Title: Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00295
 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: July-August 1992
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: VID00295
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 06827129
lccn - sn 80002445
issn - 0015-3907
 Related Items
Preceded by: Bulletin (Florida Association of Architects)
Succeeded by: Florida/Caribbean architect

Full Text

~ ...~-ir





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True to the Original Intent
An historic restoration by Jan Abell, AIA,
of an Abell Kenneth Garcia Partnership.

Zoned for Living
A custom residence designed by
Stephanie December Gaines, AIA, of
Curts Meares/The Architects Studio.

Structures In Context*
The Office Park Redefined
A medical office center designed by
Marilys R. Nepomechie/Sasaki Associates, Inc.

July/August 1992
Vol. 39, No. 4

Where Interior Meets Exterior,
A House Without Bounds 16
A Naples residence by Andrea Clark Brown, AIA.

An Artful Connection 18
A painting studio and office addition by
Suzanne Martinson, AIA.


Editorial 5
News 6
FA Interview 21
Emma Macari, AIA
Viewpoint 24
Changing the Status Quo or Florida's Climate
Is Not Sunny For Women Architects
Linda Dunyan, AIA
New Products 27

Cover photo by Steven Brooke Studios of the Gelfnan Residence by Suzanne Martinson, AIA.



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Florida Association of the
American Institute of Architects
104 East Jefferson Street
Post Office Box 10388
Tallahassee, Florida 32302
Publisher/Executive Vice President
George A. Allen, CAE, Hon. AIA
Diane D. Greer
Assistant Publisher
Director of Advertising
Carolyn Maryland
Design and Production
Peter Mitchell Associates, Inc.
Boyd Brothers Printers
Publications Committee
Roy Knight, AIA, Chairman
Keith Bailey, AIA
Gene Leedy, AIA
Will Morris, AIA
Don Sackman, AIA
Editorial Board
Ivan Johnson, AIA
Dave Fronczak, AIA
Roy Knight, AIA
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
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


C andidly, I am disturbed about dedicating an issue of Florida Architect to
"Women in Architecture." More precisely, I am disturbed at having to
isolate women in the practice of architecture and deliberately attract the
reader's attention to their work. It is, after all, 1992, and as the media tells it,
"we've come a long way, baby". As I see, however, not nearly far enough. Wit-
ness the fact that this issue is titled "Women in Architecture." I can't recall the
last time I saw a professional journal announce its intent to showcase the work
of males only.
Women have had a recognized place in the practice of architecture since
before the turn of the century. In 1888, Louise Bethune became the first
woman elected to membership in the American Institute of Architects. Since
then, the numbers have increased steadily, though not nearly as fast as they
should have. Florida architect Linda Dunyan discusses some of the reasons
why there aren't more practicing female architects in this issue's Viewpoint.
If you're one who thinks numbers tell the whole story, then no, there
aren't nearly enough women practicing architecture in this country. Total
membership in the American Institute of Architects is 43, 848, of which 7.29%
or 3,197 are women. Worse still, only 270 of those are minority women. The
Institute began collecting data pertaining to race and gender in 1983 so there
are only nine years worth of growth charts and graphs to study, but overall,
the picture isn't rosy...at least in terms of numbers.
That's changing, of course. The National Architectural Accrediting Board
(NAAB) reports that as of 1986, 31.9% of the students enrolled in 59 Bachelor
of Architecture programs nationwide were women. Although more current
statistics are not available to me, I hope those numbers continue to grow. As
an architectural educator, I can say with great pleasure that the quality of work
being produced by the women students with whom I come in contact contin-
ues to improve every year. Equally important for women in the profession of
architecture is another phenomenon which I've observed in the past few years
and that is women students being generally more assertive. I am impressed
by the fact that they are no longer willing to take a backseat to their male
counterparts in the design studio, in the lecture hall, in the practice of their
chosen profession.
So, where are we now? In the 1950's, the renowned architect Pietro
Belluschi wrote, "I cannot, in whole conscience, recommend architecture as a
profession for girls. I know some women who have done well at it, but the
obstacles are so great that it takes an exceptional girl to make a go of it."
To all of the exceptional "girls" out there who've made a go of it, you're to
be commended. Not because you're women in a traditionally male-dominated
profession, but because you're good architects. That's the only way anyone,
male or female, African-American, Hispanic, white or Asian, young or old, ever
succeeds at anything. By doing it well. Truly, that ought to be the only mea-
sure for success. DG



Jax Architects Work With
FAMU Students
In February, 1992, the Ameri-
can Institute of Architects/
Jacksonville Chapter participated
in the first of a series of design
presentations by a group of ar-
chitecture students from Florida
A & M University. The jury
process was held in downtown
Jacksonville and involved six
FA/AIA members who critiqued
the work of eleven fourth year
design students.
The FA/AIA was represent-
ed by Jacksonville architects
John Totty, Michael Bruce,
Michael Montoya, Ricardo
Quinones, John Bottaro and
Tom Reynolds. The FAMU stu-
dents and their professor, Mike
Alfano, AIA, were working on
design concepts for housing the
J.C.V.A. in a 1920's building in
downtown Jacksonville.
The FAMU students, each of
whom received a $50 scholar-
ship from the Jacksonville Chap-
ter/AIA, were Henriette Perez,
Ron Fairchild, Robert Green-
wood, Richard Mullins, Anthony
Cosentino, Nobert Moemaka,
Gino Giordano, Jeff Cahill, Gre-
gory Zandwijken, Robert Ihasz
and Gary Feldman.

Report Available
You can obtain a copy of a
study entitled Release of Fibrous
Glass Fibers Into The Airstream
From Insulated Air Conditioning
Ductwork and Its Potential
Health Hazards by Professor
Julio Otazo of the Department of
Construction Management at
Florida International University.
This study was concerned
with evaluating the possible
threat fiberglass poses for the
overall environment. Subse-
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Copies of this report may be
obtained by contacting:
Brisbane H. Brown
Building Construction Industry
Advisory Committee
M.E. Rinker School of Building
FAC 101
University of Florida
Gainesville, Florida 32611

Survey Shows Florida A
Bright Spot
Schools, courthouses and
large public buildings are hot.
Office buildings, retail strips
and hotels are not
That's what a group of South
Florida architects, developers,
marketers and engineers said in
response to a survey conducted
recently by O'Donnell, Naccara-
to & Mignogna, a structural en-
gineering firm based in West
Palm Beach.
The firm polled 250 South
Florida real estate professionals,
mostly architects, on several is-
sues. Results included:
More than 70% of all respon-
dents listed the public sector as
the #1 or #2 most promising
source of work for South Florida
architects, developers and con-
tractors in 1992.
Eleven percent said residen-
tial work will lead the market
and seven percent cited medical
facilities as the hottest niche for
Four percent rated renova-
tions/additions as the best bet
for 1992 in both public and pri-
vate sectors.
Retail captured four percent
of the "best bet" votes, while
only two percent of the respon-
dents listed commercial work as
the most promising.
While the public sector won
the most promising title by a
healthy margin, that fact did not

necessarily reflect confidence
that a great deal of public work
will be forthcoming, only that
the public sector will probably
be the strongest segment in a
continued sluggish market
Thirty-four percent of the re-
spondents said they wouldn't
consider opening a branch any-
where outside the state, some
because they don't like branch
operations, but most because
they prefer Florida. Fort Laud-
erdale architect Don Singer
summed up his feelings about a
Florida practice very well. 'This
place is just fine...better than

1992 Florida Design Arts Awa

FA/AIA President Henry
Alexander served as a juror for
the 1992 Florida Design Arts
Awards, a program which the
Florida Association of the AIA
sponsors along with the Florida
Department of State, the Florida
Arts Council and several other
related professional organiza-
tions. The awards recognize ex-
cellence in collaboration among
the professions of architecture,
engineering, graphic design, in-
terior design, landscape archi

tecture and urban design. Each
project must combine at least
four of these disciplines and
must have been in use for at
least two years and be located in
Florida, although the designers
may be from out of state.
This year's winning projects
include an elementary school,
a riverwalk, a cancer center, an
outdoor bandshell and a correc-
tional complex each represent-
ing the work of a different Flor-
ida architect.

Milton Riverwalk
Milton, Florida
Baskerville-Donovan, Inc.,
Dave Hemphill, Project



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Results guaranteed. Call now:

John D. Floyd Elementary
Hernando County, Florida
Ranon & Partners, Inc.,
Tampa, Florida

Central Energy Facility at
33rd Street Correctional
Orlando, Florida
Architects Design Group, Inc.

H. Lee Moffitt Cancer Center
and Research Institute
University of South Florida
Tampa, Florida
Bentler & Heery, A Joint
Venture of
Stuart L. Bentler, AIA, Tampa
and Heery International, Inc.,


Charles Wharton Pavilion
Clearwater, Florida
Harper Carreno Mateu, Inc.
Roney Mateu, AIA, Project
James D. Marks & Asso.,
Ted Baker Group, Landscape

Florida Southwest

Jury members Michael Ker-
win, Scott Merrill, Joanna Lom-
bard and Suzanne Martinson
premiated six of the 30 projects
which were entered in this
year's chapter awards program.
Projects were honored in both
the built and the unbuilt cate-
gories with awards going to the

Unbuilt Awards

East Naples
Middle School
Collier County, Florida

Architect Alfred French and Associates
Naples, Florida

Manhattan Primary School
New York, New York

Frank A. Visconti, AIA
Naples, Florida

Soft Art Inc.
Marco Island, Florida

Andrea Clark Brown, AIA, Ar-
chitect, Naples, Florida
Project Architect Margaret P.
Project Team: Frank A
Visconti II, AIA, David M.

Corporate Headquarters for
Wilson, Miller, Barton and
Peek, Inc.
Naples, Florida

Architect Barany Schmitt
Weaver and Partners, Inc.
Fort Myers, Fl

Goodland Marina
Goodland, Florida

The Hole Residence
Naples, Florida

Architect Alfred French and
Naples, Florida

Andrea Clark Brown, AIA,
Architect, Naples, Florida
Project Architect: Frank A.
Visconti II, AIA
Project Team: Mark J.
Leonardi, Margaret P. Griffin


Tallahassee Chapter/AIA

Honorable Mention

The 1992 Tallahassee Chapter Design Awards produced four
winning projects which were premiated by a jury of distinguished
professionals which included Kemp Mooney, AIA, of the Georgia
Institute of Technology, Marvin C. Houseworth, Jr., FAIA, of Rosser
Fabrap International and Merrill Elam, AIA, of Scogin Elam and
Bray Architects, Inc., in Atlanta.

Design Awards

Trio Restaurant
Tallahassee, Florida

Architect Craig Huffman, AIA, Architect, with Larry Peterson
Tallahassee, Florida

DOI/Fire and Arson Laboratory
Quincy, Florida

Architect Elliott and Marshall PA
Tallahassee, Florida

Midway Volunteer Fire Station
Midway, Florida

Architect: Johnson Peterson Architects
Tallahassee, Florida

Konrad/Griesbach Residence
Tallahassee, Florida

Architect: Mark Griesbach, Architect
Tallahassee, Florida

FLORIDAARCHrrECr July/August 1992

True To The Original Intent

Restoration of the
Edson Keith Estate on
Phillippi Creek
Sarasota, Florida

Jan Abell Kenneth Garcia
Tampa, Florida

Project Architect:
Jan Abell, AIA
Consulting Engineers: Boyle
Engineering Corp., Rob Anston,
P.E., Bill Greenless, P.E.
Historic Interiors Consultant:
Susan Tate
Contractor: Construction
Owner: Sarasota County Parks
and Recreation Dept.

ihis 10,000-sf residence stood
I vacant for approximately four
years before Sarasota County
purchased it in 1988. The house
is an Italian Renaissance villa
which was built for Edson Keith
in 1917. Renovation of the house
for use as a conference center
and meeting and public recep-
tion space was contingent upon
retaining its historical identity.
The architects elected to remove
alterations and infill done in the
1930s and to return it to its origi-
nal appearance.
Though deteriorating when
purchased by the County, the
structure's hollow clay tile con-
struction had left it incredibly
strong. Architect Jan Abell re-
stored the original windows and
reopened both upper and lower
porches which had subsequent-
ly been enclosed. In addition, a
rear terrace that extends out to
Phillippi Creek was rebuilt.
To comply with current ADA
restrictions, a gradually-terraced
entry was constructed. It allows
total accessibility without dis-
turbing the original character of
the residence.
Inside, existing fixtures were
reconstructed and rewired.
Extensive research revealed the
original interior paint colors to
be bright yellow on the walls

and turquoise on the ceilings.
Though the kitchen required
some commercial modifications,
its original wood cabinets were
retained. The only change to the
home's original floor plan was
the conversion of a servant's
wing to staff offices. In conjunc-
tion with Susan Tate, a profes-
sor at the University of Florida,
the architect compiled an his-
toric interiors report which rec-
ommended furnishings appro-
priate to the period.
The success of this project, as
with any restoration, ultimately
depended on architect Abell not
making a personal statement and
remaining true the original archi-
tect's design. "It's a different role
for an architect to play," she
says, but not one that is unfamil-
iar. Jan Abell earned an early rep-
utation in Tampa for her exem-
plary preservation work, includ-
ing the restoration of the house
which now houses the Tampa-
Hillsborough County
Preservation Board.


Photos opposite page, top and detail of main house by Robert Lawson. Interior photos, this page, by Walter Smalling Photo. Drawing of main
elevation courtesy ofAbell-Garcia Architects.


. ... ........ ..

Zoned For Living

Custom Residence
Port Seaside, Florida

Curts Meares/ The
Architects Studio, Inc.
Tampa, Florida

Stephanie December Gaines,
Interior Designer:
Kelly Taaffe Designs, Inc.
Contractor: Balogh Builders

Site, budget and flexibility
were the primary program-
matic driving forces in the de-
sign of this 3700-sf waterfront
residence. While the site on
Florida's Gulf Coast offered dra-
matic waterfront views and con-
stant coastal breezes, the expo-
sure to harsh sun and salt air
and its high-velocity zone loca-
tion placed strict restraints on
both building form and materi-
als. The site also presented pri-
vacy problems because of the
proximity of adjacent dwellings
and the public waterfront ac-
The construction budget for
the home, exclusive of land
cost, was $40 to $45 per square
foot, yet the owners required
quality finishes and space provi-
sions for an extended family
which includes grown children,
grandchildren and the owner's
elderly parents who visit period-
ically. The number of visitors to
the house mandated great flexi-
bility and was the primary pro-
gram dictate for the plan config-
uration. The residence had to
"live well" whether occupied by
the two permanent residents or
ten visitors.
The relatively wide site al-
lowed for taking advantage of
dramatic views so a linear plan
was created with the function of
space as its prime organizing el-
ement. Floor-to-ceiling windows
and doors flank the entire water
and street facades to capture
both breeze and view, while the
sides which face other resi-

Photos by George Cott / Chroma
FLORIDAARCHn=T July/Augukt 1992


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dences are compact and virtual-
ly opaque. Wide porches and
trellises provide shade for the
expansive glass areas and they
also create additional outdoor
living space.
To accommodate the flexibil-
ity requirements, the plan is,
zoned into master suite, primary
guest suite and two secondary
guest areas. A dramatic 2-story
living area, whose design was
strongly influenced by urban
"studio loft" apartments, sepa-
rates the guest suites from the
self-sufficient master suite. Mas-
ter suite and guest suite, each
with two bedrooms and two
baths, flank opposite ends of the
communal area consisting of liv-
ing, dining room and kitchen.
All of these spaces are on the
main level while the less used
secondary guest suites are on
the upper level and have curved
open balconies overlooking the
living space below.
To avoid blocking views of
the outside from the kitchen,
upper cabinet storage was kept
to a minimum and replaced with
a utility workroom and pantry
which provides convenient out-


of-the-way storage.
The flood zone location of
the site placed additional re-
straints on the design of this
home. In order to meet the fed-
eral flood regulations, the main
living level of the home is locat-
ed 12 feet above the site eleva-
tion. This created design prob-
lems in terms of relating the
main living level to the ground.
Moreover, it was not desirable
to design a structure which visu-
ally appeared to be on stilts. In
response to this design dilem-
ma, garages and storage areas
were partially enclosed by ex-
tending exterior materials with
portions left open to allow
breezes into the outdoor living
areas. Street side entries and
rear screened porches were de-
signed as two-story spaces to
visually and physically link the
two levels.
The structural systems re-
quired to meet the high velocity
zone location restrictions in-
volved elements designed to re-
sist hurricane force winds and
allow the unencumbered pas-
sage of surging storm water.
Driven piles, cross-bracing and

non-debris forming breakaway
walls were employed to respond
to these requirements. Because
of the severe salt environment,
durable, non-corrosive and eco-
nomical materials including
vinyl siding and composition
shingle roofing were used.
The use of energy-conscious
elements including linear room
arrangement allowing for maxi-
mum cross-ventilation, shading
devices such as porches, awn-
ings and trellises and volume
ceilings with high ventilating
windows which create a funnel-

ing of hot air up and out of the
interior were used. Energy-effi-
cient heat pumps zone the resi-
dence into three areas based on
frequency of use and a centrally-
located fireplace heats the en-
tire living area.
The design of this custom
residence incorporates many of
the elements normally associat-
ed with Florida "vernacular" ar-
chitecture, thereby creating a
living environment which re-
sponds to the site and the needs
of the family.


Structures In Context: The Office Park Redefined

Collier Medical Office
Naples, Florida

Sasaki Associates, Inc.
Coral Gables, Florida

Project Designer:
Marilys R Nepomechie, AIA
Structural Engineer:
Jenkins and Charland
Engineer: Anchor Engineering
Civil Engineer: Agnoli Barber
landscape Architect: Sasaki
Associates, Inc.
Owner: CMC Development

This project called for the de-
1 sign of a 60,000-sf specula-
tive medical office building and
a 20,000-sf radiographic imaging
center. Occupying a previously
undeveloped tract of land in sub-
urban Naples, the structures lie
on the southeastern shore of an
eight-acre lake, across from an
existing medical clinic and a re-
gional hospital.
This building group propos-
es an alternative to the subur-
ban office park typology. Sites
contiguous to the project loca-
tion, which is zoned medical/
residential, were intended for
development as elderly care and
housing facilities. In response,
this medical office center was
conceived as the potential cen-
ter and generator of a residen-
tial community of traditional
urban form and civic character.
The belief that clear, careful-
ly-scaled spatial relationships
among buildings are at the heart
of any viable urbanism demand-
ed that the two buildings be
sited in such a way as to suggest
easily legible pedestrian connec-
tions between the medical com-
plex and adjacent structures.
Moreover, the space between
buildings functions as an exteri-
or courtyard that is landscaped
and furnished for public use.
The court functions to terminate
a pedestrian axis, organize the

This page top, photo of Doctor's Office Building. Below, office building elevation and bottom, lakeside ele-
vation of Doctor's Office Building and Imaging Center. Opposite page, top, photo of complex across lake
and right, detail from office building. Below, site plan. All photos by Marilys Nepomechie.


site and provide a shared public
amenity for both visiting pa-
tients and building employees.
A section cut through the
processional spaces of the com-
plex reveals a volumetrically-di-
verse series of spaces that inter-
sects the line of approach to the
two buildings at their collective
entry portico. This sequence
constitutes a cross-axis that con-
nects the two structures while it
links the two sides of the site.
Beginning at the lobby of the of-
fice building, whose volume cir-
cumscribes a perfect cube, the
processional path traverses an
intimate elevator lobby followed
by a long narrow gallery area.
An exterior arcade links the
structures and the sequence

concludes at the high-ceilinged
center of the single-story radi-
ographic imaging center.
Both office building and
imaging center draw on dis-
parate Florida building tradi-
tions for their architectonic
character. The expression of a
linear frame atop a solid base in
the three-story structure and the
use of lightweight galvanized
metal roofs in both buildings
strongly identifies them with the
wood frame vernacular tradition
of the Florida keys. The combi-
nation of regional imagery seeks
to link the structures irrevoca-
bly to their context while giving
them the visual and spatial
power to perform the desired re-
definition of the suburban office

FLORIDA ARCRrIECrJuk,/August 1992

Where Interior Meets Exterior, A House Without Bounds

The Owen Residence
Naples, Florida

Andrea Clark Brown, AIA,
Naples, Florida

Andrea Clark Brown, AIA
Project Architect:
Frank Visconti II, AIA
Project Team: Margaret P.
Griffin, David M. Corban
Structural Engineer:
Anchor Engineering
Contractor: AJ. Cross

Smallwood Landscaping

Both site and program invited
the architect to use an un-
usual massing approach which
united three simple rectangular
building blocks. This is a one-
story residence located on a tri-
angular-shaped suburban cor-
ner site overlooking an inland
The building is conceived as
three rectangular blocks, two of
which are nearly parallel wings
which converge at the entry and
then splay 70 feet apart to open
up a dramatic rear view of the
water. The third block, contain-
ing the primary living area,
crosses and overlaps the splay,
presenting a frontal facade to the
resultant triangular entry court
and offering a loggia to the bay-
side pool court. The entry court
presents a nearly urban, en-
closed space while the rear of
the house creates a wide theatre
for viewing water activities.

This page, site plan courtesy of the
architect. Photo of model by Frank
Visconti. Opposite page, photos of
west facade and loggia by Frank

FLORIDAARCHrrEC- July/August 1992


Each of the three blocks
supports an identical rhythmic
bay system employed from
block to block to clarify and
punctuate the different spatial
orientations as they operate
within the program.
The exterior spaces defined
by these building masses are
bound by the great height of the
blocks themselves. These
spaces provide a sense of con-
trolled exterior as interior and
present an urban-like contain-
ment of the landscape within the
distinctly tropical setting of the
residence's surroundings.

FLORIDA ARCHI ECT July/August 1992

An Artful Connection

Gelfman Studio and Office
Miami, Florida

Suzanne Martinson, AIA
Miami, Florida

Structural Engineer:
Riva Klein Associates
Charles Esher

M iami architect Suzanne
Martinson has skillfully de-
signed a residential addition to
an existing 18-year-old "build-
er's" house. The addition con-
sists of a painting studio and of-
fice which occupies a one-acre
site in a native Florida ham-
mock with a natural preserve to
the east The one-and-a-half
story studio was added as a sep-
arate structure but connected to
the original house. The studio,
which is a double square vol-
ume, is sited between the
trunks of the hammock's exist-
ing royal palms.
Three large unobstructed
walls were required in the paint-
ing studio which is lit by natural
light although no direct sun en-
ters the space during the day.
The double square, east-west
bar building which forms the
studio is lit only from a north
skylight and north window wall,
so direct, high contrast sunlight
is excluded. The large northern
window allows natural reflected
light to wash the southern inte-
rior wall.
The exterior of the studio is
sprayed stucco with a standing
seam metal roof. An industrial
aesthetic was employed via the
exposed metal decking, struc-
tural steel joints and an exposed
concrete slab.
There is a six-foot-wide con-
nector spine which separates
the two distinct volumes of orig-
inal house and addition and it
also serves as a back door con-
nector to the existing house and
studio. The entry door to the
connector spine is defined by a
concrete eyebrow and a flush-

mounted light The separation
between the double square vol-
ume of the studio and the single
cube volume of the office is em-
phasized by the recessed plane
and a metal ladder. In addition,
the northern window is framed
with a one-foot-wide band which
further emphasizes the separa-
tion of the studio from the enve-
lope of the building.
The second-level office occu-
pies a single cube volume with a
private and controlled view of
the natural protected hammock
to the east. The office is extend-
ed spatially with a poured-in-
place balcony and black metal
railing. This office also has an
operable metal skylight and
both stair and skylight are de-
fined by a low wall, exposed
metal decking and steel joists
painted black with black down-
lights. Flooring is exposed con-
The single cube office pro-
vides canvas storage and desk
space for the first floor painting

Photo, left, east elevation of office
showing poured-in-place balcony
and black metal railing. Photo
by Steven Brooke Studios.

South elevation showing entrance to connector spine. Separation between double square volume and single
cube volume is emphasized with recessed plane and metal ladder. Drawing courtesy of Suzanne Martinson.


FLORIDAARCHrrECrJuuly/August 1992 19

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Emma E. Macari

Emma E. Macari is the Na-
tional Chair of the American
Institute of Architects' Women
in Architecture Committee. She
was recently hired as Director
of Facilities Planning for the
University of South Florida.
Prior to arriving in Tampa,
Macari spent 15 years at the
University of Wisconsin. Her
move to Florida is a homecom-
ing of sorts. She received her
undergraduate degree in archi-
tecture at the University of
Florida and she was in private
practice in Miami for several
Emma Macari was inter-
viewed for Florida Architect by
Renee Garrison, Architecture
Critic for the Tampa Tribune.
RG: What is the purpose of the
Women in Architecture Com-
EM: We promote the full inte-
gration of women into the archi-
tectural profession. We also try
to make the work of women visi-
ble through publications and
traveling exhibits. And, we try to
develop policies that the AIA
can adopt to help female archi-
tects. For example, we're dis-
cussing a gradual increase in
dues for women who work part-
time. At this time, you can't be a
member of the AIA unless you
pay full dues, which is hard to
do if you're working part-time.
As you know, there are many
couples in which both members
are architects. Our committee is
exploring the idea of a family
membership in the AIA which
would be especially beneficial
for young couples who are just
starting out and can only afford
one membership.
RG: What kind of professional
programs and seminars do you
EM: We always sponsor pro-
grams at the national AIA con-
vention. Last March, in Boston,
we offered a program that didn't
just deal with the problems fac-
ing female architects. It featured
women whose work had ap-


magazine. They discussed their
design philosophies, their suc-
cesses and how they got their
work published in a national
magazine. The program, inter-
estingly, attracted a lot of men
because we chose to use a
broader approach to the subject
of women in architecture.
RG: Tell me about the annual
Speaker's Bureau.
EM: It's a catalog of women
design award winners, members
of the AIA College of Fellows,
jurors and other speakers avail-
able for meetings, conventions
and university programs.
When I was Chairman of the
1983 Wisconsin Society of
Architects' Convention, I could
only find three or four women to
speak. I realized that someone
needed to generate an up-to-
date list of female speakers. I
started the list and eventually,
the 19 regional liaisons of the
Women in Architecture Com-
mittee all submitted names to
be included in the Speaker's
RG: Whenever the AIA offers a
professional development pro-
gram on "Starting Your Own
Firm," you try to ensure that a
woman is on the panel. Why are
so many women starting their
own firms?
EM: Women don't make it in the
big architectural firms because of
the glass ceiling that exists. To
control their projects, their client
contacts and their designs, they
open their own offices. Of course,
the offices women open are usu-
ally very small, at least initially, so
the projects they design are usu-
ally smaller and a lot less promi-
nent that the work of big estab-
lished firms.
For a large firm to survive, it
has to go after large corporate
clients. Large corporations are
usually headed by men. Large
architectural firms are usually
owned by men. So women are
shut out of a lot of opportunities.
RG: How frequently does the
Women in Architecture Com-
mittee meet?

EM: Our committee meets
three times a year, once with the
Minority Resources Committee.
Women and minorities have a lot
of things in common. We're both
discriminated against.
We really need to go to places
in the central United States
where women need a shot in the
arm. It's so important to us to
network, to make connections.
We want to strengthen the mem-
bership, the numbers, participa-
tion and clout of women. We've
already had a lot of meetings on
both coasts and now the women
who live in those areas have the
critical mass that is so important
to their success.
RG: What's the biggest chal-
lenge facing women architects
in the future?

EM: To survive in this pro-
fession, to be accepted and rec-
ognized as an equal without
having quotas in order to get
When women see other
women in positions of leader-
ship, they gain confidence. I've
heard that there are certain AIA
chapters that are not receptive
to women participating in pro-
grams. My goal is to make
women feel that they are impor-
tant, to get them to realize they
must help each other. Women
have not always felt welcome in
architecture and local chapters
often do not address specific
problems which are unique to
our gender. We want to see that

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Changing The Status Quo

or Florida's Climate Is Not Sunny For Women Architects
Linda Dunyan, AIA

667" hy can't a woman be
W more like a man?" When
Professor Henry Higgins asked
this in My Fair Lady, he intended
it to be a rhetorical question. In
fact, there have been endless
non-definitive tracts written in re-
cent years responding to this
query. It seems self-evident to me
that the answer is simply "be-
cause we're not" for biological
and cultural reasons. The French
wag who coined the phrase "Vive
la difference" had it right. Be-
sides, in my view, it would be ex-
tremely boring to have a world
solely comprised of male clones.
Unfortunately, there are
women, including women archi-
tects, who believe that they must
present themselves more like a
man to be successful in their
chosen profession. On the flip
side, there are an equal number
of women who seem to feel that
they must studiously avoid
being "manlike" in order to
avoid being onerously labeled a
male imitator. Then, there is a
third group who simply act as
they are. Most of us would like
to believe we are a part of this
latter group, but if we're candid,
we have to admit to at least a
small amount of role playing out
of absolute necessity.
Role playing can be trying,
especially for those who feel
compelled to be on stage all the
time, and doubly so if there is no
payoff. But, salvation is in sight
primarily because the business
of architecture is a dynamic one
and current trends are now find-
ing women taking well-earned
places as both designers and
firm principals...and getting the
credit they deserve. On balance,
it must be observed that many of
the women who are currently re-
ceiving the greatest accolades
have architect-husbands as part-
ners or mentors, or both. In ad-
dition, there are certain areas of
the country where women archi-
tects have been nurtured more
than in others... California, New

York and Washington being
good examples. I have not found
the ground to be as fertile here
in Florida.
I have my own theories as to
why this is the case. Certainly,
the "Bubba Syndrome" is at the
top of the list This is a variation
on "the good old boy" syn-
drome, but it encompasses a
smaller subset of individuals. Its
clear that bubbas feel more com-
fortable, generally, with folks
they can discuss fishing and
football scores with. If you look
around, you'll see that Florida
has lots of bubbas. All groups
have bubbas... potential clients,
fellow architects, engineers,
builders. Since none of the usual
bubba topics are of interest to
me as a matter of choice, I find it
difficult to provide the comfort of
a common ground on which to
effectively communicate.
Unfortunately, when the
"Bubba Syndrome" is played out
in situations involving architects
and potential clients, it is usually
to the detriment of women. Cer-
tainly, we could familiarize our

selves with the NASCAR racing
scene, but let's face it, most of
the time it just wouldn't be con-
vincing and more important, it
shouldn't be necessary.
The common professional
ground should direct the busi-
ness of architecture. Yet, the dis-
cussion of architecture often ap-
pears only a peripheral issue at
meetings. My perception has
been that in many areas of Flori-
da, if you're not a bubba your-
self, you have a slim chance of
getting a contract no matter how
competent, knowledgeable or
dedicated you are. This situation
appears to be especially preva-
lent at all levels of government
A second syndrome, while
equally valid, is a bit harder to
prove. While the origins of the
"not mechanically inclined" syn-
drome are obscure, offshoots
can be seen in the car and appli-
ance repair arena, and yes, in
the field of architecture. Men,
perhaps without realizing it, will
be quicker to take a woman's ad-
vice on color choice, window

style and furniture selection,
than on structural concepts or
mechanical systems.
Women on a construction
site are subject to receiving the
spinoffs of this syndrome and
since there are fewer women
practicing architecture in Florida
(only 119 AIA members as op-
posed to California's 656), the
syndrome would appear to be
The "symphonic syndrome"
is also, unfortunately, not music
to women's ears. While the play-
ers in the design and construc-
tion process may be able to ac-
cept the participation of a woman
as the second seat oboist, a
woman as maestro is a bitter pill
to swallow. The fact is that an ar-
chitect is trained to conduct the
show, but the woman architect is
not easily accepted as leader of
the team. Old ways, after all, die
Using post hoc ergo propter
hoc reasoning, we would have to
conclude that women-owned
firms are getting few private sec-
tor and government commis-
sions in Florida. A recent study
conducted by the State clearly
corroborates this conclusion.
After an analysis of the data, the
Florida legislature recently de-
cided to set goals (quotas) for
minority and women-owned par-
There has been some con-
cern about why a smaller per-
centage goal for minorities was
established. It's basis was also
determined by the study results.
The State can control its agen-
cies, but at the local level the
policy onus is on local govern-
ments and, the legislation, unfor-
tunately, provides no method of
monitoring compliance. AIA Na-
tional, as an organization, has a
policy of neutrality on the whole
subject of quotas and set-asides.
In an apparent disservice to its
women members, the Florida
Chapter/AIA has not been as
non-committal and has ques-

"The Bubba Syndrome"

tioned the validity of the legisla-
tion. If there are legitimate con-
cerns, the entire membership
should be given the facts and
polled as to their opinions,
though it would seem that na-
tional policy should set the
precedent for state policy in this
particular matter.
The fact remains that there is
strong legislation supporting
women. The Board of Regents,
for example, has "goals" where-
as the Department of General
Services has "set asides". Myri-
ad other local and regional pro-
grams have their own unique
ways of dealing with the legisla-
tion. Women-owned firms now
have the opportunity to receive
a boost through these efforts to
level the playing field. Hopeful-
ly, bubba pressure groups will
fail in any attempt to repeal this
While few people like the
idea of gender preferences,
these long overdue policies may
encourage some women to start
their own firms. It should be em-
phasized, however, that the re-
quired certification paperwork is
laborious and varies from
agency to agency. There are no
standard criteria or forms. In ad-
dition, many government offices
apparently are "toothless" when
it comes to monitoring compli-
ance. Keep in mind that women
are also competing with minori-
ties for the same work. To some
extent, the syndromes which
I've addressed also apply when a
male-owned minority firm is se-
lected iii lieu of a woman-owned
firm, particularly if the woman
does not have a male partner.
Nevertheless, every bit of
catch-up assistance given to
women architects (owners or
employees) may bring us closer
to making the refrain "I've
grown accustomed to her face" a
top ten hit. Such a result might,
hopefully, mitigate all three syn-
dromes. Perhaps the recent suc-
cess of women in the political

"Mechanically Inclined Syndrome"
arena, and at the top position in
the AIA, will filter down into our
professional ranks where many
,_ ^ clients, just like voters, will want
7W t4' a a change in the status quo.
r4-1 -rnie /.I
^. ^ c. l/ ULinda Dunyan is a member of the
Scf lI Women in Architecture Steering
Committee of the AIA. She is Pres-
Sident of Spacecoast Architects,
P.A. in Melbourne, a five-person
firm in which she is the only
woman. That's because Dunyan is
the only woman architect in Bre-
vard County. Her firm is currently
responsible for major renovations
to both Brevard Community Col-
lege and Port Canaveral.

S\ Drawings by Robert S. Carrell

"Symphonic Syndrome"

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Disney's Latest Projects

How to Win Design Competitions

Marketing for Principals

Industry Focus Groups

Economic Trends

Client Maintenance

Presentation Skills

Firm Managers' Roundtable

Energy Resources & Recovery A

FA/AIA Awards for Excellence in
Architecture Presentations



utt g the Pieces Together


Thomas Beeby, FAIA

John Morris Dixon, FAIA
Editor, Progressive Architecture

Dr. Henry Fishkind

Dr. Marvin Cetron


Design Awards Banquet

Past Presidents' Breakfast

Tour of Disney Architecture

Sessions with The Society for
Marketing Professional Services
National Convention

AIA Florida Fall Convention
Hyatt Regency Grand Cypress Hotel
Orlando, Florida
September 10-13, 1992

For more information
Call Melody Gordon (904) 222-7590 OR Fax this page to (904) 224-8048
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Just the way you pictured it.

From concept to construction, you never
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