Front Cover
 Table of Contents
 Back Cover

Title: Florida architect
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00073793/00260
 Material Information
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: September-October 1986
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: VID00260
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

Table of Contents
    Front Cover
        Front Cover 1
        Front Cover 2
        Page 1
        Page 2
    Table of Contents
        Page 3
        Page 4
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        Page 6
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        Page 18
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        Page 22-33
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    Back Cover
        Page 57
        Page 58
Full Text
I r71Z7

Summer ..
Sun S


Until now, about the only
way you could reduce the heat of
the sun was with windows that
also reduced the hight of the sun.
That made for buildings that
looked like mirrors on the outside,
and a bit like caves from the inside.
So we developed Andersen"
High-Performance Sun windows.
They block the sun's heat 2V2
times better than ordinary
single-pane windows, yet they
let m twice as much light as
mirror-like reflective windows.
Talk to the right people
and learn the fascmnatng story.
Andersen High-Performance
Sun windows are distributed by
Florida Huttig Sash & Door
Company and are available from
lumber and building material
dealers. Check the Yellow Pages
under "Windows."
...- 'Distributed by Huttig
Sash & Door Company
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4 Jacksonville

Come home to quality


86921 O 1986 Andersen Corp.
Circle 1 on Reader Inquiry Card

Architectural Masonry Units

.,-' .

11 14 1 IN II




September/October. 1986
Volume 33. Number 5

Style: The Pursuit of Meaning in Architecture
The text of a speech delivered at the FA/AIA
Design Conference by Ming Wu, AIA.

The 1986 FA/AIA Awards for Excellence
in Architecture
Eight projects represent the finest efforts by AIA
members in the Florida/Caribbean region.

The FA/AIA "Test of Time" Award
Wesley Manor Retirement V;ll e.iy deis i.!- ;.it~d by
Bob Broward in 1964. It's a project that has stood
the test of time.


Legal Notes
Roofing Material Choices Are Critical
Richard S. Botoff

Florida Architect, Official Journal of the
Florida Association of the American In-
stitute of Architects, is owned and pub-
lished by the Association, a Florida Cor-
poration not for profit. ISSN-0015-3907.
It is published six times a year at the
Executive Office of the Association, 104
East Jefferson St., Tallahassee, Florida
32302. Telephone (904) 222-7590.
Opirdnior.- Mpr*-_i d btI k..r.tribhlj..r are
nr.tL ne,.e_-surly th,:.i f Ir thc FA.'AIA
Editorial material may be reprinted only
with the express permission of Florida
.lt2'ile.t l - i f .1.. .r a nud -u, t-, : nplrIr,.
?12 rni Thtr. 1Cla' [...,rag'

Cover photo by Steven Brooke. The photo shows a detailfrom the 21st Street Community Center in
Miami Beach, which was restored by Zyscovich & Grafton Architects.

FL':R I DA ARC HHITE(.T September/October 1986

Inade Alletals

Cor|p.i A


Sn celebration of our 60th anniversary,
we wish to pay tribute to the key
element in architecture today:'"The
Designer Window."
We offer over 80 designs of architecturally
significant accent windows to be employed by
today architects to create buildings that reflect
the feeling of warmth and elegance which today's
consumer demands.
All our fixed windows have been tested to meet
the Architectural Aluminum Manufacturers
Association [AAMA) requirements for F-C20
Due to the latest requirem-ernts cf local building
codes it is cf the utmost importance and uri.er-nc,
that .roily tested A indoA: s be specified
We urge yout to specify, onl, those .,indo units
that are Tested and that ou require current test
certificates from ,our fl.ed custom .,inro.A

For further information, call or write
Dade Metals Corporation
164 N.W. 20th Street
Miami, Florida 33127-4839
(305) 573-8810



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
Diane D. Greer
Assistant Publisher
Director of Advertising
Carolyn Maryland

Design and Production
Peter Mitchell Associates, Inc.
Editorial Board
Ivan Johnson, AIA, Chairman
Carl Abbott, AIA
Stuart L. Bentler, AIA
Bill Hegert, AIA
John Totty, AIA
James J. Jennewein, AIA
780 Ashley Tower
100 S. Ashley Drive
Tampa, Florida 33602
Vice President/President-elect
John Barley, AIA
P. O. Box 4850
Jacksonville, Florida 32201
John Ehrig, AIA
2333 E. Bay Drive
Suite 221
Clearwater, Florida 33546
Past President
Mark Jaroszewicz, FAIA
University of Florida
College of Architecture
331 Architecture Building
Gainesville, Florida 32611
Regional Directors
Glenn A. Buff, FAIA
1821 SW 98th Avenue
Miami, Florida 33157
Mark Jaroszewicz, FAIA
University of Florida
College of Architecture
331 Architecture Building
Gainesville, Florida 32611
Vice President for
Professional Society
Larry Schneider, AIA
115 Woodland Road
Palm Springs, Florida 33461
Vice President for
Governmental Relations
Lee Ramos, AIA
7000 S.W. 62nd Avenue, Suite 510
Miami, Florida 33143
Vice President for
Professional Development
Dean Rowe, AIA
777 S. Harbor Island Blvd.
Suite 300
Tampa, Florida 33602
Vice President for
Public Relations/Communications
Don Sackman, AIA
2869 S.W. 27th Avenue
Coconut Grove, Florida 33133
General Counsel
J. Michael Huey, Esquire
Suite 510, Lewis State Bank
Post Office Box 1794
Tallahassee, Florida 32302

ast Spring the Center for the Study of American Architecture at the University
of Texas in Austin sponsored a symposium on "New Regionalism: Tradition,
Adaptation, Invention." The conference participants included Robert A.M. Stern,
Antoine Predock, Elizabeth Plater-Zyberk, Kenneth Frampton, Charles W. Moore
and some notable Texas architects such as Frank Welch, John Casbarian, Wayne
Attoe, Sinclair Black, Hal Box and Lawrence Speck, who heads the Center.
Editor Joel Warren Barna wrote an interesting account of the conference for
Texas Architect magazine. With TA's permission, some of the more quotable qoutes
and salient thoughts are being shared with FA readers.
Notable, it seems to me, was the basic lack of agreement about what regionalism
was? The audience asked how regionalism differs from contextualism or vernacular-
ism, of what is regionalism the opposite, and when is it appropriate to abandon
regionalism for a universalist architectural language? And so forth. Apparently,
according to Barna, there was no substantive response. The panel did seem to agree,
however, that they didn't want to be labeled regionalistss." Antoine Predock's rea-
son .. "That [label] means you can't work out of state." Stern agreed that he didn't
like the term, but went on to say, "The question is a very serious one, because there
is somehow a belief. . that we can recapture in our society . that kind of homo-
geneous place, a town or some entity like that, that existed before industrialization,
not to mention before the complexities of our migratory culture. You're not going to
have that. But you can have localized .. highly localized . things that do have
In the end, according to Barna, one of the most memorable points was raised by
Plater-Zyberk. She described the work of her firm in South Florida, showing how
attention to a new regionalism re-establishes urban values by attempting to "short-
circuit regional patterns" and "criticizing current planning practice, which I hesitate
to call a tradition, while proposing an alternative tradition specific to place."
Architect and historian Frampton argued in his presentation "that a new regional-
ism offered hope of overcoming the 'hyper-consumptive drives of our overrated neo-
technological civilization' as well as the pernicious influence of multi-national
corporations on architectural design."
"As far as architecture is concerned, there is evidently precious little chance today
that large-scale undertakings will yield works of cultural significance," he further
stated. According to Barna, Frampton went all but unanswered.

FLORIDA ARCHITECT September/October 1986

Z Z. 2wt"r



A "McChair" and

Fries To Go
Adam St. John is a native Flor-
idian. He's also a prominent
artist and designer who's designed
something called a "McChair."
Inspiration for the design, which
mimics the early 1960's golden-
arched architecture of a certain
fast-food chain, came from the
book Grinding It Out, the saga
of McDonald's and its founder,
Ray Kroc. Designer St. John says
that he created the chair as a trib-
ute to the free enterprise system
and to the entrepreneurial spirit
that built McDonald's.
The chair, which has a faux
granite seat, was selected for
inclusion in the permanent col-
lection of 20th Century furniture
at the Museum of Fine Arts in
Houston. St. John plans to pro-
duce a limited collector's edition
of only 250 handcrafter chairs for
worldwide distribution... each
priced at $2,500.

CSI To Meet

in October
The Fort Lauderdale Chapter
of the Construction Specifica-
tions Institute will host the
Southeast Region Conference
(SERC) October 9 through Octo-
ber 12 at the Bahia Mar Qual-
ity Royale on Fort Lauderdale
Beach. Paul Just, SERC Chair-
man, has planned educational
workshops and joint conferences
for both the industry and profes-
sional members in order to pro-
mote CSI-related issues. These
sessions will include classroom
and panel discussions or mem-
bership interaction and problem
Speakers for the program in-
clude Paul Beatty, a vice-presi-
dent of McGraw-Hill which pub-
lishes Architectural Record and
Sweets Catalogue Files, George
Van Nail, AIA, FCSI, CCS, a
Director of Production at Trott
& Bean and Jerry W. Preston,
AIA, CCS, a Director of Design
and Construction Services for

the State of Tennessee. For
information about the confer-
ence, contact Paul Just at 305/

Conference on

Condominium Living

and the Aging Set
Florida condominiums are oc-
cupied predominantly by el-
derly people and they will in-
creasingly become a dominant
segment of the condominium
population. In analyzing the
state of condominium affairs,
the Bureau of Condominiums
has identified a problem area
that needs to be addressed by
Florida's policymakers. This
area can be addressed in the form
of a question: In what ways do
the social and legal structure of
condominium living affect and/or
meet the needs of the elderly?
Regarding the aging issue, Flor-
ida is at a point now where the
rest of the country will be in
the year 2100. The models, pro-
grams, and legislation we adopt
will be a guide for the rest of the

country to observe.
The Bureau of Condominiums
and the Florida State University
College of Law is sponsoring a
conference on Condominium Liv-
ing and the Aging on Septem-
ber 23 and 24, 1986 at the FSU
Conference Center in Tallahas-
see. The purpose of this confer-
ence is to provide Florida's
policymakers with practical in-
formation necessary to make
decisions on the social and legal
environment of condominiums.
Three perspectives will be ad-
dressed including the socio-
psychological aspects of the
elderly in condominiums, the
condominium living environment
and the physical needs of the el-
derly and the legislative and
state regulatory responses of
the elderly in condominiums.
The conference will draw on the
experience of professionals such
as attorneys, architects, psy-
chologists, developers, condo-
minium managers and legisla-
tors. Continuing legal education
credit will be available.
Call Dr. Gregory Powell at
the Bureau of Condominiums,

1-800-342-8081 for registration

The July-August, 1986, issue
of FA incorrectly stated that
Ted Pappas, FAIA, would "as-
sume office in December, 1986,
and become AIA President in
Pappas will be First Vice-
President of the AIA in 1987 and
President in 1988. ed. a

New Firms
Enrique Woodroffe, AIA, for-
merly V-president of the Stew-
art Corporation Architects of
Tampa and current President of
the Florida Central Chapter of
the AIA, has joined the firm of
Walter Hamm & Associates Ar-
chitects of Tampa as a partner.
The new corporation's name is
Hamm Woodroffe Corporation-
Architects and currently special-
izes in multi-family and commer-
cial designs.

New Commissions
KBJ Architects, Inc. will design
a 60,000 s.f. multi-purpose
center for the Jewish Com-
munity Alliance. m The $15 mil-
lion Courvoisier Centre on Brick-
ell Key will serve as corporate
headquarters for one of the
world's largest wine and spirits
companies and is being devel-
oped by a U.S. subsidiary of a
Far East trading and develop-
ment company. The building,
designed by The Nichols Part-
nership, Inc., has strong tropi-
cal references. The Design Ad-
vocates, Inc. designed Old Ponte
Vedra Beach, an oceanfront con-
dominium community on the At-
lantic which is being developed
by Gate Petroleum Company. a
Evans Associates, P.A. has been
retained to provide construction
administration services for The
Chateau, a golf and country club
community in Boca Raton.
"Homes For Young America,"
three and four bedroom homes
designed by The Evans Group,
are contemporary New England-
style homes in a single-family vil-

FLORIDA ARCHITECT September/October 1986

lage in Palm Harbour. "Homes
For Young America" is a divi-
sion of Life Financial Corpora-
tion. Wedding & Associates,
Architects, Inc. has been com-
missioned by a Texas developer
to design and provide the site
planning for a 190,000 s.f. retail
center in northern Pinellas
County. u Bellon Perez & Perez
has been retained to provide pro-
fessional services for the City of
Hialeah's $32 million redevelop-
ment project. The project will
be built in four construction
phases, the first being the re-
tail and residential complex.
Fugleberg Koch Architects will
design three apartment com-
plexes for Nash Phillips/copus
Developers of Austin, Texas.
The projects are in Florida, Geor-
gia and North Carolina and will
feature similar design themes. *
KBJ Architects will provide Jack-
sonville's Downtown Develop-
ment Authority with an action
plan for the revitalization of its
central business district. Work-
ing with KBJ will be "Society
Hill" designer Edmund Bacon,
Willard Rouse III, retail special-
ist Jack Gould and various other
planning experts from around the
country. George L. Powell &
Associates has been chosen to de-
sign a multi-discipline health care
facility in Palm Bay for Health
Care Associates. Paragon
Holding, developers in St. Maar-
ten, Netherlands Antilles, has
commissioned The Evans Group
to plan and design Mead's Bay a
first class resort hotel in Anguil-
la. Architects Filer and Ham-
mond have been selected to de-
sign a five-building complex with
248 apartments in Dade County.
Slattery & Root has been com-
missioned by Chris Evert Lloyd
and John Lloyd to design a 3,700
s.f. two-story private residence
at the Polo Club which is now
under development. Collins &
Associates Architects/Planners in
Panama City has been awarded
a $1 ntilli.inj c:.i.tract to design a
nuj"ir .1I irt in and alteration
project at Tyndall Air Force
Base. Fleischman-Garcia Ar-
chitect-Planners-Interior Design-

ers has recently completed a
master plan for the proposed
Jewish Community Center in
Dunedin. The firm has also been
retained by the Tampa Port Au-
thority to provide site planning
and design for an interim cruise
ship terminal near downtown
Bellon Perez & Perez has been
retained by the Dade County
Aviation Department to provide
professional services for the new
$17 million Concourse D build-
ing at Miami International Air-
port. Construction will begin in
November and is scheduled for
completion by the end of 1988. .
Briel Rhame Poynter & Houser
in association with Thompson
Consultants International, was
selected to design the expanded
terminal project for the Mel-
bourne Regional Airport.

Douglas R. Root, AIA and Paul
J. Slattery, AIA, partners in
the firm Slattery & Root Archi-
tects, PA, were honored by the
Community Appearance Board
of Boca Raton for their 4,500 s.f.
office building which houses the

firm's twenty employees. The
architecture office was deter-
mined by the City to be a signifi-
cant contribution to the beauty
of Boca Raton. Charlan Brock
& Associates was presented with
three Merit Fame Awards. The
awards, which are sponsored by
the Miami Herald and the Build-
ers Association of South Florida,
were given in recognition of a
zero-lot-line community in Jack-
sonville, an attached, single-
family, fee simple project in
Tampa and a single family home
in Longwood.
The Polk County Correctional
Center, designed by Architects
Design Group, Inc., has been
selected by a national commmit-
tee as one of the most innovative
criminal justice facilities in the
nation. The American Institute
of Architects and the American
Correctional Association's Com-
mittee on Architecture for Jus-
tice selected 40 projects which il-
lustrate the most up-to-date and
innovative designs in criminal
justice architecture. 0 David
Laffitte of KBJ Architects, Inc.
was the recipient of an award
from the Illuminating Society of

North America for the additions
and alterations to Christ Church
at Ponte Vedra Beach, Florida.
KBJ received an Honor Award
from the Jacksonville Chapter of
the AIA for additions and reno-
vations to Christ Church.
The Gulf Coast Chapter AIA
held a juried exhibition of mem-
bers' work, its first awards pro-
gram since 1977. The exhibition,
which consisted of 70 project
display panels and a number of
models, was held in a Sarasota
Gallery. Projects receiving
Awards for Excellence in Archi-
tecture were Edward Siebert's
Inn on the Beach, Lagoon Units
on Longboat Key, a residential
project on Longboat Key and
the Ringling Center in Sara-
sota, an unbuilt project. Frank
Smith won two Awards of Ex-
cellence for the renovation of
the U.S. Garage in Sarasota and
the McGuffey Hill Apartments
in Charlottesville, Virginia.
Philip Skirball won the Preser-
vation Award for the restora-
tion of the H.B. Williams Resi-
dence in Sarasota.

Inn on the Beach, Lagoon Units designed by Edward J. Seibert, AIA.

FLORIDA ARCHITECT September/October 1986

Dear Editor:
In the May/June issue of Flor-
ida Architect I came across an
article on pg. 42, which discusses
the "Professional Licensing of
Others", I felt it important that
I respond.
I am currently the President of
Florida South Chapter of the
American Society of Interior
Designers, but more and coinci-
dentally, considered a profes-
sional interior designer, with
35 years of acknowledged ex-
pertise in my field. I must state
that I take great exception to the
implication that interior design-
ers in our quest for legislation for
licensing would carve out an area
of architecture for ourselves.
We in no way indicate or sug-
gest, nor ever suggested this, in
our bill and to imply this to your
membership, is not only false,
but damaging to the health, wel-
fare and safety of the general
public, which is the essence of
all legislation.
Whatever happened to the
team concept? We in our offices
regularly work in concert with
client, builder and architect. It
would be naive for anyone to be-
lieve that one who spends only a
percentage of his time doing a
segment of the design process is
more adept and qualified than
one who spends his entire work-
ing experience as a specialist in
that segment.
What we as interior designers
are trying to accomplish is mere-
ly a Title act, which would pro-
vide recognition to the public of
the existence of a level of compe-
tency for what interior designers
have traditionally done!
The American Society of Inter-
ior Designers, which has been the
major proponent of legislation,
has prequalified this movement
by founding the nationally recog-
nized Foundation for Interior
Design Education Research
(FIDER) which accredits mini-
mum standard education in Col-
leges and Universities through-
out the country.
The University of Florida and
Florida State University are
among those accredited. In ad-
dition, the American Society of
Interior Designers contributed
to the establishment of minimum
competency exams for the edu-

cated apprenticed designer. This
two day exam explores all the rel-
evant health, welfare and safety
problems a designer may face
along with testing the designer's
ability to communicate his design
through a ten hour drawing prob-
lem. This exam is known as the
National Council for Interior De-
sign Qualification (NCIDQ).
Naturally, it goes without say-
ing we would not want to dimin-
ish the responsibilities for archi-
tects as called for in the Archi-

tectural Practice Act, but to
require interior designers to in
fact become licensed architects
to be able to perform interior
design, is an overqualification of
a specialized field.
We, of the American Society
of Interior Designers, look for-
ward in the future, as we had
hoped for in the past, to main-
taining an active positive con-
structive dialogue with the Flor-
ida Association, American Insti-
tute of Architects.

We sincerely hope that fu-
ture leaders of the FA/AIA have
the ability to re-establish this
dialogue with their allied pro-
In closing, whether the legis-
lative process is fulfilled in this
session or in subsequent years it
is merely a matter of educating
those who have yet to recognize
what was, was, and what is, is.

Bud Merle, A.S.I.D.

FLORIDA ARCHITECT September/October 1986

:i i! E.-;!; .,igf;p(.~.~~ ~*i~pplL

;. -,!e -ip


"Now for the rest of the story Legislative Analysis and Forecast"
by J. Michael Huey

Tort Reform
don't get your hopes up that
your liability exposure and in-
surance woes have been solved
by the legislature. In fact, you
may be in worse shape now that
the legislature has passed its tort
reform package than you were
before. The tort reform legisla-
tion will do little, if anything, to
alter the litigation of personal in-
jury claims. Furthermore, these
measures will do nothing to alter
the litigation of design and con-
struction disputes. More tort
reform is necessary to effect
meaningful alteration of existing
litigation patterns. Such reform
will probably not come in the way
of legislative action in 1987 and,
indeed, may only come through
judicial or other action with the
passage of time.
In the meantime, many insur-
ance companies are not writing
new liability policies and some
are refusing to renew existing
policies. As of October 1, 1986,
carriers must submit new rates
(effective as of January 1, 1987)
not exceeding rate levels that
were in effect on January 1,
1984. This provision of the new
law will probably cause many in-
surance companies to refuse to
write new policies in Florida af-
ter this year. It is reported that
CNA is among these meaning
a more limited liability insurance
market for architects. The insur-
ance industry is attaching the
insurance rate rollback and the
extensive reporting require-
ments contained in the tort re-
form package. On July 15, a Leon
County circuit judge ruled that
the commercial insurance carri-
ers did not have to immediately
return a ten percent (10%) pre-
mium credit to policyholders but
could put this money in an es-
crow account pending final out-
come of the insurance carriers'
constitutional challenge of the
tort reform law. The court is to
schedule the matter for trial in
September and, by the end of the
year, there should be a definitive
ruling which, as you know, will
be appealed.

So what one might believe
from reading the accounts of the
legislature's actions on tort re-
form to be some positive relief
is, upon closer examination, no
relief at all for architects and
other commercial parties facing
an ever increasing litigation ex-
plosion. This sad commentary is
not intended as criticism of the
legislature's effort to address tort
reform. The legislature, thanks
to determined leadership in both
houses, made a gallant attempt
to adopt meaningful changes to
improve the tort system. How-
ever, the issues surrounding the
rights of injured parties versus
the rights of parties alleged to
have caused the injuries are most
complex and for every horror
story told by one side, there's a
horror story on the other side.
On the brighter side, FA/AIA
was successful in lobbying the
passage of a bill precluding per-
sonal injury claims against design
professionals by injured construc-
tion workers receiving workers
compensation benefits. Other
specific restrictions are neces-
sary in order to properly address
commercial litigation. The doc-
trine of comparative negligence
should be revisited along with
the issues of frivolous suits, at-
torney's fees, and lawyer sanc-
tions. Architects, frustrated by
the current system, must not be-
come disenchanted with the legis-
lature or the courts, but must
continue to work for changes
which reduce the time and ex-
pense of commercial dispute res-
olutions and achieve an equitable

Statute of Limitations
What the legislature giveth it
may also taketh away. So learned
Associated Industries of Florida
and the business community dur-
ing the 1986 Legislative Session.
For years, there was a twelve-
year cap on product liability suits
in order to avoid stale suits. Ar-
chitects, engineers and contrac-
tors, correspondingly, have a fif-
teen-year cap on suits for design

and construction negligence. The
Florida Supreme Court recently
upheld the products liability sta-
tutory cap which was attacked as
unconstitutional. That decision
gave design professionals and
contractors some hope that our
highest state court might uphold
the fifteen-year cap on suits for
design and construction deficien-
cies. The paradox is that the bus-
iness community was so busy
pushing the tort reform package
that it allowed a repeal of this val-
uable limitation on liability. Now,
we must be concerned whether
the legislature will attempt to re-
peal our fifteen-year cap. Stale
suits are a problem and the judi-
ciary finally recognized the valid-
ity of a maximum time period of
exposure. FA/AIA must con-
vince the legislature not to back-
slide on this issue.

Asbestos Update
Architects have been drawn
into the asbestos crisis by various
federal, state and local govern-
ments which require architects
to design or specify the asbestos
abatement procedures for exist-
ing governmental facilities. While
asbestos abatement has been the
subject of considerable discus-
sion at the federal level, this year
marks the first time that Florida
has undertaken such a careful re-
view of the issue. The legislature
enacted a law establishing the
Florida Absestos Commission
to implement the development of
an asbestos identification and re-
mediation plan for public build-
ings in the state. The Commis-
sion's plan is to prescribe, among
other things, a certification and
continuing education program
for asbestos contractors, archi-
tects, engineers, consultants
and industrial hygienists. The
FA/AIA must work closely with
this Commission and the legisla-
ture to assure the adequacy of
such plan and to see that ade-
quate liability protections are
extended to those professionals
willing to offer their services in
this area.

FLORIDA ARCHITECT September/October 1986

Tax issues will dominate the
legislative agenda for the next
two years. During its last ses-
sion, the legislature adopted leg-
islation repealing the sales tax
exemptions for professional and
other services effective July 1,
1987. A special 21-member com-
mission was established to re-
view the "public policy and fiscal
impact" of all sales tax exemp-
tions. The commission is to re-
port to the legislature prior to
the 1987 Legislative Session.
The issue of tax exemptions for
professional services is fairly
debatable and it is probably ap-
propriate that the legislature
revisit it. There are some practi-
cal problems in implementing
such a tax in light of the unique
nature of the contractual rela-
tionships between architects and
owners, consultants, etc. Even
though none of us want to pay
additional taxes, we must re-
member that Florida still ranks
about 43rd among the states
in taxes imposed. I sense the
real issue is not whether archi-
tects or lawyers are taxed, but
whether there is affair and con-
sistent taxing policy. The goal
of the FA/AIA should be to in-
sist upon such a policy.

"For what it's worth"
After fifteen years of involve-
ment in legislative affairs on
behalf of FA/AIA, I can une-
quivocally represent that the
legislative process works for
you in direct proportion to your
interest and effort. Time and
time again, we have proved ac-
tive involvement in a meritori-
ous cause produces a good re-
sult. If you've been involved -
stay involved; if you have not
been involved get involved.

J. Michael Huey is General Coun-
sel to the FA/AIA. He is a part-
ner in the Tallahassee law firm
of Huey, Guilday, Kuersteiner
& Tucker, P.A.





- f -.

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AA&C's claims service features "real people" who care a
lot. Files are kept by family name, not a number, and claims
are processed within 48 hours of receipt by AA&C. All of our
analysts have been trained in-house because those who had
outside experience couldn't give the personalized, caring
service that our clients demand. Each analyst tries to find
ways to "pay" claims, not to deny them, which is why
99.5% of the FA/AIA claims are paid vs. the normal 90%.

For further information, please contact the FA/AIA Group
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Irvine, California 92715
1-800-854-0491 Toll Free
See us at booth #177 at the FA/AIA Fall Convention in Miami. Circle 27 on Reader

Inquiry Card

FLORIDA ARCHITECT September/October 1986

Mickey Hergenreder, FA/AIA Senior Benefit Analyst


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This is only a small sample of
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act, including fine products for the
kitchen, bath, and powder room,
visit your local Kohler showroom.
Check the Yellow Pages for the
location nearest you.


Copyright 1982 Kohler Co.


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Circle 9 on Reader Inquiry Card

Style: The pursuit of meaning

in architecture

by Ming Wu, AIA

FA/AIA Design Conference '86
held last May in Howey-in-
the-Hills, the Keynote Address
was delivered by Ming Wu,
AIA, of Kohn Pedersen Fox
Associates, P.C. Mr. Wu's
address generated such interest
that it is reprinted here.

Consider it my good fortune to
have this opportunity tonight
to share some thoughts of mine
with all of you who are my fellow
architects. Certainly I have no
revelations, no profound truths,
nor great wisdom to impart.
Rather I am the humble custo-
dian of a few ideas which I am
presenting for your criticism.
Though I have been invited to
be the keynote speaker, the fact
that I am standing here and you
are seated there does not sug-
gest that my thoughts are any-
more valid or less malleable than
yours, particularly with regard
to this thorny subject of style.
To begin, I would like to com-
mend the Educational Confer-
ences Committee for electing to
address the issue of style and
making it the theme of this in-
augural design conference. The
Committee has made an excel-
lent choice for two reasons.
First, style is a very timely topic
at present. It is the design issue
of the hour for our profession.
Moreover, it has captured the
public's imagination as well. It
is very chic, it is very hot and
not only in the United States,
but globally. The media has
picked it up and thrust archi-
tecture and all of us squarely
in the public's eye center
stage and in the process has
made many of us celebrities of
sorts. Not only our work, but
who we are, how we live, how
we dress, even our gastronomic
preferences have become sub-
ject to public scrutiny. We and
what we do are today's "cover
story" material. Our work is no
longer confined only to publica-
tion in professional and trade
journals. We are just as likely

to be featured in the weekly
news magazines, or reported in
the Wall Street Journal, or in
Vogue Magazine. Art and film
publications have grappled as
well with the subject of archi-
tectural style. We've become
Sunday magazine reading for
We are receiving recognition
and compensation not only for
the buildings we design but also
for our drawings and sketches,
our furniture designs, as well as
for the design of dishware and
other household furnishings.
While this has always taken place
historically to some extent, it is
occurring today with a particular
fervor and haste and not with-
out a certain mass marketing
strategy propelling it.
Of late we even find ourselves
on television.
Furthermore, the influence of
architecture and of style is being
felt in the other allied fields of
artistic pursuit. In clothing de-
sign, the leading edge of the
fashion world is producing a
"look", so to speak, that is very
architectural and structured in
its cut and silhouette. In the film
industry, there are currently
several movies in which archi-
tecture figures prominently in
the sets, the locations, and in the

Photo by Jock Popple
overall concept and theme of the
production. I am thinking in par-
ticular of Ricardo Bofill's Marne-
La-Valle new town and of
Richard Meier's Bronx Redevel-
opment Center, both current
stars of the silver screen. Simi-
larly, of late, architects have
been participants in the field of
dance, our handiwork making its
debut on countless stages
around the world.
Closer to home, in the specu-
lative office building market,
"style wars," if you will, is rag-
ing and fierce, as developers ex-
ploit style as both a marketing
tool and a competitive necessity.
Clearly the subject of archi-
tectural style is very much a part
of popular culture today and en-
joying a high profile at that. My
only caveat and concern is that
we not become too distracted by
our fashionable circumstances,
that we not become star struck.
This Madison Avenue brand of
promotion is hopefully only a
temporary aberration. It is not
the most flattering nor the most
desirable sort of recognition.
Furthermore, the time frame
under which we operate and un-
der which our work must endure
public scrutiny is a much longer

FLORIDA ARCHITECT September/October 1986

Secondly, the fact that the
subject of style is so timely -
that it is "in the air," so to speak,
and that it is not only our preoc-
cupation but, as well, is in the
public's consciousness points
to something of much greater
import. I would suggest that our
fixation on the matter of style
represents the pursuit and re-
definition of meaning in contem-
porary architecture.

"Style is a quest for
a meaningful,
built environment.
Appropriate style can be
equated to appropriate
meaning. Style is the
vehicle, the language and
vocabulary, and the
symbolic notation with
which we create and
by which we communicate
meaning in architecture."

In general terms architecture,
like all artifacts of society, is
produced and exists in a histori-
cal continuum. It represents a
distillation of the prevailing
ideas of a civilization regarding
societal, political, economic,
spiritual, and aesthetic consider-
ations at a given point in time.
It is a mirror of man's condition
at that moment in history. In as
much as the ideas and circum-
stances of man are continuously
evolving, so too architecture is
evolutionary. It is an ongoing
synthesis and reevaluation of the
past with respect to the present.
This is what gives meaning and
understanding to our built en-
vironment. Our work must at
once express the essence of what
is unique about our time yet link
it naturally and in a manner
which is comprehensible to all
that has come before that
which is our legacy. Indeed the
historian, Oswald Spengler, has
observed that the world views
and character of cultures is de-
scribed and documented in their
respective architectures.
At present our pursuit of
meaning through the explora-
tion of style is obsessive, even
excessive at times, to the point
of being a blinding preoccupa-

tion with the surface, the veneer
of architecture and therefore
at the sacrifice of content and,
hence, of real meaning. To a
great extent this is understand-
able as it is an overreaction to
and an overcompensation for
the architectural climate engen-
dered by Modernism.

"Modernism as a body
of thought really followed
quite naturally from what
had proceeded it.
Modernism, ideologically
speaking, was a plausible,
if not logical, extension of
the historical continuum."

Modern architecture was an
expression of the rational world
view which first began to emerge
during the Renaissance as a re-
action against the medieval in-

stitutions of church, empire,
and feudalism. Renaissance
thinkers put man, the indi-
vidual, rather than God and
church at the center of the uni-
verse as the measure of all
things. Man, while a creature of
nature, could stand apart from
it. Furthermore, the rational
and analytical view of the world
promoted the sciences and
mathematics as the languages
of nature. Mastery of these re-
sulted in, first, the understand-
ing and subsequently the con-
trol and domination of nature by
man. Then in the 17th century
Newton utilized mathematics to
describe earthly mechanics and
the motion of celestial bodies.
This lent greater support to the
rationalist and modern view of
the world. In the 18th century,
the Enlightenment, rationalism
extended from the natural sci-

ences to human affairs and
political science and played
an important philosophical role
in both the French and Ameri-
can Revolutions. Then in the
19th century something of pro-
found and far reaching conse-
quence took place, which irre-
futably confirmed the power of
rationalism. I am referring, of
course, to the Industrial Revo-
lution. At this time the technol-
ogy of building made a quantum
leap forward first cast iron,
then wrought iron, then steel.
It was accompanied by similar
technological breakthroughs in
the perfection and manufacture
of glass which thus enjoyed
vastly increased application.
And very importantly, in 1857,
in New York City Elisha Otis
installed the first passenger ele-
vator. The rest, as they say, is
truly history.

Tx- -.
v: v - I

Photo by Jack Homer

FLORIDA ARCHITECT September/October 1986

What is important for us to
note is this. The Industrial
Revolution was an event with-
out precedent in the entire his-
tory of human civilization that
had proceeded it, except per-
haps for the discovery of fire by
early man. This sudden surge in
man's technical prowess af-
fected every aspect of our lives,
and in a mere several decades
drastically altered our built en-
vironment. Before the Indus-
trial Revolution the entire his-
tory of building, reaching back
to the Egyptians and further
still, was of a stone and masonry
tradition. I am speaking, of
course, primarily of public,
ceremonial, and institutional
architecture. Even concrete
construction was well known
and expertly utilized as early as
Roman times. My point is that
up until recent time architec-
ture and society had proceeded
forward gradually, hand-in-
hand, in lockstep. Architecture
was a mirror and commentary
upon society. It was therefore
meaningful to the people for
whom it was built.

"By the turn of the century
technology had clearly
outstripped society and
culture. ~s technicians and
technocrats we proved to be
very fast. But as humanists
we are fundamentally slow.
And architecture is a
humanistic pursuit."

Furthermore, it does not
exist to serve technology -
rather the reverse. If during the
Renaissance architecture was an
expression of man the humanist,
then by late Modernism it had
become an expression of a tech-
nological superman, to borrow
Nietzsche's notion. Thus Mod-
ern architecture after the ini-
tial inspiration, after the roman-
tic and visionary phase (the
proverbial baby not to be thrown
out with the bathwater) after
this, it inevitably grew stale,
meaningless and ultimately

Ironically, I believe there was
continuous exploration for
meaning, for a substantive style,
in the Modern period with re-
gard to both architecture and
urbanism. Think back to the late
'40's, '50's, through to the '60's
and recall Functionalism, ex-
pression of program, expression
of circulation, Structuralism,
New Brutalism, International
Style, Superstudio, and Hi-tech.
These were all meant to infuse
mainstream Modern architec-
ture with meaning. Many were
truly styles. The intentions were
good. But the effort was mis-
placed in that the vocabulary
was too much tied to technics
and too much removed from cul-
tural conventions and humanis-
tic concerns. Even the '60's
concept of urban renewal, the
stepchild of Le Corbusier's Plan
Voisin, was on paper a noble ef-
fort to make urban existence
more meaningful, more ideal.
Then in the late '60's and early
'70's we attempted to make ar-
chitecture more meaningful
from a sociological bent, hence
the concepts of interactive de-
sign, participatory design, social
behavior and architecture. It
was a period of activism and
ferment. Remember when en-
tire townspeople "assisted" the
architect in designing a com-
munity center?
About this time as well, three
seminal written works were be-
ginning to make the rounds of
the architectural community,
both in academia and in the pro-
fession. I am referring, of
course, to Jane Jacob's Death
and Life of Great American
Cities, Complexity and Contra-
diction in Architecture by
Robert Venturi, and Mathema-
tics of the Ideal Villa by Colin
Rowe. These proved to be enor-
mously influential and prophetic
essays. Each addressed the no-
tion of a synthesis of past and
present in the design process,
and in so doing commenced the
restoration of architecture's his-
torical and ideological con-
tinuum. They are handbooks, if
you will, for making meaning in
architecture. Whether student,
teacher, or practitioner, these
writings have done much to

guide all of us to where we find
ourselves today, that is: at a
point in time when we are criti-
cally investigating style as the
vehicle for creating meaning in
our work but a style which is
part and parcel of a legacy.
In assessing our current con-
dition I have the following obser-
vations to share with you. Dur-
ing the past fifteen years, we
architects have participated in a
very productive critique of all
that was handed down to us from
Modernism concerning the city
and its architecture. We have
come to recognize once again
that history, society, and hu-
manistic and cultural considera-
tions are essential and positive
influences in the contemplation
and making of architecture.
However, unavoidably, and per-
haps of necessity, the pendulum
has swung too far. Our critique
of the modern and avant garde
has often become misdirected,
even totally reactionary at
times resulting in shallow and
abusive historicism and in 'knee-
jerk' contextualism.

"In our haste to resurrect
meaning in architecture we
have infactfurther
jeopardized it through our
often indiscriminate and
uncritical embrace of a
plethora of styles."

While revivalism and
stylistic pluralism in and of
themselves are not negative
conditions by any means, they
become a mask of indecision and
of a lack of conviction, they be-
come mere pastiche, when ap-
plied with unquestioning accep-
tance and without commentary
or wit. Thus our stylistic fervor
and facileness often produces
egregious excesses in our fa-
cades a mindless mannerism.
It distresses me greatly that
today, across this country as
well as abroad, particularly in
the field of commercial architec-
ture, a certain cut-rate Post
Modernism is running rampant
and unchecked. This rather
crass commercialization of style

could well be our Waterloo. It
will certainly detract from and
trivialize our better efforts. We
are architects, not stylists, and
this striving for novelty and ef-
fect in what I often perceive to
be a competitive environment of
one-upmanship will not further
our aim to make a more mean-
ingful architecture. Style rather
becomes analogous to mere
chatter words without con-
tent buildings that do not
articulate ideas.
So what are we to do? And
how do we proceed? First we
must pause, even step back, and
undertake a critical appraisal of
our present predicament of
our preoccupation with this is-
sue of style. There are indica-
tions that this is already taking
place. The word coming back to
us from those at the frontiers of
our profession suggests that the
pendulum is beginning its inex-
orable swing back. The period of
baroque Post-Modernism, if you
will, is coming to a close, leaving
with us three important condi-
tions for our work:
1. That a milieu of renewed
freedom of experimentation and
original expression in design has
been established.
2. That an intelligent and cri-
tical reunion with our past -
our architectural legacy has
been achieved.
3. And that a reacquaintance
with the idea of ornamentation
has been made.
If through style we indeed are
addressing the issue of mean-
ing, then the agenda we are now
putting forth must include the
following notions which con-
tribute to the formulation of
As we design, we must pay
heed to:
1. Typology and precedent
which can assist us in under-
standing and evaluating pro-
gram and function, and thus in
giving them intelligible form.
2. The physical context
which must be reckoned with in
both its:
* Geographic/climatic aspects
* As well as in terms of the ex-
isting built fabric into which we
must stitch our design either by
emulation and synthesis or by

FLORIDA ARCHITECT September/October 1986

contrast and counterpoint.
3. The intellectual context,
both in terms of:

* Culture and tradition in gen-
eral, and specifically with re-
gard to
* Regionalism in other
words the dominant, local archi-
tectural style. This is something
which has always been a great
strength as well as a vital source
of inspiration and originality for
American architecture. Paren-
thetically, the preservation of
regionalism is an even more ur-
gent matter today at a time
when the world community con-
tinues to grow closer and closer
together thus threatening
our built environment with a
certain stylistic homogeneity on
a global scale.
4. We must always give our
attention to the materials em-
ployed and to construction
methodology in other words,
to the tectonics of our designs.
There must exist a creative re-
spect for the integrity of mater-
ials and, in their assembly, an
understanding and exposition -
whatever the form of expres-
sion of the technologies of the
present. The language of con-
struction is indeed a significant
influence in the formulation
of a meaningful style.
Furthermore, Modernism -
particularly the early, heroic
Modernism must be given its
due and addressed as an integral
and undeniable part of our archi-
tectural legacy. It constitutes an
episode of the historical con-
tinuum. It should rightfully be
represented in the palette with
which we work.
If I were to identify as a style
that which informs and guides
my design, perhaps I would re-
fer to it as a classicizing modern-
ism. But nomenclature aside,
what I am seeking in principle is
an architecture rigorously con-
ceived and made that is imbued
with certain qualities of essen-
tialness, inevitability, and eter-
nalness. It is an architecture
that achieves richness and truth,
through the spare and austere
use of materials and through the
clear application of structure to
give order to form and space. It

is an architecture of light and
shadow. It is an architecture
which is a thoughtful and sub-
stantive synthesis of contem-
porary experience with ancient,
enduring, and immutable princi-
ples of design thus giving rise
to a new expression, and one
which is of the present time.
We, as architects, are en-
gaged in an activity which in its

best moments aspire to being an
art form. What we do, if we do it
well, can in instances be an en-
nobling act and one of the high-
est forms of expression available
to man. Buildings, monuments,
and cities are among the most
grand and most permanent arti-
facts of a civilization. They are
the manifestation in built form of
the nature of our society. They

are a repository and an exposi-
tion of our ideas about ourselves
and our condition. They are es-
says in stone, steel and glass
about our humanist tradition. As
architects, we each have only so
few occasions in a lifetime to
make buildings and to shape
cities. We must take precious
care with each and every




represented by
Circle 44 on Reader Inquiry Card

FLORIDA ARCHITECT September/October 1986

1986 FA/AIA Awards

for Excellence in Architecture

The 1986 Awards for Excellence
in Architecture brought a
three-member jury together to
view one hundred and eighty-six
projects from the Florida/Carib-
bean region. Eight projects were
selected to receive awards and
they were as diverse as a radio
station in Orlando and a large can-
cer treatment center in Tampa.
Two of the projects were resto-
rations and the rest were new
designs. All are shown on the
following pages.
Harry Charles Wolf, III, FAIA,
has a Bachelor of Architecture
degree from M.I.T. From 1966
to the present he has had his
own firm in New York City,
Wolfe Associates. In 1974-75,
he chaired the AIA National
Design Committee and sought
solutions to the dilemma of ur-
ban decay. He has served on
many design juries, lectures fre-
quently and has had his work
published in every architecture
magazine of note. He has been
listed in Who's Who in the World
continuously from 1978 to the
present. Wolfs design for the
Mecklenburg County Courthouse
has received international criti-
cal acclaim. His office is present-
ly working on Embassy Com-
missions for Abu Dhabi, UAE;
Doha, Qatar, and a joint venture
in Indonesia is in its preliminary

Wolf Von Eckardt is a writer
and critic with a special interest
in architectural, urban and indus-
trial design. He was Design Crit-
ic for Time magazine from 1981
to 1985 and for 18 years before
that he was Architecture Critic
for the Washington Post. Von
Eckardt is the author of a num-
ber of books including Live the
Good Life: Creating Human
Community Through the Arts
and Back to the Drawing Board:
Planning Livable Cities. He is
currently at work, with Sander
Gilman, on Oscar Wilde's Lon-
don. He is a frequent lecturer at
universities and professional con-
ventions and is an honorary
member of the American Insti-
tute of Architects.
Barbara Neski, FAIA, received
a Master of Architecture from
Harvard Graduate School of
Design in 1951. She has been a
Design Critic at Columbia Uni-
versity and a Professor of Archi-
tecture at Pratt Institute from
1978 to the present. Ms. Neski
has been in partnership with her
husband, Julian Neski, for 20
years and Neski Associates/Ar-
chitects has been the recipient of
numerous awards and honors in-
cluding seven Record Houses
awards and AIA Special Men-
tion, Citation and Honorable
Mention awards. Her work has
been exhibited extensively in
this country and at the Expo in
Japan in 1970.


Miami Lakes Town Center Phase B Miami Lakes, Florida

Baldwin Sackman + Associates,
P.A. Architects
Coconut Grove, Florida
Landscape Architect
Wallace Johnson
The Graham Companies
General Contractor
Miller and Soloman

The Town Center was de-
signed to recapture the relaxed
easy-going character of a vil-
lage square or a hometown Main
Street. The elements and ma-
terials used, including barrel
tile and brick pavers, express
the feeling of vernacular town
centers of the past. This mixed
use project provides retail shops
and boutiques on the ground
floor interconnected by brick
walkways and arcades while
providing private security ac-
cess through the rear elevation
to the residential units. The
residential units vary in height
from one to two stories and gen-
erate interesting building eleva-
tions in scale with the street.

Jury: "What counts here, as the
jury sees it, is not the individual
architecture, but the wholesome
ambience created by the ensem-
ble of retail shops, offices and
residential units. The scale of
the project is excellent. The Photos by Steven Brooke
landscaping adds to the sense of
unpretentiousness. The center
should generate a good feeling
of neighborhood."

FLORIDA ARCHITECT September/October 1986

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21st Street Community Center Miami Beach, Florida

Zyscovich & Grafton Architects
Miami, Florida
City of Miami Beach
Romart Construction

This building was constructed
in 1916 as a golf clubhouse and
certain programmatic modifica-
tions were required to adapt the
center from its original use to a
facility for the elderly. A further
design objective was to create a
sense of harmony among the dis-
parate elements of the project,
some new and some existing.
These elements include the
main club house, the chess club -
pavilions, the theatre building, .
the band shell, the dance plaza
and various outdoor walkways,
patios and courtyards.

Jury: "Straightforward restora-
tion of an old building is more
commendable than intrusions ,
by a restoration architect. The
project shows sensitivity and
discretion with regard to neces-
sary additions, such as air-
conditioning. We especially ap-
plaud the idea of using the old
clubhouse for a purpose that
emphasizes the grace and spa-
ciousness of the great hall."

Photos by Steven Brooke

FLORIDA ARCHITECT September/October 1986

FLORIDA ARCHITECT September/October 1986 19


Radio Station for WDBO/K92FM

Orlando, Florida

Helman Hurley Charvat
Peacock Architects, Inc.
Maitland, Florida
Alexander W. Stone,
Project Designer
Consulting Engineer
Alan and Conrad, Inc.
Landscape Architect
Herbert/Halback, Inc.
KATZ Broadcasting
General Contractor
R. C. Stevens

This broadcast facility and
corporate office for a radio sta-
tion is steel frame construction
on a concrete slab. It utilizes
synthetic stucco wall and fascia
panels, painted steel truss col-
umns and fixed glass in alumi-
num frames. The truss columns
are designed to withstand hurri-
cane force wind. There is a highly
sophisticated electrical ground-
ing system for tower, plaza and
building. The two significant
components of the station, the
200 ft. tower and the 12 ft. dia-
meter satellite dish, are inte-
grated into the design by means
of a skylight covered corridor,
which allows visual contact with
these elements as one moves
through the building.

Jury: "This design strikes us as
excellent because of the good,
functional plan raised to a
poetic, symbolic level, integrat-
ing the tower, the satellite dish
and the offices into one coherent
piece of architecture. It does not
pretend to be more than it is.
The structure is well expressed
and the white color is admirably
suited to the Florida climate.
The glass dome over the corri-
dor borders on a cliche, but it is
not disturbing."

Photos by Esto Photographics, Inc.

FLORIDA ARCHITECT September/October 1986

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FLORIDA ARCHITECT September/October 1986 21


Business as unusual

Eastwood Business Commons
Tampa, Florida

Architect: The Zimmerman
Design Group
Structural Engineer: R. J.
Possen Co.
Owner: R. J. Possen Co.

Eastwood Business Commons
is an office/warehouse facility
that was designed to accommo-
date its heavily wooded, irregu-
larly shaped site. The design
concept satisfied the owner in
terms of saving quality trees
and providing maximum flexi-
bility for tenant lease spaces.
Six adjoining building mod-
ules, staggered and placed
around trees and tree clusters,
created an aesthetically pleas-
ing pedestrian courtyard, as
well as solving site problems.
The courtyard feature provides
access to both ends of a typical
building bay, permitting it to be
split and accommodate double
loading of tenants within the
same bay.
Initially conceived as concrete
block and stucco, it was deter-
mined that tilt-up concrete slab
construction would reduce the
construction cost by $80,000 and
facilitate construction of the
cantilevered panels required at
the stepped glass corners. Con-
structed with an R-8 roof insula-
tion system, the six-inch con-
crete wall panels are finished,
upon leasing, with foil-faced
insulation and gypsum board.
Interior finishes are specified
when bays are leased, or the
area can be used strictly as
a warehouse.
Stepped, tinted glass in blue
aluminum frames create "chis-
eled" corners and pedestrian en-
try access points at the end of
each building module. They also
characterize the exterior peri-
meter of the facility. Two-inch
wide, blue ceramic tile rustica-
tion bands run horizontally, align-
ing with the horizontal members
in the aluminum storefront. En-
try doors, corner tube columns,

Eastwood Business Complex, main entry, above, and courtyard on facing page, photographed by Burg
Photography. Site plan courtesy of the Zimmerman Design Group.


and the "diamond" shaped steel
tube and canvas canopy, which
highlights entry into the court-
yard, are finished in bright terra
cotta. Overhead doors, used for
delivery and service purposes,
are recessed from the building
facade and turned 90 degrees to
conceal their appearance.
Eastwood Business Commons
was completed in January of
1986; construction costs for the
25,000 s.f. complex were $575,000
or $23.00 per square foot.

Anne Schumann

The author is an administrative
assistant to the Zimmerman
Design Group.

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It's Boca... and the living is easy

The Charlse Residence
Boca Raton, Florida

Architect: Angles, Esteban
Associates, Inc., South Miami,
Landscape Architect: Krent
Wieland Designs, Inc.,
Boca Raton
Owner: Mr. & Mrs. Stanley
Contractor: Housing
Adventures, Boca Raton

From the firm's beginning four
years ago, principals Manuel
Angles, AIA, and Jorge Esta-
ban, AIA, have equipped them-
selves to create attention-
getting designs for a broad range
of clients including high end de-
velopers of luxury residential
communities, builders of zero
lot line homes and an array of
townhome, villa and patio home
projects. Recently, Angles and "a
Esteban have begun to assem-
ble a crack team of highly tal- Main entrance to house, ab
ented individuals with the skills Stei, 1986
necessary to provide a complete "'-
package of architectural and
landscape services for both cus-
tom homebuyers and builders
and developers of residential
land commercial properties.
Angles and Estaban were
asked by a couple accustomed to
entertaining on a grand scale to
design a residence for them that
would fulfill their new roles as
"empty nesters." The architects
designed a 3900 s.f. house on a
half acre site that is reminiscent
of a villa in Italy that the clients
Construction of the single-
story house was accomplished
with conventional construction
techniques despite its extremely
luxurious appearance. The
painted stucco structure has a
traditional concrete barrel tile
roof, alluding to the home's
Mediterranean origins.

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S d pool ad patio, -below were photographed by Robert

ove, and pool and patio, below, were photographed by Robert

Interior photos by Robert Stein, 1986.

The concrete foundation has
stem wall footing. There are pre-
cast lintels over the windows and
corbelling on the parapet walls
which are capped with U-blocks.
Square masonry columns and
arches were used for support in
the rear of the house and the
patio area is so large that a steel
fliched plate was used to span
the whole area. Ground surfaces
here are brick. There is a green-
house with glass ceiling behind
the family room.
Foyer, dining, living and fam-
ily rooms and kitchen and eating
nook have very high sloping ceil-
ings with exposed wood trusses.
Ceilings are bleached oak and
floors are travertine marble.
Light floods the home through
wall to wall windows with clere-
story above.
The entire mood and feeling of
the house and decor is one of ele-
gance and luxury. The house also
has a light, airy quality. In the

kitchen, for example, the walls
end at the top of the cabinets so
that light can saturate the eating
and food preparation areas.
The dramatic outdoor patio is
replete with Roman columns,
classic archways and covered
ground surfaces. This outdoor
entertainment area is a virtual
extension of the home's interior.
In contrast to the open feeling
which the architects sought in
the house's public areas, is the
intimacy and elegance of the
master bedroom suite. Black
marble and mirrors were used in
dressing and bathing areas, in
addition to a vaulted ceiling,
Roman tub and skylight.
The contemporary mood of the
house is appropriate, not only to
the clients' lifestyle, but to the
climate of the region as well.
Susan Bishopric

The author is a writer for Susan
Gilbert & Co. in Coral Gables.

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Greenleaf and Crosby Restored

Greenleaf and Crosby
Additions & Renovations
Jacksonville, Florida

Architect: Kenneth R. Smith,
AIA Architects
Consulting Engineers:
Structural-Gomer E. Kraus
& Associates, Inc.; Mechanical
and Electrical-VanWagenen &
Beavers, Inc.; Office Space
Planning--Design Environment
Interior Design: Catlin
Interiors, Inc.
Lobby Interior Design:
Covington-Young Designers,
Owner: Greenleaf Associates,
General Contractor: Wesley of
Florida, Inc.

The Greenleaf & Crosby Build-
ing, originally constructed in
1926, was completely renovated
and a new glass enclosed atrium
was added on the former third
floor roof area. The atrium phy-
sically and visually connects the
second through the fifth floors,
occupied by the Commander-
Legler law firm, and serves as
the reception area for the law
firm while offering a common
circulation path and means of
communication between the
various floors.
The original building, de-
signed by Marsh & Saxelby Ar-
chitects, was designed to permit
the twelve-story tower to be ex-
panded over the entire three-
story base. The new atrium
addition bears on columns de-
signed for the future tower. The
elevator lobby on each floor was
opened up by the new glass cur-
tain wall and provides excellent
views of Hemming Plaza to the
The entire project was com-
pleted in ten months and the
owners were able to take advan-
tage of tax credits for historic

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- Above, photo of Greenleaf Building as it looked in
S-- - 1926. Photo courtesy of Kenneth R. Smith, AIA.
SPhotos on facing page, top left, building as it looks
... following restoration, top right, new atrium stair,
lower left, new atrium and roof terrace beyond and
Slower right, original entrance and elevator lobby.
Photos by Davis & Vedas Photographers.

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Ideal proportions of form and void

Beaches Branch Library
Neptune Beach, Florida

Architect: Pappas Associates
Engineer: Evans and Hammond,
Engineering, Inc.
Landscape Architect: Jackson-
ville Landscape Company
Contractor: Mel Smith Inc.
Owner: City of Jacksonville

The Beaches Branch Library
was designed with an under-
standing of the inherent geome-
try of the "Golden Section," con-
sidered by the ancient Greeks to
be the classically ideal propor-
tion of form and void. The sides
of the "Golden Section" rectan-
gle are in the proportion of 1 to
1.618. If one looks closely at the
library in elevation, plan and
section, the classical proportion
of the forms and voids is clearly
The symbol of the Beaches
Branch Library, the classic an-
tefix, is seen as a flower-shaped
design on the cast-stone facade.
It was taken from the Greek or-
namental blocks found on the
edge of a roof used to conceal
the ends of the roofing tiles.
The building was designed to
make the most of light and sha-
dow. The facade is constructed
of cast stone which allows for
maximum sculpting of the sur-
face. The light sand color of the
exterior allows for maximum
contrast of light and shadow.
The bright interior colors were
chosen for two reasons. First,
color is used to identify and sep
arate large open spaces such as
the circulation boulevard, the
reading areas, the community
room and the workroom and
staff areas. Second, the bright
colors are used to contrast the
monotony of the stacks of books
and to emphasize the open, airy,
cheerful atmosphere.


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Photos these two pages by Bob Braun Photography.

The library was built with
steel frame supporting precast
concrete wall panels. Longspan
steel bar joists support a single-
ply roof membrane on light-
weight concrete on a structural
steel deck. The building fea-
tures an energy-efficient me-
chanical system that utilizes an
underground storage of hot and
cold water during peak use. The
lighting is a combination of na-
tural, recessed fluorescent and
incandescent light.
The library contains an adult
reading area and a children's
reading room with a combined
shelf capacity of 130,000 vol-
umes. The large meeting room
seats 120 people and has audio-
visual capabilities. The confer-
ence room seats fourteen. There
is a two-story atrium with quarry
tile floor for use as an art display
area. There are offices for librar-
ians and workrooms for sorting
returned books and processing
new books. The library will op-
erate with a computer assisted
referencing system.
Diane D. Greer

Opposite page, top photo by Judy
Davis, Davis & Vedas Photog-
raphy. Lower photo of the circu-
lation desk and lobby area by Bob
Braun Photography.





This page, plan and elevation
courtesy of Pappas Associates

fl f i ,



South Florida Evaluation & Treatment Center

South Florida Evaluation & Treatment Center
Miami, Florida _

Architect: Wolfberg/Alvarez &
Principal in Charge: David A.
Wolfberg, AIA
Project Manager: Donald L.
Slager, AIA
Health Care Design Consultants:
Shepley, Bulfinch, Richardson
& Abbott
Engineer: Wolfberg/Alvarez &
Landscape Architecture: The
Ted Baker Group
Interior Design: Wolfberg/
Alvarez & Associates
Contractor: Harrison/CM
Security Consultant: Carter-
Goble Associates, Inc.
Food Service Consultant: Joseph
D. Antonell, F.S.E.C.
Owner: State of Florida,
Department of General Services
User Agency: Department of
Health and Rehabilitative

This 200-bed maximum security
forensic hospital is uniquely
situated on a 6-acre urban site
and required a vertical solution
to satisfy circulation, as well as
security, requirements. The fa-
cility provides both outpatient
and extended care services in-
cluding medical and psychiatric
evaluation and counseling, edu-
cational and physical rehabilita-
tion. It also has complete recre-
ational facilities. Due to its
location in a residential area
near downtown Miami, careful
attention and sensitivity was
required to address the distinct
contrast between a positive
treatment environment and a
maximum security enclosure.
As the first forensic hospital
to be built in an urban area of the
state, a design solution was re-
quired which would avoid nega-
tive community reaction to a
prison, and instead, present a
positive and safe image. Due to
the court-ordered closing of the
existing state hosptial, both de-
sign and construction of the

Photos by Steven Brooke.



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177,000 square foot facility were
The design solution focuses
around three structural ele-
ments including a two-story sup-
port base, a raised, secured four-
story residential and treatment
tower, and an outdoor recrea-
tional area with green space.
Eight-man residential pods form
a pinwheel around a central
nurses' station and connect to
the treatment and security core,
forming an efficient and positive
interior space while presenting
a strong, dynamic form to the
exterior. The exterior is further
enhanced by L-shaped windows
which add a strong, repetitive
graphic design element and les-
sen the institutional character of

the facility. The facility is en-
hanced by the preservation of an
historic arch which served as the
entry to the Seaboard Coastline
Railroad Station, formerly lo-
cated on this site.
The hospital is constructed of
poured-in-place, precast concrete
joists and reinforced masonry.
In order to meet security require-
ments as well as offer an efficient
structural system, the tower
was designed utilizing reinforced
masonry. The tower module
straddles the lower base with a
transfer slab at the fourth level.
Directly below the transfer slab
and separating the base and
tower, the third level serves as
mechanical space while adding
another level of security.

The mechanical system em-
ploys a computerized smoke de-
tection and evacuation system
consisting of three pressure
zones per patient floor. In the
event of an emergency, a pres-
sure system channels smoke
from the section on fire, thereby
eliminating the possibility of
smoke entering another section
of the facility. The mechancial
room, located between the ancil-
lary base and the secured patient
tower, supplies high velocity air
down to the base and up to the
tower through VAV distribu-
tion. A dryvit exterior insulation
system and heat recovery sys-
tem serve as energy conserva-
tion measures.

Completed in 1986, this medi-
cal center employs three func-
tional elements. First, the center
is a hospital which provides med-
ical and psychological assistance
for a variety of mentsl, physical
and emotional disorders. Sec-
ond, it serves as a maximum se
curity detention center for those
patients awaiting adjudication
in the court system. Finally, it
stands as a facility where pa-
tients who are capable ofrehabil-
itation are in an environment
which is conducive to treatment.
Mark H. Smith

The author is Director of Public
Relations for Wolfberg/Alvarez
and Associates.

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Architecture: A rationalist approach

by J. Robert Hillier, FAIA

would like to talk about archi-
tects and stylists. On a national
level, architecture today is in the
grip of a professional debate that
is more lively, and yet loaded
with more animosity, than has
previously existed in its history.
It is a philosophical tug of war
between what I call the stylists
and the rationalists. It is prob-
ably similar to design debates of
old, except that in the 1980s, the
media is a new player even a
new referee and is taking the
debate to the public.
At a time when the profession
is faced with the onslaught of a
computer technology, new sys-
tems, new economics, social re-
sponsibility, and possibly a di-
minishing role, architecture is
caught in a nostalgic throwback
to reminiscences of earlier styles
steeped in romanticism and
humanism. This throwback is
best known as the Post-Modern
It is a reaction to the glass,
steel, chrome, and concrete high
technology that was dictated to
us with such high-handed glib-
ness in the 50s, 60s, and 70's by
the architectural community. It
is the reaction to Park Avenue's
glass skyscrapers. In fact, those
skyscrapers are the shining an-
tithesis of post modernism.
Style, fashion, handicraft have
reappeared in architecture un-
der the high profile leadership of
such superstars as Robert Ven-
turi, Frank Gehry, Charles
Moore, Don Lyndon, Michael
Graves, and the original trend-
setter of all, Philip Johnson of
AT&T-Chippendale fame.
The counterpart of the post-
modern stylists are what I call
the rationalists a group of ar-
chitects that might seem tradi-
tional with their pragmatic,
problem/solution directed work,
represented by such firms as
Kevin Roche, Skidmore, Stub-
bins, Mitchell-Giurgola, and
The Architects Collaborative.
Tom Wolfs book, Bauhaus to
Our House, addresses the dyna-
mics of how these styles are con-
ceived, born, nurtured, propa-

gated, and then discarded sty-
listic tidal waves orchestrated
by various elite artistic establish-
ment groups, including the Bau-
haus, the International School,
the New York Five, the New
York Press, and Philip Johnson
With each new generation there
are bound to be new styles but,
as the media identifies, promotes
and eventually discards each
style at an ever-increasing rate,
the bulk of the profession, in fear
of being left behind, is forced to
create something they do not
necessarily understand, do not
necessarily like, and, in fact, do
not always do very well... all in
an effort to respond to a media-
sensitive clientele that demands
"the latest thing."
In today's world of instant com-
munication, style and its normal
life-cycle are short-lived pheno-
mena . it's "life in the fast

"With trends now coming
almost as strong and as fast
as those in cosmetics,
music, and jeans,
cornice lines rise and fall
as fast as hem-lines
and some buildings are
being designed with about
the same short-term

But building is not a short-lived
news story. Buildings are per-
manent structures, constantly
influencing us. Unlike last year's
dress, we cannot hang last year's
building at the back of the closet.
The turquise green art deco
McGraw Building in New York
is a wonderful example of a great
building that was left behind in
the real estate market because of
that "hideous color."
The later, more classic but less
"stylish" Seagram's building con-
tinues to soar in value and com-
mand one of the highest rents in
With all of this emphasis on
style and its constant and rapid
revision, the architectural pro-
fession finds itself under unpre-

cedented pressure to perform or
respond. But the profession is
confused about its mission, a mis-
sion which really should tran-
scend issues of style.
Time Magazine has lamented
the blurred difference between
design and fashion. "Design is
supposed to combine the practi-
cal and economical with a dash
of artistic flare so that the result
is pleasant, perhaps even a joy
to use and behold."
Architecture produced by de-
sign should express reasoned
resolution of all client needs. It
should be the balanced result of
all the forces at work on it, not
merely an acquiescence to "style."
Those forces are very simple and
at the same time very complex.
They have varying strengths
and priorities. A good architect
is able to identify all these forces
and weigh each one of them. They
include such basic elements as
site, gravity, heat, cold, the
budget and more complex issues
involving sociology, economics,
demographics, and even poli-
tics. Many forces such as these
latter four, are quite transient,
yet the architecture they mold
is permanent.
So one can take the view that
architecture is a solution to client
needs in the context of all of the
forces at work in a "universe"
that includes the client, his ar-
chitect, and the solution itself.
This is the rationalists' ap-
proach: identify the priorities,
the controlling and influencing
forces and organize and balance
them in their proper and effec-
tive place in a design.
I recall with great fondness
my former architectural profes-
sor, Jean Labatut, who taught
that a design was valid only if
there were ten good reasons for
it being so ... and one of those
reasons could not be, "I like it
that way."
However, at the end of all those
rational arguments, he always
pushed you and your design to a
point beyond the simple intellec-
tual solution to a programmed
need. He asked your intellectual
and rational design to elicit emo-
tional "after-burners." That was

the ultimate "home run": ten good
reasons why and an eleventh one
that said that it would be great
for mankind.
So here we are with the call
for style and fashion on one side,
and the call for pragmatism -
ten good reasons on the other.
What is today's architect to do?
I have always viewed archi-
tecture as a reflection of its time.
Buildings have always been the
permanent record of different
societies. We reconstruct the
picture of Egyptian life from its
pyramids and its temples. Greek
idealism, Roman imperialism,
the dark mystery in the upper
reaches of the Gothic cathedrals,
the richness of the Renaissance,
the dynamics of the Manhattan
skyline: each architecture tells
the story of its time.
Each architect responds to the
forces as prioritized by his client
and the changing social, techni-
cal, and economic conditions in
which he was working. Is today's
architecture confused because,
perhaps, the times are confused?
Are the trends and styles mov-
ing so quickly that there is little
time left for deliberation or
Surrounded by fickle public
opinion, today's fashioners of
brick and mortar risk the fate of
the rock superstar or jeans de-
signer, who are big news today
until "styles" change. But build-
ings are not the essence of the
"hit parade" or the latest denim-
clad model peering out of the
television tube.
If architecture is the balance
of all forces at work on it, and if
architecture is a reflection of its
time, then I would say that the
profession today is as responsive
to today's society as in previous
times. Today's society, the age of
advertising, the age of media, the
age of superstars and throw-away
plastic containers, is telling us
what it wants designed.
After the cacophony of cur-
rent trends has moved on down
the block to the next generation,
today's buildings will still be
standing, responding, serving,
and perhaps even leading by

providing some social stability.
Put aside the drawings, the
renderings, the colors and the
calculations. It is the social for-
mula expressed by Winston
Churchill "We shape our houses,
and our houses shape us" that
will prevail and for which the

profession of architecture will
be held accountable.
One would hope that the trends
of style will soon settle down and
architecture can get back to the
business of architecture as ra-
tional problem solving, done with

J. Robert Hillier, FAIA, is Pres-
ident and CEO of the Hillier
Group, the sixth largest archi-
tecture firm in the nation with
offices in Princeton, N.J., and
Tampa, Fla.

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is less expensive in the long
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S pensive floor you can specify.
4 _.- Tough acrylic and stain are
S' forced inside the wood for a
.-- -; beautiful finish that resists
-'-i i- scratches and wear. Color
? .-. never wears off. Never needs
;For further information call
or write
Edward Walton, III
"-- Vice President, Sales
-_ Walton Wholesale
i:is 71 10 N.E 4th Court
.- - MMiami, FL 33138
Circle 16 on Reader Inquiry Card
In business for over 29 years
Refer to Sweets No 9 22/HAT


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Over 50,000 Items in Stock
Rush Delivery Via UPS

Call Florida Toll Free Number

998 W. Flagler Street/Miami, FL 33130/(305) 379-4501
415 N.E. Third St/Ft. Lauderdale, FL 33301/(305) 763-4211


Circle 25 on Reader Inquiry Card


Manufacturing Co.
Serving the building industry since 1955.

For specifications and color chart
refer to SWEET'S CATALOG 9.10/Pr
3009 N.W. 75th Ave. Miami, FL 33122
Oviedo & Sanford Rd. Orlando, FL 32707
Miami Orlando
(305)592-5000 (305) 327-0830
(800) 432-5097 -Fla. Watts- (800)432-5539


(All Marble) Stucco
Trowel Stucco
Swimming Pool Stucco
Ceiling Spray
Cement Paint
Wall Spray

Acoustical Plaster
Veneer Plaster
* P.V.L
Vinyl Ceiling Spray
Ceiling Spray
For Rock Dash
Ceiling Spray

An Imperial Industries Company
Circle 14 on Reader Inquiry Card

at an incredible value!


Circle 70 on Reader Inquiry Card

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Location Photography,
Corporate, Editorial,
Specializing in
Landscape & Architecture
P.O. Box 7755 Orlando, FL 32854 Phone (305) 425-7921

Circle 66 on Reader Inquiry Card

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The First National Conference on Rehabilitating Windows in Historic Buildings will
provide a comprehensive look at state-of-the-art repair and maintenance techniques,
replacement options, special window accessories, and federal tax credit requirements

Expert faculty of architects, manufacturers, contractors,
developers, building managers, public officials and conservators

Comprehensive workbook with up-to-date technical information and
money-saving planning techniques.

Behind-the-scene field inspections of innovative projects

Major Trade Show

A concurrent trade show will be held featuring manufacturers and suppliers of window
products for historic buildings, along with demonstrations of preservation methods.

Who Should Attend

Architects Developers Contractors Physical Plant Managers Property Owners

Preservation Officials Manufacturers' Representatives City Planning Officials

Conference Date and Location

December 2-4, 1986, Sheraton Boston Hotel and Towers, Prudential Center, Boston

For Further Information Write:

The Window Conference, P.O. Box 27080, Central Station, Washington, D.C. 20038

PRINCIPAL CONFERENCE SPONSORS: National Park Service The Old House Journal *
Georgia Institute of Technology Rhode Island Preservation Commission New York State
Historic Preservation Office Lowell Historic Preservation Commission National
Conference of State Historic Preservation Officers Massachusetts Historical Commission

Boston, December 2-4, 1986




eprints of articles that have appeared in Florida Ar-
chitect over the past five years are available for use
in mailings and presentations. These custom promotion
brochures reproduce the article exactly as it appeared
in Florida Architect.
For more information, cost estimates, and help with
the layout and design of your reprints, call: Carolyn
Maryland, 904-222-7590.


1093 S. Semoran Blvd.
Winter Park, FL 32792

Member, National Association of
Elevator Contractors

GARAVENTA Stair-lifts, Trac Products, Home
Lifts ... CHENEY Wecolator/Liberty Stairway
Elevators, Wheelchair Lifts... WAUPACA
Residence Elevators... RICON Porch Lifts.

Circle 37 on Reader Inquiry Card

Are You Using Today's Tools

N:,Ml Architecls and Engineers ha'e experienced costl) Arbitrauon
:,r Litigaion
Legal acuton is imuated due to conflicts between Drawings and Spec-
iicadtlons, poor coordination and the improper selecuon of materials.
insurancee liability farmers are now recomnmnding independent
review of the Dra. mgs and Specifications
Tecon offers specialized services to augment our firms' technical
expertise. The follo ling conaulung sir ces maN assist you in
a\.idlng unnecesar) confronltao and cooi U liigation
Inquirwer re s.riildy confidenital
200 N W 2Ld Snr. Swiruc
SFr LiL. lcrdae, Pi c. .' 33'9
Mc (305) 771-2220

Circle 38 on Reader Inquiry Card

1918 / eE. Hillcrest Street

Call 1-800-432-4254

1918 E. Hillcrest Street
Orlando, Florida 32803
Circle 36 on Reader Inquiry Card

Circle 13 on Reader Inouirv Card

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