Title: Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00286
 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: January-February 1991
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: VID00286
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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January/February, 1991

January/February, 1991
Vol. 38, No. 1



The Artistic Expression of An Immense Tragedy
The Holocaust Memorial in Miami is architect
Kenneth Treister's poignant tribute to six million

Coming Home to Three-Part Harmony
The Hernandez-Lambert Residence in Hollywood
provides contemporary living space for husband
and wife architects.

Classically and Organically Vernacular
Tallahassee architect and educator Michael Alfano
designed his family's home using a vernacular palette.

Security and Openness: A Paradox Resolved
Forest Glen Middle School is architect Donald Singer's
response to several conflicting requirements for school

Follow the Yellow Brick Road
At Jane S. Roberts Elementary School, architect
Hervin Romney created excitement with bold geometry
and color.
Vivian Gude

President's Message
Chapter Awards
New Products
Technical Update: Long Span Floor Systems
William C. Mignogna, P.E.

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, $4.00; Annual subscrip-
tion, $19.08. Third class postage.

On the cover is the Holocaust Memorial in Miami, Florida, which was designed, sculpted and
photographed by architect Kenneth Treister, AIA.

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Florida Association of the
American Institute of Architects
104 East Jefferson Street
Post Office Box 10388
Tallahassee, Florida 32302
Publisher/Executive Vice President
George A. Allen, CAE, Hon. AIA
Diane D. Greer
Assistant Publisher
Director of Advertising
Carolyn Maryland
Design and Production
Peter Mitchell Associates, Inc.
Boyd Brothers Printers
Publications Committee
Roy Knight, AIA, Chairman
Henry Alexander, AIA
Keith Bailey, AIA
Gene Leedy, AIA
Will Morris, AIA
Don Sackman, AIA
H. Dean Rowe, FAIA
Editorial Board
Ivan Johnson, AIA
Dave Fronczak, AIA
Roy Knight, AIA
Raymond L. Scott, AIA
601 S. Lake Destiny Road
Maitland, FL 32751
Vice President/President-elect
Henry C. Alexander, AIA
Smith Korach Hayet Haynie
175 Fontainebleau Road
Miami, Florida 33172
John Tice, AIA
909 East Cervantes
Pensacola, Florida 32501
Past President
Larry M. Schneider, AIA
25 Seabreeze
Delray Beach, FL 32483
Regional Directors
John M. Barley, AIA
5345 Ortega Boulevard
Jacksonville, Florida 32210
James H. Anstis, FAIA
4425 Beacon Circle
West Palm Beach, Florida 33407
Vice President/Member
Services Commission
Ross Spiegel, AIA
2701 West Oakland Park Blvd.
Suite 300
Oakland Park, Florida 33311
Vice President/
Public Affairs Commission
Joseph Garcia, AIA
3300 S. W. Archer Road
Gainesville, Florida 32608
Vice President/Professional
Excellence Commission
Richard T. Reep, AIA
510 Julia Street
Jacksonville, Florida 32202


Florida lost a real pioneer last Spring when the First Lady of Art Deco,
Barbara Baer Capitman, passed away at the age of 70. "My whole life",
she once said, "has been Art Deco. I was born at the beginning of the
period and grew up during the height of it. It's a thing of fate."
Capitman's birth and death coinciding with the popularity of Art Deco
may be attributable to fate, but everything else that she accomplished in
the name of architectural preservation was the result of hard work and
perseverance. Though jokes abound in preservation circles about the
proverbial "little old lady in tennis shoes" throwing herself in front of the
wrecking ball, the truth is not far removed. In the case of Miami Beach,
Capitman saw many important buildings lost to the wrecking ball and
other questionable forms of progress. But, happily, she saw many more
buildings saved and what survives her is, without question, the finest
collection of Art Deco architecture to be found anywhere in the United
States. Would we still have this wonderful collection of pastel palaces if it
weren't for the diligence of one remarkable woman? Maybe. Maybe, not.
Barbara Capitman was known to me only through telephone calls and
letters. Fortunately, I was on her mailing list. Sadly, I never met her
personally. I knew her as a tireless crusader for a cause she felt strongly
about.., saving Miami Beach's architectural heritage. To that end, she
raised money, raised the public consciousness and founded a number of
important organizations including the Miami Design Preservation League,
Art Deco Societies of America and the World Congress of Art Deco. And
early on, she saw to it that the many blocks of wonderful buildings dating
from the 1920s and 30s were listed on the National Register of Historic
Places, the largest concentration of deco buildings to be so listed and recog-
nized by the Federal government.
Aside from all of this, Barbara Baer Capitman did something that I
perceive to be of extreme importance. She quite literally focused the
world's attention on Florida architecture in a positive way. In a state
which many believe possesses little of historical value, architecturally
speaking, it was at once refreshing and exciting for Florida to be at the
center of the preservation arena. Through Capitman's efforts, a trove of
architectural treasures were not only recognized for their extreme
importance in the history of architecture, but Florida was recognized as a
state that recognized the value of what it has and wouldn't let go of it.
Nationally, so many landmarks are gone. Pennsylvania Station, Wright's
Larkin Building, too many to mention. But, Miami Beach's Deco District
survives, and not as a museum. It's a living, breathing community of
buildings that provides housing, restaurants, theatres and recreation
for anyone who wants to partake of the architectural splendor of another
time. I, for one, appreciate the work of one woman who fought to keep
them there. DG

FLORIDA ARCHITECT January/February 1991





16 1 4. ,

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2145 SW 2nd Avenue, Ft. Lauderdale, Florida 33315
Broward 305-523-1312 Dade 305-949-8700 Palm Beach 407-833-0766
FAX 305-764-1395 Circle 18 on Reader Inquiry Card

President's Message

Together We Can Make A Difference

by Ray Scott, AIA

"It is not where we are that
is important, but it is where
we are headed."
Oliver Wendell Holmes

If Mr. Holmes were to
write this message today, do
you think he would feel the
same way? I think he
The country is today, as
it has always been, in a
state of crisis. Traditionally,
if the banks are not in tur-
moil, then stocks and the
balance of payments are.
Countries are at war, both
internally and externally,
and at home, Florida lead-
ers are wrestling with
growth management prob-
lems and cutting the bud-
get. I cannot remember a
time when there was enough
money in the State's coffers
to meet its many and di-
verse needs.
So, worrying about where
we are right now is a waste
of time ... not only in Oliv-
er Wendell Holmes' view,
but in mine as well. The
profession of architecture
has seen tough times in the
past and survived, and it
will survive the recession of
the 90s.
The important thing for
you to know is that the
State Association, the FA/
AIA, is making adjustments
to its programs to carry us
through this difficult time
and into the nineties. The
magazine, Florida Architect,
may be a little thinner at

times and we will have to
cut our meeting schedule to
offset the rising cost of trav-
el, but the organization's
primary focus will continue
unabated. The most impor-
tant thing for the organiza-
tion right now is to keep the
membership intact and not
let negative concerns and
fears divide us.
Another great thinker
once noted, "No man is an
island, entire of himself;
every man is a piece of the
Our visions for the future
will include a continuing
search for achieving excel-
lence in the profession;
working toward making
both the public and mem-
bers of allied professions
more aware of what we do
and why; and continuing to
improve our organization so
that it can continue to meet
the needs of the members.
All of our goals and objec-
tives for 1991 fall into one of
those categories. Some of
the more specific goals we
hope to accomplish this year
- Balancing the budget so
that we can not only live
within our means, but
also move toward elimi-
nation of the deficit.
- Conducting at least one
seminar, conference or
workshop every month in
different geographical
areas of the state so that
we can reach more mem-
bers at a lower cost.

- Developing a dues struc-
ture for our members
which is responsive to
the level of services
received and the ability
to pay.
- Pushing for legislation
which will stem the tide
of litigation costs to the
architect through the
passage of a Certificate
of Merit statute for all
suits against design pro-
- Continuing to push for
action by the Depart-
ment of Professional Reg-
ulation against unli-
censed practitioners.
- Opposing any taxing leg-
islation which would
create competitive disad-
vantages and high costs
for Florida architects.
These are but a few of
our goals for 1991. We need
to be optimistic, positive
and creative in our solu-
tions to the problems that
face us. We need to pull
together and do as Oliver
Wendell Holmes said,
"... not dwell where we are
but, look to the direction we
are headed."
It is not failure that's a
crime. It's low aim. James
Russell Lowell said that
over a hundred years ago
and it's still true. I invite
you to join us as we take
aim at an opportunity to
"make a difference in 1991."
You'll be glad you did.

FLORIDA ARCHITECT January/February 1991

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FLORIDA ARCHITECT January/February 1991



Miami Beach Hosts
World Conference
January 6-11, 1991, the
City of Miami Beach will host
the World Congress on Art
Deco and what a program is
planned! The four days of
meetings and tours will begin
with a tribute to Cole Porter in
Gusman Hall. This command
performance will feature the
majestic sounds of the "Mighty
Wurlitzer" filling historic Gus-
man Hall. A walking tour of
the museum district, a trolley
tour of historic homes, even a
restaurant tasting tour follows.
The business sessions will fea-
ture distinguished lecturers
from all over the country.
On the evening of January
10, the annual "Moon Over
Miami Ball" kicks off the tradi-
tional Art Deco Weekend Jan-
uary 11, 12 and 13. For three
days, the sounds of live big
bands will fill the warm ocean
breezes as the sight of pastel
buildings and Art Deco arts
and antiques delights you. The
experience should be both
enjoyable and educational.
For more information about
either event, call 305/ 672-2014.

Leading Architect
Named To USF's
Endowed Chair
A leading New York architect
and urban designer has been
named the first professor to the
Sam Gibbons Eminent Schol-
ar's Chair in Architecture and
Urban Planning at the Univer-
sity of South Florida in Tampa.
Jonathan Barnett, director of
the graduate program in urban
design and professor of archi-
tecture at the City College of
New York since 1971, will begin
teaching at USF in the Spring
of 1991.
A registered architect in
New York and New Jersey and
a fellow of the American Insti-
tute of Architects, Barnett has

been a Kea Distinguished Visit-
ing Professor at the University
of Maryland, William Henry
Bishop Professor at the Yale
School of Architecture and a
visiting architecture review
committee member at UCLA.
He received his master's degree
in architecture from Yale in
1963 and a master of arts from

Cambridge University in 1960.
The FAMU/USF Cooperative
Master of Architecture Pro-
gram was initiated in the fall of
1986. The Sam Gibbon's Emi-
nent Scholar's Chair was fund-
ed with a $600,000 grant from
the Good Gulfstream Founda-
tion and a $400,000 matching
grant from the State of Florida.

"Understanding Florida's
Handicapped Accessibility
Codes" Seminar
A one-day seminar designed
to help architects and engineers
understand Florida's Handi-
capped Accessibility Code has
been scheduled for January 26,
1991 at the Omni Hotel in Jack-
Sponsored by the Florida As-
sociation/AIA, the seminar will
be led by code experts including
Albert Eisenburg, AIA, Senior
Director for Federal Liaison and
Tom Nicholson, Accessibility
Specialist for the Codes and
Standards Section of the Flor-
ida Department of Community
Eisenburg will address the
impact of the Fair Housing Act
and other accessibility issues
surrounding the new guidelines
for the Americans with Disabili-
ties Act. Eisenburg is the AIA's
chief lobbyist on housing, dis-
ability access, copyright, infra-
structure, and tax issues.
Nicholson has prepared a
"One-Year Review of Florida's
Handicapped Accessibility Code"
and he will share a newly pro-
posed "Glitch Bill." Larry M.
Schneider, AIA, past president
of the FA/AIA, will give an ar-
chitect's view of the codes. The
seminar is open to anyone inter-
ested in attending and all regis-
trants will receive a copy of the
AIA Accessibility Kit "A Guide
to Understanding the Americans
with Disabilities Act."
Priority registration ($95)
ends January 23, 1991. Contact
Melody J. Gordon, Meeting Plan-
ner, for registration details at
800-277-7590. ,&-

FLORIDA ARCHITECT January/February 1991

Chapter Design Awards

Mid-Florida Chapter

The Mid-Florida Chapter of
the AIA presented six design
awards at its bi-annual cere-
mony on October 6. The pro-
gram was held in Winter Park
where more than 200 archi-
tects and professionals from
related fields viewed an exhibit
featuring a total of 72 entries.
Six awards were presented
in three categories including
built, unbuilt and related
professional disciplines.

Merit Award
Orlando Arena
Orlando, Florida
Architect: Joint Venture of Lloyd Jones Filpot
Associates and Cambridge Seven Associates
Associate Architect: Ray Johnson & Associates

Merit Award
Volusia County Administration Center
Deland, Florida
Architect: Spillis Candela & Partners Inc.

Citation Award
Residence for Alex & Cynthia Stone
Winter Park, Florida
Architect: Alex Stone, AIA

Citation Award
Flagler Hospital
St. Augustine, Florida
Architect: Hansen Lind Meyer Inc.

Merit Award Unbuilt Design
San Luis Council House
Tallahassee, Florida
Architect: Architects Design Group

Honor Award -
Related Professional Disciplines
Dame Point Bridge
Jacksonville, Florida
Lighting Consultant:
Robert J. Laughlin & Associates

FLORIDA ARCHITECT January/February 1991

Florida Northwest Chapter

The Florida Northwest
Chapter of the AIA held their
1990 Design Awards Banquet
in Pensacola in November. The
evening featured a slide show
of the 22 entries which were
submitted for consideration.
The program included a
keynote address by Susan
Maxman, AIA, National Vice
President of the American
Institute of Architects. Her
address highlighted the col-
laborative effort required by
many individuals to produce
architecture and noted the
valuable contributions signifi-
cant architecture can make to
a community.
The jurors for the Awards
Program were Thomas Marvel,
FAIA, Santurce, Puerto Rico,
Susan Maxman, AIA, Phila-
delphia, Pennsylvania, and
Professor Gaines Blackwell,
AIA, Auburn, Alabama.

. --

Award of Excellence
Mayo Residence
Architect: Spencer/Maxwell

Photo by Peter Davis

Award of Excellence
Davis Residence
Architect: H.T.C. Davis

" Award of Excellence
SHelen Caro Elementary School
Architect: Bullock Tice Associates

Photo by Curt Shields

Photo by Carter Quina

Photo by Gary Langhammer


Honorable Mention
Benson Residence
Architect: Judy Royal, AIA

Honorable Mention
Renovation of Five Salt Marsh Cottages
Architect: Carter Quina & Associates

Honorable Mention
Graves Residence
Architect: William Graves & Associates

FLORIDA ARCHITECT January/February 1991

The Artistic Expression Of An Immense Tragedy

Holocaust Memorial
Miami, Florida

Designer and Sculptor:
Kenneth Treister, AIA
Associate Designers: Antonio
Cantillo, Charles Treister
Architect: Douglas Tilden
Structural Engineers: Bliss
and Nyitray
Mechanical Engineers:
Martinez & Associates
General Contractor: Weldon
Masonry Contractor:
Jerusalem Stone
Foundry: Fundicion Artistica

Ed. Note: The following is Ken
Treister's very personal descrip-
tion of the process of creating
this monument to six million
moments of death. In his own

In 1985, I was retained by the
Holocaust Memorial Com-
mittee to design a memorial to
the memory of the Jewish cul-
ture and individuals destroyed
by the Holocaust, to create a
memorial garden that would
serve in lieu of the cemetery
that does not exist and to ex-
press in photographs and
sculpture the history and sor-
row of the Holocaust so future
generations will not forget.
The five-year history of the
Memorial's creation began
with study and research and
included three trips to the ar-
chives of Yad Vashem, Jeru-
salem's Holocaust Memorial.
No one can comprehend the
number six million or the fact
that each of the six million was
a person with a family, friends
and a full life ... each endur-
ing the most excruciating
agony every second, minute,
hour and day, of the Holocaust.
The immensity of this tragedy
is infinite. To express it artis-
tically is impossible...but I had
to try.

FLORIDA ARCHITECT January/February 1991

FLORIDA ARCHITECT January/February 1991




I created the Memorial as a
large environmental sculpture
. a series of outdoor spaces in
which the visitor is led through
a procession of visual, histori-
cal and emotional experiences
with the hope that the totality
of the visit will express, in
some small way, the reality of
the Holocaust.
Art today, particularly sculp-
ture, is often purely an object,
an isolated work suspended in
time and space. Environmental
sculpture, on the other hand,
immerses the viewer totally in
the work of art. This immer-
sion adds the dimension of
time and travel to the artistic
experience. The visitor to the
Memorial is therefore an active
participant in the creation and
his thoughts and emotions are
molded as they are exposed to
the unfolding spaces, images
and forms.
A Garden for Meditation -
This serene and peaceful
garden is dedicated to the
memory of the beautiful Euro-
pean culture and its six million
Jewish souls, now lost. The
garden has a large plaza of
Jerusalem stone, a water lily
pond that is 200 feet in diame-
ter and a classic semi-circular
colonnade and arbor, all set
against a backdrop of dense
green palm forest.
The Beginning The first
sculpture is of a mother and
two nestling children fearful as
the signs of the Holocaust first
appear. Their faces ask, "can it
happen?" ... "should we
escape?" ... "will God forsake
us?" The sculpture is framed
by Anne Frank's message....
"Then in spite of everything I
still believe that people are
really good at heart".
The Arbor of History A
semi-circular colonnade of
Jerusalem stone columns sup-
port a wooden vine-covered
arbor. Following the arbor is a
series of black granite slabs
etched with photographs of the
tortured Holocaust history.
The poignant introduction and
captions were written by Pro-
fessor Helen Fagin, historian of
the Holocaust Memorial.
The Dome of Contemplation -
The procession continues into
an area enclosed by a dome

and semi-circular wall with an
eternal memorial flame and
inscription from the twenty-
third Psalm. Piercing the dark
interior of the dome is a shaft
of light projected from a central
yellow Star of David with the
black letters "Jude," the patch
of ignominy.
The Lonely Path The next
space is a dark and lonely
stone tunnel illuminated by
thin slits of sunlight, the
haunting voices of Israeli chil-
dren singing songs from the
Holocaust and the solemn
memory of the camps carved
into its walls. A crying child is
seen in the distance and the
cries get louder as one pro-
gresses along this lonely path.
Leaving the dark tunnel, the
visitor enters the sculpture
patio and experiences a burst
of sunlight and a soaring space
crowned by the sky.
The Sculpture of Love and
Anguish This is my portray-
al of the Holocaust... a scene
from Hell... frozen in patined
bronze. A giant outstretched
arm, tattooed with people from
Auschwitz, rises from the
earth, the last reach of the dy-
ing. Some visitors see hope,
some despair and for many, the
question, "why?".
The free-standing bronze fig-
ures surrounding the base are
lifesize which helps the viewer
relate to and become part of
the sculpture.
The Memorial Wall The
next path in the journey is a
silent one ... a walk by black
granite panels etched with the
countless names of martyred
victims submitted by their
loved ones.
The Final Sculpture The
journey ends. The final sculp-
ture is of the same mother and
two children who started the
journey, now dead. The scene i-
framed by the words of Anne
Frank..." Ideals, dreams and
cherished hopes rise within
us only to meet the horrible
truths and be shattered."
Six million moments of
death cannot be understood,
but we must all try.
Kenneth Trheist r

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Coming Home To Three Part Harmony

Hollywood, Florida

Architect: Jorge Hernandez,
Architect, AIA, P.A

This contemporary home
Occupies a corner site in
one of the first planned com-
munities in South Florida.
Surrounded by houses dating
from the 1920s, the Hernan-
dez/Lambert house was built M
on one of only a handful of
available lots.
Designing the house, which
serves as the personal resi-
dence for the architect and his
wife, Susan Lambert, also an
architect, presented the prob-
lem of utilizing as little of the
site as possible while provid-
ing maximum interaction
between interior and exterior
spaces. An additional goal
was to enjoy the experience of
living in an established pedes-
trian-oriented neighborhood
while maintaining complete
privacy for the occupants.
Functionally, the interior of
the house is divided to accom-
modate formal, casual and
utilitarian needs. It was de-
cided that the tripartite theme
would be carried out through-
out the design beginning with
the varying heights used in the
facade. The space contained
under the tallest part of the
roof is living room, dining
room and entry. Casual areas
such as kitchen, family room,
bedrooms and bath are be-
neath a roof of intermediate
height while storage, laundry
and garage have the lowest
The initial tripartite con-
cept, along with the desire to
admit morning sunshine, pro-
duced an east-facing facade.
The garage is on the north side

FLORIDA ARCHITECT January/February 1991

of the house. The main entry
is situated between living and
dining room spaces and is ad-
dressed by planters and steps
leading to it. The entry is de-
fined by a floating beam which
penetrates the glazing enclos-
ing the living room. To the left
of entry, a series of casement
windows denotes the dining
area. When the house is viewed
straight on, the casement win-
dows are clearly situated di-
rectly over the planters lead-
ing to the main entry. Clere-
story windows set high in the
wall admit morning light and
further accentuate the high
ceilings. An exterior porch
surrounds the remaining por-
tions of the house allowing the
exterior to flow inside and vice
versa. Descent from the porch
leads one to a private garden
surrounded by a concrete block
and stucco wall which is soft-
ened by the same tripartite
use of slits.
The utilization of concrete
pavers and grass instead of
concrete walks and driveway
helps soften the overall effect
of house and site.
Interiors take their decora-
tion from the form of the
house. Kitchen and family
room were designed as one
unit and it is here that the
family congregates. Lighting
is a big part of the interior
design as it respects the form
created by the architecture.

Photos offront and side elevations
and dining area by 1990 Ed

FLORIDA ARCHITECT January/February 1991

I :4.X

Classically and Organically Vernacular

Alfano Residence
Tallahassee, Florida

Architect: Michael Alfano Jr.
A.I.A. Architect

D signing and building his
or her own house is proba-
bly one of the most difficult
tasks an architect can under-
take since there are so many
ideas and design directions
that can be explored outside
the parameters of client im-
peratives. In this situation,
there is a strong paradox
between freedom and disci-
pline that somehow has to be
Light is the key to the expe-
rience of this house designed
by Tallahassee architect
Michael Alfano, Jr., AIA. Light
defines the interior volumes
and also creates a kinetic pat-
tern on the interior surfaces
that helps make a small house
seem larger and more complex.
Oriented on an east-west axis
and nestled on the south slope
of a forested site, the building
is concerned with the fusion of
light, volume, structure and an
understanding of the ver-
nacular architecture of North
Essentially, the architect
designed a vernacular house
that uses a roof stack to help
cool interior spaces. High win-
dows on the north side help to
vent the house most of the
year. This volume, while allow-
ing for maximum ventilation,
also provides the opportunity
for light to enter from above,
thus accentuating the height of
the main spaces by making the
dark ceiling seem to recede.
The long axis of the house is
broken by an exterior stair
that serves the main entrance.
One enters at a point four feet
above the main floor and
either ascends six feet to the

FLORIDA ARCHITECT January/February 1991

Photos by Michael C. Alfano

private spaces or descends to
the living area. The descending
stair inflects around a stripped-
down classical column into the
main sitting area. The interior
details and palette are influ-
enced both by classical and or-
ganic architecture. The juxta-
position of ideas gives a sense
of both order and pattern to the
interior spaces. The window
pattern, with its placement of a
small transom over each open-
ing on the main level, seems
reminiscent of classical forms.
Another aspect of this house
is that it was built "out-of-
pocket" over an eight-year per-
iod. The fine tuning of details
and space use was an ongoing
event that often led to a work-
ing over of the existing space.
The surfacing of large areas
with mahogany panels and
cypress battens reinforced the
perception of the total volume
and added a counterpoint to
the white plaster walls.
While designing and build-
ing his own house was a diffi-
cult one for the architect, it
was also a rich and rewarding
experience which profoundly
influenced his understanding
of "making architecture."

FLORIDA ARCHITECT January/February 1991

Security and Openness: A Paradox Resolved

Forest Glen
Middle School
Coral Springs, Florida

Architect: Donald Singer
Structural Engineer:
Donnell & DuQuesne, P.E.
Mechanical Engineer: Stol-
ley & Associates
Civil Engineer: Berry &
Landscape Architect:
Stresau, Smith & Stresau
General Contractor: R.F.
Wilson, Inc.
Owner. School Board of
Broward County

F forest Glen Middle School
attempts to solve two
conflicting requirements of
school design security and
The desire for a view of the
outdoors and the need for a
secure environment for learn-
ing led to the planning of a
series of three expansive land-
scaped courts enclosed by the
functional spaces which fulfill
the program requirements.
The interior open space pro-
vides circulation and feeds the
thirteen one-story buildings.
The classrooms border two
grass-surfaced, landscaped
courts and were planned to
function either by grade level
or curriculum. All classrooms
have a view of the court.
A third court is a hard-sur-
faced area bordered by the as-
sembly functions, food service
and gymnasium. The court
provides a gathering area for
students both before and after
Photos: This page top: Covered
walkway as it passes beneath
canopy and below, paved court-
yard between gym and cafeteria.
Photos by Ed Zealy. Opposite page,
elevation courtesy of Donald Singer
Architect. Aerial photo by Smith
Aerial Photography Inc.

FLORIDA ARCHITECT January/February 1991


FLORIDA ARCHITECT January/February 1991

Im 6 61

d-11`1 I ml





functions held in those build-
ings. This court is landscaped
with trees in raised planters
providing shaded seating
areas for midday use. One cor-
ner features a raised platform
for assembly functions.
The planning of the school
permits limited areas to be
opened for community use
while maintaining security
throughout the rest of the
campus. The programmatic
space surrounds the three
courts and the interior circula-
tion areas providing limited
access and total security for
the whole campus.
Additional features include
a 500-seat auditorium/cafete-
ria, 500-seat gymnasium, full
locker rooms with showers,
computer-aided instruction
lab, computer skills lab, Amer-
ican industries lab, graphic
communications lab, band
rehearsal room, health occupa-
tions lab, business office lab,
home economics lab and an
exceptional education wing.

Plan courtesy of Donald Singer
Architect. Photo of courtyard out-
side classroom buildings by Ed



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FLORIDA ARCHITECT January/February 1991


FLORIDA ARCHITECT January/February 1991

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Follow the Yellow Brick Road

Jane S. Roberts
Elementary School
Miami, Florida

Architect: Hervin Romney
Architect, Inc.
Design Team: Hervin Rom-
ney, AIA, Ani Zablah,
Dominick Ranieri, Marice
Chael, Jeffrey Warmington,
Paul Titterington
Production Team: Hervin
Romney, AIA, Louis Pedraza, *
Dominick Ranieri, Jeffrey
Warmington, Marice Chael
Structural Engineer: Riva
Klein Partners
Engineer: Lagomasino Vital,
Civil Engineer: G. Van
Meek, P.E.
Lighting: Michael G.
Asmar/Design Lighting
Landscape Architect:
O'Leary, Shafer, Cosio, ASLA
General Contractor: TGSV
Construction, B. Tompkins
Owner: School Board of Dade

Photos, this page, top: Entry
detail and below, central cooling
tower. Photos by Raul Pedroso/
Solo. Opposite page, plans and
drawings courtesy of Hervin
Romney Architect, Inc. Photo-
graphed by Jeffrey Warmington.

W ith 79,000 square feet of
Educational space for 870
students, Hervin Romney's
prize-winning elementary
school was recently completed
at a cost of $7.25 million. After
more than four years, the de-
sign that won him the Centen-
nial Competition for Dade
County Pubic Schools is a
All of the trademarks associ-
ated with Romney's work are
present in Jane S. Roberts Ele-
mentary School. Present are
the bold geometries, zig-zag
roofs, free form curves and pri-
mary colors, including a blue
elevator enclosure and red
The distinct shapes of the
classroom quadrangle, service
wing and administrative block
integrate into a complex that
incorporates vernacular ele-
ments, traditional shapes and
classical elements without
the typical pseudo-classical

FLORIDA ARCHITECT January/February 1991

In this elementary school,
the architect addresses the
problem of multiple scales by
juxtaposing a two-story tradi-
tional courtyard and a vernac-
ularly-derived one-story multi-
gabled ell enclosing the kinder-
garten play area. The foot-
iT n paths in the courtyards trace
T ,the classical Golden Section
Sproportioning system in a con-
Al temporary way. The vernacu-
lar nature of the pitched roofs
is made modern by introducing
bands of color.
Romney's use of color has
taken on a different bent here.
By combining alternating col-
ors and zigzag shapes, Micco-
sukee Indian patterns are re-
called, making references to
long ignored regional cultures.
In addition, by using pastels
as a base melody, the primary
colors have become accents
throughout the school. Used
in this way, the colors become
a pathfinding system for space
orientation, sort of an academ-
S ic "yellow brick road." The
school is anchored by the cen-
tral cooling tower with its red,
blue and yellow free form
amoeba cutouts. Vivian Gude

The author is a freelance
writer living in Miami.

FLORIDA ARCHITECT January/February 1991



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+26 FLORIDAARCHITECT January/Fel ruary 199!

New Products and Services

Fiber Cement Building
Boards... Why Their
Use is Growing

In the building industry
today, new materials come and
go, but one that has recently
established a strong and grow-
ing niche for itself is fiber
cement. Though there are dif-
ferent kinds of fiber cement
building materials, the one
experiencing the fastest growth
is a variety known as "auto-
claved cellulose-reinforced fiber
This material is most fre-
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siding or sheets in a wide
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for roofing, siding. underlay-
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residential and commercial
In Australia, New Zealand,
Malaysia, Indonesia and most
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hundreds of millions of square
feet of this material has been
installed and successfully used
for decades. The Pacific re-
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Fiber cement's popularity is
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Roofing shakes and shingles
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These roofing shakes and
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breaking, splitting and waste
problems common to other
types of roofing materials
which are not as light. These
"weigh about 400 pounds per
A new high-tech, stucco-
alternative system is now being
introduced in the sunbelt re-
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claved cellulose fiber reinforced
sheathing from a 100-ycar-old
Australian company with an
elastomeric texture coating
from a 40-year-old U.S. compa-
ny. The resulting system,
which looks like stucco, can
achieve effects ranging from
intricate architectural mold-
ings and trims to finishes rang-
ing from flat to rough textured.
James Hardie Building Prod-
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subsidiary of Australian-based
James Hardie Industries, Inc.,
the company which produces
th -e fiber cement products.
The company's products in-
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Terra Cotta: Trials
and Triumphs

There is nothing unusual
about the use of terra cotta in
Florida. The word means
"burnt earth" in Italian and it

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has been used for everything
from flower pots to gargoyles
since the time of the Roman
empire. Although -imilar in
composition to brick, terra
cotta is made of a finer grade
of clay and fired at higher tem-
peratures. allowing it to be
molded or extruded into plain
panels or decorative shapes of
ornate detail.
Terra cotta enjoyed a surge
in popularity as a building ma-
terial in this country from the
1890is to the 1930's. particular-
ly in Florida and California. It
has always been popular for
skyscraper trimmings because
it's lighter than stone and,its
molds can be reused, allowing
for repetitious ornament that

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can be cheaply produced. It is
also fire resistant.
Today. however, there are
few large scale terra cotta sup-
pliers left in the country which
present- problems for the
architect faced with the chal-
lenge of renovating buildings
adorned with glazed terra cotta
in a deteriorated condition
For this reason, many archi-
tects search Ior alternate re-
placements that may be more
suitable, particularly where
freeze-thawv climates expand
and contract the material.
Terra cotta, once the great "imi-
tator of stone," is now being
replicated in cast stone, epoxy-
coated concrete and even coat-
ed aluminum. One relative

FLORIDA ARCHITECT January/February 1991

afrris &

Construction Cost Consultants

newcomer to the field is a pro-
prietary glass fiber-reinforced
ceramic-like material, which is
the star in the largest terra
cotta replacement program
ever undertaken. A New York
architectur- firm, The Stein
Partnership, is currently using
it to replace thousands of
pieces of terra cotta on the
main tower of Shepard Hall on
the City College of New York
campus. The new material,
called DesignCast, is used as a
3/8-inch skin over a carefully
designed structural system and
it may prove to be fireproof in
addition to lightweight, stable
and colorfast. AIA News

Conference: IFRAA
The Interfaith Forum on Re-
ligion, Art and Architecture, a
national organization and affili-
ate of the American Institute of
Architects, will be holding an
IFRAA Regional Design Con-
ference in St. Petersburg, Flor-
ida on February 8-10, 1991. The
membership of IFRAA includes
architects, liturgical designers.
artists, craftspersons and clergy
of various denominations dedi-
cated to the highest standards
in art and architecture for sacred
The conference will consist of
a walldng tout' f 'the oldest places
of worship and other historical
buildings in the St. Petersburg
downtown area on Friday, Feb-
ruary 8th, a design conference
on religious architecture and art
on February 9th, a banquet din-
ner at the SalvadorDali Museum
on Saturday evening and an
I FRAA Board of Directors meet-
ing on Sunday, February 10th.
A slide presentation of the 1989
and 1990 IFRAA National De-
sign Architecture and Art Awarl
Winners and slides of Florida re-
ligious art and architecture will
be shown at the conference.
Nationally known speakers in
the fields of religious architec-
ture and liturgical design and
history from across the country
will participate in the design

conference. Our special guest
speaker will be Clovia Heim-
sath, FAIA from Houston, Texas
who will speak on "Designing
Holy Places."
We are requesting submittals
from architects, liturgical design-
eri.. art ists and craftspersons of
religious projects completed or
planned in the State of Florida.
Submittals will l:e selected by
an IFR ~A panel for present at ion
to the conference participants
on Saturday, February 9, 1991.

Submittals will be in the form
of 35mm color slides and be lim-
ited to a maximum of eight slides
of each project submitted. Sub-
mittals must include a brief proj-
ect description, religious denom-
ination, location, firm name and
design team members, cost of
building only (optional), and
date of project's completion or
planned start. Please note that
all slides and information sub-
mitted will be kept by IFRAA
unless return postage and mail-

ing information is included with
each submit tal. The deadline for
subniittals has been extended
until 25 .Ianuary 1991.
For more in t;:nnrtion oir iegis-
tration forms for the conference,
or to submit -lides. please call
or write to the: Florida Director
of IFRAA. Richard M. T'kach,
ASID, 2401 West Bay Drive,
"The Manor House", Largo,
Flo rida 34641.0. 1:13 586-0197 or
FAX (8131 5S1- I197.

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How the FA/AIA Insurance Program does

Most insurance programs can't pass tne lest of time They fall when it takes weeks
and months to handle your claim. They fall when they treat you like a number with a
The FA/AIA (Florrda Associatlion/American Institute of Architects) Insurance
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you pay for, it's time to look into the FA/AIA Group Insurance Program.
For more information, call Kathleen McDonnell or Eric Shirley at
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Circle 27 on Reader Inquiry Card 1-800-854-0491 Toll Free

FLORIDAARCHITECT Januar- Febrnjan 1991

What is it like to

be illiterate?

You a.lre lIcjky \ (-ii'U never know. But fir IhoIc i,--un idfFloridians,
reading is a nighutmiar Reiding -.tceet ign-. prescription labels, job
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FLORIDA ARCHITECT January/February 1991


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FLORIDA ARCHITECT January/February 1991



? Quantity Unit Price Total
Q November/December 1988 $2.50
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FLORIDA ARCHITECT January/February 1991

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Technical Update: Long Span Floor Systems
by William C. Mignogna, P.E.

(Editor's Note: The following is the
first of three "Technical Update"
articles developed by the West
Palm structural engineering firm
of O'Donnell, Naccarato & Mig-
nogna for Florida Architect.
Florida Architect readers
can receive a free. copy of
O'Donnell, Naccarato & Mig-
nogna's full report on long span
floor systems by calling 407-
471-5166, or writing the firm at
1665 Palm Beach Lakes Blvd.,
West Palm Beach, 33401.)

hile short span floor fram-
TT ing systems (25-32') are
less expensive than long span
systems, many building devel-
opers and tenants today have
design specifications requiring
open, column- free space which
cannot be achieved with short
spans. In such cases, the chal-
lenge is to choose the long-span
system which can accommo-
date client needs at the least
possible cost.
In general, stress cannot be
used as the primary criteria for
sizing members for long span
floor construction. For spans in
the 40' range, stress-based cal-
culations result in live load de-
flections in the range of 1 1/2"
to 2" (compared with typical
deflection of less than 1" for
spans under 30'). This deflec-
tion level may be structurally
sound but can be annoying to
tenants and may cause slopes
that make occupancy uncom-
fortable. The design criteria of
deflection-to-span ratio such as
L/240 does not apply for most
long span conditions. In addi-
tion to stress, long span floor
design must consider deflection,
vibration, cost, fire rating and
post-construction flexibility.
What follows is a brief review
of several long span systems
with pros and cons for each, as
well as relative costs. For pur-
poses of this article, we've
defined long span as between
32 and 50'. Beyond that length,

additional criteria apply and
costs increase significantly. All
costs and conclusions here are
relative to a very generic build-
ing. Specific buildings require
individual analysis by the pro-
ject's structural engineer,
architect, mechanical engineer
and owner/feasing agent.
Structural steel joists
with 3" concrete slab. This is
the least expensive way to
frame long span floors, but
deflections will be on the high
end of permitted limits and
vibration will be uncomfortable
for many tenants unless care-
ful design adjustments are
made. Relative cost factor for
purposes of this article: 1.0.
Precast concrete joist
and beam soffits with cast-
in-place slab (40x30 grid).
Description-16" joists with a
3" composite slab span of 40';
beams with precast soffits
spanning 30'. Pros: Produces a
sound floor with excellent
resistance to deflection and
vibration. Desired fire rating is
achieved by varying slab thick-
ness. Holes can be placed in
floor easily. Cons: Dead eight
of building will be more than
with other systems, resulting
in increased foundation costs.
Construction time is longer
than structural steel systems.
Cost index factor: 1.25.
Precast plank on steel
frame, precast plank on
concrete frame, or precast
plank on bearing wall.
Using a 12" hollow core precast
plank, you can achieve a 40'
span with relatively good
deflection and vibration resis-
tance. Steel members, other
precast elements or bearing
walls can support the 12" long
span plank.
Pros: Ease and speed of con-
struction, quick follow-up of
the mechanical trades, sound
floor with excellent reIistance
to deflection, vibration and
sound control. Con;: Lack of
flexibility in placing holes in

the floor. The dead weight of
the building is considerably
more than with other systems
and must be accommodated
with a small increase in foun-
dation size (which can be
expensive for buildings with
deep foundation systems). Pre-
cast plank systems do not lend
themselves to office buildings
which cannot tolerate immov-
able bearing alls
Long span preca-t members

must be cambered as much as
1 1 2' to 2" and a topping is
usually required to provide a
sm-nootli. level floor. Though
generally very practical, the
precast plank system does not
lend itself to irregularly shaped
buildings, curved areas, trian-
gular areas, sloped areas on
roofs, or occupancies with high
flexibilit. requirements. Cost
index factor, 1.15 if used on a
steel or precast frame, and 0.90
if used on masonry or precast
bearing nalls. nut integrated
with architectural layout.
Composite beam, girder
and deck construction
(40x40 grid). Description-
wide flange beams with steel
shear studs welded through
the steel deck to form a com-
posite section with a 4-6" con-
crete slab which is cast on 1
1/2" to 3" deep steel deck. Tying
slab to steel beam produces a
stiffness greater than the beam
Pros: Excellent resistance to
deflection and vibration. Cons:
The composite construction is
calculated on the concrete at a
28-day strength. During con-
struction, the stre.ses within
the steel beams are different
than those of the final condi-
tion. Criteria such as beam
shoring or cambering much be
considered during design
Beam' may have to be a bit
overdle-igned su acceptable
detlections can be maintained
during construction Relative
cost factor: 1.33 over bar joists
and thin slab. Anticipate 24-

30" depth of construction.
Structural steel joist
girder, joist construction.
Description-joist girders span
long direction at spacing of 20-
25' to support short span open
web joists. Design criteria is
similar to structural steel joist
system but uses deep trusses
with heavy members. Normal
criteria for best utilization is to
select a girder depth which is
equal in inches to its span in
feet (e.g. 40" for 40'). Depth of
construction is comprised of
the 40" joist girder depth plus 5
1/2" to 7" for the short span bar
joist seats and concrete slab.
So, for a 40' span, a 48" con-
struction depth is normal.
This depth is not a problem
if mechanical construction uses
the rather large openings
through the trusses for ducts
and piping. The ceiling can be
placed directly beneath the bot-
tom chord of the joist girder.
Pros: When properly inte-
grated with the mechanical .y s-
tem, this design will produce a
good system at relatively low
cost (relative cost factor-1.1
over the joist system), and pro-
vide excellent deflection resis-
tance due to the low span to
depth ratio. Vibration resis-
tance is also excellent Cons:
Additional ceiling construction
costs will be incurred if 2 or 3
hour fire ratings are required.
Also, system favors straight,
modular bays; triangular or
irregular shapes will increase
cost. System is best suited to
buildings which don't require a
fire rating, or those where the
ceiling can satis'f fire rating
req irements- ecionomically.
Fire Ratings Clo-ely
spaced, open web bar joist type
construction and thin concrete.
slabs do not lend thenmehle- to
spray fireproofing. If an hourly
rating is required. this t pe i:of
construction would have to use
the floor ceiling assembly to
achieve fire rating. Wide flange
beam construction is well suited

FLORIDA ARCHITECT January/February 1991

to sprayed fireproofing, form-
ing an integral fireproofing
assembly requiring no special
ceiling construction. When
reviewing long span options,
the cost factor for fireproofing,
fire-rated ceilings and the like
must be considered.
One final note; Long span
construction introduces unusu-
al design considerations which
may not be encountered fre-
quently by detailers, fabrica-
tors, contractors and other
members of the project team,
so early team coordination is

The author is President and
Principal with O'Donnell, Nac-
carato & Mignogna, based in
West Palm Beach, and provid-
ing structural engineering ser-
vices nationwide.

News, continued from page 9

Construction Issues
Workshop Set
Construction issues from the
owner's perspective will be the
focus of an intensive two-day
conference in Lake Tahoe,
Nevada, on February 20 and
21, 1991. The conference, un-
der the leadership of Roy
Wilson, P.E., will present dis-
tinguished speakers from all
parts of the construction
Subjects covered during this
two-day "work hard, play hard"
conference will include issues
like management controls on a
construction project, the role of
the design professional and his
or her potential liability and
how to control the cost of litiga-
tion. As one of the speakers,
Wilson will discuss how to eval-
uate construction claims, how


Z< (I--

Z r
CONSTRUCTION o 5> iL N 2 io I oO









to determine their true cost
and how to prepare a successful
defense against claims which
are not valid.
Other topics will include con-
struction surety, how to man-
age a large capital improve-
ment program and what to look

for when evaluating a construc-
tion schedule Speakers
include attorneys, engineers
and coistructiun managers
from well-known firms all over
the country.
Roy Wilson is President of
Wilson Management Associ-

ate_-, a New York consulting
firm which speciallze- in the
prevention of construction
claims and the resolution of
disputes. Anyone interested in
attending the two-day confer-
ence should contact Karen Vil-
lano at 516/ 759-2300.

FLORIDA ARCHITECT January/February 1991


The New

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Endorsed by Your

Guaranteed renewable
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Long term benefits
No group increases
Pays for total and partial disability
in your occupation as an Architect
and/or loss of income
Premium discount to membership
Liberal underwriting

H. Leslie Walker, FAIA
Chairman, FA/AIA Insurance Trust

For more information call
Shirley Sandler, CLU
Southern Benefits LTD
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