., hulr r pro ildo.-,
complete sun, storm, and theft prove lion.
Their finely finished wooden appearance
makes our Nassau Bahama Shutters, the most
popular Bahama shutter in today's home

An Industry Leader Since 1969
Corporate Headquarters and Manufacturing Plant:
7089 Hemstreet Place, West Palm Beach. Florida 33416
(305) 683-4811
See our displays at FAAIA. Booths fig G go0.


Gory will go to any heights for you.

The versatility of Gory Roof Tile is
almost limitless.
Available in a wide variety of
shapes, sizes, colors and finishes, Gory
Tile will enhance the aesthetic appear-
ance of whatever you have on your
drawing board.
Innovative architects such as
Robert Swedroe, AIA, who designed the
projects pictured here, know of Gory's

unsurpassed practicality and durability.
They know it's fireproof, resistant to
hurricane force wind and rain, insect
and rot-proof, and a natural insulator.
So whether your plans call for a
single-story residence or a skyscraper,
Gory will help you reach your heights.
For color samples, descriptive liter-
ature and specification sheets, write or
call Gory Roof Tile.

1773 Northeast 205th Street, North Miami, Florida 33179. (305) 651-7611.
4627 Parkway Commerce Boulevard, Orlando, Florida 32804. (305) 291-2828. In Florida (800) 432-1021.

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