Front Cover
 Table of Contents
 Back Cover

Title: Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00278
 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: September-October 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: VID00278
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 06827129
lccn - sn 80002445
issn - 0015-3907
 Related Items
Preceded by: Bulletin (Florida Association of Architects)
Succeeded by: Florida/Caribbean architect

Table of Contents
    Front Cover
        Page i
        Page ii
        Page 1
        Page 2
        Page 3
        Page 4
        Page 5
        Page 6
    Table of Contents
        Page 7
        Page 8
        Page 9
        Page 10
        Page 11
        Page 12
        Page 13
        Page 14
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
        Page 21
        Page 22
        Page 23
        Page 24
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
        Page 30
        Page 31
        Page 32
        Page 33
        Page 34
        Page 35
        Page 36
        Page 37
        Page 38
        Page 39
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        Page 51
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        Page 55
        Page 56
    Back Cover
        Page 57
        Page 58
Full Text


seds '89

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Conference &
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OCTOBER 19-20, 1989

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September/October, 1989
Volume 36, No. 5

Florida Architect, Official Journal of the
Florida Association of the American Institute
of Architects, is owned and published by the
Association, a Florida Corporation not for
profit. ISSN-0015-3907. It is published six
times a year at the Executive Office of the
Association, 104 East Jefferson St., Tallahas-
see, Florida 32302. Telephone (904) 222-
Opinions expressed by contributors are not
necessarily those of the FA/AIA. Editorial
material may be reprinted only with the ex-
press permission of Florida Architect.
Single copies, $4.00; Annual subscription,
$19.08. Third class postage.



1989 FA/AIA Awards for Excellence in Architecture
This year, fourteen projects in the Florida/Caribbean
region were honored for design excellence.




New Products

Mapping The Common Ground
Robert T. Segrest

Office Practice Aids
Video: The Marketing Edge for the 1990's
Leslie Draper

Cover photograph of Arquitectonica International Corporation's Banco de
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FLORIDA ARCHITECT September/October 1989


\1 1'


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
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

T he 1989 FA/AIA Fall Conference is being held in Boca Raton this month. The
setting for three days of meetings, seminars and awards activities will be the Boca
Raton Hotel and Club, which opened as The Cloister in the winter of 1926. Shortly
thereafter, one man's fantastic dream of creating "the greatest resort in the world"
became a study in colossal failure. What is historically the most sumptuous hotel in
Florida cost the architect and builder his fortune, injured his reputation and some say,
his health. But the name Addison Mizner is so inextricably intertwined with the term
"Florida Boom" that it is hard to say which came first. Beyond the "chicken and egg"
analogy, it is also interesting to consider Mizner's role in the design-build technology
that is so common today. Had Mizner designed The Cloister and left the construction
and sale of real estate to others more experienced in those matters, might he and The
Cloister have survived the winter of 1926?
As it was, Addison Mizner was a man with a dream. The realization of that dream
was The Cloister. Toward the realization of his dream, Mizner imported roof tiles and
statuary from Spain by the boatload and what he couldn't import or buy, he crafted to
look "old" and "Spanish", two of the design criteria he used for his Florida buildings dur-
ing the twenties.
While Frank Lloyd Wright is credited with having described Addison Mizner with,
"Many architects have imagination, but only Mizner had the courage to let his out of the
cage", I've never been completely sure of the intent of the statement. There is little
doubt among critics that Mizner was a dreamer, and a genius. While Mizner could easily
have selected the French Chateau or the Palladian Villa as worthy styles for the wealthy
Floridians whose homes he designed, it was to Spain that he looked for his inspiration.
And for that reason, and no other, Spanish Revival, as adapted by Addison Mizner for
his Palm Beach clientele, became the style of the Florida boom.
I think Mizner's greatness was in the scope and scale of his vision for Boca Raton,
to create first a hotel, and then a community with the best of everything the widest
streets, the finest materials, the most elegant residences. Unfortunately, the scale of his
vision was also his downfall. His concern extended beyond design and included real
estate sales, overseeing construction and publicity. During the 1920's in frontier Florida,
the concept of design-build or of architect as designer/developer was unknown. While
Mizner should be credited for the originality of his Mizner Development Corporation
concept, he literally bit off more than he could chew. The dream was too big and quickly
got out of hand. The Cloister remained open for less than a year, closing in late 1926.
Mizner lived for five more years and died in Palm Beach.
Mizner's legacy to us is a place to bask in the luxury of the 1920's surrounded by
antique furnishings, art and architectural components imported from Spain. At the
Awards Banquet on September 23, the recipients of the Awards for Excellence in
Architecture will receive the recognition of their piers amidst the grandeur that was Boca
Raton in the 1920's the realization of Addison Mizner's dream of creating "the greatest
resort in the world." Diane D. Greer

FLORIDA ARCHITECT September/October 1989


More on Housing
To spur public-private ini-
tiatives in affordable housing
and neighborhood preserva-
tion, The American Institute of
Architects has urged Congress
to support critical legislation
that would revitalize historic
rehabilitation and low-income
housing efforts nationwide.
The Community Revitali-
zation Act of 1989 would in-
crease incentives for private-
sector investment in rehab
projects across the country.
The bill enhances the viability
of rehab and low-income hous-
ing tax credits while still main-
taining limits on credit use. It
would also increase the pool of
investors eligible to use the
credits, reduce transaction costs
by expanding the number of
practical financial mechanisms
and simplify the use of these
credits by applying uniform
eligibility rules to all taxpay-
ers. The AIA firmly supports
Congress' efforts to encourage
public-private sector initia-
Also related to the matter of
housing is the projection that
house building in Florida may
decline another 4.9 percent in
1990. That statistic is predicted
by economists at the Univer-
sity of Florida who believe that
single-family housing starts
will decline to 103,600 in 1989.
They further anticipate that the
figure will dip under 100,000
in 1990.
Also down are multi-fam-
ily houses (apartments and
condominiums) which have
fallen to a predicted 52,700 in

UF Gets National Regis-
ter District
A six-block area on the
University of Florida campus
has been designated a National
Register Historic District, and
that recognition of its past could
translate into millions of dol-
lars for its future.
The part of the campus

which has been given National
Register status has been recog-
nized for its architectural, his-
torical and cultural signifi-
cance. It lies between Univer-
sity Avenue, 13th Street, Sta-
dium Road and North-South
Drive. The area is architectur-
ally significant because many
of its buildings were con-
structed before 1925 and were
designed by William A. Ed-
wards in a style now known as
Collegiate Gothic. Traces of
the original landscape designed
by Frederick Law Olmstead
can still be seen between Pea-
body Hall and Library East.
The National Register des-
ignation recognizes the histori-
cal significance of eight UF
buildings and with the desig-
nation comes the possibility of
funding to rehabilitate several
structures that are within the
UF is one of two Florida
campuses, Florida Southern in
Lakeland, is the other, to re-
ceive National Historic Dis-
trict designation.

Using Motor Vehicle Re-
ports As A Loss Preven-
tion Tool

For many employees, mo-
tor vehicle accidents represent
the number one cause of lost
work time and on-the-job fa-
talities. Such accidents caused
by the negligent driving of
employees while acting within
the scope of their employment
can, therefore, be costly to their
employer in many ways.
Increased losses can trans-
late into increased auto premi-
ums. If your employees are
injured, you pay for lost pro-
duction time. Auto accident
injuries, if sustained while on
the job, may result in claims
against your workers' compen-
sation coverage, even if your
employee is not at fault.
You can reduce your poten-
tial liability by routinely ob-
taining Motor Vehicle Reports
(MVR's) on existing employ-
ees or any potential employees
prior to their employment.
These reports may be obtained

from your automobile insur-
ance broker and in many states,
directly from your department
of motor vehicles.
The best loss prevention
measure is to encourage your
employees to be safe, careful

Handling Manpower and
Billings Projections

"Manpower needs and bill-
ings projections are not a sci-
ence, but they are definitely an
art. As such, at the best, they
are judgmental and subjective."
So says Robert Olden of Olden
Associates, in the current issue
of Professional Design Prac-
tices Business Newsletter.
Olden draws on thirty years
of practicing the business of
architecture and engineering
for the writing of his newslet-
ters. An annual subscription is
$49 and can be obtained by
writing to Olden Associates,
Business Consultants to Archi-

Fletcher Hall,
built in 1939

Sledd Hall
built 1928-29

Lelgh Hall,
built 1926-27

'The area in grey
outlines the six-block
boundary designated I
as a National Historic

MICHELLE SHAPRO/[he Gainesvile Sun
FLORIDA ARCHITECT September/October 1989

tectural and Engineering Prac-
tices, P.O. Box 22772, Tampa
In his discussion of man-
power and billings projections,
Olden states the importance of
keeping projections flexible
enough to react meaningfully
to the ebb and flow of work-
load scheduling. Projections
should be updated at a regular
time each week using rates
backed out of the remaining
fees for billings where avail-
able, and standard rates where
Other topics that are dis-
cussed in the current issue
include Ownership Transition,
Organization for Project Man-
agement and Client Manage-
ment. A/E professionals who
are interested in getting office
practice information in easily-
digested capsule form will find
this a helpful publication.

Home of the Future to be

More than 15,000 people
will step into the future this fall
when they enter "The New
Southern Home", a residential
prototype for the 1990's spon-
sored by the Southeastern
Builders Conference.
This annual project com-
bines the best of products and
design to build a home that is
representative of life in the
sunbelt states in the years to
come. National sponsors in-
clude Pella Windows, Sherwin-
Williams, Quaker Maid cabi-
nets and Lightolier.
The house, which will be
located in Longwood, Florida,
will be open to the public
September 4-17. Proceeds
from the $5 admission will go
to the Central Florida Zoologi-
cal Park.

Orlce WpoLc5 l-ime....

c5 rcAitects Were r;Ma ter 'Builders.

'Florida c54ociatio t clmeficai q (titute

1989 Fall Corventioj

September 22-24, 1989

coca IatoqG-Hotel aird Club cBoca 1

For registration information call (904) 222-7590

FLORIDA ARCHITECT September/October 1989

fcf 54.chitectes

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Mapping The Common Ground

by Robert T. Segrest, AIA

"The school is moving too
much toward theory," the
gentleman from the profession
says. "It no longer serves the
immediate and legitimate needs
of the practice and we, in the
offices, must train young archi-
tects to do the basic tasks of
architectural production. We
have to do what you should be
"But we have a mandate
and a responsibility not to
follow the profession but to
lead it," answers the gentle-
man from the academy. "It is
no longer enough--if it ever
was--just to train students for
their first job and for registra-
tion. Rather, we must educate
them to be significant partici-
pants in solving the difficult
problems of this and future
societies. We must do what
the profession cannot do."

The conversation is real
and immediate. It is also
fundamental to the debates
which have colored the often
tense and tenuous relationships
between American architec-
ture schools and the profes-
sion for the past one hundred
and thirty years.
From the beginning, these
debates were highly fraction-
alized, that is to say they were
structured by the vested inter-
ests of the participants as much
as, or more than, by the com-
mon interests of the institu-
tion itself. For example, it has
been the interests of the AIA,
as the professional consensus
of the institution, to unify in
the face of disagreement and
diversity while it has been the
interest of the school, as the
autonomous academy and
protectorate of academic free-
dom, to disagree and diversify
in the face of homogeneity

and normalization. From the
point of view of the profes-
sion, then, the school, rather
than being a simple mirror of
the profession, seems more a
funhouse of distortions, an
interlude of fantasy in an oth-
erwise too real world. Over-
educated, under-trained gradu-
ates emerge unable to meet
the demands of the common
From the point of view of
the school, the profession
simply doesn't take advantage
of these highly educated, in-
novative, progressive young

"It (architecture) has be-
come a secondary service
profession, less and less
able to maintain the tra-
dition of architecture as a
cultural art."

It is important that today's
schools of architecture carry
out a very real, but partial,
function. As an example, the
architecture program at the
University of Florida is an
agency for exchange, a party
to the reciprocal relationships
which constitute the institu-
tion of architecture. We seek
linkages and we demand rele-
vance, but we do not displace
or replace the functions of
Let me briefly explain how
I think we do this. The Col-
lege of Architecture at UF is
the largest of its kind in the
United States, and the Archi-
tecture Department, in terms
of student numbers, is also
one of the largest.The profes-
sional programs lead to a Master
of Architecture degree and
students follow either a six
year course of study (the four

plus two program) or a four
year graduate course of study
(for students with a non-archi-
tecture undergraduate degree).
In addition, the Department
offers two post-professional:
the Master of Architecture in
Advanced Studies, for those
who wish to undertake spe-
cialized work in one of four
areas----architectural preser-
vation, architectural manage-
ment, environmental technol-
ogy or architectural history and
theory; and the Ph.D. in Archi-
tecture, for those who wish to
pursue highly advanced re-
search or scholarship.
The Department operates a
year round program in the
Basilica Palladiano in Vicenza,
Italy, a summer program in
London and Cambridge, and
two preservation institutes, one
on Nantucket and the other in
the Caribbean Basin.
Juxtaposed with these aca-
demic programs is an exten-
sive agenda of architectural
research---from acoustics and
computer technology to his-
torical and theoretical schol-
The faculty have a long
tradition of intense commit-
ment to teaching, but, rapidly,
they are enlarging their con-
tributions to the profession and
to society in terms of commu-
nity service, research and
practice. Our new faculty for
1989-90 includes two Skid-
more, Owings and Merrill
Fellows, one AIAS National
Teacher of the Year and the
recent winner of the Berlin
Museum competition. Three
of the five are female. During
the past year, our current fac-
ulty included a winner of the
AIA Teacher of the Year Award
and the winners of the Florida
Solar Energy Competition.

To suggest that there is a
quality as well as legitimacy
in the program is a confirma-
tion of the present and the
past. But there is also worth in
the capacity of an institution
to change, to respond to criti-
cism, both internal and exter-
nal, to rechart its course, to
innovate. As the University of
Florida has evolved into one
of the best American research
and teaching universities, we,
as a department, grow and
change as well. The pattern of
growth can be summarized in
terms of a set of commitments,
an itinerary for growth.

1) A renewed commitment
to the idea that education must
be broadly based in cultural
understanding, not narrowly
focused in professional train-
2) A commitment to the
essential nature of graduate
study in professional educa-
tion; that is to say, a commit-
ment to the necessary rela-
tionships between research and
scholarship and practice.
3) A commitment to inno-
vation, change, and a continu-
ing influx of the new--as well
as the maintenance of the tra-
ditions of architecture through
critical reassessment.
4) A commitment to social
effect, not just abstract under-
5) A commitment to com-
munication and extension.

"As part of the Univer-
sity's pattern of growth,
one commitment must be
to the idea of the profes-
sional as an academic
subject to be studied, criti-
cized and understood."

FLORIDA ARCHITECT September/October 1989

These commitments are
entangled in a more general-
ized vision---that the recipro-
cal necessity between the school
and the profession is best served
by our being active and par-
ticipatory rather than passive
and reflective. This translates
into the expectation that our
students will develop probing
and critical minds as well as
creative and professionally
competent ones. Also, we
expect them to be clearly and
sometimes painfully aware of
the nature of the societies to
which they will bring a re-
sponsibility for service and we
expect them to value the con-
viction that architecture is not
just a skill for problem-solv-
ing and profit-making, but it is
a mode of thought, a form of
expression, a tradition and a
future tradition which is es-
sential to the perpetuation,
renewal and even radical
change, of our collective cul-
Finally, we expect even
more of ourselves as teachers;
to be active and participatory
means to continuously and
vigorously join thought to
action, practice to theory, and
that is our essential responsi-
bility. To the extent that we do
that is the extent to which we
achieve that vital reciprocity
with the profession, and the
extent to which we map out
and build on that common
ground called Architecture.
The author is Chairperson
of the Department of
University of Florida

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FLORIDA ARCHITECT September/October 1989 17


Group Health Insurance is a wonderful employee benefit...if it offers the
coverage employees want and need at a price employers can afford.
The FA/AIA Insurance Program combines extensive medical coverage, cost
containment features, a "Take Care of Yourself/Wellness Campaign", and an
unbeatable service package to offer a health insurance program designed
exclusively for the design professional.
For information on the FA/AIA Group Insurance Program, please call Ken
Hobbs or Kathleen McDonnell at:

Association Administrators
& Consultants, Inc.
The FA/AIA Insurance
Service Organization
19000 MacArthur Boulevard, Suite 500
Irvine, California 92715

1-800-854-0491 Toll Free

Circle 27 on Reader Inquiry Card


Order Your
Guide to Florida's Historic Architecture
Call the FA/AIA Bookstore in Tallahassee at 904/222-7590 to order.

FLORIDA ARCHITECT September/October 1989

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Cobblestone Country Club
PO. Box 688 Stuart, FL 34995 (407


Requests for proposals like this don't come along every
day. Cobblestone Country Club is a 512-acre equity golf
club community in Stuart (Martin County). Its developers
have some very specific residential design criteria in
mind. In a word: vernacular. In two words: Old Florida.
In two more: Hilton Head.
A handful of preferred architects will be selected
before October 30th for recommendation to Cobblestone
Country Club homesite buyers. Examples of their work
will be featured in a two-day on-site exhibit in January
1990 and in publications to be distributed to buyers and
other interested parties*
Architects who wish to be considered for inclusion
in this unique program should submit material rep-
resentative of their capabilities in the styles described,
including color and black & white renderings and
floorplan hardlines, along with an application form, to
Managing Partner John Tompson by September 1, 1989.
(To obtain an application form, call (407) 597-4501.)
All submissions will be reviewed by a panel of profes-
sional advisors, and those selected as preferred architects
will be so advised no later than October 30, 1989.
Florida Victorian
Carolina Lowland
Treasure Coast Traditional
Vernacular style which incorporates the porches,
decks, and gingerbread trim one might associate in
areas such as Hilton Head, the Florida Keys, Sanibel
Island, and the Sewell's Point area of Stuart.
Metal and shake roofs, dormers, cupolas and similar
accents are encouraged.
Avoid Mizner style and high-glitz, Boca Raton type
of elevations.
*No application fee. No charge for representation to
buyers, inclusion in publications, or exhibit space.

Circle 8 on Reader Inquiry Card

1989 FA/AIA Awards for

Excellence in Architecture

The 1989 Design Awards
Jury met in St. Louis, Mis-
souri, on July 8, in the office
of Mackey Associates. There
were 169 projects reviewed
by the jury and fourteen were
The jury was impressed
with the overall high quality
of the submitted projects. In
keeping with Florida's "rich
palette" of climate and land-
scape, the jury felt that most
of the buildings were in keep-
ing with an indoor-outdoor
lifestyle that gives them re-
gional impact. The premeated
projects, in particular, were
"powerfully regional and true
to their palette."
Unique to Florida is the
fact that its architects can still
build whole new cities. Many
of Florida's new buildings
seem to have a "very human
scale with a strong relation-
ship between the indoors and
the outdoors." Outdoor spaces
such as courtyards, verandas,
patios, galleries and arcades
were common to many of the
premeated projects. The jury
liked the idea of bringing the
outdoors inside, and vice
Stylistically, the jury felt
that most of the submitted
projects drew from a Post-
modem vocabulary.

The Jury

Eugene J. Mackey, AIA
Chairman of the Jury
Eugene Mackey founded
Mackey Associates in 1968

and he is the current president
of the St. Louis chapter which
hosted this year's national AIA
convention. In the past ten
years, Mackey has won 17
national, state and local awards
and in May he was named the
recipient of the St. Louis Con-
struction News & Review
People's Choice Award for two
projects, the Power House at
St. Louis Union Station and
Union Station 10 Cine.
Mackey, however, feels that
the Missouri Botanical Gardens
in St. Louis is his most impor-
tant project to date.

William A. Bowersox, FAIA
William A. Bowersox is
president of Ittner & Bower-
sox and is the partner in charge
of design. The firm specializes
in institutional and educational
facilities, primarily in the
Midwest. Bowersox is a gradu-
ate of the University of Kansas
and the recipient of a number
of national, state and local
design awards.

Louis R. Saur, AIA
Louis Saur is president of
Louis R. Saur & Associates, a
full service architectural firm
in St. Louis. He is a past direc-
tor of the national AIA and has
also served on its Design
Committee. Recently, he was a
recipient of the AIA/AASA
Walter Taylor Award for the
design of Parkway North Sen-
ior High School in St. Louis.
Saur was a Steedman Fellow at
Washington University in St.
Louis where he has also been a
visiting professor.

A A'l

Miracle Center

Miami, Florida

Arquitectonica International
Coral Gables, Florida

Fort Schoenberg Properties
Sunbelt Developers

Consulting Engineers
Florida Engineering Services
Louis Aguirre & Associates -
Guido van Meek & Associates
Cantor, Seinuk & Puig &
Associates \ \
Lagomasino Vitale &

Landscape Architects
Albert R. Perez & Associates '

General Contractor /
Hill Constructors

This project is a multi-level
urban, mixed-use center on a
busy urban street which is an
extension of downtown Coral
Gables. The design maximizes
the retail space and structured
parking in a simple and effi-
cient volume while creating a
dramatic interior mall, as well
as an urban landmark.
The commercial functions
are organized on three levels in
a block long rectangle. A
central 30-foot-wide mall con-
nects through the block from
street to street. At the upper
level, the cinema lobby and
circulation spaces cross the
mall on bridges. Also on the
upper level, the health club
aerobics room spans the mall,
adding interest and energy to
the shopping level below.
In addition to three shop-
ping levels, the building con-
tains five parking levels and a
pool and running track on the
roof. On the outside the build-
ing is a sheer glass rectangle on
its public sides. There is a
continuous glass display of
store windows at the pedes-
trian level, punctuated by three
major entries. Above these,
super-scaled trapezoidal pan-

els float like "clouds" in front
of the retail and parking fa-
cades behind. These "clouds"
are painted black and white to
appear marbleized and contrast
to the blue background of the
building mass.

JURY: "This is an exciting
building for what is usually a
mundane function. A real show
stopper. This building took
guts on the part of the architect
and the owner."

FLORIDA ARCHITECT September/October 1989

Photos by Patricia Fisher and Chris Janney

T AI p O
FIRIDA ARCHITECT September/October 1989 23

FLORIDA ARCHITECT September/October 1989 23

M A'l

Tokyo Rose Restaurant North Miami, Florida

Mateu Rizo Associates
Coconut Grove, Florida
Armando M. Rizo, AIA -
Roney J. Mateu, AIA -

Consulting Engineers
Rosas-Guyon Engineers

Masa Yamazaki

General Contractor
Romano Brothers-West, Inc.

Tokyo Rose is a 3,500
square foot restaurant located
in a very conventional strip
center. Working within the
confines of a typical lease
space, the challenge was to
create a unique ambience for
dining that would transport
guests into an urban setting
different from the one outdoors.
The design direction be-
came one of bringing into the
restaurant the feeling of being
a part of a narrow pedestrian
"street" that cuts through the
dining room. The "street" frag-
ments the room into smaller,
intimate rooms along its path.
At the center of the "street" is
the hub of the restaurant, a room
with a brushed aluminum bar
which is entered through two
bright yellow columns. The
bar and the food area behind it
are separated by a glass wall,
creating a "stage set" for food
preparation. Guests can wait
for a table at the bar and watch
food being prepared in the grille

Jury: "This ambitious design
is presented as a total set of
ideas under the complete con-
trol of the architect. The proj-
ect is simple, but special in that
it has good control of lighting
and material patterns."

FLORIDA ARCHITECT September/October 1989

FLORIDA ARCHITECT September/October 1989 25


Rados Residence Tampa, Florida

Rick Rados, Architect

Consulting Engineers
Cabana and Fernandez
Burton and Rolley

Landscape Architect
Rick Rados

Mr. and Mrs. Rick Rados

General Contractor
Ranon and Jimenez, Inc.

This design responds to its
urban location and the Florida Iira
sunlight, which is both friend
and foe. It also responds to a
program that calls for spaces
that are bright and open, cool
and private. An additional
program requirement was for
spaces that could be economi-
cally conditioned.
The construction is heavily
insulated light wood framing
that resists daylight heat trans-
mission and will not store it for
later transmission during warm
nights. The near white exterior
assists by reflecting sunlight
while deep overhangs shade the Photos by George Cott
Small, walled courtyards at
each end of the living-dining
space allow it to be opened up -
for air movement as well as to
visually extend the space with- 0- o
out loss of privacy. Light value,
hard and reflective miscellane-
ous materials and finishes such
as tile, marble, chrome and
dense firm carpet without pad-
ding were selected to reinforce O
the psychological aspects of o
remaining cool.

Jury: "This looks like a Florida ......
house. The louvers add texture
to an otherwise simple exterior. b i O
This is a house which attempts 0
to deal with light, sun and view
on a suburban lot through the O
use of garden walls, overhangs o
and sunshades. The exterior is O o
very handsome and scale and
form are good."

FLORIDA ARCHITECT September/October 1989


Burger King Corporate Headquarters Miami, Florida

Hellmuth, Obata and
Kassabaum, Inc.
St. Louis, MO/Tampa, Florida

Consulting Engineers
HOK Engineers

Landscape Architect
HOK Landscape Architects

Burger King Corporation

General Contractor
Gilbane Building Company

This project is a new head-
quarters for a leading chain of
fast-food restaurants. The site
is a fifty-acre bayside tract in
South Florida. Site planning
was a key element in the de-
sign of the project. The exist-
ing jungle was left intact wher-
ever possible and restored
where necessary. The build-
ings themselves occupy less
than five percent of the site.
The two lower levels of each
building are dedicated to park-
ing facilities. This raises the
buildings as required for safety
in the event of floods or hurri-
canes. The main building has
four upper floors of office
space. Large floor plans allow
maximum flexibility for the
client's frequently changing
space needs.
Exterior materials are pre-
cast concrete and glass. The
concrete is pink with a gridded
and textured pattern and the
accent is aqua and pink marble.

Jury: "This large, strong build-
ing has a wonderful sense of
scale. There is careful follow
through in detail and color and
the strong entry experience and
appropriate terracing invite
outside activity."

P ll.n1lll
!:?.:: i.::'--- ; I--- :, .. .. : .i : ::,,.i ,'il: !? i : : i '..,.. : . !? ,-

FLORIDA ARCHITECT September/October 1989

rnotos by (Jeorge Cott

'00% 4

.T. 71T

FLORIDA ARCHITECT September/October 1989


Bayside Marketplace Miami, Florida

Benjamin Thompson &
Associates, Inc.
Cambridge, Massachusetts
Spillis Candela & Partners
Coral Gables, Florida
...:?: ii '*;.*"! '' -.*....
Consulting Engineers
Spillis Candela & Partners & -

Landscape Architect '
Albert R. Perez & Associates

Rouse-Miami, Inc., a
subsidiary of
The Rouse Company

General Contractor
H.C.B. Contractors

This festive marketplace
was designed to celebrate its
waterfront site. The project
pairs two sets of pavilions sur-
rounding the open market shed,
and continues with a prome-
nade along the water's edge.
The development mixes a
variety of elements: new com-
mercial spaces, restaurants,
open public gathering spaces,
small scale retailing and places
for sitting and people-watch-
The breezy multi-level
pavilions play host to elegant
shops, restaurants, market stalls
and pushcarts and waterfront
bars. Its casual tropical blend
of architectural elements is not
unlike the diverse cultural ele-
ments brought together by
Miami's own population mix-
To minimize the use of air-
conditioning systems and to
maximize energy efficiency,
the project uses natural venti-
lation, exterior breezeways,
shaded open streets with foun-
tains, porches with fixed sun
louvers and Bahama-shuttered
windows to control heat build-

FLORIDA ARCHITECT September/October 1989

Jury: "The architecture cre-
ates a festive atmosphere. This
type of project uses a proven
formula, yet this project has
been executed with verve and
charm and its adapts perfectly
to the Florida climate and cul-



* U

Photos by Steve Rosenthal

7. r~



.1 I.

FLORIDA ARCHITECT September/October 1989

Shoar Residence Punta Gorda, Florida

Suzanne Martinson

Consulting Engineer
Steve Surman, Structural

Mr. and Mrs. Melville Shoar

Steven Brooke

This program called for a
two-bedroom house with a
raised living area to capture
the trade winds and to maxi- -
mize the views of an estuary. It
further required a large cistern
for maintaining a lush garden
in a region often plagued with
drought and water rationing.
Inexpensive construction and
ease of maintenance were also
The house is organized in
layers oriented to the southern
water view. Intersecting these
layers is a strong linear axis
created by the masonry exter- _s ...
nal stairs passing through the
bilaterally symmetrical mass-" '
ing of the house. The resultant
form is, in the Southern tradi- '
tion, the prototypical "dog trot"
house with a hip roof.
The interior spaces are or-
ganized in a linear arrange-
ment. A circulation spine runs
the entire length of the house,
on both levels, and is expressed
in the side elevations by the
two-story slot windows.
The five-foot roof over-
hangs protect the house from
summer heat and provide shel-
ter for the balconies. The
overhangs also serve as the
water collecting device for the

Jury: "This simple house deals
with real world issues in an
elegant, straightforward man-
ner. The house is well-sited
and outstanding in its simplic-
ity and clarity."

Photos by Steven Brooke

FLORIDA ARCHITECT September/October 1989


FLORIDA ARCHITECT September/October 1989 33


Airside "F" Tampa International Airport

Tampa, Florida

Design Arts Group Inc./
Rowe Holmes Hammer Russell
Architects, Inc.
Associated Architects
H. Dean Rowe, FAIA -
Michael L. Russell, AIA -
Project Architect

Consulting Engineers
Walter P. Moore and Assoc.
Post Buckley Schuh and,
Delon Hampton and Assoc.

Lighting Consultant
William Lam and Assoc.

Graphics Consultant
The Bugdal Group

Carpet Design Consultant
Joseph A. Maxwell

Landscape Architect
Design Arts Group, Inc./
Rowe Holmes Hammer
Russell Architects, Inc.
Associated Architects

Hillsborough County Aviation

General Contractor
Taylor Woodrow Construction
This program called for a
new international airside ter-
minal to be added to an exist-
ing landside/airside concept
airport. The envelope of the
building was dictated by exist-
ing runway/taxiway alignment
and maximum utilization of the
apron in an effort to gain the
greatest number of gates.
The two-story building is
190,000 square feet. The lower
level contains the federal in-
spection area for arriving inter-
national passengers and the
operations area for support of
the airlines. The upper level
comprises general use seating
areas, concessions, lounges,
office areas and shuttle car
To provide an atmosphere

conducive to movement by
large numbers of people, a large
volume was provided. The
upper level spaces are column-
free with arched triangular
exposed trusses providing clear
span support of roofing. Areas

of passenger movement
throughout the building are
oversized to create a sense of
easy movement. The overall
goal was to create a sense of
space reminiscent of the early
train terminals.


FLORIDA ARCHITECT September/October 1989

Photos by George Cott

Jury: "The exposed structure
gives the interior an interest-
ing texture. The roof works
like a geodesic dome in that it
simply encapsulates with
minimal effort. This provides
a nice hierarchy that seems ap-
propriate to an air terminal."

FLORIDA ARCHITECT September/October 1989


Lm =IT= M

II It-

A-' ~

North Dade Justice Facility

Miami, Florida

Arquitectonica International
Coral Gables, Florida

Consulting Engineers
Lagomasino & Vitale
Robert H. Tanner
Post, Buckley, Schuh &

Special Judiciary
Architectural and
Program Consultant
Walter H. Sobel, FAIA &

Landscape Architect
Ted Baker Group

Metropolitan Dade County

This two-story building is
sited and shaped to respond to
major site influences. Toward
the vehicular artery, the con-
vex shape of the main volume
of the building acts as a monu-
mental object seen by passing
traffic. The same volume of
building is concave toward the
lake, defining and enclosing a
quiet, pedestrian-oriented en-
vironment. A linear pedes-
trian plaza passing under the
suspended upper volume links
a bus stop with an outlook in
the lake, thus uniting the two
The 39,000 square foot
building is designed as three
separate volumes, each with
its own function, facade, treat-
ment and shape. Downstairs a
rectangular green stucco and
black tile wall encloses a pro-
tected parking area. The en-
trance lobby is contained within
a curved volume of vertical

panels of pink marble and green
glass. Upstairs, the court-
rooms, judges' chambers and
ancillary facilities are arranged
linearly to accommodate ex-
pansion within a volume clad
in a curtain wall of white span-
drel glass and silver reflective
glass. The yellow tile-clad cler-
estories on the roof assure natu-
ral daylight in all courtrooms
and jury deliberation rooms.

Jury: "A dynamic shape, bold
in form and plan, but restrained
in elevation. The curved shape
responds to various angles of
the sun. The language of this
building is so individualized
that it is hard to critique be-
yond the fact that it makes such
a strong statement on the land-

FLORIDA ARCHITECT September/October 1989



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Photos by Patricia Fisher and Paul Warchol

FLORIDA ARCHITECT September/October 1989


Medical Office Building Palm Harbor, Florida

Ranon & Partners, Inc.

Landscape Architect
Ranon & Oural, Inc.

Michael H. Butan, M.D. .. P-E

General Contractor
Dooley and Mack Constructors

The design for this 10,000
square foot office building strives
to provide an understated, profes- Photos by George Cott
sional image. The facility's two
anchor tenants are a plastic sur-
gery center and a neurology cen-
The site is a rural strip of land
bounded by a major highway. To
fast moving traffic, the extended
entrance canopies increase the
apparent building "frontage".
They also provide a sense of invi-
tation, arrival, enclosure and shel-
ter, in addition to expressing the
hierarchy of the interior spatial
The two principal building
lobbies are high-volumed voids 1
formed by adjacent masses of
support spaces. The glazed frames
which functionally subdivide
these spaces are an interplay of
solid, clear and translucent pan-
els. The exterior translucent
screen adds lightness to the build-
ing during daylight hours and at
night, the backlit panels provide t
ambience and presence. -
In reaction to Florida's severe
climate, the building has an east/
west axis, generous overhangs and
reflective coloration.

Jury: "This building is a study in
beautifully composed geometry.
It is well proportioned, bright,
airy and disciplined. The use of
sunscreens is particularly success-

FLORIDA ARCHITECT September/October 1989


Independent Day School Tampa, Florida

The Architects Studio
Tampa, Florida

Consulting Engineers
Florida Technical Services Inc.
O'Neal Engineering
Associates, Inc.

Landscape Architect
The Architects Studio

The Independent Day School
Board of Trustees

General Contractor
J. O. DeLotto and Sons, Inc.

This project is a private
school for grades kindergarten
through eighth grade. The
project consists of the redesign
of the existing campus and the
creation of eight new class-
rooms, art, music, multi-pur-
pose and administration build-
The classroom buildings are
wood frame on wood pilings
and the non-classrooms are
reinforced concrete on slabs
on grade.
The reclaimed swamp site
presented significant environ-
mental and design challenges.
Although the total area is nearly
eight acres, only 2 1/2 is build-
able upland. Severe environ-
mental constraints exist, in-
cluding a central drainage
pond, adjacent lake and sur-
rounding cypress stands which
required delicate handling.
From an architectural stand-
point, inexpensive and com-
mon materials were combined
in primary shapes and colors
that provide the students with
identifiable imagery.

Jury: "Outstanding site plan.
The relationship between the
building's style and color con-
tribute to a fresh solution ap-
propriate to its function."

FLORIDA ARCHITECT September/October 1989

Photos by George Cott

FLORIDA ARCHITECT September/October 1989




Moog Inc., Engine Controls Division Pinellas County, Florida

Reefe Yamada & Associates
Tampa, Florida

Consulting Engineers
Burton & Rolley, Inc.
Walter P. Moore & Associates

Landscape Architect
Phil Graham

Moog, Inc.

General Contractor
Enterprise Building Corporation

This project is a 70,000 square
foot aerospace research and de-
velopment facility. The owners
required a building which reflected
their unique philosophy toward
their employees and their sur-
roundings. Primary goals included
an open work environment and
the co-mingling of all activity
Most of the site is heavily
wooded and in order to reduce the
impact of the building on the
environmentally-sensitive site and
to meet flood insurance require-
ments, half of the building is ele-
vated over covered parking while
the production shop areas are all
on fill. The common ceiling line
throughout the building, the var-
ied floor elevation and the exten-
sive use of glass are intended to
provide a stimulating work envi-
ronment with a strong relation-
ship to the natural surroundings.

Jury: "This building seems to
work well with natural light, both
inside and out. The shading de-
vices are exaggerated and give the
building scale. The combination
of solids and voids is very effec-
tive and when combined with the
white color, it becomes a land-
scape sculpture."

FLORIDA ARCHITECT September/October 1989




FLORIDA ARCHITECT September/October 1989

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Banco de Credito

Lima, Peru

Arquitectonica International

Consulting Engineers
Gallegos, Rios, Casabonne,
Ucelli, Arango Ingenieros
Friba Ingenieros
Lagomasino Vitale &

Landscape Architect
Mercedes Beale de Porcari

Lighting Consultant
Phillips Export B.V.
International Products Division

General Contractor
La Inmobiliaria, S.A.

Banco de Credito del Peru

This building is a 530,000
square foot corporate head-
quarters for the largest private
bank in Peru. It is located at the
foot of the Sierra Mountains
outside Lima. The four-story
building is a broken courtyard
which has been raised on stain-
less steel piloti over white
marble ground level buildings
surrounding a landscaped gar-
den. The organization of the
building recalls a traditional
Spanish colonial courtyard
prototype with a formal public
facade on the exterior and an
informal interior facade. At
the same time, the building is a
modem prototype, with piloti
supporting a free-form interior
plan, user spaces on the roof,
sculptural facade elements and
a free-flowing terrain below.
Cafeteria and auditorium are
beneath the building while
forms such the lobby and board
room slice through it. These
forms are clad in white marble
and white stucco. The ellipti-
cal entry space intersects the
building vertically and is made


on p'

V .or ---

Photos by Tim Hursley and Paul Warchol

FLORIDA ARCHITECT September/October 1989

of glass block topped by a
skylight. The exterior of the
building is mullionless strip
windows of blue glass and
diagonally mounted indige-
nous black marble. The inte-
rior facade of the broken court-
yard is local pink slate which
has been cut in irregular slabs.
The interiors are designed
with special orienting features
such as cylindrical elevator
lobbies and zig-zag glass block
walls which are focused back
at circulation along the court-

Jury: "This spectacular proj-
ect is a wonderful sculpture
that works well as a piece of
architecture. There is a really
dramatic interplay between the
plan, shape and pattern in ele-
vation. The building has a
powerful relationship with its
difficult site."

- '' ""* '

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FLORIDA ARCHITECT September/October 1989

A A'l

Interior Architecture/ NCNB tenant space Tampa, Florida

Associated Space Design, Inc. '
Tampa, Florida .

NCNB Tower Associates :.

General Contractor
Pace Construction

This project is comprised
of two connected spaces, a 31-
floor tower serving the bank's
corporate needs and a 6-floor
atrium serving the bank's public
needs. The design concept for
the tower addresses the bank's
requirement for an open, flex-
ible office plan which responds
to the circular form of the
building. The backbone of the
tower, which creates a square
form within the circle, is a
space which defines circula-
tion, establishes arrival and
termination points and distrib-
utes ambient lighting and
communication cabling.
Finishes were selected to
enhance the building materi-
als, i.e., French limestone,
Texas shellstone, polished
marble and honey teak.

Jury: "This simple, elegant
project has beautiful details.
There is a highly controlled
relationship between the archi-
tecture and the interior de-
sign. It shows masterful con-
trolof asophisticatedinterior.
There is total coordination of
space, light, color, materials
and detail."

FLORIDA ARCHITECT September/October 1989

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FLORIDA ARCHITECT September/October 1989


Rio Atlanta, Georgia

Arquitectonica International
Corporation design
Milton Pate & Associates, Inc.
- production

Consulting Engineers
Bennett & Pless, Inc.
Brady & Anglin
Harris Engineering Corp.

Landscape Architects
The Office of Peter Walker and
Martha Schwartz-Courtyard

Signage and Graphics
Wagner Bruker Design Asso-
ciates, Inc.

General Contractor
McDevitt & Street Company

Mechanical Contractor
J.S. Thomas Co.

Electrical Contractor
Michael/Yukon Electric Co.

Ackerman and Company

This 110,000 square foot
retail center is primarily a se-
ries of buildings around a cen-
tral entertainment court. It is
located at a busy intersection
adjacent to downtown Atlanta.
Conceived as a small, ur-
ban village with separately
defined buildings, this com-
plex allows the pedestrian to
circulate from the inner court
to the parking outside. Within
this complex, one building is
rotated from others to allow
special entry. The buildings of
the center are made of vertical
blue corrugated metal siding
with white window mullions
and yellow awnings. The ro-
tated building is horizontal
corrugated black metal siding
with green mullions.
The entertainment court is
a series of similarly rotated
squares. The court contains a
garden which consists of a

Photos by Rion Rizzo and Mike Astalos

series of turf and green boulder
strips sloping into a reflecting
As the stripes engage the pool,
they are continued as fiber
optics. Situated along the
stripes in land and water is a
rigidly placed grid of golden
frogs. All of the frogs are fac-
ing a forty foot vine-covered
geodesic sphere which emits a
fog at regular intervals.

Jury: "The use of 'off-the-
shelf' building elements and
the response to a restricted site
and budget produced a master-
ful work. The frog pond is a
great thing to build around. The
building is strong and eye-

FLORIDA ARCHITECT September/October 1989




FLORIDA ARCHITECT September/October 1989

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FLORIDA ARCHITECT September/October 1989

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Wall System

All Children's Hospital in
St. Petersburg recently com-
pleted the conversion of an
abandoned church into a medi-
cal education and conference
center. The project used a
polymer-modified exterior
insulating finish system (EIFS)
to achieve two purposes at once
- to preserve the underlying
structure while making the
finished project look like new.
Renovations created class-
rooms, a 600-seat auditorium,
audio-video production facili-
ties and a teleconferencing
center as well as administra-
tive offices. A glass-enclosed
front lobby and a canopied
porte-cochere at the rear im-
proved public access. Hospi-
tal officials selected Harvard,
Jolly & Marcet Associates,
Architects, AIA, to design the
facility. Project architect, John
McCormack, and assistant
project architect Daniel Hous-
ton, specified a polymer-modi-
fied, impact-resistant exterior
insulating finishing system for
the retrofit. The system that
was used is called Senerthik
from Senergy Inc. in Cranston,
Rhode Island. Fernald &
Wallace, the oldest plastering
contractor in Florida, was se-
lected for the application.
Since work was in a very
tight interior space and con-
densation problems with inte-
rior insulation were a concern,
EIFS, with its rigid insulation
board, was a good product
choice. More R-value could
be added without losing inte-
rior space and at the same time
the exterior could be upgraded
at reasonable cost. Using EIFS
also allowed the architects to
refine the building and use
details, such as Art Deco ele-
ments, that wouldn't have been
possible otherwise.
Crack control was another
major concern. With EIFS
systems, depressions and
bumps in walls can be fairly
easily smoothed out by adjust-

ing the thickness of the foam
instead of building up thick
layers of stucco, which are
more likely to crack later.

All Children's Hospital's new
education and conference center,
designed by Harvard, Jolly & Marcet
Associates, was converted from an
abandoned church nearby and
Senergy's impact resistent, polymer-
modified exterior insulating wall
system was used to save interior space,
prevent water penetration, and resist
local vandalism.


The specifications for
TASSO's diagonal texture
wallcovering were incorrectly
stated in the July issue of FA.
Aroll (orbolt) of TASSO is 39
inches wide by 54 1/2 yards


Design your signs before
you write your specs. And
specify Desk & Door.
Our four distinctive
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FLORIDA ARCHITECT September/October 1989






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

(305) 576-6029
FAX (305) 576-1390

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We'll see you at the
Boca Raton Club!
Please stop by our exhibit
and receive your complimentary
Sign Manual at the FA/AIA
1989 Annual Convention
on September 22.


Perma CreteT" Stucco is a quality-
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which includes a waterproofing agent,
fade-resistant pigments, and other chemi-
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FLORIDA ARCHITECT September/October 1989

Member, National Association of
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Sales, Installation and 24 hour service of Vertical
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Call for Consultation and Free Evaluation for
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Video: A Marketing Edge for the 1990's
by Leslie Draper

Among the professionals
who market A/E services, the
following statistic provokes a
ripple of anxiety. The number
of architectural and engineer-
ing firms in Florida grew 137
percent in the last decade. Since
the nature of the design/build
industry is to go where the work
is, new firms and branch of-
fices of established heavy-
weights are magnetically at-
tracted to Florida's booming
economy. The result is an
increased focus on marketing
strategies and innovative solu-
tions to better position one's
services beyond that of the
There's no better way to
convey your firm's message to
prospective clients and em-
ployees than video. Profes-
sionally-produced video pres-
entations are now incorporated
into the marketing budgets of
many design/build firms for
trade show exhibits, project
updates, new business presen-
tations and employee recruit-
Trade shows are a perfect
place for video productions.
As more A/E firms join the
ranks of other professional
service industries in trade show
marketing, they're realizing
that video is the ideal medium
for such a competitive envi-
Lyle P. Fugleberg of Fugle-
berg Koch Architects in Win-
ter Park, is an architect who
realized early that to be effec-
tive in a trade show format,
video was a good choice. He
felt that an exhibit utilizing
slides and renderings would
require too much time to pres-
ent adequately. Trade show
visitors generally try to see as
much as they can as fast as they
can. The exhibitor is dealing
with short attention spans
where impressions are molded
in seconds. Fugleberg feels
that his firm's video has be-
come the focal point for his
exhibit. It captures the essence

of the corporate philosophy,
shows a variety of the firm's
work and its computer tech-
nology, all within an approxi-
mate time of five minutes.
Fugleberg adds that his firm
has put the video to good use
for countless new business
presentations and admits that it
would also be appropriate for
recruiting and conducting new
employee interviews.
Another Central Florida
firm decided that a video for-
mat was the ticket for an intern
recruiting mission. Arsham
and Associates, Inc., Land-
scape Contracting and Design,
wanted a presentation that
would set the firm apart as a
"forward-minded firm." As it
turned out, Arsham was the
only firm at the University's
recruiting program to use
video, and it really captured
the recruit's attention and
generated interest in the firm.
Let's assume for the mo-
ment, that you're sold on using
video as a marketing tool. How
do you select the right video
production company to do the
Think of the selection proc-
ess in terms of the submittal/
interview process your own
firm goes through to ensure
new work. In this case, how-
ever, you'll be quizzing the
prospective video production
company in the same, vigor-
ous manner that a new pros-
pect/client questions your
firm's capabilities.
Here are some basic guide-
lines on what to ask a produc-
tion company regarding costs,
capabilities and quality of serv-
First, does the company
have a strong background in
producing the kind of video
you want? Ask for a client list,
and verify that the references
are satisfied customers. Ask
specific questions about the
company's ability to finish the
project on time and within
budget. Ask about their prob-

lem-solving techniques and
their ability to save time and
money. Would they hire the
video company again to do
another project?
Once you've talked to a
sufficient number of refer-
ences, ask the video company
for tapes of some completed
projects so you can see for
yourself what to expect from
the finished product.
Second, ask who will actu-
ally be working on your video
and what equipment will they
be using? Who will be the
producer and how does his or
her experience relate to your
project needs? Who are the
crew members, and what is
their experience in the field?
Are they full-time employees
of the production company?
Third, ask exactly what the
contract covers. Does it in-
clude scriptwriting, location
work, postproduction and ed-



.. 1. .. .
.' .
- .. ,. ,., ..- ;

Top, AVID video transition from Fugleberg Koch sales video illustrating how im-
portant "human comfort" is as a design factor at the office and at home. The same
man is in both shots. Above, a single frame ofAVID/AniMajic 3D animation used
in the Walt Disney Swan Hotel sales video. The full length animation depicts the
rear of the hotel and its proximity to the Majic Kingdom, MGM, and EPCOT
Center Ball.

FLORIDA ARCHITECT September/October 1989

Ask the company to help
you develop a budget for the
project and expect them to look
for ways to save money with-
out sacrificing product qual-
ity. Ask for specifics on any
services or equipment that may
cost your firm an extra fee
beyond the original bid. And,
that includes work your firm
may be expected to provide
that is not included in the con-
tract. Get a written proposal
that spells out all services in
Ask when you will receive
a detailed proposal and con-
tract. Once they're secured,
and you've narrowed your
choices to one or two compa-
nies, ask for a time schedule
for the project. Remember,
Murphy's Law is always a
factor in video production, but
you should still have a some-
what flexible schedule to fol-
low from planning through
Answers to these questions
should give you a basic educa-
tion for a well-informed,
budget-conscious start on your
first video project.

The author is President of
AVID, a full-service video
production company in

* M#nufactured in Lakeland, Florida

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FLORIDA ARCHITECT September/October 1989

Circle 22 on Reader Inquiry Card

"1 1


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T tI '


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Circle 29 on Reader Inquiry Card

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