Front Cover
 Table of Contents
 Office practice aids
 Mr. Would-B-Architect and the great...
 "The right stuff"
 Jim Roberson on the merits...
 Student news
 1984 Governor's design awards
 Back Cover

Title: Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00247
 Material Information
Title: Florida architect
Series 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
Publication Date: July-August 1984
Frequency: quarterly
Subject: Architecture -- Periodicals -- Florida   ( lcsh )
Genre: periodical   ( marcgt )
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
Bibliographic ID: UF00073793
Volume ID: VID00247
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
 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
        Page 1
        Page 2
    Table of Contents
        Page 3
        Page 4
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
        Page 10
    Office practice aids
        Page 11
        Page 12
        Page 12a
        Page 12b
    Mr. Would-B-Architect and the great massage parlor caper
        Page 13
        Page 14
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
    "The right stuff"
        Page 21
        Page 22
        Page 23
        Page 24
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
    Jim Roberson on the merits of CAD
        Page 30
        Page 31
        Page 32
        Page 33
    Student news
        Page 34
        Page 35
        Page 36
        Page 37
    1984 Governor's design awards
        Page 38
        Page 39
        Page 40
    Back Cover
        Back Cover 1
        Back Cover 2
Full Text

W A A Flo

This- publication- is. copyrighted. by- the- Florida.
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-
University- System* of F lorida.

Use- of- this- version- is- restricted- by. United- States-
Copyright- legislation- and- its- fair use- provisions.- Other-
uses- may- be- a vi olati on -of- copyri ght. protect ons.

Requests- for- permissions- should- be- directed to- the-
Florida- Association- of. the. American- Institute. of-
Architects.- Contact- information- is- available- at- the-
Association' sweb site.

rs, z,

rM2 I




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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 Greer
Assistant Publisher
Director of Advertising
Carolyn Maryland

Editorial Board
Charles E. King, FAIA
William E. Graves, AIA
Ivan Johnson, AIA
Peter Rumpel. FAIA
John Totty, AIA
Michael Bier, AIA
James H. Anstis, AIA
333 Southern Boulevard
West Palm Beach. Florida 33405
Vice PresidenVPresident-elect
Mark Jaroszewicz, FAIA
University of Florida
College of Architecture
331 Architecture Building
Gainesville. Florida 32611
James J. Jennewein, AIA
102 West Whiting St.
Suite 500
Tampa, Florida 33602
John Barley. AIA
P Box 4850
S Jacksonville. Florida 32201
Past President
Robert G Graf. AIA
251 East 7th Avenue
Tallahassee, Florida 32303
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
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 s published six times a
year at the Executive Office of the
Association, 104 East 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 to FLORIDA AR-
CHITECT. and a copy sent to the
publisher's office
Single copies. $2 00. Annual subscrip-
tion. $1200 Third class postage


/, July/August, 1984
Volume 31, Number 4


11 "IDP? I Run A Professional
Firm Not A School"
H. Dean Rowe, AIA and
Perry Reader, AIA

13 Mr. Would-B-Architect and the
Great Massage Parlor Caper
Doug Gooch

21 The Right Stuff
Sanibel City Hall by the
Stewart Corporation
Offices of Herbert/Halback by
Tom Price Architects, Inc. and
Divoll and Yeilding Architects, Inc.
Loblolly Bay by Edward D.
Stone, Jr. and Associates and
Peacock and Lewis

30 Jim Roberson, AIA, on the
Merits of CAD
Ken Walton

38 1984 Governor's
Design Awards


Office Practice Aids
Student News
Student Designs for the
FA/AIA Fall Conference

Cover photo of Herbert/Halback office in Orlando by John Markham

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A reporter for The Orlando Sentinel interviewed me recently in prep-
aration for a Sentinel supplement she and a group of writers and re-
searchers had been preparing for some time. The supplement entitled
"Florida's Shame" has since been published and has caused quite a
stir around the State.
"Florida's Shame", according to the Sentinel writers, is miles of un-
abashed, disconnected, garish signs announcing tourist amenities,
miles of litter, neon glitter and what the Sentinel calls "hi-tack". It is also
miles of beachfront obscured from view by too many condominiums on
some of the most valuable real estate in this part of the country. "The
Great Wall of Florida" is what architect Carl Feiss, FAIA, calls the miles
of condos which now stretch from Naples to Perdido Key.
Interestingly, the problem has been clearly defined, but the solu-
tion is still hazy. Cleaning up the garbage along the streets is a begin-
ning. Sign ordinances seem to be another step in the right direction.
The really sad thing is that the tourists (who bring in all that revenue)
don't really seem to care. They come to Florida expecting to see Mickey
Mouse, Shell World and "hi-tack".
But, let's look at an interesting phenomena which occurs right in
the heart of Orange County the tourist mecca of Florida. In Orange
County, and indeed most of Florida, all roads lead to Disney World. All
of the litter-lined, fast food, quick stop, garish signed roads lead to
Disney. But, once there, what do you see (or not see)? There's no gar-
bage inside Disney ... no tacky signs .. no conflicting mix and mingle
of this and that. The reason is that Disney would not permit otherwise.
Why should we permit otherwise with our cities? Sure, tourists bring a
lot of revenue into our state. But, that doesn't give them the right to litter,
nor does it mean that we have to lower our design standards so that our
highways become nothing more than one plastic building with one neon
sign after another.
After all the tourists are gone, we have to live here and deal with the
spoilage and the "hi-tack". Does Disney know something we don't? Do
we care as much about our cities and highways as Disney does about
its Central Florida acreage?
Diane Greer



The 1984 edition of two marketing re-
source directories compiled specifically
for the design, development and building
industry have just been published by Lord
Communications Inc. and A/E Marketing
The Design and Building Industry's
Publicity Directory and the industry's
Awards Directory are guides for generating
publicity and preparing winning design
and construction award entries. The Pub-
licity Directory describes the editorial
requirements of over 300 key national
magazines and journals, including individ-
uals to contact, addresses, readership,
editorial format and calendars and sub-
mission requirements. The Awards Direc-
tory describes more than 100 national
awards programs, noting the purpose,
jury criteria, type of recognition, and who
to contact for more information. Both direc-
tories offer tips and suggestions for plan-
ning annual promotion programs and both
directories can be ordered from:
A/E Marketing Journal, Box 11316, New-
ington, CT 06111
The prepaid price is $76 for the Pub-
licity Directory, $38 for the Awards Direc-
tory, or $98 for both. Invoiced prices are
slightly higher.

The Florida Lumber and Build-
ing Material Dealers Association will
hold its 64th Annual Convention and
Exposition September 12-14, 1984,
at the Hyatt Regency Hotel and Curtis
Hixon Hall in Tampa. Over 180 exhib-
itors will be displaying their products
at this Exposition and guest speakers
will include humorist Art Hoist and
news commentator David Brinkley.
If you'd like to attend, contact the
Florida Lumber Association at P.O.
Box 7125, Orlando, 32854.

The Design Center of the Americas in Dania is in the first phase of construction. The $120
million complex was designed by Nichols and Associates, Architects and Planners of Coral
Gables. The DCOTA will provide a secured enclave for the interior design trade with first
phase construction to be a 260,000 square foot showroom building. Three more buildings are
slated for future construction.

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of Graf, Nichols, Elliott, P.A.

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Harper & Buzinec Architects/Engineers were recognized at the 23rd annual Miami Advertising Federation's "Addy Award" presentation. The firm's ad entitled
"With our records, we were bound to end up in jail" received an Award of Distinction, and another of the firms ads which dealt with a "Top Secunty" project for NASA
received an Award of Merit. The ads were the work of Art Director Roger Chang and Copywriter Arthur Low.

(French, sharet) 1. (noun) cart, wag-
on. 2. (noun) cart used to collect stu-
dent drawings and models at project
deadlines at the Ecole de Beaux Arts in
Paris (19th century). 3. (idiomatic) en
charrette term used throughout the
world by architects to describe the or-
deal of a crash effort to meet a

Tallahassee architects Ivan Johnson, AIA, and Guy Peterson, AIA, have just completed
designing a 24-unit condominium project in Tallahassee of which they are also the developers
Architects Johnson and Peterson will begin construction on Phase I, the first 12 units, of
"Meanwhile Ranch" as soon as the first eight units are contracted for.

V-0 7

Harper & Buzinec Architects/Engi-
neers, Inc.'s President, David Michael
Harper, AIA, represented the firm at a two-
day meeting conducted at the American
Institute of Architects at the Institute's
Headquarters Building.
Twenty architectural firms from across
the U.S. were invited to attend the meet-
ing on how successful firms conduct the
practice of architecture. The Institute's
Practice Management Committee spon-
sored the event. While the AIA annually
recognizes outstanding architectural de-
signs, this is its first attempt to honor firms
successful in a broad range of standards,
including gross revenue, productivity, de-
sign, marketing, organization and public
service. Ted Pappas, FAIA, is Vice Chair-
man of the Practice Commission and also
represented Florida at the proceedings.
The 12 hours of discussion are cur-
rently being assembled into a report to
the profession to appear in Architectural
Technology. Major topics include the Fu-
ture of the Profession and the Impact of
Automation, the Definition of Qualiity Ser-
vice and Quality Architecture, Current
Practices in Marketing, The Architect's
Responsibility to Clients and to Society
As A Whole and What Enables a Firm to
Achieve Excellence on a Variety of Levels.
Harper & Buzinec, which has Florida
offices in Coral Gables, Tallahassee and
West Palm Beach, was among seven firms
in the "over 50 employees category."

Undertaking a new scholarship award
endeavor, Greiner Engineering Sciences,
Inc. of Tampa is providing educational
funds to a University of Florida student en-
tering the college's new Professional Mas-
ter of Civil Engineering program.
The recipient of the scholarship is
Paul G. Foley of Atlantis, Florida, who was
awarded a BSCE degree by the univer-
sity's College of Engineering in December,
1983. The award, which also provides
an opportunity for the recipient to intern
with the 75-year-old Greiner firm, is in the
amount of $1,500 which is sufficient to
cover both tuition and textbooks for a full
year. Selection of the recipient was made
by Dr. James H. Schaub, Chairman of the
Department of Civil Engineering. His de-
cision was based on various criteria estab-
lished by Greiner Engineering Sciences.
The Master of Civil Engineering de-
gree program was developed last year
through a cooperative effort by the civil
engineering education community of Flor-
ida as well as the Florida Section of the
American Society of Civil Engineers.


David L Engdahl has been promoted
to vice president of architecture and engi-
neering services for The Haskell Company
in Jacksonville. With over 21 years of ex-
perience, Engdahl is a registered archi-
tect in 16 states and Washington, D.C.
Sawgrass Commercial Village, a multi-
million dollar retail and office complex in
Ponte Vedra Beach, was built by The Has-
kell Company and opened in March. In
addition, The Haskell Company has been
awarded the design contract to renovate
Barnett Bank of Florida's corporate head-
quarters in downtown Jacksonville.
Maspons.Goicouria.Estevez, Archi-
tects, has been retained for the remodel-
ing and expansion that will double the size
of Larkin General Hospital in Miami. The
firm is providing programming, master
planning.and architectural design forthe
$3.4 million project.
Stephen M. Page has joined the archi-
tectural staff of Craven, Thompson and As-
sociates. Page will be responsible for
implementing the architectural drawing
software package for the firm's new
computer system. Federal Construction
Company has opened a new office in
downtown Orlando with Angus Smith, AIA,
appointed Vice President of Marketing.
Smith will be responsible for business de-
velopment in Eastern and Central Florida.
Russell, Martinez, Holt, Architects, Inc. in
Miami are the designers of the new Orlan-
do Airport Holiday Inn on State Road 436
in Orlando. That firm also designed the
Holiday Inn Crowne Plaza near Miami In-
ternational Hotel which opened last year.
That hotel is a "new concept" hotel for
Holiday Inn which is headquartered in
Memphis, Tennessee.

"Revitalizing America's Historic Re-
sorts" was the theme of the "Back To The
City Conference" held in Miami Beach's
Historic Art Dec6 District in mid-April. The
Florida South Chapter of the AIA was one
of the contributing sponsors of the Confer-
ence. "Back To The City" was organized
to discuss the growing movement of resi-
dential and commercial interests back to
the decayed inner city. The Miami meet-
ing explored the possibilities of the recent
past, as epitomized by the Deco District,
and the future for urban historic resorts.
Florida's Second Annual Preservation Day
was held on May 16, in Tallahassee and
was kicked off by a cocktail reception in
the Senate Chamber of the Old Capitol the
previous evening. The day was filled with
activities and focused on the theme "Pres-
ervation is Taking Care of America."

Gee & Jenson Engineers-Architects-
Planners, Inc. is designing three commu-
nities for the Arvida Corporation in Boca
West, a 1,436-acre development in Boca
Raton. Also by Gee & Jenson, the new
Harold Alfond Stadium at Rollins College
in Winter Park. Construction on the sta-
dium is completed and seating for 600 is
available. Raymond J. Rafferzeder is the
new Manager of Engineering and Archi-
tectural Services at the St. Petersburg/
Tampa Bay office of Gee & Jenson.

Schwab & Twitty Architects, Inc. have
completed the designs for the renovation
of the main auditorium of Palm Beach Ju-
nior College in Lake Worth. The $2.1 mil-
lion renovation will significantly increase
the size of the building which now seats

Palm Beach Junior College Auditorium renovation by Schwab & Twitty Architects.








Peacock & Lewis Architects and Plan-
ners in West Palm Beach has appointed
three new partners-Maynard C. Hamblin,
AIA, secretary/treasurer, Stephen L Boruff,
AIA, vice president and Paul E. Neff, AIA,
vice president, wilt now serve on the Board
of Directors. The new Barnett Centre on
the eastern shore of Lake Worth has been
designed by Peacock & Lewis for the
Cove Associates of Nashville. The ten-
story building is the new regional head-
quarters and was designed by Gordon
Mock, AIA. Also new from Peacock & Lewis
is the Bank of Palm Beach and Trust Com-
pany Building. Project architect Glen P.
Harris, AIA, designed the contemporary/
Mediterranean styled building with 3,500
square feet of office space.
The 54,200 square-foot reception
center complex at Sandestin Beach Resort
on the Gulf Coast opens this month. The
facility was developed by the Bos Com-
pany of Jacksonville and it will consist of
sales pavilion, resort-guest check-in,
store and restaurant, bank and retail-
professional building. All of the buildings
in the complex are connected by an intri-
cate system of trellised decks and are ori-
ented to a landscaped lake. In addition,
Landstar Homes, one of Central Florida's
largest residential developers, has re-
tained The Evans Group to design a new
line of single-family homes, villas and town-
houses for its 3,000-acre residential
community of Meadow Woods south of

Nichols & Associates Architects/Plan-
ners, Inc. will design the future Deerfield
Beach Grand Hilton in the style of the Palm
Beach mansions of the 20's. The $17 mil-
lion, eight-story hotel is a project of the
Sausman Hotel Group.
Sengra Corporaton, developers of
Miami Lakes, has hired Baldwin Sackman
+ Associates to design the master plan of
their latest development Graham Dairy
Lake Office Park. The park is slated to con-
tain over half a million square feet of office
space ranging in size from two to eight
Miami's Architectural Club voted the
City of Miami's Central Support Facility,
designed by Spillis Candela and Partners,
the second best structure in the city. The
new CSF is part of Miami's expanding
Downtown Government Center. Spillis
Candela began work on the project in
1980 and it is due to be completed in June
of this year. The project brings together
advanced mechanical and electrical tech-
nology, a five-level parking garage, retail
space and various government support
Miami architect Jose M. Corbato, AIA,
has joined the firm Architects International,
Inc. as a principal. He will head the Con-
struction Division of the firm in addition to
important administrative functions.Paul
Buzinec, Principal in the firm of Harper &
Buzinec, has been appointed Director-at-

Large of the University of Miami School of
Architecture Alumni Association. Buzinec
obtained his Degree in Architecture from
the University of Miami in 1971. Architects
Robert Biscardi, Wayne Smokay, Robert
White and Certified General Contractor
Robert Szafranski were made Associates
of the Maitland firm of Helman Hurley
Charvat Peacock. The Babcock Com-
pany, a Division of Weyerhaeuser, has re-
cently retained the architectural firm of
Baldwin + Sackman to design the master
plan of their latest commercial develop-
ment Marina Lake Business Park in Miami.
TECON, INC., Technical Specifica-
tion Writers, is the recipient of an Honor-
able Mention Award from the Construction
Specification Institute, a national organi-
zation with 17,000 members. The award
was in the category of Industrial Buildings
and was for the Research and Develop-
ment Building and Zimmer Corporate
Headquarters Building in Boca Raton.
Architect on the project was Ken Hirsch,
AIA. Receiving the awards at the CSI Na-
tional Convention in Dallas were Sheldon
B. Israel, FSCI, CCS, President of Tecon,
Robert Kipp Mayer, CSI, CCS, Executive
Vice-President of Tecon and Paul Just,
Associate AIA, CCS, who prepared the
specification for the project.




DOD Larr rerrorming Arns Lener, urnanao- l 4 Oovernor's Awara
John L. Markham 2434 E. Robinson St. Orlando, FL 32803 (305) 894-8841



H. Dean Rowe, AIA and Perry Reader, AIA

The above, unfortunately, is the atti-
tude of too many of our practicing profes-
sionals within this "Naisbitt Trend Setting"
state of ours. It is our opinion this attitude
is largely because of lack of knowledge of
the Intern Development Program and a
confusion as to where the majority of the
responsibility really lies. The fact is it is
not primarily with you, the practitioner, but
rather with the intern. Certainly the ar-
chitect must accept some of the respon-
sibility, but if properly approached, that
responsibility can yield far more advan-
tages in the way of motivated and pro-
ductive staff than you can ever imagine. It
is our strong feeling, and that of many
other practitioners who are presently par-
ticipating in this program that increased
motivation and productivity are a direct
result of participation in the Intern Archi-
tect Development Program.

IDP interns do not expect you to alter
your office to accommodate them. They
know you will require them to perform
a primary function. They ask only for
your willingness to provide opportuni-
ties for exposure to a range of office
IDP interns understand that intern-
ship is a two-way street. If they expect
to receive opportunities they will con-
tribute far more than they receive.
IDP interns are expected to supple-
ment their office experience with in-
dependent study on their own time.
It's part of IDP and the benefit ac-
crues to you.
IDP interns are responsible for peri-
odiclly documenting their internship
experiences. This gives you a per-
sonnel management tool for asses-
sing employee performance and
determining the most productive
IDP interns may enter the program
upon completion of their third year of
school and finding a summer job or
part time job during school. Their IDP
records help you to better assess
their abilities and experience as po-
tential employees.
IDP interns for the first time ever have
a status, that of Intern Architects. That
status can be helpful to you in mar-

keting your team. They no longer
need to be referred to as draftsper-
sons or architectural graduates.
Our profession has always been the
framework for architectural apprentice-
ship. In the past, an attitude has prevailed
that this period of apprenticeship is a time
for interns to find the reality of practice, a
time to be stripped of the insulation pro-
vided by the academic environment of a
formal education. Faced with the position
that apprentices are initially not profitable
entities, our profession has looked down
upon the graduate as a result of their lack
of basic skills and sometimes viewed them
as tainted with the methodology of their
educational background. As such, until
an intern recognized the reality of prac-
tice and demonstrated a potential worth,
our profession refused to take to heart the
value of their training. Never before have
we been asked to look upon the proper
training of interns with regard to the quality
of our profession.
IDP seeks to integrate the intern into
the profession in a much more organized
and positive manner. It makes them aware
of how to become a productive part of the
profession, and do it in the most effective
way. Through this program, interns recog-
nize that we are offering them an opportu-
nity. It is a result of these opportunities and
our interest in the intern, that they become
more involved and motivated so as to con-
tribute more than what they take.
Since February 1, 1982, the Intern
Development Program has been manda-
tory in Florida. The decision by the Florida
Board of Architecture to embrace this
program was strongly motivated by our
Practice Act which requires that interns
demonstrate their competency for regis-
tration in three areas: education, examina-
tion, and experience. IDP measures the
experience requirement by monitoring the
setting and type of training that the intern
is receiving. Through the establishment
of training requirements the intern gains
knowledge and skill in critical areas of
architectural practice. It provides an orga-
nized system for recording these intern-
ship experiences as well as providing
supplemental education opportunities and
gives the intern the best advice that the
profession has to offer. The training cate-
gories are divided into four main areas:
Cont. on pg. 36


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Doug Gooch

After considering the informa-
tion this article was to contain, I
immediately panicked, called the
Editor of FA and requested six addi-
tional pages to add to my allocated
four and space in three more issues
to begin to cover the subject. We
compromised. This article is still four
pages and there may be space in the
next issue ... provided there is pro-
found response from you . the

Today's architects attempt to perform
an increasingly complex role as they
pursue what began for most of them as
simply ... a desire to design.
A purveyor of architecture, properly
schooled for business would find a thor-
ough understanding of law a requirement.
A single negative headline "Architect Be-
ing Sued" can do more to damage a firm's
future than a hundred positive headlines to
the contrary. I'm sure you know examples.
Having learned how to cover one's
derrier, an MBA should follow to accom-
plish the day-in/day-out regime of running
a "simple" practice. Skills in finance, ac-
counting, profit sharing, health and auto
benefits, billings and, most important,
collections should be acquired. Then, of
course, minor degrees in Public Rela-
tions, Advertising, Speech Communica-
tions and, lest I forget, Marketing.
I make these opening remarks, only
to identify the comple:iiies of the profes-
sion known as architecture. None of these
skills however, would be necessary, with-
out a contract. A marketing plan should
be the first step to securing that contract.
Marketing for professional services
is not a secret formula, known only by
those few select firms who constantly
come up on the short-list. At least, it
doesn't have to be. No, I'm not selling a
book . yet.

Ever notice how the partner who does
the "marketing" for the firm tends to
have his name first... or is the only
name, followed by "and Associates"

Following are a few guidelines I have
learned from many of you, my competi-
tors, and from firms I have had the good
fortune to represent.


Professionals regularly blaspheme
the words "Marketing" and "Sales" by
considering them synonymous .. THEY
Marketing I feel, is best defined as
identifying a need.
Positioning Is as it infers; being
positioned (prepared) to respond to an
opportunity, identified by marketing.

Sales Is an action taken to secure
a contract as a result of being in position
to do so.
Networking Is an information
resource developed through business
The grammar lesson behind us, let
us move on to some basics of new busi-
ness development:

An original art piece commissioned for the Architects Design Group of Florida, Inc, for use at Christmas Oil
painting on canvas by J. Welch

Above: ADG poster of the passenger terminal they designed for the Orange-Seminole-Osceola Trans-
portation Authority. Below: ADG Christmas 1982 poster. Photo by Anne Tomczak.

Old Business: Your best source of
new business is old business. Referral and
repeat clients are still, and always will be,
your least expensive and most cost effec-
tive source of new business development.
New Business: Projects can be iden-
tified through various vehicles of new
business development. Some markets
are made easy, Federal Contracts-Com-
merce Business Daily, State of Florida -
Administration Weekly, County and City -
Legal Notices in Local Papers.
Private industry, unlike government
agency work, is much more elusive.
Through networking, new markets can
be explored and old ones expanded.
By this time you are saying, "When is
he going to tell me where to find work."
Don't hold your breath, I'm not!
What I hope to accomplish is to give
you ideas which you may or may not agree
with to assist you in developing your Busi-
ness Development Program.
How to Begin ... Commitment
and Planning
A sincere commitment must be made
by the firm principals to proceed with a
business development program. At this
time Architects must also do something
few find easy to do .. recognize they can
not do everything. This will become more
obvious if the practice is to succeed. This
program will include many different func-
tions. Some basic understandings need
to be reached as you begin.
Self Awareness
The image we have of ourselves is
seldom the way other people perceive us.
A healthy exercise for a firm to conduct is
an in-house survey asking the question
"What kind of firm are we?" Follow this by
asking the same question of people out-
side the firm, for example, ask a manufac-
turers' representative; he'll tell you you're
God. Ask your Mother and she will tell you
you are perfect. Ask your clients and they



will tell you "YOU'RE TOO EXPENSIVE!"
Somewhere down the line you will arrive at
something called a public image. Chances
are your self image and the publics' image
are not the same; however, the information
will prove useful in the future.
Three Throws For A Quarter
Of the Architects I have met, all had
one thing in common, a fantasy project. It
may be their solution for the East Wing of
the National Gallery, now lying hidden un-
der mat board scraps in the bottom drawer
of the flat file or putting their grandmother's
dresser-shaped building in the heart of a
major city. The design you would like to do
and that which pays the bills are not usu-
ally one in the same. My suggestion to
designers has been to list three of their
favorite design types (i.e. office buildings,
school facilities, massage parlors). Then
to list the top five rear project types being
constructed in their market (i.e. hotels,
multi-family housing, office buildings)
What evolves is an understanding of what
you like to do and what the market is doing.
You may or may not find opportunities. This
information will establish the foundation of
your marketing plan.
Visual Medium
Architecture, we all can agree, is a
visual profession. The finished project
stands to please, or sometimes haunt, us.
Aside from traditional symbols of corpo-
rate identity; buildings, corporate bro-
chures, proposals and business cards,
other forms of communication are avail-
able to express the image of a firm.
Architects Design Group has chosen
to present a somewhat unique method of
corporate imagery. Through the assis-
tance of Green Apple Publishing, a Winter
Park publishing company, Architects De-
sign Group has developed an ongoing
corporate poster campaign which is used
at Christmas as well as to promote a par-
ticular project.
Christmas at ADG has become known
as a time of 'What will they think of next?"
Client interest in receiving an ADG poster
has reached the point where if they're not


received by November, we get phone
calls asking where they are. Incredible!
The Orange-Seminole-Osceola-
Transportation-Authority (OSOTA) pro-
vided ADG an opportunity to design a
downtown passenger terminal for Orlan-
do. ADG commissioned Steve Gibbs of
Cibley, Peteet Design, Dallas, Texas to
design a poster of the facility. Copies
were then presented to the mayor and
other prominent officials. The total distri-
bution of the poster incorporated not only
local, state and national agencies, but for-
eign contacts as well. This campaign pro-
vided ADG international exposure through
the vehicle of a graphic image.
Visual Presentations
"Welcome, Mr. Would-B-Architect,
you have forty-five minutes for presenta-
tion, with fifteen minutes for questions."
Sound familiar? The visual presentation an
architect uses to communicate with a po-
tential client may be the first time that client
has "seen" the architect's work.
The methods and styles of presenta-
tion used by most architects evolved from
their first critique in Design 101. Unfortu-
nately, many have not improved much
past that point.
Visual Presentations, as the title im-
plies, are "visual experiences." The ma-
jority of readers of this magazine have had
an opportunity to visit Walt Disney World.
If you have not, you should, not for the ar-
chitecture, but to observe highly devel-
oped visual and verbal communication.
Imagine an Architect attempting to hold a
client's attention for twelve hours. No, I
am not suggesting Snow White for your
next presentation. I am suggesting being
as professional in the execution of your
presentation as you are in your design.
This does not directly equate to dollars
spent. I have had the opportunity to pre-
pare presentations ranging from ten to one
thousand dollars in cost. Both were ap-
propriate for the situation; both got a con-
tract (if they all did, I would be writing this

Cont. on pg. 20




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Dear Editor:

The May/June issue of Florida Ar-
chitect, page 7, incorrectly identified
"Wayne Rogers, AIA" as receiving "an
Award of Merit" in the 1984 Indian River
Awards Program. The correct information
is: CAG Architects received an Award of
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Dear Editor:
In the May/Juneissue of The Florida
Architect, writer John Habich's article,
"Odeans of The Golden Age," did not
properly credit Shepard Associates' ma-
jor contribution to The Florida Theatre.
Herschel Shepard, FAIA, was the
restoration architect and author of a major
portion of the contract documents with
Catherine Lee, AIA, overseeing the work
of the many fine craftsmen who restored
The Florida Theatre.
KBJ's role as the architect for The
Florida Theatre was in design and project
management with color coordination and
furniture selection by Janice Young, ASID,
of KBJ.
Please include credit for this signifi-
cant restoration by Shepard Associates
in your next issue.
James Rink, Jr.
Vice President, KBJ Architects, Inc.
Arts Assembly of Jacksonville
KBJ Architects, Inc.
Restoration Architect:
Shepard Associates
Structural Consultant:
Smith, Hardaker, Huddleston &
Collins, Inc.
Mechanical/Electrical Consultant:
Van Wagenen & Searcy, Inc.
Theatrical Consultant:
Brannigan-Lorelli Associates
Acoustical Consultant:
Bolt, Beranek & Newman


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Cont. from pg. 15
article from a 48' Hinkley in Green Turtle
Quay ... they don't).
A presentation is given to communi-
cate to the persons selecting, why your
firm is the one for the job. Remember all
other firms competing are trying to ex-
press the same point.
Imagine shopping for a can of peas
and four varieties are on the shelf. One with
plain white label and "peas" in 28 point
helvetica; no mention of manufacturer.
Two are similar; a photograph of peas with
"peas" across the top, each with manu-
facturer's logos prominently displayed.
The fourth, a slightly smaller can, silver foil
wrap, brush script on a deep green field,
and french name with "gourmet style"
carefully placed. You tell me which is
most and least expensive, they are all the
same peas.
Presentations should be designed to
relate to the type of client. This does not
change the quality of the material pre-
sented, only the manner in which it should
be done.
Media Design Group of Winter Park
and Tampa have a terrific piece of equip-
ment to improve your slide presentation
graphics. Examples shown here illustrate
the diversity of possible images. The
computer-generated graphic can give
your firm a tremendous jump on the
To begin a graphic slide library, a firm
should create slides of their logo and
general title slides. These can then be
used in future presentations.
Executive Summary
I've only begun to address new busi-
ness development. I have defined some
terms so we understand each other. I have
not given you twenty new leads. I did ask
you take a long hard look at what you are
doing, and what you would like to be do-
ing. I've shown you some examples of
some not so ordinary graphics. I spoke of
the idea of a presentation being a "visual
experience." If we're all the same "peas,"
how do we get the job and for what fee?
Good slides are a start.
In the next issue I plan to address cre-
ating a corporate identity program. Stay
tuned and don't hesitate to send cards
and letters to the Editor.

Doug Gooch Is Director of Market-
ing for Architects Design Group of Florida,
Inc. in Winter Park. He is a nationally rec-
ognized speaker on the topic of Market-
ing and Communications for the design

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On the following pages, FLORIDA ARCHITECT will examine
three projects which collectively represent the work of architects,
landscape architects and planners who have been environmen-
tally responsive, whether their project is in an urban setting, on
an island or in an oak hammock.
Each project says "Florida" in the best possible way.
The restoration of the Herbert/Halback office in Orlando is a
sensitive adaptive use project which preserved two fine vernacu-
lar buildings dating from the 1920's. The restoration is dazzling in
concept and execution. On Sanibel Island, the new City Hall looks
as if it could be a restoration, but it isn't. The structure is true to
historical precendent and is as unique as the island itself. At
Hobe Sound on a site that ranges from pine forest to mangrove,
sits Loblolly Bay, a new residential community that combines the
very best work of man and nature where neither infringes on the
other. Each project represents good design with critical concern
for the environment and great sensitivity to the user.


Sanibel City Hall
Section at Entrance
012345 10

This page, above left: Verandas and entrance from courtyard. Ab
Section at entrance. Below: Veranda details. Opposite page, left:
Interior of courtyard from bridge. Right: Detail of cupola at courty

Project: The Sanibel City Hall
Owner: City of Sanibel
Architect: The Stewart Corporation
Principal-in-Charge: J. Benton Stewart, AIA
Architect of Record: Enrique Woodroffe, AIA
Project Architect: Kevin Fitzpatrick
Contractor: Stinson-Head
Engineers: Mechanical/Electrical, Best and
Structural, William Paxton and Associates
Landscape Architect: Gail Boorman
Photographer: Roger PhLillips




~fe~: ~.

When The Stewart Corporation was
selected by the City of Sanibel to design its
new City Hall, the decision was made that
the resulting building would not be another
of the glass and concrete towers that are
rapidly overtaking Florida's coastline.
What evolved, instead, is a building that
is so eminently suitable to the site, and to
the island, that it almost appears to be a
J. Benton Stewart, President of the
Stewart Corporation, knew that people
went to the island of Sanibel to escape the
hustle and bustle of large communities.
After interviewing Sanibel's elected offi-
cials, citizens, and city employees for a
day-and-a-half, Stewart learned just how
unique the community really was. He
found that the citizens wished to preserve
Sanibel as a semitropical island with a life-
style that was harmonious with the envi-
ronment. The people felt that the commu-
nity's buildings should take a back seat to
nature, harmonize with it and remain hum-
ble in the process.
The resulting design of the City Hall,
which must also function as a "Hurricane
Refuge of Last Resort", is as unique as
the island itself. Sitting seventeen feet
above sea level, it is a wooden, U-shaped,
one story building supported on pilings.
There are 10,988 square feet of normal
construction and 7,114 square feet of
hurricane refuge construction for a total
of 18,102 square feet. With a total cost of
$1,396,000, this amounted to $77 per
square foot.
The City Hall is a building that the gov-
brnment it houses will never outgrow, be-

cause Sanibel is one of only two cities in
the nation that has limited development.
The City Hall is built on a site remote from
the center of town and in a way, it turns its
back on urbanity. The design provides that
workers inside are never far from windows
or the outdoors and the windows are oper-
able double-hung sash. While there is
central heating and air conditioning, the
desire of the city officials is to use them as
little as possible. Ceiling fans are used to
increase ventilation.
In an effort to make the exterior of the
building respond both passively and effi-
ciently to the island's environment and
history, as many natural materials as pos-
sible were used in construction. The build-
ing has deep overhangs, weathered siding
and a metal roof all of which are histori-
cally accurate and they help give the struc-
ture the desired humility the architect
wanted. In fact, the only facet of the build-
ing that identifies it as a government struc-
ture is the pavillion in the center, which
creates a "city hall-type" statement. The
lighthouse complex located on the tip of
the island was an influence on the design
and site planning of the City Hall.

Through its shape, the building is de-
signed to reach out and embrace the
site. The courtyard, or square, created by
the U-shape of the building faces a lake
and is landscaped with native vegetation.
Surrounding the building and courtyard,
the natural ground cover will be preserved.
Nothing new, including any form of irriga-
tion system, will be added.


Above: Main entrance pavillion. Below: Floor plan.

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Project: Commercial Office, Orlando, Florida
Owner: Herbert/Halback, Inc., Landscape
Architects, Planners, Engineers
Architects: Tom Price, Architects, Inc., Project
Architect, and Divoll and Yeilding,
Architects, Inc.

Consultants: Herbert/Halback, Inc.
Photography: John Markham

Side by side on East Concord Street
in one of Orlando's oldest residential
neighborhoods sit two frame and stucco
houses which were constructed around
1924. Since the plan and exterior appear-
ance of the two buildings is so similar,
there is speculation that the houses, along
with a third one which flanks them, may
have been designed by the same person.
In any case, the houses were recorded by
the Florida Division of Archives and History
for inclusion in the Eola Heights Historic
District. The structures, while not singularly
unique, are good examples of what has
come to be called Florida vernacular and
they have survived half-a-century in good
Since office life in a downtown center
has both its pleasures and its problems-
ranging from escalating rental rates to im-
possible parking the problems were
sufficient to prompt a growing Orlando
landscape firm to seek new quarters on
jhe fringe of the downtown. The firm also
wanted to own its building and they began
looking for one to buy in Eola Heights.
Glenn Herbert, president of the firm, had
always been interested in historic preser-
vation and when he and his partner, Fred
Halback, spotted twin 1920's houses with-
in Orlando's Downtown Development
District, they couldn't resist. The charm of
the houses and the potential tax benefits
of turning them into offices provided a
new headquarters for Herbert/Halback,
Inc. Landscape Architects, Planners and
With the idea of connecting and ren-
ovating these nearly identical two-story
town houses, the partners bought one with
an option to buy the other in six months.
They immediately moved into one of the
houses and began living with the struc-
tures, allowing the office patterns and
needs to establish themselves. This six
months "waiting period" gave the part-
ners time to nurture a sensitive, yet cre-
ative, design solution which involved
connecting the structures at 112 and 114
East Concord Street.
To accomplish this design feat, Her-
bert and Halback hired Tom Price of Tom
Price Architects, Inc. and Leslie Divoll and

This page, above: Conference room. Left: Reception
desk. Above: Entry and reception desk from above.
Opposite page, top: Restoration drawing of buildings
joined courtesy of Tom Price Architects. Below:
Houses at 112 and 114 pror to restoration.

Chalmers Yeilding of Divoll and Yeilding,
Architects, Inc. to collaborate on the plan
and help Herbert and Halback translate
their ideas into detailed drawings and floor
plans. This team worked to create offices
for the landscape firm which would have
a strong contemporary and design qual-
ity, but which would also make a state-
ment about the occupant's approach to
design. As part of this statement, however,
it was important that the structures remain
sympathetic to the original architecture
and the single family character of the


The main design constraint on this
project was budgetary and that necessi-
tated exploiting the existing structural sys-
tems and retaining the existing floor plan
in the major entry and to accommodate
second floor traffic from one building to
another. Finally, the unified structures had
to function well as a whole, while preserv-
ing the individual exterior identity of each
The architect's solution was to link
the two buildings with a two-story "green-
house" structure detailed with the wood
trim common to both houses. The trans-
parent/reflective quality of the glass would
not compete with the finishes or detailing
of the existing structures and, at the same
time would make the statement, "we are
landscape architects", by minimizing the
separation between the indoors and the
outdoors. The connector serves as the
major entry for the unified structure and as
a conference area. The original porches
were enclosed with clear glass and are
now utilized as work spaces.
A free span bridge which links the
second floors and a curved glass block

wall below separate the conference room
from the reception area. Because the
northern glass wall is recessed from the
street facades and is protected by the
buildings' masses, it is untinted, allowing
the original lines of :-.e house to "read"
from the street.
The total project, including additions
to the rear of each house and the enclos-
ing and finishing of two detached frame
garages, has approximately 4,300 gross
square feet and cost approximately $70.00
per square foot including interior finishes
and site costs.
The architects' main satisfaction has
been the opportunity to show clients and
prospective clients that something excit-
ing and workable can be made from older
structures. The costs for this project were
comparable to that of a new structure on
this site, but a new structure might not
have been as gutsy or as captivating as
Herbert/Halback's office is now. And two
more tenuous but charming threads to Or-
lando's beginnings would have been for-
ever severed.

Vital mangroves that border the intra-
coastal waterway. Recognizing the spe-
cial qualities of the site, the design team
accepted the challenge of maintaining
the integrity of this environmental cross
Market studies dictated a blending
of single family lots and clusters of multi-
family townhomes and apartments. The
channel connection to the Intracoastal
spawned a small 75-slip marina with strictly
natural shorelines including large stretches
of revitalized mangrove. With a deepwater
marina, the 141-home community repre-
sents the culmination of an idea conceived
... four years ago by developer Harry Gon-
zalez and a group of friends. A team of
Se prominent architects, engineers and land
j l planners, including an environmental sci-
entist, was enlisted by Gonzalez, one of
South Florida's best known hotel, resort
and housing builders, to create a place
that was rich to live in but sensitive to the
The architectural firm of Peacock &
Lewis, under the direction of partner-in-
charge Carroll Peacock and project ar-
chitect John P. Kibbe, created a selection
of attached and free-standing home types
to complement the Stone site plan and the
heavily forested site. Designed for the up-
per echelon market, these residences are

Project: Loblolly Bay Residential Community
Hobe Sound, Martin County, Florida
Owner: Gonzalez Associates, Inc.
Architect: Peacock & Lewis, West Palm Beach
John Kibbe, Project Architect
Planner/Landscape Architect: Edward D.
Stone, Jr. and Associates, P.A.
David S. Armbruster, Principal
Civil Engineer: Hill and Co. Engineering
Ecological Consultant: Joe A. Edmisten, Ph.D.
Photographer: Steven Brooke

Loblolly Bay in Hobe Sound is a 68-
acre site which was master-planned by
Edward D. Stone, Jr. and Associates,
Planners and Landscape Architects in-Ft.
Lauderdale. The Loblolly site was a chal-
lenge to the Stone firm, which is the larg-
est architectural landscape design firm
in the Southeast, because it presented a
rare encapsulation of Florida's east coast
environmental systems. The site falls from
prime uplands through an oak hammock,
a hydric hammock, a bayhead and into the


Opposite page, top: Marina Club and boat slips. Opposite page,
below: Lake residence. This page, above: Boardwalk through a
hammock. Top, right: Multi-family residences. Right: Stone's site

,SITEO 1A 2'


inspired by the unique environs. The build-
ings visually emerge from the ground, ap-
pearing to grow along with the oaks and
palms that surround them.
In essence, Loblolly Bay offers an al-
ternative residential atmosphere where
natural systems are allowed to flourish.
The challenge facing architects Peacock
& Lewis was to complement the fragile
environment by creating visually compat-
ible homes. Consequently, a variety of res-
idential products were designed to suit the
variety of natural growth areas on the site.
Rather than using concrete construc-
tion, which would have required heavy
equipment and would not have suited the
land, wood was selected. Construction
methods utilizing wood do not disturb the
land and the overall effect enhanced the
feeling that the architects wanted to cre-
ate. Wood was used extensively for shake
roofs, exterior siding and wraparound
All buildings rise from the land on
stilts, protecting the native flora and fauna
even more. Elevating the homes also en-
courages natural site drainage and mini-


mally disturbs the low-lying vegetation. In
architect Peacock's terms, the "vernacu-
lar" architecture devised for Loblolly Bay
could be identified as contemporary Flor-
ida cracker, as well suited for Key West as
it is for Hobe Sound.
The residential buildings include cus-
tom single-family residences, townhomes,
duplexes, single-level and two-story town-
homes and free-standing cottage units.
The cottage homes, close to the marina,
feature high pitched dormer windows at
the second floor, as well as clerestory win-
dows. The two-story plan maximizes the
views of the site on all four sides, but does
not necessitate a large "foot print" on the
environmentally sensitive lands.
In the area characterized mainly by
Florida slash pine, land was reserved for
single-family residences. Loblolly Bay also
features a private Marina Club with dining
and social amenities and eleven boat slips
joined by tennis and swim club, board-
walks and a nature trail.
The two-story Marina Club capitalizes
on the spectacular view and has expan-
sive decks and a third story observation

Project architect John Kibbe pointed
out that interior architecture for all Loblolly
Bay residences continues the emphasis
on enjoyment of the area's indoor/outdoor
lifestyle. Verandas, low-maintenance
Mexican tile flooring, sloping ceilings,
paddle fans and large overhangs help
create an atmosphere that works with, not
against, Loblolly's heavily forested sub-
tropical environment.





Kenneth W. Walton

In a busy architect's office, repetition
is the name of the game when it comes to
repeating the same design elements over
and over in the preparation of working
drawings for office complexes, condo-
miniums, hotels, multi-family housing and
so on.
In past years this kind of repetition re-
quired days of work by a skilled draftsman
and the work had to be closely supervised
by an architect.
Today Computer Aided Design (CAD)
has taken much of that burden off of both
the draftsman and the architect.

Jim Roberson, AIA, president of Jim
Roberson and Associates Architects, Inc.
in Tallahassee, purchased a CAD system
less than a year ago. Today Roberson feels
that the efficiency and exactness of the
equipment translates into dollar savings
for clients when hiring architects and as
the project is being built.
While all design functions can be done
on CAD, Roberson has found that the com-
puter best serves his needs in designing
projects which have a great deal of repeti-
tion. For example, his firm used it exten-
sively in the design of a 200-man brig for
the United States Navy in Jacksonville.
Essentially, the architect designed one
cell and the CAD repeated that design for
the number cells required.

Andy Welch, AIA, the first architect in
the Roberson firm to be trained on the CAD,
agrees that the time and dollar savings are
tremendous. Welch said that it takes a little
longer to place the initial design into the
system, but once that's done a conserva-
tive estimate on the amount of time saved
on a repetitive project may be as high as
fifty percent.
In addition, the computer aids in de-
signing large structures. In a huge struc-
ture, like the Navy brig, individual parts can
be designed and assembled on the com-
puter. Since the dimensions are locked into
the design of each individual component,
they can be programmed into the com-
puter and arranged and the computer
automatically knows the dimensions of the


complex. In short, the computer instantly
knows what the architect would normally
have to go back and use trigonometric
functions to find.
The initial design takes a little long-
er because the computer must be pro-
grammed with every detail of the design.
When drafting is done manually, lines are
drawn almost intuitively. If a line needs to
be darker, more pressure is applied to the
pencil. On the computer, however, if you
want a line darker, the line type has to be
defined on the computer program, along
with the line weight and beginning and
end points.
One example of the CAD's speed is
its ability to actually draw in color. The
plotter can move at a maximum speed of
25 inches per second. Even the most elab-
orate drawings take only a couple of
minutes to produce once they are inputed.
Roberson's most illustrative story on
the value of the CAD comes from the de-
sign of the Navy brig. The firm sent a
master plan to Jacksonville which used
a one-to-50 scale. The Navy would not
accept the plan and insisted that it be
done on a one-to-30 scale. To redraw all
100,000 square feet of a master plan at a
different scale would probably have taken
a week. On the CAD system it took about
four hours and the Navy had the new plan
the next day.
that the purchase of aii $80,000 CAD was
a substantial purchase for his firm. He
added that his firm was not used to buy-
ing expensive equipment and like most
architectural firms, they are not capital-
Roberson insists that the purchase
of a CAD system was a good investment
for his firm just on the projects it's been
used on to date. They are presently try-
ing to expand its use into more areas. The
bulk of the firm's work is local, state and
federal government jobs. Roberson says
he bought the CAD in the hope that it
would add a new dimension to his firm by
helping him make the transition from gov-
ernment work to jobs in the private sector.
In addition, many Federal jobs now require
that you have a CAD before you can even
apply for the job.
Problems associated with the use of
a CAD system are minimal. In addition to
the length of time that the initial design
steps take, Roberson says it takes about
two months to train an architect to be pro-
ficient with the equipment. Once the ar-
chitect is trained, however, he can handle
a much greater workload.
Another problem is that the use of the
system is stressful on architects and one


,) ---h

Top: Jim Roberson examines working drawings for an addition to the Federal Correctional Institute in
Tallahassee as it comes off the CAD's plotter. Above, right: Jim Roberson and Andy Welch discuss a project
which Welch has designed using the CAD system. Above: The CAD's plotter speeds across the paper as it
produces working drawings. The plotter has a top speed of 25 inches per second. Opposite page: A floor
plan of a house is displayed on the computer screen before it is printed by the plotter. Photos courtesy of
Frankel, Walton & More.

person should not use it for longer than six
hours a day. Therefore, at the Roberson
firm, the day is split into six-hour shifts to
keep the CAD in operation 12 hours a day.
"The only way to make an $80,000
piece of equipment cost-effective is to
use it," says Roberson. In the Roberson
firm, they're not only using the equipment,
but exploring ways the CAD can make the
office even more efficient.

Editors Note: Information recently distrib-
uted by the American Institute of Archi-
tects projects the use of a CAD system in
most architectural offices across the coun-
try in the next five years.

Kenneth W. Walton is a communications
consultant with the Tallahassee firm of
Frankel, Walton & More.

Architectural Masonry Units

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be the "writing on the wall" for new design
in Florida. Ceramic tile for exterior clad-
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gun in Florida, according to Forms and
Surfaces, Inc., a Miami-tile distributor.
Ceramic tile resists weathering better than
concrete and does not need the mainte-
nance required for painted surfaces. The
colors remain vibrant, the cost is con-
tained upon installation and it is extremely
Exterior cladding of ceramic tile is
part of the wall treatment, hence part of
the structure. Tiles varying in size from
one inch to 12 inches can be hand-applied
on the job site over precast concrete or
concrete block or applied in prefabricated
curtain wall or spandrel panels from one
inch by one inch to four inches by four

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Student Designs for the FA/AIA Fall Conference


With the cooperation of John McRae,
AIA, Chairman of the University of Florida
Department of Architecture, the FA/AIA
has a Fall Design Conference logo cour-
tesy of UF architectural student Miguel
Baeza. McRae, a member of the 1984 Fall
Design Conference Committee conceived
the idea of a logo contest among the De-
sign II students. With the assistance of
design professors Maelee Foster, Wiley
Tillman and Richard Morse, the contest
was executed in grand style.
This year's conference will be held
September 20-22, 1984, at PGA Sheraton
in Palm Beach Gardens.
Presented here is the winning logo,
along with some examples of the other
submitted logos.


Winning Design by Miguel Baeza
Design by Chuck Yannette

RI 1



Design by Ange Brooks
Design by Angie Brooks

Design by Mindi Alfonso

Design by Chuck Yannette


URE.. Design by Stefano Fontana


Cont from pg 11



Programming Client Conlact
Sire and Environmental Analysis
Schematic Design
Building Cost Analysis
Code Research
Design Development
Construc[ion Documents
Specilicalions and Materlals Research
Documents Checking arid Coordination
Minimum required for Category A is 360 VU's

Bidding Procedures
Cojnitruction Phase Oiltice)
Construction Phase Observation,
Minimum required for Category B is 70 VU's


13 Ofice Procedure-
14 Professional Aclivi~tile
Minimum required for Category C is 35 VU's
Total minimum req'd for six year masters is 465 VU's


Energy Conservallon Siruclural Engineering
Computer Applicarions Applied Research
Construction Management Teaching
Planning Historical Restorallon
Interior Design Professional Delineation
Ldnclscpe Arcniteciure Oirers
Ervirronmental Engineering
The balance of the 235 value units for five year bachelor units may
come from Category A. B, C. or D.

"NOTE: One alue unit equals one eight hour day
Six yedr irimaers requires 465 value units
Five year bachelors requires 700 value unit;

If you will examine the above training
areas, you will find the first twelve are really
not that much different than the way you
keep your time within your own office. In
fact, you may find them identical. You will
also find that the majority of these training
areas are activities that any employee is
likely to do in his first three years if he or
she is going to be productive in your firm.
Those areas which are difficult forthe in-
tern to gain exposure, such as client con-
tact and field construction administration,
by design, have low minimum require-
ments which can be satisfied by direct
participation or observation. In those in-
stances you may have interns requesting
permission to attend and observe those
activities with you and offering, in return,
to make up that time lost in the evening
or weekends at their cost. All that you are
asked to do is to give them a reasonable

Your responsibility may be serving as
an interns' Sponsor or Advisor where you
will be asked to review their record keep-
ing forms and certify as to their accuracy.
The design of the IDP record keeping
system places the burden entirely upon
the intern including all periodic report-
ing which must be submitted to the State
Board of Architecture.
The intern's sponsor is either you, the
employer, or a registered architect em-
ployee of yours who is his or her direct
supervisor. This relationship will promote
a valuable interaction by the positive ex-
change of new ideas and sharing of infor-
mation. The sponsor will gain a real sense
of appreciation from the intern by serving
as a valuable resource to him or her. It will
create a loyalty between the intern and
sponsor which will be translated into the
quality of work produced.
The professional Advisor is a regis-

tered Architect outside the office to whom
the intern may turn for guidance. In in-
stances where it is not possible for the ad-
visor to be outside of the office, he can
come from within, but it is preferable he
be from outsidesA formalized relationship
between a registered architect aside
from the intern's employer or direct su-
pervisor is a feature of this program which
greatly enhances its value. Besides the in-
tern having a mentor (professional friend)
with whom he can freely go to for guid-
ance, the advisor gains the satisfaction of
improving a new member of the architec-
tural profession. This satisfaction trans-
lates into a greater concern on behalf
of the advisor for the direction of our
IDP has met with great success since
its inception in 1979. In January of this
year it was estimated that 4,500 interns
nationally were enrolled in IDP. This is al-
most triple the enrollment of one year ago.
Current enrollment in the Florida Program
exceeds 300 interns. The Florida State
Board and the Florida Association of Ar-
chitects are leaders in the implementa-
tion of the IDP and now seek to acquaint
registered Architects of the State of the
potential value that interns can play in im-
proving the quality of our profession. Our
real goal and that of IDP is to improve the
practice of architecture.
As a conscientious practitioner, you
have nothing to lose and everything to
gain. Try it!!!

Editor's Note: The State IDP Coordinating
Committee is composed of members from
the State Board of Architecture, the Florida
Association AIA, an Educator-Advisor
from the three schools of Architecture in
Florida and Herb Coons, Consultant to
the Board of Architecture.

H. Dean Rowe, AIA, is Chairman of the
Board of Rowe Holmes Barnett Architects
and Chairman of the Florida State Board
of Architecture. He is also Chairman of
the Florida IDP Coordinating Committee.

Perry Reader, AIA, is with Scarborough
Constructors, Inc. and he is the Statewide
IDP Coordinator.



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On April 15, 1984, in the Senate
Chamber of the Old Capitol Building,
Governor Bob Graham presented the
Governor's Design Award to the archi-
tects, engineers, landscape architects
and interior designers who were involved
with the five projects which were the re-
cipients of this year's awards.
The Awards Program, which began
in 1981, is unique in that it is open only to

nominations from state and local govern-
mental agencies. Florida makes a signifi-
cant investment in its public capital outlay
program each year and it is appropriate
for the results to be evaluated in a review
of the overall success of the facility after a
period of use for its intended purpose.
This year's Awards Jury consisted of
Richard K. Chalmers, Dean of the School
of Architecture at Florida A & M Univer-

sity in Tallahassee, James Anstis, AIA,
FA/AIA President, Ruth Bass, ASID, of
Bass & Bass Ljd., in Tallahassee, William
Brown, Chief of the Architecture and En-
gineering Branch of the U.S. Air Force in
Washington, D.C., Henn Rebane, P.E. of
Randolph Wedding in St. Petersburg,
Donald Springer of Springer/Peterson
Roofing in Lakeland and Ronald S. Wil-
son, ASLA, of Winter Park.

Mayor Bob Carr, Performing Arts Centre
Orlando, Florida
Joint Venture between Tom Price, AIA
and Don Duer

The renovation of the facility, which
cost $2.9 million, called for the conversion
of a flat-floor municipal auditorium into an
all-purpose performance hall to accomo-
date symphonies, shows, opera and the-
atre. Retaining only the original walls and
roof structure, the interior was gutted and
a new audience house, stage, orchestra
shell and lobby were constructed. The
success of the renovation encouraged
the city of Orlando to put the surrounding
land in its master plan for the inclusion of
a convention hall and a sports arena.

Paynes Prairie State Reserve
Micanopy, Florida
W. K. Hunter, Jr., AIA

Designed to create a strong relation-
ship between visitors and its natural sur-
roundings, the Visitor's Center at this state
reserve is built of native stone and rough
sawn lumber with simple detailing. The fa-
cility is meant to have a strong visual tie
with the prairie while serving as the intro-
ductory and educational focal point of the
park. Large roof overhangs and position-
ing of all glass to face north were designed
to reduce energy consumption. The open,
free flowing interior spaces visually unify
the man-made and the natural.

Maria C. Hernandez Fine Arts/Student Center
Complex of Miami-Dade Community
College, Miami, Florida
Spillis Candela and Partners

The Miami-Dade campus cafeteria,
bookstore, Student Activity Program and
Music Department as well as three large,
general purpose classrooms are brought
together in ths complex which is located
in the College's South Campus.
The intense utilization of the build-
ing for a broad range of student and edu-
cational activities called for a special de-
sign which combined space efficiency with
stringent accoustical requirements. To ac-
complish these tasks a two-story, 72,000
square foot building was designed.
The design of the building makes 77
percent of the interior space usable, mak-
ing it among the most efficient in the state
for this type structure. And the building
was constructed for 1.2 percent less than
the budgeted $3.15 million or a final cost
of $42 per square foot.

Phase II, New World Center
Campus of Miami-Dade Community College,
Miami, Florida
Spillis Candela and Partners

The campus' second phase is com-
posed of three wings joined by a three-
story atrium. Set in an urban location, the
building is designed to give a feeling of
The exterior facade of the building is
formed of precast concrete panels and
exposed architectural concrete surfaces
requiring no maintenance. In the context
of its downtown site, the structure has be-
come a landmark with its corners cut off
at a 45 degree angle to create entrance
plazas where the landscaping offers a
relief from city activities. On upper lev-
els the complex is visually tied to the city
through the open terraces which allow
natural lighting inside and provide vistas
of the bay and nearby historical structures.

Photo by Howard N. Kaplan HNK Archi-
tectural Photography
Saenger Theater Restoration
Pensacola, Florida
Holabird and Root, Chicago and
The Bullock Associates, Pensacola
The theatre auditorium and lobbies
of the Saenger Theatre have been re-
stored to recapture in spirit, as well as
detail, the 1920s design of the building.
While the antiquated electrical and me-
chanical systems have been removed,
state of the art stage rigging, lighting and
sound equipment have been installed.
Original lighting fixtures for the audi-
ence house and lobbies were retained
and rewired and the 1,761 existing seats
were reupholstered.
The restoration was a cooperative ef-
fort of the City of Pensacola and the Uni-
versity of West Florida.



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.. *:: **: .. ::A

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