Group Title: Florida Caribbean architect
Title: FloridaCaribbean architect
Full Citation
Permanent Link:
 Material Information
Title: FloridaCaribbean architect
Alternate Title: Florida Caribbean architect
Physical Description: v. : ill. (some col.) ; 28 cm.
Language: English
Creator: American Institute of Architects -- Florida Association
Publisher: Dawson Publications,
Dawson Publications
Place of Publication: Timonium Md
Publication Date: Spring 2003
Copyright Date: 1997
Frequency: quarterly
Subject: Architecture -- Periodicals -- Florida   ( lcsh )
Architecture -- Periodicals -- Caribbean Area   ( lcsh )
Genre: periodical   ( marcgt )
Dates or Sequential Designation: Vol. 44, no. 1 (spring 1997)-
Issuing Body: Official journal of the Florida Association of the American Institute of Architects.
General Note: Title from cover.
General Note: Issues have also theme titles.
 Record Information
Bibliographic ID: UF00004635
Volume ID: VID00022
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: ltqf - AAA5904
ltuf - ACJ1464
oclc - 36846561
lccn - sn 97052000
 Related Items
Preceded by: Florida architect

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Florida Association of the
American Institute ofArchitects 104 East Jefferson Street
Tallahassee, Florida 32301
2003 FA/AlA Officers President William H. Bishop III, AlA President-elect Blinn Van Marer, AlA
Donald T. Yoshino, AlA
Vice President/Communications
Brian Bradley, AlA
Vice President/Legislative & Regulatory
Lawrence P. Maxwell, AlA
Vice President/Professional Development
James Ruyle, AlA
Regional Director
Jerome Filer, FAIA
Regional Director Ben Vargas, AlA
Immediate Past President
Enriq ue A. Woodroffe, FAlA
Executive Vice President
R. SCO[[ Shatley, CAE
Publisher Denise Dawson, Dawson Publicarions, Inc. 2236 Greenspring Drive Timonium, Maryland 21093 410.560.5600 800.322.3448 Fax: 410.560.5601 Editor Diane D. Greer Sales Manager Dave Parrick Sales Representatives Roben Consramine, Parrice Epner, Thomas Happel, Bonnie Lippe Graphic Design Mike Horgan Printing Boyd Brorhers Priming
Florida Caribbean Architect, Official Journal of
the Florida Association of the American Institute
ofArchitects, is owned by the Association,
a Florida corporation, not for profit.
ISSN-OOI 5-3907. It is published four times a
year and disrributed through the office of the
Associacion, 104 E. Jefferson Street, Tallahassee,
Florida 32301. Telephone 850.222.7590.
Opinions expressed by conrriburors are nor necessarily those ofAlA Florida. Edirorial material may be reprinted only with the express permission of Florida Caribbean Architect. Single copies, $6.00; Annual subscription, $20.00
Editorial / diane d. greer
"Of all buildings, those which are built professing to proclaim truth houses of worship -should be the most honest." This is a quote from Architect Emeritus Frank McLane who wrote to me on the subject of "What Are The Principles of Great Architecture?" I was interested in his thoughts because most of them were very straightforward -so much so that you have to wonder why they are so often overlooked in the design process. "First is honesty," he wrote, followed by proportion, scale, light, space and so on. Not new ideas -Vitruvius wrote to Caesar about them in the 2nd century B.C. -but ideas that are too often forgotten.
In the introduction to his paper, McLane states that he does not consider himself to be among the great designers of modern architecture. But, he is quick to add that he has "the ability to state in a few words things that must be part of, not just great architecture, but of good architecture -things that a creative designer of buildings must consciously or intuitively understand and use. T hings, which, to my knowledge, were never neatly and precisely taught in schools of architecture."
His definition of scale, for example, is "how things relate to the human being as to size and human function. Nothing new there, but he goes on to make an excellent point that scale should address how big the building is inside as well as out. "To rely on something like furniture to understand a building's scale is to admit the building has no scale of its own.
O ne of McLane's examples is the dome of St. Peter's in Rome that rises 365 feet above the crossing of nave and transept. The altar is located beneath the dome. Before Gianlorenzo Bernini added the 100-foot baldacchino (the average height of an eight-story building) that sits over the high altar, it was difficult to grasp the height of the dome. The disparity between altar and dome was too great. But, the baldacchino, or canopy, helps focus attention on the altar and establishes a relationship between the altar and the dome. Assuming the altar to be of average height, subconscious calculations allow viewers to sense first the enormity of the baldacchino and finally, of the dome.
St. Peter's is an extreme example, but while editing the articles that were submitted for this issue, I noted a common problem that many of the architects had to reconcile. It involved meeting the demands of the liturgy while creating an intimate and comforting space for worshippers. I suppose that scale is always an issue in ecclesiastical design and reconciling the loftiness of an upward-oriented space with the intimacy that many congregations desire can be a tricky matter. It was one that was resolved in very different ways in the projects in this issue. I think readers will find the solutions interesting.
flo rida / caribbean ARCHITECT spring 2003

square feet of classroom and meeting space in a new fo ur-story building for St. Peter's Cathed ral. Site development includes a 200car parking garage and enhanced access to adjacent on-street parking in addition to a new, landscaped courtyard.
Lunz Prebor Fowler Architects has been selected by the Architect of the Capitol to design the renovation of the U.S. Botanical Gardens Building in Washington, D.C. The work will be performed in conjunction with the URS, Washington Office, and will include a complete redesign of the former residence, built in 1932, that now houses administration services for the Botanic Gardens. The renovation is part of an overall program to restore the Gardens, located directly adjacent to the U.S. Capitol Building.
VOA Associates Incorporated
IS architect for Florida International University's new Management & Adva nced Research Center (MARC), an 80,000-square-foot conference and advanced research facility. The signature element in the building is the multi-purpose conference hall that "floats" above the pre-function space and allows views through the building to the lake beyond. VOA Associates has also completed design of the 76,000-square-foot Learning Resource Center and Library at Santa Fe Community College in Gainesville. T he building has a unique design feature-a two-story element housing conference rooms, staff and cyber cafe. This section of the building is gently curved to follow natural landscape features.
C.T. Hsu + Associates, P.A.
has completed the comprehensive master plan for Eustis High School,
florida / caribbean ARCHITECT spring 2003

as part of a Lake County Schools program to reevaluate seven schools in its district. The new master plan resolved issues of building location, crowded spaces and phasing of the work on an occupied campus. C.T. Hsu + Associates also prepared a comprehensive master plan for Mount Dora High School. T he new campus combines its original 25 acres with eight acres belonging to a former elementary school and it was opened up with the creation of an academic courtyald designed for school gatherings.

Fleisc!JllumGarcia Architect"re bas completed design oftbe new Stetson University College ofLaw 10 be located in downtown Tampa. Tbe 73.500-squal'e-jOot buildillg is slated to open in autumn 2003.

AIA Tallahassee Honors Delineators
AlA Tallahassee has begun a program of recognizing delineation in the architecture profession. The program, an annual competition, was designed to recognize "the many facets of the media, message and means by which architects commu
T he jury for the inaugural competition included Rodner Wright, AlA, Dean of the School of Architecture at Florida A & M University, Rena Minar Executive

Director of the Mary Brogan Museum Museum of Art and

A delineation project by architect Science and Diane Greer, Editor of Monry Stark. AlA. was awarded Best of Show in A l A Tallahassee's first
FLorida/Caribbean Architect and
Delineation Competition. Awards of
Director of Cultural Resources at

Merit were presented to Va ughn Florida State University. The jury Samuel with Akin Associates Architects. Jodie Dodson. A lA with Manal/sa
considered major issues such as con

Lewis & Dodson and Monry Stark. tent, quality of the architecture repAlA, with Hicks Nation Architects. A resented, quality of the technique Citation Award was presented to Karla Cmtellon. a student in the FAJvIU
used and overall presentation.
School ofArchitectu re.
The project awarded Best of
flo rida / caribbean ARCHITECT spring 2003

Show was a large scale representation of an historic house that demonstrated virtuosity of technique and handling of materials as well as artistic composition. It was the work of Monty Stark, AIA, who is with the Tallahassee firm of Hicks Nation Architects. Three Awards of Merit were presented to very diverse delineations including a watercolor rendering, a pencil sketch and an airbrushed elevation. All of the entries in this inaugural competition will be displayed for several weeks at the Mary Brogan Museum of Art and Science.
Most Popular Historic House Museums
Every year Counsel House Research, in conjunction with the
Almanac of Architecture & Design,
polls America's historic house museums to determine which are the most popular destinations. For the purposes of this study, "house museum" is defined as an historic house that is currently exhibited and interpreted as a dwelling place. While the top five tourist destinations are easily predictable Mt. Vernon, Biltmore Estate, Hearst Castle, Graceland and Monticello -there were a few surprises. The Edison and Ford Winter Estates in Fort Myers, Florida tied as the seventh most visited house museums in the country, well ahead of Betsy Ross, Paul Revere, the Lincoln Homestead and Fallingwater. Showing up at number 19 was Viscaya, the Deering Estate in Miami that was designed by Burrall Hoffman in 1916.

FAMU SOA Holds First Alumni Exhibition
Twenty-five years after conferring it first degrees, the School of Architecture at Florida A & M University opened its first Alumni Exhibition last November during
florida / caribbean ARCHITECT spring 2003
Homecoming Weekend. The event, which is referred to as the 2002 PreConnect activity, included both built and unbuilt architectural designs as well as other creative work such as painting and sculpture. Seventy projects from 48 alumni were sent from all over the country. Co-curators of the show were Associate Professor Eduardo (Lalo) Robles and alumna Sally Dowlen (B.S.'82, M.Arch.'88), Transportation Systems Coordinator for the Leon County Department of Public Works 111 Tallahassee. Judye McCalman, Alumni Coordinator, coordinated the event. Two alumni
firms sponsored the exhibition: Conn and Associates Architects, Inc. in Tallahassee and Rhodes +Brito Architects, Inc. in Orlando. These firms also sponsored a private reception at the AIA Florida headquarters. In recognition of the School's contributions to the community throughout its history, the Leon County Commission presented Dean Rodner B. Wright, AIA, with a commemorative Resolution at its October meeting. A virtual tour of both the opening events and the exhibition will be on the School's Web site
The 2002 Pre-Connect activity

was the first in a three-year plan of SOA alumni activities. The 2003 Connecting event will be the School's first Alumni Reunion and the cul
mination is the establishment of the School of Architecture Constituent Group of the FAMU National Alumni Association planned for 2004--the Connected event.
Fort Lauderdale AIA Raises Scholarship Funds
In November, the Fort Lauderdale Chapter of the AIA presented architecture awards for outstanding design in both built and unbuilt categorIes. Student Design Excellence Awards were also given to students currently enrolled in Schools ofArchitecture who exhibited outstanding achievement in a series of competitions in which they participated. In addition to honoring outstanding design, the event raised scholarship funds for the Florida Atlantic University School of Architecture and the nine winning student entrants. The jury for the event included Andrea Clark Brown, AIA, Raymond Jungles, ASLA, and Guy Peterson, AIA for the Built and Unbuilt Awards and Kaiser Talib, AIA, Michael Shiff, AIA and Dr. Peter Magyar, Associate AIA, for the Student Design Excellence Awards.
Winners in the Built Design category were Anthony Abbate, AIA, Saltz Michaelson Architects and Don Singer, FAIA. Unbuilt Award winners were Peter Magyar, Aron Temkin and Francis Lyn who were recognized for two projects. The student program was a threephase competition that included a design charette, a poster design and project exhibition. The winning project, a weekend design for a chicken coop, was the work of Neil Melby. Todd Evans won the poster contest and the winner of the portfolio exhibition was Santiago Pelaez.

Above, left: Donald Singer, FAIA. is the designer ofFlashpointe, an economical first house for a single mother. Above, right: The
Graphisofi Park Conference Center is a multi-purpose building on the shore ofthe Danuabe River in Budapest. It was designed by Peter Magyar, Aron Temkin and Francis
Lyn. Right: Workscapes, a retrofit showroom, was designed by Anthony Abbate, AlA.
florida / caribbean ARCHITECT spring 2003

Interview/ John S. Dickerson, AIA
John S. Dickerson, AIA, is a graduate of the University of Arizona School ofArchitecture. He is President ofJohn S. Dickerson Architect, Inc. in Leesburg, Florida, a small firm founded in 1978. For the past 12 years, the firm has concentrated primarily on religious architecture. The firm is currently designing a new 1200-seat sanctuary for St. Madeleine Catholic Church in High Springs, Florida. Mr. Dickerson is a member of the AlA Professional Interest Area of Interfaith Forum on Religion, Art & Archi tecture.
Q: How did ecclesiastical design become yourfirm's specialty and what percentage ofprojects does it represent?
A: The firm has been involved in church design for the past 20 years. Our involvement began with designing small additions and renovations to existing churches and church-related projects. This gave us the opportunity to analyze existing facilities and see what worked well and what didn't. These early additions and renovation projects led to new church-related commissions that now represent 75% of our fee income. Today we handle the complete project, including site evaluation, programming and master planning, not only of churches, bur of suppOrt buildings such as fellowship halls, administrative facilities and rectones.
Q: What particular problems are inherent in chUl'ch design?
A: Budget, budget, budget. It is one of the most difficult issues to deal with in church design and construction. It is difficult to establish a cost per square foot because churches vary so much in design, structural systems, and construction materials. The COSt for an electrical package, for example, varies greatly from church to church because the more control and sophistication desired in the lighting system, the more the system costs. Bid prices taken from general contractors who have church-building experience can vary as much as 20% from low to high bid. I find it much easier to work with a building committee whose members are involved in construction or who have experience from serving on previous building committees.
Q: Ifbudget is always a problem, how do you handle it?
A: I tell the building committee that we cannot guarantee costs. I tell the committee that we will furnish cost estimates based on our previous experience with churches constructed of similar building materials and with other available cost estimating systems. One of the ways we deal with construction COSt control is to use add alternates when projects are bid.
Another method of controlling costs once a building committee has selected a general contractor is to have them provide preliminary COSt estimates as the design is developed.
Q: What do parishioners/worshippers currently demand in their building programs, i.e., stained glass, custom pews andfurniture, a sense ofserenity, etc.
A: The top priority in church design is function. The members care first and foremost about two things: good acoustics and lighting. They want to be able to see and hear well. Another request that is always made is that the building look like a church even if the design is very contemporary. The building must reflect the liturgy. Most churches want custom designed furniture, i.e., baptistry, ambo, altar, tabernacle and a presider's chair. Often they are willing to use standard manufacturerdesigned pews, but pew comfort is always an important issue. Stained glass windows are important in all churches for spiritual identity or to depict a theme or tell a story.
Q: What is yourfirm's philosophy ofchurch design?
A: Our philosophy is simple. We listen to the building committee and the members to determine their needs and wants. We try to determine what is unique about the congregation or parish and then incorporate that into the liturgical functions of the church. I like to use structure as a design element to define and accentuate the liturgical functions of the church while making an honest architectural statement.

florida / caribbean ARCH ITECT JJ spring 2003

friends closer together in a safe environment -a place where the congregants could meet to share religious and social aspirations.
The architect's solution addressed the client's program by arranging buildings in such a way as to create large and small courtyards that can be used as play areas or places of meditation and reflection. The temple, which is visible from all parts of the facility, is distinguished by a tilted wall that rises 40 feet to embrace the congregants. The temple is anchored with a steeple that soars to a height of 75 feet. From outside, the facili ty is clearly read as a Jewish center for learning that is comfortable with its presence in the community.
Photo, Top: Interior ofthe temple. Right: Exterior from the sowhwest. All photos by Rabinowitz Photography.
Project Credits: Jeffrey Silberstein, AIA: Architect; Kamm Consultants: MEP Engineers; Bryntesen Engineers: rructural Engineers; Nibor Construction: Contractor.
florida / caribbean ARC HITECT spring 2003

Photo, Above: Main entrance, exterior view
ofsanctuary. Photo by Neil Rashba. Church
plan (left) courtesy of the archilect
florida / caribbean ARCHITECT spring 2003

Spillis Candela DMJM coral gables
Church of the Epiphany, Miami, Florida
T he cruciform plan for this
church was devised to express
the sacredness of the space
based on the powerful ordering
of the two axes crossing at the
altar. Centered beneath the
crossing of nave and transept is
a space framed on the exterior
by four towers, symbolic of the
four evangelists. These towers
also help to stress the verticality
of the whole.

Inside the sanctuary, the
stone al tar rests on a raised
platform that permits a view of
the tabernacle from every pew.
Behind the altar, is a tall slen
der stained glass cross carved
out of the back wall of the
nave. Floating over the nave are
the soaring walls of the "church
made of stone." This light-col
ored stone acts as a background
for the reflected light from the
stained glass.

Structural columns inside
the church grow out of the
granite floor to support the sky
blue ceiling 60 overhead. Steel
trusses define a stepped Gothic
arch that allows natural light to
enter. This light, carefully fil
tered through a semi-transpar
ent wooden veil, creates a sense
of mysticism that is a funda
mental component of the
church's interior atmosphere. In
addition to the use of natural
light, the artificial lighting was
designed to reinforce the interi
or's spiritual quality.

Worshippers enter the
church through the narthex,

Top: Exterior View. Righ[: East end ofthe
nave showing aitar and apsidal willdow
reflected in the aisle. All photos by j. Brian

floridn I caribbean ARCHITECT spring 2003

which is full height, before moving

through the low-ceilinged area
beneath the choir. From there, one enters the nave with its soaring interior space. When this project was recognized with a Design Award in 1996, the AlA described it as -''A great space ... one of the
few contemporary sacred spaces
that can create a hush when so meone walks into it."
Project Credits: Spillis Candela DMJM: Architecture, Engineering, Interior Design; Landscape based on a design from Jose Lopez-Tropolis Landscape Archi tecture; The Witters Construction Company:
Facing page: West end ofthe nave looking toward the narthex and organ pipes. Left: Stained glass window reflected in the altai: Drawing courtesy of Spillis Candela DMJM.

florida / caribbean ARCHITECT spring 2003

1. ~SBPT



I.... CRy ROOM
Phoros, Top, left: The east facing main en trance
showing the arcade that connects the existing build
ing with the new sanuuary. Top, righr: The interior
ofthe sanctuary. Middle, leFr: Interior view.
Middle, righr: Northwest corner ofthe sanctuary
showing the choir window in the west wall. Lefr:
Floor plan ofthe new sanctuary' and connecting ele
ment to the existing building where the baptismal
foil! is located. All photos by Vic Latavish.
florida / caribbean ARCHITECT spring 2003

The second of this three-phase building program called for a sanctuary wirh ancillary faciliries thar would sear 500 worshippers. The building design had to be a posirive visual expression of the church's value to rhe community. It also had to fir seamlessly with existing Phase I facilities and accommodare planned Phase III faciliries. All of rhis had to be acco mplished on a limired budget. An addirional requirement was rhar natural ligh t and stai ned glass be utilized for their uplifting and worship-reinforcing qualities.
The form of the sanctuary was created by the transformation of a rectangular volume that is 84 feet square and 20 feet tall. One corner of the volume was raised to a height of 40 feet fro m which a tower emerges to become the focal point of the
composition. Folded exterior walls accommodate programmed spaces on either side of the chancel and provide structural stability for the taller sections of the exterior walls.
The roof is supported by angled and sloping roof (fusses rhat allow for a column-free interior. The building's form is extended asymmetrically at the rear of the
Facing page: The exterior sOlltbwest cOrller oftbe cburch forms the terminus ofthe main axis ofthe sanctuary. Froll/ tbe central tower tbe wall folds to accommodate the choir space inside. Photo by Allin Cajacob. Left: Exterior view. Below: Interior of,be sanctuary looking tbrolfgh tbe rood screen towa,,d tbe choir. Photo by Nieolll MeRill.
main volume to accommodate vestry, resttooms, mechanical, electrical, storage and utility rooms.
T he building shell is reinforced concrete with STO exterior and finish system. A modified bituminous roofing membrane was selected for its economic viability.
The interior of the sanctuary is spare. Wall surfaces are painted and trim is red oak. A 50-footwide red oak rood screen separates the chancel and congregation from the choir and organ pit. The sloping ceiling and wall surfaces belie the building's basic simplicity of form. The economics of a simple form and marerials enhance the integrity of rhe dramatic interior space. Searing for the congregation wraps aro und the chancel platform and aids in maintaining a feeling of intimacy since no seat is more than 50 feet ftom the chancel. State-of-the-art sound and lighting control systems effectively enhance the worship experience.
Project Credits: Alan Paul Cajacob, AIA: Architectural Planning and Design; John Gregorich: Job Captain; Nicola McRill: Intern Architect; John G. Amaram, PE: Structural Engineer; Don Wilson, PE: Mechanical Engineer; Alex Piper, PE: Electrical Engineer; Parker Mynchenberg, PE: Civil Engi neer; Hall Construction Co., Inc.: Contractor; Conrad Pickel Studio, Inc.: Stained Glass Art Panels; Nate Mudge: Sound and Lighting Systems.
florida / caribbean ARCH ITECT spring 2003

O"." S .t"
florida / caribbean ARCHITECT spring 2003

weddings, funerals and other
church assemblies.
The baptistery is located just inside the nave on axis with the altar, ambo and tabernacle. To further strengthen the link berween these key liturgical monuments, they were all chiseled from the same granite with rough-cut bases and polished tops.
After the major liturgical spaces were established, the central axis was extended to include a covered entry, gathering space and narthex on one end and a day chapel on the opposite end. Two laminated wood trusses -with 90-foot span -support the clerestory and further define the central axis. Clerestory windows allow light into the sanctuary and emphasize the liturgical focal points in the church.
Project Credits: John S. Dickerson, AIA: Architect; M. Judson Dickerson: Project Manager; David L. Kittredge, PE: Structural Engineer; Thomas L. Hanson, PE: Electrical Engineer; Larry C. Lipps, PE: Mechanical Engineer.
Photo, top left: View into the lIave lookillg north toward the Day Chapel with tbe baptistery in the foregroulld. Top right: View inside the nave lookillg toward the narthex.

fac,:ade of the building when the budget permits. In keeping with its Florida location, the symbolic olive tree has been replaced with a mangrove that is home to birds and a root system that provides a sanctuary for small fish. With a root system that holds together the vegetation of coastal land, it represents an almost perfect tree of life.
Project Credits: Charles Harrison Pawley, FAIA: Architect; Nazifa Najem Given: Project Manager; Nelson Lonsdale, Lonsdale Associates: Structural Engineer; Rodriguez & Currier Associates: MEP; Gene Higgins, Jr.: "Tree of Life" Production.
PhotOs, tOp: Partial east elevation showing entrance into courtyard. "Tree ofLife" panel will be placed in arched opming between stairs. Left: View through the Bimah at the Star of David skylight that is integrated into the roofofthe sanctuary. ALL photos by Dan Forer. Ground floor plan and east elevation courtesy ofthe architect.
florida / caribbean ARCHITECT spring 2003

Pharos, rap: View ofchapelji'Ol"
tbe south and ligbt detail ofsowh gable and exterior wall Sltrfoce. Left: Interior views. All photos by Scott Merrill. Facing page drawings courtesy oftbe arcbitect.
Project Credits: Merrill and Pastor Architect, PA: Architect; Farley W. Farley: Structural Engineer; Sklow & Runkel:
Mechanical and Elecrrical Engineers;
Breaux Construction:
Con tracto r.
florida / caribbean ARCHITECT spring 2003

Project Credits: Sol
J. Fleischman, Jr., AlA:
Project Architect;
McCarthy & Associates, Inc.: Structural Engineer; Engineering Matrix, Inc.: M EP; Phil Graham & Co., Inc.: Landscaping; Eleazer Interiors: Interior Design; Creative Contractors, Inc.:
Phoros. Top: anauary interior looking toward tbe Ark. Tbe Ark is lit from a band ofclerestory windows in tbe tower dome. Note tbe freestanding memorial wall on tbe rigbt tbat conceals tbe bandicap access ramp. Above: Imerior view oftbe chapel with the Ark that was relocatedfrom tbe original synagogue.
florida / caribbean ARCHITECT spring 2003

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(79-14) ... ... .... . .... ... 1 Collinsworth Alter Nielson Fowler &
Dowling Inc. (79-15) ..........36 Creative Contractors (79-16) .. ....39 Digital Drafting Systems (79-17) . 39 The Dream, Inc. (79-18) ...... ...38
U. San Juan, Inc. (79-12) .....42-43 Forest Productions (79-12) .....42-43 Genesis Studios Inc. (79-19) .. ....44 Glass Masonry Inc. (79-20) ......32
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Icynene (79-2 1) .... ........ . IBC

Masterpiece Tile Co., Inc. (79-22) ..39
Michael LaGrand Photography (79-23) ... . .............32 Most Dependable Fountains, Inc.
(79-31 ) ... .. ..............38 Music Arts Enterprises (79-24) .. . 39 National Graphic Imaging (79-25) .. .34 Pella Windows (79-26) ... . .. .IFC PGT Industries (79-27) .. .. . . OBC RJL Associates, Inc. (79-28) .. .....35 Roll -A -Way Distinctive Products, Inc.
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(79-12) ............ .. . 42-43 S & S Craftsmen, Inc. (79-12) .. 42-43 Smyth Lumber Co. (79-12) .... .42-43 Suncoast Insurance Associates, Inc.
(79-33) ... ........ . . ....40 T-Square (79-29) ...... . .....32 Taylor's Building Supply (79-18) .. .38 TRACO (79-32) ..... ... ........2 Weather Shield (79-12) ..... 42-43 Window Classics (79-30) . . . . 41
Legislative Mandate:

The State of Florida now requires that all design and construction professionals complete a four-hour core curriculum relating to the Florida Building Code and a system of administering and enforcing the Florida Building Code. This requirement is stipulated to Chapter 553.841, F.S. and must be completed no later than June 1, 2003.

florida / caribbean ARCHITECT spring 2003

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Architectural Photography
Michael LaGrand Photography (79-23) ........... .........32
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Genesis Studios Inc. (79-19) ..... .44
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Audio Visual Innovations (79-13) ..32 Audio Visual Systems Design & Installation
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AutoCAD Software
3DCADCO Inc. (79-10) . ..... 35 Digital Drafting Systems (79-17) .. .39
Digital Drafting Systems (79-17) ... .39
CADD Services
3DCADCO Inc. (79-10) ... . ....35 Digital Drafting Systems (79-17) .. .. 39
Chicago Metallic Corporation (79-14) ....... .. . .. .... .. 1
Clay Roofing Tiles
Masterpiece Tile Co., Inc. (79-22) . 39
3DCADCO Inc. (79-10) .. . . . 35 Design & Installation -Sound Systems
Music Arts Enterprises (79-24) .. ...39
Chicago Metallic Corporation
(79-14) .. ........... ........ 1 Pella Windows (79-26) ....... . IFC PGT Industries (79-27) .. .. .... OBC
Drinking Fountains
Most Dependable Fountains, Inc. (79-31) ......... ........ ...38

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Industrial and Decorative Troweled Floors

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Floor Grilles & Mats
RJL Associates, Inc. (7928) .......35

Foam Seal/Air Tight Insulation
The Dream, Inc. (79-18) ....... . 38 Taylor's Building Supply (79-18) ....38
General Contractors
Creative Contractors (79-16) .... . 39
Glass Block
Glass Masonry Inc. (79-20) .. ... 32
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Guttering Systems/Copper
Masterpiece Tile Co., Inc. (79-22) ... .. .... .... .... .. .39
Hurricane Shutters
Home Systems, Inc./Roll -A -Way (79-18) ..... .. ...... .... ...38
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Insulation -Spray/Pour In Place Foam
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Audio Visual Innovations (79-13) ...32
Outdoor Water Products
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florida / caribbean ARCHITECT spring 2003

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President's Message / William H. Bishop III, AIA
It's hard to believe the first quarter of the year is almost over. By the time you read this, Grassroots will be over.
Our work plan is progressing nicely. All of the commissions and task forces are hard at work. The Communications Commission is developing a traveling exhibit that can be used throughout the state by local chapters ro promote AIA Florida, architecture and our members. The Education Task Force will have a series of recommendations ready for Legislative Day so we can discuss important issues with our legislators. The Governance Task Force will be making recommendations at the April board meeting for modifying our organizational structure to make it more efficient.
The AIA National Convention in San Diego is coming up soon and at the state level, the Professional Development Commission is hard at work planning AIA Florida's summer convention which will be held in Sarasota.
Right now, we are preparing for the annual Legislative Day in Tallahassee. This event has become the cornerstone of the annual calendar and our diligence is starting to payoff. We are becoming well-recognized in the Capitol and attendance at the Legislative Reception has grown every year. This year's legislative session will probably prove to be one of the more exciting ones in recent years. A slower economy, less revenue growth and constitutionally-mandated program expansion will make for an interesting mix. Our agenda this year is aggressive and issues include:

Proposals to privatize the remaining administrative functions of BOAID

Collaboration with BOAID on proposed modifications to
Chapter 48 1

Other issues to watch include:

Tort reform

Any proposed changes in tax laws as they may relate to the education constitutional amendments

Watch the Friday Facts or visit our website at for the latest information. I look forward to seeing everyone in Tallahassee in April.
florida / caribbean ARCH [TECT spring 2003

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florida / caribbean ARCHITECT spring 2003


Bermello-Ajamil & PartnersInc.'s design for The 1800 Club was recognized with a 2002 Award for Design Excellence by the Society of American Registered Architects. The 1800 Club is a 4S0-unit mixed-use high rise located on Biscayne Bay in downtown Miami's emerging Performing Arts Center neighborhood. The design incorporates an "L" -shaped plan with asymmetrical wings responding to the different scales of the surrounding neighborhood. A cylindrical corner "beacon" binds the two wings together.
The overall tower is 40 stories wrapping a 9-story parking garage on an extremely tight site. The lobby level features a restaurant / outdoor cafe with two office floors and five townhouse floors above. The ninth floor pool deck has an open breezeway to the bay through a doubleheight "hole" in the main wing.
The 1800 Club is currently in permitting and is scheduled to break
The 1800 Club 071 Biscay7le Boulevard was designed by Be171u llo-Ajamil
6-Partners-Inc. Philips, AIA.

ground in early 2003. The total construction cost is $48.S million / $SS SF. Project Architects are Rai A. Fernandez & c. Chloe Keidaish.
Calvary Chapel in Melbourne is a Design/Build project ofBRPH Companies, !tIC.

Using the Design/Build

method, BRPH Construction
Services, Inc. is producing a $10.8 million facility expanslOn of Calvary Chapel in Melbourne. The new sanctuary, with seating for 3,000, is a contemporary interpretation of traditional religious a rc hitectur e. Construction of the additions, including a multistory education building, is being completed In phases. BRPH Architect 1S Jeff Rhodes + Brito Architects, Orlando, will play a major role in the design of the new Duval County

Courthouse in Jacksonville that is scheduled to open in 200S. The firm will be part of the Cannon Design Team that is responsible for the new courthouse and renovation of the existing federal courthouse and post office that will house the offices of the State Anorney and Public Defender.
The Robert G. Currie Partnership in Delray Beach is designer of the Village of Key Biscayne Community Center, for which it JUSt received an Honor Award for Design. The project inc! udes a below-grade parking structure, pool, gymnasium and many other multi-purpose facilioes.

Harvard Jolly Clees Toppe Architects, P.A., AlA has designed approximately SO,OOO
fo rida / caribbean ARCHITECT sp ring 2003

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Jeffrey Silberstein Architect & Associates, Inc. delray beach
Temple Beth Emer, Cooper City, Florida
Inspiration for the design of this temple came from the old walled cities in Europe and Jerusalem. These ci ties protected their populace from invaders and gave them the freedom to prosper culturally, socially and economically within protective boundaries. Inside the walls, within a tight grid of buildings with open spaces that function like courtyards and squares, were all the amenities the com muni ty required.
Temple Beth Emet occupies a 16-acre site and contains 50,000 total square feet.

The complex includes a school with eight classrooms, social hall with full commercial kitchen, temple with seating for 600, administrative offices with lobby and gift shop and parking for 250 cars.
The site allows for expansion of the school by twofold and the addition of a soccer field, basketball court, tennis court and swimming pool.
The design objective for this project was to create a village of learning and cultural identity for a young, vibrant congregation. The congregation wanted a facility that would bring families and

Top and above: South elevation. Photos by Rabinowitz Photography.
Jloridn / caribbean ARCHITECT spring 2003

Rink Reynolds Diamond Fisher Wilson jacksonville
St. Francis-In-The-Field, Jacksonville, Florida
This sanctuary was designed for a congregation that had been worshipping in an outdoor pavilion on a wooded site. Although the
. .
growmg congregatIOn necessItated a larger building, the members wanted to maintain an intimate co nnection with nature. It was the demand fo r a connection to the natural environment that presented the greatest challenge for the architect. Early in the design process, the decision was made to preserve the connection with nature by establishing vistas from the church to the landscape beyond. This strategy became a source of inspiration that all design decisions were meas ured against.
The congregation's strong sense of place was translated into a site strategy for locating the building on the grounds. The sanctuary was oflented during a site visi t using reference points marked in the dirt. T he long axis of the nave is oriented with a freshwater marsh with old growth cypress trees. These trees are visible from inside the church and they serve as a natural reference for worshippers who enter the sanctuary and pro-

The 42-foot tall interior vo lume and the extensive use of glass were designed to inspire worshippers by allowing views of the landscape. T he sanctuary is organized as a cruciform plan with pew seating for 220 worshippers. The altar platform is situated at the intersection of the axes of nave and transept with the altar raised slightly above the sanctuary floor. At the end of each transept is a tall gable wi th fenestration that permits a view of tree canopy and sky.
The church's structural system incorporates heavy masonry walls supporting exposed steel frames. Around the perimeter of the church, a band of glass separates the maso nry wall from the steel frames above. Atop the steel frames, a pine roof deck spans the structural bays and is exposed to the sanctuary below. Connections between the structural systems are exposed and visible to worshippers.
Project Credits: Rink Reynolds Diamond Fisher Wt.lson: Architect; Prosser Hallock Planners and Engineers: Civil; Powell & Hinkle Engineering: MEP; Synergy Structural Engineering: Structural.
ceed down the aisle. Interior ofSanctuary. Photo by Neil &shba.
florida / caribbean ARCHITECT spring 2003

Hunton Brady Pryor Maso Architects orlando
Unbuilt design for a chapel
This design for a Memorial
Chapel embodies a plan that is a
geometric expression of stability
and unity. The formal elements of
the sq uare, the circle and the cross
form the structure of the plan and
shape the space of the chapel.

The building footprint IS
intentionally compact in order to
simultaneously heighten the sense
of verticality and maintain a feeling
of intimacy on the interior. The
chapel should feel comfortable for
a single person or 100 people. It is
tied to the earth by a circular stone
plinth that functions as a solid
base. T he water ring encircling the
plinth symbolizes the purity of the
chapel and offers a symbolic and
physical threshold that heightens
the experience of entry.

florida / caribbean ARCH ITECT spring 2003

Victor J. Latavish, AIA Architect naples
Church of the Nativity Sarasota Florida
This Episcopal Mission Church recendy an ained Parish status and began expanding its facilities to serve a larger congregation. T he new sanctuary is oriemed (0 face a busy imersection that gives it visual prominence and provides a relaxed and comfortable connection (0 an existing structure. Instead of using the expected, bur rigid, orthogonal arrangemem of the original master plan, the new design uses a curving portico (0 connect the old building (0 the new. Near the cemer of the portico where the axes of the twO buildings imersect is an opening in the roof that allows light to emer the walkway.
The building was designed to meet the literal requiremems of the written program including seating for a congregation of 300, a Vestry, Cry Room and Sacristy near the altar. Working within the conm aims of a budget of $125.00 per square foot including furnishings, the buildings were constructed using low-tech materials such as cmu load bearing walls, prefabricated wood roof trusses, metal roofing and stucco on both imerior
The arcbitect's concepr skerches ofexterior eleVtltions and roofplan.
and exterior walls.
Liturgically, it was impor architect using oak and marble to nearly fllls the west wall of the
tant that seating be arranged so fabricate the furnishings. The bap church.
as to reinforce the feeling of a tismal fom is at the entrance to the
congregarion gathered around narthex where it can be seen by all Project Credits: Victor J.
the altar. A Latin cross plan who enter the church. The architect Latavish, AIA: Architect; LCM
with seating in the transepts selected marble for the top of the Engineering, Inc.: Structural
was finally adopted as the most altar table and an oak cross is sus Engineer; Burgess Engineering,
efficiem use of space within the pended from the vaulted ceiling Inc.: M EP Engineers; Weber
allotted budget. All of the ime directly above the altar. The cross is Engineering: Civil; Kraft
riors were designed by the backlit by the choir window that Construction, Inc.: Contractor.

florida / caribbean ARCHITECT spring 2003

Alan Paul Cajacob AIA Architecture/Planning deland
St. Thomas Episcopal Church, Sanctuary Addition, Palm Coast, Florida

florida / caribbean ARCHITECT spring 2003

John S. Dickerson Architect, Inc. leesburg
Saints Peter and Paul Catholic Church, Winter Park, Florida
The building program for this Catholic Church called for a 1,200-seat sanctuary and a 175-seat Daily Mass, or Day, Chapel. The church was to be designed in accordance with the GuideLines ofthe NationaL Conference ofCathoLic Bishops, Built ofLiving Stones: Art, Architecture and Worship and The LiturgicaL Documents: A Parish Resource. In addition, the buildings had to reflect the needs and aspirations of the parish. Ultimately, the design produced a 26,645-foot plan with a palette of materials rang

ing from stucco on the exterior to polished granite inside.
A series of meetings produced the imperative that the church had to look like a Catholic Church, i.e. the tabernacle should be easily seen. T he two guiding values that shaped the design concept were "intimacy" and "identi ty." From these guidelines came a plan with antiphonal seating and a raised central predella with the tabernacle on a separate platform between the church and the chapel. Antiphonal seating dates to the monastic churche of the 6th Century when monks sat across from each other. In co ntemporary buildings, it helps create a feeling of intimacy since parishioners face each other and are gathered around the ambo and the altar.
A 1500-watt theatrical spotlight recessed in the arch above illuminates the tabernacle. This dramatic lighting makes the tabernacle visible upon en tering the nave. The antiphonal seating and prominent tabernacle dictated that the altar be placed in the center of the church. These twO elements face each other on an elevated predella on the sanctuary's central axis. The 45 feet of open space between the altar and the an1bo provides flexible space for

Exterior view ofthe Day Chapel on the north side ofthe bllilding. Note the water flamre at tbe base of the retaining wall. Inset: Exterior view ofilluminated narthex entrance. All photos by George Cott, Chroma, Inc. Tampa, Florida.
florida / caribbean ARCHITECT spring 2003

Charles Harrison Pawley Architect PA miami
The Shul of Bal Harbor, Surfside, Florida
T his O rthodox Jewish Synagogue is located in a dense urban neighborhood. W ith a site that is below grade and no more than 200 yards from the Atlantic Ocean in South Florida, the first requi rements were to adhere to local building codes, including hurricane code requirements. The building's Structural elements include concrete, glass and pre-cast with a multi-zone air conditioning and dewatering system that addresses any water intrusion at the basement parking level.
The highly diverse congregation wanted a building with a Middle Eastern image that would reflect the history and tradition of the fai th. However, it had to be equipped with sophisticated, stateof-the-art electronic technology.

The architect's research of classical Middle Eastern synagogues revealed the importance of the placement of such elements as the Torah, the Ark of the Covenant, the Star of David, the Tree of Life, the Temple Menorah, the M ikvah and the Bimah. O ther program imperatives included separate seating for men and women and separate ceremonial bath facilities. The apex of the main dome in the sanctuary has a skylight in the form of the Star of David that is a part of the structure of the roof. The Torah and the Ark of the Covenant are incorporated into the interior as design elements. T he focus of the sanctuary is a jewel-like filigreed wrought iron Bimah adorned with religious symbols.
In Orthodox Judaism, the Mikvah or ceremonial bath must use "water from the heavens" -no processed or treated water. This was achieved by incorporating a rooftop collection tank with a bypass that flushes out sediment so clean rainwater can flow into the Mikvah.
The Tree of Life, which will be rendered in stained glass, was designed by the architect and will be installed in the east (main)

Sanctuary inferior looking throllgh the Bimah fit the Ark ojthe Covenam beyond.
flo rida / caribbeall ARCHITECT spring 2003

Merrill and Pastor Architects vero beach
Seaside Chapel, Seaside, Florida
T his interfaith chapel for 200 worshippers was built on a site that was reserved for it in the original town plan. The church board requested that the architect design a building to serve the whole community, that it have an element that could be seen from a distance and that it be built with materials characteristic of the region. The chapel is typically approached from the south on foot or from the east by car, so it was composed asymmetrically to be seen prominently from either direction. T he building si ts on the edge of two communities, serving both. There is a park to the so uth and a garden has been cteated on the east. The land to the north is still forested wi th scrub pines.
Seaside design guidelines originally reserved recourse to classical architecrure for public buildings that were often over
whelmed by the many large-scale re idences. However, by the time the chapel was designed in 1999, so many houses had adopted the classical style that it had lost its power to di tinguish public buildings. Classical arch i tecrure had been somewhat debased by the obvious ambition of so many large and ambitious residences.
The Seaside Chapel has the obvious advantage of its promi

nent site at the head of Ruskin Square but the building is ultimately distinguished by the scale and detailing of its elevations. It appeals to both the horizontal classical tradition that Seaside's town planners originally imagined for its public buildings, as well as the verticality associated with the Gothic milieu.
The Gothic reference takes its form from t\.yo sources. First the Carpenter Gothic-style board and batten Episcopal churches common in the rural So uth. These churches spoke to an unattainable maso nry tradition and to the economies of balloon frame construction in areas full of softwood forests. The second point of reference is structural. The interior maso nry piers brace the unsupported height of the three-story walls of the sancruary that are subject to great lateral wind loadi ng. However, along with its references to "high church" traditions, is a general wariness of all "high style" traditions. This chapel, the last public building to be constructed at Seaside, marks a rerurn to the community's vernacular roOts.
Elevation drawing courtesy ofthe architect.

florida / caribbean ARCHITECT pring 2003

FleischmanGarcia tampa
Sanctuary/Congregation B'Nai Israel of St. Petersburg, St. Petersburg

East willi ofthe Sl1l1Cttlary with smaller cbapel 011 tbe left. Allphotos by Steve Widoff.
A 1992 master plan for this St. Petersburg synagogue included a major expansion and renovation of several existing buildings. The design fo r the 32,000-square-foot, synagogue and educational facility included a 380-seat sanctuary, a social hall, administrative suite, chapel, gift shop, kosher kitchen, library and classrooms. The project was completed in 2000 at a cost of just under $4 million.
T he sanctuary was designed as a blend of contemporary and traditional synagogue architecture and it replaces a 40-year-old building that occupies the adjacent site. The V-shaped plan is arranged around an interior courtyard creating a private Outdoor space for group activities or private reflection. Painted the color of old Jerusalem stone, the exterior has domed towers, copper grills and deeply recessed glass panels. The new sanctuary incorporates a wall of stained glass windows, the old Ark, and (with creative adaptation) the rabbi's lectern and Torah table, all taken from the older structure. T he ceiling of the new sanctuary is crowned by a "folded plate" ceiling reminiscent of the concrete, folded-plate roof and ceiling in the old sanctuary.

The new sanctuary is flooded with natural light from stained glass windows on the north wall as well as the so uth wall windows and those in the domed cupola over the Bimah. T he Ark is the main fea ture of the sanctuary with its engraved, bronze doors, Jerusalem stone surround, columns, architrave and copper dome. The Eternal Light hangs above and in front of the Ark. A handicapped access ramp to the Bimah is cleverly shielded by a freestanding Jerusalem stone wall that displays custom-engraved memorial nameplates.
The Chapel, a warm spiritual retreat off the lobby, has a large dome at its center and is surrounded by built-in oak bookcases and display niches.
florida / caribbean ARCHITECT spring 2003





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