Title: Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00273
 Material Information
Title: Florida architect
Series Title: Florida architect.
Physical Description: v. : ill. ; 30 cm.
Language: English
Creator: American Institute of Architects -- Florida Association
Florida Association of Architects
Publisher: Florida Association of the American Institute of Architects.
Place of Publication: Tallahassee Fla
Publication Date: November-December 1988
Frequency: quarterly
Subject: Architecture -- Periodicals -- Florida   ( lcsh )
Genre: periodical   ( marcgt )
Dates or Sequential Designation: Vol. 4, no. 3 (July 1954)-
Dates or Sequential Designation: Ceased in 1996.
Issuing Body: Official journal of the Florida Association of the American Institute of Architects.
Issuing Body: Issued by: Florida Association of Architects of the American Institute of Architects, 1954- ; Florida Association of the American Institute of Architects, <1980->.
 Record Information
Bibliographic ID: UF00073793
Volume ID: VID00273
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 06827129
lccn - sn 80002445
issn - 0015-3907
 Related Items
Preceded by: Bulletin (Florida Association of Architects)
Succeeded by: Florida/Caribbean architect

Full Text




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Architects need to lead, follow
or get out of the way 10
-- A message from the FA/AIA President-elect
- P H. Dean Rowe, FAIA

A Masterful Presentation
November/December 1988 Will Bring Art To The People 16
Vol. 35, No. 6 The Samuel P. Harn Museum of Art will be the pivotal
structure in Kha Le-Huu's new arts complex.
Diane D. Greer

A Practical Palazzo With Polish 18
Michael Dunlap restores and renovates a
1930's riverfront residence.
Maggie McPherson

Fenestration As An Art Form 20
Giorgio Balli punctuates a simple facade
and gives it a unique character
Chloe Hoenfeld

Three Courts And A Cornerstone 22
William Morgan's design for a church
at the beach is light, light, light
Diane D. Greer

Editorial 5
New Commissions 6

Florida Architect, Official Journal of the
Florida Association of the American In-
stitute of Architects, is owned and pub-
lished by the Association, a Florida Cor-
poration not for profit. ISSN-0015-3907.
It is published six times a year at the
Executive Office of the Association, 104
East Jefferson St., Thllahassee, Florida
32302. Telephone (904) 222-7590.
Opinions expressed by contributors are
not necessarily those of the FA/AIA. Cover photo of Beach United Methodist Church, Jacksonville Beach, by LAUTMAN Photography.
Editorial material may be reprinted only Architecture by William Morgan Architects
with the express permission of Florida

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Florida Association of the
American Institute of Architects
104 East Jefferson Street
Post Office Box 10388
Tallahassee, Florida 32302

Publisher/Executive Vice President
George A. Allen, CAE
Diane D. Greer
Assistant Publisher
Director of Advertising
Carolyn Maryland
Design and Production
Peter Mitchell Associates, Inc.
Boyd Brothers Printers
Editorial Board
Ivan Johnson, AIA, Chairman
John Thtty, AIA
Larry Wilder, AIA
John Howey, AIA
John Ehrig, AIA
4625 East Bay Drive, Suite 21
Clearwater, Florida 34624
Vice President/President-elect
H. Dean Rowe, FAIA
100 Madison Street
Tampa, Florida 33602
Larry Schneider, AIA
25 Seabreeze
Delray Beach, Florida 33483
Past President
John Barley, AIA
5345 Ortega Boulevard, Suite 9
Jacksonville, Florida 32210
Regional Directors
Mark Jaroszewicz, FAIA
331 Architecture Building
University of Florida
Gainesville, Florida 32611
James Greene, FAIA
254 Plaza Drive
P.O. Box 1147
Oviedo, Florida 32765
Vice President for
Professional Society
R. 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
Rudolph Arsenicos, AIA
2560 RCA Boulevard, Suite 106
Palm Beach Gardens, Florida 33410
Vice President for
Public Relations/Communications
Raymond Scott, AIA
601 S. Lake Destiny Road, Suite 400
Maitland, Florida 32571

In Paradise, Dante gazed rapt, into the heart of Light, the heart of Silence.

he history of art is a history of the artist learning to handle light. At Her-
culaneum in the first century A.D., Roman mural painters used light and
shade to give illusionistic effects to paintings of simple household objects. They
paid scrupulous attention to contour shadows and highlights. In 14th century
Florence, Giotto sought to give his figures substance by projecting them into the
light and throwing a shadow. In the 17th century, the use of abrupt lights and
darks and violent chiaroscuro gave way to the brilliant work of men like
Rembrandt and Velasquez. By this time, light was the equivalent of drama. It
was the Impressionist painters of the 19th century who shattered light and dap-
pled scenes with sunlight and shade, artfully blurring light into the very figures
that the Byzantines had tried to give substance to.
The history of architecture has been little different in its discovery of the power
of light. While it was to the painter to learn that changing light and dark can
suggest changing human mood on canvas, it was to the architect to learn that the
motion of light through a space can affect human emotions.
What strikes visitors to Hagia Sopia is the quality of the light inside and the ef-
fect it has on one's spirit. The forty windows at the base of the dome give the
peculiar illusion that the dome rests upon the light that floods through them. An
historian from the period of Hagia Sophia's construction wrote, "One would de-
clare that the place were not illuminated from the outside by the sun, but that the
radiance originated from within, such is the abundance of light that is shed about
this shrine."
Light at Hagia Sophia is a mystic element. It glitters off the mosaics, shines
from the marble surfaces and pervades and defines the space. The light inside this
building seems to dissolve material substance and transform it into the abstract.
The 12th century chapels at St. Denis near Paris suggest that the rib vault was
used for the express purpose, as Abbott Suger wrote, of allowing the "whole
church to shine with wonderful and uninterrupted light." It was the science of
light that led to the invention of the Gothic building, the slender skeletal structure
that permitted the flooding of the interior with light.
To fully appreciate the impact of chiaroscuro on the emotions, one has only to
sit in a cloister watching the changing light through the hours of the day. It's ef-
fect is dramatic.
This issue of Florida Architect looks at several projects in which the handling of
light was a primary design determinant. The projects are different in size, scope
and intent a museum, a church, a studio, an office. But the designer of each
stressed the importance of the way light was handled. Each of these projects
shows an awareness of what the ancients worked hard to understand and learn
how to handle....light. DG

New Commissions

The Biltmore Golf Facility in
Coral Gables was designed
by City of Coral Gables architect
Subrata Basu in association with
HCDA, Inc., Architecture, Plan-
ning, Interior Design. The $1.3
million facility will complete the
revitalization of the restored Bilt-
more Hotel and Country Club
complex. VOA Associates, Inc.
was awarded the design contract
for the Applied Instruction Build-
ing at the Naval Training Center
in Orlando. The $10 million proj-
ect will include a building to
house the Electronics Technician
"A" School. Soellner Associates
Architecture has just completed
design for Pizzeria Uno, a 5,289
s.f. restaurant to be constructed
in Orlando's Church Street Mar-
ket. Prime Design, Inc. is de-
signing the new 114,000 s.f. man-
ufacturing facility for Donzi Ma-
rine in Avon Park. The company
manufactures high performance
boats and the new facility will
have a test pool for the water
testing of all boats. Slattery &
Root Architects will design the
Market Place in Ft. Myers. The
retail center is to be built on a
three-cornered 21-acre site. *
Richard Fawley Architects has
completed design of a 31,000 s.f.
addition to Jessie P. Miller Ele-
mentary School in Bradenton.
The addition will house Admin-
istration, Media Center and Spe-
cial Education classrooms. Faw-
ley has also been selected by the
Kirkwood Presbyterian Church
in Bradenton to provide prelimi-
nary design and land planning
services for a 750-seat sanctuary,
classroom and office addition.
Architects Corbin/Yamafuji
and Partners, Inc. have master
planned and designed a futuris-
tic retail center/cultural facility
for Tbkyo shoppers. The river-
front center will include over
one million square feet of retail
space on 16.3 acres. KSD Archi-
tectural Associates' new elemen-
tary school on the outskirts of
Crestview is under construction.
The school has a contemporary
bell tower on the central roof of

\ -I- -

Multi-purpose community/civic center for Loxahatchee Groves Park in Palm Beach County designed by Shoupi

McKinley Architects.

the school's dropoff ramp which
will be used as a call to class. *
Architecture Montenay Inc. has
been retained by L.J. Hooker
Developments of Atlanta to de-
sign the new Lakefair Mall in
'Tmpa. The two-story regional
shopping mall will contain five
anchors and a variety of shops
and restaurants. The mall will
total nearly 1.7 million square
feet. Architecture Montenay is
also designing Crossroads Park
Mall in Cary, North Carolina for
Hooker Development. The
Donald 'Tump Organization has
commissioned Robert M. Swed-
roe, AIA, to provide architectural
and master-planning services
for his Resorts International In-
terests at Paradise Island in the
Bahamas. Stiles-Sowers and
Associates of Naples has named
Burt Hill Kosar Rittlemann Asso-
ciates to handle space planning
for the recently completed nine
story Barnett Center in Ft.
Myers. Robison + Associates,

Inc. has been commissioned by
Lauran Capital Corp. to pro-
vide space planning and tenant
improvements for its 60,000 s.f.
medical office in South Miami.

Awards and Honors
ichard Fawley Architects has
been selected by the Man-
atee County Good Planning
Awards Committee to receive
their first annual "Award for Ex-
cellence for Large Office/Com-
mercial Projects" for the Wild-
woode Professional Park office
The Phase One Office Build-
ing in Winter Park designed by
Fugleberg Koch Architects was
recently recognized by the Flor-
ida Power Energy Conservation
Design Award Program. The
building received the award
because it surpassed state con-
servation requirements by 25

Ellis W. Bullock, Jr., FAIA,
has been elected Chairman of the
Architecture Advisory Council,
School of Architecture at Auburn
University. The council advises
the Dean and Faculty on pro-
grams and curricula and provides
a liaison between practice and
academia. Bullock is also a mem-
ber of the University of Florida's
Architecture Council.
Burt Hill Kosar Rittelmann
Associates was recently named
to a list of the country's Top 500
Design Firms by Engineering
News Record. The firm was the
only locally-based Southwest
Florida architecture/engineer-
ing company to make the list.

Ranon and Partners in Tampa
were consulting architects, with
Smith.Obst Associates on the res-
toration of the Palm Beach Town
Hall. This deletion was an over-
sight in the September/October,
1988 issue of FA.

I- -

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City f New Port Richey City Hall by Gee & Jenson Engineers-Architects-Plan ners, Inc.


The editorial in the Septem-
ber-October 1988 Florida Archi-
tect was a tantalizing piece that
raised great expectations for the
awards that followed. The ex-
cited prose hailed them as "good
new design ... at peace with"
their surroundings and epitomiz-
ing the Florida that the Editor
"always dreamed of."
Be assured that all of your
readership does not share these
views. What we found was:
* a school that looked like a shop-
ping center;
* a city hall that looked like a
shopping center;
* a shopping center that did not
look like a shopping center; and
* a bank that looked like a bill-
Does each of these shout "that
it was designed for Florida"?
Does each of these say "Florida
in its own unique way"? We can
only hope not. Los Angeles, per-
haps. Las Vegas, perhaps. But,
please, not Florida.
Thank goodness for the Ramses
II Exhibition Space and the Ma-
teu Family Project for these do
address the essence of architec-
ture: space, volume, order and
light. You would do your readers
a service to expand your cover-
age of these projects.
Jeffrey H. Rolland, AIA

Ed. Note: The Ramses II Exhibit
was featured in the May-June
1987 issue of FA.

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Dear Editor:
Your editorial in the Septem-
ber/October 1988 issue of Flor-
ida Architect moved me so much,
I felt compelled to respond. I
would like to compliment you on
your very succinct, accurate as-
sessment of the state of new ar-
chitectural projects in the capital
city. Tb use a metaphor, you have
"hit the nail on the head."
I am in my second year of pri-
vate practice in Thllahassee and
have found presenting new, posi-
tive design ideas which are un-
related to "colonial" unwel-
come. Even couples designing
and building their dream house,
revert back to dentils, shutters
and ducks. What chance do we
have as designers to present
ideas of a new and better world
in this environment?
Fortunately, this year was
exciting for me in regards to de-
sign, as a winner of an Unbuilt
Design Award from the FA/AIA.
The design relates directly to
Florida vernacular, with not a
single "colonial" detail. Unfor-
tunately the new owner may not
have enough money to build the
project. I tried to present the
project to the Thllahassee Demo-
crat as a view to the future, but
I feel it may not have fit into the
"traditional" environment. May-
be next year?
From one architect to one
very informed editor, thanks
for your most welcomed com-
mentary. I hope someone is
listening .
Mark Griesbach, AIA

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Architects need to lead, follow or get out of the way
by H. Dean Rowe, FAIA, President-elect

t is becoming more evident
each year that the architec-
tural profession in the 21st cen-
tury will either have to learn to
lead, follow, or get out of the
way. As generalists, we must
regain our place as team leaders
on the construction site and in
the board room. As designers
and technicians, we must con-
stantly re-educate ourselves to
new processes and procedures
to more efficiently offer the
services our clients demand,
and if we don't learn to accom-
plish these simple tasks, we
might as well fold up our tents
and find something else to do.
Tb do anything we are going
to have to organize ourselves to
take advantage of those oppor-
tunities awaiting creative solu-
tions. However, in order to or-
ganize we must be stronger in
numbers, streamlined in our ap-
proach to dealing with prob-
lems, more conscious of the
public's needs and concerns,
and more confident of our place
in society.
There are 4,108 Registered
Architects practicing in Florida.
Intern architects in the "pipe-
line" working toward registra-
tion (all potential Associate
Members) number 820. Our
state supported schools of archi-
tecture are preparing another
1,202 to get into that "pipeline."
And, at this moment our Associ-
ation has less than 2,500 mem-
bers! That is absolutely deplor-
able! How can we expect to be
a force in this state when barely
50% of the total architects and
intern architects practicing and
working here are members of
the AIA? It is essential, and our
number one goal, that we make
this Association grow at least
20% this year and that we es-
tablish membership growth
strategies and structures to
capture a minimum of 85% of
the potential membership by
1991. Tb do this will take
creativity and commitment. By
learning from the successes of

others, and borrowing from and
enlarging on their success, a
plan to accomplish this goal will
be created.
Another way to look at our
situation is to realize that half of
the profession is carrying the
other half on its shoulders. This
means that you and I are paying
for something from which others
in the profession are benefiting
free of charge. And, this pay-
ment is made in dues dollars
and in time. We need involve-
ment as much or more than
Our organization must be
strong and offer more service to
our members for their dues
than ever before. We shared our
ideas with members of the
Board of Directors and the gen-
eral membership at the Fall
Convention. Our program for
next year will include:
An ever improving Florida
Architect and Contact with
more news from our 13 chap-
ters, including featuring their
design award winners and
other successes in architectural
awareness and membership
growth. We will also focus on
broadening its circulation to
reach more of our potential
Preparing for publication
in February 1990, a FA/AIA Ar-
chitect's Handbook. The goal is
that this Handbook will very
quickly become an important
generator of new revenue as
similar publications in other
states have dore. The Hand-
book will include: FA/AIA
membership list; building prod-
ucts/services; state and federal
government agencies and de-
partment users of architectural
services; directory of counties
and municipalities names,
addresses and phone numbers
of all personnel in any way con-
nected with building, construc-
tion and planning; an editorial
section which includes com-
prehensive new practice aids,
and advertising of products and

services you use every day.
We will continue to im-
prove and build upon the recent
successes of the Practice Man-
agement Seminar and the
Sarasota Design Conference.
We need to focus on major
legislative issues, including;
Mandatory Construction Ad-
ministration, Tbrt Reform to re-
duce our seemingly ever in-
creasing liability, and strong
participation in the rule making
process necessary to implement
our new statute, and carefully
monitor the session to protect
our "political backside." We
must also continue to help
achieve these legislative goals.
We will strive to broaden
the public's perception of what
architects are all about by sup-
porting the Florida Foundation
for Architecture which has been
reorganized this year. The
Foundation has established
noteworthy fund raising goals
which, when realized, will in-
crease the public's awareness of
the architect's role in the built
We will continue to investi-

gate the creation of a Voluntary
Continuing Education Pro-
gram. Such a program was a
service need expressed by our
membership at our last Fall
Convention. While implementa-
tion of a significant program
such as this is difficult, we must
and will find a way to do so.
Public polls have shown the
perception of the architect in
the public's eye is generally
high. Nonetheless, we must
find ways to play an enabling
role in community design ef-
forts and expand our public
service activities if we are to
really become a force leading
the way into the 21st century.
We can do so by:
Organizing local urban de-
sign committees to help define
and articulate the community's
design concerns.
Utilizing the AIA National
Regional/Urban Design Assis-
tance Team (R/UDAT) program
to break up local log-jams and
provide fresh insights into com-
plex planning problems involv-
ing multiple interest groups.
Raising the public's con-

sciousness of design and the
role architects play in making
the community a good place to
live by sponsoring shows on ar-
chitecture in local art museums.

Sources for such shows include
National AIA Design Honor
Awards, State and Chapter De-
sign Awards, Architecture in
the School Programs, and other


available traveling exhibits on
Architecture available from Na-
tional AIA and other sources.
Dissemination of a 20-sec-
ond public service video tape on

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Circle 50 on Reader Inquiry Card

architecture to local television
stations. Our Architectural
Awareness Committee is pre-
paring the video which local sta-
tions will run within their man-
dated public service commit-
ment. The key to this program
is your participation; ask for
the video and ask your local sta-
tion to run it.
Organizing, training, and
promoting speaker's bureaus
across the state to address local
civic and social organizations on
Participating in the
"Architects in the School Pro-
grams." This is truly the "grass-
roots" where it all must begin.
We must strengthen our
spirit by:
More openly sharing our
successes and failures with our
colleagues so we can all become
stronger and more self-reliant.
If you will attend our Practice
Management Seminar, Sarasota
Design Conference and Fall
Convention you will find this
Refusing to allow ourselves
to be exploited by those seeking
to do so because of our reputa-
tion as "artists not business-
men." The only way this can be
countered is to become darn
good business persons our-
selves. Our Practice Manage-
ment Seminar every spring and
many other tools available
through the AIA can help you
achieve that goal. USE THEM!
Learning to use the many
new time saving tools brought
to us by the computer age
which will allow us to spend
more time on design and pro-
duce better, more complete and
accurate documents.
Believing that we can pro-
duce a better built environment
for mankind.
As you can undoubtedly see
from this article, I am very ex-
cited about our upcoming year.
I earnestly hope you all are as
excited as I am and will join
with me, the Executive Vice
President and the rest of the
staff to meet the goals I have

Gene Leedy

1988 FA/AIA Award of Honor for Design

Above, left, the Strang House in Winter Haven was built in Jl: indt the Kt dt n'm,.r I e office in Charlotte. N.C.
was completed in 1987. Photos by Gene Leedy.

"My work is an effort to
stimulate and to satisfy the
deep surging emotional
needs of the individual and
to answer the physical re-
quirements of living. It is
concerned with the honest
use of materials, straightfor-
ward structural expression,
the play of light and shadow,
the excitement of spatial
experience, and visual
strength and power. It is
neither a break with tradi-
tion nor is it a hypocritical
imitation of tradition. It is
a continuation. It is a posi-
tive force in the midst of
many negative forces of our
Gene Leedy, 3-27-66

Since 1950, when Gene Leedy
received his Bachelor of Ar-
chitecture degree from the Uni-
versity of Florida, he has been
one of the pioneers of the mod-
ern movement in Florida archi-
tecture. During the 1950's and
60's, as one of the founders of
the now-famous Sarasota School,
his work was much touted in na-
tional magazines. In a series of
articles on "Successful Young
Architects" which ran in Archi-
tectural Record in 1965, Leedy's
work was clearly felt to be both
innovative and exciting.
According to the Record,
"Gene Leedy's system of screen
walls and T-beams has proved
to be as successful in small
houses as it is in office build-
ings; and the architectural vo-
cabulary he has developed from
these two elements seems capa-
ble of many variations in meet-
ing the requirements of a small
town architectural practice."
As early as 1959. he had be-
come something of a phenome-
non for his use of T beams and
rough concrete walls in domes-
tic architecture. "The T struc-
ture enabled him to form large,
bold spaces at a relatively low
square foot cost, but it meant
the deliberte sacrifee of deli-
ear and precision that had
duaaterised much of his ear-
ier work." According to Leedy,
"the search for lightness and
transparency is a valuable ar-
chitectural exercise." Appar-
ently Leedy began to suspect
that the appeal of these qual-
ities was mainly to the intellect,
and, perhaps mainly to the ar-
chitect's intellect. He decided
that refinement was worth sac-
rificing in order to obtain large
and significant spaces, al-
though, whenever he had the
budget, he tried to obtain both.
In the years since his first in-
novative use of the T beam,
Leedy's work has continued in
much the same vein. In 1960, he

designed the Winter Haven
City Hall using a poured con-
crete structural system, bar
joists and stucco. The following
year, the design of his own ar-
chitectural office called for one
of the first all prestressed con-
crete systems...exposed. In
1963, Leedy used exposed
"Ocala Block" on the Ellison
Residence in Winter Haven. By
1970, he had begun to put barrel
tile roofs atop exposed concrete
block. This combination was
used on some Honolulu, Hawaii
townhouses and on a number of
residences which followed. The
Strang Residence, which he de-
signed in 1970 for construction
in Winter Haven, was Leedy's
contemporary version of a
Florida traditional house with
its use of a prestressed concrete
system with pitched roof of
terra cotta barrel tile and three-
story courtyard. In the July/
August, 1988 issue of Florida
Architect, Leedy's North Caro-
lina residence for Hans Keilhack
was published. The house was
the recipient of a 1987 design
award from the Prestressed
Concrete Institute. With its 24-
inch deep double T stem units
spanning the distance between
24-inch square precast beams,
the house is a larger, more ele-
gant, grandiose version of
Leedy's houses of the 50's
and 60's.
The Keilhack Residence
seems to be one of those Leedy
houses that has it all... large
significant space that didn't sac-
rifice refinement.

Top, interior of the Leedy offii t,
Winter Hav en. Bottom, the
Dorman Residence in Winter
Haven shows the use of a
prestressed concrete system in
1963. Photos by Gene Leedy.



The 1987 AIA Firm Survey Report
Available Now through the Florida Association/AIA
$50.00/members or $195.00/non-members

Facts, Figures and Percentages of U.S. Architectural Firms

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A masterful presentation will bring art to the people

University of Florida/
Santa Fe Community
College Joint-Use
Fine Arts Facilities
University of Florida
Gainesville, Florida
Architect: Kha Le-Huu &
Partners, P.A. (Design);
Jackson-Reeger, Inc. (Techni-
cal); Kha Le-Huu, AIA, Princi-
pal-in-Charge of Design; David
Jackson, AIA, Project Man-
ager; Bud Reeger, AIA, Techni-
cal Coordinator; Thomas J.
Chapoton, AIA, Project
Project Team: Christopher
Brown, Andrew Davis, Juan
Haberkorn, Patrick Hargrove,
Patricia McBrayer, Joe Wynn,
Steve Ziemba, Terri Welch,
Deborah Morgan

On a 28-acre site on the Uni-
versity of Florida's main
campus in Gainesville, the
Joint-Use Fine Arts Facilities
will be built in phases over the
next five to seven years. The
University of Florida will share
these facilities with Santa Fe
Community College. As the re-
sult of a much-touted competi-
tion for the design of the
Samuel P. Ham Museum of
Art, Kha Le-Huu & Partners
designed a building complex
which is intended to be a cul-
tural magnet encompassing the
combination of art, perfor-
mance and natural history.
Educated at the University
of Florida, Le-Huu was re-
cruited by Skidmore, Owings &
Merrill and joined their Hous-
ton office in 1982. As a Senior
Project Designer, he was in-
volved in a series of multi-use
facilities in the United States
and Europe. In 1986, he came
back to Florida to establish the
architectural practice of Kha
Le-Huu & Partners, P.A.

- -'

' I

The combination of facilities
and the favorable natural char-
acteristics of the large site pre-
sented a special planning/
design opportunity for the ar-
chitects. Conceived as a cultural
enclave within a community
park, the master plan offers a
rich variety of indoor and out-
door activities to the students
and the citizens of Gainesville.
When completed, this cultural
park will include three main
buildings, the 62,000 square
foot Ham Museum, the 2,000-
seat Santa Fe Performing Arts
Center and the 65,000 square
foot Florida Natural History
Museum. There will be a cen-
tral plant to serve all the
facilities. The master plan pro-
poses an informal arrangement
of the three principal buildings
within a park system which con-
sists of sculpture walks, nature
trails, pedestrian plazas, pavil-
ions, an amphitheater biological
ponds and secured on-site park-
ing for approximately 1100 cars
and 45 school buses.

Construction began on the
Ham Museum during this past
summer. The focus of the build-
ing's design is light, circulation
and flexibility.
Natural light...chiaras-
curo..the play of light and
shadow on works of art and the
interplay of light, space and
art, were central to the design
theme of the Ham Museum.
The glass-roofed tetrahedron
which rises above the Ham's
rotunda gives the building its
distinctive silhouette and a legi-
ble identity, but it also admits a
soft natural light to the building
interiors. Inside the museum,
this light is captured and con-
trolled by a series of strategi-
cally placed courtyards and
skylights. Their placement rein-
forces the circulation pattern
and gives each gallery its sense
of place and identity. The diver-
sity of scale in the different
building sections, i.e. the lofty
rotunda vs. the intimate gal-
leries where permanent collec-
tions are housed, is intended to
offer flexible spaces in which
the curators can work. Within
these dynamic spatial volumes
exhibits can be designed to
bring light, space and art to-
gether in a memorable museum
Circulation in the Ham
Museum was conceived as a se-
quence of events in which
gradual and controlled changes
of light and space direct the vis-
itor. The sequence begins at the
water garden at the main entry
and ends in the exhibition
areas. Visitors will enter the
Ham through a contemplative
water forecourt and move into
a light-filled lobby. They will
then proceed to the rotunda
with its north light and finally
into the darker, more intimate,
The square footage of the
lobby and galleries is combined
into a large contiguous rotunda.
This area serves two purposes.
It is a point of global reference
for visitors and it is the place
where they start and end their

viewing journeys. The rotunda
functions as an auxiliary gallery
which can be converted to add
exhibit space when necessary.
The gallery arrangement of
the Ham emphasizes a sense of
order, clear circulation, light
quality and easy expansion. A
sense of order is accomplished
by the axial grouping of the
rotunda with the two central
temporary galleries sur-
rounded by five permanent gal-
leries. This spatial pattern
creates a very fluid volumetric
relationship between the
dramatic rotunda, the central,
lofting changing galleries and
the more intimate permanent
galleries. From the visitor's
viewpoint, this spatial arrange-
ment gives equal recognition to

both groups of galleries, perma-
nent and changing and it avoids
the undesirable "back room"
perception which is a common
problem in many art museums.
Owing to this special gallery ar-
rangement, the Ham's future
expansions can occur without
adversely affecting the muse-
um's normal operation or the
building's original design.

Opposite page, model ofHam
Museum, and architect's sketch for
glass entrance to lobby, below. This
page: Site plan shows unique
massing and configuration of arts
complex. East and west elevations
courtesy of the architect.

-~ ; .4 .F .i. 4I .


S: :: I
den. . . .~.tO4, tt444t..44t

La- IL

Is 4

FLORIDA ARCHITECT November/December 1988

!, T-


LYI:I~ =:

A practical palazzo with polish

The Johnson Studio
Jacksonville, Florida

Architect: Michael Dunlap, AIA
Contractor: Rigdon and Rigdon
Interior Consultant: Dempsey
and Co.
Landscape Architect: Fred Pope
Owner: J. Johnson Photography

The Johnson Studio is a reno-
vation which transformed a
family home, built in the 1920's,
into a working photography
studio and architect's office. As
both a photographer and archi-
tect, Michael Dunlap felt
uniquely qualified to solve the
design problem and technical
problems inherent in the crea-
tion of a darkroom and photog-
raphy studio, as well as a work-
ing office for his architectural
The beautiful riverfront
building was originally de-
signed by Henrietta Dozier in
1926. It is one of the most class-
ically detailed and elegant
structures dating from this
period and still standing along
the St. John's River. The facade
of the building is majestically
symmetrical and balanced and
has the look of a Renaissance
palazzo. At the rear of the
house is a dependency whose
wall now encloses one side of an
intimate courtyard. The court-
yard has been rather playfully
treated with a sunscreen car-
ried on Ionic columns reminis-
cent of the Doric columns which
define the main entry to the
The building's present owner
commissioned architect Dunlap
to design a state-of-the-art
photography studio which
would be in keeping with the in-
tegrity of the neighborhood.
The studio, which includes a
space for shooting, film proces-
sing and large format printing,
was designed to occupy the first
floor and the outbuilding, which
was probably a guest house
originally. This gave the studio

FLORIDA ARCHITECT November/December 1988

The 1920's Mediterr nean-styl residence, opposite top, has classical entrance and detailing. This page, top. courtyardand stair to bridge whi connects
main house with outbuilding. Below. deals unique to the origrial house ar prevalent in the courtyard area Photos by Michael Dunlap.

the advantage of natural light
from large round-topped win-
dows, pre- existing kitchen
plumbing which could be
adapted for darkroom use and
access to the outdoors. Wood-
work in this area was stripped
and stained white to compli-
ment the light, reflective prop-
erties of the white walls and
ceiling. One small room, used as
an alternative shooting space.
was painted a deep red for its
opposite properties of light ab-
The second floor architec-
tural office which Dunlap de-
signed for himself, is entered by
means of an outside stair. This
stair leads to a deck bridge
which connects the house with
the outbuildings and allows for
entry to either structure with-

out going through the studio.
The stair which rises to the
bridge was placed between two
freestanding arches, one ap-
pearing to have been cut from
the other. It is whimsical
touches such as this, which is
original to the house, that add
great interest to the exterior
spaces. The side of the stair is
painted bright red in contrast to
the softer salmon exterior and
when viewed in profile the stair
adds a very contemporary
touch to the 20's flavor of the
By virtue of careful planning
and design. the photography
studio and architecture office
are able to compliment each
other's needs. The building, its
grounds and the neighborhood
provide inspiration for both arts.


Fenestration as an art form




A though a commercial build-
ing, this small structure in
South Miami blends with its
residential surroundings and
could, itself, be a residence.
This small office building is lo-
cated on a corner lot near a busi-
ness district. It's 5,000 square
feet are divided between two
floors and a three-car garage
which gives it an even more
residential flavor. Since the
building site abuts single family
homes, special design determin-
ants had to be used to disguise
its commercial use in order to
comply with South Miami Ar-
chitectural Review Board
The materials which architect
Balli selected are appropriate
to the South Florida climate
and the combination of operable
windows and extra insulation in
the walls and roof helps keep
cooling costs low.
Most interesting about this
relatively small building is the
way in which its main facade is
fenestrated. The window treat-
ment and placement is actually
the main decoration. Streaking
off like a bolt of lightening from

the right of the entrance is a
strip of glass jutting upward
and rounding the corner of the
building toward the garage.
Other openings in the facade in-
clude an off-center grouping of
operable square windows to the
left of the entry which balance
the oriole window, garage win-
dow and openings for ventila-
tion in the base of the garage
wall. This lively variety of win-
dows, coupled with the glass
block wall and awning at the
entry all add interest to an
otherwise subdued facade. On
the building interior, space was
kept very flexible for multipur-
pose use. The first floor is a re-
ception area and garage and the
second floor houses the travel
agency offices.

Photos of main facade by George
Miller. Drawing of main elevation
courtesy of Giorgio Balli.

Three Courts and a Cornerstone

Beach United Methodist
Jacksonville Beach,

Architect: William Morgan
Consulting Engineers:
H.W. Keister Associates, Inc.,
structural; Kashmiry and
Mahin, Inc., mechanical and
Stained Glass Design: J. Piercy
Contractor: Lee & Griffin
Construction Co.

This page, top, section across
sanctuary shows placement of
sacristy below the altar. Bottom,
45-foot stained glass window,
designed by Jim Piercy, rises be-
hind the 22-foot wide altar. Facing
page, the profile of the church has a
significant impact on the existing
streetscape. All photos by
LAUTMAN Photography. Draw-
ings courtesy of William Morgan

To ensure a sense of spiritual
intimacy, William Morgan
designed this sanctuary so that
no seat in the compact nave is
more than sixty feet from the
pulpit. Light, movement, unity
and tradition were important de-
sign determinants and each was
dealt with sensitively and in
many instances, symbolically.
"Light" is one of the most fre-
quently-used words in the Bible
and natural light was Morgan's
priority design determinant.
Natural light is introduced into
the nave through eight levels of
clerestories in the roof, three
stained glass windows, a window
at the top of the spire and
through glazed perforations in
the nave walls below the balcony.
Unity of space is achieved by
having the balcony embrace the
nave, both facing the raised
altar. Both floor and ceiling rise
to the altar located in the chancel
that ascends into the volume of
the spire. The spire is crowned
inside by light and outside by a
cross lifted to the sky.
The new church was placed in
the northeast corner of a 262 by
300 foot block with an existing
chapel in the southwest corner.

FLORIDA ARCHITECT November/December 19


The master plan envisions three
cloistered courtyards flanked by
future Sunday school rooms and
a relocated Fellowship Hall. The
new church seats a total of 600
worshipers. The sacristy is lo-
cated below the elevated sanctu-
ary and the choir and organ
above the narthex.
Exterior walls are 12-inch
thick reinforced concrete
masonry unit construction
finished with coquina shell aggre-
gate stucco to recall the stone
finish of the existing chapel. The
natural finish laminated timber
beams and purlins supporting
the exposed wood joists recall
the structure of the original

FLORIDA ARCHITECT November/December 1988

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Another "cool" technology is SOGENERATION reliable, pollution free
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site generator that produces electricity and heat. Recaptured heat is used to
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power interruptions or surges affecting sensitive operations.
To find out more about these and other cool new technologies call your local
natural gas utility or write:
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FLORIDA ARCHITECT November/December 1981

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FLORIDA ARCHITECT November/December 1988

Product News

The "W" Panel is a code-ap-
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and roof building system.
Factory-produced, the 14-gage
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Factory-integrated rigid poly-
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The standard two-inch-thick
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refer to SWEET'S CATALOG 9.10/Pr
3009 N.W. 75th Ave. Miami, FL 33122
Oviedo & Sanford Rd. Orlando, FL 32707
Miami Orlando
(305) 592-5000 (305) 327-0830
(800) 432-5097 -Fla. Watts- (800) 432-5539


(All Marble) Stucco
Trowel Stucco
Swimming Pool Stucco
Ceiling Spray
Cement Paint
Wall Spray

Acoustical Plaster
Veneer Plaster
* P.V.L
Vinyl Ceiling Spray
Ceiling Spray
For Rock Dash
Ceiling Spray

An Imperial Industries Company

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FLORIDA ARCHITECT November/December 1988



SINCE 1974


LICENSE #U-10179
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eprints of articles that have appeared in Florida Ar-
chitect over the past five years are available for use
in mailings and presentations. These custom promotion
brochures reproduce the article exactly as it appeared
in Florida Architect.
For more information, cost estimates, and help with
the layout and design of your reprints, call: Carolyn
Maryland, 904-222-7590.

FLORIDA ARCHITECT November/December 191

Tarmac Topblock make a wide range
of architectural concrete
masonry units all of which conform to
current ASTM specifications.
Manufactured in our own plants using
our own high-quality aggregates, these
products are produced under strict
quality control standards.
common sizes in a wide variety of
surfaces including fluted, striated,
ribbed, split-faced and scored textures.
They also have the facilities and technical
expertise to manufacture non-standard
shapes for specific architectural
Concrete Masonry brick is now available
as part of TARMAC's range of
architectural products. Its ability to be
used as a single width structural wall
provides all the benefits and beauty of
clay brick at a fraction of the cost.

TRENDSTONE is a range of
ground-faced masonry units
which combine the proven construction
benefits of concrete blocks with the
attractive appearance of exposed,
selected aggregates.
Available for interior and exterior use, for
load-bearing or non-load bearing walls in
either light or normal weights.

10 concrete block making plants
- from Key West toJacksonville -
and producing over 45 million concrete
blocks a year, using the very latest
automatic machinery.
The comprehensive range of products
include architectural concrete masonry
units of all shapes. colors and sizes as
well as conventional concrete block. A
fleet of 'self-unloading' trucks ensures fast
and efficient deliveries throughout Florida.

All the


for the total




Tarmac Topblock Inc.
455 Fairway Drive
Deerfield Beach, Florida 33441
or call toll-free 1-800/367-8167

W wherever a glazed wall surface is
needed specify ASTRA
A range of glazed, lightweight masonry
wall units which provide all the benefits
of conventional glazed materials at an
economical price.
The thermosetting glazing compound is
permanently moulded to one or more
faces of the block. This ensures an
integrated structure with an impervious,
satin glazed finish and exceptional
resistance to staining, abrasion, impact
and chemical attack.
ASTRA-GLAZE can be used inside or
out for load-bearing and non-local
bearing walls. It also avoids the need for
on-site tiling.
Easy to clean and hygienic. ASTRA-
GLAZE is particularly suitable for
hospitals, schools, dairies, processing
plants, laboratories and restaurants.

ROOFBLOK is an excellent
ballast system for single-ply roof
systems. The Roofblok design provides a
non-skid surface for foot
traffic protecting the membrane from
cuts and punctures. The Class 'A fire
rating also protects the membrane from
fire hazards such as wind-blown
Roofblok units weigh only 11 /2 Ibs/
sq.ft. allowing a uniform weight
distribution across the whole roof
surface. Their unique design make them
simple and efficient to install. The design
also provides an efficient drainage system
to complement the drainage design of the
roof surface.
Circle 47 on Reader inquiry Card

For Color -Conditioned Concrete

concrete Beauty Thats

Than Skin Deep
When beauty can't be compromised. And cost-effectiveness is
important. Scofield's CHROMIX Color-Conditioned Con-
crete is the answer. Offering a vast array of color choices,
CHROMIX Admixtures can cost-effectively enhance your
concrete designs whilusing
our system you inte-
grally colo eteiaft uniform,
pern nding results every time.

i .-..

Scofield offers a rainbow of colors from rich grays to warm
reds, including our new Tawny Pink. And, using CHROMIX
Admixtures, you can cost-effectively utilize color in precast walls
and furniture, or in concrete flatwork, hardscapes, roadway pav-
ing, and bridges. The possibilities are endless. Combine CHROMIX
Admixture with exotic aggregates and a sandblasted finish and
you can create a beautiful alternative to granite or marble. Or, you
can use LITHOTEX Formliners to produce interesting texture and
shadow effects from small accent strips to entire multi-story
buildings. All this beauty with the versatility and cost
effectiveness of concrete.

integrally. They are packaged in sacks premeasured for each cubic
foot of concrete, thus eliminating weighing or measuring errors.
Special packaging is also available. And strict quality control
means consistent uniform results in projects from a few square feet
to tens of thousands.
Superior Performance.
CHROMIX Color-Conditioned Concrete is non-fading and
remains attractive even in heavy traffic areas, freeze thaw and
extreme weather conditions. Throughout the years CHROMIX
Admixtures offer superior performance. Wherever they're used.
For beauty beyond the ordinary... beauty that lasts...turn to

Consisted t Scofield. We've put color and texture
COnSiStent R u years. And Scofield products are dist
CHROMIX Admixtures are added directly into the ready-mix availability. Call us today for more in
truck or precast mixer so your concrete is color-conditioned your nearest representative.

e 6533 Bandini Boulevard Los Angeles. CA 90040 12131 725-7112
Call 1-800-222-4100 (Outside California)
Regional Offices: Phoenix. AZ (602] 224-5662 San Francisco. CA (415] 930-6712
San Diego. CA [619) 271-1265 Ft. Lauderdale, FL [305] 491-2105
Orlando, FL [305] 298-8646 Atlanta, GA (404] 951-0585 Chicago, IL (312) 642-2746
New York. NY (212) 557-0406 Dallas, TX (214] 823-5060
Houston, TX [713] 558-8128 Washington, O.C. (202) 296-5592
FAX: [213) 722-6029 TELEX: 215560 LMSC UR
CHROMIX and UTHOTEX ore registered trade rks of L M Scoald Company

into concrete for over 53
ributed nationally for easy
formation or the name of

Circle 32 on Reader Inquiry Card
,^PR, 3 I __

.. "....:,

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