Title: Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00275
 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: March-April 1989
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: VID00275
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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Homage to Pedestrian Activity
The First F.A. at duPont Centre is an
"architecture of roofs" by Morris Architects.
Diane D. Greer

High-Style Departures From A Busy Port
Port Everglades' new cruise ship terminal was
designed by Michael Shiff & Associates for
easy travel.
Diane D. Greer

Creating Value Through Responsive Design
Lyle Fugleberg and Bob Koch are designing
for Disney on the firm's 25th anniversary.
"De" Schofield

Redefining the Urban Core
Olympia Place I by Hansen Lind Meyer
is extending Orlando's urban limits.
Ann Farrell

The Preservation Institute:
Caribbean Challenges UF Students
UF architecture students design a multi-use
building that is compatible with Port-of-Spain,
Trinidad's government center.
Diane D. Greer

Light and A Lakefront Site For Learning
The library at the Turner Education Center
by Dow Howell Gilmore floats serenely on the water.
Mark Ugowski

These Kids Are Flying High
Miami International Airport has a childcare center
designed by The Russell Partnership to keep the
kids busy at the controls of a plane.
Diane D. Greer

Florida Architect, Official Journal of the
Florida Association of the American In-
stitute of Architects, is owned and pub-
lished by the Association, a Florida Cor-
poration not for profit. ISSN-0015-3907.
It is published six times a year at the
Executive Office of the Association, 104
East Jefferson St., Tallahassee, Florida
32302. Telephone (904) 222-7590.
Opinions expressed by contributors are
not necessarily those of the FA/AIA.
Editorial material may be reprinted only
with the express permission of Florida
Single copies, $2.00; Annual subscrip-
tion, $12.00. Third class postage.

Editorial 5
Viewpoint 37
Protecting Your Assets: Building A Plan of Action
Barnett I. Chepenik and Donald M. Faller

Cover photo is of the Cruise Ship Terminal #26 in Port Everglades by Michael Shiff & Associates.
Photography by George Miller.


March/April 1989
Vol. 36, No. 2

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Florida Association of the
American Institute of Architects
104 East Jefferson Street
Post Office Box 10388
Thllahassee, 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
Publications Committee
Ivan Johnson, AIA, Chairman
Gene Leedy, AIA
Will Morris, AIA
Keith Bailey, AIA
Don Sackman, AIA
Editorial Board
Ivan Johnson, AIA
Dave Fronczak, AIA
Roy Knight, AIA
H. Dean Rowe, FAIA
100 Madison Street
Tampa, Florida 33602
Vice President/President-elect
Larry Schneider. AIA
25 Seabreeze
Delray Beach, Florida 33483
Bruce Balk, AIA
290 Coconut Avenue
Sarasota, Florida 33577
Past President
John P. Ehrig, AIA
4625 East Bay Drive, Suite 221
Clearwater, Florida 34624
Regional Directors
John M. Barley, AIA
5345 Ortega Boulevard
Jacksonville, Florida 32210
James A. Greene, FAIA
254 Plaza Drive
P.O. Box 1147
Oviedo, Florida 32765
Vice President for
Professional Society
Raymond L. Scott, AIA
601 S. Lake Destiny Road, Suite 400
Maitland, Florida 32571
Vice President for
Governmental Relations
Rudolph Arsenicos, AIA
2560 RCA Boulevard, Suite 106
Palm Beach Gardens, Florida 33410
Vice President for
Professional Development
John Tice, AIA
909 E. Cervantes
Pensacola, Florida 32501
Vice President for
Public Relations/Communications
Henry C. Alexander, AIA
Smith Korach Hayet Haynie
175 Fontainbleau Road
Miami, Florida 33172

Imet John Newel Lewis in Port-of-Spain, Trinidad last October. We had
breakfast in the Normandie Hotel, for which he designed the renovation,
and talked about an architecture for the high tropics, the "equatorial
tropics," as he calls them. The high tropics, as he described to me in a later
letter, are a place "with a climate of fierce light with very dark shade,
sparkling bright leaves hiding the full dark shadows deep in the trees, the
sudden cloud violently wiping out this contrast; the cooling breezes, high
humidity and very heavy rains."
The best school classroom (for architects)," he wrote to me, "is still
under the mango tree."
Lewis ought to know. Although he was born in England in 1920 and is a
Fellow of the Royal British Institute of Architects, he has been designing
buildings for the tropics since migrating to Trinidad in 1953. In addition to
authoring several notable books, including AJO UPA: A History of the
Architecture of the Caribbean, he is the current President of a group called
Citizens for Conservation. That group has made it a mission to try and save
as many of the significant buildings in Trinidad and Tobago as possible.
Lewis' descriptions of Trinidad's historic architecture read like poetry and
show his conviction for their importance to the history and culture of the
"The old houses of Trinidad are of wood with slender timber frames. They
rest lightly on the surface of the earth like butterflies, hardly troubling the
ground at all-" Such is how Lewis expresses many of his thoughts on
In a letter I received from him last fall, he talked about developing a new
thesis which would explain how his style of architecture arose from two in-
fluences. First, of course, the imperative of climate, and second, his preoc-
cupation with space and the movement of people within it.
"I am preoccupied with retaining the freedom of the Caribbean man and
woman and uniting them with nature. We need to link a hard core of domes-
tic technology with the world outside via a special landscape link. The
importance of this is to let man and nature coexist. The space between the
house and the highway should be a harmonious domain and that space is
important to me. As Frank Lloyd Wright extended the house out, I want to
bring the landscape in."
Below is a little self-portrait of John Newel Lewis which, I think, cap-
tures the spirit of this man to whom designing in concert with nature is so
preeminently important. DG



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Homage To Pedestrian Activity

The First, F.A. Building !r.
at duPont Centre
Orlando, Florida
Architect: Morris Architects T .
(formerly Morris* Aubry-
Houston, Texas and
Orlando, Florida
Project Team: John H. Wiegman,
AIA; Pete Ed Garrett, AIA;
Gerald Koi, AIA; Eugene
Aubry, FAIA
Landscape Architects:
Consulting Engineers:
Structural -Walter P. Moore and t B H P
Associates, Inc.; MEP- CHP &
Associates Consulting Engi-
neers; Civil- Professional
Engineering Consultants, Inc.
General Contractor: Mellon-
Stuart Company
Owner: Pillar-Bryton Partners

t was the client's desire for a
classical looking building in
contemporary motif that in-
spired this "architecture of
roofs" as architect Pete Ed
Garrett refers to the 28-story
First, F.A. Building. The mass-
ing of the building, particularly
in the retail space at plaza level,
is more vintage European than
contemporary Orlando. It seems
to unite the best of old world
classicism with contemporary
motifs and the result is a high-
rise with a dramatic and readily
recognizable profile ... which
is just what the client ordered.
With thirteen acres master-
planned, a two-month design
process and ten changes be-
tween the original design and
the final product, the 447,000
square foot building is on a
corner site at the junction of
two Prime Pedestrian Streets
within the Downtown Orlando .
Streetscape Program. The
building is set back from the
Above, main entrance to the Banking Hall. Photo by George Cott. Thp right, spires rise from the cluster of rooftops
interior of Banking Hall by George Cott. The clock was designed by architect Pete Ed Garrett.


)el. Lower right, the arcade at street level gives the building a classical feeling. Photos by Zoom Photographics. Next two pages, photos of stepped facade and


street with smaller scaled com-
ponents such as the Banking
Hall and plaza situated along
the sidewalk. It is in this open
plaza that the building exudes
its most European flavor. The
landscaped promenade outside
the Banking Hall is a columned
space with outdoor seating for
the building's restaurant.
Flower carts and outdoor con-
certs add to the feeling that this
is a "people space," and rein-
force the European feeling of
life on the street.
The client's initial design re-
quirement was that the archi-
tects create a readily recogniz-
able downtown office building
whose major tenant would be a
savings and loan association. A
Banking Hall was required, as
was a parking garage which had
to be integrated into the build-
ing and bridge a public street.
The main office tower is
massed so that it creates stair
steps at levels 9, 15, 21 and 25.
A sloped, mirrored glass roof
caps each of these levels. The
glass is a medium gray set in
green/black anodized aluminum
mullions. The stepped design of
the building creates floors of dif-
ferent sizes and provides ten
floors with angled greenhouse
spaces beneath the roof caps.
The setbacks also provide out-
door balconies on four floors.
The Banking Hall with its 70-
foot ceilings is reached through
the main entrance arch of pol-
ished Verde Fontaine granite.
The Hall has a pitched, mirror
glass roof similar to those of the
main tower. Below the roof in
the Banking Hall hangs a sus-
pended mirror glass ceiling.
The panels that make up the
ceiling were sandblasted to
create different effects under
different lighting conditions.
For example, the structure of
the pitched roof above the ceil-
ing is silhouetted when the sun
is shining. But, the ceiling dif-
fuses incandescent light from
the custom-designed, steel and
brass torchere lamps when it is
overcast or dark outside. Port-

Section, top, courtesy of the architect. Photo of elevator lobby by Zoom

holes in the upper wall allow
light to enter at a high level and
visually hold down the lower
part of the building.
The exterior of the building is
clad in variegated buff gray
Indiana limestone with Verde
Fontaine granite base. Through-
out the public spaces, floors are
of Mondariz Italian granite
punctuated with classic white
Cremo Italian marble squares
with a border of Verde Fontaine
granite. Beige Spanish lime-
stone was used on all of the
lobby walls.
The lofty standards which
were set by Pillar-Bryton ex-
tended to the art contained in
The First, F.A. Building, as
well as the architecture. The
company's partners wanted "to
create an architectural environ-
ment that stood on its own
aesthetic integrity while also
creating a complimentary back-
drop for museum quality art."
Renoir's "Washerwoman,"
which was cast in 1917 when the
artist was 76, was the first
piece of art purchased for dis-
play in the building lobby.
Diane D. Greer


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High Style Departures From A Busy Port

Port Everglades Cruise
Ship Terminal 26
Fort Lauderdale, Florida

Architect: Michael A. Shiff &
Associates, Inc.
Consulting Engineer: Frederic
R. Harris, Inc.
Landscape Architect: Michael A.
Shiff& Associates, Inc.
Owner: Port Everglades
General Contractor: James A.
Cummings, Inc.

s many as 750 passengers a
day leave from and return
to Port Everglades, the second
busiest cruise ship port in the
world. The challenge presented
to the architect by the Port
Everglades Authority was to
design a secure, comfortable,
easily negotiated passenger ter-
minal that would serve the dual
function of providing 92,000
square feet of warehouse space.
Previously, the port authority
utilized portions of existing
warehouses as terminals. This
approach, while cost effective,
provided vacationers with a
grim point of embarkation. The
Shiff firm's proposal was to
separate passenger facilities
from storage, but integrate the
two areas by means of an ex-
terior canopy system. The
canopies cover a baggage
dropoff and announce to passen-
gers that they have arrived at
the terminal.
Because of the large numbers
of tourists who use the facility,
many of whom arrive hours in
advance of their departure, the
terminal was required to ac-
comodate very large numbers
of people for extended periods
of time. This created an impera-
tive for a single passenger and
luggage inspection point. The
debarkation requirements of
U.S. Customs were met by fun-
neling passengers through the
re-entry area before reintroduc-
ing them to public areas. The
canopy also serves to cover
travelers waiting to leave the
facility. By grouping all vertical
circulation systems into one
area, ship security was easily
Passengers who may wait for
hours to embark on a ship can
use comfortable seating and
lounge areas oriented toward
the harbor. There are also vend-
ing areas on each floor.
The 18,000 square foot, two-
story terminal was constructed
of concrete block bearing walls
with a steel bar joist floor and

Site plan, top, courtesy of the ar-
chitect. Top right, waterside view
and right, north facade at dusk.
Photos by George Miller.


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'Ibp left, view toward ship under protective metal canopy. Ibp, right, view from secondfloor bridge looking south through canopy. Below, view from
secondfloor bridge into passenger waiting area. Photos by George Miller.

roof system. The exterior skin
is applied stone aggregate laid
in an aluminum grid system and
used in combination with a
glass curtain wall. The canopy
system is a welded steel pipe
covered with a standing seam
metal roof.
The handicapped can access
all parts of the building easily.
Windows are predominantly on
the north and east elevations
which jointly afford the best
views of the water and helps
reduce the heat load inside the
The project was designed to
allow for the construction of
an additional terminal which
would accommodate the new
2,000-passenger super ships
currently under construction.
Diane D. Greer


Creating Value Through Responsive Design

Caribbean Beach Resort
Walt Disney World
Orlando, Florida

Architect: Fugleberg Koch
Developer: Disney Develop-
ment Corporation
Owner: Walt Disney World
Consulting Engineers:
Fire Protection Grant En-
gineering; Structural O.E.
Olsen Associates; Civil Boyle
Engineering Corp.;
Geotechnical Jamal &
Landscape Architect: Edward
D. Stone, Jr. and Associates
General Contractor: Frank J.
Rooney Construction Company
and 'irner Construction Co.
Interior Design: Wilson and
Graphics: David Carter Design

Things seem to have come full
circle for Orlando architects
Lyle Fugleberg and Bob Koch.
Early in their partnership, and
before Disney World opened,
the team was approached by
Johnny Weismuller to design
what was to be called Tarzan-
land. In response, the firm
launched an exhaustive re-
search effort. They visited Dis-
neyland in California and other
theme parks, they measured
and timed rides, evaluated vis-
itor enjoyment and so on. The
project never came to fruition,
but not for lack of research on
the architects' part. From the
palette of ideas and the under-
standing of theme parks that
they derived from their months
of research, many of the con-

This page, top, the main
tower of the Barbados resort and
left, the village pool in the
Barbados resort. Photos by Erin


cepts they developed, such as
exotic amusement parks, con-
temporary zoos and a world
showcase of ancient cultures,
later found their way into other
theme parks such as Busch Gar-
dens and EPCOT.
This year, as Fugleberg Koch
celebrated its 25th anniversary,
their newest design for Disney
opened in Orlando, the Carib-
bean Beach Resort.
The history of Fugleberg
Koch has mirrored Central
Florida's thriving economy.
Their staff has grown to 70 ar-
chitects, designers, artists and
technical support people, mak-
ing it the largest home-based
firm in Central Florida. It has
completed work on over 50,000
multi-family housing units,
10,000 resort rooms and 3 mil-
lion square feet of retail office
space. The practice is now in-
ternational in scope. FKA's
founding partners credit the
firm's staying power to its adap-
tability to changing conditions
and responsiveness to client
While signature architecture
and over-emphasized style are
always a temptation, the firm
remains true to its creed that
architecture must begin with
the client and his or her objec-
tives. This philosophy by no
means ignores the importance
of style and aesthetics in a pro-
ject, but rather extends the de-
sign to embrace immediately
relevant criteria. By maintain-
ing a business attitude that
tempers practice with pru-
dence, FKA has been able to
adapt designs to serve the
client's business program.
In the practice of architec-
ture, the challenge is so intense
in every regard that a success-
ful firm needs the best minds,
the best skills and the most
creative thoughts applied in all
areas. At FKA, a team approach
plays an extremely important
role in meeting those challenges.
In competing for, and ulti-
mately winning, the design
competition for the Caribbean


"IMP, ":,-Z~

Beach Resort at Walt Disney
World, FKA pulled out all the
stops. Challenged to produce a
theme concept, the firm looked
to past experiences as well as
their recent designs for resort
communities in the Caribbean.
The firm's sensitivity to market
trends and first-hand knowledge
of Caribbean culture resulted in
a concept consisting of five dif-
ferent villages, each reflective
of a particular island's culture
and character. Other design ele-
ments include a "Customs
House" which serves as a guest
registration facility and an "Old
Port Royale" restaurant and en-
tertainment center reminiscent
of an old world Caribbean vil- .
lage. Costuming, props and in- ,.
terior decor complement the : "
theme. 5
All villages and prime fea-
tures of the 200-acre, 2,112-
room resort are grouped
around a 32-acre lake. Each vil-
lage has its own pool and beach,
with the lakefront "Old Port -
Royale" the focal point of the
resort. A main pool with castle
ruins and water canons, an ex-
3tic playground and picnic is-
land and a lighthouse marina
with facilities for sailing and
paddleboating are also featured
parts of the resort.
With all of these amenities,
the Caribbean Beach Resort
was targeted for the inter-
mediate range hotel market.
With rooms under $100 a night,
the program included definite I I
budgetary constraints which
the architects were able to
meet. The success of the resort
since its opening last fall has re-
sulted in Fugleberg Koch's in-
volvement with Disney in de-
veloping future resort projects. Above, Lyle Fugleberg, left, Bob
"De" Schofield Above, Lcle Fugleberg, left, Bob
The author is a writer living
in Maitland. She is the owner
of Schofield Public Relations, Opposite page, top, the pool at Old
Inc. Port Royale and below, the Custom
House interior. This page, top, a re-
Tbp, a residential building, sidential building, beachside, in
beachside, in the Martinique resort the Martinique Resort and left, the
and below, the lighthouse at Old lighthouse at Old Port Royale.
Port Royale. All photos by Erin Photos by Erin O'Boyle.


Redefining the Urban Core

Olympia Place I
Orlando, Florida

Architect: Hansen Lind Meyer,
Inc. Orlando, Florida
Engineering, Landscape and
Interior Design: Hansen Lind
Meyer, Inc.
Construction Manager:
Turner Construction
Owner: Olympia & York South-
east Equity Corp.

By extending Orlando's
urban core and linking
northerly neighborhoods to the
downtown central business dis-
trict, Olympia Place became a
gateway building and a promi-
nent addition to Orlando's
skyline. At Olympia Place, a
residential scale retail base was
merged with a 19-story office
tower. For the first time,
the fabric of Orlando's down-
town neighborhood connected
with highrise commercial
Developers Olympia & York
wanted to create a downtown
Florida environment that
would offer mixed-use office
space and a variety of amenities
for its tenants. Their philosophy
was to promote a strong busi-
ness community, build a larger
floor plate than was available in
the existing marketplace and
operate the building with
maximum energy efficiency.
Studies by the architects re-
vealed both the potential of the
site and of stretching the busi-
ness sector to its natural bound-
aries of Lake Ivanhoe on the
north and Lake Lucerne on the
south. Olympia Place was de-
signed with an arcade along the
perimeters of the site, land-
scaped plazas and a lobby that
was conceived as an extension
of the entrance plaza. Red brick
paving, used in Orlando's down-
town streetscape, was brought
into the entrance plaza and
combined with granite aggre-
gate concrete. A generous
amount of lobby space was pro-
vided for both public use and
that of the Florida National
Bank, the anchor tenant. This
space was planned as a lively
environment for community


cultural exchanges and educa-
tional activities.
To underscore the sense of
permanence that both the ar-
chitect and the developer
wanted to convey, a Finnish
rose granite was used on the ex-
terior of the building. The
polished stone retains its rich-
ness in the Florida sun and con-
veys an image of stability. In
contrast to the warmth of the
stone, HLM's Chuck Cole incor-
porated cool silver glass into
the exterior scheme. The cur-
tain-wall design with reflective
glass provides significant
operating efficiency. From an
aesthetic standpoint, the saw-
toothed faceted exterior skin
permits an abstract reflective
interplay between glass and
stone that changes constantly.
Typical multi-tenant floors
contain 19,600 square feet of
usable space and are designed
to be laid out to suit tenant
needs. Each floor has a central
core and a looped corridor sys-
tem. On the upper levels, the
floor plan of the 245-foot tower
creates 12 corner offices with
commanding views of the city.
Structural bays are 25-foot-
square flush plate construction.
Four thousand yards of con-
crete were poured in 18 hours
to form the tower's five-foot-
thick mat foundation. At roof

Left, the Magnolia Avenue
entrance is attained via a public
plaza. The parking structure can be
seen on the right. This page, top,
the double grand staircase facili-
tates pedestrian movement between
entrance lobby and upper con-
course. Bottom, granite, glass and
faceted corners interact as light
changes. Photos by Philip


Site plan, right, courtesy of
the architect and below, the
public plaza photographed by
Philip Eschbach.

''.L^^^^ ^--^ ^^ '- -^Z7^m

^^^-^ ^n .i ,, -r/ -

h* level, a mechanical penthouse

contains three chillers, which
operate in various combinations
for maximum efficiency. On each
floor a separate air handler al-
lows individual flexibility for
B climate control, and units may
be turned off when offices are
41 unoccupied.
Adjacent to the tower, a sky-
bridge connects Olympia Place
with its eight-story, 1,426-
space parking garage. Glass-
backed elevators and the glazed
pedestrian bridge, which is on
the retail mall concourse level,
extend building security to the
parking structure.
Ann Farrell

The author is a writer living in
Iowa City, Iowa.


iC. r.

- 16

The Preservation Institute: Caribbean Challenges UF Students

Last October, I accompanied
Professors Susan 'Ite and
Herschel Shepard, Assistant
Dean Ralph Johnson and seven
graduate students, all from the
University of Florida College of
Architecture, to Port-of-Spain,
T'rinidad. The trip to Trinidad
was the second for Shepard and
aTte and a group of students
who had visited the island a
year earlier as the guests of the
Trinidad and Tobago Tourist
Board, the Ministry of Planning
and Reconstruction and Citi-
zens for Conservation, a local
group whose concern is for sav-
ing what remains of Trinidad's
historic architecture. The 1987
project involved developing de-
sign guidelines and a compati-
bility study for the historic Vic-
toria Square District in Port-of-
Spain. Based on the success of
the 1987 effort, the group was
asked to return in 1988 and ex-
pand their efforts to include a
context study of the area sur-
rounding the Republic's parlia-
ment building and a compatible
design study for an adjacent
site. With the cooperation of
BWIA Airlines, the Normandie
Hotel in Port-of-Spain and In-
ternet CTD of Miami, the UF
group returned to the island
with the goals of developing a
feasible plan for the govern-
ment center which would in-
clude the adaptive reuse of the
historic Fire Brigade Head-
quarters which is adjacent to
Red House, the seat of govern-
ment. While professors and stu-
dents diligently measured,
made notes and sketched,
Ralph Johnson, the assistant
dean of the College of Architec-
ture, actively pursued funding
for the future expansion of the
University of Florida's links
with the Caribbean.
None of this was a short time
coming. The Trinidad-Tobago
project, while hopefully the sec-
ond of many others in the Carib-
bean, came about as the result

Window detail ofSecond Empire-style "Red House", Port-of-Spain's government center. The site developed by UF
students is across the park in the background. Photo by D. Greer.


Kevin Stubbs
MA Architecture 5/89

of a program at UF that began
nearly two decades ago.
UF Professor Blair Reeves,
a Fellow of the AIA and the re-
cipient of the 1988 Crownin-
shield Award for his work in
historic preservation, initiated
coursework in architectural
preservation following his in-
volvement with the Historic
American Buildings Survey.
Shortly thereafter, a program
of graduate studies evolved
which allowed students to
specialize in architectural
preservation as part of their
work toward the Master of
Architecture degree.
Increased public interest in
preservation helped initiate the
UF Research and Education
Center for Architectural Pres-
ervation (RECAP) and ulti-
mately a multi-disciplinary
program in architectural pre-
servation came into being. This
year, a proposal is being set
forth for a new Master of
Science in Architectural Preser-
vation, a degree that would em-
phasize preservation technol-
ogy and administration.


David Krumbholz
Master of Architecture, 5/89

Through the years, the Pres-
ervation Institute: Nantucket
has become legendary in its
reputation as a training ground
for preservation students. The
Nantucket program was w /
founded in 1972 by Blair Reeves .
and Walter Beinecke, Jr. and
this year, $2.5 million worth of
facilities on Nantucket are
being donated to the University
of Florida for housing and
studio space.
The Preservation Institute:
Caribbean is a program that fo-
cuses on Florida's role as a part
of the Greater Caribbean re-
gion. Established in 1982 by
Professor George Scheffer,
AIA, the program is important
to furthering communication in
the Caribbean in the area of ar-
chitectural preservation.
In October, Shepard, ITte,
Johnson and I boarded a BWIA
Airliner in Miami in the company
of seven graduate students en-
rolled in a course titled "Preser-
vation Programming and De-
sign." The students, one of whom
is a doctoral candidate, are all
due to receive an M.A. in Archi-
tecture in 1989. Their mission,
which had to be accomplished in
sub-tropical temperatures, was
to analyze Port-of-Spain's exist-
ing government building (known
as Red House) within the con-
text of the area between it and _
the waterfront and propose a
compatible use for the design
site adjacent to it. There is one

7bdd Steighner
Master ofArchitecture, 5/89

Steven Grube
Master ofArchitecture, 5/89



Phil Wegman
Master ofArchitecture, 5/89

historic building extant on the
site. An implied project impera-
tive was that all design work be
compatible with the flavor of
the island and its people, its ar-
chitecture and its climate.
Participating in the program
were Ph.D. candidate Lucy
Wayne and Masters candidates
Dave Krumholz, Tbdd Steigh-

ner, Ricardo Viera, Kevin
Stubbs, Phil Wegman and Steve
Grube. In December, student
presentations representing the
culmination of many hours of
work spent on the Trinidad
project were presented before
faculty. Some of the results of
that work appear here.
Preservation Institute:

Caribbean presents students
with a unique opportunity and
a unique set of challenges. As
Trinidad architect John Newel
Lewis stresses in his writings
and drawings, the architecture
of the Caribbean is firmly
rooted in a way of life and it is
an architecture that is vulner-
able and subject to change if the

proper steps are not taken to
prevent it from happening. At
a much more fundamental level,
Florida architecture is, to a
great extent, like Caribbean ar-
chitecture. There is much to be
learned from the Caribbean ex-
perience that would help a fu-
ture Florida architect.
Diane D. Greer


iI I



Light and a Lakefront Site for Learning

Turner Education Center
Northwood Institute
West Palm Beach,

Architect: Dow Howell Gilmore
Associates, Inc.
Engineers: Structural Gargiulo
& Associates, Inc.; Mechanical/
Electrical- Brabham, DeBay &
Interior Design: Dow Howell
Gilmore Associates, Inc.
General Contractor: Weitz
Company, Inc.

Designed to take full advan-
tage of its campus' natur-
ally picturesque setting, the
Turner Education Center was
designed by Dow Howell Gil-
more to act as both the visual
focus and the "brain" for the ex-
panding, 80-acre Northwood
Institute in West Palm Beach.
The 38,000-square-foot facility
houses faculty offices, a central
administrative suite and an art
gallery. Seven multi-size class-
rooms and a 200-seat lecture
theater accommodate both aca-
demic and cultural activities.
The building's computer center
will monitor all energy use, sec-
urity, fire alarm systems and
exterior lighting for the entire
Utilizing a combination of
skylights, two-story spaces and
floor-to-ceiling glass, this
multi-use education center pro-
vides its occupants with an ex-
citing variety of naturally lit
spaces and views of its spec-
tacular site. Special care was
taken to maximize controlled
sunlight into the facility which
minimizes the need for costly
artificial light and provides
dynamic spatial effects. A
series of rounded, stucco bands
undulating in and out of the pri-
mary form of the two-story
mass creates a softened,
sculptural feel and provides ef-
fective sunscreening for win-
dow areas.

Right, view from west across lake
and below, library as it projects
over the water. Top photo by Mark
Ugowski. Lower photo courtesy of
Northwood Institute.


Plan, above and section, top right, courtesy of the architect. Photos right of
student plaza toward art gallery and interior of library reading room,
below, by Mark Ugowski.

The most stunning feature of
this state-of-the-art facility is
the two-story main library and
reading room with its floor-to-
ceiling glass. Projecting out
over a lake that is central to the
campus, the library provided a
unique opportunity for the
architect to design a lighting
solution that would not only
provide abundant light for the
reading stations below, but
would also take advantage of
the project's waterfront set-
In addition to the abundant
windows in the library, the in-
stallation of a dozen upturned,
metal halide fixtures mounted
to each of the room's structural
columns, sixteen feet above the
floor, allows each fixture to re-
flect light off both the ceiling
and exterior soffit to emphasize P
the illusion that the reading
room is floating above the lake.
Patterns of lights playfully
bouncing off the water below
add to the effect.
Mark A. Ugowski, AIA

The author is an associate with
Dow Howell Gilmore.




SINCE 1974


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~Pri i"' .~a7L ile mul hoib a Jud


These Kids Are "Flying High"

Child Care Center
Miami International
Miami, Florida

Architect: The Russell
Partnership, Inc.
Principal-in-Charge of Design:
Daniel D. Tinney, AIA
Design Team: Guy Chabot,
AIA, Joel Seeley, AIA, Tatiana
Child Care Consultants: Gerry
Sweat, Michelle Rosen
Engineering Consultants:
Mechanical/Electrical Hufsey-
Nicolaides Associates; Struc-
tural Lawrence F. Brill, Inc.
Landscape Architecture:
Environmental Planning and
Color Consultant: Alexander
Graphic Designer: Chermayeff
& Gelsmar
General Contractor: Tatum,
Gomez, Smith & Vitale, Inc.
Owner: Miami International

Within an existing 50,000
square foot office building,
the Miami International Air-
port Child Care Center pro-
vides a unique educational
opportunity for the children of
airport employees. The 9,000
square foot facility was de-
signed for children ranging in
age from six months to five
years. Daniel Tinney and Car-
los Ruiz De Quevedo of the
Russell Partnership both
worked in day care centers and
"crawled on the floor" to get a
better feel for the environment
at child scale.
There is no question in the
visitor's mind that this place is
first and foremost for children.
On the building's main axis is a
scaled down entry door for chil-
dren. Adults enter through a
full size door which is off-axis.
For security reasons, this is the
only public entrance and it is
controlled by electronic hard-
ware and a closed-circuit TV

system. The attention to detail
throughout the facility is very
evident and probably attribut-
able to the writing of the design
All of the classrooms have
movable partitions so that
space is flexible. Fluorescent
and incandescent lighting have
been used in combination so
that different lighting levels
can be achieved. By various
electrical circuiting, the class-
rooms can be darkened and
reading circles can be illumi-
nated. Each classroom was de-
signed in a primary color and
these color schemes contribute
to the playful feeling inside the
facility. Color schemes range
from warm on the north side of
the building to cool on the
south, or sunnier side.
The extensive use of oak trim
throughout the interior was
thought to be reminiscent of
"old school house" interiors.
Oak was used for framing and


supporting fabric-covered sur-
faces at low levels so that the
children can use these "tack-
able" surfaces. The architects
also designed all of the oak
cabinets where the children
store their personal posses-
sions. The oak furniture, and all
interior appointments including
toys, were part of the contract
documents. Each classroom is
complete with a toilet, which in-
cludes showers that are raised
above the floor for ease of hand-
ling the children when shower-
ing them. Plumbing fixtures
are also scaled-down.
Each classroom opens onto a
walled-in 10,000 square foot
playground. The outdoor cov-
ered area houses a creative
playscape that was designed as
a two-level facility incorporat-
ing a waterplay area, a spiral
staircase and a bridge connect-
ing with a playhouse from
which a spiral slide brings the
children back to the first level.
The entire playground was de-
signed around an airport

theme. There is a twin engine
passenger plane complete with
lights and a simulated instru-
ment panel for the children to
play on. The playground con-
sists of a freeform tricycle path
that intersects with a diagonal
runway. Adjacent to the run-
way is a control tower.
Landscaping in the play-
ground consists of hills, mounds
and a "clackity-clack" bridge.
There is also a small vegetable
garden and a number of fruit
trees. The wall surrounding the
playground was painted with
colorful graphics which further
reinforce the airport theme.
The playground is also provided
with roadway signs which help
teach the children about street
The overall ambiance of the
Child Care Center will hope-
fully be an important and per-
manent part of the educational
experience of the children who
use it for years to come.
Diane D. Greer

Opposite page, top,freeform tricycle path with runway and control tower.
Below, main entrance with special children's door to the left. This page,
top, aircraft is incorporated into play area. Plan courtesy of the architect.
Above, classrooms have movable partitions and specially-made oak furni-
ture. All photos by Carlos Domenech.


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Perma Crete's finish coat is color
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Available in white and many beautiful
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MIAMI ORLANDO ATLANTA Circle 37 on Reader Inquiry Card



Protecting Your Assets: Building A Plan of Action

Florida architects are design-
ing one of the most structur-
ally sound projects possible ...
an exempt asset protection pro-
gram. In an ongoing battle
against skyrocketing liability
insurance rates, architects, like
members of other professions,
have recognized the need for
alternative steps to protect as-
sets from litigants' claims. One
apparent solution is Exempt
Asset Planning.
The concept behind exempt
asset protection is simple. It is
the effective use of federal and
state exemption laws which
allow an individual to place cer-
tain assets beyond the reach of
litigant claims. Although most
decision makers bemoan the
time involved in any financial
restructuring program, the
facts are that with more than
50% of the state's architects
practicing without sufficient lia-
bility coverage because of ex-
tremely high rates, who can af-
ford not to find an alternative
Let's look at some facts:
The right asset protection
plan can allow you to carry less
liability coverage without fear
of losing everything you've
worked hard to obtain;
Careful financial planning
allows you the opportunity to
benefit from state laws that
exempt annuity contracts, life
insurance and your home.;
The knowledge of available
asset protection resources
helps discourage over-enthusi-
astic potential claimants.
A financial program including
a component providing for
exempt asset protection is es-
sential for all professionals with
a potentially high degree of lia-
bility. Since no amount of insur-
ance carried by an architect has
historically been enough to pro-
tect against litigation claims,
and since carrying no protec-
tion at all leaves too many doors
open to potential litigation, al-
ternative asset protection plan-
ning can minimize seizable as-




Call or write for a FREE color brochure-
P.O. Box 10027, RMera Beach, FL 33419
SW. Palm Beach (407) 844-5202 Orlando (407) 859-9117

Circle 11 on Reader Inquiry Card



Plan to attend the 1989 Sarasota Design Conference

July 14-16, 1989 Colony Beach Resort, Longboat Key

VIEWPOINT continued

sets as a result of a negative
legal decision.
Industry leaders admit that,
like physicians, architects were
caught off guard by recent
court actions and rate hikes.
Now, with insurers turning to
their clients to make up for
losses suffered as a result of ag-
gressive litigation, architects
statewide can be seen taking ac-
tion of their own. No longer are
they suffocating under liability
rates as high as 3 to 5 percent of
their gross income. Instead in-
dustry members are taking
steps to convert accounts re-
ceivable into tax-deferred loans
and investments, and are posi-
tioning cash equivalents into di-
versified portfolios of variable
and fixed annuities. An added
benefit to protecting hard
earned assets is the fact that
they are receiving a high rate of
return along with tax-deferred
growth. All of this and more is
protected under existing
Florida and United States case
Architects are encouraged to
discuss the idea of Exempt
Asset Protection with their fi-
nancial planners.
Barnett I. Chepenik, RHU and
Donald M. Faller, CFP

The authors are Managing
Directors of Chepenik-Faller
Financial Corporation in



Aesthetics without
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Gerard tiles are available in a
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granules, provides a unique blend of
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Circle 7 on Reader Inquiry Card


Smart clients want smart solutions...
that reduce energy costs. New natural gas technologies offer lower initial
investment, lower operating costs and shorter payback periods. That makes
gas the perfect energy source for your client's commercial cooling needs.
DESICCANT COOLING SYSTEMS provide supermarket refrigeration and
cooling at lower humidity levels with substantial cost savings over conventional
systems. GAS ENGINE-DRIVEN CHILLERS provide improved cooling efficiency
and comfort at client pleasing cost savings of 30 to 60 percent.
Another cool technology is COGENERATION. Cogen systems use gas to
power an on-site generator to provide cooling, heating, hot water and electricity.
Several packaged systems for hotels, restaurants and other commercial opera-
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Circle 10 on Reader Inauirv Card

'I'p~jl~j I 'I'



q I I

TO , 1

%I ki-

Z 17 iLtl


w a

Security Systems Design
Security Programming
Security Audits
Vulnerability Assessments
Crime Prevention Through
Environmental Design


Randall I. Atlas, Ph.D., AIA, CPP
600 NE 36th St., Suite 1522
Miami, Florida 33137

(305) 325-0076
Circle 19 on Reader Inquiry Card

A Florida Approach
to the
Practical Use
of the
1987 AIA 201
General Conditions

March 31, 1989
Park Suite Hotel
Orlando South

Sponsored by
Greater Orlando Chapter/
Construction Specifications
Institute (CSI)
Mid-Florida Chapter/
American Institute
of Architects
and the law firm of
Markel, McDonough
& O'Neal
Registration after March 1
For further information or
a registration form, contact
Steve Langston, Assoc. AIA
(407) 425-2431
Tom Montero, AIA, CSI
(407) 644-2656


While divi





dends can't be guaranteed, the FA/AIA Group-

rkers' Compensation Plan has declared annral

% 35 25


a*6 ; gaf fiB g * *

Circle 27 on Reader Inquiry Card


June 8-11, 1989





Durham Arts Council
Durham Convention Center
Durham, North Carolina

Reconsidering, revealing, and
re-creating public art

Inviting dialogue between
presenting and participating
artists, architects, design
professionals, landscape
architects, developers, arts
administrators, educators,
and public officials

For Registration Information:
Durham Arts Council
120 Morris St.
Durham, NC 27701

Richard Andrews
Doris Betts
Jennifer Dowley
Paul Broches
Richard A. Kahan
Stanton Eckstut
Susan Child
Kathleen H. Coakley
Sandra Anne Percival
David Ireland
Kate Ericson & Mel Ziegler
Douglas Hollis
Judith Baca
Norman Care
Susan Stinsmuehlen-Amend
Lowery Sims
Edgar Heap of Birds
Eugene Metcalf

Circle 12 on Reader Inquiry Card



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Circle 22on Reader Inquiry Card




Why settle for "equivalent" quality.

When you get roofing plans that read
..."or equivalent quality" you can
afford to use Bender concrete roof
tiles to add quality that's more
than just "equivalent: Because
Bender quality and color run
all the way through
every tile! A

Double weather checks
are clean and precise

Nail hole punched through
at top of curve (less cracking)

Seats raise tile
from battens
(minimizes contact area)

Nail hole completely through

* Manufacturing process
allows consistency in
weight and thickness
* Assures more even
looking roof installation
* Lightweight up to 35% lighter
than most concrete tile
* Fungus Retarding top coat
* Color throughout

Specify superior quality and value with Bender Roof Tile.

For more information contact:

S N. 87

*L-- o.
SBCCI No. 8736

3100 S.E. County Road 484 P.O. Box 190 Belleview, Florida 32620
(904) 245-7074 FAX (904) 245-1873 1-800-527-5808 Florida Only

Circle 43 on Reader Inquiry Card

You Lead...They Follow
Looking for the competitive edge? Seeking
increased curb appeal that moves you ahead of
the crowd and adds to your bottom line? Then
think about MONIER ROOF TILE.
For over half a century MONIER has special-
ized in creating innovative roofing products that
add distinctive individuality in a development
World populated by clones.
S You can choose our Signature Series to pro-
vide your projects with a color-blended person-
ality all their own. Architects can now specify
Styleline to add that touch of "softness" to any
roofline or use our Homestead tile to replace
combustible wood shakes, without the loss of
aesthetic value. The choices are endless!
Let MONIER ROOF TILE give you a head start.
Call or write our nearest sales office for our
colorful brochures on our full range of products.


SThe Leading Edge In Roof Tile

PO Box 551(' Orange, CA 92667 (714) 538-8822

Arizona Phoenix Cailirnia Corona
(602) (-l2288 ('141" 1" MS

Flonda, Lakeland Hawaji Honolulu MarYland, Baltimore
(813)66i 1 lb l(08)682.4523 1i011i 44-8822

ashimgion, Tacnma
(206) 5~1 3666


Ca(lfornia. linklton

tRas, Duncan ille
1214) 21 -52 5 3

Circle 33 on Reader Inquiry Cara

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