Title: Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00287
 Material Information
Title: Florida architect
Series Title: Florida architect.
Physical Description: v. : ill. ; 30 cm.
Language: English
Creator: American Institute of Architects -- Florida Association
Florida Association of Architects
Publisher: Florida Association of the American Institute of Architects.
Place of Publication: Tallahassee Fla
Publication Date: March-April 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: VID00287
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

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Stent FrBidnClsics

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A Balance In Tension
This renovated California film
spins out from a high tech stair.


Technical Update: The Masonry Wall
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.

production studio

Cover photo of Trio Restaurant in Tallahassee is by Randy Lovoy. Architects: Craig Huffman, AIA,
in association with Larry Peterson.

March/April, 1991
Vol. 38, No. 2


A Tallahassee Eatery With Family Appeal
Two Tallahassee educators designed this restaurant
renovation which resulted in a dynamic two-story
space that's just like home ... almost.

At The Ham, The Focus Is On Art
Kha Le-Huu and Partners created a union of art and
architecture in the Samuel P. Ham Museum of Art.
Laura Stewart

High Style Hair Style Salon
This Boca Raton Salon is a high-tech project by the
Berenbaum/Simon Group.

Fast Paced Space
The Jackson Street Garage Bar & Grille in Tampa is
the Urban Studio Associates' answer to lunch on the

I i4 D4


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



As the world waits, and watches the developments in the Middle East,
I sit composing this editorial and wondering what will have happened in
the world by the time it's in print.
My chief concerns until now have related to the recession this country
finds itself in, the shortage of funds for construction, low housing starts
and architects whose practices are taking the brunt of the economic down-
turn. Additionally, the state of Florida, in its struggle to improve it huge
economic deficit, is causing jobs to be lost and the picture seems very grim
close to home. Now, all of that pales in light of the war and all that the
very word implies.
I know the economy will recover, hopefully sooner than later. I hope
the recession will be brief. I can only pray for those whose lives will be
dramatically affected by this tragic turn of events.
On a far more positive note, this issue of Florida Architect contains five
interesting projects, most of them small scale. During 1991, FA will be
publishing articles which will hopefully draw the landscape and interior
design communities into its reading audience. This issue focuses on sever-
al small projects, two restaurants at opposite ends of the state and a South
Florida hair design salon, all of which showcase the talents of architect
and interior designer in concert.
The Samuel P. Harn Museum of Art at the University of Florida is by
Orlando architect Kha Le-Huu. It's an exciting addition to the University
of Florida campus and to Florida's art world in general, providing as it
does a beautiful showcase for exquisite painting and sculpture.
Then to Hollywood, but this time in California, to view the work of
architect Lawrence Scarpa as he transforms a deteriorated building into a
high tech film production studio. The film industry has hit Florida hard
and fast and readers should find this project interesting, particularly with
the potential for designing such buildings here. DG



Architects Selected
For Tampa Museum

The collaborating firms of
Antoine Predock Architect of
Albuquerque, New Mexico, and
Robbins, Bell & Kuehlem Ar-
chitects of Tampa have been
selected to design a $35 million
expansion of the Hillsborough
County Museum of Science and
The expansion will be built in
three phases over a 15-year
period, with Phase I consisting
of approximately 110,000 square
feet of free-standing science
exhibit halls, an Omnimax the-
ater and supporting education-
al facilities. The projected open-
ing date of the first phase is
The project also includes the
site design of 47 acres that will

contain special water conserva-
tion elements and outdoor envi-
ronmental exhibits.
Predock, the "cosmic modern-
ist," was selected from more
than 100 applicants. The short
list, a veritable "Who's Who"
among national firms, included:
Pritzker Prize winner
Frank O. Gehry of Santa Moni-
ca, CA in association with the
Tampa firm, Rowe Holmes
Hammer Russell Architects;
Pritzker Prize winner
Richard Meier & Partners of
New York in association with the
Tampa firm, Ranon & Partners;
Cambridge Seven Associ-
ates of Boston in association
with the Tampa firm, Fleis-
chman/Garcia Architects;
E. Verner Johnson & Asso-
ciates of Boston.
"Those architectural firms
who weren't selected are as sig-

nificant as those who were,"
says MOSI board member and
architect Gerald Curts. "We
would not have received this
kind of response if the project
were not such a special one. We
have the opportunity to become
the premier museum facility in
the southeastern United
Predock has won national
design competitions for many of
his buildings, including the
American Heritage Center and
Art Museum at the University
of Wyoming, the classroom/labo-
ratory/administration building
at California Polytechnic Uni-
versity and the Arizona State
University Fine Arts Center.
His Las Vegas Library/Discov-
ery Museum graced the October
cover of Progressive Architecture
magazine. Renee Garrison

This 1989 artist's rendering shows the size and scope of the Museum of Science and
Industry's current expansion plan.

I read the STYLE article by
J. West in your November /
December issue with great
interest. While generally infor-
mative in the context of what
can only be viewed as an 'eva-
sive concept,' West poses a
variety of interesting ideas.
He suggests that a 'complete
lack of bias in architectural
criticism is unattainable.' Of
whom does he speak: 4-year-
old children, the Kung of
Africa, Eskimos, Amazonian
Indians, Ada Louise Huxtable,
Beth Dunlop, Vincent Scully,
Corbu? Of course, humans
have proclivities: it is the
nature of the human spirit to
be inclined toward a variety of
things among which may be
color, form, texture, line and
the like. But, I submit that
such a broad statement tends
to the unproven. The studies of
Rachel and Stephen Kaplan -
psychologists at the University
of Michigan who have for years
researched the human response
to various images in the land-
scape seem to suggest that
there are somewhat-uniform
responses to the same image,
despite the varied backgrounds
(proclivities) of the viewers.
Voltaire in his Allegory of the
Cave explores the idea of
one's ability to know and to
comprehend the meaning of
the terms 'dark' and 'light,' if
one has always lived in the
darkness of a cave. The mere
absence of one element in
this case, the light does not
deny to the cave's resident the
ability to perceive nor to imag-
ine what 'light' must be. It
seems thus to follow that unbi-
ased architectural criticism is
achievable, and it depends
entirely upon the context in
which such architectural judg-
ments are rendered. The pres-


ence or absence of certain
knowledge does not inherently
preclude or insure rational
judgments on architecture,
rather precluding only those
which some may view as being
'informed.' But, many would
agree I suspect as West
might that 'informed' judg-
ments on architecture are often
as dangerous as no judgments
at all.
On the subject of 'beauty,'
that evasive concept: it seems a
term used rather loosely within
the text, as if it were precisely-
definable, which of course it is
not. Beauty is an issue of 'fit-
ness' and 'appropriateness,' a
pride of lions roaming freely on
the Serenghetti at dusk might
well be considered 'beautiful,'
but that same pride roaming
'freely' within the confines of a
man-made zoo exhibit is quite

Your choice -
but one way or another
you will pay for security
in your building project.
Don't be a victim of


Architects for Security
We design in security
and loss prevention.
Randy Atlas
2 Palm Bay Court
Miami, Florida 33138
(305) 756-5027
FAX (305) 576-1390

Circle 19 on Reader Inquiry Card

something else. That the pride
of lions is deprived of its true
freedom by the confines of the
zoo, has everything to do with
beauty, defined by fitness and
appropriateness. Lacking these
two characteristics insures an
absence of 'beauty,' as the
inherent nature of the element
is converted from one 'natural'
function to a second 'managed'
function. While the compo-

nents of both settings may be
exactly the same, it is the con-
text, fitness and appropriate-
ness which play the dominant
role it seems to me in defin-
ing beauty. How that trans-
lates to architecture seems
rather simple. A wonderful
piece of Downing's cottage
architecture, set within Times
Square is not beautiful, while
the same structure set in a

pastoral English countryside
would surely be beautiful.
Any comments? I would be
interested to hear other opin-
ions on the concept of'beauty.'
Ted Baker, ASLA
Landscape Architect

How most insurance programs

measure claims processing time

1 2 1 2 3 4 5 6 7 1 2 3 4
3 4 5 6 7 8 9 8 9 10 11 12 13 14 5 6 7 8 9 10 11
10 11 12 13 14 15 16 15 16 17 18 19 20 21 12 13 14 15 16 17 18
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24 25 26 27 28 29 30 230 0 31 26 27 28 29 30 31

How the FA/AIA Insurance Program does

Most insurance programs can't pass the test of time. They fail when it takes weeks
and months to handle your claim. They fail when they treat you like a number with a
The FA/AIA (Florida Association/American Institute of Architects) Insurance
Program, however, passes the test of time with flying colors. Among the program's
* 48 hour average claims turnaround time
* A courteous and caring staff that treats you like a person, not a number
* Cost-containment and "Take Care of Yourself"/Wellness campaigns
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It's your time and your money. If your insurance program isn't giving you the service
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:
Association Administrators & Consultants
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Irvine, California 92715
Circle 27 on Reader Inquiry Card 1-800-854-0491 Toll Free

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A Tallahassee Eatery With Family Appeal

TRIO Restaurant
Tallahassee, Florida

Architect: Craig Huffman/
Architect, Tallahassee, in asso-
ciation with Larry Peterson,
Associate Dean, Florida A & M
School of Architecture
Project Team: Craig
Huffman, AIA, Larry Peterson,
Leslie Harris
Structural Engineer:
A. Emmett Anderson III, PE
Engineer: Liebtag, Robinson
& Wingfield, Inc.
Landscape Architecture:
Hodges & Associates
Graphics, Logo, Signage:
Vicki Monroe, in association
with Craig Huffman/Architect
Owner: Pattymax, Inc.
Contractor: L.L.T. Develop-
ment, Inc.

The owner of TRIO in Talla-
hassee is not new to the
restaurant business. He al-
ready has four successful res-
taurants operating in down-
town Tallahassee and he was
in a perfect position to know
exactly what the city needed as
its next new eatery. He was
concerned about the fact that
there were few, if any, family
restaurants in the vicinity ex-
cept fast-food chains. The few
upscale restaurants that did
take kids expected them to be-
have. What this restaurateur
wanted was an exciting and
distinctive place for families to
eat in casual clothing...a place
that was light and bright and
noisy with TVs going. Just like
home, but not like home.
With that set of imperatives,
architects Craig Huffman, who
teaches at FAMU, along with
colleague Larry Peterson, went
to work designing the 200-seat
restaurant in an already exist-
ing two-level shopping village.

The site consisted of four 20-
foot wide bays in the first level
and two bays in the second
level, plus adjacent areas to
the north and east.
The design solution evolved
from a conversation between
the designers. At times, the
architects would variously as-
sume the role of owner, chef,
manager, waiter, and especially
patron, to question and chal-
lenge their initial ideas.
Since the client insisted that
there be no "cheap seats," no
bad seats, in the restaurant,
seating placement, type and
number became a primary de-
terminant in the final compo-
sition. It led, in fact, to the
eighteen-degree "cant", which
together with the orthogonal
order of the exposed structure
and the 45-degree pattern of
the floor and cabinetry, creates
an environment that is both
dynamic and playful. With pa-




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trons walking at right angles to
the main axis of the open two-
story space, the architects
gently shifted the focus toward
the huge pizza oven. The booth
island was rotated slightly and
placed on an area of yellow
vinyl tile with an expanded
metal lath cloud hanging over
it to carry the lighting and


lower the scale. The final
design was exactly what the
client was hoping for, an excit-
ing space where good food could
be enjoyed.
The structural steel frame is
exposed on the interior of the
restaurant. There are also ex-
posed pine trusses, maple mill-
work, metal lath and miscella-

neous steel plates and diagonal
bracing, all in clear view. Out-
side, there is a stucco and
black anodized storefront.
The fact that the existing
building is a two-way post-
tensioned slab resting on mar-
bled pipe clay made the addi-
tion and renovation difficult.
By pulling the existing window
wall out to include the walkway
to the street, the architects
were able to push the entry
back beside the exterior stair-
way and create an alley-like
entry which is both private and
intriguing. With the customers
already pulled deeply into this
space and entering on the far
side of the dining area, they
are also pulled naturally out to
the newly created courtyard.
The pasta-pizza-grille-bakery
cuisine includes the sale of
freshly baked goods right over

Photo on opposite page shows metal
lath cloud which carries lighting
and lowers the scale of the space.
Axonometric courtesy ofCraig
Huffman. Photo this page, top left,
shows the salad island and food
preparation area. Photo, top right,
is of indoor booth seating with out-
door dining area beyond. Site plan
courtesy of Craig Huffman, AIA.
All photos by Randy Lovoy.

the counter and pizza which is
baked in a wood-fired, seven-
foot diameter, 4,000-pound
pizza oven which is visible
from much of the restaurant.
There is also a discreet, full-
service bar, an open kitchen
and outdoor dining is available
when the weather permits.
There is no question that in
this restaurant, food prepara-
tion is the entertainment.

At the Harn, the Focus is on Art

The Samuel P. Ham
Museum of Art
University of Florida
Gainesville, Florida

Architects: Kha Le-Huu and
Partners, P.A., Orlando
(design); Jackson-Reeger, Inc.,
Gainesville (technical).
Design Team: Kha Le-Huu,
AIA (principal in charge of
design); David Jackson, AIA
(project manager); Bud Reeger,
AIA (technical coordinator);
Thomas Chapoton, AIA
(project architect)
Project Team: Christopher
Brown; Andrew Davis; Juan
Haberkorn; Patricia McBraver;
Joe Wynn; Steve Ziemba; Terri
Welch; Deborah Morgan; Bao
Le-Huu; Linda Waller;
Kenneth Felix
Structural Engineers: Allan
Conrad & Mitzo, Inc.
Protection Engineers:
Ingley, Campbell & Moses, Inc.
Lighting Consultants: Robert
Laughlin Associates, Inc.
Security Consultant: Steven
Keller Associates, Inc.
Landscape Architect: Blitch,
Davis & Feiber, Inc.
Civil Engineer: Ing, Chance
& Denman, Inc.
Owner: Florida Board of
Contractor: Gilbane
Building Co.

IThen Kha Le-Huu learned
That his firm had been se-
lected to design the University
of Florida's new art museum in
1987, he knew he would be
working with certain givens.
His budget was set at just
under $8 million for the 32,000-
square-foot facility $3 mil-
lion donated by the family of
the man for whom it was
named, Samuel P. Harn, $4
million in state funds and the

rest privately donated. His site,
on the edge of the campus in
an agricultural area, sloped
rather steeply and would need
to be dotted with several reten-
tion ponds.
Another program require-
ment would be the creation of a
master plan for a cultural pre-
cinct that in addition to the
Samuel P Ham Museum even-
tually would include a perform-
ing-arts center and natural his-
tory museum. From the start,
the Orlando architect knew he
would be linking the buildings
visually and functionally.
On the day he learned he
would be in charge of the ambi-
tious project, his first thought
was of his ultimate goal -
creating an art museum that
would be an equal to the art it
would shelter. By the next day,
Le-Huu was on his way to
Paris, to see what made the

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world's great museums suc-
cessful or unsuccessful. He
found that many of the older
museums had not been de-
signed as museums and some
of the newer ones suffered from
a basic flaw: their architecture
made it difficult to appreciate
the art. By design, their shapes
and spaces dominated the
works displayed inside.
Le-Huu set out to create a
museum that would work with
its art, designing a subdued,
but dramatic, building whose
organization is logical and un-
derstated. From its emphatic,
barrel-vaulted entrance, along
a paved walkway set with dia-
monds of transluscent black
granite and flanked with tall,
broad columns topped with
beacon-like lights, to its pre-
mier open space, the tetra-
hedron-capped rotunda that
leads into the galleries, the
new Ham is a museum that
seeks to welcome and orient its
visitors, offering them a pleas-
ant, well-lighted tour of its per-
manent collections and chang-
ing exhibits. -
The building's muted exteri-
or, with its quiet palette and
crisp massing of simple geo- l
metric shapes, sets the tone for .. :. l
its interior. On the upper, or
gallery, level, outside walls are
gray concrete enlivened with ,
slender bands of creamy traver- I .
tine and an occasional small "
square of black granite. The .
walls of the lower level, a ser- '
vice area closed to the general A
public and nestled beneath the f '
galleries on the site's slope so .. 1
that the loading dock is acces- -
sible but hidden from museum- i S
goers, are clad with a bold pat-
tern of alternating buff and red .
rectangles of split-face mason-
ry block that seem satisfyingly
sturdy and decorative. The low
lines of the gallery level all


that is visible to those entering
the museum from the main
parking area are broken by
the dramatic, jagged lines of
the crystalline tetrahedron ris-
ing over the curving drum of
the rotunda.
Once inside, the museum's
visitor is immediately aware of
the vast, friendly spaces open-
ing before and, with vault-
ing soaring to more than 30
feet, above him. To the left
of the entrance is a 200-seat
auditorium; to the immediate
right is an attractive, but defi-
nitely utilitarian, kitchen. Just
beyond the auditorium is the
bright, window-walled museum
shop and seating that over-
looks the still-incomplete cul-
tural precinct that will rise
outside the museum. To the
right of the lobby, beyond a
passageway whose ceilings are
a cozier 18 feet above, lie the
offices of the administration
staff easily reached by visi-
tors but separate from the gal-
leries and storage, conserva-
tion, loading and preparation
areas below, on the ground
Le-Huu, however, saved his
most impressive vista for the
rotunda, a circular space that
rises to 60 feet at the peak of
the tetrahedron skylight and
leads directly into the main
gallery ahead or, alternatively,
into smaller, more intimate
galleries that are clustered
around the skylighted, oak-
floored main hall on three
sides. The basic concept was
that the main gallery would be
used for changing exhibits,
divided by partitions as needed
and lit partly by cool northern
light admitted from above
when the skylight was open.
Visitors could view works in
the main gallery, making for-

ays into the smaller, carpeted
spaces to the side to view Afri-
can masks, American paintings
and other pieces from the
Ham's permanent collection.
As all spaces are linked by a
logical network of passageways,
the entire 18,000 square-foot
gallery space feels open and
friendly. Yet the surrounding,
smaller and quieter carpeted
galleries are clearly distin-
guished from the main hall and
so allow the visitor to approach
the works in understandable
In large part, that unusual
sense of spatial clarity is due to
the organization of volumes,
particularly in terms of the
various ceiling heights and
floor treatments. But certain
grace notes also add to the sat-
isfying spaces in the Ham's
galleries: Le-Huu defined the
peripheral spaces with angular
window seats, spartan in their
use of the same cool, whitened
oak that serves as flooring in
the main hall and vast, metal-
lic grids on the windows that
refer to the functional, even
industrial, appearance of the
ceilings in most of the galleries.
There the decoratively exposed
ductwork, lighting and other
usually concealed elements
were simply painted white and
left in plain view, far above the
more refined art works. In
addition, Le-Huu included
small, enclosed garden spaces
throughout the galleries, bring-
ing the environment itself next
to the art and emphasizing the
museum's underlying, harmo-
nious interplay of opposites -
interior and exterior, metallic
and wooden, smooth and
rough, curving and crystalline,
open and enclosed.

Laura Stewart


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High Style Hair Style Setting

Frederick Savage
Boca Raton, Florida

Architect: The Berenbaum/
Simon Group
Boca Raton, Florida
Principals: Wayne
Berenbaum, AIA; Shelley
Simon, IBD,/ASID
Project Manager: Steve Torp,
Contractor: The Legend Co.
Owner: Frederick Savage

The Frederick Savage Salon
was designed and created
as an architectural environ-
ment in which an open-plan
theme is combined with com-
mercial and industrial ele-
ments housed in a highly
visible retail area.
Since the goal of the facility
was to present itself as an
open, uncluttered environment
yet provide private areas with-
in a client-oriented business,
the design evolved around a
closed core with client services
radiating to the periphery of the
predominantly glass curtain
walled area. Partitioning of
spaces was minimized and con-
trolled spaces utilize mesh
screening to further define
Within the facility, space is ..
maximized by incorporating "
the standard steel bar joist and
cellular roof deck into the salon
space. By monopolizing on ex-
posed mechanical equipment, '
as well as the structural steel
framework of the infrastruc-
ture, the facility takes on a typ- -
ical industrial appearance.
In keeping with the exposed .
ceiling, the electrical conduits
are bussed throughout the plan .a .ii I
adding additional definition to
an otherwise open area. The Oversized mirrors attached to 8 x 8 steel columns with exposed baseplates dramatize the industrial feeling
system was further carried into used as the concept. Long cantilevered soffits add scale to the open and exposed ceiling system. Visual
expanse is maximized both inside and throughout to the outside courtyard.


Employee reaction has been
most favorable since each
styling station is designed to
allow personal flexibility, low
maintenance and departs from
the standard salon seating
.Client reaction has also been
very positive. Nearly all of the
4 stylists are reporting the most
profitable three month period
of their careers during a typi-
cally slow period in a seasonal
Close collaboration between
architect and designer provid-
ed for a harmonious solution to
a challenging design program
in which every aspect of the
project received close attention
to detail.

Sculpted partitions formalize
specialty task areas. Screening
panels define space while allow-
ing visual contact throughout the
salon. Photos by Robert Thien.

the styling areas by stainless
steel utility carts and cabled
onto structural steel columns
onto which mirrors are framed
in steel angle stock. This allows
stylists to move equipment
around freely at the stations,
thus changing the standard
station configuration.
Designers incorporated a
subtle color scheme, combined
with textural elements, such as
those found in the marble
reception desk, leather seating
and rich patterned area rug in
the entry foyer, into the salon.
This extended the inviting
environment and also manipu-
lates colors and textures found
in the surrounding commercial

Fast Paced Space

Jackson Street
Garage Bar & Grille
Tampa, Florida

Architect: Urban Studio
Associates, Inc.
Owner: Stephen & Anna
Marie Zanis
Contractor: Paragon
Contractors, Inc.

L located on the ground -floor
retail level beneath the
parking garage of an office
highrise, the client needed an
economical solution to provide
restaurant space for both
breakfast and a furious lunch




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The design treated large
portions of the existing struc-
ture (exposed ceiling structure,
concrete block walls, and con-
crete floor) as major
components and supplemented
these surfaces with exaggerat-
ed shapes and bright color.
The restaurant is easily
maintained because of these
basic finishes. Food is served
on a line, however, patrons are
directed to queue on specific
entree stations, instead of pro-
ceeding through in cafeteria-
line fashion. Cashing out
occurs at the end of a two-
sided beverage island. The


restaurant has begun exhibit-
ing regional Florida artists
and the owners plan to contin-
ue this collection.

Photos by George Cott


A Balance in Tension

Dektor Higgins Film
Hollywood, California

Architect: Lawrence Scarpa
and Gwynne Pugh
Santa Monica, CA and
Lakeland, FL
Lawrence Scarpa
Project Team: James Dove,
David Johnson, Gwynne Pugh,
Lawrence Scarpa, Kenny Size-
more, Carla Watkins, Ann
Presentation Drawings:
David Johnson, Lawrence
Scarpa, Andy Copeland
Engineering Consultant:
Gwynne Pugh
Stair Consultant: Syndesis
General Contractor: Ernst
and Dubey, Inc.
Owner: Dektor Higgins and
Associates, Leslie and Faith

This project involved the re-
Smodeling of an existing
1930's masonry and wood
frame film production studio
into a contemporary studio for
a renown producer of television
commercials. The existing
building was sited on an inte-
rior lot on a busy, but dilapi-
dated commercial thoroughfare.
The program called for re-
modeling 4,000 square feet of
space within an 8,000-square-
foot existing building. The
client required a strong state-
ment as well as design consis-
tency with the existing studio.
The entry was to be relocated
and combined with a new
lobby. In the process, there
were to be new facilities for an
additional director and produc-
tion staff. Circulation needed
to be improved and facilities
upgraded for casting, wardrobe
and editing.



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The Concrete Stair
The stair is constructed from
seventy-two prefabricated com-
ponents cast from four molds
extruded to varying heights.
Each riser/step is an assembly
of three basic parts: a tread
Part A, support wall Part B,
and an end wall Part C, bolted
together with 3/8" epoxy bolts.
The base of each assembly is
attached to a 1/2" steel leveling
plate embedded in six inches of
concrete. To absorb earthquake
forces, a steel plate was
devised to connect adjacent end
walls and transfer the hoop
stress uniformly to the
foundation. Two special cast
pieces resolve the second floor
landing. The concrete is a spe-
cial type of Portland cement
called Syndecrete developed by
David Hertz. The engineer was
Gwynne Pugh. It was designed
by Lawrence Scarpa.

Because of major time and
cost constraints, it was decided
early in the design process to
put eighty percent of the bud-
get into twenty percent of the
program. The new lobby and
entry would become the nucle-
us of the project, with the
remaining program acting as
poche space.
The lobby is intended to be
bare and establish a datum for
two objects, a concrete stair
resting stable and vertical
while the other object floats
horizontally within. Converse-
ly, the adjoining entry is com-
pressed and tense. The two
spaces are connected by a lin-
ear skylight which permits
light in while allowing space to
escape. The two spaces strain
alone yet balance in tension
Building materials include
syndecrete stair, concrete
floors, plaster walls and ex-


posed steel and aluminum.
There is a concrete slab foun-
dation, wood frame walls and
ceiling, exposed steel columns,
perforated metal decks and
screens and an exposed alumi-
num storefront.



.-',. '


Photos by Lawrence Scarpa

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Technical Update: The Masonry Wall
By William C. Mignogna, P.E.

(Editor's Note: The following
is the second of three Technical
Update articles developed by
the West Palm structural engi-
neering firm of O'Donnell, Nac-
carato & Mignogna for Florida
Architect. Readers may receive
a free copy of O'Donnell, Nac-
carato & Mignogna's Design
Databook report on masonry
wall systems by calling 407-
471-5166, or writing the firm
at 1665 Palm Beach Lakes
Blvd., West Palm Beach, 33401.)

The masonry bearing wall,
the oldest and simplest
structural system, can be one of
the most economical and attrac-
tive construction approaches.
But its simplicity can also be
deceptive. While many consider
masonry "old hat," there is still
a good deal of confusion about
specific applications. And, there
have been cases of projects be-
coming subject to litigation
because unrealistic properties
were assumed.
The advantages of masonry
are pretty straightforward.
Economy is enhanced by dual
usage of the primary element
(wall) as both a structural and
architectural feature. Masonry
is intrinsically fireproof. It is
compatible with most floor and
roof systems (such as joists,
trusses, precast plank, bar
joists, cast-in-place concrete
and large clear span wood
trusses). When wall length/
height to thickness ratios are
respected, control joints and
lintels properly designed and
detailed, and proper mortar
strengths maintained, masonry
can provide cost-effective, aes-
thetically-appealing solutions
to most building problems.
Yet despite all these advan-
tages, there are four major con-
cerns which should be consid-
ered at the outset.
First, masonry bearing wall
construction is particularly
sensitive to wind and freezing
rain during construction. While
freezing rain is rarely a con-

cern in southern or central
Florida, it can be a factor in
less temperate areas of the
state. Protection can be provid-
ed by continuous heating or,
more commonly, by adding
chloride-free admixtures in the
field (though walls must still
be heated during the curing
period). To protect against high
winds before bracing is avail-
able from the floor system, it
may be necessary to brace ma-
sonry walls independently.
Another concern is that ma-
sonry bearing wall systems are
very heavy. This is not signifi-
cant when the wall can bear
directly on conventional spread
footing foundations. But if the
wall is interrupted by large
openings, costly framing will
be required to transfer the
loads. With deep foundations,
the weight of the wall system
can increase the foundation
Third, economy in masonry
construction is highly depen-
dent on thoughtful space plan-
ning. Bearing walls should be
positioned for maximum utili-
zation of the floor framing
Fourth, regardless of the
quality of materials used, the
integrity of the masonry wall
system is chiefly determined by
the quality of workmanship.
Drawings and specifications
which reflect an "easy to build"
design will greatly assist field
installation. Also, competent
inspection will virtually guar-
antee that the design will be
properly implemented.
In addition to these general
areas of concern, there are a
number of technical areas
which frequently generate
C.M.U. Concrete masonry
units are generally available in
two basic configurations, hol-
low block and solid block. How-
ever, hollow block isn't really
hollow and solid block isn't
really solid.

Indeed, hollow block (ASTM-
C90) comes in various configu-
rations and is usually 55%
solid. Design and testing is
based on the net area (55% x
width x length) of the block.
Solid block (ASTM-C145), on
the other hand, is 75% solid to
facilitate handling and has
open cores. It is designed and
tested on the basis of gross
area (width x length). The des-
ignations C90 and C145 refer
to configuration and not
often express concern about

masonry wall lateral support
requirements. Proper lateral
support both during construc-
tion and in the final product is
critical. Normally, a height or
length to thickness ratio of 18
to 1 is recommended for exteri-
or wall bracing. Ratios must be
maintained for all exterior ma-
sonry walls, regardless of num-
ber of stories.
Support can be provided by
intersecting walls, pilasters,
columns, or buttresses as verti-
cal elements or by floors and
roofs as horizontal elements.
Restraint must be provided at
both the top and bottom of the
pilaster. Pilasters which stop
short of the roof framing in sin-
gle story buildings are worth-
less. For proper wall construc-
tion, bracing must be provided
in either horizontal or vertical
direction. When cavity wall
construction is used, all wythes
may be used in computing wall
thickness if cavity widths are
controlled and proper ties are
used between wythes.
* STRENGTH. Masonry walls
have great strength in direct
compression, but little or none
in tension or bending. The com-
pressive strength of individual
CMU units usually is a mini-
mum of 1800 psi and can be as
high as 3000 psi. The strength
of brick can vary from 5,000 to
15,000 psi.
The National Concrete
Masonry Association and the

Brick Institute of America have
established design criteria
which can help users evaluate
the wide variety of masonry
products and manufacturers.
These criteria, along with local
building codes, should be con-
sulted for each case.
* MORTAR. Questions are often
raised about the requirement
of a full bed joint at each
course. This means all webs
and flanges of the block must
be covered with mortar. This is
absolutely necessary when lay-
ing solid block, to achieve as-
sumed design strength. For
hollow block, the web may not
always align vertically, so the
face shell coverages takes on
primary importance. But, to
ensure jambs and face shells
are adequately covered, we
specify that a full mortar bed
be provided throughout the
entire masonry project. Since
mortar controls the wall's
strength, permeability and aes-
thetics, it must be designed,
installed, inspected and tested
with utmost care.
* REINFORCING. Depending on
design requirements for partic-
ular geographic areas, exterior
masonry wall can be built un-
reinforced. In South Florida,
with wind speeds up to 140
mph, design must take high
wind loads into consideration.
The hollow cells of masonry
walls can be reinforced and
filled with concrete, or a poured
concrete tie column and beam
system can be used which al-
lows the masonry to span be-
tween these elements.
* INSPECTION. Qualified inspec-
tion is mandatory during ma-
sonry bearing wall building
construction. The first block
above the foundation is the
most important-it will get the
highest loading. Quality testing
and supervision is especially
critical during the first few
days of construction to ensure
proper sequences, techniques
and materials.


spans up to 40 ft. remain eco-
nomical. Buildings up to 100 ft.
in height can be built using lat-
erally braced concrete masonry
IVANY BLOCK. Though in-
creasingly popular, Ivany block
is often applied improperly.
This hollow, high-strength
(3,000 psi) block is used pri-
marily in concrete filled, rein-
forced masonry retaining wall
construction. Its webs are
grooved near both faces to
allow placement of horizontal
reinforcing bars. This rein-
forcement controls placement
of vertical reinforcement so
vertical bars will align just
inside the outside face shell. It
is critical to the structural
design that these bars be right
at the face of the block and not
"stray" to the center of the core
during concrete placement.
MENT. Because masonry is in-
herently brittle and prone to
random cracking, temperature
and shrinkage are the main
forces contributing to expan-
sion and contraction. If the
resulting stresses are relieved
at properly spaced intervals,
wall and building growth will
not result in unsightly cosmetic
cracking. Control joints and
expansion joints are actually
planned planes of weakness in
the structure where we invite
cracking to occur. The spacing
of these joints depends on a
particular structure's geometry
and layout. Generally, control
joints for building facade mate-
rial should be spaced at 25-30
ft. Building expansion joints,
where a true separation of all
building components occurs,
should be spaced at 150-200 ft.
To maximize the consider-
able cost and aesthetic benefits
of masonry bearing and curtain
wall construction, careful
attention must be paid to criti-
cal connections, lateral sup-
port, mortar, anchorage and
construction quality. Early


coordination between struc-
tural engineer and masonry
contractor is also important.

William C. Mignogna is Presi-
dent and Principal of O'Don-
nell, Naccarato & Mignogna,
based in West Palm Beach.





Typical Wall Detail

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food for meals. It is affording electric and water bills. It is

affording the ability to communicate and gather with friends and

Unfortunately, many of the attempts to solve one of these aspects
F.is M. L a A

investigatffordable solutions is mucthat are sustainable. ju Solutions that address

means to travel to work, shopping and recreation, It is affording
food for meals. It is affording electric and water bills. It is
affording the ability to communicate and gather with friends and

temporary fix.
The 3rd Visions of Quality Developments seminar will
investigate solutions that are sustainable Solutions that address teu
all of the major problems associated with affordable living
Solutions that respect people and natural resources. Solutions
that you can apply to your community or development.
Unoruntey mayo hbtepst oleoeo hs set

For more information, contact: JoAnn Stirling, Florida Solar Energy Center
300 State Road 401, Cape Canaveral, Florida 32920, (407) 783-0300 ext. 116

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