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Title: Florida architect
ALL VOLUMES CITATION THUMBNAILS PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/UF00073793/00256
 Material Information
Title: Florida architect
Physical Description: v. : ill. ; 30 cm.
Language: English
Creator: American Institute of Architects -- Florida Association
Florida Association of Architects
Publisher: Florida Association of the American Institute of Architects.
Place of Publication: Tallahassee Fla
Publication Date: January-February 1986
Frequency: quarterly
regular
 Subjects
Subject: Architecture -- Periodicals -- Florida   ( lcsh )
Genre: periodical   ( marcgt )
 Notes
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: VID00256
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 06827129
lccn - sn 80002445
issn - 0015-3907
 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
    Advertising
        Advertising 1
        Advertising 2
    Table of Contents
        Page 1
    Main
        Page 2
        Page 3
        Page 4
        Page 5
        Page 6-13
        Page 14
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
        Page 21
        Page 22
        Page 23
        Page 24
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
        Page 30
        Page 31
        Page 32
        Page 33
        Page 34
        Page 35
    Advertising
        Page 36
        Page 37
        Page 38
        Page 39
        Page 40
        Page 41
        Page 42
    Back Cover
        Page 43
        Page 44
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CONTENTS


January/February, 1986
Volume 33, Number 1


Features

From Megalithic Architects, A Spatial System
at Stonehenge
A University of Florida professor discusses the
ancient monument as more than a megalithic
structure dating back almost 5,000 years.
Maelee Thomson Foster

Establishing a Corporate Image
Image is important to the practicing architect.
Three new offices are presented to illustrate the
latest trend in office design and how it contributes to
establishing the corporate image.
Squeezing A Little Exuberance Out of
Modernism
Corporate Offices, Mudano Associates,
Architects, Inc.
Renee Garrison
The Corporate Image and All That Jazz
The Offices of Johnson Peterson Holliday
Architects
Historical Imagery That Teases and
Tantalizes
Corporate Office of Maspons/Goicouria/Estevez,
Architecture, Planning and Interiors


The Flavor of An Era Lingers in Orlando 30
The preservation of 18 Wall Street may be stretching
the term restoration, but it is preservation at its best.
Diane D. Greer

A Site-Specific Layering of Space 32
The Hartley Residence in Temple Terrace
is a building which is truly responsive to the
environment.
Diane D. Greer


Departments

Editorial 3
News/Letters 4
Member News 7
Viewpoint 43



Cover photo of the Florida Vietnam Era Veteran's Memorial
designed by James Kolb of The Ritchie Organization in Sarasota.
Photo by William A. Greer


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EDITORIAL


FLORIDA ARCHITECT

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
National Sales Representative
Lee T. Griffis, Inc.
Design and Production
Creative Services
Editorial Board
Don Sackman, AIA
Commissioner
Commission on Public Relations
& Communications
Ivan Johnson; AIA, Chairman
John Totty, AIA
Carl Abbott, AIA
President
James J. Jennewein, AIA
780 Ashly Tower
100 S. Ashly
Tampa, Florida 33602
Vice President/President-elect
John Barley, AIA
P. O. Box 450
Jacksonville, Florida 33546
Secretary/Treasurer
John Ehrig, AIA
2333 E. Bay Drive
Suite 221
Clearwater, Florida 33546
Past President
Mark Jaroszewicz, FAIA
University of Florida
College of Architecture
331 Architecture Building
Gainesville, Florida 32611
Regional Directors
Glenn A. Buff, FAIA
1821 SW 98th Ave.
Miami, Florida 33157
MarkJaroszewicz, FAIA
University of Florida
College of Architecture
331 Architecture Building
Gainesville, Florida 32611


General Counsel
J. Michael Huey, Esquire
Suite 510, Lewis State Bank
Post Office Box 1794
Tallahassee, Florida 32202
Florida Architect, Official Journal of the
Florida Association of the American In-
stitute of Architects, is owned and pub-
lished by the Association, a Florida Cor-
poration not for profit. ISSN-0015-3907.
It is 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 FAIA. Edi-
torial material may be reprinted only
with the express permission of Florida
Architect.
Single copies, $2.00; Annual subscription,
$12.00. Third class postage.


f you wish to have your work published in Florida Architect, take heed. The re-
quirements are listed here.
For a feature story, any and all submissions are considered. If you wish to save
yourself time and trouble, query first. Call or write the editor and discuss the
project or send a few sample photos.
If you wish to go ahead and submit the whole package at once, or if your feature is
accepted for publication, the following is required... no exceptions.
Text The text should be short and to the point. The readers want to know the
facts about the project. Just ask yourself what you'd like to know about a project
that interests you and that will clue you in as to what to write. Limit the article to
three or four typed pages, double-spaced. Ten pages will be returned and one is not
enough. Begin the text with a list of credits. Each FA article begins with the
"Who's Who" of the project. Don't leave it out. Don't send a press release or material
that sounds like a press release. For example: DON'T WRITE "Considered by
many to be the most exciting new structure in downtown Miami, this dazzling
thirty-story building is a showpiece of glass and steel."
DO WRITE "The architects incorporated all of the program requirements and
aesthetic considerations into two towers of diagonal configuration, linked by a
connecting bridge."
Just the facts, please. That is not to say that feature pieces will be devoid of adjec-
tives, only that they will be doled out by the editing staff.
Photography Ideally, the submitted photos should consist of several black and
white prints (including at least one each of a plan, site plan, elevation and/or axio-
metric) and color slides or transparencies. Do not send color prints or color nega-
tives. 35mm slides are O.K., but in order to enlarge them, they must be extremely
sharp. 4 x 5 color transparencies, which most professional photographers shoot
anyway, are definitely preferred. That doesn't mean that only professional pho-
tography is acceptable. It means that only good photography is acceptable, what-
ever the size. Be sure photos are captioned and the photographer identified.
MemberNews MemberNews is an abbreviated news column which merely
spotlights what the membership is doing in capsule form. Most of that information
is drawn from press releases, although many times it comes in typed on a piece of
architect's letterhead. Any news is welcome and will be printed in the next pub-
lished issue after receipt.
Viewpoint Viewpoint is a forum for expressing your opinion about a subject
related to architecture. It covers a wide variety of topics and submitted manu-
scripts are usually two to three typed pages. FA invites submission.
FA is interested in publishing any good new architecture or restoration. We do,
of necessity, have certain requirements regarding format and presentation.
If you don't let us know what you're doing, chances are good no one else will
either.





^{^^ ^/ ^&A^


FLORIDA ARCHITECT January/February 1986








NEWSLETTERS




Vietnam Era
Veteran's Memorial
Dedicated

On Veteran's Day, November
11, 1985, Florida's Vietnam
Era Veteran's Memorial was
dedicated by Governor Bob Gra-
ham. The memorial bears the
names of Florida's one thousand,
nine hundred and forty-two
known casualties of the Vietnam
conflict and the eighty-three still
listed as Missing in Action.
The legislature assigned the
responsibility of selecting a site
and a design for the memorial to
the Florida Commission on Vet-
eran's Affairs. The commission
conducted a statewide design
competition and eighty-nine de-
signs were submitted and re-
viewed. The winning design was
the work of James Kolb, an archi-
tect with The Ritchie Organiza-
tion in Sarasota. The 1984 Legis-
lature appropriated funds in the
amount of $460,543 for construe-
tion of the memorial. It was be-
gun in April, 1985.
/ .In a design statement written
S.by architect Kolb, he stated that
"the primary idea of the design
.. as an object is a vertical state-
ment of honor. The stark vertical
mass of the pylons, as they carry
the American Flag with strength,
represents the tangible sacrifice
made to uphold our country."
"As an Event, the Memorial is
designed to stimulate reaction.
As a visitor stands between the
imposing mass of the two 40-foot
pylons, they will read the names
of the deceased and missing and
0 : it is there they will see their own
reflection in the polished dark
stone. The moving shadows and
reflection of the flag will animate
i/ the quiet stone."


Photo by Bob Martin


FLORIDA ARCHITECT January/February 1986













Joint Conferences

Held in Tallahassee

Two important conferences
were held in Tallahassee this
past November. The AIA Ar-
chitects in Industry Committee
hosted its Fall Conference at the
Tallahassee Hilton Hotel with
the theme "Education and the
Corporate Architect." Concur-
rently, Florida A&M University
School of Architecture hosted
the Association of Collegiate
Schools of Architecture (ACSA)
Southeast Regional Conference.
Speaking at a welcome recep-
tion for the ACSA, Atlanta-ar-
chitect Mack Scoggin also served
as a jury member for the review


of "Graphic Presentations of a
Designed Artifact" submitted by
faculty of the ACSA Southeast
Region. At the same reception,
speakers included John A. Kelly,
ACSA Southeast Regional Di-
rector, Richard K. Chalmers,
Dean of the FAMU School of
Architecture and George Ansel-
evicius, 1985 National Director
of the ACSA, who addressed
the group on upcoming national
ACSA events. David Armstrong,
Vice President of Marketing,
Herman Miller, Inc., spoke at
the plenary session on the design
of office space, how data is gath-
ered from users, and the users
difficulty in describing accu-
rately what they need. Papers
presented by ACSA faculty fol-


lowed in a series of workshops.
Topics dealt with shaping the ar-
chitectural curricula for the nine-
ties. John M. Maudlin-Jeronimo,
Executive Director of the Na-
tional Architectural Accrediting
Board, made a presentation en-
titled "Curricula Determinants:
Faculty, Institution, Public."
Attendees at both the AIA and
ACSA Conference were wel-
comed by FAMU President Dr.
Frederick Humphries at a lunch-
eon during which the keynote ad-
dress was given by Tom Skinner,
of New York City. Skinner spoke
on the subject of "Preparing for
Greatness in the Nineties" stress-
ing the value of always doing our
personal best rather than com-
peting with others.


Nine years ago, AIA Commit-
tee members took part in discus-
sions concerning the direction the
new School of Architecture at
FAMU would take. This year's
meeting evolved around a series
of presentations by School of Ar-
chitecture faculty on the pro-
grams now offered.
The closing and highlight of the
conference was a one-day design
charette where committee mem-
bers and FAMU architecture stu-
dents rolled up their sleeves and
solved a design problem. Clair
Larson, Executive Director of Fa-
cilities for 3M, presented checks
to the three top winners of a
National Student Design Com-
petition called "Flexiplace" at an
awards dinner.


Top, ACSA Southeast Regional
Conference attendees were
welcomed at a reception in the
Gallery of the new school of ar-
chitecture at Florida A&M. Left,
Mr. George Anselevicius, National
Director of the ACSA, spoke at the
conference. Above, Tom Skinner,
keynote speaker for the joint
meeting of the ACSA and the AIA
Architects in Industry Con-
ference. Photos by Ray Stanyard.


FLORIDA ARCHITECT January/February 1986





Pages
6 -13
missing
from
original







From megalithic architects, a spatial system at Stonehenge


t is dawn. From within the
stone enclosure, jubilant
shouts mix with the age-old in-
cantation "Arise, Shine, Oh!
Life Giving Father!"
It is the Stonehenge Solstice
Ceremony and thousands of
modern day Druids, Pagan Sun
Worshipers and Megalith Devo-
tees have gathered at the ancient
enclosure that is nestled on the
rolling chalk down of Salisbury
Plain eighty miles west of Lon-
don. There is a unified feeling of
ecstasy within the circular en-
closure as the new day becomes
a reality. There is a feeling of
wholeness and peace and new
beginnings.
What is it that makes Stone-
henge, that popular pile of pre-
historic sculptured stone, so
enigmatic? Is it its age, its com-
plexity, its mystery? Is it a feat
of architecture, building, engi-
neering or all of these. Is it a copy
of something older or is it the
"original." Is it the product of
study and understanding or is it
a hazard occurrence?
Stonehenge is but one of many
megalithic structures which
flourished in Western Europe
between 5000 B.C. and 500 B.C.
Stonehenge was erected in six
phases by the Late Neolithic and
Early Bronze Age sky-watching
people of Southern Britain. It
was designed to bring order and
ritual into their lives. It was an
astronomical observatory -
temple-public center, a sacred
and secular gathering place for
the celebration of festivals of
regeneration, particularly the
Summer Solstice. It was also a
design determinant.
Stonehenge now proves to be
an excellent 4,500-year-old ex-
ample of spatial organization. It
was designed to isolate and ener-
gize negative space and to ac-
commodate functional activity.
It was also designed to promote
a positive emotional response on
those who would enter.
A circular ditched embank-
ment and chalk-filled Aubrey


Holes define Stonehenge's outer
edge. At its center stand the cel-
ebrated stones, the Sarsen Trili-
thon Ring, the circle ofdolrite
"bluestones" and the Horseshoe
of five Trilithons towering over
the inner horseshoe of "blue-
stones" that surround the verti-
cal altar. From within the enclo-
sure, the carefully tapered up-
right members can be fully
appreciated because of the enta-
sis of the stones. The space-
spanning lintels they carry are
shaped to the curve of the circle
and attach to each other, end--
to-end, with tongue-in-groove
joints. They are secured to the
vertical members by mortise and
tenon joints. To isolate a circle
of sky when standing inside, the
ring of stone appears to float
evenly above the spectators due
to adjustments in the heights of
the uprights to compensate for
the slope of the earth.
Thirty spatial intervals are
created by the massive uprights
and lintels of the outer ring. They
are the sole intent of the mass.
Each negative space (approxi-
mately three feet wide and 13
feet high) frames a segment of
sky and the artificial horizon cre-
ated by the embankment. Within
these framed spaces, the images
of the Sun, Moon and Stars move
in cyclic patterns.
The five centrally located,
free-standing Trilithons each
frame a tall thin Y-shaped piece
of sky about a foot wide. The
midwinter moonset and the mid-
summer sunset and the midsum-
mer moonrise and midwinter
sunrise are recorded within these
spaces. The tallest Trilithon
which terminates the axis with
its negative space captures the
midwinter sunset to the south-
west, and faces the northeast to
greet the midsummer solstice
sunrise, where it helps to form,
with the five other Trilithons, a
womb-like space that opens to
receive the thrust of the axis as it
moves along the avenue toward
the center.


FLORIDA ARCHITECT January/February 1986



































































Top left: The cup-shaped space is
filled to its lofty lintel brim with
silent Solstice vigil-keepers pressed
between the symbolic female-shaped
Trilithons, shown here, and the
phallic "Bluestones," not visible be-
hind the crowd. Top right: Happy
people exchange quiet smiles of spe-
cial sharing and move in time with
music. Their clothing weaves bright
patterns in the pink and yellow light
which illuminates the space inside
Stonehenge. Left: A priest-like
leader encircles Stonehenge at the
edge of the embankment in a sunset
ritual prior to the all night, ,yI r.',
await the life "re-creating" Summer
Solstice Sun. All photos these pages
by Maelee Foster.


FLORIDA ARCHITECT January/February 1986













Ancient Briton beliefs sur-
round the megalithic enclosures
and monuments and state that
Stonehenge, with the other 900
known rings, were "storehouses"
and "transformers" of Earth and
Cosmic energy. Through celebra-
tion within their spaces, one could
become regenerated both physi-
cally and spiritually. These mega-
liths appear to be organized upon
a system of axial lines, called
"Ley Lines," and were first per-
ceived as a unified network of
straight lines. Folk-memory be-
lieves that the connecting lines
follow the flow of earth energy,
connecting the positive and neg-
ative monuments and enclosures.
There is also a water system con-
necting the many sites. Below
Stonehenge, three streams meet
at the center at different levels.
On a major north-south "Ley
Line," Stonehenge is directly re-
lated to the mass of the megalithic
monument, Silbury Hill, the larg-


est pre-industrial man-made
mound in Europe. They were
both constructed during the third
millennium B.C. Neither tomb
nor enclosure, the function of Sil-
bury Hill has remained a mys-
tery. It appears, however, to be
the near dimensionally exact
positive of the Stonehenge nega-
tive. That is to say, if it were
flipped upside down, its flattened
conical top would fit into the Sar-
sen Trilithon Ring.
The Wessex area contains
more prehistoric sites than any-
where else in the British Isles,
and most are organized in a linear
system or in clusters. North of
Stonehenge, and in sight of Sil-
bury Hill, is located the gigantic
ditched hengee" of Avebury.
Nearby are Woodhenge, Dur-
rington Walls (which was super-
seded by Stonehenge as a gather-
ing place) and earlier circular
enclosures called "causewayed
camps."


Below: To isolate a circle of sky over-
head, the ring of stone appears to
float evenly above the spectators due
to the sensitive adjustments in the
heights of the uprights to compen-
sate for the slope of the site.


FLORIDA ARCHITECT January/February 1986













The back-dating of the indige-
nous megaliths by Carbon-14
calibration established them as
the "earliest stone structures still
standing anywhere in the world,"
as stated by Colin Renfrew, in his
text Before Civilization. This
radio-carbon revolution in dating
and thought now places Stone-
henge as being older than the
elaborate Mycenaean culture.
The mystery surrounding the
"Mycenaean Dagger" which ap-
pears to be carved into one of
the Sarsen uprights is now inten-
sified. In an attempt to under-
stand Stonehenge as a spatial
system it is possible to "read"
the 'dagger" as a diagram of the
spatial organization. This dia-
gram, carved by concept-mak-
ing, "right-side-of-the-brain"-
oriented designers would have
been all that was needed to com-
municate how, and why, the
spatial system was designed ...
"words were not necessary". ..
Maelee Thomson Foster

The author, an artist, is an As-
sociate Professor in the College
of Architecture, University of
Florida. A Megalith enthusiast,
she has made numerous trips to
Europe to visit the temples of
Malta, the Alignments of Car-
nac in Brittany, the Stone Rings
of Scotland, the Orkney Islands,
Isle of Lewis and the tombs and
7"t. i. circles" of Ireland.


Top: Approaching Stonehenge along
the Processional path, the avenue
from the northeast, the major axis
passes through the gateway, a spa-
tial intervalfomed by the 16-foot
Heel Stone and its now missing com-
panion of equal size which were posi-
tioned to frame the dawn of the mid-
summer sun. Near right: Within
the space defined by the ditched em-
bankment and the vertical Sarsen
Trilithon ring, two massive portal
stones were positioned on axis to the
midsummer sunrise. They celebrate
a spatial interval with a sense of
arrival. Far right: Within the enclo-
sure, between the outer Sarsen Tril-
ithon ring and the inner Trilithon
Horseshoe configuration, the focus
of the cold damp crowd is on the rosy
haze to the northeast as the dawn
lingers before sunrise.

FLORIDA ARCHITECT January/February 1986














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^^^^^^^^^^^^^^^^^^fun to work in andM interesting to v^^isit. ^^


FLORIDA ARCHITECT January/February 1986it8B 19KtS~n~iH^





































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Squeezing a little exuberance out of modernism


Corporate Offices,
Mudano Associates,
Architects, Inc.
Clearwater, Florida

Architect: Mudano Associates,
Architects, Inc.
Project Designer: Mark Jonnatti,
AIA
Contractor: Creative Con-
tractors, Inc.
Interior Design: Mudano Associ-
ates, Architects, Inc.
Owner: Mudano Associates,
Architects, Inc.








Opposite: Main entry with "free-
floaling" Corinthian capital looking
into reception area. Top: Reception
area showing stairs to mezzanine,
where drafting, computer room,
storage and lounge are located.
Below: Columns are repeated at two
levels in hallicay defined by glass
block wall and library storage. All
photos by George Cott.


consider this as a design con-
cept: create a corporate office
that will teach someone some-
thing about architecture as soon
as he enters the building. Over
2.1)(WX design hours later, this
goal was achieved at Mudano
A.-.sociates, and a work space
was created that serves as an
educational vehicle for clients
while making a public statement
to passersby outside. In order to
accomplish the goal, .miome orig-
inal design idea. were employed
that are almost whimsical in na-
ture and mix very well with tra-
ditional motifs. To begin with,
nothing is hidden away in the
Mudano office. The conference
room is glas.- so that people sit-
ting in the reception area can
look in and watch a presentation
in progress. In other instances,
the office debigrnerN actually
pulled the structure away from
the walls. Hallway- anr arranged
so that columns seem to intrude,
making people more aware of
their presence. There is a dis-
tinct grid reflected in the walls,
ceiling and mezzanine that's
based on the structural grid.
Structural elements are painted
white, infill areas grab.


FLORIDA ARCHITECT January/February 1986
















The first floor of the 7,700 s.f.
space is devoted to the drafting
room, projects manager's of-
fices, a product library, confer-
ence rooms and the principal's
offices layered away from the
north facade to take maximum
advantage of natural light. In-
deed, in most cases, all drafting
is done without supplemental
light. There are no light fixtures
in the drafting room ceiling.
The large windows facing the
street presented two opportuni-
ties. They admit a lot of north
light into the drafting room and
they permit the firm to do its
own advertising to passersby
who would look in from the street.
At night, when the building is lit,
the building is particularly strik-
ing since the vertical cylinder of
glass block that encloses the cir-
cular stair is continuously lit and
visible from outside.
Inside the office the mezzanine
is compositionally important. Be-
cause of the large windows facing


Top: Axiometric of reception area
andbelow ...-r,. .. r., r ,i .. ,
dark.


FLORIDA ARCHITECT January/February 1986
















East Bay Drive, the mezzanine
railing becomes a part of the fa-
cade, in a sense, and at night it is
even more prominent when the
building is lit.
In addition to wrapping the cir-
cular stair, glass block has been
used liberally throughout the
building interior where it pro-
vides a little privacy, noise abate-
ment and natural light. The blocks
were used in areas where interior
vistas were terminated. For ex-
ample, the firm considered it in-
teresting to have glass blocks at
the end of a long hallway where
passersby get a hint of the activ-
ity that's going on beyond.
Classical elements have been
used for tongue-in-cheek decora-
tion. A Doric column identifies
the principal's office and a mov-
able Ionic column resides near
the print room. At the entry, a
Corinthian capital (sans column)
supports a lintel over the doors.
The drafting room has an im-
mediate relationship to the proj-
ect manager's office. These of-


fices form an interior street that
also houses product literature in
five square shelf "windows."
The "windows" in turn, face the
spec writers and the technical
core of the office. The public
areas, reception and conference
room intervene between the
technical core and the adminis-
tration offices.
The entire design process took
more than a year, well over 2,000
hours. Members of the Mudano
firm believe that lively, animated
spaces that resulted from the
lengthy design process were
worth the effort. The staff spends
a third to a half of its life in the
building and one of the design
goals was to make the space en-
joyable. Moreover, the firm
wanted a design that would con-
vey its ideas about architecture
and heighten the design aware-
ness of visitors and clients. So
far, it seems to be working.
Renee Garrison
The author is a writer for the
Tampa Tribune.


Top: -',,' ,t/l,,'l, pl, / below,
, l, ,, i t'l/;,../ area.


FLORIDA ARCHITECT January/February 1986








The corporate image and all that jazz...


The Offices of
Johnson Peterson
Holliday Architects

Architects: Johnson Peterson
Holliday Architects
Developer: Commercial Consul-
tants Corporation
Contractor: Sperry and Associ-
ates, Inc. and Johnson Peterson
Holliday Staff
Mechanical & Electrical
Engineers: OLB & Associates
Civil & Structural Engineers:
HB Engineering

With a new name and new of-
fices in Tallahassee and Sara-
sota, a new corporate image was
important for the busy architec-
tural firm of Johnson Peterson
Holliday Architects. In Talla-
hassee, the office staff had, for
many years, been quartered on


the second floor of a two-story
frame house in a tiny 715 s.f.
space. With concerns for in-
creased space and a new "look,"
the JPH firm recently relocated
into a 2,400 s.f. office in the least
marketable part of a building
they designed for the Xerox
Corporation. The new space,
which is below grade and devoid
of natural light, was developed
to the firm's advantage.
In their attempt to create a
professional image with a little
fun and a lot of pizazz, the firm
was extremely successful. Visi-
tors to the office are "guided"
through a colonnade, an entry
sequence which is processional
in nature, leading from the
awards gallery at the entrance
to the receptionist and the "in-
progress" gallery. Firm prin-
cipals Ivan Johnson and Guy
Peterson jokingly refer to this
colonnade as "the long-lost Pro-


cessional Colonnade of virgin
stonemasons which was un-
earthed intact while researching
the spread footings of classical
Greek outhouses."
Humor aside, the colonnade is
both highly effective as a device
for moving visitors to the recep-
tion area and visually exciting.
The shiny white pedimented col-
umns create an almost surreal
contrast to the strong color of
the walls and tile floor. In order
to "take it all in," many visitors
go back to the front door and
pass through the colonnade a
second time to take advantage of
the full effect.
The arrangement of rooms in
the office is circular. Most spaces
are accessible from two direc-
tions. The receptionist sits at the
center of the circle from which all
other functions radiate. Visitors
are exposed to actual interaction


visitors. Visitor spaces became
galleries of architecture; one for
built projects and another for
workin-progress. Because of the
lack of natural light, gallery
lighting became an important
element.
Nothing in JPH's new offices
is private and that's the way the
space was intended. It's an open
forum for architecture.
Diane D. Greer


The main entrance to the office .r. ... a glimpse of the colonnade
beyond which leads to the receptionist's desk. The walls here serve as an
awards gallery.


The Client Conference Room shown here is kept ready, while the staff
conference area allows work in progress to remain outfor several days.
The wallpiece in the Conference Room is '*. *r Lardiere and is titled
"New Birmingham No. 6." All photos by Bob Martin.


FLORIDA ARCHITECT January/February 1986























































































,it. i ., 'ri ,r, .ib ,'q r,.e reception desk serve as an ,r.:.r-r., o" &gallery. From this central area otherspaces, like the Client Conference Room,
can be easily seen.


FLORIDA ARCHITECT January/Februa 1986


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Historical imagery that teases and tantalizes





Corporate Office of
Maspons/Goicouria/ ;'
Estevez, Architecture,
Planning and Interiors
Coral Gables, Florida

Architect: Maspons/Goicouria/
Estevez
Principal-in-Charge: Jose L.
Estevez, AIA ... .... 'a".. ....".
Project Manager: Rolando
Conesa, Jr.
Engineer: Lagomasino & Vitale :
& Associates
Contractor: MGE Inc."
Interior Designer: Maspons/
Goicouria/Estevez
Owner: Maspons/Goicouria/
F.tPVP7. H~dH iif r _


FLORIDA ARCHITECT January/February 1986













; .5 classical portals painted pale
lJblue, high tech triangles re-
placing lintels and bright red
chair rail running up and down
halls and in and out of rooms...
B _. the whimsical presentation of
Formal elements helped trans-
form the shell of a meat packing
House into the corporate office of
Maspons/Goicouria/Estevez.
Everywhere you look there is a
recognizable historical image
that has been dealt with in a con-
temporary way. What has been
created is an interior space that
teases the eye and intrigues the
mind.
Designing an architectural of-
fice within the existing shell of a
meat packing plant posed a great
design challenge. Existing space
consisted of three linear strips,
each separated by a column grid
or a bearing wall and only one
-point of public entrance.
Maspons/Goicouria/Estevez,
4 --4 4 _- having previously had an open
office plan, decided to program
the new office as a series of
rooms to provide privacy, noise
and visual controls. The pro-


Opposite page: Reception desk and
office hallway. This page, top,
drafting area, middle, building
section, and bottom, Conference
Room. All photos by Bill Dunne.


nIp


FLORIDA ARCHITECT January/Febrry 1986


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gram dictated the use of figura-
tive space planning as the de-
sign approach. As the basic design
evolved, a central spine, or gal-
leria, was established to link the
public to the work areas. Sup
port services, such as toilets,
files and library, were laid out
along the spine as rooms or al-
coves. The rotunda developed at
the intersection of the primary
galleria and the secondary axis
which directly links the part-
ners' offices to the conference
room. The rotunda also serves as
a re-orienting point of pause.
The main entrance creates a
visual "tease" of the office be-
yond. The production area, lo-
cated at the end of the central
gallery, is entered first through
the common area used for infor-
mal meetings and critiques, off
of which two project architect's
cubicles are located. To either
side of this room are the two iden-
tical production rooms, each
with six drafting stations.
The brightly lit gallery ceiling
alludes to the outdoors and visu-
ally and psychologically compen-
sates for the absence of natural
light in this area. Trusses were
used in a color that contrasted
with the ceiling to negate the
opaqueness of the ceiling by
metaphorically alluding to
the sky.
Office finishes and color selec-
tion evolved by trying to incor-
porate the company colors with
primary colors used as accents.
The reception, main passage-
way and work area walls were
detailed with bright red chair
rail and blue paint below to em-
phasize the human scale. As a
statement of contradiction, the
white.
Along with the strategic use of
transformed historical imagery,
the firm introduced very basic
geometric forms in the furniture
designed for the office which of-
fers some very contemporary,
almost "super modern" visual
contrasts.
Diane D. Greer


Top: Main entrance and reception
area and right, ( 'if'-rri'. Room.


FLORIDA ARCHITECT January/February 1986


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than regular double-pane insulating glass. That means
air conditioners and furnaces don't have to work as hard.
Of course. High-Performance windows are
iI L


This revolutionary new double- constructed wirn our excuusivc rer a-uomcu luw-mia
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energy efficient it outperforms But for architects, this window means somethi:
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i Andersen' High-Performance windows can save technology, you share a reputation for quality that
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The flavor of an era lingers in Orlando






18 Wall Street
Orlando, Florida

Architect: Studio One
Project Architect: William T.
Hegert, AIA
Owner: Sam Meiner, James
Harrison, Robert Buonauro
Contractor: W. W. Fagan
and Co.

Preservation is a strange and
wonderful thing. Where once
our most significant courthouses
and public buildings could only
be saved by gray-haired ladies
virtually throwing themselves
in the path of the wrecking ball,
there is now a wave of surging
interest in saving all that is
worthy. Long gone is the criteria
liaL a Dulltlng must De a cen-
tury old. In cities like Orlando,
it would be next to impossible to
find such a structure its old-
est being closer to eighty, and
there are few that old.


Top: Entry and reception, left, re-
stored facade and above, original
window salvaged from 18 Wall
Street. All photos by J. Kevin Haas.


FLORIDA ARCHITECT January/February 1986














So, the search continues for
the finest of yesteryear and in
the best planned blocks of metro
areas we now see an interesting
mix of old and new standing side
by side, working well together.
Orlando's 18 Wall Street is a
design project that it's hard to
put a label on. In the purest
sense, it's neither restoration
nor reconstruction and yet, it is
preservation.
Unlike many older cities, even
in Florida, Orlando has little in
the way of an architectural his-
tory. For that reason, it is par-
ticularly tragic when one of its
"near turn-of-the-century"
buildings is destroyed, either by
human hand or natural disaster.
Such was the case with the San
Juan Hotel. It was the city's
first "high rise" and in 1?77 it
was nearly destroyed by fire.
Destruction was so great, in
fact, that the building was totally
razed and the site cleared. The
San Juan Hotel, less some of
its most significant architec-
tural components, was a mere
memory.
It was at that point in 1977
when developer and third gen-
eration Orlandoan Sam Meiner,
purchased what was left of the
building, most notably some
windows, and decided to incor-
porate them into a new structure
which had the flavor of the San
Juan Hotel. What was preserved
was the feeling of the original
building. What was built was not
a carbon copy, but a structure
with the essence of a previous
era.
18 Wall Street occupies a site
fifty yards from where the San
Juan Hotel stood. The building
was a shoe warehouse and a per-
fect receptacle for the San Juan
windows.
The developers of 18 Wall
Street wanted to provide sepa-
rate office space for three attor-
neys and a fourth space for leas-
ing, they wanted to develop a
building with a strong sense of
heritage within a specified bud-
get and they wanted to incorpo-
rate what remained of the San
Juan into the main facade.


FLORIDA ARCHITECT January/Fe


The 4,200 square foot building
is a narrow two-story structure
on a busy pedestrian thorough-
fare. The historic windows have
combined to allow light into all
the owners' offices and the
lobby. The arch of the windows
has spawned the whimsical char-
acter of the design of the brick
detailing, the curve of the awn-
ing and the arc of the address
pinnacle. The use of brick sug-
gests both age and permanence
in an otherwise contemporary
adaptation. Detailing and refine-
ment of the brick is of major sig-
nificance since the avenue the
building faces is now pedestrian
and prone to "stop and stand"
observation.
The interior of 18 Wall Street
reflects the permanence of the
exterior. Imported tiles and tra-
ditional oak details give the
building a warm and comfortable
elegance.
The total renovation of the
warehouse was completed, on
schedule, in three months. The
existing building, which was un-
distinguished at best, required a
100% transformation, which cre-
ated the need for a 70% recon-
struction. All non-structural
walls and ceiling elements were
removed along with a section of
the second floor slab and struc-
tural bearing. The entire front
wall and portions of the rear
were also taken out. The build-
ing was then brought up to pre-
sent life safety code, new me-
chanical systems were installed
and a new roof, with skylights,
put on.
In the final analysis, 18 Wall
Street is a successful preserva-
tion project. A nondescript
warehouse was saved, garnished
with the last vestiges of a finer
building and in so doing, the
flavor of an era lingers.
Diane D. Greer







First floor plan and second floor
I .i/l ,, -1.1


bruary 1986


* s denttin atme


OWN""




AT,













A site-specific layering of space


An earth berm was used to reduce
the scale of the base and, along with
the stepped retaining wall, provide a
sense of security for the side entrance
to the house. All photos by George
Cott.


The three-story foyer is topped with
a reading loft, accessible only by
stainless steel ladder. Suspended
plants provide variety inside and
are easily moved around.


FLORIDA ARCHITECT January/February 1986












































At night the transparency of the
street elevation becomes apparent.


The Hartley Residence
Temple Terrace, Florida

Architect: Mark S. Hartley, AIA
Owners: Deborah and Mark S.
Hartley
Contractor: Mark S. Hartley

The Hartley Residence is one
in which site and site develop-
ment were on equal footing with
building design. Actual construc-
tion took six months, but it fol-
lowed several years of site study
during periods of varying weath-
er conditions. Site clearing and
development of the pond area
were well underway before con-
struction began.
The residence is home to
Tampa architect Mark Hartley
and his wife, Deborah. Both are
native Floridians, enthusiastic
environmentalists and amateur
botanists. The latter is true to
the extent that they have trav-
eled the state collecting plant
specimens to augment existing
species in their area. As a re-
sult, large lime rock boulders
covered with green moss and
ferns are arranged to create a


natural water course on the site.
Exotic water lilies and many in-
digenous ferns, ground cover
and water plants have become
home for a thriving population
of bass and turtles, as well as the
owner's collection of Staghorn
ferns, orchids and other tropical
plants. Stands of bamboo screen
neighboring homes and give the
impression of an isolated area
rather than a neighborhood lot.
The house is located in a small
bayhead across the street from
the Hillsborough River. The
house was originally conceived
as a personal response to the 97'
by 132' site. A variance was ob-
tained to allow for a decrease in
the front setback from 35 to 25
feet which allowed the hydric
hammock at the rear of the site
to retain its original character.
The house is located in a small
bayhead across the street from
the Hillsborough River. The
house was originally conceived
as a personal response to the 97'
by 132' site. A variance was ob-
tained to allow for a decrease in
the front setback from 35 to 25
feet which allowed the hydric
hammock at the rear of the site


to retain its original character.
The deceptively simple plan of
the house consists of 2,200 s.f. on
five levels. The entry level con-
sists of foyer, kitchen, dining
room and porch on a platform 3.5
feet above grade. It is several
steps down into the living room
which extends outside where
concrete columns support cedar
decks cantilevered over the
pond. The house is anchored to
two massive textured concrete
walls. The diagonal wall serves
as a retaining wall and screen
from the street. Cedar and glass
forms lock around the masonry
units, while steel beams pierce
glass, cedar and masonry with
equal simplicity. The high de-
gree of transparency is enhanced
by mullionless windows and di-
rect block-to-glass connections.
The outside of the house is de-
fined by vertical cedar siding,
textured masonry, exposed steel
beams and tinted glass. There is
360 s.f. of fixed glass, nine triple-
panel sliding glass doors and
seven operable windows, all of
which contribute to the abun-
dant natural ventilation.
Few interior walls or doors


FLORIDA ARCHITECT January/February 1986



















































Fireplace serves as divider between rooms in a house with few interior walls. Photo by George Cott.

i ZF: i --


Pond and native vegetation can be seen from interior living spaces through
broad expanses of glass. In this picture, the living room level actually
continues outside onto a deck cantilevered over the pond. Photo by
George Cott.


FLORIDA ARCHITECT January/February 1986

















































are used to define living spaces,
yet each area maintains auto-
nomy as it extends into adjacent
exterior decks. The combination
of few interior walls and double-
height spaces give the impres-
sion of a much larger home.
The three-story foyer acts as
a thermal chimney exhausting
warm air from the top of the
space and drawing cool air from
the pond area through numerous
sliding glass doors on the north
side. The house has proven to be
very energy efficient with two
geothermal heat pumps provid-
ing efficient air-conditioning and
heat while the discharge water
is circulated through the water
course to maintain the pond's
level. The cylindrical stair dou-
bles as a gallery space and is
topped with a six foot domed
skylight which traces elliptical
patterns of light over the white
walls. At night a circle of "neon"
light recessed in the dome floods
the interior with a soft blue


glow. A bridge extends across
the foyer from the stair tower to
the upper levels of the residence,
where there are two bedrooms,
a den, and up a stainless steel
ladder, a reading loft.
Architect Hartley explored
the layering and transparency of
spaces the way they interlocked
in the context of the site in the
design of his home. His use of
readily available materials and
his understanding of the con-
struction process produced a
quality design which was eco-
nomic and site specific. An econ-
omy of line, materials and
methods, mixed with clarifying
logic to solve problems produced
an exciting design that is truly
site sensitive.
Diane D. Greer


FLORIDA ARCHITECT January/February 1986










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CLASSIFIED




ARCHITECT
Florida licensed architect with
multi-family design, construction
documents, and construction ad-
ministration experience.
Send resume to: The Architec-
tural Group, 201 East Kennedy
Blvd., Suite 501, Tampa, FL
33602.




COMPUTERIZED
CONSTRUCTION
DRAWINGS, INC.
1001 N. Dale Mabry
Tampa, FL 33618
SERVING:
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Engineers
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813-968-4470









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firm? Do you have office equip-
ment for sale? A service to sell to
architects? Use Florida Archi-
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Send material to be typeset
to: Florida Architect, P.O. Box
10388, Tallahassee, FL 32302,
Attn: Carolyn Maryland.
Material must be received 45
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Publication dates are the first
day of January March, May, July,
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Classified listings are charged
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ARCHITECTURAL

PHOTOGRAPHY


FA Award- 1985


ERIC OXENDORF


represented by

JIM CUNEO
813-848-8931


FLORIDA ARCHITECT January/February 1986









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
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For a price list on AIA Documents and
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FA/AIA Books & Documents
P.O. Box 10388
Tallahassee, Fl. 32302





R M A. E COMPETITION
Citicorp, the Ybor City Centennial Committee and the
Tampa section of the AIA are jointly sponsoring the
YBOR CITY GATEWAY COMPETITION to establish
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FLORIDA

ARCHITECT

ARTICLES


eprints of articles that have appeared in Florida Ar-
chitect over the past five years are available for use
in mailings and presentations. These custom promotion
brochures reproduce the article exactly as it appeared
in Florida Architect.
For more information, cost estimates, and help with
the layout and design of your reprints, call: Carolyn
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FLORIDA ARCHITECT January/February 1986









VIEWPOINT



Florida architecture back to drawing board


Editor's Note: This article first
appeared in the Orlando Senti-
nel on October 21, 1985. It is re-
produced here by permission of
the Sentinel.

t once was easy to define Flor-
ida architecture. It was raised
wooden houses with porches,
sloped roofs and windows open-
ing to the shady north and south
- the old Cracker or Conch
buildings.
But by the early 1960s, air con-
ditioning had cost the state its
only truly indigenous style, said
Winter Park architect James
Gamble Rogers II. Air condi-
tioning allowed Floridians to live
and work in buildings that had
been designed without taking
the area's hot, humid climate into
consideration.
Those buildings, which could
have been built in New York,
Minneapolis or just about any-
where, are still being construct-
ed, according to three interna-
tionally respected architects.
As judges of the Florida Asso-
ciation of the American Institute
of Architects' 1985 design awards
competition, Kevin Roche, Cesar
Pelli and Mildred Schmertz stud-
ied 145 residential and commer-
cial projects designed by Flor-
ida architects. What they saw
wasn't architecture that belongs
to Florida, and only to Florida,
said Kevin Roche.
"Florida is a special place that
has a special character a vari-
ety of climates, a special terrain
and a very unusual mix of social
and cultural traditions," Roche
said.
"Yet very little of what we
saw seemed to be buildings that
responded to those specific re-
gional influences. If a building
doesn't have that response, it's
nothing more than superficial
design."
The three judges weren't look-
ing for what people outside the
state may imagine Florida archi-
tecture to be the stately, Span-
ish-inspired grand hotels of St.
Petersburg, the playful, eclectic


Addison Mizner mansions of Palm
Beach or the art deco hotels of
Miami Beach. They were looking
for new buildings that respond to
Florida's climate while reflecting
its materials and traditions.
They may never see one style
that brings together all those ele-
ments, said Coral Gables archi-
tect Julio Grabiel.
"It's such a varied state that no
one style dominates, or is likely to
dominate, ever," he said. "Flor-
ida is like a nation of its own, like
a big country with many differ-
ent capitals and styles.
"North of Orlando are older
buildings, many made of brick
or of timber. Orlando is a middle
ground where older buildings
may be brick, frame or stucco.
South of Orlando there's little
older than a century; the Mizner
buildings of Palm Beach and the
deco styles of Miami are mostly
concrete and stucco."
But the regional response that
the design competition's judges
were looking for is one that archi-
tects are taking seriously, said
Mark Jaroszewicz, dean of the
school of architecture at the Uni-
versity of Florida and president
of the state association of the
AIA. And they're making their
responses in a variety of ways.
Jacksonville architect William
Morgan's Westinghouse Steam
Turbine-Generator Division
World Headquarters in Orlando
meets Florida's climatic demands
with windows recessed beneath
wide overhangs and plazas shad-
ed from the sun. The windows on
Julio Grabiel's multi-storied Col-
onnade in Coral Gables can be
opened during cooler weather to
allow cross-breezes.
Some new homes in Seaside, a
planned community in the Flor-
ida Panhandle that is being de-
veloped by Robert Davis, bor-
row many ideas from the Cracker
style. Made of masonry or wood
and raised from the ground to
avoid flooding and take advan-
tage of the cooling breezes, Sea-
side's bungalows have peaked
roofs that allow ventilation, eaves


that shade windows and screened
porches that wrap around insu-
lated walls.
It's impossible to convert a
Cracker home into a highrise.
But it is possible, when building
a major commercial structure, to
work within a single "palette" of
colors, styles and materials while
also taking care of clients' needs
for space and comfort, said Jim
Jennewein of Jennewein Schem-
mer & Associates Inc. in Tampa
and president-elect of the state
association of the AIA.
Architect Rick Keating of Skid-
more Owings & Merrill in Hous-
ton considered existing local styles
and materials as well as Florida's
dominant architecture when de-
signing the 35-story Sun Bank
Center proposed for downtown
Orlando.
"The only things you can say
that make Florida different from
other parts of the country are its
climate, materials and history -
but that's saying a lot," Keating
said.
"Sun Bank Center is a Florida
design because it takes the prin-
ciples of any good office building
and cranks them up with the right
coloration pink, turquoise and
white and the right detailing
latticework that creates light
and shadow and a top that re-
fers to those wonderful old Flag-
ler hotels."
Like Sun Bank Center, Metro-
Dade Center is a building that ad-
dresses Florida's challenge. At
500 feet, the Miami office build-
ing designed by Hugh Stubbins
of The Stubbins Associates Inc.
in Cambridge, Mass, is a modi-
fied hexagonal shape that allows
strong winds to slip smoothly
around its buff-colored limestone
skin. Ribbon-glass windows are
on the north and south sides only,
keeping out the sun's glare.
Styles of Florida architecture
probably will continue to vary
from region to region, from the
sleek Metro-Dade Center in Mi-
ami to the eclectic Sun Bank Cen-
ter in Orlando to Seaside's trim
frame bungalows.


All are successful because they
respect their users and their en-
vironments, Kevin Roche said.
"Good architecture isn't neces-
sarily a building that appears on
the cover of Progressive Archi-
tecture or some other magazine,"
he said. "Good architecture is a
building that really serves its
community and the people who
use it, in the best possible way."
"And it's logical that good ar-
chitecture that does that would,
in the process, turn out to be re-
gional architecture."
Laura Stewart Dishman

Laura Stewart Dishman is Orlan-
do Sentinel architecture critic.


FLORIDA ARCHITECT January/February 1986




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