Title: Florida architect
ALL VOLUMES CITATION THUMBNAILS PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/UF00073793/00292
 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 1992
Frequency: quarterly
regular
 Subjects
Subject: Architecture -- Periodicals -- Florida   ( lcsh )
Genre: periodical   ( marcgt )
 Notes
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: VID00292
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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January/February, 1992
Vol. 39, No. 1


CONTENTS





S Features


Home Is Where The Art Is 10
The Cultural Arts Center in Deland by
Design Arts Collaborative

S Simple Geometry As Architectural Palette 11
The Museum ofArts and Sciences in Daytona Beach
by Blais, Sayers & Hawkins, Inc.

Contradictory Criteria Shape Energetic Volumes 12
Southeast Museum of Photography at Daytona Beach
Community College by Stottler Stagg & Associates, Inc.

A "Silk Purse" In Downtown Orlando 14
Dr Phillips Centerfor the Performing Arts by
Vickrey/Oversat/Awsumb Associates, Inc.

Emphasis On The Details 16
The Visual Arts Complex at the University of Central
Florida in Orlando by Vickrey/Oversat/Awsumb
Associates, Inc.

A Visible Image for Art 19
The Orlando Museum ofArt Renovation and
Expansion Program, Phase I, by Morris Architects.


Departments


Editorial 5
News/Letters 7
Office Practice Aids 9
ADA Act To Profoundly Affect Architecture
New Products 23
Viewpoint 25
Indigenous Architecture and the Florida Seminole Chickee
Cooper Abbott


Cover photo of the Orlando Art Museum by Bob Braun. Architecture designed by Morris Architects.








































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FLORIDA ARCHITECT

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
Editor
Diane D. Greer
Assistant Publisher
Director of Advertising
Carolyn Maryland
Design and Production
Peter Mitchell Associates, Inc.
Printing
Boyd Brothers Printers
Publications Committee
Roy Knight, AIA, Chairman
Keith Bailey, AIA
Gene Leedy, AIA
Will Morris, AIA
Don Sackman, AIA
Editorial Board
Ivan Johnson, AIA
Dave Fronczak, AIA
Roy Knight, AIA
President
Henry C. Alexander, Jr., AIA
4217 Ponce De Leon Blvd.
Coral Gables, FL 33146
Vice President/President-elect
Jerome Filer, AIA
250 Catalonia Avenue
Suite 805
Coral Gables, FL 33134
Secretary/Treasurer
John Tice, AIA
909 East Cervantes
Pensacola, Florida 32202
Past President
Raymond L Scott, AIA
1900 Summit Tower Blvd., Ste. 260
Orlando, 32810
Regional Directors
James H. Anstis, FAIA
4425 Beacon Circle
West Palm Beach, Florida 33407
John Ehrig, AIA
7380 Murrell Rd., Suite 201
Melbourne, FL 32940
Vice President/Member
Services Commission
Rudy Arsenicos, AIA
2560 RCA Blvd., Suite 106
Palm Beach Grdens, FL 33410
Vice President/
Public Affairs Commission
Richard T Reep, AIA
510 Julia Street
Jacksonville, Florida 32202
Vice President/Professional
Excellence Commission
William Blizzard, AIA
1544 Manor Way S.
St Petersburg, FL 33705


EDITORIAL

/


T his issue of Florida Architect is substantially the result of an idea which
was presented to me several months ago by Laura Stewart, a fine writer
and former Architecture Critic for the Orlando Sentinel. In the past,
Laura has contributed a number of feature articles to Florida Architect, in
addition to co-authoring with Susanne Hupp, a book entitled Florida Historic
Homes. Laura's most recent project is an about-to-be-published book about
the Leu Botanical Gardens in Orlando.
Last Fall, Laura approached me with the idea of devoting an issue of FA to
the many new Central Florida buildings which are devoted to the display of
art, to the performing arts and to arts education.
"Besides a staggering amount of new space for exhibits, dance, music and
theatre, the new facilities provide a remarkable range of styles, materials and
approaches," was part of her pitch. On the down side was the fact that not all
of the buildings are completely finished, yet I was soon convinced that all of
the structures in question were sufficiently near completion to be presented
to the reader.
With a "go" from the magazine, Laura interviewed architects, clients,
users, consultants, "everyone who would talk to me" and what she produced
was a considerable body of work, the bulk of which you see printed on the
following pages.
A second significant role in the preparation of this issue was played by
Orlando photographer Bob Braun who produced his usual high quality
photographs on very short notice and in the dreariest possible weather.
What we've chosen to present are five short features and three "snippets"
for a total of eight new arts facilities in the Orlando area. The pace that began
in a steady, stately fashion a year or so ago with an expansion to the Maitland
Art Center and the completion of the Samuel P. Harn Museum of Art at the
University of Florida in Gainesville, picked up momentum last Spring when
the Cultural Arts Center opened in Deland. Since then, Bethune-Cookman
College has debuted galleries, Daytona Beach Community College has a new
Southeast Museum of Photography, the University of Central Florida has a
new Visual Arts Complex, there's a new 2,200-square-foot amphitheater at the
Atlantic Center for the Arts and last October, visitors began entering the
Museum of Arts and Sciences through a new lobby. This month, the Orlando
Museum of Art will celebrate completion of its $4.9 million renovation and
expansion and next month, the Dr. Phillips Center for the Performing Arts
opens in a former utility plant in downtown Orlando.
"What is most remarkable about the explosion of new cultural construction
may not be how much of it there is," Laura contends, "but the aesthetic diver-
sity of the buildings themselves and the varying solutions their architects
found to similar problems and demands." DG










































National Air and Space Museum
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NEWS


George Allen Recertifies
As Association Exec

George A. Allen, Executive
Vice President, Florida Associa-
tion of the American Institute of
Architects, was one of 300 peo-
ple who were recertified as Cer-
tified Association Executives
(CAE) by the American Society
of Association Executives
(ASAE) for 1992.
Prior to certification, appli-
cants are rated on their experi-
ence and accomplishments in
association management. In
addition, applicants must pass a
comprehensive, one-day exami-
nation which tests their knowl-
edge of association manage-
ment. To maintain certification,
an association executive must
accumulate professional credits
based on their involvement in
such areas as continuing educa-
tion. Among association profes-
sionals, "CAE" is an indication
of leadership skill, community
involvement and expertise in
association management.
The American Society of
Association Executives is based
in Washington, D.C. and is
made up of more than 20,000
association execs and suppliers.
Its members manage leading
trade associations and profes-
sional societies around the
country as well as suppliers of
products and services to the
association community.


LETTERS


Dear Editor:

I enjoyed reading Patty
Doyle's article regarding the
expansion of the Coral Ridge
Presbyterian Church in Fort
Lauderdale in the September-
October issue of FA.
My interest stemmed in part
from the fact that I was part of
the Philadelphia firm that de-
signed the original complex
during the time that the project


was active. Harold E. Wagoner,
FAIA (spelling and institute sta-
tus were incorrect in the arti-
cle) was one of the country's
outstanding ecclesiastical archi-
tects during the 1950s, 60s and
early 70s. He was responsible
for the design of churches in 36
states, including many in the
State of Florida.
Several years ago, I gave a
speech about my relationship to
this special man. A copy is
enclosed.
Sincerely,
John W. Anderson, AIA
Vice President
Helman Hurley Charvat Pea-
cock/Architects, Inc.

Ed. Note: A brief excerpt from
Mr. Anderson's "Memorial To A
Mentor" "During the 12 years I
spent in his employ, I formed
professional values, acquired
technical expertise and devel-
oped artistic skills. But, I also
learned how to communicate
well with clients and colleagues,
how to manage projects and
people and countless other tech-
niques and approaches that I
use today and realize that they
are part of the legacy of that
period of my life. Harold (Wag-
oner) was one of the last of a
breed of gentleman profession-
als."


CORREX

The following corrections
have been brought to the atten-
tion of the FA staff concerning
Plymouth Harbor Retirement
Center, recipient of the 1991
"Test of Time" Award which was
featured in the November/
December issue. The following
individuals were deleted from
the list of credits:
Architect: Joint venture be-
tween the firms of Frank Fol-
som Smith, Sarasota, and Louis
E Schneider, Bradenton.
Other members of the project
"team" included:


Dr. John McNeil, Pastor of the
First Congregational Church of
Sarasota who inspired the
Colony Concept, so vital to the
project's success.
Paul Wade, Construction Man-
ager
Jim Durden, Design Associate
Jim Holliday, Design Associate
Bill McGraw, Structural Engi-
neer
Emil Tiona, Mechanical/Elec-
trical Engineer
Smalley Wellford and Nalven,
Site Engineering


"Bud" Reasoner, Landscape
Architect
Terry Rowe, Interior Design
Consultant
Greta Le Banzhaf, Office Man-
ager
A correction to the credits
for the Sideporch House in Vero
Beach which received an Award
for Excellence in Architecture
and was featured in the Novem-
ber/December, 1991 issue. The
Landscape Architect for the pro-
ject was Elizabeth A. Gillick,
ASIA, of Vero Beach.


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OFFICE PRACTICE AIDS




ADA Act To Profoundly Impact Architecture

'


n July, 1991, the U.S. Depart-
ment of Justice issued final
regulations and guidelines for
compliance with the Americans
With Disabilities Act (ADA).
These regulations will have
great impact on alterations to
existing buildings and on the
way architects design new
buildings.
In terms of architecture, the
ADA intends to ensure that per-
sons with disabilities can get to,
enter and use a facility. A dis-
ability is a physical or mental
impairment which substantially
limits an individual's ability to
perform one or more major life
activities such as walking, see-
ing, hearing, breathing, speak-
ing, learning and working.
Title III is the section of the
ADA that deals with places of
public accommodation and com-
mercial facilities. The Justice
Department has estimated that
over five million buildings will
be affected by the new law.
Changes will include the
removal of existing architectural
and communications barriers
and all places of public accom-
modation must comply with the
law between January, 1992 and
January, 1993, depending upon
the companies total number of
employees and the amount of
gross receipts.
Any new building that is
occupied after January 26, 1993
must comply with the new con-
struction requirements of the
ADA. Some requirements apply
to all buildings. For instance, at
least 50% of public entrances to
all buildings must be usable by
persons with disabilities. Other
requirements are specific to the
type of building. For example,
theatres with seating for over
300 must disperse spaces for
wheelchairs throughout the
building.
Although the regulations are
complicated, in many cases they
are flexible and permit alterna-
tive ways of meeting the intent
of the law, especially in existing


buildings. Many architects are
currently studying the regula-
tions to discover optional ways
to accommodate disabled per-
sons within buildings. Likewise,
the Department of Justice (202-
514-0301) and the Architectural
and Transportation Barriers
Compliance Board (800-USA-
ABLE) can answer specific
questions about ADA compli-
ance.
The AIA's Response
The American Institute of
Architects is concerned with
supplying its members with vital
ADA information by sponsoring
one of the most exciting educa-
tional programs the AIA has
ever undertaken a three-part


ADA videoconference.
On February 6, March 18
and April 12, 1992, the AIA, in
partnership with the Public
Broadcasting Service (PBS), will
deliver three outstanding pro-
grams on the critical issues sur-
rounding the ADA and on design
solutions architects can use to
comply with the new law. Trans-
mitted by satellite simultaneous-
ly to 200 locations throughout
the country from 1-4 PM EST,
the videoconference programs
will feature distinguished panels
of national experts. Included are
members from the disability-con-
scious community, local code
officials, federal officials and
some of the most ADA-knowl-


Randall I. Atlas, Ph.D., AIA,CPP
2 Palm Bay Court
Miami, Florida 33138
(305) 756-5027
FAX: (305) 754-1658
1-800-749-6029


edgeable architects in the AIA.
Many sites will be used
nationwide to host the videocon-
ference programs and AIA com-
ponents will be site sponsors.
For further information, con-
tact your local AIA chapter.


A
A ATLAS
SAFETY&
SECURITYESIGN
INC.DESIN


Circle 19 on Reader Inquiry Card












Home Is Where The Art Is,


Cultural Arts Center
Deland, Florida

Architect:
Design Arts Collaborative
(Genesis Architecture and
Alan Cajacob, both of DeLand)
Consulting Engineers:
Structural: Southeast Struc-
tural Engineers, Inc.;
Mechanical/Electrical Hal
Head Engineering, Inc.
Civil Ferrara Civil Engineer-
ing, Inc.
Security Consultant:
Steven Keller & Associates
Interior Design:
Charli Mitchell Interiors
Owner:
Cultural Arts Center, DeLand
General Contractor: Brattlof
Construction, Inc.



Fote angular exterior walls
A of Deland's Cultural Arts
Center are clad in cream-col-
ored stucco and accented with
slim terra-cotta-hued string-
courses. There are canopies
over the front and rear en-
trances which form a dramatic
sculptural foil to the staid, tra-
ditional red-brick buildings of
Stetson University directly
across the street. Here, under
one roof are three major cul-
tural groups the Theater
Center, Inc., the DeLand Mu-
seum of Art and the Little
Symphony, in a space which
also provides a 241-seat the-
atre and a 3,150-square-foot
art gallery. There are also
rooms for classes and public
meetings which makes the
facility as much a community
center as an arts center.
The Center is situated in
downtown Deland on a site
leased from Stetson Universi-
ty. After many years of meet-
ings, design works and
changes in the building's size,
shape and materials, the de-
sign finally came to fruition in
1983. The Center opened its
doors in April, 1991. The sym-


phony, theatefand museum
share the space, and its ulti-
mate, crystalline form was
agreed upon by citizen groups
active in the decision-making
process and the architects
who had come together as
Design Arts Collaborative just
for the project.
The shape of the building
is a direct response to its uses,
and the current stucco clad-
ding was selected only after a
more dramatic, shimmering
glass skin was rejected as too
outre in a conservative com-
munity. Brick had been one
finalist, but was rejected once
planners agreed that it would
make the arts center too simi-
lar to Stetson's keynote archi-
tecture. The walls of the build-
ing had been turned at 45-
degree angles when glass was
the cladding of choice, to give
the most exciting crystalline
effect. But even after the more
subdued stucco, with its warm
but relatively neutral color
scheme was selected, sculp-
tural angles remained evident
on the center's exterior.
One gratifying result of the
long planning process, with its
constant changes, and the
community fund-raising and
grassroots support for a build-
ing shared by several groups is
that interest in one activity has
spilled over to another. The
architect planned it so that the
museum and theater could
have openings at the same
time, and that's happened. It's
a new twist on the old commu-
nity center concept The basic
goal was, first, to design a facil-
ity that could grow and expand
and, second, to make it as flexi-
ble as possible by providing in
one place a home for a wide
range of cultural activities,
from lectures and plays to
dances, art exhibits, concerts
and films.


Photo of main entrance by Laura Stewart First floor plan courtesy of the
architect. /


. . . .












Simple Geometry As Architectural Palette


Museum of Arts and
Sciences
Daytona Beach, Florida

Architect:
Blais, Sayers & Hawkins, Inc.
Consulting Engineers:
Structural E. Thomas
Torrence, Inc.; Civil The
Allan Engineering Group, Inc.;
Mechanical Energy Systems
Design, Inc.; Plumbing -
Barnhart Engineering, Inc.
Electrical Paul M. Estes
Owner:
The Museum of Arts and
Sciences, Daytona Beach
General Contractor:
Hall Construction, Inc.

W ith the opening last Octo-
ber of its new 3,000-
square-foot entrance lobby,
and the groundbreaking this
month for a 14,000-square-foot
gallery wing to the north of its
existing buildings, the Muse-
um of Arts and Sciences in
Daytona Beach is literally
turning itself around.
When Phase IV becomes a
reality, probably by 1995, the
museum will have more than
doubled its 1991 square foot-
age and literally, turned itself
around, and around. That's be-
cause by placing the new en-
trance between Chapman S.
Root Hall which contains a
3,500-square-foot gallery lobby
and 268-seat auditorium de-
signed by Gomon, Fletcher of
Ormond Beach, and then ex-
panding the museum toward
the north, into the verdant,
low-lying Tuscawilla Park, Day-
tona Beach architects Blais,
Sayers & Hawkins trans-
formed the once-rambling pod-
like structure into a dynamic
pinwheel.
The new lobby, the first ele-
ment in what will be a massive
expansion, is the pin in that
pinwheel. From the lobby,
corridors will lead to display
areas for the multi-disciplinary
museum, which presents
exhibits in the visual arts, sci-


ence and history, as well as to
offices, a gift shop, the audito-
rium and spaces for storage
and display preparation. When
the master plan is complete,
the museum will offer a wide
variety of material in all of its
three disciplines in a facility of
more than 60,000 square feet,
linked by the pivotal new
lobby.
The museum is one of Day-
tona Beach's more interesting
projects, architecturally, but it
has grown pod by pod. When
Blaise Sayers & Hawkins
looked at their concept, they
decided what the building
needed was a new lobby. They


took the risk and presented
the idea of the lobby, connect-
ing the museum's three main
elements the old buildings,
the auditorium and the future
expansions on the Master
Plan.
That allowed the designers
to pinwheel back around and
repeat some of the polygonal
roof shapes. Even looking
ahead to future phases, the
lobby will remain the central
link between buildings.
In keeping with the simple,
functional qualities of the old
pods and connecting hallways,
Blais, Sayers & Hawkins used
in the new wings the same


muted, monochromatic palette
of dark gray terrazzo, carpet-
ing and roofs over carpeted
gallery walls on the interior
and off-white concrete block
walls on the exterior. The
restrained palette and simple
geometry allow the structure
to serve more as a backdrop
for the museum's true focus -
the lush wetlands foliage visi-
ble around and through its
stark walls and the vibrant art-
works that will be mounted
inside them. The building is
an emphatic architectural
statement in its own right.


Main entrance, above, and allergy lobby. Photos by Laura Stewart












Contradictory Criteria Shape Energetic Volumes


Southeast Museum of
Photography
Daytona Beach
Community College
Daytona Beach, Florida

Architects:
Stottler Stagg & Associates, Inc.
Consulting Engineers:
Civil/Mechanical/Electrical -
Stottler Stagg & Associates, Inc.
Structural Gardner Griffith &
Associates, Inc.
Interior Design: Stottler Stagg
& Associates, Inc.
Landscape Architects: Stottler
Stagg & Associates, Inc.
Owner: Daytona Beach
Community College
General Contractor: Ruby
Builders, Inc.

WI en the Orlando firm of
V Stottler Stagg & Associates
began work on the Southeast
Museum of Photography at Day-
tona Beach Community College,
they were working with a set of
requirements that were at once
complex and nebulous.
The Museum, an almost
9,000-square-foot addition to the
college's new District Adminis-
tration Headquarters and Stu-
dent Services Facility, was to be
both a showcase to attract stu-
dents and a venue for travelling
exhibits that would appeal to the
community as a whole. In short,
the museum is to serve as both
a teaching and an outreach tool
for the college.
Slated to open in April, the
Southeast Museum of Photogra-
phy is situated near the entrance
to the college where it com-
mands the attention of anyone
entering the campus. In keeping
with the other buildings on cam-
pus, the museum is clad in red
brick. However, by using varied
sizes and textures of brick,
as well as contrasting string
courses, the architects gave the
building an air of elegance and
drama. What might otherwise
have been just another "tradi-
tional, institutional building"


-"3


Above, in model, the photography
museum at lower right, is well
integrated into existing facility. Left,
plan of museum addition. Opposite
page, top, west facade and below,
view into skylight. Photo by Laura
Stewart.

took on an almost sculptural
appearance.
"By mixing dark and light
brick, we gave it a sense of rus-
tication, a solid base for the en-
tire structure," says project
manager Bill Starmer. "Inside,
by cutting a triangle from the
second floor and putting a sky-
light over it, we created a sense
of openness and energy that
runs from floor to floor."
That openness serves two
crucial functions at the museum.
It allows visual continuity and
permits oversized works of art
to be shown in the two-story
areas. The sense of openness is
also evident at the inside doors,
where glass walls encourage
passersby to look inside, and in
one corner of the first and sec-
ond floor galleries where open
space from floor to-ceiling soars
a full 24 feet. Very large art-
works can be shown in this











































unusual, curved section of the
gallery, where they are visible
from both levels and where they
unify the two-story space.
The building's shape reflects
its many actual and potential
uses from showcasing photo-
graphs and storing the perma-
nent collection's 5000-plus
images to orienting visitors and
providing meeting rooms for
staff, DBCC faculty and artists.
But it also reflects a desire to
signal its function as a reposito-
ry of art. According to the archi-
tect, the museum's shape was
generated from within, from the
designers knowing it had to be a
flexible dynamic space that
seemed constantly in motion. It
needed curving walls, angular
walls, artificial light and natural
light which is sometimes
taboo in museums and floors
that were open. It had to be inte-
grated with the student-services
building but it had to have tight
security.
To meet such stiff, some-
times contradictory criteria, the
museum's galleries, meeting
rooms, offices and hallways
vary in size and shape. Light


plays through rooms, splashing
across the 3,085-square-foot up-
per gallery and the more somber
first floor galleries, which mea-
sure more than 3,000 square
feet As if in counterpoint to the
energetic volumes of the spaces -
and the drama of the light and
color admitted by the many win-
dows, floors are carpeted a dark
steel gray and walls 5/8-inch
drywall backed by 1/2 inch ply-
wood, for strength are a soft
gray-white.
Once the building's footprint
was developed, on the basis of
its users' needs, the architec-
ture took on a sculptural quality.
The museum has a strong sculp.
tural aspect, with an interplay of
voids and reliefs. It is, according
to its designer, a building with a
definite identity.












A "Silk Purse" in Downtown Orlando
/
Dr. Phillips Center for the
Performing Arts
Orlando, Florida

Architect:
Vickrey/Ovresat/Awsumb
Associates, Inc.
Project Engineer:
Kevin Barnes
Consulting Engineers:
Structural Paul J. Ford;
Mechancial/Electrical GRG
Consulting Engineers, Inc.;
Civil GAI Consultants
Southeast, Inc.
Landscape Architects:
Schweizer Schweizer Waldroff
Design Group, Inc.
Owners Representative:
ZHA Inc.
Owner:
Ivanhoe Foundation, Inc.
Construction Manager:
Jack Jennings & Sons, Inc.


Thhe extensive renovation
. and adaptive reuse of the
Orlando Utilities Commis-
sion's long-abandoned Lake
Ivanhoe Power Plant was the
result of five years of planning
and over a year of construc-
tion. The result is a $5.4
million facility which is set for
a formal opening in February,
1992.
The massive structure
which towers over Lake Ivan-
hoe just north of Orlando's
busy downtown district, is
painted a soft, seamless gray
that smooths out the junctures
where additions have been
made to the original 1920s
masonry building.
With a graceful assured
rhythm, tall arched windows
move across the facade of the
building that is now home to
the Orlando Opera Company,
Southern Ballet Theatre and
the Orlando Theatre Project.
The new Performing Arts
Center also provides office
space for the Central Florida
Community Jazz Center in
addition to rehearsal halls and
meeting rooms which are


This page, top, renovated exterior of original Orlando Utilities Commission
Building which is now home to the Performing Arts Center Inset shows facade
detail. Above, interior ofpump room prior to renovation. Photos by Bob
Braun. Opposite page, sections through north and west sides showing new
internal spatial arrangement. Drawings courtesy of the architect.


available on a rental basis to
other arts groups in the area.
On the interior, the historic
qualities that are so evident on
the exterior vanish completely.
The interior is an intricate web
of public and private spaces,
offices, storage areas and re-
hearsal halls, even a gallery.
All of this space is entirely
functional and it pays only sub-
tle homage to the building's
vaguely Spanish past.
What was once mostly a
vast space for the housing of
immense machines now con-
tains a variety of spaces rang-
ing from areas which open up
to skylights far above the con-
crete floors to low cavernous
storage rooms for costumes
and props and broader, higher













A


hallways to offices and re-
hearsal halls. In all, the reno-
vation, and transformation, of
OUC's power plant has provid-
ed 70,000 square feet of space,
although none of it is slated
for public performances.
That was not always the
case. In the mid-1980s, when
Orlando architects Brooks
Weiss, the late Nils Schweizer,
Kevin Schweizer and Leslie
Divoll first worked on the pro-
ject, the idea was to bring di-
verse performing arts groups


together in one building. The
project was taken over in 1989
by Vickrey/Ovresat/Awsumb
and their proposal reflected
what was by then a revised
budget Budget cuts necessi-
tated a less ambitious program
although much of the original
design intent was retained.
During construction, as mez-
zanine floors rose within once-
open spaces and the lofty sky-
light and crisp white trusses
were put into place, some
unsettling, time-consuming


discoveries about the old
building were made. Original
pipes, a defunct chimney and
other long forgotten systems
that didn't appear on any origi-
nal documents had to be re-
moved. Aged wooden windows
were replaced by sturdy mod-
ern metal replicas and terra-
cotta roof tiles were removed,
restored and replaced. Interior
walls were stripped of layers of
ancient paint leaving brick
partly exposed in new rooms.
In the end, the project in-


volved far more than merely
providing offices, meeting
rooms and rehearsal halls. It
was a very complicated effort
to restore and adaptively reuse
a building originally intended
to serve a totally utilitarian
function. In actuality, its con-
version to an arts center repre-
sents a quantum leap from one
end of the aesthetic spectrum
to the other.... a true "sow's
ear to silk purse" conversion.


i












Emphasis on the Details

Visual Arts Complex,
University of Central
Florida
Orlando, Florida

Architects:
Vickrey/Ovresat/Awsumb
Associates Inc.
Principal-in-Charge:
Calvin Peck, AIA
Project Manager:
Mike Abernathy
Project Designer:
Steve Clark
Consulting Engineers:
Mechanical/Electrical -I
Tilden Lobnitz & Cooper Inc.
Structural: Allan-Conrad-Mitzo
Inc.; Civil Dyer Riddle Mills
& Precourt Inc.
Landscape Architects:
Davis & Associates Inc.
Owner:
Board of Regents, State of
Florida
General Contractor:
Scandia Inc.

Even though the new
90,000-square-foot Visual
Arts Complex is just part of a
planned cultural campus that
will eventually include a muse-
um, music building, plazas and
other facilities, it already
stands proudly on its own.
Its three contiguous units
are on the northern edge of
UCFs sprawling campus,
their warm red-brick facades
paying harmonious homage to
the architectural program that
links its diverse buildings. At
the same time, white-brick
columns at the end of the Arts
Complex, supporting the
porch that leads to an auditor-
ium and art gallery, and the
crisp white banding and small,
diamond-shaped designs along
the facade, set it apart as an
elegant, modern addition.
This westernmost campus
building signals its function to
both students and the public,
thanks to cylindrical columns
that reference classicism, cul-
ture and the humanities, corn-


This page top, white brick columns
in porch of "Building A' that leads
into an auditorium and art gallery
Left detail of stairway between
'Building B and 'Building C.'
Opposite page, top, double stair
connection between Buildings "B"
and C." Photos by Bob Braun.
"Building A" plan courtesy of the
architects.















bined with clean-lined, clearly
modern elements. The porch,
with its rhythmic column
placement and awe-inspiring
proportions, hints at its Greek
antecedents and serves the
important practical function of
providing shelter from the ele-
ments for crowds gathering to
attend events.
In the next five to seven
years, "Building A" with its
colonaded porch, will stand at
one end of a plaza. On VOA's
Master Plan, the proposed
music building will face "Build-
ing A" across a landscaped
mall, and it, too, may have a
colonnaded facade that would
pick up and augment the
rhythm established by "Build-
ing A".
"Building A" is a 21,000-
square-foot structure which
features an auditorium with
470 seats, a rehearsal room, a
3,500-square-foot gallery and
gallery preparatory and stor-
age space.
The massive "Building B"
rises to the east, its 24,000-
square-foot first floor housing
a slide library, a photography
suite, lecture rooms for art his-
tory classes, offices for UCF's
Community Arts program, stu-
dios for printmaking, fiber arts
and painting, and a conference
room. The 26,700-square-foot
second floor of "Building B,"
its long northern wall open to
as much of the desirable north-
ern light as possible, includes
a graphic design suite, spaces
for film/animation and com-
puter graphics and studios for
design classes, drawing and
painting.
A dramatic stairway links
buildings "B" and "C," the lat-
ter a 9,900-square-foot struc-
ture that houses the studios
for ceramics and sculpture.
Both produce dust and chemi-
cals, and often processes in-
volving high temperatures, and
so had to be separated from
drawing, design and other dis-


ciplines. Basically, the Arts
Complex is a straightforward
expression of the uses of each
building, with the needs of
each group dictating its
appearance.
One design requirement
was that the architect allow as
much northern light into
painting studios as possible.
Another was to locate sculp-
ture and ceramics studios
where artists had access to
kilns and large, open spaces.
The art gallery and auditorium
were to attract patrons from
campus, and from the larger
community, so it had to be
accessible and easily identi-
fied. By the late 1990s, when
the Master Plan has been real-
ized, "Building A" will stand as
part of a much larger complex,
no longer isolated on one end
of campus.
Even then, aspects of the
project will be set by the pre-
vailing architectural program
at the University of Central
Florida. The use of red brick
was pretty much dictated by
the existing campus design, so
the architect's goal was to
come close in shading to the
nearby educational facility and
to avoid the brownish brick of
the old humanities building.
White brick was added as a
playful element, designed to
break up the mass of the
buildings. The architect man-
aged to give the university
more square footage than the
project called for by simplify-
ing the forms of the buildings.
Since this created big, boxy
shapes, those spaces were
kept simple, and the emphasis
was placed on details like
columns and stringcourses,
clean and white.


A









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A Visible Image For Art


Orlando Museum of Art
Renovation and
Expansion Program,
Phase I
Orlando, Florida

Architect:
Morris Architects
Design Principal:
Pete Ed Garrett
Project Manager:
Terry Irwin
Project Team:
Charles Lachan, Thuan Dinh,
Dave Dabria, Carlos Sierra
Engineering Consultants:
Structural Paul J. Ford and
Co., MEP: R. Douglas Stone
and Asso.; Civil Ivey, Harris
and Walls, Inc.
lighting Consultant:
Robert J. Laughlin and Asso.
Security Consultant:
Steven R. Keller and Asso.
Landscape Architects:
Foster Conant and Asso.
Museum Consultant:
John Hillberry and Asso.
Owner's Representative:
ZHA Inc.
Owner:
Orlando Museum of Art
General Contractor:
Walker and Company

This month, when the Or-
A lando Museum of Art
opens Phase I of an ambitious
two-part program of renova-
tion and expansion, its total
space will be an impressive
51,058 square feet
The addition will make a
definitive statement about the
cultural function of the build-
ing and it will draw attention
to the museum's main en-
trance with the addition of a
semi-circular rotunda. How-
ever, its function as main en-
try is clearly established along
with the building's identity as
a major visual arts facility.
Rising above the low,
blocky forms of the original
museum, the crown of the
rotunda thrusts upward like
the top of an updated coli-
seum, or, as the architect


wU


WW
JIiapR


notes, the crown of the Statue
of Liberty. Indeed, when back-
lit at night, the museum's
crown radiates light in much
the same way that Liberty's
crown does.
Feeling that the museum
needed to step up to a more
contemporary image while
Remaining compatible to the
original fabric, the architects'
approach turned out to be a
classical presentation with a
contemporary feel which was
manifested in the rotunda
which is punched with cler-
estory windows. Its bowed
facade curves outward in a
bold welcoming gesture and
the crown of the rotunda is an
additional welcoming beacon.


Photo of rotunda crown, above, by Bob Braun. Below, Phase I ground floor
plan.








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CHAPTER AWARDS




Florida Gulf Coast
Chapter/AIA

In celebration of Architecture
Week, as proclaimed by Gov-
ernor Lawton Chiles, the Flori-
da Gulf Coast Chapter/AIA
hosted its first annual week of
festivities, "Archifest 91", Octo-
ber 20-26.
The 1991 theme was "Envi-
rons" and it centered around a
juried architectural exhibit of
work from architects in Mana--
tee and Sarasota counties. It -A
also included an art exhibit
from local high schools.
The week's activities began
with a sandcastle building con-
test and continued with a forum Award of Excellence
featuring Dr. David Gebhard Beach/Bay Observation
from Santa Barbara, California, Carl Abbott Architect FA
and Jud Kerlancheek of Miami, Jury: "This project is ver
speaking on "Design Guidelines respectful of the context, th
for Historic Communities." At and the original house. L
mid-week there was a workshop here would be like living i,
on "Neighborhoods, a Case house with a great vista."
Study on Osprey and Hillview
Avenues, Sarasota." Panelists
were Carl Abbott, FAIA, Gary
Hoyt, AIA, and Frank Folsom
Smith, AIA.
At week's end was a Speak-
er's Luncheon featuring H.
Dean Rowe, FAIA, Roney __.
Mateu, AIA, and Diane Greer
speaking on "Growth Manage-
ment." These speakers then
served as jurors for the archi- -. -
tectural awards program. The
festivities culminated in a Gala
Awards Night at Kress Plaza
featuring the projects which are
shown here.










Honorable Mention
General Services Center
Johnson Peterson Architects
Jury: "This project represents the
coming together of various public
works departments using a very
appropriate vocabulary."


Suite
[A PA Award of Merit
Lake Pavilion Family Birth
e site Center at Baptist Hospital,
giving Miami
n a tree The Ritchie Organization
Jury: "Respectful of context. The
architects have created a new
piece of architecture that makes
patients comfortable and
welcomes them. It is very well-
crafted."


I _
















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NEW PRODUCTS AND SERVICES


Better Protection From
Hurricane Force Winds
The "Sanibel Strap," by
.Hughes Manufacturing, is made
from galvanized steel and it pro-
vides the additional resistance
needed to protect roof trusses,
rafters and girders from wind
uplift due to high winds. The
truss hold down strap is a fast,
economical way to secure rafters
and trusses to wall studs, top
plates and concrete tie beams.
Designed over five years ago,
the truss was originally used on
Sanibel Island on Florida's
southwest coast. What makes
the strap unique over other hur-
ricane straps and clips is that it
eliminates the need to load the
truss heel and rafters with nails.
This strap is preformed to fit
over one, two or three-ply truss-
es and then is attached to wall
studs or concrete walls with
power actuated fasteners. The
wind uplift protection is 2.5 to 3
times that of a single hurricane
clip and it eliminates the need to
combine rafter ties, top plate
anchors and hurricane clips to
achieve the same end result.
The "Sanibel Strap" meets
both Southern Building Code
compliance and Dade County
compliance. For a catalog or
further information, contact:
Hughes Manufacturing, 11910
62 St. North, Largo, FL 34643
or call (813) 536-7891 or 1-800-
443-6442 or FAX 813-535-8199.

New Phone Rates For
AIA Members
BellSouth Mobility offers
exclusive rates to members of
the Florida Association/Ameri-
can Institute of Architects allow-
ing cellular phone service to be
of greater practicability when
architects are working out in the
fieldAn exclusive feature offered
to BellSouth Mobility customers
is the Two Phones/One Number
Feature allowing customers to
have two cellular phones with
the same telephone number.
Other features offered are Call
Waiting, Call Forwarding, No


Answer Transfer, Three Party
Conferencing ap& Cellular Link
Service. Cellular Link allows
accessibility to a fax machine
and laptop computer creating a
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To learn more about these
special rates and services, please
contact 1-800-225-8751 or look in
the yellow pages for the local
sales office.


New Skylight and Panel
System Available

CO-EX Corporation has in-
troduced its RODECA trans-
lucent skylight and panel system
featuring a modular polycar-
bonate structured sheet with
an aluminum framing system.
RODECA is well-suited for both
vertical and sloped glazing ap-
plications. as well as for places
where energy savings and spe-
cial light transmission are
required.
Assembly is quick and easy
and the RODECA system is
practically unbreakable. Its self-
supporting properties and light
weight construction insure a
stable structure and it is suit-
able for use in a wide variety of
applications.
RODECA is produced in
standard colors including clear,
bronze, opal, green and blue
tints and it can be manufactured
in custom colors to meet exact
specifications.
For more information or a
brochure, write CO-EX Corpora-
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Box 326, Rocky Hill, CT 06067
or call 1-800-888-5364.


"Switchable" Glass Lets
You Have It Both Ways
Taliq Corporation's Varilite
Vision Panel is the only "switch-
able" glass product designed for
a variety of interior and exterior
applications.
How can glass be transparent
like a normal window and then
translucent like frosted glass?
The ability to change from one
condition to the other is accom-
plished in Taliq's product by
using a thin film coated with
liguid crystal droplets composed
of molecules in a regular crys-
talline configuration. The film is
bonded with polyvinyl butyral
interlayers and laminated be-
tween panels of heat-strength-
ened flat glass.
When an electric voltage is
sent through the panel, the liq-
uid crystals align to transmit
light. The Vision Panel instantly
becomes clear like a normal
window. When the power is
switched off, then the liquid
crystals realign randomly, scat-
tering light and becoming
translucent. In its translucent or
frosted mode, the glass appears
milky rendering normal viewing
impossible.


Taliq's Vision Panels are
powered by line voltage and are
further refined by a junction
box-sized voltage regulator
installed in the plenum area or
in a nearby wall. At room tem-
perature approximately one watt
of electricity is required to make
one square foot of glass trans-
parent. Vision Panels, which are
UL listed, cost about $90 a
square foot installed.
The Orlando International
Airport contains the single
largest installation of Vision Pan-
els and the only use of switch-
able glass in an airport. For
further information, contact
Taliq Corporation in Sunnyvale,
CA.


CLASSIFIED

ENGINEER for Architectural/
Planning firm to direct, plan,
design or review plans for erec-
tion of structures requiring
stress analysis, design struc-
tures to meet load requirements,
inspection of projects, project
management. Salary for 40 hr
work wk 9a-5p, M-F is $27,000
yrly. Applicants with B.S. degree
in Civil Engineering with 1 yr
exp in the job or in Construc-
tion/Site Management send
resumes only to: Job Service of
Fla., 701 S.W. 27th Ave., Room
15, Miami, Florida 33135 Ref:
Job Order # FL 0502129.

Project Designer for Architec-
tural, Engineering, Roofing and
Design Consulting firm. Duties
include: design and prepare artis-
tic renderings and presentations
for a variety of buildings; pro-
graming, consult with Principal-
in-Charge of Design, draftperson,
engineers, contractors and repre-
sentatives; conduct code review
for compliance with same. No
smoking work place. Salary for a
40 hr. work week 8:30am-5:30pm
is $26,000 yearly. Applicants with
Bachelors Degree in Architec-
ture and at least 1 yr. exp. as Pro-
ject Designer/Architectural De-
signer send resumes only to Job
Service of Florida, 105 E. Brow-
ard Blvd., Ft. Lauderdale, FL
33301. Ref: Job Order # FL
0522472.














Location Photography,
Advertising,
Corporate, Editorial,
Specializing in
Landscape & Architecture \ _




Bob Braun- -RL.AND
P.O. Box 547755 o
Orlando, FL 32854-7755
(407) 425-7921
CLIENT / MORRIS ARCHITECTS

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Every week the FLORIDA REGISTER compiles over 10 pages of public announcements
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VIEWPOINT


Indigenous Architecture and the Florida Seminole Chickee


by CooperAbbott

Iwas born and raised on a bar-
rier island. After spending
much of my life in an un-insulat-
ed, un-air-conditioned dog-trot
cracker house, replete with
humidity and flooding, I feel that
I am well-qualified to speak
about Florida's unique climate.
My experience as a student in
Providence, Rhode Island, with
its freezing rain and sub-zero
winds, gave me further perspec-
tive on the importance and role
of buildings in relation to their
environment. All of this has
directed my attention, and my
interest, to the function of in-
digenous architectures. It is my
belief that careful consideration
of temperature, meteorological
factors and natural resources in
building design will not only
lead to more comfortable build-
ings, but more ecologically- sen-
sitive structures, as well.
Called by various names-
vernacular, folk, anonymous and
indigenous-many traditional
forms of the built environment
exhibit advanced architectural
technologies. Refined over hun-
dreds and thousands of years,
such designs often take their
form from a straight forward
recognition and understanding
of the forces and patterns in
nature. Formally, these struc-


tures respond to the meteoro-
logic, geographical and biomet-
ric specificities of their locations
and work in union with readily
available materials to create
built environments well-adapted
for human habitation.
Thus the igloo, made of ice
and forming a hemispherical
structure shaped for self-sup-
port and maximum heat reten-
tion, is uniquely suited to its
polar environment, while the
portable kikuya of the Masai,
made of cattle dung and straw,
is suited to the dry, nomadic
herding environment of east
Africa. Each represents a solu-
tion within unique parameters
that would be ineffective, if not
impossible, under other envi-
ronmental circumstances. Flori-
da's subtropical climate, with its
excesses of heat, rain, and fauna
presents a challenging land-
scape for indigenous architec-
ture in its own right, but one
that has been met successfully
in a number of instances.
The Seminole Indian "chick-
ee" is one well-adapted architec-
tural form that fits within the
Florida climate and is further
adapted to life in the Everglades
swamps.
Bearing the brunt of Presi-
dent Andrew Jackson's Indian


removal policies, the Seminoles
migrated south in the mid-1800s
from Georgia and Alabama to
the largely unpopulated Florida
swamps. There they responded
architecturally to their new envi-
ronment, taking construction
cues from their surroundings.
Despite the varied cultures and
backgrounds included under the
name "Seminole", their basic liv-
ing unit, the chickee, was
remarkably similar throughout
Florida. This similarity can be
ascribed in large part to the
unique environmental condi-
tions of the Florida Everglades.
Chickee settlements were
typically located on swamp
island hammocks, with access
available only via canoe. The
chickee was a post-and-lintel,
self-supporting structure with
an elevated floor and palmetto
frond roof. Open to the air on all
sides, the chickee had large roof
coverings cantilevering beyond
the footprint of the floor. Along
the windward side, an extended
lean-to roof formation was often
added, leaning down to cover
the side most vulnerable to
wind-blown torrential rains.
Chickees averaged about 16 by
9 feet in size, being more vari-
able in length than width with
linear extension possible by


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adding additional vertical pole
supports.
The chickee required few
materials, all locally available
and well-adapted to swamp liv-
ing. Wood connections were
achieved through notching or
securing with locally available
fibers. Structural poles and the
elevated floors were either pine
or cypress due to the availability
of these species and their resis-
tance to rot. Peeled green cy-
press poles formed the curved
ends of the chickee structure
and provided the length and
flexibility for the construction of
the large, curvilinear overhangs.
The roof, constructed of the
ever-plentiful palmetto, provided
effective sun and rain protection
and well-made roofs lasted in
excess of seven years without
repair.
The chickee's thorough uti-
lization of native materials is
impressive even upon casual
examination. What is less appar-
ent is the degree to which the
design interacted beneficially
with the specific climate of the
sub-tropics and the micro-cli-
mate of the Florida Everglades.
A well-known guidebook of fron-
tier Florida (1882), Florida for
Tourists, Invalids, & Settlers
described three caveats to life in
the Sunshine State that were par-
ticularly pertinent to the swamp-
dwelling Seminoles: "the blazing


sun, the sweltering temperatures
and humidity, and a cacophony
of all manner of beasts, including
exotic insects, snakes and the
occasional alligator."
The intensity of Florida's low
latitude sun and the power of its
torrential rainfall are environ-
mental realities which success-
ful architecture in this part of
the world must address. The
heavily cantilevered chickee
roof, built of thick layers of pal-
mettos, which over time turn sil-
very-brown and light-reflective,
provided shelter from both the
direct sun and the rain. The can-
tilevered roof allowed indirect,
low-level light from sunrise and
sunset into the structure, pro-
viding a relatively constant level
of daytime interior illumination.
The chickee's linear axis
could be oriented so as to mini-
mize wind-blown rain from pen-
etrating the interior and the
addition of a steeply sloping
lean-to roof furthers the effect.
While the roof was effectively
impenetrable by rain and sun,
the small spaces between the
palmetto fronds allowed for
release of hot air rising within
the chickee-a form of convec-
tional micro-ventilation.
Inseparable from the devel-
opment of the chickee as an
indigenous structure is an
understanding of the social con-
cerns of the Seminole. The


SUN


threat and fear of removal to
western reservations was con-
stant and there remained a con-
cern for invisibility from the U.S.
Army. Limited accessibility to
chickee settlements, the "cam-
ouflaged" appearance from a dis-
tance, the ease of assembly and
dissembly, and the panoramic
view afforded by the chickee's
openness all worked toward this
requirement
The chickee represents a
seemingly simple adaptation to
the Florida environment. A mea-
sure of its continued success
can be seen in the modern chic-
kees, largely unchanged in form
although now using nails and
tar paper, which are still home
to some Everglades-dwelling
Miccosoukee.
The Seminole chickee is a
powerful embodiment of indige-
nous architecture uniquely suit-
ed to Florida. But, such an exam-
ple need not be old. Researchers
at the University of Florida are
developing a new system of cool-
ing using zeolite, a mineral
indigenous to Florida, that may
one day replace the use of ozone-
depleting freon. Thoughtful and
knowledgeable use of native
materials can result in less ener-
gy use in transport, decreased
pollution, increased regional self-
sufficiency, and new and signifi-
cant discoveries. The key is to
look no further than is required.
As Buckminster Fuller put it, "all
materials have many uses, it is


simply a matter of understanding
what they are."
Indigenous architecture is,
ultimately, a regional approach
towards the design and construc-
tion of built environments. At a
time when "regionality" itself has
become the latest style, it is
important not to confuse the
truly indigenous with that which
simply attempts to look regional.
Indigenous approaches address
the scale at which the most can
be accomplished with the least
amount of input, always consid-
ering the specificities of climate
and natural resources. Not only
does indigenous architecture do
more with less, but it does so
with an eye to sustainability.
The high level of environ-
mental engineering manifest in
these traditional forms, com-
bined with the low level of ener-
gy required for their manufac-
ture and operation, and the
historical sustainability of their
material supply are topics which
should be of interest to anyone
concerned about the environ-
mental ramifications of architec-
ture and the quality of life on
our planet.


The author is a graduate ofBrown
University with a triple major in
anthropology, industrial archeolo-
gy and environmental art. He pre-
pared all of the drawings used to
illustrate this article and supplied
the historic photograph.







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