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 Copyright
 Front Cover
 Table of Contents
 Editorial
 News
 Books
 Legal notes
 Jewel in the crown
 "Sarasota school" renewed
 1987 FA/AIA unbuilt design...
 Exhibit design for "Ramses II--the...
 High tech, lab tech
 Design arts gives new meaning to...
 Viewpoint
 Florida schools of architecture...
 Office practice aids
 Back Cover


AIAFL



Florida architect
ALL VOLUMES CITATION SEARCH THUMBNAILS PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/UF00073793/00263
 Material Information
Title: Florida architect
Physical Description: v. : ill. ; 30 cm.
Language: English
Creator: American Institute of Architects -- Florida Association
Florida Association of Architects
Publisher: Florida Association of the American Institute of Architects.
Place of Publication: Tallahassee Fla
Creation Date: March 1987
Frequency: quarterly
regular
 Subjects
Subjects / Keywords: Architecture -- Periodicals -- Florida   ( lcsh )
Genre: periodical   ( marcgt )
serial   ( sobekcm )
 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
Source Institution: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 06827129
lccn - sn 80002445
issn - 0015-3907
System ID: UF00073793:00263
 Related Items
Preceded by: Bulletin (Florida Association of Architects)
Succeeded by: Florida/Caribbean architect

Table of Contents
    Copyright
        Copyright
    Front Cover
        Front Cover 1
        Front Cover 2
    Table of Contents
        Page 1
        Page 2
    Editorial
        Page 3
    News
        Page 4
        Page 5
        Page 6
        Page 7
    Books
        Page 8
        Page 9
        Page 10
    Legal notes
        Page 11
    Jewel in the crown
        Page 12
        Page 13
    "Sarasota school" renewed
        Page 14
        Page 15
        Page 16
        Page 17
    1987 FA/AIA unbuilt design awards
        Page 18
        Page 19
    Exhibit design for "Ramses II--the pharoah and his time"
        Page 20
        Page 21
        Page 22
        Page 23
    High tech, lab tech
        Page 24
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
    Design arts gives new meaning to cracker architecture
        Page 30
        Page 31
        Page 32
    Viewpoint
        Page 33
    Florida schools of architecture offer design-centered education
        Page 34
        Page 35
        Page 36
    Office practice aids
        Page 37
        Page 38
        Page 39
        Page 40
    Back Cover
        Back Cover 1
        Back Cover 2
Full Text

W A A Flo


This- publication- is. copyrighted. by- the- Florida.
Association. of. the. American. Institute. of-
Architects- and- is- an- official- journal- of- the-
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-
Copyright- legislation- and- its- fair use- provisions.- Other-
uses- may- be- a vi olati on -of- copyright- protect ons.

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
































I fl










































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Features


Jewel in the Crown 12
This Coral Gables jewelry shop by Gelabert &
Navia draws its inspiration from ancient sources.
Diane D. Greer

"Sarasota School" Renewed 14
A 60's medical office gets aface-lift for the 80's.
Diane D. Greer

1987 FA/AIA Unbuilt Design Awards 17

Exhibit Design for "Ramses II -
The Pharaoh and His Time" 20
KBJ Architects design a symbolic stage for a
March/Ar, 17 Pharoah's treasures.
March/April, 1987
Volume 34, Number 2 Marsha Orr

High Tech, Lab Tech 24
Fletcher Valenti, Chillura & Puglisi's design for
a structure that acts as a symbolic gateway to
Hillsborough Community College.
Renee Garrison

Design Arts Gives New Meaning to
Cracker Architecture 30
This Central Florida building reflects an interest
in a simpler, less complicated way of life.
Terry Hunter

Florida Schools of Architecture
Offer Design-Centered Education 34
The Deans of Florida's four Schools of Architecture
discuss what's unique about their respective
programs and the goals they have for the future.

Departments

Editorial 3
News 4
Books 8
Florid,( Architect, Official Journal of the Legal Notes 11
Florida Association of the American In-
stitute of Architects, is owned and pub- Viewpoint 33
lished by the Association, a Florida Cor-
poration not for profit. ISSN-0015-3907. Office Practice Aids 37
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 FA/AIA.
Editorial material may be reprinted only
with the express permission of Florida
A architect.
Cover photo of Jewels of Venice by Steven Brooke. The jewelry shop was designed by Gelabert & Navia, AIA.
Single copies $2.00; Annual subscription,
$12.(X)00. Third class postage.


FLORIDA ARCHITECT March/April 1987
















"ON ECLIPSE reflective glass is different.
Strikingly different.* Its tones are sharp,
A
dramatic. Unambiguous. Without the
milky, yellowish cast of some pyrolytically
coated architectural glass. *Whether
used in low, mid or high rise structures,
as first or second surface, ECLIPSE reflec-
five can lend substance-and impact-
to the right design. 9 Yes, there are other,
more practical reasons to choose
ECLIPSE glass. Reasons like solar con-
trol. Post-temperability. A remarkably low
-M
absorption characteristic. And availability
that verges on the immediate. & But the
best reason to call on ECLIPSE glass is
still the simplest: It looks so beautiful
on a building.



E(LIPSE
ReflectiveGla';',
Libbey
Owens
Ford









FIORIDA ARCHITECT" EDITORIAL


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 D. Greer
Assistant Publisher
Director of Advertising
Carolyn Maryland
Design and Production
Peter Mitchell Associates. Inc.
Editorial Board
Ivan Johnson, AIA, Chairman
Carl Abbott, A1A
Bill Hegert, AIA
John Totty. AA
Larry Wilder, AIA
President
John Barley. AIA
P. O. Box 4850
Jacksonville. Florida 32201
Vice President/President-elect
John Ehrig, AIA
2333 E. Bay Drive
Suite 221
Clearwater. Florida 33546
Secretary/Treasurer
Larry Schneider. AIA
115 Woodland Road
Palm Springs. Florida 33461
Past President
James J. Jennewein, A[A
780 Ashlev Tower
100 S. Ashley Dnve
Tampa, Florida 33602
Regional Directors
Glenn A. Buff, FAIA
1821 SW 98th Avenue
Miami, Florida 33157
Mark Jaroszewicz, FAIA
University of Florida
College of Architecture
331 Architecture Building
Gainesville, Florida 32611
Vice President for
Professional Society
Jerome Filer, AIA
250 Catalonia Avenue
Suite 805
Coral Gables, Florida 33134
Vice President for
Governmental Relations
Bruce Balk, AIA
290 Coconut Avenue
Sarasota, Florida 33577
Vice President for
Professional Development
Dean Rowe, FAIA
777 S. Harbor Island Blvd.
Suite 300
Tampa, Florida 33602
Vice President for
Public Relations/Communications
Don Sackman, AIA
2869 S.W. 27th Avenue
Coconut Grove, Florida 33133
General Counsel
J. Michael Huey, Esquire
Suite 510, Lewis State Bank
Post Office Box 1794
Tallahassee, Florida 32302


In preparation for the FA/AIA Design Conference which was held in February,
I began to study the writings of the Roman architect Vitruvius. Initially, I felt
rather remiss that I'd never read his "Ten Books of Architecture." I was certainly
familiar with it, as any student of architecture must be, but I'd never really ex-
plored it in any depth. Now, rather naively I suppose, I am amazed that so many of
the concepts which he held as basic architectural truths in the second century are
completely valid for the twentieth century.
On the subject of "The Influence of Climate Upon Architecture" for example,
Vitruvius made perhaps his most eloquent statement... Illud quod ceci-
dit forte, id arte ut corrigas." THUS WE MAY REMEDY BY ART THE HARM
THAT COMES BY CHANCE.
The architect, Vitruvius felt, should observe in what regions and latitudes of the
world his work was to be placed. "For the style of building ought manifestly to be
different in Egypt and Spain, in Pontus and Rome, and in countries and regions of
various characters." For example, "where the sun is violent in the southern regions
because they are oppressed by the heat, buildings should be open to the air with a
northern, or north-eastern aspect. Thus we may remedy by art the harm that
comes by chance." I couldn't have said it better, and I agree ... to a point.
"Vernacular" and "indigenous" are two terms that I grow tired of reading,
writing and hearing about. In all but their purest definitions, they have become
catchall terms that now seem to enjoy the near-status of style designations.
Some recent quotes first from the AIA, a proposed topic for a Florida Case
Study for the National Convention. Under the title "Tropical Design: Past and
Present" it says, "Climate-sensitive indigenous architecture still serves as a model
for much of Florida's residential design and construction."
Frank Welch, FAIA, one of the jurors for the 1987 Unbuilt Design Awards,
expressed disappointment in the lack of regionalism among the entries. "I didn't
find any entry," said Welch, "any building large or small, that was especially
responsive to existing in Florida. I saw no verandahed buildings. I saw no deep
overhangs or porches. Those are the things that, when I come to Florida, I expect
to find."
I even saw a recent reference to the "Spanish-influenced domestic vernacular." I

wonder what Spanish-influenced domestic vernacular with a wide verandah would
look like. Of course, it might not work on a twenty-story office building and I'm not
sure, as I sit here in 26 degree weather, that it would be completely successful in
North Florida, but what can I say .. it's what people have come to expect.
Right or wrong, this business of regional design is a problem for Florida
architects. It shouldn't be, but judging from recent design award submittals and
the juries' responses, it is. It imposes a burden on the architect that seems to go
beyond creating good, energy-conscious designs. It imposes a style, if you will,
with specific stylistic components, such as wide porches, overhangs, verandahs,
courtyards, etc. "Indigenous" has a vocabulary all its own and the imposition of
working within that vocabulary may not be legitimate all over Florida, regardless
of what jurors have come to expect.
Yes, we have an architectural tradition in Florida. We have several, in fact.
"Spanish-influenced domestic vernacular" is only one influence. Cracker cabins are
another. In north Florida, Classic Revival is another.
Awareness of environment is important critical, even. But, architects must
be given the latitude to be creative and original, and in the words of Vitruvius,
free to create art as a remedy for harm.

ia3n* /' /y~


FLORIDA ARCHITECT March/April 1987






NEWS


Florida Case Studies
Examine Critical
Topics

he Florida case studies to
be presented at the AIA Na-
tional Convention in Orlando,
June 19-22, will deal with topics
of considerable concern to Flor-
ida architects.
Preserving Florida's Recent
Past will look at individual and
district exemplars of 20th cen-
tury architectural design in Flor-
ida, including the revival styles,
Mizner-eclectic, the early Mod-
ernist work of Wright, Paul Ru-
dolph, Victor Lundy and others,
Art Deco and the Hollywood fan-
tasies of Morris Lapidus. The
historic roots of Florida's mod-
ern development will be exam-
ined and special problems of
preservation, adaptation and
reuse will be explored.
Tropical Design: Past and
Present will focus on climate-
sensitive indigenous architec-
ture and how it still serves as a
model for much of Florida's resi-
dential design and construction.
Growth Management Issues:
Waterfront Development will
look at the impact of develop-
ment on Florida's delicate hy-
drology, and the legal, planning,
and design issues raised by con-
tinued growth.

Chippindale to
Speak at UF

r. Christopher Chippindale,
research fellow in archaeol-
ogy at Cambridge University in
England, will be a visiting lec-
turer at the University of Flor-
ida, College of Architecture.
Dr. Chippindale's main research
interest has been Stonehenge
and its history, a topic that has
long fascinated architects. On
March 30, 1987, Chippindale
will lecture at 7:30 in McCarty
Auditorium on the University
of Florida campus.
Chippindale is the author of
Stonehenge Complete, a book


which won the Richard Colt
Hoare prize as the best archae-
ological book of the year, as well
as a number of articles for scho-
larly journals. His lecture is open
to the public and there is no ad-
mission charge.

Tort Reform Passed
in 20 States in 1986

The American Tort Reform As-
sociation said 20 states enacted
tort reform legislation of some
kind in 1986. Among the best
known efforts were voter refer-
endums in California and Mon-
tana and the very narrow defeat
of a tort reform initiative on the
ballot in Arizona. Several states
took action to limit or abolish joint
and several liability, in which any
defendant can be held liable for
an entire judgement, regard-
less of the defendant's degree of
fault. Michigan, for example,
abolished the concept for munici-
pality defendants, while Florida
abolished it for virtually all cases
involving more than $25,000 in
damages. In New York, a defen-
dant who is 50% or less at fault
can be held liable for others' fault
only for non-economic damages.
Eight states imposed limits on
non-economic damages, includ-
ing Florida, at $450,000. Several
states now will allow defendants
to seek lower awards by introduc-
ing into evidence other sources of
compensation for a victim. Nine
states limited contingency fees
for trial attorneys in tort cases.
Four states limited prejudgment
interest and nine placed limits on
punitive damages.


"The Wright UF Offers Advanced
People" Conference Landscape
Scheduled Architecture Degree


Conference entitled "The
Wright People" will be held
in Ann Arbor, Michigan, April
9-12, 1987. This meeting will
study the relations of Frank
Lloyd Wright with his clients,
both corporate and individual.
It will be jointly sponsored by
the College of Architecture and
Urban Planning and Domino's
Pizza. The keynote address will
be delivered by professor and
author Vincent Scully of Yale
University. Individual clients
will be represented by Mr. Ed-
gar Kaufnann, Jr., Mr. and Mrs.
Donald Lovness of Stillwater,
Minnesota, and Mr. and Mrs.
William Palmer of Ann Arbor.
Corporate clients will be repre-
sented by speakers from Schu-
macher Company of New York,
Heritage Hendredon Furniture
and Steelcase of Grand Rapids,
Michigan.
The papers will be given on
Friday, April 10. On Saturday
and Sunday, April 11 and 12,
there will be a Frank Lloyd
Wright Film Festival at Domino
Farms and bus tours to area
Wright homes that are of partic-
ular interest.
Requests for further infor-
mation or registration material
should be addressed to: The
University of Michigan Con-
ference Department, 200 Hill
Street, Ann Arbor, Michigan
48104.


The Department of Landscape
Architecture at the Univer-
sity of Florida has initiated a
Master of Landscape Architec-
ture program. The advanced pro-
fessional degree has been a long-
time goal of the department and
joins graduate programs in the
College of Architecture in urban
and regional planning, architec-
ture and building construction.
There are 31 MLA programs
in the US ranging from the old-
est at Harvard established in
1906 to the latest one at the Uni-
versity of Florida. UF has been
offering its Bachelor of Arts pro-
grams for 53 years.
Unique in the US, the senior
UF program is affiliated with a
Masters of Landscape Architec-
ture at Florida International Uni-
versity in Miami. The UF Mas-
ter's program will accept candi-
dates from non-design baccalau-
reate backgrounds, related de-
gree backgrounds and seasoned
practitioners in landscape archi-
tecture. Major efforts in research
and public service are in areas of
growth management, large scale
landscape repair and manage-
ment, and urban landscape de-
sign, particularly as these areas
influence user behavior and wel-
fare. Classes will be offered be-
ginning in the fall semester of
1987.


FLORIDA ARCHITECT March/April 1987


ARCHITECTURE 87


FUTURE


+FANTASY


mIA










New Commissions


S KA Architect + Planner, Inc.
will design a new store for
Aquascutum, retailers of fine
British clothing on Worth Ave-
nue in Palm Beach. Currie
Schneider Associates, AIA, PA,
just designed the 8,000 s.f. club-
house for Newport Bay Club.
Currie Schneider has also been
selected by Penny's Ice Cream,
Inc., a Florida-based chain of
stores, to develop a prototype for
all future openings. Schultz
and Collman Architects has com-
pleted contract documents for
the Northwood Presbyterian
Church in Clearwater. This phase
of construction is a 7,837 s.f. ad-
dition to the existing building
which will support educational
and fellowship needs. *
Robert M. Swedroe, AIA, has
designed a second luxury condo-
minium tower for the 80-acre re-
treat in North Dade County,
Williams Island. 0 Bellon Perez
& Perez is designing a $13 mil-
lion residential community called
The Circle which is being devel-
oped by Munder Development
Corporation. Dr. Randy Atlas,
AIA, has been consulting and
programming on the Dade Coun-
ty Public Defenders Building
with HCDA, Inc. of Coral Gables,
on the expansion and renovation
to the Immigration and Natural-
ization Services Krome North
Service Processing Center with
Spillis Candela & Partners and
on a 435-person Pretrial Deten-
tion Jail for Suffolk County (Bos-
ton, Mass.) with Cruz-Stark As-
sociates, Coral Gables.
Sandy & Babcock, Architec-
ture Planning & Interior Design
has been commissioned to exe-
cute the design and working
drawings for the Mediterranean
Village, part of a condominium
resort at Williams Island, North
Miami Beach. The project is a
joint development of The Trump
Group and Muben Realty. m
The Smith Korach Hayet Haynie
Partnership has been commis-
sioned by the Chesapeake Divi-
sion, Naval Facilities Engineer
ing Command, Washington,


Condor Place by Slattery & Root Architects, P.A.


D.C., to perform health care fa-
cility planning and facility eval-
uation studies at the Naval Base,
Portsmouth, New Hampshire.
In the future the firm will be
working on East Coast Naval
Medical facilities in Key West,
Charleston, SC, Cherry Point,
NC and Guantanamo, Cuba. The
studies are to evaluate the most
cost-effective method of health
care delivery to eligible benefici-
aries of the military health care
system. *
Gee & Jenson Engineers Archi-
tects Planners, Inc. designed a
$3 million auto plaza for Art
Moran Pontiac-Mitsubishi which
includes a 14,000 s.f. showroom
and a 45,000 s.f. service build-
ing. Compson Financial Cen-
ter in Boca Raton was designed
by Currie Stubbins Schneider,
AIA, PA in a contemporary de-
sign with atrium and a separate
covered parking garage. The
Southern Division of the U.S.
Navy Facilities Engineering
Command has selected Davis &
Associates to update the master
plan for Whiting Field, Pensa-
cola's busiest Naval Air Station
which is used primarily to train
helicopter pilots. Fugleberg
Koch Architects was the design
firm for Mills Professional Build-
ing, a two-story office condomin-
ium near downtown Orlando. 0
Frederick Sargent, Professional
Affiliate of the Palm Beach Chap-
ter AIA, was selected to design
the interior for B.C. Banister in
the new addition to the Town
Center at Boca Raton and Bueh-
ler's Men's Shop in The Espla-
nade on Worth Avenue in Palm
Beach. Two single-family pool


homes have been designed by
The Evans Group for a new devel-
opment at the Ocean Reef Club
on Key Largo. Slattery & Root
Architects, PA, have been commis-
sioned to design Condor Place, a
multi-use office warehouse com-
plex. Condor Place in Boca Raton
is a joint venture of the DJH
Company and Courchene Devel-
opment. The Interior Design
Department of Oliver-Glidden &
Partners, Architects and Planners
was selected to provide space
planning and interior design ser-
vices for J.B. Hanauer & Com-
pany's West Palm Beach Offices.
Susan Lasch Benyo, ASID, de-
signed the 5,700 s.f. office. E
Schwab & Twitty Architects,
Inc. have completed the design
for Flagler Federal Tower, an
11-story office complex in West
Palm Beach. Flagler Tower is a
joint-venture between Flagler
Federal Savings and Loan of
Miami and E. Lloyd Ecclestone,
Jr. and Steven Tendrich of Flor-
ida Management Co. The De-
sign Arts Group, Inc. is designing
an office building in Heathrow, a
planned community north of Or-
lando, three child development
centers to be constructed in Fort
Benning, Georgia, a gymnasium
for Ocoee Junior High School
and the renovation of the Pan-
ama City Hall into permanent
quarters for the Panama Art
Association. m
The Design Advocates, Inc. has
been selected to design the new
facility for Independent Day
School (IDS). The IDS campus
will be located on an eight acre
site in North Tampa. The
Florida Board of Regents has


commissioned Fleischman-Garcia
Architecture Planning Interior
Design to provide design services
for the $6.9 million, Additions
and Renovations to the Student
Services Building at the Uni-
versity of South Florida in Tam-
pa. Models designed by archi-
tects Charlan-Brock & Associates
at Heathrow are now open to the
public. The new golf villa neigh-
borhood will be known as Devon
Green. a The Zimmerman De-
sign Group will provide Sun Trust
with interior design services for
building renovations on Premier
Row and Chancellor Drive in Or-
lando. Baretta & Associates is
designing a 270,000 s.f. retail/
commercial, hotel and office com-
plex for the 17th Street Cause-
way in Ft. Lauderdale. 0 Ken-
neth Hirsch Associates Architects
AIA, designed the new Aspen
building using marble extensively
in the three-story main lobby that
opens to the outside. A second
condominium has been designed
by Miami architect Robert M.
Swedrow, AIA, for Williams
Island. Apartments will range
from 1,650 to 5,000 s.f. Con-
struction was recently completed
on the 41,000 s.f. Hillsboro Pro-
fessional Center designed by
Currie Schneider Associates. 0
Pappas Associates, Architects,
Inc. has been selected by the
University of Florida and the
Board of Regents, to design a
30,000 s.f. addition to the Col-
lege of Journalism and Commu-
nications to accommodate tele-
vision and radio studios, and
administrative offices. Pappas
Associates is also completing de-
sign documents on the Epping


FLORIDA ARCHITECT March/April 1987













Forest Yacht Club (formerly
the duPont Estate) in Jackson-
ville for Gate Lands Inc. The
facilities include a new health
club and spa building and con-
version of the 1920 vintage man-
sion into club dining and lounge
facilities. Richard Matz De-
sign Associates has been retained
by Seagrave Children's Foun-
dation to design a new facility.
Plans for the 4800 s.f. center
involve ensuring a residential
rather than an institutional en-
vironment for the children who
use the facility. The Nichols
Partnership will design a sub-
urban office park for Arvida
Center on a 205-acre site just
west of Miami International Air-
port. The office buildings and
retail area are designed in sim-
plified Bermuda Colonial style,
with generous use of white stuc-
co and colorful tile. 0
Anstis Omstein Associates,
Architects and Planners, Inc. are
in new offices in Lombard Cen-
ter in West Palm Beach. Man-
hattan Town Center in Manhat-
tan, Kansas, a 379,000 s.f. urban
retail center designed by RTKL
Associates Inc., is now under con-
struction. The center, which will
be completed in October, 1987,
is being developed by Forest
City Development of Cleveland,
Ohio. John C. Bills Enter-
prises, a south Florida develop-
ment company, has chosen Bar-
etta & Associates as the architect,
space planners and interior de-
signers for the renovation of the
former RCA complex which was
recently purchased as part of a
$25 million deal for the buildings
and 207 surrounding acres. Bar-
etta will be responsible for the
renovation of 300,000 s.f. of ex-
isting leasable space. Flad &
Associates Architects & Engi-
neers has been selected by the
Veteran's Administration Office
of Construction to do prelimi-
nary sketches of the proposed
120,000 s.f. Nursing Home Care
and Spinal Cord Injury Units
in the existing VA building in
Gainesville. Beilinson Archi-


tect has been retained for the $7
million restoration of the ten-
story Viscaya Hotel which was
built in 1926. The 242-room hotel
sits at the entrance to Miami
Beach off MacArthur Causeway
and is the last in a trio of gala
bayside hotels to survive demo-
lition. Flad & Associates has
been commissioned as archi-
tectural consultant to Kimbley-
Horn & Associates, Inc. for a
parking and traffic analysis at
Memorial Medical Center in
Jacksonville. Gee & Jenson
Engineers, Architects, Planners
has completed the design of a
new $1.5 million, 18,000 s.f.
building to be situated in the 10-
acre expansion of the Mounts
Botanical Gardens in West Palm
Beach. The project includes a
new 6,000 s.f. auditorium. m
First Federal Corporation of
Florida has selected the archi-
tectural firm of Currie Schneider
Associates, AIA, PA to design
the clubhouse, guardhouse and
amenity features at the New-
port Bay Club in Boca Raton. m
Bellon Perez & Perez has been
retained by Meruelo Enterprises
to provide professional services
for its new $5 million rental de-
velopment to be called Flamingo
Court. The complex, which has
been developed in two phases,
has 118 apartments of one and
two bedroom units. m

Correx
A request from Fleischmane
Garcia Architects asks that the
following people be credited in
connection with the November/
December, 1986 publication of
the Brandon Surgical Center
which the firm designed.
General Contractor: Bren Con-
struction of Brandon. Bob Smith,
President and Mike Tucker, Proj-
ect Manager.
Photography: Photo credit was
not given to John Kayse for the
picture which featured the over-
view of the facility showing the
siting and ponds. All other photos
were by Ellis Richmond.


Axonometric of the office ofAnstis Ornstein Architects.


New Firms
Stuart Cohen and Associates -
Architects, P.A. of Miami has
been renamed Cohen, Freedman
and Associates Architects, P.A.
This follows Lawrence B. Freed-
man, AIA, becoming a partner in
the firm.

Awards and

Honors
ferry Nichoson, AIA, a senior
I architect at The Evans Group,
has been selected for the 1987
calendar of the American Insti-
tute of Architects. Nichoson's
photograph to be published is of
the Sandestin Beach Villas in
Destin, Florida, a community
designed by The Evans Group.
Alexander Stone, AIA, of Hel-
man Hurley Charvat Peacock/
Architects, Inc. recently received
an award in a national design
competition sponsored by Mod-
ern Healthcare magazine and
the American Institute of Archi-
tects. The project cited, the
Florida Eye Clinic, was the only
health facility in the southeast-
ern US to be cited.


Charlan Brock & Associates
received five Aurora Awards in
the 1986 competition sponsored
by the Southeast Builders Con-
ference. The firm won an Aurora
Award for Best Single Family
Detached Home and Grand Au-
rora and Aurora Award for the
Best Designed Bath and Best
Attached Home.
In winning a national award
competition sponsored by Ari-
zona State University, The Hil-
lier Group was awarded the
commission for an $11.5 million,
100,000 s.f. expansion to the Uni-
versity's School of Architecture.
The firm was chosen for the
three-story addition to the Col-
lege of Architecture and Envi-
ronmental Design in competition
with Coover Saemish Anderson
Associates of Mesa, Arizona in
association with Hoover, Berg
Desmond of Denver, and Ham-
mond, Beeby & Babka, Inc. of
Chicago. Designer for the Hillier
submission was the firm's Direc-
tor of Design, Alan Chimacoff,
AIA, formerly director of grad-
uate studies for Princeton Uni-
versity's School of Architecture.


FLORIDA ARCHITECT March/April 1987
















Seven winners were named in
the 16th Annual Outstanding
Concrete Structures in Florida
Awards Competition sponsored
by the Florida Concrete and
Products Association. The 1986
award winners were Eastwood
Business Commons designed by
the Zimmerman Design Group,
Orange County 33rd Street Cor-
rectional Center designed by Ar-
chitects Design Group, Central
Repo, Inc. by Catalyst, Inc., Inn
on the Beach by Edward J. Sei-
bert, AIA, 203 Center designed
by Jaime Schapiro, AIA, the Gulf
Front Residence designed by
Carl Abbott Architect, FAIA
and Gullhouse III by Ray Crites,
FAIA.

Flad & Associates of Florida,
Inc. has received an Eastern Re-
gional Certificate of Design Ex-
cellence in the National Air Force
Design Awards Program. The
firm was honored for the $7 mil-
lion Charleston AFB Medical/
Dental Clinic in Charleston,
South Carolina.


The Palm Beach Chapter of the
AIA honored two firms, Currie
Schneider Associates of Delray
Beach and Oliver Glidden & Part-
ners AIA of West Palm Beach
during its 1986 Awards Program.
Currie Schneider received an
Award of Excellence for their
design of two office buildings,
Interstate I and II and for the
Temple Sinai in Delray Beach.
Oliver Glidden was awarded for
their plan for the Greenacres
Fire Station in the City of Green-
acres. The 1986 Jury included
Don Singer, FAIA, Tom Regan,
Dean of Architecture, Univer-
sity of Miami and Don Sackman,
AIA.
Charles Charlan, AIA, presi-
dent of the Orlando architectural
and planning firm Charlan Brock
& Associates, served as one of
six judges at the second annual
Builders Spotlight Awards Pro-
gram. The competition, spon-
sored by Builder Magazine, rec-
ognizes excellence in promoting
and marketing new residential
housing projects.


Gulf-front house by Carl Abbott, FAIA.


Temple Sinai by Currie Schneider Associates.
FLORIDA ARCHITECT March/April 1987






BOOKS


The Architecture of Henry
John Klutho: The Prairie
School in Jacksonville
By Robert C. Broward (Univer-
sity of North Florida Press)

n his foreword to this defini-
tive study of Klutho's work,
Wilbert R. Hasbrouck, FAIA,
describes the architect in this
way: "Klutho was a loner for most
of his life. He was, of course, influ-
enced by his more notorious col-
leagues in the Midwest, Wright
and Sullivan, but he bowed to
no one in his productivity. He
produced an enormous amount
of work, particularly prior to
World War I. His career coin-
cided exactly with the Prairie
School movement in the Midwest.
While he was not always faith-
ful to the dogma laid down by
Wright and Sullivan, his best
work was in the spirit of the
Prairie."
Hasbrouck, with his wife,
Marilyn, founded The Prairie
School Review in 1963. In his
own words, Hasbrouck says
that he interpreted the Chicago
School in broad terms, always
keeping in mind that his interest
lay in the development of one
stylistic arm of a movement that
began in Chicago around 1880.
Thomas E. Tallmadge labeled it
the "Chicago School" in 1908 and
Hasbrouck called it the "Prairie
School," though he claims he did
not originate the term.
"It is rare to have the records
of an individual such as Henry
John Klutho survive," Hasbrouck
says. "Mr. Broward laments that
much is missing; I marvel that
he has found such an archive.
Henry John Klutho was a pio-
neer of modern architecture in
America who came to Jackson-
ville, Florida, in 1901, to help
rebuild a city leveled by fire. His
greatest architectural works
belong to what was then a radi-
cal movement in American archi-
tecture, now called the Prairie
School. As the photographs,
drawings and text of Broward's
book unfold, Klutho's legacy in


Above, detail of Klutho's drawing for the 1912 Germania Club, and below, the Klutho Apartment as it appeared
c. 1950. Drawing and photo courtesy of Bob Broward.


Florida, far removed from the
midwestern center of this move-
ment, provides new evidence of
the vitality and influence of the
Prairie School in America.
When he first met Klutho in
1950, Broward had just returned
from an apprenticeship with
Frank Lloyd Wright at Taliesin.
Klutho's work intrigued him be-
cause of its similarity to Wright's
early work and to that of Wright's
great master, Louis Sullivan. In
The Architecture of Henry John
Klutho, Broward documents
Klutho's long and productive ca-
reer and analyzes Klutho's inno-
vations. Klutho, for example,
was the first to use water-jetted
steel caissons for concrete pil-
ings, and his high-rise buildings
were the first constructed of re-
inforced concrete in the South.
The Architecture ofHenry John
Klutho: The Prairie School in
Jacksonville is richly illustrated
with nearly 400 pictures, draw-
ings and plans. In one appendix,
Broward's chronological draw-
ings of Klutho's ornamentation
trace the highly individualistic
development of this architect's
embellishments.
Robert C. Broward, AIA, a na-
tive of Jacksonville, is an archi-


tect who has practiced in that city
since the 1950's. He and Klutho
were close friends for fourteen
years, until Klutho's death in
1964. Deeply involved in historic
preservation, especially in Jack-
sonville, Broward has worked to
preserve the city's Prairie School
buildings.


Designing Dreams, Moder
Architecture in the Movies
By Donald Albrecht (Harper &
Row, $15.95)
This is an interesting, light
reading experience, particularly
for cinema buffs. It is well-illus-
trated and has a filmography
which contains the titles of all


FLORIDA ARCHITECT March/April 1987








the films that appear in the book,
as well as select films that con-
tain Art Deco or modern archi-
tecture sets for the period cov-
ered in the text. The films are
listed by date of release in the
country of production.
One of the major endeavors of
Designing Dreams is to explore
the contrasts between the popu-
lar dreams realized in set designs
of film architects of the 1920's
and 30's and the utopian visions
expressed in the drawings and
writings of modern architects
working during the same period.
"It is one of the ironies of the
modern movement [in architec-
ture] that the cinema, the twen-
tieth century's greatest egalitar-
ian visual art form, took modern
architecture's collectivist agenda
and transformed it into a fantasy
of privilege to be enjoyed only by
the celluloid wealthy mean-
while broadcasting that message
to an audience composed of the
widest segments of society that
the architects sought to reach.
More than any other visual medi-
um, film, by virtue of the size of
its audience and its growing
influence over culture as a
whole, helped shape popular
perceptions of architectural
modernism."


Key West Writers and Their
Houses
By Lynn Mitsuko Kaufelt; Pho-
tographs by Jeffrey Cardenas;
Foreword by Beth Dunlop (Pine-
apple Press, $13.95)
Since the 1920's, writers have
found Key West a special place
to live and practice their art.
Author Kaufelt attributes the
town's popularity to its geogra-
phy, climate, the surrounding
sea and the previous success of
the many writers who've gone
there to live and work. She also
feels that the houses of Key West
offer something inspirational to
those who inhabit them.
Miami Herald architecture
critic Beth Dunlop stresses-in
the foreword how difficult it is
to attribute good inspiration to
one's surroundings. But, she
agrees that there is something
about Key West that seems to


appeal to the restless, probing
nature of writers. "There is no
neat prepackaged summary,"
Dunlop writes, "that explains
what exactly it means for a writ-
er to live and work in a certain
kind of house, because there
isn't; parapets or pilasters don't
produce a certain kind of prose."


Meanwhile, Kaufelt's book is
easy reading. It's almost fun.
Her approach to each author is
warm and personal and the im-
pact of the book is heightened
with photographs that look like
they came out of family albums.
The authors covered in the text
range from such luminaries as


Ernest Hemingway, Tennessee
Williams and Tom McGuane to
lesser known poets and writers
such as Jane O'Reilly and Wil-
liam Wright. All the vignettes
are equally interesting, how-
ever, and there is a lot of empha-
sis on, and description of, the
writers' houses.


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il ifllI A A I'll ITIi 'T March/Anril IQMO 7






LEGALNOTES



1987 Legislative Issues
by J. Michael Huey


T he 1987 Florida Legislature is
already gearing up for the
onset of the Regular Session
on April 7, 1987. To date, there
have been approximately 200
House and Senate Bills pre-filed
and the new legislative commit-
tees have been meeting on a reg-
ular basis since the beginning of
December. Although 1986 was
known as the year for tort and
insurance reform, we anticipate
that 1987 will be considered more
appropriately as the "year of the
tax." In addition to legislative
efforts to generate revenue, we
will also face several other fa-
miliar issues which will impact
the architectural profession. At
present the FA/AIA is paying
close attention to four major is-
sues as outlined below:

Sales Tax on Professional Services
During the 1986 Session of the
Legislature, House Bill 1307 was
passed which repealed the sales
tax exemption for professional
services, effective July 1, 1987.
It is estimated that the repeal of
exemptions on architectural,
engineering and surveying ser-
vices alone will produce $118.3
million in new taxes.
Legislative leaders are now
scrutinizing this year's repealer
bill to determine whether or not
some of the exemptions should
be retained. An estimated total
of $1.3 billion in revenue will be
generated if no action is taken
during the 1987 session. If the
exemptions are kept in place,
however, where will Florida look
for badly needed revenue?
According to the Statewide
Comprehensive Plan Commit-
tee, Florida's current tax struc-
ture will not generate sufficient
state revenues in the future to
finance the needs of our growing
state. As a matter of fact, the
committee recently reported
that Florida is facing $58 billion
worth of needs throughout the
next decade. According to the
committee, if legislators fail to
repeal the sales tax exemptions
they will eventually have to con-
sider a gross receipts tax on bus-


iness or personal income tax. The
committee's recommendations
are based on conservative con-
clusions that the state will need
$39.9 billion through 1995 and lo-
cal governments will need $17.9
billion through the next century
to implement the Statewide Com-
prehensive Plan.
The question remains, how-
ever, whether or not architec-
tural services should be taxed.
Furthermore, if the exemption
is repealed, how should this tax
be administered and "passed-
through?"

The House and Senate Finance
and Taxation Committees are
currently reviewing criteria for
each sales tax exemption includ-
ing impact of the exemption as
well as the impact of the tax on
service entities.
Accordingly, FA/AIA is try-
ing to answer questions such as:

1. What is the basic rationale
for exemption of architectural
services from sales tax?
2. Does the exemption pro-
mote the retention of jobs in the
state or the expansion of archi-
tectural firms in the state?
3. Does the exemption serve
the purpose of treating architec-
tural firms and other businesses
within the state fairly?
4. Does the exemption allow
Florida architectural firms to
compete favorably with out-of-
state businesses?
5. Does the exemption provide
incentive for Florida architec-
tural graduates to practice in
Florida?
6. Does the exemption pro-
mote the practice of architecture
and other businesses which are
vital to the local economy?
7. Are the reasons for grant-
ing the exemptions still valid?

Licensure of Interior Designers
The FA/AIA will be busy this
Legislative Session in efforts to
defeat legislation providing for
licensure of interior designers.
The Department of Professional
Regulation has indicated that


the interior designers are plan-
ning to file a bill that would es-
tablish a licensure program and
regulatory board for the interior
design profession. The FA/AIA
continues to question the intent
of licensure of interior designers
and will continue to closely moni-
tor pre-filed legislation that may
impact this issue.


Statute of Limitations
Architects, engineers and con-
tractors currently have a fifteen-
year cap on suits for design and
construction negligence. The
Florida Supreme Court recently
upheld the products liability sta-
tutory cap which was attacked as
unconstitutional. That decision
gave design professionals and
contractors hope that our high-
est state court recognizes the
validity of a maximum time per-
iod of exposure.
The FA/AIA must now con-
sider if legislation is necessary
to lower this cap and, if so, the
necessary course of action to be
taken.


Uniform Building Codes
Following the 1986 Legislative
Session, Governor Graham, with
the support of Tom Lewis, AIA,
Secretary of the Department of
Community Affairs, appointed a
special task force to study the
problem of the multiplicity of
codes and standards which affect
the building industry in Florida.
Legislative action on this issue
may depend greatly on the re-
sults of the task force report,
due in March, 1987.
Keeping in mind the historical
battle waged against the Florida
League of Cities on this issue,
the FA/AIA may not wish to take
a lead in pushing revisions in this
controversial area during 1987
(Governor Bob Martinez is a for-
mer President of the Florida
League of Cities). Another is-
sue, however, has recently sur-
faced which may help set a pre-
cedent for future attempts to
standardize building codes.


Following the 1986 Legisla-
tive Session, the Department of
Community Affairs established
an ad hoc committee under the
Bureau of Housing and Com-
munity Development to make
recommendations for revisions
to Chapter 553, Part V, Florida
Statutes (Accessibility by Hand-
icapped Persons). Current state
law regarding handicapped codes
is primarily based on 1961 Amer-
ican National Standards Insti-
tute, ("ANSI"), guidelines.
During 1986, the ANSI Acces-
sibility Standards were revised
and the objective of the ad hoc
committee was to review these
changes and determine the ex-
tent to which Florida should
adopt the ANSI revisions.
Following over two months of
biweekly meetings, the commit-
tee has now prepared draft leg-
islation which, although tailored
after the ANSI standards, pro-
poses several modifications. Of
major importance to the FA/
AIA, however, is the intent of
this legislation to limit the cities'
authority to impose more strin-
gent codes and an additional pro-
vision which grants the Florida
Board of Building Codes and
Standards "final administrative
interpreting authority." The
FA/AIA remains supportive of
provisions which limit local gov-
ernmental authority over the im-
plementation of building codes.

J. Michae Huey is Generml Coun-
sel to the FA/AIA. He is a part-
ner in the Tallahassee lawufirin
of Huey, Guilday, Knersteiner
& Tucker, P.A.


FLORIDA ARCHITECT March/April 1987










The jewel in the crown


The Stones of Venice,
a jeweler's studio
Coral Gables, Florida

Architect: Gelabert-Navia AIA
Project Designer: Jose A.
Gelabert-Navia, AIA
Owner: Susanna Stachura


















































Photos by Steven Brooke


C oral Gables jewelry designer
Susanna Stachura derives
the inspiration for the pieces she
designs from ancient Roman
and Etruscan sources, as well as
from the Doric elements used by
Spanish-Venetian designer
Fortuny at the turn-of-the-
century. Fortuny was famous
for his Delphos designs which
sought to capture some of the
timeless Classical elements as
well as some of the more geo-
metric Viennese elements being
done at the time. The combina-
tion of these seemingly contra-
dictory sources are brought
together in Stachura's jewelry
designs as well as in the studio
itself.
The project involved the de-
sign of a studio-display space for
an award-winning jeweler. The
store is located in a recently
completed high rise which is
clad in travertine and granite.
A problem arose in trying to
provide adequate space for cre-
atively displaying the pieces of
jewelry and provide a small of-
fice for the owner in a shop with
only 200 square feet. The cen-
terpiece of the design is a dis-
play case designed by Joseph
Hoffmann in 1903.
Great care went into the de-
sign of this tiny space .. in the
selection of colors, materials and
furnishings. The interior space
is organized in such a way as to
add interest which is heightened
by the use of screens, railings,
glass and mirrors, all working at
angles. Furnishings add even
more interest. The chairs are by
Mackintosh, the rug is by Hoff-
mann, the wallcovering by Otto
Wagner. The large triangular
display case and the display
racks were made by the Milan-
ese manufacturer Goppion. The
cast stone elements are by
Richard Ponce and the busts
were brought from Paestum,
Italy.
Diane D. Greer


FIORIDA ARCHITECT March/April 1987








"Sarasota School" renewed


The Bryant/Kennedy
Medical Office
Remodeling and
Renovation
Sarasota, Florida


Architect: Michael Shepherd
Architect AIA
Engineer: A. L. Conyers
Interior Consultant: Terry
Rowe
Contractor: Thompson-
Beishline, Inc.
Owner: The Hawthorne
Medical Trust, North

Located on property adjacent
to Sarasota Memorial Hospi-
tal, the Bryant/Kennedy build-
ing was originally designed and
constructed in the early 1960's
as a medical office for an ortho-
pedic -u rgeon. On a site measur-
ing 150 feet by 145 feet, current
zoning requirements would not
allow building area to be
increased.
The new owners of the build-
ing required substantial re-
modeling of 3,000 of the build-
ing's 6,400 square foot total for
the practice of plastic and recon-
structive surgery. The remain-
ing area was to continue to be
used as tenant space with the
provision that the new remodel-
ing be organized to accommo-
date future expansion into these
areas.
Originally designed by Sara-
sota architect Edward J. Sie-
bert, the vocabulary of the
building was somewhat typical
of the work being done by mod-
ernists in Sarasota at the time
(now called the Sarasota School)
and included such things as thin
roof planes supported by a
clearly articulated structure
which floats over the lower
scale wall planes. It was in-
tended that the new remodeling
reinforce these characteristics
rather than contrast with them.


A primary goal of the remod-
eling was to provide as open a
feeling a.- p I.ible gi en the pro-
grammatic demands for space.
As part of the interior reorgani-
zation, a sky-lit atrium was in-
troduced and visually linked to
an enlarged entry and waiting
area. This atrium serves as an
organizer around which the pub-
lic spaces are accessed and pro-
vides a feeling of openness.
Flush detailing has modified
the original applied trim and new
finishes have been incorporated
throughout. New glazing was
provided in the entry which is
now defined by a floating canti-
levered plane supported by con-
crete columns.


Diane D. Greer


Photos of main facade, atrium and lobby by George Cott.


FOI.RIDA AR('HITFTRT Marh/lAnril I1nR




































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1987 FA/AIA Unbuilt Design Awards

After viewing the forty-six submittals to the 1987 Unbuilt Design Awards, jurors Hilario Candela, FAIA,
William Morgan, FAIA, and Frank D. Welch, FAIA, expressed some disappointment in the lack of regionalism
represented in the entries. Perhaps as a result, only four projects were premeated.
While the jury criticized many of the projects for being "too conceptual" in their presentation, the jury urged
architects making future submissions to "carry designs to a stage with enough information that they can be
accurately judged."
Jury member Welch stated that the main attribute of the winning projects was that they "were fully realized.
All of the details were present along with restraint, respect for the context, the program, the client and also for
oneself as an architect."




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Fiorentino House
Miami, Florida
Architect: Daniel Williams, AIA
Consulting Engineer: Jerry
Spulter
Landscape Architect: Gabriele
Fiorentino
Owner: Patrick and Gabriele
Fiorentino

This design is for a couple who
will live in the gate house/studio
until the main house is finished.
Along with zoning changes the
architect designed a complex
which would be built in two "
phases. A grotto will be exca-
vated in the rear yard of the
main house for intimate dining. ,


FLORII)A AR(HITE(T March/April 1987











MERP Orthopedic Facility
Orlando, Florida

Architect: Helman Hurley
Charvat Peacock/Architects,
Inc.
Project Designer: Alexander
Stone, AIA
Structural Engineer: Allan and
Conrad, Inc.
Landscape Architect: Herbert/
Halback, Inc.
Owner: Drs. Matthews, Flynn,
Richards and Price
General Contractor: Curtis-
Hale, Inc.

This is a "non-heroic" design
which does not compete with
civic or governmental buildings
a few blocks away. The skeletal
expression of structure subtly
suggest the orthopedic nature
of the facility. By cutting and
filling the sloping site, a low-
profile solution is obtained
which is sympathetic in scale to
adjacent pedestrian and vehicu-
lar traffic.


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Metropolitan YMCA-YWCO
Fitness Center
Tampa, Florida

Architect: The Stewart
Corporation
Structural Engineer: Walter P.
Moore and Associates
Program Consultant &
Equipment: Donald DeMars
Associates
Owner: YMCA-YWCO of
Tampa and Hillsborough
County, Florida, Inc.

The architect's challenge was to
design a 50,000 s.f. full service
downtown fitness center on top
of an existing 6-story municipal
parking garage. The parking
garage structural system was
designed and built to accommo-
date such a facility. However,
the new facility had to be
planned to accommodate exist-
ing requirements through the
existing stairways.


Guayanilla publicc"
Terminal, Marketplace and
Sport Center
Guayanilla, Puerto Rico

Architect: TorresoMarvelo
Flores Asociados
Architect-in-Charge: Luis
Flores, AIA
Owner: Municipality of
Guayanilla

This design concept is aimed at
urbanizing a section of town and
providing good access to the
three projects from two public
streets. The site is a tight, ir-
regular urban plot of land. All of /,
the buildings are proposed on
the sidewalk's property line so
as to reinforce the existing char-
acter of the old town.

FIORI)A ARCHITECT March/April 1987


i,


Eln Um E1









Exhibit design for "Ramses II-The Pharoah and His Time"


Exhibit Design for
"Ramses II The
Pharoah and His Time"
Prime F. Osborn
Convention Center
Jacksonville, Florida

Project Architect: \ li >r Q.
Taylor, AIA, Chairman of the
Board and C EO, KBJ Architects
Design Development, Graphic
Design and Production: Linda
Mack, Asst. VP, KBJ
Interior Design, Color: Jenny
(ocohaugher, KB.J
Lighting Design: David Laffitte,
VP, KRIJ


































Thec .eh ihibt floo rplai rei Ca fte s a f,
a rch i rt tu rnlo I "footpriit" f i1 n
Egtptioii tiempl. The "'im'rrn ,ctal
pin'reptio," concpt poctirtird hb
Ef!ptin architects is isted. HlI
moriigf fromn l/ rger to sailler
s'pacres, the secei' t!y/-ho rtifrfts, re,
grdittlly revealed to the ri'c'er.
7The hor't Is conpt, tin the top fl, the t
sq/ptrn colott us hostt the lightifgf.
Photo by Kathleen McKenzie.


W hat do you do when you need
30,0(X) square feet of tem-
perature and humidity con-
trolled, high security exhibit
space with a floor that will sup-
port a nine-ton granite sculpture
and all you have is one-eighth
that amount of space and a floor
that will drop the sculpture to
the basement? You answer the
F' L Iti. ii D)epartment of Antiq-
uities and the Cairo Museum's
offer of an international block-
buster exhibit by saying,
"Sorry, Jacksonville doesn't
have an adequate facility."
Right?
\Wrii'' You don't say "no" if
you're Bruce Dempsey. Director
of the Jacksonville Art Museum
and you have Walter Q. Taylor,
AIA, on your Board of Direc-
tors. Last Fall, architect Taylor
and a diversely talented group
from KIJ took on the task of de-
signing and executing an exhibit
space to house the wide range of
artifacts in the "Ramses II -
The Pharoah and His Time"
exhibit which is being displayed
in Jacksonville until March 15,
19,',
Taylor and the KIJ group de-
scribed the process of lI-igniiin
and iiuilhdng 1ih.- sets as a true
collaborative. Each member of
the team brought a Ifir.-iiil
area of specialization to the de-
sign process including color,
liL'hhtiri'. construction and fine
art. All of this was over and
above the process of designing
architectural backdrops of mon-
umental size to house artifacts
from Ramses' time. The design
team's function paralleled the
Egyptian's 'liihl? organized,
specialized labor teams which
are documented in tomb reliefs.
Since a location for the exhibit
was the first and foremost prob-
lem, the \hll Il's arrival in
Jacksonville was timed to coin-
cide with the completion of the
Prime F. Osborn III Conven-
tion Center.
In addition to the weight of
some of the sculptures, other
problems existed which called
for creative design solutions.


For instance, none of the wall,
ceiling or marble floor surfaces
in the Convention (Center could
be altered. I)esign considera-
tions had to allow for maximum
-t*, uriti., crowd controls, mu-
seum standard lighting, the di-
dactic function of the exhibit and
preservation of the 3,(Xn)-year-
old ink on papyrus, painted
wood, -iltrr, faience tiles, lime-
stone, calcite, alabaster, gold
and other materials.
From the time the collection
arrived in Jacksonville, there
were only ten days of on-site
preparation before the public
opening. The KBJ crew worked
for months off-site preparing
sets, murals, panels, even trees.
When time came to put the ex-
hibit together, KBJ had fabri-
cated 2,00) individually num-
bered and coded elements which
were transferred to the conven-
tion center in 38 semi-trailer
trucks.

The Plan
The rich vernacular of Egyp-
tian architecture was drawn
upon to create a "spiritual home"
for the objects in the Ramses col-
lection. Before beginning a tour
of "Ramses II," visitors gather
in a forecourt which gives them
the experience of standing under
24-foot-high palm trees with
massive purple trunks and lapis
blue fronds. The trees, which
were fabricated by KBJ, refer-
ence Egyptian plant-form col-
umns. Visitors then enter and
pass through a "lineal chamber
passageway" with its superb
graphic of a hippo hunt and other
scenes from Egyptian everyday
life. The passageway opens into
a courtyard, from which visitors
progress through an 80' wide,
24' high pylon, scaled down from
typical Egyptian hiilmiri-iuii,-, of-
ten four times greater. Through
this pylon, the visitor passes into
a colonnaded court. The rows of
columns create chambers which
contain related groups of arti-
facts in separate cases. The
beams connecting the tops of the
square columns in this room


I'I.oRII X AKfIITt;("l' March/April 1987




































































Top, the greatest light .,,l ., it is
onp the artifacts within (a very dark
background. There is some defini-
tion in the two, open courtyardsand
the rest of the environment employs
ambient lighting. The low, vaulted
ceiling in this space, top photo, cre-
ates apn illusion of being in a tomb.
The KBJ designers a bst reacted
rtae, r,.,a .:ht, ra tl spaces and
created a feeling of mnonumentality!
a nd order. They did not drml oin
rich, Egyptian ornamentation to
avoid competition with the arti-
jacts. The view, right is/rnm the
center of the colonnaded court look-
ing toward the entrance, through
the grand pylon. The ra es qf vol-
itnm us create ch(a mbers on each side.
Photos by Kathleen McKenzie.



.2 lFIORII)A AR(CHITECT March/April 1987

























With (an upturned, plant form c(api-
tal inforeground, Linda Mack, top,
confers with one office a artists uwho
volunteered long hours painting
more than 2,000 elements assem-
bled off-site. Artist on floor paints
the hippo hunt mural. The windows
of the Prime Osborne Con rention
Center were covered with a remor-
able blackout film for conservation
of the artifacts. No w'all or ceiling
areas of the Con mention Center were
visible in the final lighting design.
Workmen are positioning free-
standing walls and column s,
middle. From the center hall of the
colonnaded court, bottom, a section
of wall graphics can he seen near the
exit from the court. The smaller
rooms containing coffin lids and
more artifacts follow. Top two
photos by Judy Davis/D. Vedas.
Bottom photo by Kathleen
McKenzie.


Lac~a.


-* .'


house lighting fixtures and pro-
vide a design solution to the
problem of lighting artifacts in a
space with 85' high ceilings.
Grouping the artifacts for dis-
play was a design consideration
important to the didactic pur-
pose of the exhibit. Scribe's and
architect's tools, fragments of
architectural friezes, imple-
ments from the queen's dressing
table and objects from everyday
Egyptian life were grouped ac-
cording to function and move the
viewer toward the funerary ob-
jects, including shawabti figures
and canopic jars.
Since the Ramses exhibit was
designed to parallel Egyptian
temple plans, with the largest
elements in front and the small,
dark, tomb-like rooms at the
rear, the visitor eventually
moves into the area containing a
row of horizontally laid out cof-
fins, coffin lids and cover boards.
The dark, low, vaulted ceiling in
this space is painted with stars.
A major goal in the design of
the Ramses exhibit was to avoid
having the environment com-
pete with the artifacts. Much of
KBJ's success in achieving this
goal was the result of Interior
Designer Jenny Cocanougher's
color selections. Sixty-five col-
ors were used throughout the
exhibit, all of which were based
on colors in the artifacts them-
selves. Her color choices were
the precise intensity to enhance,
and not overpower, artifacts
under low-light conditions.
Conservation of the fragile ob-
jects most affected the lighting
design. To prevent ultraviolet
light damage, only five-footcan-
dies of light were allowed on
some objects. Normal daylight
is 8,000 footcandles. The mas-
sive railroad terminal windows
were blacked out with plastic
opacifier which can be peeled
off easily when the exhibit
leaves. Lighting Designer David
Laffitte used ambient lighting
throughout the exhibit.
KBJ Assistant Vice President
Linda Mack designed and super-
vised production of the graphics,


including the hippo hunt mural.
Her painted heiroglyphs are not
just design elements some
contain words appropriate to
their placement. For example,
the heiroglyphs on the outer,
free-standing wall of the car-
touche-shaped museum store
read "Marvelous Crafts from
the Black Land."
Walter Taylor has designed
exhibit spaces before. Although
he is better known for his firm's
award-winning designs for Or-
lando International Airport, the
Federal Reserve Bank and the
Atlantic Bank in Jacksonville,
he had already established a
reputation for his designs for
the Koger and the Pre-Colum-
bian collections in the Jackson-
ville Art Museum. It is the
freedom to deal with illusions
that Taylor most enjoys about
exhibit design.
It is most appropriate that the
Ramses exhibit was designed
by an architect. In Egyptian
society, the architect was much
honored and his role in the com-
plex social life of the times was
vital to the stability of Egyptian
society. It was the architect,
more than anyone else, who re-
inforced the power of the pha-
roah through his design for
royal cities and religious and
civil buildings of massive scale
and proportion. The Egyptian
architect's work was both sym-
bolic and utilitarian, just as it is
with KBJ Architects who con-
tinue in service to the pharoah
3,000 years later.

Marsha Orr

The aunthorhas a MasterofFine
Arts degree from Florida State
universityy and is a Contem-
porary Art Consultantt working
from Tallahassee.


FLORII)A ARCHITECT March/April 1987


I Ips



i











High tech, lab tech


Hillsborough
Community College
Tampa, Florida

Architect: Fletcher, Valenti,
Chillura & Puglisi, Inc.
Civil Engineer: Kisinger Campo
& Associates
Structural Engineer: George
Sasvari, P.E.
Electrical/Mechanical Engineer:
Carastro, Aguirre & Associates
Landscape Architect: Richard
Follett, ASLA
Owner: State of Florida,
Board of Regents


turned-landscape-feature as-
sists in that effort. The position
of the building on the site also
brings a visible organization to
campus circulation. It includes
a concrete patio area for student
gatherings and displays, as well
as a concrete music platform
constructed near the rear of the
plaza.
To further enhance the plaza
gathering area, two levels of
circulation were included in the
design: the exterior lobby or
atrium area provides for ground
circulation of people in addition
to second-level circulation
through an aerial walkway. This
two-level atrium increases stu-
dent interaction while eliminat-
ing a congested feeling and, at


lens lab, architectural technol-
ogy and building construction
classes. Instructional areas were
constructed with leaded acrylic
vision panels which allow an en-
tire class to observe the perfor-
mance of state-of-the-art radiol-
ogy procedures. The installation
of computerized tomography
scanning units and other techni-
cal equipment required a halon
fire protection system, which al-
lows fire to be snuffed out with-
out traditional water and mois-
ture damage.
For maximum energy effi-
ciency, a central computer
linked by telephone with Hills-
borough Community College's
security and communications
headquarters on Davis Island
(five miles away) monitors and
adjusts the HVAC systems in
the building.
Although it is currently only
two stories, the Technology
Laboratory Building was origi-
nally designed for four. Cost
estimates for the third and
fourth floor shells are currently
underway. When the Legisla-
ture did not fund the full $14 mil-
lion for the project, the building
was designed to be built in
phases.
Renee Ga prison


The au thor is Architecture
Critic.for the Tampa Tribunre.


T he Dale Mabry campus of
Hillsborough Community
College lacked a definable en-
try. So, when Fletcher, Valenti,
Chillura and Puglisi were asked
to design the school's Technol-
ogy Laboratory Building, the
Board of Trustees also requested
that the structure act as a sym-
bolic gateway on the site.
The design that evolved does
just that through the use of color
and the position of the building
on the site.
The building was angled on its
site to create more of a focal
point and a retention pond-


the same time, enhances the vis-
ual orientation of the building.
Color was an important factor
in establishing a compatibility
with existing campus struc-
tures. A series of beige and
cream porcelain composite pan-
els were used to pick up the fla-
vor of the original buildings
while red was selected as an ac-
cent color to emphasize the "gate-
way" and also because it is syn-
onymous with high technology.
The building currently houses
the school's technical occupa-
tional programs including nurs-
ing technology, an opthalmic


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FLORIIDA ARCHITECT March/April 1987


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Design Arts gives new meaning to cracker architecture


Tampa Palms Sales and
Administration Building
Tampa, Florida

Architect: The Design Arts
Group, Inc., Tampa
Design Team: H. Dean Rowe,
FAIA, Studio Director; Thomas
A. Hammer, AIA, Project
Captain; Susan Turner, AIA,
Job Captain
Engineer: The Design Arts
Group, William J. Rast, PE,
Structural; Raymond Jones,
Jr., PE, Mechanical, Electrical,
Plumbing
Landscape Architect: Balsey
Associates, New York
Owner- The Deltona Corporation
General Contractor- Tampa
Palms Corporation


The developer of this new
5,400 acre community north
of Tampa wanted a "small town"
concept with public architecture
that created a sense of nostalgia
and a return to a simpler, less
complicated way of life. To meet
this challenge, the architects
revived and adapted a style of
architecture used in Central
Florida with great success
around the turn of the century.
This regional, passive solar ar-
chitectural expression included
off-the-ground wood frame con-
struction to capture cooling
breezes under the house and
protect the buildings from mois-
ture and termites. Broad cov-
ered verandas protect windows
from sun and rain, tall windows
provide better ventilation,
stamped metal roofs shed rain


Photos by George Cott.


FLORIDA ARCHITECT March/April 1987





































































































FLORIDA ARCHITECT March/April 1987 31














and reflect sun, dormers allow
rising hot air to escape and tran-
soms over interior doors pro-
mote cross-ventilation. In
short, the building utilizes the
components which made Flor-
ida's vernacular architecture,
"Cracker" as it's come to be
known, suitable for both the
climate and geography of the
State.
This building was designed to
serve two purposes. It is first an
information center for prospec-
tive buyers of property in the
community. The focal point of
the sales area is a large scale
model of the entire project. The
model sits under a baldachino
which houses the room's source
of indirect lighting. There are
other sales displays around the
room's perimeter which describe
the golf center, country club and
other community amenities. The
selling of individual homes takes
place at remote model centers
erected by the various partici-
pating builders.
Housing the developer's exec-
utive offices is the building's sec-
ond purpose. These offices are
located around the perimeter of
the building looking onto, and in
some instances opening directly
to, the veranda. In these private
spaces the developer will also
close land sales to residential
builders and commercial devel-
opers. The circulation to these
offices and the secretarial areas
are located in the central space
behind the display walls of the
sales area.
The architecture of the build-
ing was carried into the design
of a gazebo which became the
logo for the project. The gazebo,
located on an island in the man-
made lake to the north, became
the entrance statement for the
project in lieu of the usual "bells
and whistles" found at most resi-
dential complexes.

Terry Hunter


FLORIDA ARCHITECT March/April 1987


I lm







VIEWPOINT


Who's to blame when a tower leans


sixteen feet?
by H. Samuel Kruse, FAIA, AICP

The Leaning Tower ofPisa is one
of the seven wonders of the world
because it is a beautiful failure
that succeeded. The history of the
tower in Pisa, Italy, is interest-
ing in many ways and it causes
one to question twentieth century
attitudes toward deviations from
the norm. What would happen
today to the architect of a build-
ing that was eight degrees from
the perpendicular?

T he Cathedral of Pisa was an
important institution in the
Middle Ages. The Romanesque
church was begun in 1063 B.C.
and consecrated in 1118 B.C.
When the baptistry, begun in
1153 B.C., was almost complete,
the Archbishop commissioned
the architect Bonanno Pisano
to design the campanile in 1174
B.C.
Bonanno was a local architect
of some renown. Although there
were architects in Pisa and else-
where who were daringly experi-
menting with concepts of thrust
and counterthrust, Bonanno
avoided the avant-garde pointed
arches, ribbed vaults, thin walls
with large windows, and pointed
spires in favor of the tried and
true. .the ponderous and earth-
bound Romanesque. He had ap-
prenticed with the architects
who designed the Cathedral and
was, therefore, familiar with
the peculiarities of local marble
and the conditions of the sand
around Pisa, especially on the
Cathedral site.
Bonanno designed the campa-
nile to be a layer cake of white
marble, 179 feet tall with eight
tiers. The round base is sur-
rounded by semi-circular arches
supported on fifteen columns,
and above this are six layers of
open arcades with thirty columns
on each layer. The eighth tier is
smaller in circumference and has
only twelve columns around the
bell housing.
The foundation, as large as the
circumference of the tower and
thirteen feet thick, was laid on
the undisturbed earth at the
bottom of a ten foot deep exca-


vation. The stones were cut to
accurate shapes, fitted with tight
joints, coursed level and plumb
as was the practice of the day.
When the building was erected
to the first layer of arcades, it be-
gan to settle unevenly and when
the third layer of arcades was
complete, the building had such
a pronounced list that the work
was stopped.
It is doubtful that a building
official today would permit fur-
ther construction on such a slop-
ing building, even if the Architect
and the Archbishop so desired.
Today, such a failure during the
course of construction would stop
work until a remedy was pro-
posed or the project was aban-
doned. In either case, the archi-
tect would be challenged as to
performance of service, or pro-
fessional competence, or both.
It is, however, doubtful that
Bonanno would fare badly in to-
day's courts. His defense would
show that he was a man of integ-
rity and professional competence,
that he did what was expected
from a prudent man and did it
with the same degree of compe-
tence as his peers. There might
have been some questions about
the wisdom of continuing the
work when uneven settling was
discovered, but this is a matter
of judgement, and Buschetto and
Renaldo, the architects for the
Cathedral, could testify that it
was not unusual for buildings to
settle unevenly until the total
weight of construction has been
laid on the foundation. There is
little doubt that neither legal lia-
bility nor professional incompe-
tence could be proven against
Bonanno. After all, he had placed
the foundation ten feet below the
surface on undisturbed, inorganic
soil, as was the custom. The soil
and condition looked the same as
they had during construction of
the Cathedral and Baptistry.
Only God could have known that
the earth was not homogenous
below ten feet and that soft sand
lay below. All stones were care-
fully laid and fitted. Bonanno
had in no way been imprudent.


Of course, Bonanno suffered
as propositionals of any age suf-
fer when the unexpected hap-
pens. He suffered the derision
of his lesser colleagues and those
who were quick to use hindsight
and criticize. Facing the client,
even then, was not an easy task.
No architect, in any time, de-
lights in the experience of ex-
plaining to his client why he
cannot use his building for its
intended purpose .. particu-
larly after five long years of
construction.
The marvel of the leaning
tower is not that it stands six-
teen feet from the perpendicu-
lar. The marvel is that the failure
affected Bonanno's reputation
very little and his relations with
the client not at all. A few years
after the work was discontinued,
the Archbishop commissioned
him to do the bronze doors for
the south entrance to the cathe-
dral and to allow the campanile
to stand and be admired. For 100
years, the campanile stood in an


unfinished state until it was fin-
ished in 1350 B.C., only slightly
changed from Bonanno's original
drawings.
Twentieth century technology
has insured the tower's continu-
ing stability. In 1928, the Italian
government stabilized the sand
with cement by pumping it into
the ground below ten feet. The
Leaning Tower of Pisa, as it came
to be known through the ages,
has done more to make Pisa fa-
mous than all its stirring history,
artworks and great buildings
combined. It has made Pisa so
famous, in fact, that Bonanno's
descendant, Giovanni Bonanno
Conigliaro, wants to know if Bo-
nanno's estate can claim a share
of the benefits to the town that
were caused by the genius who
conceived the Leaning Tower.

H. Samuel Kruse, FAIA, AICP, is
a partner in the Miami architec-
tural firm of Watson, Deutsch-
man, Kruse & Lyon Architects,
Engineers & Planners, Inc.


FLORIDA ARCHITECT March/April 1987










Florida Schools of Architecture

offer design-centered education


T here are now four Schools of
Architecture in Florida. Col-
lectively, these programs pre-
pare hundreds of men and
women to practice architecture
in what is now a highly competi-
tive marketplace. The programs
are as varied as the backgrounds
of the students enrolled in them.
Each is striving for excellence.
The Deans of Florida's Schools
of Architecture were asked
to prepare a commentary for
Florida Architect in response to
specific questions about curricu-
lum, enrollment and future
goals. Below, in their own
words, are the responses.

University of Miami
School of Architecture
Thomas Regan, Dean

When Denman Fink, Phineas
Paist and John Llewellyn Skin-
ner initiated the first University
of Miami Architecture program
in 1927, they resisted the grow-
ing power of Modernism, in de-
sign and education. They estab-
lished the primacy of Beaux
Arts aesthetics and tectonics;
they posited themselves as con-
servatives in a world of rapid
change.

The resultant School
has shed that
original conservatism,
but has retained
the independent vision
of its earliest founders.

The School of Architecture
currently offers a five-year
Bachelor of Architecture, a
Master of Architecture and a
Master of Urban and Regional
Planning degree. All profes-
sional degree programs are fully
accredited. Twenty full time
faculty and an equal number of
parttime, adjunct and visiting
faculty teach 350 students.
The Bachelor of Architecture
program serves its students
through rigorous curriculum
which has evolved over the past
decade. The increasing demands


of the profession require a sig-
nificant number of courses spe-
cifically directed toward profes-
sional competence. The breadth
of a liberal arts program could
have been precluded; however,
the faculty have deliberately
produced an inclusive curricu-
lum which adds the opportuni-
ties of a liberal arts program to
the professional curriculum. A
structured sequence of electives
leads to a minor, which is re-
quired of each student. The
minor sequence parallels the
professional courses, thereby
offering maximum possibilities
for specialization during the
fourth and fifth year of studies.
In the professional sequence,
team taught studio courses in
the three-year core program
focus on specific topics that link
the technical lecture courses to
design studios. Fourth and fifth-
year students combine profes-
sional electives and studio proj-
ects with coursework in their
minor in a format conducive to
intensive, individual exploration.
A series of visiting critic's stu-
dios and seminars, special topics
and programs abroad complete
the spectrum of curriculum pos-
sibilities. With a mean SAT score
of 1129 and high standing in high
school rank for entering stu-
dents this fall, the academic
quality is competitive and in-
tense.
In support of specialized re-
search, faculty have recently
received funds from the National
Endowment for the Arts to com-
puterize an innovative zoning
code, and from the Florida En-
dowment for the Humanities to
organize a publication of a series
of articles by a noted architec-
ture critic. Additionally, faculty
have organized independent re-
search programs in Venice, in
collaboration with the Institute
di Universitario di Architettura
di Venezia, and on Easter Island.
The future of the School offers
special challenges in two areas
which directly enrich and sup-
port current work. First, the
School is developing additional


Y B R CITY


This drawingfor the Ybor City Gateway Competition won Second Placefor
UM students Roberto Behar, Fauziah and Rahim and Rosario Marquardt.


resources. Immediate plans for
physical space include an audi-
torium and library. The School
is also seeking new faculty to
provide further strength in vari-
ous areas of concentration and to
contribute to the collegial en-
vironment, essential to the
School's success.
Second, the School is develop-
ing current areas of focus into
academic units. The presence
of faculty, internationally re-
nowned for innovative thinking
in the development of towns,
suggests a concentration in De-
velopment within the Master of
Architecture program. Several
faculty noted for work in land-
scape history, theory and prac-
tice comprise a unit that offers a
minor in landscape studies. Fur-
ther efforts include explorations
in computerization and video
imaging, and an Institute of
Architecture and Urbanism in
Latin America.
The University of Miami has
the dual advantage of being lo-
cated within the ordered calm-
ness of the City of Coral Gables,
but contiguous to the dynamic
excitement of the City of Miami.


Both of these urban environ-
ments serve as continuous mod-
els for students of architecture.
The School's academic location
amidst a private university of
expansive opportunity which
enriches the life and education
of the professional student is
equally advantageous. The fu-
ture of the School, the Univer-
sity, and the City of Miami has
never looked brighter. The
vision of the founders of the
program in architecture is now
being realized as our past en-
lightens our positive vision of
the future.

School of Architecture
Florida Agricultural and
Mechanical University
Tallahassee, Florida
Enn Ots, Acting Dean

The School of Architecture at
Florida A & M University has
maintained, from its beginning
in 1975, a strong commitment to
a balance of concern for the
preparation of its students for
the profession of architecture
and the study of architecture as
an academic discipline. As the


FLORIDA ARCHITECT March/April 1987













Florida Practice Act and the
NAAB Criteria for program con-
tent more than adequately ad-
dress the concern for prepara-
tion for the Profession, the focus
of our efforts has been upon the
study of architecture. This con-
cern manifests itself primarily
through the manner in which
the courses prescribed by
NAAB and state law are deliv-
ered. As a School with two ac-
credited professional degree
programs, it is possible to pro-
vide a choice for the student
between a professionally biased
program-the five-year B. Arch
Program and an academically
biased program the six-year
B.S./M.Arch. Program. The
graduate program has estab-
lished a record of achievement
in areas that expand the scope
of normative architectural edu-
cation.


The concern for issues
such as the
practice of architecture
within corporations
and governments and
the provision of shelter
for the underprivileged
have been perhaps
the most visible elements
of the program.


In addition to these
areas of emphasis, the graduate
program has been evolved exten-
sively in the area of pre-design
analysis and architectural pro-
gramming. With the completion
of the new architecture building
in 1984, the School's ability to
develop a strong graduate area
of emphasis in environmental
technology was greatly en-
hanced. The new building also
allowed the School to expand its
student enrollment from 150 in
1984 to the current enrollment of
250. The ultimate enrollment
planned is 320, which is expected
by 1989.
The School of Architecture at
Florida A & M University has
always been well supported by
the Board of Regents, having


been designated as both a Cen-
ter of Excellence and a Quality
Improvement Program. This
special funding has allowed the
School to maintain a low student/
faculty ratio of 12:1. Even with
full enrollment, the student/
faculty ratio will remain the
same. The students who gradu-
ate from the program emerge
with some unique job skills that
appear to make them highly at-
tractive to employers. In partic-
ular, the skills and knowledge
they have acquired in building
economics and computer-aided
drafting and design (CADD)
seem to be in high demand. Stu-
dents who have completed our
graduate program are typically
recruited by firms like CRSS


due to their exceptional back-
ground in architectural pro-
gramming and architectural
management.
In summary, the School of Ar-
chitecture at FAMU is a multi-
faceted and dynamic School with
a center in Alexandria, Virginia,
a cooperative program with the
University of South Florida and
a very active in-house research
institute the Institute for
Building Sciences.
College of Architecture
University of Florida
Gainesville, Florida
Anthony James Catanese,
Ph.D., Dean

With over 63 years of experi-
ence, and 7,000 graduates, the


College of Architecture of the
University of Florida has as-
sumed a leadership role for
higher education in Florida, the
South and the nation. Far from
resting on their laurels, the fac-
ulty, staff and students are
working on a 10-year plan to
achieve national recognition as
one of the Top 10 architecture
colleges.
The College is a large institu-
tion. There were over 1400 full-
time students enrolled in 1986 in
five program areas: Architec-
ture, Building Construction,
Landscape Architecture, Inter-
ior Design and Urban and Re-
gional Planning. Of this number,
there are 350 freshmen and
sophomores declaring architec-


Top, Florida A&M student model for high density housing
study and above and right, models for Justice Complex
for Portland.


FLORIDA ARCHITECT March/April 1987













ture as their major; 350 juniors
and seniors majoring in architec-
ture and about 100 graduate stu-
dents enrolled in the professional
Master's Degree program. With
800 fulltime students in architec-
ture, the College is among the
Top 3 in size. There are almost
100 faculty in the College. The
State of Florida provides an an-
nual budget of over $3.5 million,
and the College raises $500,000 a
year in sponsored research and
programs, as well as $50,000 per
year in discretionary funds
through private gifts. There are
also several large gifts for scho-
larships, eminent scholar chairs
and special programs.
With such a large program, it
is important to explain that ar-
chitectural graduates will go into
many career paths. We esti-
mate that about one-third of UF
graduates will go into the tradi-
tional practice of architecture,
and perhaps only a half of them
will work primarily as designers.
The remainder will go into alter-
native careers, such as real es-
tate development, construction,
planning, materials and supply,
research, government and so on.


Design binds our students
together, but not all of them
will become designers.
Indeed from among today's
architectural students,
there will emerge both
practitioners and clients.


There will be three subject
areas in the UF curriculum that
will receive new emphasis this
year. The first is Computer Ap-
plications and Computer-aided
design. Major new micro-com-
puter and large systems will be
incorporated into the program.
Second, the Business and Real
Estate Development program
will be emphasized as there is
an increasing need for students
to know more about the com-
merce of the built environment.
The third area of concern is
Communications because archi-
tects must be strong communi-


cators in verbal, written, elec-
tronic and media skills.
Architecture is now at a stage
in its evolution where basic and
applied research is integral. The
knowledge phase of architec-
ture must be enhanced through
scholarly inquiry. We plan to
have formal research programs
in such areas as computer-aided
design, technology, design
theory and process, affordable
housing, dispute resolution, his-
toric conservation, growth
management, urban design,
Caribbean and South American
studies and several applied
topics, such as neighborhood
and downtown studies. This is
only the beginning of what we
see as a world-class research
institution.


Master of Architecture
Program at the University
of South Florida
Offered by the Florida A&M
School of Architecture and the
University of South Florida
Tampa, Florida
Alex Ratensky, Associate Dean
and
The Florida Center
David A. Crane, FAIA
Director

Two parallel and related pro-
fessional education initiatives
were started in the Tampa Bay
area during the Fall of 1986: the
FAMU/USF Cooperative Mas-
ter of Architecture Program at
the University of South Florida
(USF); and the FLORIDA
CENTER for Urban Design
and Research, a cooperative
public service institute of USF
in association with Florida A&M
University, University of Flor-
ida and Florida State Univer-
sity. These programs were ap-
proved by the Board of Regents
after years of planning by the
Tampa Bay professional com-
munity in concert with the USF
administration.
The FAMU/USF Coopera-
tive Architecture Program of-
fered its first classes in Septem-
ber, 1986. The eight-semester


long program leads to the first
professional degree, the
M.Arch., which will, when the
program is accredited, qualify
its holders to pursue licensure
as architects.

The Tampa program will
be the first within the
Florida State University
System that has an
intensely urban context
and focus.

It will work closely with
the Florida Center for Urban
Design and Research, as de-
scribed later. It also will provide
a "non-traditional" route to an
architecture degree, since it will
serve students with various
prior baccalaureate degrees. It
is the goal of the program at this
time to prepare its graduates to
become excellent licensed gen-
eral practitioners of architec-
ture. Other goals for the pro-
gram will emerge as its faculty
is selected and a research pro-
gram gets underway.
Approximately twelve stu-
dents were enrolled for Fall
term 1986 classes. That number
will double in the Spring 1987
term. The program eventually
will enroll 200 students. A
WC i % .,,'


search is underway for the pro-
gram's first four full-time fac-
ulty members, who will begin
teaching in September 1987.
The current student-faculty
ratio is very low classes are
meeting with 5 to 6 students.. It
is not anticipated that this ratio
will be maintained, although


planning and budgeting for the
program has provided for a
healthy low ratio.
Some form of cooperative
work-study will be developed,
and the architectural community
is strongly involved in the pro-
gram. What form the work com-
ponent of the education will take
is undecided at this point. Vari-
ous models from around the
country and the world are being
considered. Because of this co-
operative work-study experi-
ence, it is anticipated that grad-
uates of the program will move
directly into architectural firms
(where they may already have
been employed).
Over time and as its capacities
develop, FLORIDA CENTER
is expected to pursue a state-
wide activity agenda.
This center is intended to aug-
ment professional degree pro-
grams in design and planning
fields at the associated univer-
sity campuses in Tampa, Gaines-
ville, and Tallahassee. Its offices
in Downtown Tampa will serve
as a "real world" learning and
problem-solving laboratory for
graduate student interns, who
would typically be in residence
for semester-length periods. In-
terns will receive stipends and


engage in project studies for
public and private sponsors.
Project teams will be made up of
appropriate mixes of teaching
faculty (in part-time project ac-
tivity), graduate students and
full-time managing professionals
from FLORIDA CENTER's
small core staff.


FLORIDA ARCHITECT March/April 1987







OFFICE PRACTICE AIDS





Roof traffic as a design requirement

By D. B. Young, Jr., AIA


signers of today's roof mem-
ranes need to consider roof
traffic as a design requirement
and the traffic pad as the design
response. Roof top air-condition-
ing units, exhaust fans, pent-
house and roof top stair landings
generate foot traffic on the roof.
In addition, roof top equipment
requires service repairs which
turns the roof into a working
area with tools and heavy repair
equipment.
This is why roofs need protec-
tion from foot traffic and roof
top service calls. The different
roofing membranes used today
have shortcomings in dealing
with these problems. For exam-
ple, gravel surfaced built-up
roofing suffers gravel displace-
ment from constant foot traffic.
In turn, the bare roof is exposed
to ultra violet damage and the
gravel does not provide protec-
tion from dropped tools. Smooth
surface single-ply and coated
built-up roofing membranes are
completely exposed to foot traf-
fic and abuse from service calls.
To provide a measure of pro-
tection to the roof, roof traffic
pads should be installed during
the original roof construction.
The illustration shows several
locations for traffic pads. First,
a pad should be placed around
roof top equipment requiring
monthly service. A four-foot
wide strip around the service-
access sides of the equipment
provides an excellent working
area for service personnel. Pads
should be placed at roof hatches.
A four-foot wide strip around
the hatch provides the neces-
sary protection at a major point
of traffic. The roof and bottom of
ladders and doors leading onto
the roof should also be padded
with four-foot squares, as well
as constant or designated paths
of foot traffic. One trip per week
qualifies as a path needing pro-
tection. The area between the
penthouse door and the roof lad-
der is a good example.


Graphics by S. Gatlin


For built-up roof membranes,
a 2" thick concrete paving stone
is the perfect choice. Setting the
paving stone over a flood coat,
then a hot flood coating and grav-
eling to the paver provides an ex-
cellent detail with transition be-
tween pad and gravel surfacing.
For ballasted single-ply mem-
brane, the substitution of the
concrete paver for the stone bal-
last provides the solution. The
pavers should be placed over the
membrane's stone ballast sepa-
ration sheet or an additional layer
of loose laid membrane in order to
protect the membrane in the set-
ting of the paver. After the pav-
ers are in place, the ballast can
be applied.
For smooth surface, mechani-
cally fastened single-ply mem-
branes are very effective. The
utilization of 2" concrete paver
set over an additional layer of
loose laid membrane for setting
protection provides the solution.
Most of the situations described
in this article utilize the 2" con-


create paver which seems to be
cost-effective in most situations.
In addition to the standard 2" con-
crete pavers, several concrete
walk pads are now being manu-
factured. Several built-up roof-
ing manufacturers provide a
mineral-surfaced bituminous
composition board for traffic
protection. The difficulty with
these products is that they ab-
sorb moisture at the edges and
can be difficult to install. Several
single-ply membrane manufac-
turers have traffic pads as acces-
sories with their membranes.
These pads are typically made
from the same materials that the
membranes are, except the pads
are manufactured significantly
thicker with a textured non-slip
surface.
D. B. Young, Jr., AIA
The author is an architect and
roof consultant in Altamonte
Springs. He is a member of the
Institute of Roofing and Water-
proofing Consultants and the
Roof Consultant Institute.


FLORIDA ARCHITECT Mach/April 1987








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