Florida architect

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-
Association.

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-
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Architects.- Contact- information- is- available- at- the-
Association' sweb site.

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UNI-DECOR"

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CLASSICO" See us in LAfile '84 and Sweets '84

Sp FA9
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*l9Please send information to:

Name

Address

City
State Zip

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iec orL\cdAiMC96 1_111-m80pi

Florida Association of the
American Institute of Architects
104 East Jefferson Street
Post Office Box 10388
Tallahassee, Florida 32302
Publisher/Executive Vice
President
George A. Allen, CAE
Editor
Diane Greer
Assistant Publisher
Director of Advertising
Carolyn Maryland
Art Director
Earl Morrogh
Editorial Board
Charles E. King, FAIA
Chairman
William E. Graves, AIA
Ivan Johnson, AIA
Peter Rumpel, FAIA
John Totty, AIA
Michael Bier, AIA
President
James H Anstis, AIA
333 Southern Boulevard
West Palm Beach, Florida 33405
Vice President/President-elect
Mark Jaroszewicz, FAIA
University of Florida
College of Architecture
331 Architecture Building
Gainesville, Florida 32611
Secretary
James J. Jennewein, AIA
102 West Whiting St.
Suite 500
Tampa, Florida 33602
Treasurer
John Barley, AIA
P.O. Box 4850
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 Bochlardy, 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
FLORIDA ARCHITECT. Official Journal
of the Florida Association of the
Amencan Institute of Architects, is owned
and published by the Association, a
Florida Corporation not for profit ISSN:
0015-3907. It is published six times a
year at the Executive Office of the
Association, 104 East Jefferson St.,
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Single copies, $2.00, Annual subscrip-
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FLOKCDA ARCHITECT
S JOURNAL OF THE FLORIDA ASSOCIATION OF THE AMERICAN INSTITUTE OF ARCHITECTS

September/October, 1984
Volume 31, Number 5

SFeatures

I ai .^ 11 Roofing Consultants: The
Help An Architect Needs
I IIl' I 4i1 D. B. Young

17 The Architect as Filmmaker
Wiley Tillman

21 Ralph Choeff: Designing High
Tech Stores That Sell
T -' Diane Greer

32 The Colegio De Arquitectos
At San German
Jorge Rigau

37 Mr. Would-B-Architect Needs
A Corporate Image
Doug Gooch

42 1984 Unbuilt Design Awards

54 Architects Have an
Identity Crisis
George A. Allen, CAE

Departments

8 Editorial
13 News
53 Product News
54 Viewpoint

Cover Photo of the dining room of the Acosta House in San German, Puerto Rico
by Jochi Melero

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

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EDITORIAL

"On behalf of His Royal Highness, Prince Sultan Bin
Abdulaziz, Second Deputy Premier and Minister of De-
fense and Aviation, I am pleased to welcome you to the .
Kingdom of Saudi Arabia."
Major General Said Yousef Amin
Director of International Airports Projects

With this greeting I embarked upon one of the most
interesting and exciting weeks of my life. I was privileged
to be one of 25 magazine editors who spent four days in
Saudi Arabia on an International Airports Projects press
tour. The magazines represented were all within the
building trades industry and only five were architectural
journals. Our tour was sponsored jointly by Owens-
Corning Fiberglas and the government of Saudi Arabia
and it was a first class trip from beginning to end. The purpose of our journey was to view the two new international air-
ports King Abdulaziz International Airport with its Haj Terminal at Jeddah and King Khaled International Airport in
Riyadh. In addition, however, we visited the mountain area of Al Abha and were provided a sumptuous tent lunch by
the Emir of the Region; we visited the National Commercial Bank in Jeddah which is another SOM project, several
hospitals and a very modern television station.
The most important event in the modern history of Saudi Arabia was the discovery of oil in the 1930's. Oil wealth
made possible rapid economic and social development, which began in earnest in the 1960's and accelerated spec-
tacularly in the 1970's. Today Saudi Arabia is a land of great wealth and modest technology. The latter is being dealt
with by the importation of British, American and European personnel to run airport, medical and scientific facilities
until such time as the Saudi's are trained to do so. As a consequence, one sees few Saudi's on any tour of "modern"
facilities.
The role of Owens-Corning Fiberglas and Owens-Corning Saudi in the construction of the two international air-
ports was an interesting one. For the Haj Terminal at King Abdulaziz IA they produced a fiberglass fabric coated with
teflon which the Architects Skidmore, Owings and Merrill selected for its high strength (which I can attest to because
it supported the weight of our entire group walking on it), weather resistance, long life, reflective properties and
aesthetic suitability.
The Haj Terminal at King Abdulaziz IA is in Jeddah, only forty miles from the Holy City of Mecca. For seventy
days each year, Moslems from around the world travel to Mecca for the Haj, or pilgrimage. A facility had to be de-
signed and built that would handle the enormous numbers of hajis, sometimes as many as 5,000 per hour.
For architects Skidmore, Owings and Merrill, the challenge was to create a sheltered space to protect pilgrims
from desert heat while providing a spiritual transition from traveler to haji. Owens-Corning Saudi, an OC affiliate, was
selected as the Design/Build Contractor for a system of 210 identical fiberglass fabric "tents" covering an area 25
percentgreater than the pentagon. Each 9,000 square foot unit is suspended 66 to 110 feet above the terminal floor,
shaped and supported by steel cables attached to 150 foot pylons made in France.
The translucent fabric reflects 75 percent of solar radiation, minimizing heat gain. This reflectance, combined with
air circulation and a natural venturi effect caused by perpetual desert winds, keeps temperatures in the 80 degree range,
even when it's 120 degrees outside.
Inland from Jeddah is the City of Riyadh, whose King Khaled International Airport was designed by Hellmuth,
Obata and Kassabaum. Many elements of the California Energy Code were used to set the performance standard in
this airport which was designed to exacting energy standards. The architecture of the four passenger terminals, the
Royal Pavilion and the Mosque integrates thermally efficient technology into a complex planned to serve 15 million
passengers annually by the year 2000.
The International Airports Projects ii the Kingdom of Saudi Arabia is the product of an intriguing combination of
rapid development, exciting design and far-reaching technology. Saudi Arabia is a country that is trying desperately
to move into the twenty-first century prepared to meet the needs of its people. As I traveled throughout the Kingdom
and saw the vast numbers of Americans employed in every possible profession, I was very proud that the U.S has
been there to help them take this giant step forward. Diane D. Greer

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Streamlined oblong information kiosks finished with
glass fiber-reinforced plastic complement the archi-
tecture of King Khaled's public terminals. Photo by
Gregory Murphy 1984.

Owens-Corning Saudi supplied and oversaw installa-
tion of the inlaid wood floor, trapunto wall coverings
and bronze soffit paneling that help create the luxuri-
ous feeling in a VIP lounge in KKIA Photo courtesy of
Owens-C orr.:n Ftiergl! ,

iflrl ll| 'l 11 ,.,'

The Haj Terminal at King Abdulaziz International Air-
port provides shade for the Moslem Pilgnms on route to
Mecca. Design, fabrication and installation of the 5.5
million square feet of fabric roof was completed four
months ahead of schedule. Photo courtesy of Owens-
Corning Fiberglas.

The centerpiece of King Khaled International Airport, r. r,. a..-,n r.l :.:, ue 11.3,-,. e r / triangular terminal
buildings having 30-60-degree angles. Not only are these angles basic to traditional Moslem design, but they also
give aircraft the maximum maneuverability between buildings at the 70,000 acre airport. Photo by Gregory Murphy
1984.

The interior of the Mosque at King Khaled International Airport Photo by Robert Azzi for the Vesti Corporation 1983.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

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CONI

ROOFING CONSULTANTS:

THE HELP AN ARCHITECT NEEDS

D. B. Young, AIA

In the May 24th Memo, newsletter of
The American Institute of Architects, an
article entitled "Roof Problems", stated:
"It is difficult, if not impossible, for the
Architect to observe and attest the total
application of a roofing installation during
construction. Most Architects will admit
privately, if not otherwise, that they are not
experts and tend to rely upon someone
else for the quality of job they hope to get."
The article further stated: "We call for soil
experts, concrete testing, reinforcing bar
inspectors, structural steel inspectors
and in many instances a full-time project
representative... So why not specify a
recognized, reputable roofing expert?"
This question was asked by the claims
committee of the AIA Architects Liability
Committee.
Along with the decision to select a
roof consultant, the architect must decide
what type of roof consultant to utilize. Roof
consultants fall into three broad cate-
gories. The first is that of the ex-roofing
subcontractor or ex-roofing material rep-
resentative. The second category is that
of the independent testing laboratory.
The third is comprised of Architect/Roof
Consultants. These roof consultants are,
in fact, architects who, through additional
formal training and continued experience,
have specialized in the design of roof
membrane and construction administra-
tion of their installation. The latter group is
the most knowledgeable about building
systems and best qualified to make de-
cisions relating to the interface of both
roof membrane and roof deck. Further-
more, the Architect/Roof Consultant is
knowledgeable in the preparation and
coordination of drawings and specifica-
tions due to his architectural background.
In selecting a roof consultant, the ar-
chitect should use the same approach that
he does in selecting other specialized
consultants. The architect should review
the consultant's qualifications in depth.
Specialized training should include addi-
tional educational courses through the
National Roof Consultant's Association,
the Roofing Industry Educational Institute
and other continuing professional educa-
tion courses in roofing. A review of the
consultant's construction documents pro-
vides the architect with an insight into the
quality of documents to be expected. In

12"Wios r-LrixieLE FU.5wit~a
WrT IN 144T ASPHALT
6: Vior 6" P1n14 MLr

addition to a review of the con
construction documents, the
should examine the qualificatic
field inspectors, as well as exa
field reports.
Paralleling the architect ir
vices, the roof consultant should
at all project phases. In the pr
design phase, the roof consu
have input to the structural engir
the selection of the structural de
terfacewith the roofing membra
dination vith the plumbing engir
the design of storm water systerr
face with the roof'drainage layou
the mechanical engineer in the
of roof insulation. For the architect,
liminary design decision of roof me
and flashing system is the most si;
decision made with the roof consi
In the construction document
the roof consultant will prepare a

hensive roof plan, indicating all roof top
equipment and penetrations with complete
flashing details for all conditions. The spec-
ifications prepared would both be cur-
rent and tailored to the membrane details
drawn.
During the bidding/negotiation phase
of the project, the roof consultant would
Sbe responsible for answering the bidders'
questions regarding the documents relat-
ing to the roof membrane and preparation
of addendum items, if required.
To begin the construction administra-
Stion phase, the consultant would review
and process submittals and be respon-
S sible for the roofing pre-construction con-
Sference prior to the beginning of the roofing
S installation. Upon commencement of the
roofing installation, the roof consultant
would provide periodic site visits to ob-
serve the construction. Upon completion
of the roofing subcontractor's work the roof
consultant would perform a substantial in-
section, followed by a final completion
inspection. Prior to final acceptance by
'6G' YlLEI the architect, the roof consultant would
--SK .5 L perform an additional "roof walk-over" to
,Rely, insure that the roof was not damaged dur-
rM a ing subsequent construction.
The previous tasks discussed are
representative of normal roof consulting
services for a roof and/or a new building.
Roof investigation of an existing building
prior to an extensive interior renovation
sultant's project, is another service that architects
architect could utilize. For architects providing build-
ns of the ing maintenance services to the firm's cli-
Imples of ents, the roof consultant's periodic roof in-
spections can compliment the architect's
his ser- services. In addition to periodic site visits,
interface the roof consultant can provide a full-time
eliminary project representative during the roofing
Itant can installation.
leer as to In summary, now is the time for the
ck for in- architect to add the roof consultant to the
ne; coor- design team to assist in answering the
leer as to critical question of roofing design and
Sfor inter- installation.
t; input to
selection D. B. Young, Jr., AIA, CCS, is an Architect-
,the pre- Roof Consultant and a partner in the firm
membrane of A/R/C Associates, Incorporated.
gnificant
ultant.
it phase,
compre-

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER. 1984

iI I
I
L L I .

11 Oft

NEWS

* ;. I

Edward Snowden d'Avi, Architects, PA of Ocala and Clements, Rumpel Architects Planners of
Jacksonville have formed a new partnership called Clements Rumpel Goodwin d'Avi/Architects Planners.
The firm will maintain offices in Jacksonville and Ocala.
Left to right: Ed d'Avi, AIA, Peter Rumpel, FAIA and Robert Goodwin, AIA

.. ~~ill~BI~

,12J,

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Design for the Newport Cultural Arts Pavilion by Spillis Candela and Partners.

Spillis Candela and Partners, Inc.
has been selected by a first stage jury re-
view in the National Endowment for the
Arts, Newport News Cultural Arts Pavilion
Design Competition. The jury selected six
firms out of 275 official registrants from the
United States, Canada, Europe and Saudi
Arabia for the second stage jury review.
The Newport Cultural Arts Pavilion is part
of a downtown redevelopment plan called
Newport Center which will house a per-
forming and visual arts center for local,
regional and national performances and
art exhibits. The jury, composed of na-
tionally recognized architects and per-
forming arts representatives, used the
criteria of imaginative interpretation of
the design character, contribution to the
attractiveness and usefulness of the

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

downtown core and clarity, efficiency and
organization of the design coupled with a
good comprehension of the functional
attributes of a performing and visual arts
center.
The jury responded to Spillis Can-
dela's clear expression of elements, in-
cluding large and small theatres and their
link to the plaza and the creation of social
space. The jury stated that, "There is an
expression of clarity, and at the same time
there is a sensitivity to human scale, which
is very appealing."
The Spillis Candela design team for
the Newport Centre Cultural Arts Pavilion
Competition was Rolando Llanes, Lucy
Castello, Michael Kerwin, Eduardo Lamas
and Rafael Portuondo, Jr.

MEMBER NEWS

Oliver & Glidden Architects, Inc. was
the recipient of two Awards for Excellence
in Architecture in the 1984 Palm Beach
Chapter Awards. The jury for the competi-
tion was composed of eight British archi-
tects and it was chaired by Michael Green-
wood, Chairman of the London Regional
Council of the Royal Institute of British Ar-
chitects. Nine awards were presented
and two of them went to the firm of Oliver
& Glidden for its design of the Reflections
Office Centre in West Palm Beach and the
Town Executive Center in Boca Raton.
American Ventures Corporation has
retained Baldwin Sackman + Associates
to design the master plan of their Cutler
Ridge Office Park in Miami. The park is
designed to contain three office build-
ings ranging in size from four to six floors.
The Haskell Company has been selected
to design, engineer and construct the
Courtyard Shoppes in Clearwater. The
project, which includes saving over a
hundred existing trees, will have a series
of small shops intertwined around an
open courtyard.
Robert M. Swedroe has extended
his architectural offices to include com-
plete interior design and space planning
facilities for both developers and private
clients. His partner in the new enterprise
is Jacqulyn Yde, ASID, IBD. Salem La-
hood and Ruby Varona have been named
staff architects for Peacock & Lewis Archi-
tects and Planners. Lahood is an experi-
enced designer of shopping malls and
commercial centers and a member of
the Architectural Association of London.
Verona has seventeen years experience
in the design of industrial, commercial
and public facilities.
Schwab & Twitty Architects, Inc. has
received two 1984 Awards for Excellence
in Architecture from the Palm Beach Chap-
ter of the AIA. Opus X, a single family resi-
dence in Boca Raton and The Blue Heron
Townhouses at Aquarina in Melbourne
were recognized. Also honored by the
Palm Beach Chapter were the Marina Club
at Loblolly Bay and the new north Campus
of Palm Beach Junior College by Peacock
& Lewis Architects & Planners.
Wolfberg/Alvarez/Taracido & Asso-
ciates has signed a three-year contract
with the University of Miami to provide
comprehensive architectural and engi-
neering design services for a variety of
educational and support facilities. Veter-
an's own ideas on window design, colors
and amenities are being incorporated into
the new nursing home care unit being
added to the Lake City V.A. Medical Center
by Peacock & Lewis. By using this tech-

'*

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N -', ,

nique of incorporating the vets' ideas, the
result should be an overall homelike feel-
ing. Construction is well under way on
Atherton Park, an 8-unit townhouse proj-
ect in Orlando. Designed by the Evans
Group, Atherton Park offers all two-story
townhomes with 1,687 square feet of liv-
ing area priced from $163,000.
The firm of Maspons.Goicouria.Este-
vez has completed a 130-car parking fa-
cility to serve its Coral Gables Hospital.
MGE provided overall programming,
master planning, architectural design,

working drawings and construction ob-
servation services for the hospital. Char-
lan Brock Young & Associates moved into
his new offices in Maitland Center in July.
The Governor's Inn in Tallahassee, which
was designed by Sarasota architects
Tichenor and Lindner, is now open and
1 . 1

offering first class accommodations in the
Capital Center. Gee & Jenson Engineers-
Architects-Planners is completing a de-
sign of a 39,000 square foot office building
for Lockheed Space Operations in Titus-
ville. The new building will house more
than 160 Lockheed executive, adminis-
trative and operational personnel, in ad-
dition to the firm's computer operations.
At the Plantation Club in Venice, The
Evans Group has employed a Key West

mf&ui4L

design theme for the rental units. The proj-
ect is being developed by The Ramar
Group of Sarasota within the Plantation
Golf & Country Club. Concorde Plaza, de-
signed by Walter C. Bowman of Cape
Canaveral, is a five-story luxury office
building on Merritt Island. The building,
which is due to go up this year, will house
business and professional leaders in the
31,000 square feet of office space. In-
spired by the architectural history of the
City of Coral Gables, the Bank of Coral
Gables retained the firm of Ferguson
Glascow Schuster, Inc. to design its new
Mediterranean building. The new bank
building officially opened in May. FGS
worked closely on the project with the
Coral Gables-based interior architecture
firm of Robison + Associates, Inc., whose

8A

will be a 55,000 square foot, three-pod
facility to house research laboratories for
pharmacology, microbiology and edi-
demology, as well as pathology, testing
and classrooms.

Of Special Note

A ranking of the top 500 design firms
in the United States, based on total bill-
ings, has placed the firm of Spillis Can-
dela & Partners at the top of the South
Florida list. Moving up from a position of
184th in 1983, to 169th in 1984, the May
issue of Engineering News-Record placed
Spillis Candela in the category of billings
which totaled between $10 million and
$14.99 million.
ABC affiliate WPEC TV-12 has won
"Best Station of the Year" honors from
Broadcast Management/Engineering

iill 1"4~* **. .'

president, Ronald W. Robison, AIA, has
just been elected to the Board of Trustees
of Dade Heritage Trust. Robison + Asso-
ciates specializes in interior planning and
design for financial, corporate and pro-
fessional offices, hotel and health care
facilities. Wolfberg/Alvarez/Taracido has
begun the design of a new South Campus
Research Facility for the University of
Miami. The first building to be constructed

magazine. The award cited WPEC's new
23,000 square foot facilities designed by
Peacock & Lewis of West Palm Beach.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBEH, 1984

In Appreciation ...
The following companies were sponsors of the Florida Central Chapter Party at the FA/AIA Spring Education Conference at Cypress Gar-
dens. We sincerely appreciated their support.

FEDERAL CONSTRUCTION COMPANY

Offering Construction Management by serving as a
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FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

CLASSIFIED

Office Space Available:
Palm Beach intenor design firm has office
space available to architect with follow-
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Position Vacant
Growing 8 person firm in North Florida
seeks a highly motivated graduate archi-
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Architect II
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1

THE ARCHITECT AS FILMMAKER

Wiley Tillman ,
Staring into the deepest blackness ..
the kind that one finds only at night at 4
an airport. In the background the high-
pitched sound of a plane seems solitary
and strident. A jet taxis into the frame, its
fuselage brightly lit and showing the red
letters of TWA. As the plane rushes to fill
the frame, the noise rises to a deafening
level. The windows and letters blur like a
picket fence beside a speeding car. As
quickly as it came into the frame, it is
gone. The camera pans across the dark-
ness outside the huge waiting room win-
dow, then quickly follows two or three
passengers into the departure tube. The
screen goes black. Against this dark back-
ground and the sound of jet noises out-
side, the titles emerge:
WINGS OVER THE WORLD
THE LIFE AND TIMES
OF EERO SAARINEN'S
TWA FLIGHT CENTER
(FADE OUT)
The opening sequence of the sce-
nario introduces the saga of my efforts to
get my concept of a documentary motion
picture out of the wishful planning stage
and into the realm of reality. As I will ex-
plain later, I have reason to admire both
Eero Saarinen and his TWA Flight Center.
But I have never envisioned a film about
the Flight Center as memorial to the de-
signer. Nor do I think Saarinen would
have approved of such an approach to
his work. The core of the scenario would
focus on the day-long activities of both
passengers and personnel that are typi-
cal of this building the relatively slow
circulation in the early morning; the heav-
ier action of midday and afternoon; the
crowds that overload all facilities by 6:00
to 8:00 PM; the darkness and low activity
at 5:00 AM. All buildings have a daily life-
cycle, but it is especially true, I think, of an
airport terminal where the variations are
more visible and audible.

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FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Since I started this project in 1980, I
have been asked a number of times, "Why
a motion picture on architecture? Aren't
'stills' good enough?"
My answer to the first question has
always been that still photography is often
striking because of point of view and
composition, but it frequently gives an ar-
tificial impression of a building lacking
scale, movement and sequence on the
interior. The TWA Flight Center possesses
a strong sense of ebb and flow through-
out the day and night and this quality can
only be captured by motion pictures. Such
carefully orchestrated spaces should be
presented with as much precision and
gusto as a symphony by Sibelius. Fur-
thermore, the sunlight cascading from
the four long skylights that separate the
vaults constantly casts moving patterns
of light that enliven the floor planes and
sensuous spaces.
The idea of making a motion picture
of the TWA Flight Center first occurred to

me in the Fall of 1973 while I was studying
a select group of Saarinen's buildings for
a Faculty Development Grant at the Uni-
versity of Florida. The TWA terminal was
the last building I studied and I spent more
time there taking photographs and mak-
ing notes. I even picked up several sheets
of original drawings.
The last slide I took before I boarded
the plane to Florida was a view of the de-
parture tube with one lone figure headed
for the lounge. It was not until 1978 that I
really looked closely at the slide and dis-
covered that when blown up it had real
emotional impact.
As a student I was fortunate to visit
Saarinen's office in Michigan while doing
graduate work at the University of Illinois.
Meeting Eero Saarinen in 1961 (the year in
which he died) was a memorable exper-
ience for me. He talked candidly about his
commissions, but in particular he talked
about his design theories, about the Flight
Center, and the use of large scale models

for studying space, lighting, material de-
tails, and the unique concrete structural
system. I think I truly understood the Flight
Center before I ever encountered it.
Perhaps the real.catalyst for the idea of
making a motion picture of the TWA Flight
Center was the result of meeting Richard
Sites, a student with a lot of practical ex-
perience in cinematography who was in
his last year of Film Studies at the Univer-
sity of Florida. After a series of meetings

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we agreed on the basic concept of "look-
ing at" the Flight Center with its round-the-
clock activities as the focus of a film. Be-
cause of our mutual aversion to the current
trends in architectural photography, our
approach was limited to capturing on film
the kinds of activities and the quality of
natural artificial light throughout a 24-hour
period. We decided to wait until we shot
some trial footage at the Flight Center
before making a final decision on the
scenario.
The proposed motion picture was
approved as a research project by the Col-
lege of Architecture. Dean Mark Jarosze-
wicz, who had worked in Saarinen's office
in the late 1950's, and knew so many of the
personnel during that period, was a great
help in providing names of potential re-
source people. In May of 1980, sponsored
by the Bureau of Research of the College
of Architecture, University of Florida,
Richard Sites and I went to New York and
met with TWA officials.

Black and white footage was shot over
a period of a day-and-a-half, though not in
strict sequence. We decided there was
more freedom of movement in shooting
most scenes without tripod or lights. After
the film was developed and edited, some
sections were somewhat crude, but the
overall results looked promising. Best of
all, the edited film confirmed the dramatic
pacing of increasing activity throughout
the day to a crescendo during the early
evening hours and finally culminating with
a period o0 cessation of all movement until
the cycle starts again after sunrise.
From experiences at the Flight Cen-
ter and information gained from TWA of-
fices we wrote a scenario, sketching out
the main points to be covered:
Titles-late night background, last flight.
Flashback-Dedication of Center on
May 26, 1962.
Flashback-presentation of design
studies, models, construction phase.
The day long sequence of activities in

the Flight Center with emphasis on the
quality of life.
Early morning and start of day's routine.
The final film was to be shot in color,
with music and narration for appropriate
sequences.
As I tried to find visual material for flash-
back sequences, I encountered problems
I had not envisioned. Numerous phone
calls and some letters to the NBC offices in
New York and to film libraries and archives

. 1*.

4:00 a.m. 5:00 a.m.

7:00 a.m.

* .

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3:00 p.m. 5:00 p.m.

6:00 p.m.

failed to turn up any positive information
about the Today Show which telecast
the dedication ceremonies from the TWA
Flight Center on May 26, 1962. The show
was narrated by John Chancellor who later
interviewed Aline Saarinen and other no-
tables present. A specially commissioned
chorus performed by Fred Waring's com-
pany made the occasion unique. We fi-
nally enlisted the aid of John Chancellor,
who expressed a real interest in our film.
It was he who reported to us some months
later that NBC kinescope had been de-
stroyed or canabalized years earlier.
Material for the design and construc-
tion flashback was equally hard to find. It
became evident that most of the models,
including a beautiful plastic one shown at
The Museum of Modern Art, had disap-
peared after Saarinen's move to Hamden,
Connecticut in 1961. Kevin Roche, a
member of the original TWA design team
could shed no light on the problem. For-
tunately, the Visual Resources Center at
the University of Florida had one of the
best collections of slides of the Flight
Center to be found anywhere. There are
about 30 slides taken during the con-
struction phase and some of the views
are truly formidable.
In pursuit of funding for the proposed

motion picture, nearly 40 letters of inquiry
were sent to corporations and founda-
tions. The replies were predominantly
negative, with a few asking for posposals.
I returned to New York in June, 1981, for
several meetings at TWA headquarters,
as well as to make contact with funding
agencies. The Foundation Center ran a
computer search to narrow down the most
likely funding sources. Among the foun-
dations to which I submitted proposals
were: the Markle, the Knoll, the Graham
and the NEA. Although the proposals were
rejected, the cinematic concept was in
some cases commended.
By the end of 1982, a number of
changes had occurred. My cameraman
moved into another field. Gary Blanken-
ship resigned from TWA and went into
private practice. The TWA corporation
purchased the adjacent National Airlines
Terminal and architect George Rudolph
III was engaged to design a "bridge"
between the two buildings. So far, only a
temporary plywood shelter connects the
two structures at ground level. And so it
seemed that the TWA movie had gone
into long-term limbo, as motionless as the
Flight Center at 5:00 AM.
Last fall, however, I met Ron Fenster,
an experienced film producer from Miami.

He has expressed an interest in making
the TWA film and we have met several
times to discuss our mutual ideas. But
the crucial problem of obtaining funds to
produce the film remains unsolved.
The real impact'of the Flight Center is
the interaction of people, space and light.
Such a documentary expression of exte-
rior form and interior spaces could set a
precedent for similar cinematic investiga-
tions of other types of architecture.

The screen is totally black. The sound of
moving crowds are heard. The top of the
screen becomes lighter revealing dark
orbicular shapes mid-screen. As the
screen becomes lighter we L ;e we are in
one of the tubes watching the movement
of figures their silhouettes bobbing up
and down and weaving slightly. The ef-
fect is reminiscent of a merry-go-round.
Over the dark portion of the screen, the
closing credits appear in white.

The Flight Center is an arena of tes-
timony to the human experience of flying.
A structure exists as architecture only as
it is defined by its use.

Wiley Tillman is a professor of Architec-
ture at The University of Florida.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

RALPH CHOEFF: DESIGNING

HIGH TECH STORES THAT SELL
Diane Greer

Special effects, individuality, quality
design, a comfortable and inviting atmos-
phere and good merchandise are the in-
gredients that Architect Ralph Choeff, AIA,
feels attract people to a particular mall or
store. People like to feel that they are shop-
ping in an innovative atmosphere, and that
it gives more credibility to the merchan-
dise they buy.
Choeff began designing commercial
spaces a few years ago when a client
asked him to design a candy store in a
Miami mall. The owner wanted to attract
people with an eye-catching design,
yet make them feel comfortable once in-
side. That first commercial project, which
proved to be a success, generated an ar-
chitectural practice that is heavy on com-
mercial design. That's fine with Choeff who
sees himself as an artist creating art that
people can walk through, look at and feel
good about. "Each new space," he says,
"is a personal experience that the public
can relate to and share with me."
Choeff's formula for good commer-
cial design begins with the theory that the
design should show off the merchandise.
It should make a statement relating to the
product being sold, yet it should be sub-
dued enough not to take attention away
from the product. The design should at-
:rac I he attention of a potential customer
and arouse that person's curiosity about

what's inside. With that attention, the
shopper will want to enter the store and
experience the design which may have
attracted him in the first place. Good de-
sign suggests that a customer is more apt
to purchase in that store than in a store
lacking in design.
Architect Choeff's family is in the re-
tail business, so he grew up exposed to
many types of stores and retail settings. He
remembers well the ones which appealed
to him most. They were the ones which
were well designed and had a statement
to make. He felt good in :hem and he re-
members that the merchandise always
seemed more attractive.
Racks alone do not sell clothing and
display cases do not sell food and candy.
The setting must excite you and encour-
age you to buy.
Choeff, who got a Bachelor of Archi-
tecture degree from the Pratt Institute in
New York, has been recognized nationally
by the American Society of Interior De-
signers and the National Association of
Mirror Manufacturers for his commercial
projects. Choeff believes that the high-
tech architecture of the 80's is one of the
most exciting new architectural styles to
emerge in recent years. The enthusiasm
he has for his work is well demonstrated in
the projects illustrated on these pages.

The Mackeen Boutique in the Bal Har-
bour Shoppes is situated in a 400 square
foot space on the first floor of an exclusive
shopping mall. It was being used as a one
story shop with nine foot ceilings. How-
ever, since the square footage was be-
ing poorly utilized and the shop seemed
cramped, the owner approached Choeff
with the problem of: How can we get more
square footage out of the existing space
and achieve a high-tech look while main-
taining the sense of elegance which is the
trademark of Bal Harbour?
Since the total vertical space was not
being used, the architect opened up what
was essentially wasted space above the
existing ceiling, calling it a mezzanine lev-
el. This gave the visual impression of two
stories and added 200 additional square
feet. The high-tech environment was fur-
thered along by exposing the structural
elements and painting them black. This in-
cluded air conditioning ducts and grilles.
To achieve a larger interior look mir-
rors were used overhead, and at the two
open ends of the mezzanine. The name of
the store is written in neon and it reflects
off the interior mirrors. This creates an
overall blue hue throughout the store. A
spiral stair to the mezzanine is high gloss
red enamel and black rubber "pirelli" floor-
ing was used throughout.

T re r.1.: Li, ri .:a.l- T r ir,, rI tn iHj rtH:. r H ,: jF.r c. A, tr.: erl 1 Ir.e I ,ril Association of Mirror Manufacturers forth creativeuseof mirrors toenlargeand
liven interior spaces The high tech interior was executed with the use of black perelli flooring, neon lights and exposed ductwork.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Alotta Gelato is a gourmet ice cream shop which
architect Choeff redesigned to provide a high tech
flavor. All photos by Mark Surloff.

Alotta Gelato is a gourmet ice cream
shop in Dadeland Plaza in Miami. It is situ-
ated in a 15 by 50 foot space that was orig-
inally used as a sporting goods shop which
had outdated flourescent ,'il ing, vinyl tile
flooring and : anrele- .% ill1
The client wanted to revitalize the store
making it suitable for the sale of gourmet
ice cream which is made right on the prem-
ises along with other homemade special-
ties. Limited seating was required even
though seating for food consumption car-
ries the requirement of restrooms and the
meeting of handicapped codes. Also, due
to the narrowness of the original space, a
circulation problem between serving and
seating areas had to be overcome.
Both owner and architect wanted to
present the unique product in a unique
way. Grabbing the consumer's attention
and then bringing him in from the street
was one of the questions posed. The solu-
tion was to use a high-tech design as an
attention grabber and then to use the Ital-
ian flag colors of red, white and green to
help shape the concept. The existing ceil-
ing was removed and the PSI concrete
structure was exposed and painted black.
A canvas awning was suspended from
the ceiling above the serving area giving
it an almost outdoor appearance. White
ceramic tile with red grout was installed
throughout and neon lighting furthered
the high-tech feeling.
On this project, Choeff once again
used a wall of mirrors along the seating
side of the shop. Not only do the mirrors
visually enlarge the space, but they also
create interesting visual illusions.

,Arthur Carsons Men's Wear, top, and Fashions on
Main, above, are both located at the Miami Lakes
Inn although the feeling of the shops is very
different. Carson's is traditional and utilizes cedar
trim and Mexican tile flooring and berber carpet
Forty five degree angles were used on the interior
to make the space interesting for customers to
walk through. Fashions on Main has a Post
Modern elegance which is carried out down to the
green, grey and amethyst colors used. Previous
page, Mackeen Boutique in Bal Harbour Shoppes.

Loehmann's Plaza on North Miami
Beach is the location of Something Nutty,
a nut and candy shop. Its position across
the street from the Marina 8 movie the-
atres made it a natural draw except that
being situated within a bay gave it a very
enclosed feeling. The owner wanted a
space that felt light and airy as well as
inviting.
The architect's solution to this prob-
lem cost the client $20,000, a price which
included the cost of machinery neces-
sary to dispense ice cream and soda. The
new store is fresh and inviting with plenty
of storage and a bathroom.
When renovation began, the struc-
ture at the front of the store was exposed
and painted. The purchase and display
area is located in direct view of the shop-
per as he walks in. A cobalt blue awning
was installed over the display counter
giving it an outdoor feeling. Indirect fluo-
rescent lighting installed under the canvas
creates a light that seems to be coming
from the canvas.
Pink and white neon runs continu-
ously around the interior of the shop ter-
minating in the name of the store at the
front. The neon was instrumental to the
design in this case because the storefront
glass was bronze tinted and difficult to see
through.
Carolyn's Bath and Wallpaper at the
Miami Lakes Inn is a shop which allows
the products to make a statement for
themselves. Also, since the product is
closely associated with a person's home,
the architecture of the space is in keeping
with -r, feeii ng.
The client in this case had a 960
square foot space and wanted to design
a store that would display items and ac-
cessories for the home as well as a wall-
paper library where customers could sit
quietly and plan rooms. A new storefront
was also required.
Architect Choeff felt that the mer-
chandise should be allAed to sell itself,
thereby making the shop a display case.
To bring the consumer's attention down
to the product, the ceiling was painted a
dark cloud grey. All fluorescent lay-in fix-
tures were mounted against the displays
at the perimeter of the store and were
faced with acrylic egg crate panels with a
high reflective chrome finish. This defracts
the light directly to the merchandise and
adds a slick design element to the ceiling.

Something Nutty is alight, high tech space which uses pink, white and cobalt blue in canvas awnings, counters,
walls and neon lights.

New facade, above, and interior, below, of Carolyn's Bath and Wallpaper in Miami Lakes. Both the storefront
and the interior were redesigned to showcase the products and were kept simple and geometric.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

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COLEGIO De ARQUITECTOS

De PUERTO RICO AT SAN GERMAN
by Jorge Rigau, AIA

Entrance, atrium and living room sequence at the Ortiz Perichi House in San German.All photos by Jochi Melero

Forcn ano entry in san uerman nouse snowing per-
forated wood transoms used for ventilation
Puerto Rico began to understand the
value of preser.aiion in the late liles.;
when, under the auspices of the Island's
government, vital steps were taken to re-
store and -en abiliate Old San Juan. After
three decades, the colonial architecture
of the walled city has been the subject
of diverse studies and, certainly, a lot of
exposure. Today, previously unavailable
information regarding the nation's heri-
tage is providing a more accurate picture
of the composite nature of the country's
architecture.

For several years now, a new gener-
ation of historians has been exploring
themes related to everyday ire in the late
nineteenth century and the first decades
of the twentieth. By this time, it is said,
a Puerto Rican personality had been
shaped. The architecture of the period
exhibits a distinctive ruijding style which
marries form, function, and ornament in
most unexpected ways.
No other city in Puerto Rl :,:, can claim
a better share of this architecture than
San German, known as "The City of Low-
Lying Hills." Named after a French bishop
warrior from the fifth century, the town re-
jected several coastal locations and set-
tled -,in.ll' in the Southwestern part of the
Island. San German's story is one where
many characters play a vital role: sugar
and coffee landowners, pirates, smug-
glers, foriiune seekers from Corsica, poets,
rebels, and poliii: Ian r Allof them, inone
way or the oinre. would leave their imprint
in San German's arc riTer:lure which, al-
though rich in Old San Juan colonial build-
ing vocabulary, excels in the ciipl~pi of
the much more complex and elaborate
turn-of-the century architecture.
Last year, during the summer, mem-
bers of the Colegio de Arquitectos de
Puerto Rico (the local architects associa-

tion), with the assistance of a large group
of students from the University of Puerto
Rico's School of Architecture, carried out
a major project to document San Ger-
man's distinctive architecture. The survey,
which included plans, photos, drawings,
and extensive historical research, was
made possible through a grant from the
Puerto Rico State Historic Preservation
Office and donation from Citibank.
The study helped to underline the dif-
ferences between San German and San
Juan. In the City of Low-Lying Hills, two
comparatively large open plazas domi-
nate the urban scene. One was originally
a park, the other always the main square.
Both face one of the town's main streets.
Two churches (one in each space) and
City Hall (facing both) endow these
spaces with reverence and relevance in
the urban scene. Around these open
areas, and mostly due to the topography,
the city follows with great looseness, a
gridded system.
Balconies with direct access to the
street define a particular urban character.
Private and public realms find in the bal-
cony an intermediate zone, the most pri-
vate area of the street, but also the most
publi: area of the house. The balcony thus
mediates between civic and domestic en-
deavors, between individual and collective
aspirations. More than that, balconies be-
come masks, ellsls for interiors of unsus-
pected spatial complexity and beauty.
Among the many distinctive resi-
dences in town which silently disguise
their inner treasures in a traditional, almost
ordinary facade treatment is the dwelling
of Mrs. Delia Lopez de Acosta. Her late
husband, Jaime Acosta y Fores, a well-
known plantation owner who enjoyed lit-
erature and frequently traveled to Europe,
built the one-story wooden house with
a concrete base and a zinc roof around
1917. According to Mrs. Acosta, no major
alterations have been made since that
time. Though the exterior of the house
has pleasing proportions, it is the interior
which is most impressive. Many decorative
stencilings adorn the walls and ceilings.
Stenciling is a technique where patterns
are fixed to a surface and painted over;
one of its best-known practitioners in the
United States was Louis Comfort Tiffany,
famous for his lamps.
In the Acosta house, these patterns
are strongly influenced by Art Nouveau
trends and distinguished by exquisite pas-
tel coloring. They were the work of an itin-

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER. 1984

view ot Pericni living room with mediopunto in tie toregn
erant artist remembered only as Antonio,
who took two years to complete his work.
Although border stencil decorations can
still be found in Puerto Rico, the Acosta
house has the only remaining examples of
this art which cover entire walls and ceil-
ings. In fact, in all of the United States
there are no more than a handful of such
elaborate stencilings. Also exceptional is
the house's mediopunto a fixed deco-
rative wooden screen separating the liv-
ing and dining room with its Corinthian
columns. The ceiling is embellished with
a central stucco rossette medallion bor-
dered by a wide cornice, brackets and
moldings.
Juan Ortiz Perichi, plantation owner
and philanthropist, financed construction
of another residence of outstanding archi-
tectural detail on Luna Street, the town's
main thoroughfare. Constructed around
1920 by two of the best master builders of
the time in San German, this two-story
wooden house makes a highly complex
and well-executed use of space connect-

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Detail of wood transom common in San German houses
ing a raised first-floor balcony, a foyer, an
interior patio, and a canopied dining room.
The house's mediopunto, highly evo-
cative of Moorish and Oriental features,
but with a decided Island interpretation,
resembles a rising moon and is detailed,
as much as the rest of the house is, in
dark wood and colored glass. A plant and

flower-filled atrium sits under a skylight
which opens to accept both air and rain.
A dining room with wood cupboards and
a table that seats 26 guests leads to a
garden with a shrub-fringed fountain. A
wide veranda with thick balustrades wraps
around most of the house.

For several reasons, the Acosta and
Ortiz Perichi houses can be considered
the best examples of residential architec-
ture ever built in the Island. In fact, and as
part of the study carried out by the Colegio
de Arquitectos de Puerto Rico, they have
been nominated to the National Register
of Historic Sites.
Each house surpasses the cliches
associated by most people to the idea of
a truly tropical home. The mature handling
of spatial sequence is what gives life to
these buildings. The most formal aspects
of design are addressed creatively, using
the architecture to enhance the surround-
ing environment, and not the other way.
Natural and filtered light, breezes and
temperature considerations all happen
within a highly structured sense of space.
At the Acosta house, the spectator is con-
stantly reoriented; at the Ortiz Perichi
house he is dazzled by the tour de force
layering of space around which it is orga-
nized. The handling of ornament lies at
the very heart of both houses. If nothing
else, they have preserved for us the wide
array of classical vocabulary so much a
part of our expression for over three cen-
turies. Cornices, mouldings, friezes and
pilasters claim our attention today, as
we reevaluate their role in our architec-
ture. Perforated wood transoms, louvered
doors and colored glass windows, when
understood as technology in response to
climate, are awarded new meaning and
contemporary relevance.
We are now approaching our very
own turn of the century. Like the San Ger-
man of the 1890's, Puerto Rico is today a
cultural and ideological center, truly cos-
mopolitan. As everywhere, New and Old
collide searching for the right answers.
The Acosta and Ortiz Perichi houses,
deeply rooted in our past, can lead us se-
curely into a better understanding and
fulfillment of the exciting years to come.

Jorge Rigau, AIA, practices architecture in
San Juan and is Executive Director of the
Colegio de Arquitectos de Puerto Rico.

View of parlor in the Perichi House showing mediopunto in foreground.

SEMENT-S
BEMDROM-4

DBEGENT-T DEBD#.tT-U DEGMENT-V
BEDROOM-I OFFICE BEDRDOM-3

Wall stencil drawing segments for the Acosta House recorded for the Historic American Buildings Survey.

Axiometric of San German's two open spaces

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

--
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I

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TF- T.,

1984 Fall Design Conference
Florida Association of the
American Institute of Architects

September 20-23
PGA Sheraton Resort
Palm Beach Gardens

Conference Registration

Chapter:

Spouse:
A Airrc--

City

Phone Number: (

State
Transportation to PGA:
) O_ Driving 0 Flying

Registration Fees:
(Note: Per Day fee applies if only attending
Friday or Saturday; For Conference covers
registration for both days)
On-Site Registration will be $10 higher per
person.
Registration covers cost of Thursday Exhibit
Reception, Friday Exhibit Luncheon, Name
Badge, Conference Materials and Educational
Programs.
O AIA Member $60 for conference
$35 per day
O Associate Member $40 for conference
$30 per day
O Professional Affiliate $60 for conference
$30 per day
O Non-FA/AIA Member $70 for conference
$45 per day
O Students $15 for conference
$10 per day

Zip Code__
*Name Badge must be worn for admittance to
Exhibit Hall, Receptions, and Sessions.

Activities
Thursday
Golf Tournament
Thursday
Tennis Tournament

Cost Number Paid
$25 Person

$10 Person

Thursday
Salute to Exhibitors Reception Complimentary
(Please indicate if attending)

Thursday
Architects At Home Program

Hosted by
Members of
Palm Beach
Chapter

Friday
Spouse Tour of Worth Avenue
Fashion Show & Luncheon $17 Person

Friday
Exhibit Buffet Luncheon
Complimentary with
registration,
Please indicate it attending

Friday
FA/AIA Honors & Awards
Reception & Banquet

Complimentary
Adults @ $10
Children @ $6
Under Twelve

$25 Person

Saturday
Snn oue Jlazzrlcs Prom r ra nrcnn

O Spouses $15 for conference
$10 per day Saturday
"Great Gatsby" Ball Hosted by
If you are attending the conference for one day, Palm Beach Chapter $20 Person
please circle: Thurandy, Friday, Saturday. No
refunds after August 31. Total Enclosed:
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Hotel Registration Form

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Address:

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Phone: ( ) Room Accomlodations __ Single $5b per nighl Double $65 per ntght
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A one night room deposit must accompany this reservation lorm Deposi may b cl their Children under seventeen may stay in room with parent free Roll away cots are avada-
personal check or American Express Card only Hotel will accept other major credit ble flo $10 per each night
cards for payment of bilis however, deposit must be either in form of personal check or
via American Express Card Make checks payable to the PGA Sheraton Resort, 400
Avenue of the Champions. Palm Beach Gardens, Florida 33410 (305) 627-2000. Check in time Is 3:00 p.m. Check out time lt 12:00 Noon.
No room reservations will be made thru the FA/AIA State Office
Send (is lormoi the li ddnre abov

Name:

*Name on Badge:

"Name on Badge:

*"~i . . .t.
~ 4'A

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MR. WOULD-B-ARCHITECT

NEEDS A CORPORATE IMAGE
Doug Gooch

In the last issue of FLORIDA ARCHI-
TECT I endeavored to explain the proce-
dure for ari-r r-elinri. architectural services.
In case you didn't see that article, the fol-
lowing highlights wil help bring you up to
date:
Professionals regularly blaspheme
the words "marketing" and "sales" by
considering them synonymous. They are
not.
Marketing Is best defined as iden-
tifying a need.
Positioning -Being prepared to re-
spond to an opportunity which has been
identified by marketing.
Sales This is an action taken to se-
cure a contract as a result of being in a
position to do so.

Networking An information re-
source developed through business
contracts.
A sincere commitment by the firm
principals to proceed with a business
development program is a good begin-
ning for a marketing program. At this time
architects must also do something that
few find easy to do and that's recognize
that they can't do everything.
In a good marketing program, self-
awareness is important. The image we
have of ourselves is seldom the way other
people perceive us. In architecture the
design you would like to do and the one
that pays the bills are seldom one in the
same.
The visual presentation that an archi-

tect uses to communicate with a potential
client may be the first time that client has
"seen" the architect's work. For that rea-
son it is important to be as professional in
the execution of your re- eini.rlti cr as you
are in your design. A presentation is given
to communicate to the persons making
the selection why your firm is the best
one for the job. It should do just that.
With these thoughts in mind, let me
now begin to discuss one of the most
challenging tasks an architect can under-
take the design of a corporate identity
program. The nature of the beast known as
"ar.hiire:T can make this appear to be
reminiscent of an ancient blood-letting
and selecting a corporate identity doesn't
have to be that way at all.

An alternative to t, a.Jri:, l ,;I :. -,i : ,'-,, 'r,: -a.. ... 1 ,,:.- .-~ ,,).j -ir Ir,. Tri County Transit Terminal were created by Rusty Flynn for the Architects Design Group. Author
Gooch deliberately avoided introducing graphics into this article which would indicate what might be considered "appropriate" for a firm's image. Although the
photography used here is rather radical in concept, it does show how a variety of graphics can be used to establish an image.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

First, recognize that a corporate iden-
tity campaign cannot and should not be
done in-house. You and your staff need to
be on the boards producing billable time
and good architecture. Your architec-
ture is your foremost "corporate identity
statement," and since you're a profes-
sional, why not hire a professional to assist
you with your image? From Pensacola to
Miami, there are endless firms waiting
to assist you in this activity. Granted, for
many of you, working with this type of con-
sultant has been an awkward experience
in the past. That's unfortunate because it
can be very educational. The first consul-
tant you should erhii:r the services of is
one who can work with you to determine
how your firm is perceived and where it is
you want to take it. If you think what I'm de-
scribing is the services of an ad agency,
you're worng. Read on.

Ad agencies derive income from me-
dia commissions based on the placement
of advertising in radio, television or pub-
lications. An architect should not spend
a great deal of money placing ads in the
electronic media, so why go to an ad
agency?
The unique needs of an architect have
not gone unnoticed by other consultants,
however. There are some architects and
other F.:'.: i 11a d personnel such as ac-
countants, who have left their jobs to begin
specializing in the design of corporate
packages. The most common title used to
describe the corporate identity consultant
would be a "pubic relations" person. How-
ever, this title, like r-,ar -Ilhrg" person,
has become very misused. For that reason,
I'd like to recommend that you contact a
public relations firm in your area and ask
them for a request for a propsoal. Then,

just as clients do in architcure, you can
short list them and conduct interviews
based on their response.
Some of the questions your request
for a proposal should include are:
1. Are you or have you worked for an
architectural/engineering firm as a public
relations consultant?
2. What is your preferred method of
compensation r,:.,.jrl,, retainer, etc.)?
Please include a proposal which addres-
ses your fee structure.
3. List the complete services avail-
able through your firm.
4. List a complete client list for the
last five years.
5. Please provide five examples of
writing skills (articles, press releases,
etc.).
6. List examples of public service and
community involvement which your firm

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

has participated in.
When reviewing the responses to
these questions you will very quickly as-
certain the firms with the greatest potential
to benefit your firm. This c :.'ruil rni ... ill also
allow you a further extension of your net-
work for new business contacts. This area
should be discussed very openly and re-
lationships and commitments made up
front.
Your consultant, with your guidance,
will then create your corporate identity.
This should begin with an evaluation and
possible redesign of your logo. This logo
will provide the spring board to all other
materials n.:I .:li.ng letterhead, legend
blocks, change order forms, memo pads,
mailing envelopes, note pads, etc. You
can see the tremendous importance of a
strong, easily identifiable logo.
One of the most often under-budgeted
areas of a corporate identity campaign is

photography. Ask any magazine editor
and they'll tell you how important good
photography is to getting your work pub-
lished and I'll tell you that genriri your
work published is important to you in the
marketplace. A good professional photog-
rapher is not the same thing as a friend
with a camera. Good h.:,lo,_r. ,-,.lr.., are
not hard to find and they can be hired at
prices beginning around $500 a day. If
you don't know the name of a photogra-
pher, look at photo captions in a magazine
you enjoy reading. When you've compiled
a list of names, write and ask for a request
for proposal and consider any money you
spend on photography well spent.
A couple of closing thoughts about
corporate identity campaigns:
A good PR firm can and should assist
you in more ways than you might think.
Establishing a PR Consultant relationship
in a new market can provide you a "Satel-

lite Office" or 'Presence" without putting
your staff in town. You can then monitor
a market from the inside through your PR
firm.
If a firm establishes a good relation-
ship with a photographer, it aggressively
pursues getting its work published.
Finally, keep it simple. Brochures over
81/2" x 11" and over 12" thick get put in the
cir: ular lile
Good luck, and I hope you don't lose
too much blood!

Doug Gooch is Director of Marketing 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
professional.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

THE BOOKS AND

DOCUMENTS YOU NEED
ARE IN TALLAHASSEE.

The Architectural Book and Document Center for Florida is now in Tallahassee. We're as
close as your telephone and can bring documents and books to you quickly through UPS. A
full inventory of AIA Documents in maintained. Members receive a more than 30 percent
discount on most documents; many books also include a discount.

For more information, call 904/222-7590.
For a price list on AIA Documents and
Books, write:
FA/AIA Books & Documents
P.O. Box 10388
Tallahassee, Fl. 32302

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Walt Disney World
Prindle Associates, Inc.
Florida Power Corporation
Katherine L. Durham, AIA
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Divoll & Yielding Architect, Inc.
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FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

1984 UNBUILT DESIGN AWARDS

The ten projects selected by the 1984
Unbuilt Design Awards jury "represent
the first work which is readily identifiable
as 'Florida Architecture' since the Art
Deco days in Miami Beach during the
1930's." Juror Mack Scogin went on to
say that if you "were dropped here from
outer space right now, you would surely
know you were in Florida."
More than 120 projects were submit-
ted for this year's FA/AIA Unbuilt Design
Awards Competition. The jury review and
ultimate discussion of each winning proj-
ect by both architect and jury before con-

ference attendees was part of the Spring
Educational Conference held each year
by the FA/AIA. The competition seeks to
recognize designs for unbuilt projects
which are expected to be constructed in
the near future. This is the second year
that the competition has been held.
Ten projects were selected for in-
depth review and recognition. Two of the
projects were designed by architects in
Puerto Rico, one is slated to be built in
Texas and seven were designed for con-
struction in Florida.

THE JURY

Paul Kennon, FAIA, is a principal in
the Houston-based international firm of
Caudill Rowlet Scott, Inc. He received
his Master of Architecture degree from
Cranbrook Academy of Art where he was
awarded the Eliel Saarinen Memorial
Fellowship for graduate study. Kennon
worked with Saarinen as a senior designer
on many of his later projects.
Kennon is the former Associate Di-
rector of the School of Architecture at Rice

Creek House
Texas Hill Country
William Morgan Architects, P.A.
The owner of this 320-acre site want-
ed a Texas house with high ceilings, na-
tive materials and a celebration of the
creek which deeply undercuts a limestone
ledge over which the house sits recessed
into the hillside. The Casa Real Veija of
the Alhambra and Fort Keaton at Presidio
were the conscious influences in the de-
sin solution. The final design arranges
the residence on natural limestone ledges
and outcroppings. Upslope, the residence
recedes into the hillside and downslope,
it opens into the carefully preserved can-
yon. Small canals interconnect the water-
courses and converge into a central pool
that overflows and falls to the creek below.

'.-
.. ,,' ,, *
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FHM,

. . ..

FLORIDA ARCHITECTISEPTE M BER-OCTOBER, 1984

and he has lectured extensively at Har-
vard, Yale, UCLA and New York Univer-
sity. He has been the recipient of AIA
Honor Awards and Progressive Architec-
ture awards and he is the author of Archi-
tecture and You.

B. Mack Scogin, AIA, is the principal
in charge of design at Heery & Heery,
Architects and Engineers, Inc., in Atlanta.
He has a Bachelor of Architecture degree
from Georgia Tech and he has been with
Heery & Heery since 1967.
Scogin is a Visiting Critic at the

Georgia Tech College of Architecture
Graduate School of Design and a Visiting
Lecturer at the University of Tennessee,
Auburn, Florida A & M and Mississippi
State. Scogin has been the recipient of
numerous awards including the Progres-
sive Architecture award for the University
of South Florida Cancer and Chronic Dis-
ease Treatment Center.

Antoine Predock, FAIA, is Principal
and Sole Proprietor of Antoine Predock,
Architect, Albuquerque, New Mexico.
Educated at Columbia and Harvard, Pre-

dock was the recipient of both the Rome
Prize Advanced-Design Fellowship in
Rome and the William Kinne Fellows Me-
morial Traveling Fellowship from Columbia
University in 1962.
Predock has held educational posi-
tions at a number of universities, gives fre-
quent lectures and has served on many
design juries. He has been the recipient
of many awards including a four time win-
ner of Architectural Record's "Record
Houses" Award. In January he received
a Citation in the 31st Progressive Archi-
tecture Awards Competition.

4. ... ,. ..

...........
. .. .

x-t e
.. ... .. .. .

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Knox Residence
Sarasota, Florida
S.P. & L. Architects
Thomas Spain, Glenn Pratt,
Joanna Lombard, Project
Architects
The clients retained an existing ga-
rage which became a key element in the
organization of the entry sequence on
this project. The meeting of the orthagonal
grid of the lot and street with the grid of
the former house is reflected in the entry
plane which is penetrated from above by
the master bedroom porch. Vertically
and horizontally, the 1000 square foot li-
brary unites the entire program which is
intended to refer back to plantation-type
houses but with a contemporary resolution.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Rivera Residence
Dorado. Puerto Rico
Arce & Rigau, Architects
Hector Arce and Jorge Rigau
This full time residence for a family of
four is located in a dense, tropical setting
around a stream. A complex program and
the client's request for natural ventilation
and illumination were translated into a
two-story volume where the treatment of
spaces and the references made to local
tradition underline the possibilities of to-
day's architecture.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Appleton Cultural Center
Ocala, Florida
Rowe Holmes Barnett Architects, Inc.
In 1983, the City of Ocala was award-
ed a large sum of money for the purpose
of building a museum to house the Arthur
I. Appleton antiquities collection. Situated
on the crown of a rolling hill, the plan for
the building is deliberately axial in its spa-
tial arrangement in an attempt to provide
formality without resorting to the presently
popular cliches of post modern architec-
ture. In addition to the 25,000 feet of gal-
lery space, the museum contains a 75
seat food service facility and a 230 seat
lecture hall/auditorium.

FIRST FLOOR PLAN

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FRONT ELEVATION

_ ___ I

RIGHT SIDE ELEVATION
1 1.l 20

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

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Riverfront Plaza
Fort Lauderdale,Florida
Aragon Associated Architects
John Steffian and Cameron
Roberts, Princpals
Project Team: Armando
Montero, Raphael Portuando,
Rolando Llanes, Jorge Trellis,
Luis Trellis, Michael Kerwin,
Larry Levis.
This project is the result of a national
downtown competition. It is a large public
complex which links downtown Fort Lau-
derdale to its riverfront. An open lawn
forms the center of the project and is sur-
rounded on two sides by a continuous
loggia. This space is flanked by an office
building with a presentation space and
restaurant to one side and an open mar- -
ket with a food court to the other. A stage
and amphitheatre face the lawn from the
south, next to an existing park by the river.

The Atrium on Brickell
Miami, Florida
Spillis Candela & Partners
Hilario F. Candela, AIA, Julio
Grabiel, AIA, Eduardo Lamas,
AIA, Jorge Iglesias, AIA-
Design Team
Brickell Avenue is rapidly becoming
the banking center of Miami. This project
site measures 450 feet by 108 feet with
the latter narrower dimension fronting on
Brickell Avenue. On the Brickell side, the
building sets back an additional 60 feet to
allow for an atrium composed of a large
tubular frame that forms a grid of gigantic
proportions. The atrium is the full height of
the building (21 stories) and echoes the
building's silhouette. This super grid was
purposely proportioned to call attention
to its strong content and to be seen from a
distance. The strong east and west fa-
cades act like bookends for the building.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984 SolH CA

Fort Lauderdale Financial Center
Fort Lauderdale, Florida
S.P. & L. Architects
Joanna Lombard and Thomas
Spain, Project Architects
This 24,000 square foot office build-
ing is slated to house an insurance bro-
kerage, real estate office, mortgage
company and investment counselor. The
unfolding of the form in this plan occurs
as the garden edge of the building begins
to enclose the upper floors. Although
parking requirements force on-site park-
ing now, future parking structures on ad-
jacent properties will allow the site to be
free of parking. The imagery and materials
in the project recall elements of early Flor-
ida architecture. The scale of the building
relates to its position on the edges of the
CBD and the strength of the solid base
and mass is intended to convey a sense
of reliability appropriate to the home of
one of Fort Lauderdale's oldest insurance
businesses.

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----7

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St. John the Baptist Chapel
Miami, Florida
Gelabert-Navia Architects
Jose A. Gelabert, AIA
The project involves the adaptation
of an existing structure located on the
grounds of the famous Viscaya estate. In
1930, the property was deeded to the
Catholic Church and since then it has fallen
into a state of disrepair. The architect's
design for this restoration transforms the
existing building into a small chapel with
the original plaza becoming a meditation
garden and occasional auditorium. A
youth center is slated to go into the nearby
convent.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Seaside Fire Station
Seaside, Florida
Andres Duany and Elizabeth
Plater-Zyberk
Caroline Constant and
Cameron Roberts, Project
Architects
This fire station is the first in a series
of public buildings for Seaside, a new town
in the Florida panhandle. The building will
serve temporarily as a town meeting hall
and work building until other public build-
ings are completed. In the evolution of
the fire station design, two types have
emerged: the simple shed and the civic
building, which embodies civic aspira-
tions as well as fulfilling utilitarian needs.
This design combines aspects of both im-
ages, in keeping with its role as Seaside's
first public building.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Residences at Norzagaray St.,
502,504,506
Old San Juan, Puerto Rico
Arce & Rigau
Hector Arce and Jorge Rigau
Two partners in a law firm acquired
three adjoining properties in ruinous con-
dition and asked the architects to provide
a house for each, plus special features to
be shared, such as library, billiard and
guest rooms, gymnasium, whirlpool and
maids' quarters. Both houses could use
these facilities while retaining each one's
privacy. Level changes on this choice ur-
ban location within the historic old walled
city were manipulated to allow for one
three-bedroom dwelling to be entered on
its second floor. The second house is a
two-bedroom home for a single occupant
with a studio. It is laid out along the lines of
the typical Old San Juan home overlook-
ing a patio with direct access to commu-
nal features.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

'. -. ;-. --
7n-.-.. .. n

"The latest figures say that
homebuyers will be coming
into our state in larger and
larger numbers, so the de-
mand for natural gas homes
will increase. We're ready to
accommodate that demand
with all-natural gas homes."
Lester Zimmerman of The
Greater Construction
Corporation

"When I talk with new-home
buyers, particularly those
moving here from other
areas of the country, many
of them insist upon natural
gas service and appliances,
such as they enjoyed in
their previous homes. It's a
real selling point."
Norman L. King of Metro
Communities

These Builders Know The Facts!

The facts are clear. Natural gas can produce
the same amount of energy for less than half
the cost of electricity! For homebuyers, that
means lower utility bills, which makes more
money available each month for mortgage
payments for example. For the builder, that
means his buyer can afford to buy more home

than they might have thought possible, and
makes selling homes easier. It means he can
offer them high-quality gas appliances that
will work more efficiently and last longer too.
And with buyers coming into Florida in ever-
increasing numbers, these are facts builders
need to know.

Get The Facts From Your Local Natural Ga mpany
Florida Natural Gas Association .

L

PRODUCT NEWS

Outdoor Lighting Bracket
from McPhilben

McPhilben/Omega Lighting has intro-
duced an outdoor wall bracket for area
lighting with up to 250W high pressure
sodium and metal halide. It has an adjust-
able cut-off, continuous range calibration
from 72 degrees to 86 degrees, it pro-
vides brightness control on the trans-
versal plane and it provides economical
spacing of luminaires on the lateral. It is
made of tamperproof cast-aluminum and
has a polycarbonate door enclosure. It
is fully gasketed, weatherproof and UL
listed for outdoor and wet locations. It is
available for pole mounting. Contact
McPhilben/Omega Lighting, 270 Long Is-
land Expressway, Melville, New York
11747 for information.

New CADD from SKOK
SKOK Systems Inc. has introduced
a new high-performance, low-cost com-
puter-aided design and drafting system
(CADD) for architects and engineers. Ar-
tech is a CADD work station that includes
a powerful, 32-bit Hewlett-Packard com-
puter, can be connected in a network, dis-
plays two- and three-dimensional images
on a 19-inch color screen and enables
users to enter operational commands via
a unique, easy-to-use graphics table.
Artech can also be upgraded with the ad-
dition of a graphics processor, a unit that
allows the system to manipulate graphic
images dynamically, as well as to gener-
ate extremely high resolution graphic dis-
plays with incredible speed.
Artech is the lowest priced CADD
system on the market today, putting three-
dimensional CADD within the reach of
even small A/E firms. The Artech Design-
Station is priced at $27,000. A fully con-
figured system including all hardware
and software for a functional entry-level
system is priced at $59,500. That includes
a complete work station, a dual disk drive,
a D-size plotter, and SKOK's Arplan two-
dimensional design and drafting software.
For more information contact Peter
Hayhow at Miller Communications, (617)
536-0470.

FLORIDA ARCHITECT/SEPTEMBER-OCTOBER, 1984

Blinds Available for
Roof Windows
The Velux Model GGL roof window is
now available to architects with narrow
width Venetian blinds that are so popular
now. The narrow blinds have 13/8 inch slats
and are an optional accessory along with

roller blinds and outside awnings. They
come with 'endless cord' operation units
for in-reach and out-of-reach windows.
The blinds can be purchased through re-
tail lumber dealers and home improve-
ment centers or write to Velux-America,
P.O. Box 3268, Greenwood, S.C. 29648
for information.

SKOK's new Artech, a high performance low-cost CADD system developed specifically for architects and
engineers.

--- I

VIEWPOINT

ARCHITECTS HAVE AN IDENTITY CRISIS
by George A. Allen, CAE

It has been apparent to me for some
time that architects feel that the services
they perform are not understood by the
public. An incident a few months ago at a
Ft. Walton Beach City Council meeting is
indicative of the problem.
Two newspapers covered the Ft. Wal-
ton council meeting in which a developer
proposed a change in the City's rules to
allow architects, as well as engineers, to
be building inspectors. The developer
stated that if such a change were made
he could save money.
One would think a member of the
general public might question the pro-
posal. Ironically, the response to the de-
veloper's proposal came from none other
than the Director of Public Works, an indi-
vidual who presumably spent a number
of years in the construction business and
should have had better than average

comprehension of the respective capa-
bilities of architects and engineers.
His response was this: "An architect
doesn't have expertise to make inspec-
tions. I think we'd be making a serious
mistake by relaxing the rule. I've done re-
search on this and one thing I was told by
experts in the field is to keep architects
out because they don't design a building
structurally."
For the record, the incident did not
pass unnoticed. With Herb Coons' assis-
tance at the State Board of Architecture,
the FA/AIA wrote to the reporters cover-
ing the story, their editors and the Pub-
lic Works Director who made the state-
ment, informing them of the error in their
thinking.
Our response, which cited some dra-
matic differences in the area of education
and examination, was substantiated by

an NCARB report on "The Practice of Ar-
chitecture as it Differs from the Practice of
Engineering."
For example, architects are typically
required to graduate from a five or six-year
program before they are eligible for intern-
ship, while an engineer is only required to
graduate from a four-year program. An
architectural internship is as broad as the
scope of his educational background,
whereas an engineer gains experience
only in a specified discipline during
internship.
Architectural examinations are from
28 to 36 hours in duration while engineer-
ing examinations are typically 16 hours in
length.
On the basis of this information, is
one profession any nobler than the other?
Certainly not. Both areas require extensive
training and expertise. I do think that the

NCARB report brings out, rather specifi-
cally, however, that a person trained in
architecture is competent to do more than
design buildings. That competence ex-
tends, just as surely as an engineer's
does, to the inspection of buildings...
the issue which this article initially
addressed.
But, engineers are not the enemy of
architecture. The two professions are al-
lied, if anything. The enemy is a lack of
understanding on the part of prospective
clients, public officials and even lawmakers
concerning the tremendous amount of ex-
pertise that exists within the architectural
profession.
While the best way to learn what an
architect does might be to hire one, that is
hardly a viable suggestion. Most people
won't buy a service blind. What then can
be done to resolve the problem of the ar-

chitect's identity? It's true that the individ-
ual practitioner may influence the group of
people with whom he has daily contact but
it is only through an organized, business-
like, well planned and executed approach
that significant inroads will be made to im-
prove our public identity.
This problem has not escaped the
notice of the leadership of the American
Institute of Architects. Many of the goals
included in the FA/AIA's Long Range Plan
address some dimension of the architect's
role in society and concern that the role be
properly communicated to the public.
George Notter, President of AIA, set
the theme and program for 1984 as "Amer-
ican Architecture and its Public" to ad-
dress the problem.
In addition, broadening the profes-
sion's exposure to the public has been par-
amount in the actions of the State Associa-

tion. This is evidenced by our increased
efforts in working with government at all
levels; in purchasing and renovating a
headquarters facility in Tallahassee at
the very hub of state government activ-
ity; and in adding a new staff person,
Marvin Arrington, as our director of Public
Relations.
But, the real battles are fought at the
Chapter level where the clients are won
or lost, where the people really appre-
ciate good planning and design and
where city councils and building officials
should recognize the importance of good
architecture.
The identity crisis won't go away in a
day or a year. It will only go away through
the concerted efforts of the profession, as
a whole. Only in that way can they prove
their worth to a skeptical public.

To meet the specs of Longboat Key, Florida

for sliding glass doors, it had to be SCULPTURA"

all the way There was no "equal.

That's the word from the decision makers at the
Promenade Condominium.To take advantage of the
fantastic views, they had to provide huge sliding glass
doors for their buyers. But the stringent codes for
high-rise sliding glass doors appeared to be a major
obstacle.
Then Mildoor presented Sculptura... with its
S.G.D. A3-HP rating and strength to withstand 120 MPH
winds at 550 ft. elevations.The code requirements
were met.
Sculptura reflects the Mildoor policy to manu-
facture every product to exceed the required specs.

Rails, stiles, tracks, weatherstripping, acrylic finish...
every component surpasses the "quality-plus" level.
You've got to see Sculptura to fully appreciate the
30 years of Mildoor manufacturing expertise, and
what they have meant to the design of this monumental
sliding glass door system. Our full-scale working demo
model gives you a "hands-on" opportunity to eval-
uate why Sculptura surpasses other doors on today's
market. Believe us, there is no true competition. When
you see it you'll be convinced, that to use anything
less would be a compromise.
Call us. Set a time. We'll be there with the proof.

DEVELOPER
Park Shore Development Co. Inc.
1211 Gulf of Mexico Dr
Longboat Key, Florida
GLAZING CONTRACTOR
Quality Engineered Installations
Largo, Florida
ARCHITECTS
Schwab & Twitty
West Palm Beach, Florida
GENERAL CONTRACTOR
Higley/Reliance, a Joint Venture
31040 Gulf to Bay Blvd. #106
Clearwater, FL 33518

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Remo*

ir~wy~~ -: -

	Copyright
	Front Cover
	Advertising
	Table of Contents
	Editorial
	Roofing consultants: The help an...
	News
	The architect as filmmaker
	Ralph Choeff: Designing high tech...
	The Colegio de Arquitectos at San...
	Mr. Would-B-Architect needs a corporate...
	1984 unbuilt design awards
	Product news
	Viewpoint
	Back Cover

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