the university of miami school of architecture newsletter summer 2002

SUMMER 2002
THE UNIVERSITY OF MIAMI SCHOOL OF ARCHITECTURE NEWSLETTER
Building Through Time: The Making of a School of Architecture
In celebration of the University of Miami’s 75th Anniversary, the School of Architecture hosted a special exhibition showcasing the work of its alumni.
Entitled Building Through Time: The Making of a School of Architecture, the exhibition opened in the School’s gallery on October 18, 2001.
The following article is an authorized reprint of the
foreword of Building Through Time: The Making of
a School of Architecture.
The founding of the University of Miami in
1926 was inextricably linked with the study
of architecture. George Merrick, the founder
of Coral Gables, established for The City
Beautiful an image derived from the birthplace
of civilization, including a place for an
institution of higher learning. An early
architectural vision for the new city’s
buildings and landscape was developed by
La Managuita, 2001. M. E. Blanco,’83, Sonia Baltodano, ’98
(Delphi Design & Development) and Oscar Machado, ’83
Merrick’s architects who were also the
University’s first design faculty.
Seventy-five years later, the teaching and
research of the School of Architecture reflects
this idealistic and auspicious beginning. The
optimistic relationship between academic
institution and surrounding community
continues. Today’s faculty follow in the
footsteps of their founding predecessors,
presenting the notion of the individual
building as inherently embedded in a vision
of urbanism, and setting an example for
students by their participation in civic life. The
school’s trajectory traces a rich path, with
faculty, students and alumni making
important contributions to both the evolution
of the University and the development of the
metropolitan region. The University’s 75th
anniversary offers the School the opportunity
to celebrate this history by gathering an
exhibition of the work of its alumni.
The exhibit represents a snapshot of a
larger picture that deserves a more
complete exposition. A special effort was
Top: Motorsports Complex, Homestead, FL, 1995. Raimundo Fernandez, ’85 (Bermello Ajamil and Partners)
Above: Toledo House,Toledo, Spain, 2000. Monica Ponce de Leon, ’89 (Office DA)
Miami Dade Community College Inter-American Campus, Miami, Florida, 2000.
Raul Rodriguez, ’72 and Luisa Murai, ’78 (Rodriguez and Quiroga Architects)
made to show a range of endeavors from
work carried out in the small studio to work
carried out collaboratively in a large firm.
– Elizabeth Plater-Zyberk
FAIA, Dean
The publication documenting the 75th Anniversary
exhibit Building Through Time: The Making of a
School of Architecture is now available at SOA.
To receive a complimentary copy refer to page 16 or
visit www.arc.miami.edu for more information.
Charlotte County Courthouse, Punta Gorda, FL, 1999.
Enrique Macia, ’83 (Spillis Candela/DMJM and Partners)
Students and alumni at the exhibition opening held on October 18, 2001 at the School of Architecture Gallery.
2
Dean’s Letter
Dean Plater-Zyberk discusses a project with Luis Torres,’01.
Photo by Diane Bradford, Gulfstream Media.
Dear Friends:
This academic year’s experience has been bracketed by the
heightened awareness of our global context. The early fall
terrorist attacks in the northeast surprised us in the first days of
classes. It is only fitting that we closed the spring semester with
the student initiated symposium dedicated to a discussion of the
rebuilding of downtown Manhattan.
The terrorist attacks struck home in various ways,
painfully for all. We paused to remember the victims and to
reconsider our actions. President Shalala’s inauguration speech
recalled us to our mission: “As the intellectual guardians of open
democratic societies, we must commit ourselves to excellence in
everything we do….If the University of Miami does its part to
continue to sow the seeds of excellence, the world will know that
intellectual freedom is strong and unbowed in our country.”
The activities of the School of Architecture this past year
are evidence of our pursuit of this goal as well as of our
heightened sensitivity to the larger world. The Cuban art and
architecture symposium and the exhibit of Tom Spain’s Rome
drawings shared with sizeable audiences the international
learning experiences that faculty, students and alumni of the
School have engaged in over the years.
The year’s exhibits – the alumni retrospective, Historic
Florida Landscapes, and Michelangelo – all gave us an
appreciation for our predecessors and their contribution to our
knowledge and culture. Many of you helped us produce this series
of outstanding events, appropriately marking the University’s
75th anniversary. For that we are grateful, and I thank you.
The School’s funded efforts, the Knight Program in
Community Building and the West Coconut Grove project,
continued with great activity and outcomes. The second class of
Knight Fellows began their year in Miami conferring with last
year’s Fellows and hearing presentations from several visitors,
including author David Rusk and town planner Victor Dover.
The 24 Fellows over two years represent 22 communities and
14 states in a variety of occupations including architects, traffic
engineers, community activists, and elected leaders. The first
year’s activities included the charrette for Beall’s Hill, a historic
African-American neighborhood in Macon, Georgia.
Closer to home, the work of faculty and students
continues in West Coconut Grove with the support of grants
from the Knight Foundation and the U.S. Department of
Housing and Urban Development. In August, an exhibition of
the multi-disciplinary projects that have engaged the
University and community will open at the Lowe Art Museum
on the University campus.
Faculty and students, joined by alumni and other
participants, rolled up their sleeves for five days in January in
the Coral Gables Charrette. The results, design proposals and
recommendations for policy and management, reflect the
faculty’s long time commitment to the study of and proposals for
the enhancement of The City Beautiful.
Student groups were extraordinarily active during the
year. Student Council produced the ambitious New York
Perspectives conference following the last day of classes. The
AIAS ran a series of lunch time faculty and professional
presentations that enriched the year’s curricular offerings as
well as a stupendous Black and White Ball in April.
Another item of good news is that our goal of funding the
Architecture Center is within reach. We will soon be able to
finalize the design and start construction. To share the growing
sense of anticipation, a list of all who have contributed to our
building campaign is shown at the end of the newsletter. I think
it will surprise you to see how many individuals and businesses
are supporting this effort.
Thank you all for your encouragement and gifts. Your
participation is important to all of us here at the School, not
just for the sake of a new building, but because we need you to
share in our mission. Your alliance with the good efforts of our
faculty and staff allies you with the promise that our students
hold for a better world in the future.
In closing, a few more words of thanks are due. Many
individuals have been involved in this publication during the
last several years, gathering material, checking the lists,
writing, editing, and more. This issue was compiled and edited
by Sonia R. Chao. She was assisted by Lamar Noriega,
Carolyn White, Fay Bernardo, Shubee Kalra, Gorata Madigele
and D’Ann Tollett. To them and to all their predecessors –
thank you for your great work!
Elizabeth Plater-Zyberk, FAIA
Dean
Studio Profile – The Portable Shakespeare, Deployable Structures Studio
Oak structure of the reconstructed Globe Theater, which
opened in 1997, Theo Crosby (Pentagram).
The original Globe Theater opened in 1599. Detail from
Hollar’s “Long View” of London of 1647.
Patrick Hood-Daniel, 2001
Monika Manios, ’02
Christian Ektvedt, ’03
In the Deployable Structures studio, Professor
Denis Hector’s upper-level studio series, students
examine the design and technology of lightweight
structures. This fall’s project focused on the Globe
Theater. The original theater, a 100-foot diameter
courtyard structure, operated from 1599 to 1642
with William Shakespeare as playwright in
residence. The specific nature and geometry of
the theater, with a standing audience and three
galleries of seating, was manifested in both
the text and the staging of the plays. The
Portable Shakespeare is intended to allow a
traveling repertory company to present the plays
in a reinterpretation of the original Elizabethan
setting. Urban parks, school sports fields and
shopping-mall parking lots provide the venue
for a contemporary encounter with the historical
context of Shakespearean theater.
Somyos Anantnakin, ’01
Andrew Starr, ’02
Amber Adamski, ’02
A Garden Party
Lamar Noriega, Arva Parks McCabe and
Hostess Sallye Jude.
Dr. James and Mrs. Sallye Jude graciously
hosted a garden party in honor of professors
Vincent Scully and Catherine Lynn at their
home Java Head this past March. The Jude
home features a lush tropical garden
designed by Professor Gary Greenan. The
garden, which terminates with an axial
vista onto the historical boat basin below,
set a magnificent backdrop for the
afternoon event.
Faculty, students and friends of the
School gathered to express their appreciation
for the many contributions of Scully and Lynn
to the South Florida community and the
University of Miami. Those in attendance
included past UM president Edward “Tad”
Foote II, UM Trustee and author Arva Parks
McCabe, Bruce Matheson, former UM trustee
Louis Hector and wife Nancy, Coral Gables
Mayor Donald Slesnick, Historic Preservation
Director Dona Lubin, City Manager David
Brown, Commissioner Maria Anderson and
City of Miami planner Maria Nardi. Also in
attendance were UM faculty members
Roberto Behar, Rocco Ceo, Sonia R. Chao,
Andres Duany, Denis Hector, Joanna
Lombard, Dean Elizabeth Plater-Zyberk,
Samina Quraeshi and Richard Shepard as
well as AIAS members Luis Bustamante and
JoAnne K. Fiebe.
Mayor & Mrs. Donald Slesnick with Professor Scully.
Ted Evangelakis,’80, Dean Plater-Zyberk, David Brown,
Dona Lubin, ’92 and Maria Anderson,’80.
3
An Interview with Vincent Scully
“What will our cities be in 25 years? The question calls up
a caricature, a grotesque vision of ultimate ghettoization.
The vision involves a permanent underclass of poor people,
largely defined by race, in rotting urban enclaves with no
public transportation worthy of the name. An affluent class
lives far off in automobile suburbs, probably gated.
A skyscrapered business center rises like a sterile Acropolis.
Government is off in what it calls a “campus” somewhere.
And all of it is spread out at regional scale, consuming
enormous quantities of landscape, more like a small nation
than the city as we have known it… To make something like
this baroque vision come true, all we have to do, I suspect,
is nothing at all.” –Vincent Scully, Brooking Review,
(Summer 2000 Vol. 18 No. 3 Page 2) The Brooking Institute.
Chao: With this quote in mind, let’s start off talking
about the latest generation of architecture and urban
design scholars and practitioners that have been
rethinking strategies for urban formation previously
championed by the likes of Frank Lloyd Wright and
Le Corbusier. What can architectural design do, or has
it begun to do, to reverse the process of ghettoization, centrifugal dispersion, and sprawl? What is
architecture’s potential to build community and
civility? Will the role of the architect in society change?
Scully: I think that to build a human community
has always been the basis of architecture. I suppose
that if you take the architect as he has developed
since the Renaissance, where you started out with
the “architect/builder” and then you moved on to
the “image artist” who evolved and moved farther
and farther towards the architect as ‘artist hero’
concerned only with the image of buildings… well,
then, I would say the role of the architect would
have to change or broaden. It would have to change
along the lines that the New Urbanism is
exploring…of the architect as a person who is trying
to put together the environment, with respect for
the land…who improves upon the pieces of the city
and their interconnection. But, then the question
arises of how the architect can really do that best.
In Space, Time and Architecture, Sigfried
Giedeon deals with architects who believed that
modern architecture could change society and make
it better…according to the way they determined it
should be. In fact, those architects, who were
supposedly urban visionaries were simply too
impatient to deal with the complexities of the urban
situation…and focused instead on simplified forms
– like the cross-axial towers of Corbusier, set out in
space in a decorative pattern. That kind of thing
pretty much became the model for the “projects,”
which proved to be so destructive to our cities, as
that abstract vision proved to be false. Those projects
are being torn down all over America, in England
and everywhere else. The things were just not
livable. People need community. The poor especially
rely on their day-to-day social structures, and those
building types and their abstract relationship to each
other made that impossible. On the other hand, the
rich don’t need other people so much ... or so they
think ... and so they are fine with highrises.
Chao: So most people want neighborhoods, a sense
of place and belonging but they also want their
individual identity.
Scully: Exactly. It seems to me that the architect
should be trying to deal with realities as they are,
and, out of that make an architecture that is
reasonable, which is gentle and civilized and in a
way reflects all the things we want out of life; an
architecture not necessarily focused on formal
grandeur – though there is an important place for
that – and certainly not on “originality,” but on
sustaining the calm sweetness and the fundamental
dignities of human life, and I think the New
Urbanism tries to do just that. Its practice is more
in keeping with the traditional role of “architect/
builder,” by creating livable buildings and
sustainable communities versus the “architect hero”
who until now has been content to create only
monuments – like disconnected paintings, more and
more self-referential. The answers can only be
multiple. There is plenty of room for monumental,
highly original architecture, but that can be properly
experienced only within a clear urban framework.
That is why the New Urbanism writes its codes
strictly, but leaves public buildings out of them. They
can be whatever the architect can imagine them to
be, always I hope thinking in relation to the place
and the community as a whole. A town can get
pretty dead without them. Look what New England’s
church and college buildings do for their gentle,
unassuming places.
Chao: The “old urbanism” of typical American
towns of yesteryear, the likes of Boston and
Williamsburg, were modeled primarily on the
Roberto Behar, Rosario Marquardt, Vincent Scully,
Catherine “Tappy” Lynn and Andres Duany.
English models, a logical consequence of the
heritage of the primarily Anglo-Saxon immigrants
that founded this union of states. But today’s
minorities and immigrants, i.e. African Americans,
Asians and Hispanics, are projected to represent
this country’s largest population blocks within the
next twenty years. In Miami-Dade County this is
already the case. How should this cultural shift be
reflected in the town making of America?
Scully: Ah, that is a very good question. When you
start to think of some of those traditions as AfroAmericanists like Robert Farris Thompson
understand them, you immediately think of
circular forms, whether in buildings and their
details or in the layout of villages or of smallish
urban groupings, such as Zimbabwe. The bigger
traditional African cities we know tend to be in the
north and to have been influenced by the
rectangular shapes and the Arabic models of
northern Africa... At the level of towns, though, I
don’t see us adopting the village model...building
villages in the round...though I can imagine
African-American architects introducing some sort
of revival at small scale, but it would surely be an
awkward fit in relation to existing North American
urban structures and the ways of life of
contemporary African Americans.
Chao: What of the Hispanic traditions, which
have been present in North America in one form or
another since the late 1500’s? Curiously, many
of those models are also based on Roman
planning and Arabic traditions that came by way
of the European conquistadors.
Scully: Here the Spanish models, based on late
medieval reconstructions of the prophecies of
Ezekiel and so creating the square grid prescribed
in the Law of the Indies, were exactly parallel to the
seventeenth-century nine-square plan of New Haven,
Connecticut, which was based on a reconstruction
of Ezekiel’s city as well. Then that grid, unknown
otherwise to the English colonies, eventually
became the planning norm according to which
almost all later American cities were laid out.
Chao: It will be interesting to observe the evolution
of cities as more and more of them begin to reach
or even encroach upon their edges. Miami-Dade
County has already reached its Urban Development
Boundaries to the west. Perhaps locally, there is also
something positive to be re-learned from the
Spanish urban typologies found in Old San Juan, or
St. Augustine, and for example, to adapt the urban
dwelling types of Old Havana with their porticos and
the porous and street-level zaguan, connecting
courtyard to street in a transparent fashion. These
types would certainly be well suited to Miami’s
humid climate.
Scully: Well, that is fine. Anything that shapes
the street is reasonable. They would have to be
worked into existing fabrics though and the
same is true for other European examples as
well. But it is interesting that so far we haven’t seen
many successful examples of higher density
projects in general. I mean, I think of course of
Peter Calthorpe, certainly a capable designer, and
well, his row houses that are now replacing the
high-rise Horner Houses in Chicago under HUD’s
Hope VI Program. They have a tough urban scale;
four stories high, a little like New Haven’s frontalgabled three-family houses facing the street.
Calthorpe’s are perhaps a little awkward, but they
recreate the dense scale of their vernacular urban
predecessors. So I think it can be done. But it is a
difficult task. And digressing just a bit, if I am to be
quite honest with you, I find that many New
Urbanist projects suffer from a kid of blandness
that Seaside, which I love, does not have. Seaside is
funky, and the things I used to get upset with
Robert Davis for – letting people like Chatham cut
the row house in half, and other things that pushed
the limits of the code far beyond its original
intention – well, I now think that he was absolutely
right to do so. The basic quality of Seaside is that it
is a resort like a Chautauqua community in a very
beautiful and special setting. There are other places
– oh, such names – that somehow come out quite
banal. They look like country clubs, and hell, I have
hated that all my life; whereas Seaside is tight; it’s
hot, has few trees, no grass, only its jungle, and it
looks out over the dunes with its quirky towers. I
love Seaside; it is a “work of art” of a special quality.
It really is the town as a resonant work of art. The
others, well, on the whole, they are okay, but I don’t
love them. When they evolve more wholly into
towns – or if they do – with places to work and so
on, I imagine I’ll like them better.
Chao: It is interesting that you should refer to
Seaside as “a work of art.” Back in 1981 you said,
and I will quote you: “Works of art are the most
pertinent of documents. They are bound into the
culture which produces them. But if they are in
some way enduring works of art they will
eventually outline the code of that culture and
suggest new meanings and ways of seeing not
imagined when they were made.”
Scully: Did I write that?
Chao: Yes, you did.
Scully: Really...I must have been better back then.
Anyway, Seaside was the product of a very special
set of circumstances. There were Lizz [Dean
Elizabeth Plater-Zyberk] and Andres [Duany] who
are highly talented, and they surrounded
themselves with equally thoughtful and sometimes
quite unpredictable architects, people from here
and everywhere, such as Melanie Taylor, Deborah
Berke, Douglas Duany for landscape, and so on.
And they had a great client, Robert Davis, who was
very special. And, I just think the mixture led to the
results. Their joint vision made Seaside possible.
You know, for example, around the crescent, Davis
could have used one of his fine town architects, like
Scott Merrill, to design a perfectly proportioned
continuous building as a town center. But he didn’t.
He let a more or less heterogeneous set of buildings
go up over time – one at least is truly appalling –
but they endow the place with a sense of human
life, mistakes, and change.
Chao: In Architecture: The Natural and the
Manmade, you gave us glimpses at the way
civilizations have evolved architecture based on
how the landscape influenced the design of
buildings and cities. You analyzed the contextual
order of man-made places with the landscape and
by comparing civic works with and city plans to the
natural world that gave rise to their existence, we
could better understand the reasoning behind their
evolution. That said, events of the last year have shaped
the way Americans now look at everything from their
homes to their workplace to their cities. Our landscape
was altered and our sense of boundaries has changed
too. What lessons can we learn from 9/11 regarding
our built environment, whether we are looking at the
individual increment or cities as a whole or their
relationship to the landscape and its resources?
Scully: Well, there are really a couple of questions there.
Chao: Let’s start with the issues of vulnerability and
sustainability; for example, our dependence on the
automobile. As a nation we currently consume
nearly a quarter of the world’s gasoline reserves,
something like one out of every seven barrels, but
we produce less than 5 percent of them. We are also
spread out – thin in most cases – and typically in
our “xeroxed Mc-Mansion” developments ad
infinitum, which lack any recognizable focus for
local governmental functions or the distribution of
assistance. Can we in good conscience pretend to
continue down the path of unbridled growth and
consumption? As a nation, and as designers, are we
that arrogant?
Scully: Well, I hope not. I pray not. I think we have
to look at the examples of cities that work, past and
present. We have to acknowledge the need for cars
but not just design our cities for them. You know,
once upon a time, Los Angeles had a wonderful
light rail transportation system that connected a
series of towns like Pasadena, San Pedro, Santa
Monica, Beverly Hills, etc., all of it similar in
concept to some of Peter Calthorpe’s proposals, his
“TOD’s” with their intrinsic rail system. But, one
reason we got to this point, let us not forget, is that
Eisenhower, during the Cold War Era, wanted to
be able to reach all major cities through major
arteries over which tanks and such could easily roll
into town. And so now, we all have to deal with
the presence of I-95 as it plowed through
neighborhoods from Maine to Florida, vibrant
neighborhoods like Overtown, tearing them totally
apart. And we never developed a supplementary
public transportation system to keep that monster
out of town and to keep it from metastasizing all
through the town. You know, Los Angeles also had
great boulevards, and cities today could well look
at that earlier abandoned model and find more
sensitive alternatives to dealing with the
movement of the car. In the older manner of
moving cars more gently through shaded
boulevards lined with sidewalks and buildings,
you did not wind up with Los Angeles’ superhighways, clogged with cars, sometimes with no
end in sight. Sure, boulevards might be slower
options, but they also offer alternative routes…and,
certainly a more pleasant ride, rather than a test of
endurance. And most of us would have to walk a
little more to make public transportation viable.
Chao: In the 1981 introduction to Three
Centuries of Notable American Architects, you
identified the three prevailing modern American
typologies: the suburban house, the center-city
office building – “out of which the skyscraper
was born as the eighth wonder of the world” –
and the modern roadway. We’ve touched upon
two of these issues. In light of the events of 9/11,
we have become keenly aware of the vulnerability
of our monuments, whether civic or financial.
What is the future of the skyscraper in America?
Scully: I think the cult of it is going to dwindle.
Simple logic points towards that. I think businesses
will think twice about perching themselves up on
the 80th floor. I mean, you cannot help but stop
and think of the loss of life and all the things you
have to do now to make people safer.
Chao: So, how do we resurrect that site and
commemorate the lives lost all the while rebuilding
responsibly?
Scully: Well, I think you start by opening up the
old grid of streets blocked by the towers, so making
the ground level better urbanistically than it was.
Vincent Scully, Sterling Professor Emeritus of the History of
Art at Yale University and Distinguished Visiting Professor at the
University of Miami School of Architecture
Then I suppose you surround the site with a ring of
lower, stouter structures than the towers were. You
end up with the same amount of square footage
to lease, but none of it is any higher than Pelli’s
adjacent World Financial Center. Anyway, you
build up the edge of the site and leave the center
open as a great public space that commemorates
the lives lost in some manner, perhaps with a
memorial or museum of some kind. I think that the
void, so formed, would balance the existing, more
or less pyramidal skyscrapers quite well, creating a
relationship exactly the reverse of the towers of the
World Trade Center with that group.
Chao: In several of your previous writings, you
have portrayed “late” 20th century skyscrapers as
“scale-less villains,” non-contributing members to
traditional urban fabrics…
Scully: Yes, I was referring only to the abstract
modern slabs, never to Chicago’s palazzi or
New York’s mountains and spires.
Chao: ...when recently asked by Metropolis
magazine how the WTC’s site should be
redeveloped, you said: “We should spit in the eyes
of the terrorists…When they got hit, all
associations [with the towers] changed.”
Scully: Yes, that’s right, they did.
Chao: What has made you change your mind?
Scully: Time. Like all Americans, I was outraged
at the event and I responded in haste and anger,
perhaps arrogantly, certainly emotionally. I did not
want to be dictated to by the terrorists. But, in
thinking it through, I realized that rebuilding
structures that were inherently flawed to begin
with was wrong. I mean, let’s face it, the towers
certainly became mighty symbols but were not
good on the ground and were too dangerously
high to ask people to work in today. I would never
go so far as Norman Mailer did in saying that it is
good that they are gone, but I think we should see
it as an opportunity to improve the public domain
at that site and to build responsibly for the future.
You certainly cannot rebuild the two tall towers
again. I don’t see it. But perhaps the two shafts of
light could be made permanent. Interesting how
something used by [Albert] Speer can change its
meaning as circumstances and contexts change –
and become deeply moving in new terms.
Chao: Many have thought of you as the “great
educator.” In fact, the eminent architect Philip Johnson
described you as “the most influential architecture
teacher ever.” You are passionate in your delivery and
a dedicated scholar and writer. What inspires you to
continue? And in particular, aside from our balmy
weather…why come to and remain at our school?
Scully: Oh well, thank you, although I don’t know
that I would want to be known as the greatest
anything. Isn’t that dangerously hubristic? Besides,
Philip Johnson always exaggerates. Anyway, the
answer to your question is easy. I simply cannot
stop teaching. I am addicted to teaching…I
apparently can’t live without it... can’t imagine my
life any other way. And my choice of Miami is really
thanks to the presence of Lizz and Andres. I share
their vision of making better, livable, and
respectable communities. More than that, as we see
at Seaside, they have a real flair. At their best, they
bring the art of architecture to the city as a whole.
That’s what I think is important. The young faculty
here, of which you are one, is a committed group of
scholars and designers…I think of Teofilo Victoria,
Jorge Hernandez…I enjoyed working with them
and my wife on the book Between Two Towers a
few years back…documenting the exquisite
drawings produced by the students and faculty
members, like Rocco [Ceo] and the others.
Chao: Is there perhaps a volume two on the horizon?
Scully: Volume Two? Hmm, well actually, Teofilo
and I are talking about a new, somewhat related
project…more about urbanism, but who knows
what it might turn into? Anyway, I just enjoy the
people here and want to make a contribution if I
can. I also enjoy the small class sizes. My courses
at Yale are large. And the one thing I enjoy most is
teaching with my wife [Catherine “Tappy” Lynn];
she is such a good and conscientious teacher…so
dedicated…it has been a real joy to share this
experience with her. She inspires me most of all.
Chao: We are all fortunate to have you both
teaching in Miami. I thank you for sharing your
knowledge and vision with us today and everyday.
February 28, 2002
– Sonia R. Chao, Lecturer,
University of Miami School of Architecture
4
Tracing Parallel Cultural Experiences Between Cubans and Cuban-Americans
In September 2001, a yearlong exhibition at the
Lowe Art Museum entitled From Modern to
Contemporary: Cuban and Cuban-American
Art from the Permanent Collection concluded.
The museum invited Cuban Art Advisory Board
member and SOA faculty Sonia R. Chao to chair
a symposium on architecture and art to coincide
with the end of the exhibition.
The daylong symposium, entitled “Tracing Parallel
Cultural Experiences between Cubans & CubanAmericans,” was co-sponsored by SOA with the
support of many, including Bacardi U.S.A., A.I.A
Miami Chapter, Le Basque Caterers and Mr. and
Mrs. Rafael Miyar. Lectures and panel discussions
addressed how ideas, styles and traditions have
cross-pollinated between Cuba and Florida for
Symposium audience at Lowe Art Museum
the past 500 years and the influence of culture
on place-making. Participants included Andres
Duany, the Smithsonian’s Miguel Bretos,
Universidad Politecnica de Puerto Rico dean
Jorge Rigau, local Cuban-American architect
Raul Rodriguez, visiting Cuban architect Jose
Antonio Choy, Jose Hevia, president of
Codina Construction, Florida International
University professors Dr. Juan Martinez, Carol
Damian and Nicolas Quintana, SOA faculty
members Jorge Hernandez, Rafael Fornes,
Tomás Lopez-Gottardi and Jose Gelabert.
Visit www.arc.miami.edu for more information.
A video documenting the proceedings is available
through SOA. To order, please refer to page 16.
Andres Duany, Rafael Fornes, Jose Antonio Choy, Tomás Lopez Gottardi, Jorge L. Hernandez, Jose Hevia, Jose Gelabert and Jorge Rigau.
Historical Cross-Pollination Through 1960: Straddling a Cultural Frontier
The following authorized re-printed paper was delivered
at the “Tracing Parallel Cultural Experiences” symposium
held on September 21, 2001.
One of my favorite and most quotable people
is a late colleague from the Oberlin College
faculty, Frederick Binkerd Artz. Freddie, who
was a prince among scholars — was a worldrenowned authority on the Renaissance and
biographer of Erasmus of Rotterdam — he
had a pet phrase: “History is useless save for
one thing: it lets you look at the future
without panic.”
Goodness knows that, more than ever in
American history, there would seem to be
cause for panic. Much has changed in our
nation and the world since 9/11. A few weeks
before that infamous day, we learned with
horror of the destruction of Bamian’s
Buddhas. The cyclopean sculptures, carved
on an Afghan mountainside by the piety of
long ago, had stood in majesty for centuries.
In a matter of days, they were pulverized.
Who would have thought that, in our lifetime,
the World Trade Center, no less, would suffer a
similar fate? Who could have seriously
imagined America’s iconic skyscrapers looking
like the ruins of Persepolis? Such things are not
supposed to happen.
It is a well-known dictum that we make
our buildings and our buildings then make us.
I had the opportunity to reflect on the power
of spaces during a recent visit to Cuba on
Smithsonian business–the first in forty years.
Actually, I was really going to Matanzas. To get
there you have to go through a place called
Havana, which happens to be on the way.
Neat place, this Havana! I had almost
forgotten how beautiful our capital really was.
In my imagination, the imagination of a
guajirito [provincial kid] from the provinces,
Havana loomed grandiose, larger than life.
I was struck by how modest the scale of
Havana really is. I was expecting Aida and
found instead Cosi Fan Tutte. But, what a
production! Havana is not Verdi; it is Mozart.
Peeling paint or not; crumbling walls or not;
it is—next to Sydney—the most beautiful
New World city I know.
I must confess to two moments of
enlightenment during my Cuba sojourn. One
took place during a visit to the old Havana
Biltmore Yacht and Country Club, beautifully
restored and—once again—an exclusive club
for members who pay high fees: door bouncer,
manicured lawns, big cars, the unmistakable
feeling that people of quality were about. It
actually reminded me of that famous last
chapter of Orwell’s Animal Farm.
The other was at the corner of Galiano
and San Rafael. To a provincial kid, this is the
Havana that mattered. El Encanto, Fin de
Siglo, Flogar, Christmas shopping, matinees at
the America, a bite at the Pullman before
heading back across the Tunnel and the via
blanca to good old Matanzas, which had none
of that. It struck me that in the still unsightly,
gaping void where El Encanto once stood,
there rises a huge tree—forty years’ worth of
growth. It was a bittersweet experience: to
realize how much “I” belonged there, and how
much “there” belonged to me. On the other
hand, in the shadow of that very tree, two
generations of fellow Cubans had grown
whose life experiences, thoughts, concerns and
values were radically different from my own.
To understand each other, we must talk to one
another. And, if talk we must, that
conversation must take place within a space
that is physically and spiritually Cuban.
It is remarkable how we relate to our
surroundings; how the poetics of space work.
This symposium will deal with many aspects
of that space: how it is designed and
constructed, altered and preserved, both here
and there or, like my good friend Cristobal
Diaz de Ayala is fond of saying “al norte y al
sur del Malecón.” Notice again the allusion to
the built environment as the frame of
reference. A culture’s sense of the
organization and design of space is every bit
as tenacious as a taste for the foodstuffs of
childhood.
I arrived in the United States with my
sister and cousin as a Pedro Pan child one hot
August day in 1961. A bizarre memory sticks
on my mind about that day. Earlier that week,
someone had hijacked a plane full of
passengers—it was an Eastern Airlines
Lockheed Electra, if I recall—and forced the
pilot to fly to Havana. The first time ever that
such a thing happened. Little did we suspect
what that pioneering act of piracy portended!
It was a rainy day, that day, back when the
County Courthouse—the tallest building in
town by far— was known by the local Cubans
as Cielito Lindo [Lovely Heaven], the late,
lamented Bayfront Park as the Parque de las
Palomas [Pigeons’ Park], and the Miami
Avenue drawbridge was still made of wood.
Back in those days the delicious term
Saguesera [slang for Southwest] — I wonder
why we do not use it anymore—was beginning
to gain currency and Pastorita was a complex of
apartments near what was rapidly becoming la
Calle Ocho del Sague [SW 8th St]. Jayalia
[Hialeah] was not yet colonized and Coral Gables
had, or so Cubans affirmed, a lovely shopping
I remember touching with reverential awe
the railing at the entrance of the cigar factory
where Marti had spoken to Tampa cigar
workers in 1891. Physically that building
was, of course, in Florida. Functionally, it was
an artifact of what we would call today Cuban
“diasporic” culture. But spiritually, that
building was in Cuba itself; a Cuba that
transcended territoriality and had to be defined
quite otherwise. That moment, I now realize,
was the beginning of a lifelong conversation
with Florida history.
Let me submit to you what I believe is a
useful framework to understand the CubaFlorida relationship. Cubans and CubanAmericans live on both sides of an historic
frontier. Think of the Straits of Florida as a
Rio Grande writ large and you get the idea.
Actually, I could think of no better emblem
for that frontier than Cuba’s coat of arms,
which depicts the relationship neatly: a key
(Cuba—“the key” to the Gulf) set between
two headlands (Florida and Yucatan.)
Like all frontiers, this frontier is permeable,
allowing for traffic and ideas both ways. Fidel
Castro’s greatest—if irrational—achievement
was to have made the famous 90 miles seem
more like 900. At the same time, ironically, and
precisely because so many from the Cuban
nation have made it to these shores, he ensured
the perennial vitality of the Cuba-Florida
Photo of Cuban architecture by Mabel Rodriguez
Symposium artwork design by Rafael Fornes,
poster graphic design by Samuel Hall
center called Mira Comay[Miracle Mile]… “Pero
nada como La Habana—esto es un pueblo de
campo”. [Nothing like Havana – this is a
country village.] Which, of course, was right.
Despite all these early appropriations of
space (the first wave of appropriation is
always linguistic), I was, and very much felt
myself to be, an exile. I did not expect to
remain one for long, however. Surely we
were all going back to Cuba in a few months,
no doubt. That was before the missile crisis
of 1962. A few months, I said? Four hundred
and ninety-two months have in fact elapsed–
enough to quit worrying about acne and start
worrying about Alzheimer’s.
During those days, it was my good
fortune to live for a while in Tampa. One
day I was walking through the streets of
Ybor City — that is, intact, pre-urban
renewal Ybor — when stories I had heard in
my childhood in Cuba came suddenly alive.
They were stories about my greatgrandmother America del Pino’s own exile
in Tampa in the 1890’s, and about my
grandfather coming of age in Florida at the
turn of the century. And there they were:
the Cuban Club, the Pasaje Hotel, the
Asturian Center, the Martinez Ybor
factory — the whole ensemble of recreated
Cuba built by my ancestors and fellow
exiles of way back when.
connection/the Miami-Havana axis/or, if you
prefer, the Luyano-Hialeah entente.
You can count on it. Cuba and Florida are
linked and will remain so for the foreseeable
future. This has wide implications as we try
to answer the question: what will the exile
community have to do with Cuba’s future.
My answer: plenty, if we do not blow it.
Is there a prescription for the immediate
future? Let us reach out to the Cuban people
as best we can. I emphasize: the Cuban
people…and, to do so in a wholesome,
intelligent and informed fashion, without
stridence or hypocrisy. I, for one, am extremely
proud of Chucho Valdes, of the fact that
Chucho is a musical genius, and a Cuban like
me. I am dismayed by the notion that
patriotism consists in preventing Chucho or
the Van-Van from playing in Miami. Surely,
there is a better way.
But not to wander off. I want to
explore with you briefly some of the
highlights of that old historical connection
of which I spoke earlier. Colonial Florida
was run essentially from Havana. Six
governors of Spanish Florida, in fact, were
Cuban-born or the progenitors of
distinguished Cuban lineages: Laureano
Torres de Ayala, Juan de Ayala y Escobar,
Manuel Joseph de Justiz, Jose Coppinger,
Sebastian Kindelan and Jose Callava.
Their life stories, like those of many
colonial Floridians, unfolded on the island and
the peninsula. Take the case of Captain Juan de
Ayala y Escobar. The Cuban-born Ayala was no
obscure Florida colonist. He was one of St.
Augustine’s prominent vecinos [neighbors],
who all but controlled the colony’s trade with
Cuba at the turn of the 17th century. Alas, the
good captain was inordinately fond of
gambling and whores. Of the latter, there was
no dearth in colonial St. Augustine, and Ayala
seems to have known each and every one of
them all too well. At one point, he sent his wife
and children to Cuba so that, as local gossip
had it, “he could be free to roam about.” His
conduct became such a scandal that the
governor of the day, who did his best “to keep
him distracted,” asked that he be posted back
to Cuba, hopefully to Matanzas.” While in
Cuba, Ayala y Escobar must have played his
political cards very well because in 1716 he
came back to St. Augustine—as governor.
The Florida [Catholic] church was an
appendage of the Cuban church. Florida’s first
bishops—whether you refer to Dionizio
Recino, the first bishop to set foot on Florida,
albeit for a short three weeks in 1709 or Luis
de Penalver, the first prelate to have
proprietary jurisdiction over Florida—were
Cuban born. The important Florida Franciscan
missionary enterprise was run essentially from
Havana. As current archeology is increasingly
demonstrating, it departed radically in its
arrangement of space and its physical design
from the well established model developed in
new Spain in the 16th century and which, with
variations, seems to have held throughout
the Spanish colonial empire. The best
description of a Florida mission layout is that
it was, simply, a batey. Cuban troops fought
with Galvez in Pensacola in 1781, possibly
changing the outcome of the American
revolutionary war.
There is, of course, the life of Father
Felix Varela, who grew up in Florida to
become one of the intellectual authors of
Cuban nationhood and came to die in
Florida in odour of sanctity the same year—
and within days—of Marti’s birth. Who, of
course, also came to Florida. One could go
on and on because the plot thickens as the
19th century wears on and the Cuban
struggle generates our first mass migration—
to Key West and then Tampa.
Years ago, I asked myself the question:
when did the first Cuban come to Florida? The
best-documented answer I have been able to
come up with is: 1539, with Hernando de Soto.
They were Pedro Moron and Diego de Oliva,
Cuban mestizos from Bayamo.
What is remarkable about the Cuban
history of Florida, therefore, is its remarkable
scope. A significant, continuous Cuban
presence in Florida can be documented for
almost half a millennium. That presence is
neither incidental nor anecdotal: it is
fundamental. The unprecedented demographic
and cultural intensification of that presence is,
ironically, Fidel Castro’s gift to the United
States…and, quite possibly also, to the Cuba of
the future.
Whatever that future may hold, let us
face that future with faith that, in the end, the
moral, spiritual and intellectual resources of
our nation—both “north and south of the
Malecon”—will rise up to the occasion, like
they have in the past.
Let us face it with hope that there will be
a place in it for all of Cuba’s scattered children.
But, above all, let us face it with love: that our
love for Cuba becomes a love for all Cubans—
without exception. And let us face it, as
Freddie Artz would have it, without panic.
– Miguel A. Bretos, Senior Scholar, National
Portrait Gallery, Smithsonian Institution
5
Celebrating the Wisdom of Historic Landscapes
In September 2001, the Charles Deering
Estate at Cutler, the Miami-Dade Park
and Recreation Department, and the
School of Architecture, with the support
of the Deering Foundation, hosted a
well-attended opening of the exhibition
Historic Landscapes of Florida.
The exhibition coincided with the
release of the same titled publication
by Rocco Ceo and Joanna Lombard
that features historically significant
landscapes, many by Florida’s early
settlers and still worth visiting today.
The fruits of Ceo and Lombard’s eight
years of labor and collaboration with 100
students culminated in the documentation
of 27 historic gardens throughout Florida.
The landscapes, found across the state,
encompass more than a century of design
between 1838 (Indian Key) and 1961
(Harry P. Leu House and Gardens).
Southeast Florida gardens represented
include: The Charles Deering Estate at
Cutler, The Barnacle, Coral Castle, Bonnet
House, Parrot Jungle and Fairchild
Tropical Garden.
In March, the exhibition traveled to
Florida’s west coast and opened at the
Edison & Ford Winter Estates Museum.
The drawings will remain on display there
until September 3, 2002.
In April, Historic Landscapes of
Florida won a 2002 Preservation Award for
Outstanding Achievement in the category
of Preservation Education/Media, from
the Florida Trust for Historic Preservation.
The award ceremony was held on May
17th in St. Petersburg.
Also in May, Ceo and Lombard
lectured to the Lee Trust for Historic
Preservation in Fort Myers on Florida’s
Historic Landscapes.
Historic Landscapes of Florida is now available
at SOA. To order, please refer to page 16.
Visit www.arc.miami.edu for more information.
The Legacy of Florida’s Historic Landscapes
The following article is an authorized re-print of the
introductory chapter of Historic Landscapes of Florida,
a book authored by Rocco Ceo and Joanna Lombard and
published by The Deering Foundation and the University
of Miami School of Architecture in 2001.
Theodor de Bry, the sixteenth-century
publisher, acquired Jacques le Moyne’s Brevis
narratio…in 1588. De Bry made new
engravings of the Florida paintings and
captured the European imagination with his
adaptations of the images and narrative.
While le Moyne had balanced artistic vision
with reportorial accuracy in the paintings of
his voyage to Florida with René de
Laudonnière in 1564, de Bry offered a more
exotic interpretation. He endowed the natives
with Olympian proportions and features,
familiarized the landscape, and aggrandized
the wildlife, initiating what may have been
the first published representations of Florida
as a fantastic land of wonder.
Using artistic license to move subject
matter closer to an ideal is not uncommon,
but in Florida, the practice took a less usual
twist, and the landscape itself became a
canvas upon which more colorful and
dramatic features were drawn. The
consequences have become significant.
Florida’s benevolence encouraged the growth
not only of exotic plants and animals but also
of a human population whose attendant art
and commerce has transformed the original
landscape, and in particular the coastal
wilderness. Much of what remains of
mangrove, hammock, pineland, and coastal
dunes exists as a result of determined acts of
preservation that can be credited to the
builders and later, the advocates of Florida’s
early gardens and parks.
The formidable task of making these
gardens, grounds, and parks available to the
public has been undertaken by numerous
institutions and organizations. Community
groups, such as the Indian River Land Trust
who restored what is now the McKee
Botanical Garden, have rescued important
historic landscapes from the most common
fate of Floridian land, development as tracts of
commercial or residential properties. Once
rescued, however, historic landscapes are now
preserved and restored using methods that are
relatively new to the twenty-first century.
The United States Department of the
Student drawing of Indian Key, 42" x 71", ink on mylar, 2000
Interior is still developing standards to assist
local organizations with the process.
Whatever form those standards take,
preservation or restoration must be founded
on the solid knowledge of what was
intended and realized by the creators of
each landscape. That knowledge depends
on research. The documentation of the
historic landscapes shown here is the result
of a range of research that uncovered ample
information on some gardens and sparse
material on others. In several cases the new
drawings are based on measured drawings
by the original designers. More often, the
reconstruction drawings rely on period
photographs. For a few landscapes, written
texts from the period exist and occasionally
the observations of the original designers
survive. What these studies uniformly
reveal, however, are the rich opportunities
these landscapes present for more extensive
investigation. Both the primary documents
for these places, as well as archaeological
studies of the sites are important to an
understanding of Florida. These materials
guide scholars and enthusiasts in
conserving and rebuilding these valuable
monuments.
The historic landscapes of Florida offer a
window through which one views the
meeting of new arrivals and the authentic
Florida, where exotic materials were
highlighted against a vast native context. In
addition to revealing conditions otherwise
lost to the present day, the historic landscapes
yield lessons about the thoughtful use of
plant materials and the wise placement of
buildings. The early estates of Miami, for
example, were built high upon the ridge of
oolitic limestone that still provides protection
from storms and floods. These sites
commanded expansive views over the
mangrove to the bay beyond. Clearings
through the mangroves for water landings or
vistas were generally judicious and specific.
The preservation of wetlands and tree canopy
on these sites, as well as the architecture still
offer useful models.
A number of these gardens and parks
were built originally as private estates. Since
ancient Rome, estate gardens have been
opened to the public on specified occasions
and were often represented as important
symbols of the community’s civic art.
Similarly, the expansive Floridian estates, as
well as more humble properties, have now
become significant civic monuments. These
historic landscapes still have the capacity,
and in many cases, the size to impart a sense
of grandeur far beyond what individual
buildings achieve.
The prospect from the plateau of
Mountain Lake Sanctuary, or the open
ellipse that brilliantly illuminates the fringes
of the hammock at McKee Botanical
Garden– these are Florida’s magnificent
salons and halls of public space. Their
interweaving of the native and exotic recalls
the palaces of the Bourbon kings of France
whose walls, stairs, and ornaments come
from the native rock of French quarries and
whose halls were filled with the art of the
world. At Vizcaya, a visitor to the estate was
led through miles of hammock and
mangrove that the estate originally
encompassed before finally reaching the
parterre, a garden room lined with Italian
sculpture. Such landscapes remain vigorous,
and occasionally, eccentric spaces which still
draw people to them and figure prominently
in the cultural heritage of the state.
The messages of these gardens are both
unique to each setting and common to all.
Today, most historic landscapes, even some of
the best maintained, have been overlaid with
new materials and interventions. In some
cases, important views within the gardens are
affected by the profiles of modern buildings
on adjacent and also, distantly related
properties. In almost all cases, little remains of
the larger context. To reconstruct the historic,
designed landscapes, in life and in drawings,
is to recreate the experience of the moment
when Florida was fresh, its native landscape
still intact, its history still connected to a
geological time frame.
Marjory Stoneman Douglas, in The
Everglades: River of Grass, poetically traces
Florida’s human history back twenty thousand
years. Up until the late nineteenth century,
urban settlement was limited. Not until
Flagler’s railroad fully penetrated the state in
the opening of the twentieth century did
Florida host a significant urban population.
The initial encounter of the first wave of
pioneers, utopians, adventurers, naturalists,
and connoisseurs with Florida’s fragile and
complex landscape produced important
moments in which the confluence of time,
culture, and aspiration is revealed. For the
next fifty years the changes in Florida’s
population can be discerned in its gardens
and grounds. Reconstructing these
landscapes in the new drawings, as well as
exhibiting drawings of the period, represents
those moments.
Understanding the role of the historic
designed landscape, at its inception and in the
present, can also suggest directions for the
future. Offering guidance, Marjory Stoneman
Douglas’ insightful description of the
destruction wrought by the 1926 hurricane is
suggestive. After discussing the horror of the
storm and the tragic loss of life and property,
she noted that: in the ruined city, the cheapness,
the flimsiness, the real estate shacks, the billboards,
the garish swinging signs, the houses badly built,
the dizzy ideas, the boom itself, was blown away.
What was left were such foundations of buildings
or ideas as had been well and truly laid. There was
the sea and the bay, tranquil and innocent already
as blue flowers. There was the rock below, the sun,
the fine exuberant air. And the courage, the
fundamental character, of a sobered people.
The historic landscapes surely were “well
and truly laid.” The importance of these places
today is all the greater for their endurance.
When most of these gardens and grounds
were originally carved from a native
wilderness, the gardens were understood as
inspired episodes within a dense context of
tropical woods. Now that so little of the
original context is left, the native materials that
were interwoven within the gardens have
become precious remnants of a lost landscape.
The historic gardens are exhilaratingly
beautiful. Similar to the realizations of
those early citizens in the face of their
cataclysmic loss to the hurricane, the view
of what remains after the vast storm of
Florida’s land development is also
humbling and sobering. The landscapes
presented in these drawings, through their
fundamental good sense and clarity of
design, can inspire a new relationship in
Florida—between its land and its people.
– Joanna Lombard, Professor,
University of Miami School of Architecture
Detail of Everglades City drawing, 36" x 73 1⁄2 ", ink on mylar, 1996
6
Center for Urban and Community Design
The Center for Urban and Community Design
(CUCD) has been working to build social and
physical capital in West Coconut Grove with
assistance from The John S. and James L.
Knight Foundation and the U.S. Department of
Housing and Urban Development. Several
projects have been initiated under the
leadership of Professor Samina Quraeshi
and CUCD Director Richard Shepard to
understand, encourage and implement
neighborhood-based development. These
consist of preparing a strategic development
plan for West Coconut Grove including
economic goals and design standards, creating
a new community-wide organization to
implement the plans, planning new prototypes
for in-fill housing for first-time homebuyers,
planning renovation of existing commercial
properties, and finally guiding the planning
and development of a new community school.
The Coconut Grove Collaborative, Inc.,
has been established to coordinate the
existing neighborhood organizations. It is
expected that by June 2002, the preliminary
strategic plan and a report describing the
next steps will be ready.
City of Miami Commissioner Johnny
Winton and the Local Initiatives Support
Corporation (LISC) have endorsed this work
West Coconut Grove community meeting, with Knight Fellow C.C. Holloman and Professor Samina Quraeshi.
with the community and will provide policy
and management support corresponding with
the CUCD’s design and technical advice.
The existing grants are devoted to creating
community development plans and establishing a neighborhood organization; however,
additional funding must be sought in order to
implement the actual projects and continue
the design work. Sophomore and junior
undergraduates have been involved with the
design work. Second year students designed a
live-work unit along Grand Avenue with the
Grand Avenue Proposed Drawing by graduate students Ricardo Lopez and Alejandro Zizold under the guidance
of Professor Jaime Correa.
guidance and supervision of faculty Carlos
Casucelli, Carmen Guerrero, Matthew Lister,
Armando Montero, Kristopher Musumano,
Erik Vogt, and coordinator Carie Penabad.
In designing a “House for Two Sisters,” the
students developed a shop at the ground
level and housing above, providing an urban
model for revitalization and allowing for the
investigation of relationships between type
and program.
Third year students were asked to restore
the historical Ace Theater, located on Grand
Avenue, proposing uses that address
community needs. With faculty Adolfo Albaisa,
Sonia R. Chao, David Fix, Oscar Machado,
coordinator Joseph Middlebrooks, Aristides
Millas, Luce Professor Samina Quraeshi and
CUCD Director Richard Shepard, the 60
students produced a variety of proposals
including a recreational youth center, a jazz
club, an inter-denominational church, and an
African-American and Caribbean Museum.
Dorothy Wallace, owner of the Ace Theater,
facilitated the design process by meeting with
Shepard, Quraeshi and Chao to outline the
parameters of the project; Ms. Wallace
encouraged student site visits and attended
the final review. Currently Erik Vogt is
compiling a master plan containing different
projects for Coconut Grove that have been
completed by SOA students. It is hoped that
these efforts will not only visually and
physically enhance West Coconut Grove, but
will also promote communication within the
neighborhood, increase economic activity and
give a renewed commitment to the
neighborhood by local government.
For more information, please contact Richard
Shepard, CUCD Director at (305) 284-3439.
The Living Traditions of Coconut Grove is now
available at SOA. To order, please refer to page 16.
Ace Theater Rehabilitation Project: Coconut Grove School for the Arts by Matthew Vallero, ’04
The Knight Program in Community Building
2001 Knight Program Fellows Peter Brown and Dhiru
Thadani at the March 2002 seminar.
The Knight Program in Community Building
has completed its first year of activities.
The program extends the John S. and
James L. Knight Foundation’s commitment
to community service with a mid-career
program of professional development. The
program addresses urgent issues associated
with community building, including suburban
sprawl and inner city disinvestment. It is the
goal of the program to advance the knowledge
and practice of community building across
disciplines, crossing the barriers between the
professions engaged in community building
and advancing holistic approaches to
building better places to live, work, and
engage in civic life. The first year of the
program witnessed the launch of a mid-career
fellowship program, a graduate scholarship
program and a publication series.
Knight Fellowships are awarded
annually to a diverse group of twelve
distinguished mid-career professionals
with an active interest in the interdisciplinary process of community
building. Fellows include economic and
community development professionals,
housing experts, transportation specialists,
architects, planners, scholars, community
leaders, policymakers, journalists, and
social theorists. During the first year, the focus
was on revitalization issues at the neighborhood
and community scale. The second year of the
program will concentrate on regional issues.
During the first year, the Knight
Program organized several conferences
and events including the Beall’s Hill
charrette in Macon, Georgia during
November 2001, the “New Plazas for New
Mexico” symposium in October 2001, and
the “First Transect Seminar” in March 2002
focusing on the Rural-Urban Transect concept.
A publication program has already
produced and supported a variety of
publications including The New Urban
Post, The Council Report, and charrette
related publications. The program supports
the publishing initiatives of the New
Urban Press.
The first year Knight Fellows have
been productive. Cecilia Holloman is
playing a crucial role in the revitalization
initiatives in West Coconut Grove. She
has developed a “Toolkit for Controlling
Gentrification,” identifying resources
for preserving affordable housing and
revitalizing inner-city neighborhoods.
Lee Sobel wrote “Greyfields to
Goldfields,” containing strategies for redeveloping dead shopping malls into
mixed-use neighborhood centers. He also
wrote Greyfields No More, a forthcoming
publication.
Ken Hughes organized a symposium
in New Mexico entitled “New Plazas for
Mexico.” Peter Brown, during the Macon
charrette, was a vital liaison between the
Knight Foundation and the community.
Benjamin Starrett developed a business
plan for an urban design center focusing on
community building initiatives in Overtown
and other South Florida communities.
The Knight Program also awards
scholarships to graduate students enrolled
in the Suburb and Town Design program.
They participate in Knight Program
research, publications and interact with the
Knight Fellows.
Knight Program Director Charles Bohl addresses Knight
Fellows at the March 2002 seminar.
2001 Knight Fellows
Peter Brown, Richard Hall, Cecilia
Holloman, Ken Hughes, Jennifer Hurley,
Tim Keane, Philip Langdon, Joyce Marin,
Peter Musty, Lee Sobel, L. Benjamin Starrett,
and Dhiru Thadani
2002 Knight Fellows
Lester Abberger, Tom Borrup, Joyce
Crosthwaite, William Gietema, Neal Rayton,
Gloria Katz, Milt Rhodes, Kofi Sefa-Boakye,
Arnold Spokane, Peter Swift, Laurie Volk,
and Barbara Vroman
2001 Knight Scholars
Andrew Georgiadis, Ricardo Lopez, and
Alejandro Zizold
2002 Knight Scholars
Ivette Mongalo, Hector Burga, Felipe Van
Cotthem, Erin Pryor, and Christopher
Podstawski
For more information, please contact Chuck Bohl,
Knight Program Director at (305) 284-4019.
First and Second-year Knight Fellows gathered at UM for “The Region: Metropolis, City and Town.”
TRAVEL PROGRAMS
Palladian Villa Program, Villa Rotonda visit, Intersession, Winter 2001
Architects enter a pre-existing, disorderly
world formed by earlier generations, which
they proceed to adjust for subsequent
generations. Each age assimilates the past and
present and assesses the future. Each
designer perceives uniquely the responsibility
of transforming the built environment - all
partake in its evolution by integrating the
legacies of knowledge and culture, in turn
providing the foundations upon which others
shall build. As custodians of the built world,
architects are watchful of the achievements of
the past, learning from them over and over
again. Because this process is continuous,
there is always a legacy for one generation to
pass to the next with the sequence dependent
upon a continuous flow of knowledge.
Theory and practice form the
counterweights of architecture. Ars and
scientia or Ratio-cinatio and Fabrica, design
and building, reveal the contrasting
characteristics of architecture. The narrative
of architecture as idea and reality is woven
together, told and understood through
experience. Architecture, much like art and
music, is meant to be experienced. Musical
notes and floor plans on a page can
communicate important lessons, but to hear
Mozart or walk through the Pantheon is
inspiring.
For centuries, architects, whether in
training or in practice, have journeyed on
“grand tours” in order to better understand
the wealth and inherent values of their
built patrimony. Since the expeditions of
Pliny the Elder, students, theorists and
practitioners, including Leon Battista Alberti
and Louis Kahn, have all marveled at the
proportions and material qualities of Roman
antiquity. As a result, we enjoy the fruits of
their knowledge in the form of treatises such
as Re Aedificatoria and built masterpieces
such as the Salk Institute.
Had Schinkel and Le Corbusier not traveled
to the Mediterranean basin to learn from its
poetic vernacular scenery and classical
monuments, would Charlottenhof and
Ronchamp have been such seminal works? Is
not the influence of ancient Japanese gardens
self evident in English landscape design?
And, if Leon Krier had not extensively
explored traditional European cities, could his
research and writings have been so profound as
to mobilize a generation of designers to reexamine the design of cities? All these
achievements are indelibly linked to scholarly
travel, as are the unsung accomplishments of
The Rome Program, Venice field trip, Fall 2001
Sophomore class, ARC 203 Design Studio, Boston site visit, Fall 2001
Roman Capitals, Sketches by Sofia Wilson, ’03, Fall 2001.
architects that incrementally and mindfully
contribute to the fabric of our cities.
The faculty of the University of Miami
School of Architecture recognizes the
fundamental role of architectural pilgrimages in
the formation and evolution of an architect.
Through structured settings, it provides
students and professionals with a wide range of
opportunities to research, document and learn
firsthand from architecture’s grand and humble
examples of excellence around the globe.
School of Architecture programs have traveled
throughout the United States as well as to
Africa, Asia, Europe, Latin America, and the
Caribbean. Program durations vary and
enrollment is predicated upon good scholastic
standing. Curriculum offerings range from
introductory to upper-level and graduate courses.
The semester-long Rome Program
accepts fourth and fifth year students and
is based in the Eternal City’, where the
School provides a studio classroom space
and students live in nearby apartments. In
parallel with the School semester schedule,
students register for a six credit design
studio, an advanced drawing course and
three seminars on topics related to Italian
architecture and art. A graduate program
semester in Rome will be provided for the
first time in fall 2002. The Rome Program
involves frequent field trips within the city
and to surrounding destinations.
Other travel related study opportunities
are available during Intersession and
Summer sessions, and recent destinations have
included a number of European countries,
Russia, China, Peru and the Yucatan. These
courses are open to all University students for
credit and to the public without credit.
A number of them provide professionals
with continuing education credit.
The “City Studio” is an annual summer
session course, which travels to a city of global
importance. With a core faculty that provides
continuity from year to year, “City Studio” has
traveled to Iquitos, in the Amazon; Sevilla,
Spain; Athens, Greece; Antigua, Guatemala;
San Juan, Puerto Rico; Tokyo, Japan; and to
Shanghai, China.
Through these diverse travel programs,
the School aims to enhance, facilitate and
generally enrich the academic pursuits and
educational experience of its students.
For more information on the Travel Programs,
visit www.arc.miami.edu or contact Academic Services
at (305) 284-3731.
City Studio program, Great Wall of China visit, Summer 2001
ROME PROGRAM
The Rome Program is directed by Professor Jose Gelabert-Navia. Participating faculty members in the Fall 2001 & Spring 2002 programs were:
Sonia R. Chao, David Fix, Gary Greenan, Carmen Guerrero, Jean-Francois Lejeune and Thomas Spain.
“The Metaphysical Museum, Sabaudia, Italy” by Francisco Alvardo & Kelly Stewart, Fall 2001
“Porta Pia” by Patrick Hood-Daniel, Spring 2001
“Casa di Fiammetta” by Marian Martinez & Kelly Stewart,
Fall 2001
“The Other Modern” by Georgy John, Spring 2001
“San Giovanni in Laterano” by Kristoffer Koster, Spring 2001
“Harmonic Principles of Proportion, The Baths of Caracalla” by Xuan Flores,
Mariel Garcia & Michelle Luna, Fall 2001
“Harmonic Principles of Proportion, Ca’ d’Oro” by Maikel Leyva
& Marian Martinez, Fall 2001
CITY STUDIO: TOKYO
The “City Studio” is directed by Associate Professor Teofilo Victoria.
Participating faculty members in the Summer 2001 program were: David Burnett, Adib Cure, Carie Penabad, Jorge Trelles and Luis Trelles.
“Fans” by Maria Beatriz Elias, Summer 2001
“The Way of the Koi ” by Fernanda Sotelo, Summer 2001
“Wearing Tokyo” by Maria Martinez, Summer 2001
“The Umbrella” by Marie Kay, Summer 2001
TRAVEL PROGRAMS
Professor Tomás Lopez-Gottardi is the director of several alternating Summer and Intersession programs including those to Europe, Russia, Morocco, the Yucatan and Puerto Rico. Professor Gary Greenan
directs the London and China programs, concentrating on landscape design issues and architecture. Professor Teofilo Victoria directs several intersession programs including a Palladian Villa Grand Tour.
Professor Jean-Francois Lejeune has directed graduate student collaborations with students, faculty and professionals in Dessau, Germany.
Greek church, drawing by Patrick Hood-Daniel, Summer 2001
Sketchbook drawings by Kevin Kunak, Intersession, Winter 2001
Analytique by Brian Scandariato, Summer 2001
“House and Garden” drawing detail by Dave Woshinsky, Spring 2001
Sistine Chapel detail drawing by Patrick Hood-Daniel, Summer 2000
Sketchbook drawings by Anne Finch, Spring 2001
11
Knight Program Charrettes: Macon, GA and Coral Gables, FL
Hilltop Belvedere, drawing by Shailendra Singh
Pedestrian bridge proposal
Coral Gables City Hall, detail of drawing by Tom Spain
MACON, GEORGIA CHARRETTE
The first Knight Program Charrette, held
in November 2001, addressed Beall’s
Hill, a historical African-American
neighborhood in Macon, Georgia. The
Knight Program collaborated with the
City of Macon, Mercer University, and
neighborhood churches in a combined
effort to leverage the community
building efforts that the John L. and
James S. Knight Foundation currently
supports in Macon. Knight Fellows made
multiple pre-charrette trips to Macon to
study the area and to meet with local
residents and government officials.
The wide range of professions,
talents, and knowledge brought to bear
by the Knight Fellows made this an
unusually rich charrette, with Fellows
putting to use their skills to facilitate
community forums, analyze real estate,
housing and transportation issues, and
to propose redevelopment strategies for
the neighborhood. The city had not
previously experienced this level of
neighborhood participation in strategic
planning and a new consortium of City,
University and Housing Authority is
being formed to implement the charrette
recommendations.
CORAL GABLES CHARRETTE
In January 2002, the City of Coral Gables and
the School of Architecture led a charrette to
improve the city’s core. During the 5-day long
workshop, faculty and students, as well as
city employees, residents, business and
property owners, developers and retailers
shared ideas to improve the area between
SW 8th Street, Almeria Avenue, Douglas and
LeJeune Roads, addressing complaints about
downtown traffic, parking and pedestrian
safety. Proposed regulatory changes and
visual improvements include copious street
tree planting, and a trolley project that would
connect that Village with the North Ponce
area, Miracle Mile and the Douglas Road
Metrorail station. Another suggestion was to
convert Alhambra Circle into a Barcelona-like
Rambla with wide shaded areas featuring
benches and garden art. Merrick’s original
vision for The City Beautiful was presented in
Arva Parks McCabe’s opening lecture. The
final report is available in City Hall and in the
School of Architecture Library.
For more information on these charrettes,
visit the following websites:
www.arc.miami.edu
www.BeallsHill.net
www.charrettecenter.com/designcouncil
Exhibitions and Symposia
WINDSOR EDUCATOR’S FORUM
A forum on design education took place
April 12 through 14, 2002 at Windsor,
Florida. The University of Miami School of
Architecture organized the event. In addition
to the community of Windsor, the event’s
sponsors were The Robert Wood Johnson
Foundation and The J.M. Kaplan Fund.
The forum drew a select group of
internationally-known architects and
educators from universities and institutes
located around the country as well as
Brazil, Spain, Luxembourg, and Cuba.
Their goal was to develop the
framework for an ideal architectural
education. The proceedings and draft
curricula developed at this forum will be
collected, edited, and published in a
document that will be distributed to solicit
comments. A follow-up meeting will
review comments and further develop the
proposed curriculum.
CARLBACH’S “SIGNAGE” EXHIBIT
An exhibition of black and white
photographs by UM Communications
professor and photojournalist Dr. Michael
Carlbach were displayed in the SOA
gallery in April 2001. The exhibition
was entitled Signage and illustrated
the humorous and conflicting messages
often found in the landscape.
Participants at Windsor Educator’s Forum sponsored by the town of Windsor, J.M.Kaplan Fund,
Robert Wood Johnson Foundation, Town of Abacoa and UM School of Architecture.
RECONSTRUCTING MICHELANGELO
In March 2002, Associate Professor Rocco
Ceo opened the exhibit Drawing as
Research: Reconstructing the work of
Michelangelo with a lecture in the School
of Architecture gallery. He spoke of the
ability of visual documentation to critically
inform our understanding of the places we
have not seen and how students can build
scholarship upon the foundations of past
research. The works illustrated were a
selection of projects by Ceo’s students
spanning more than 10 years.
DRAWINGS OF ROME
The spring 2002 exhibition series began
with a presentation of work produced by
Professor Thomas Spain in the past 10
years while teaching in Rome. The
exhibition coincided with the release of
the book Drawings of Rome, 1991-2001
Thomas A. Spain. As Leon Krier writes in
the book, “…his best moments spent in
Rome, he [Spain] insists are not just those
spent drawing, but those spent drawing
with students.”
Numerous colleagues and alumni
generously contributed to the exhibition
and publication efforts, including: Buzinec
Associates; Gulfside-Dadeland, Ltd.; Forbes
Architects; Hersh, Vitalini, Corazzini, P.A.;
OBM Miami; Ocean Club Development;
Portuondo & Perrotti Architects and
Sarah and John Steffian.
Photograph from Michael Carlbach’s Signage exhibit
titled “Lovely Day Isn’t It.”
Spacial reconstruction of Michelangelo’s Sistine Chapel
by Terrence Conley, ’02, and Alejandro Avayu, ’02
NEW YORK
PERSPECTIVES
AIAS SYMPOSIUM:
EDUCATION AND PRACTICE
Held at the end of the spring 2001
semester, the symposium’s topic was
“How Do Vitruvian Ideals Influence
Contemporary Architectural Education
and Practice?” Dr. Peter Magyar,
founding director of FAU’s Architecture
Program, served as the moderator.
Panelists included UM faculty members
Sonia R. Chao, Richard John, Jean-Francois
Lejeune, Carie Penabad, and SOA alum
Nick Nedev. FIU faculty members
included Nat Belcher and Jason Chandler.
STUDENT COUNCIL SUMPOSIUM:
NEW YORK PERSPECTIVES
The Student Council organized a symposium entitled “Downtown Renaissance:
New York Perspectives.” It was held in
April 2002 at the Lowe Art Museum. Guest
speakers included: Terence Riley, Museum
of Modern Art, NY; Raymond Gastil,
Van Alen Institute, NY; Steve Kovats,
Intertwilight, NY; and Alexander Cooper,
Cooper Robertson & Partners, NY. Also
participating in the event were Vincent
Scully, Yale/UM School of Architecture;
Dr. Robin Bachin; UM Department of
History; and Marilys Nepomechie, FIU
School of Architecture. The symposium was
moderated by SOA’s Jean-Francois Lejeune.
Sponsors included the Dacra Companies,
Hotel Nash and the School of Architecture.
Left: New York Perspectives Symposium poster image
“Tribute in Light” designed by John Bennett and
Gustavo Bonevardi of PROUN Space Studio, NY.
Above: Temple of Fortuna, sketch, Thomas A. Spain, 1995
Below: Colosseum, drawing, Thomas A. Spain, 1991
Rocco Ceo and Dean Plater-Zyberk admire
the work of Eric Vogt at the Michelangelo exhibit.
BEYOND THE BOX
The School of Architecture sponsored
the efforts of MIMO, Miami Modern, to
showcase mid-century architecture in
Miami and New York. The exhibition
opened in March 2002 at the Municipal
Arts Society in New York City. SOA alumni
Alan Shulman and Randall Robionson
participated in the related events.
Below: Pantheon, sketch, Thomas A. Spain, 1995
Below: Panelists at the AIAS Symposium on
Architectural Education and Practice.
12
Student News
View of Sylvester Courtyard, Path of Light
Painting detail, Francisco Alvarado & Kelly Stewart
Kegan Marshall, Maria Blanes and Mauricio Salazar.
Marie Kay and Maria Beatriz Elias at Graduation 2001
PATH OF LIGHT
Leticia Acosta, Lisa Bacelis, Jennifer
Broutin, Kamal Farah and Maria Solovieva
were among the University of Miami students
involved in the “Path of Light” project designed
to honor cancer patients at the University of
Miami Sylvester Comprehensive Cancer
Center. The design, a maze of 500 lights, was
lit at the Rose Garden at the Cancer Center.
The student effort was directed by faculty
members Adib Cure, Joanna Lombard and
Luis Trelles during the Fall 2001 term.
EXHIBIT OF ROME PROGRAM WORK
Under the guidance of Sonia R. Chao, 19
students participating in the Fall 2001
Rome Program worked on a studio project,
entitled “A Metaphysical Museum,
Sabaudia, Italy.” Sixteen oil on canvas and
three tempera on board paintings were
produced. Commissioner of Culture for
the City of Sabaudia, Mario Tieghi,
participated in the final jury along with
Natalia Miyar and Matt Lister engages
high school students in design
exploration. An intensive 2001 Summer
Program involved junior and senior high
school students. Dade County’s School
Board Division of Advanced Academic
Programs and Interships offers these
students academic credit. This year’s
participating schools were Coral Gables
High, Ransom Everglades and Carrollton.
transportation. The graduate program is
reaching out for public and private funds
for a publication to complete the study.
CITY HALL BUILDING
An upper level design studio led by Jan
Hochstim designed a new City Hall for the
City of South Miami. Nine students
presented their projects to Mayor Julio
Robaina in December 2000, and their work
was published in South Miami News, a
community paper. Hochstim has served as a
member of the city’s Environmental Review
Board for 25 years.
EDUCATION
Charlotte Amalie High School, 1998;
University of Miami School of Architecture –
4th year Student, 1998-Present
WORK EXPERIENCE
William M. Karr and Associates Inc.,
St. Thomas, Virgin Islands; University of
Miami, Facilities Planning and Construction
ORGANIZATIONS
School of Architecture Peer Counselling;
President’s 100; Caribbean Students
Association; Virgin Islands Students
Association
HONORS AND AWARDS
AIA E.H. McDowell Scholarship; AIA First
Professional Scholarship; Alpha Lambda Delta
Honor Society; Golden Key Honor Society;
Tau Beta Alpha Architecture Honor Society;
Ferguson Glasgow Schuster Scholarship
VAUGHN-JORDAN FOUNDATION
MEDITATION GARDEN
The dedication of the Vaughn-Jordan
Foundation Meditation Garden was held in
May 2001 at South Miami Hospital. James
Vaughn, Jr., M.D., of the Vaughn-Jordan
Foundation, officially opened the garden,
which was designed by students from the
University of Miami School of Architecture.
The design was the result of a competition
that called for the transformation of an
open space of approximately 2,500 square
feet into an environment that supports
healing. The competition jury included
seven representatives from the hospital, two
members of Fairchild Tropical Garden, and
SOA faculty Denis Hector and Richard John.
The winning entry was by students Jeffrey
Frederick, Abraham Gordon, Jim Johnston
and Marian Martinez. A second place tie
went to two teams: Lucas Cadavid, Xuan
Flores, Florian Klee, and Kegan Marshall
and Marcia Charles, Jason Shah and
Christopher Youngborg.
Luigi Prisco, architect for La Regione Lazio,
and Cristiano Rosponi, a Roman architect.
The nineteen student projects were subsequently included in an exhibition
organized by the City of Sabaudia entitled
Ideal City/Real City.
Student Profile: Marcia Charles
UM AMBASSADORS
The University of Miami Alumni
Association recently appointed Ellen
Buckley and Brian Scandariato UM
Ambassadors. They will join a group of
volunteer student leaders who serve as
official liaisons between UM students
and alumni. Buckley and Scandariato were
selected based on their leadership qualities,
campus involvement, and their ability to
relate the UM experience to alumni,
friends, prospective students, and the
University community.
CITYZENS PROJECT
The Cityzens Project, an effort begun by
SOA graduate students Hector Burga,
The program explored issues of team
building and self-awareness. Students
embarked on youth driven community
enhancement projects for the West
Grove. Participants created an “Urban
Diary” and from those findings, they
designed a photomontage narrating
community and local architecture. The
students also studied how to use design
to enhance community projects. During
the 2001-02 academic year, Cityzen’s
After-School Program focused on project
implementation.
SUBURB AND TOWN DESIGN
Students in the Graduate Program in
Suburb and Town Design and the
Conservation Foundation have completed
a regional study for Palm Beach County,
Florida. The study includes strategies for
the reconstitution of suburbia, the
conservation of original landscapes, the
preservation of inner city neighborhoods,
and the use of alternative modes of
AIAS BLACK AND WHITE BALL
The annual Black and White Ball was
held on Friday, April 5, 2002, in the
SOA courtyard. Attendees entered a
transformed space defined by backlit
white curtains spanning between the
buildings. A tent sheltered the dance
floor and tables. It was a familiar yet
surprising setting for students and
faculty. It was a memorable evening!
AIAS STUDENT NIGHT
On October 12, 2001, the Miami chapter
of the American Institute of Architects
sponsored its annual Student Night, as
part of Design and Architecture Week.
The event focused on displaying exemplary
student work from local architecture
programs, and exposing students to work
by their peers.
Those participating included Florida
International University, Miami-Dade
Community College, and the University
of Miami. Also showcased were a
selection of Miami Bienal competition
entries for a lifeguard pavilion. Thirdyear student Kenneth Frank won the
2001 AIA Student Exhibition Excellence
Award for the University of Miami.
AIAS CARDBOARD BOAT RACE
This year’s event attracted participants
from various University of Miami
schools. Setting the backdrop to the
“grueling” race was a Caribbean steel
drum band. Prizes were awarded in
various categories. The winners for
“Most Creative Boat” were Jason Grimes,
Mike Demeo, and Lance Amato, for their
vessel, the Gracie II. “Most Dramatic
Failure” went to Ben Penington and
Ryan Donohue’s entry. The winner of
the race this year was the Association of
Commuter Students.
Student Awards and Scholarships
HENRY ADAMS MEDAL
Bachelor of Architecture
2002: Patrick Z. Hood-Daniel
2001: Georgy John
Master of Architecture
2002: Einar Olafsson
2001: Daniel Sloan
HENRY ADAMS CERTIFICATE
Bachelor of Architecture
2002: Richard Harris
2001: Maria del Pilar Ruiz-Fernandez
Master of Architecture
2002: Anne K. Finch
2001: Ana Paola Sacasa
ALPHA RHO CHI MEDAL
2002: Raquel Raimundez
2001: Talisha L. Sainvil
FAIA BRONZE MEDAL
2002: William D. Waters
2001: Jose P. Tiestra
FAIA SCHOLARSHIP
2002: Brian Scandariato
2001: Jess Linn
AIA/AAF SCHOLARSHIP
2002: Alice Oliveira, Ilhyung Roh
2001: Nathan Butt, Jason Cadorette, Michelle
Camargo, Marcia Charles, Elizabeth Pereiro
ALUMNI SCHOLARSHIP
2002: Nicholas Ritter, Ignacio Correa
2001: Raymond Riparip, Whitnie Walker
JAMES BRANCH SCHOLARSHIP
2002: Marian Martinez
2001: Esi Kilanga Bowser
COLIN MACDONALD BETSCH
MEMORIAL AWARD
2002: Thais Vieira
2001: Esi Kilanga Bowser
PRESTON AWARD
2002: Daniel Corbin, Maria Solovieva
2001: Joseph Clark
JOHN AMES STEFFIAN SCHOLARSHIP
2002: Elisa Cuaron, Peter Nedev,
Alice Oliveira, Ilhyung Roh
2001: Jason Cadorette, Andrew Starr
FERGUSON, GLASGOW, SCHUSTER
AWARD
2002: Shanique Rattray
2001: Terrence Conley
LIDIA ABELLO MEMORIAL
SCHOLARSHIP
2002: Leticia Acosta, Gerald Carney
2001: Peter Nedev, Ilhyung Roh
CSI-UM SPECIFICATIONS WRITING
COMPETITION
2002: First Place, Peter Blumenfeld and Nicole
Corbett; Second Place, Richard Harris;
Third Place, Abdiel Gonzalez, Gisela Jardim;
Honorable Mention, Michelle Camargo
2001: First Place, Olga E. Angueira; Second Place,
Garrett Green; Third Place, Jeovanni Tarafa
THE VILLAGERS SCHOLARSHIPS
The Nancy Chambers Pierce Memorial
Villager Scholarship
2002: Elisa Cuaron
2001: William Waters
The Henriette Nolan Harris Memorial
Scholarship
2002: Janet Rumble
2001: Alice Oliveira
INDUCTION OF NEW MEMBERS OF
TAU SIGMA DELTA HONOR SOCIETY
2002: Luis A. Bustamante, JoAnne K. Fiebe,
Roh Ilhyung, Louis D. Kraft, Judith Soskin
Ismachowiez, Matthew J. Lambert, Alice V.
Oliveira, Elizabeth Pereiro, Maria C. Martinez,
Mark P. Savary, Brian M. Scandariato
2001: Nathan Butt, Ellen Buckley, Jason
Cadorette, Michelle Camargo, Marcia Charles,
Nicole Corbett, Maria Cortez, Richard Harris,
Ligia Labrada, Douglas Robbins, Caridad Sola,
Pamela Stacy, Janna Tabatha, Sofia Wilson
BRIAN CANIN SCHOLARSHIP
2002: Ignacio Correa
2001: John Hess
SAN CRISTOBAL DE LA HABANA
SCHOLARSHIP
2002: Carolina Calzada
2001: Natalia J. Miyar (Continuation of Award)
HOWARD LEE RIETZ
SCHOLARSHIP
2002: Juan E. Collao (Continuation of Award)
2001: Juan E. Collao (Continuation of Award)
FACULTY AWARD FOR
STUDENT SERVICE
2002: Elisa Cuaron, Kevin McAlarnen,
Luis A. Bustamante, JoAnne K. Feibe, Jess Linn
2001: Andrew C. Georgiadis, Telisha L. Sainvil
FACULTY AWARD FOR
PART TIME FACULTY
2002: Sonia R. Chao, Jorge Trelles
2001: Carmen Guerrero, Beverly Mor Haase
FACULTY AWARD FOR ALUMNI SERVICE
2002: Maria Anderson
2001: Richard Heisenbottle
PROFESSOR OF THE YEAR
2002: Carie Penabad
2001: Dr. Gregory Castillo
New Awards in 2002:
SCHOOL OF ARCHITECTURE
UNDERGRADUATE STUDENT AWARD
2002: Kristoffer Koster
SCHOOL OF ARCHITECTURE
GRADUATE STUDENT AWARD
2002: Natalia J. Miyar
CENTER FOR URBAN & COMMUNITY
DESIGN AWARD
2002: Gonzalo Echeverria, Debora Storch
KNIGHT FOUNDATION AWARDS
2002: Christopher Block, Christopher
Podstawski, Ivette Mongalo
13
Alumni News
shopping center in Broward County, and they are
completing their fourth affordable housing
project in Miami-Dade County. The firm has won
two state planning awards in North Carolina for
its WE CAN intervention in Asheville. Their
recent awards include the NCAPA Special Theme
Smart Growth Award and an award from Smart
Growth Partners of Western North Carolina. The
firm was also highlighted in the May 2nd issue of
Florida Trend magazine as one of Florida’s “Hot
Designers… Exporting New Urbanism to Latin
America.” Maria Chalgub, A.I.A, MAST ’99,
joined the firm in 2001.
Florida Memorial College, Student Services Building by
Juan Caruncho, Frank Martinez and Ana Alvarez.
Silvia Acosta, BARCH ’83, is currently on
sabbatical from the Rhode Island School of
Design. Acosta was awarded a teaching fellowship
at Curten University in Perth, Australia in 2001.
Most recently, she accompanied RISD students
on their Cuba Program trip. Acosta is completing a
book on her travel sketches of Mexico. She recently
completed construction of her residence and design
studio in Sommerville, MA.
Larry H. Adams, Jr., BARCH ’76, and partner
John A. Cunningham founded the firm Associated
Consulting International in Orlando, FL. The
firm provides development, management and
architectural services. Most recently, the firm
designed Alhambra Tower in Coral Gables.
Jose A. Manent, Jr., BARCH ’87, is a development
manager with the firm and David E. Lee, BARCH
’93, is an architect with the firm.
Debra Ahmari, MARCH ’99, is working for Farr
& Associates in Chicago, IL.
Gregory Akers, BARCH ’96 is a project manager
at The Haskell Company in Jacksonville, FL.
Maria Anderson, BARCH ’80, was elected
Commissioner for the City of Coral Gables in
2001. Anderson served as vice-mayor last year.
She spearheaded the Coral Gables Charrette
held in January 2001. She and husband
Ted Evangelakis, BARCH ’80, co-founded
Trapezoid, a digital technology business.
Sonia Baltodano, MARCH ’98, and Maria
Eugenia Blanco, BARCH ’83, of Delphi Design
Development Architects and Town Planners
along with Oscar Machado, BARCH ’84, and
Hortencia D. Lanio, served as the initial design
team for a traditional neighborhood design
project in Nicaragua. “Managuita” was modeled
after Spanish colonial urban towns. The
project was published in The Town Paper in
May 2001 and received a Charter Award from
the Congress for the New Urbanism in June 2001.
Lisa Barrowman, BARCH ’83, is a principal with
LRB Architecture, Inc., in Coral Gables, FL.
The new Student Services Building for
Florida Memorial College, designed by Juan
Caruncho, BARCH ’90, SOA Professor Frank
Martinez, BARCH ’88, and Ana Alvarez,
BARCH ’91, was completed in December 2001.
The project was published in The Miami Herald
in December 2001.
Eduardo Castineira, BARCH ’86, is president of
Axioma 3 Inc. in Miami, FL.
Julie Anne Cecere (née Polakowski), BARCH
’95, is working for Kapuscinski and Luongo
Architects in New Providence, NJ. She gave birth
to a baby girl in 2000.
David T. De Celis, BARCH ’94, is a jobcaptain at Kallmann McKinnell and Wood
Architects, Inc., in Boston, MA. He also
teaches at the Boston Architectural Center.
Professor Jaime Correa, Eric Valle, MAST ’91,
and Estela Valle, BARCH ’97, of Correa, Valle,
Valle, Inc., have designed a TND in the Doral
area of Miami-Dade County. The team
presented four of their professional projects at
the Second Council of the Congress for New
Urbanism in Santa Fe last fall. The firm has
been working on the reconstitution of a derelict
Annabel Delgado, BARCH ’83, and Mark
Harrington, BARCH ’83, were featured in
the recent publication of Interior Design: Miami
Interiors and Architecture. The couple’s residence
was filmed for HGTV’s Homes Across America this
spring. Harrington was the production designer
for the movie All About the Benjamins. Delgado
and Harrington, along with their partner Patrice
Barrocas, are working on the renovation of the
Old Post Office building in downtown Miami.
Kara Kautz, MARCH ’98, is working with R.J.
Heisenbottle Architects in Coral Gables, FL.
Art Castellanos, BARCH ’90, is working in the
Architecture and Planning Department of
WCI Communities in Bonita Springs, FL. John
Foti, BARCH ’71, is working in WCI’s Coral
Springs, FL office.
Greg Loruso, MARCH ’97, is a designer at Wood
and Zapata in Boston, MA.
Jeffrey Lurie, BARCH ’94, is working for
Fugleberg Architects in Orlando. He is a board
member of the Florida Association of the
American Institute of Architects, Orlando Chapter.
He previously worked with the Disney Co.
Oscar A. Machado, BARCH ’84, is writing a book
titled Residential Buildings: Type vs. Stereotype.
Machado maintains a practice designing new
urbanist projects and teaches part time for
the SOA. For the past year, he has been a regular
contributor to The Town Paper with a column
that appears in the paper’s About Towns section.
Alumni Profile: Raul L. Rodriguez, A.I.A.
EDUCATION
University of Miami, Bachelor’s Degree in
Architecture, 1972
EXPERIENCE
Principal, Rodriguez and Quiroga, Present;
Chairman, Florida Building Commission,
1999 – Present; Chairman, Historical
Association of Southern Florida, 1988 –
1990; Chairman, Metro-Dade Art in Public
Places Trust, 1987 – 1990; Founding
President, University of Miami School of
Architecture Alumni Association, 1983 –
1985; President, American Institute of
Architects, Miami Chapter, 1983
Eduardo Dorta, BARCH ’84, was married in
2001 and has moved to Miami, FL to head ARQ,
a design/build and general contracting firm.
Don Evans, BARCH ’69, and Dawn Michele
Evans, BARCH ’92, of the Evans Group,
completed construction of an 11,000 sq. ft. home
in Orlando, FL for football coach Lou Holtz.
Kevin P. Dunn, BARCH ’81, became a vicepresident of the Miami office of Sandy & Babcock,
Architects in 2000. Maria Zabala, BARCH ’95,
is also with the firm.
Meg L. Florian, BARCH ’99, resides in Miami
Beach and works with ADD Inc., as a construction
administrator.
Richard Heisenbottle, BARCH ’85, was a
member of the curatorial committee for
SOA’s 75th Anniversary Exhibit. His
firm, R. J. Heisenbottle Architects, restored
the City of Miami’s historic Virrick Gym,
Halissee Hall at the University of Miami
School of Medicine, the Colony Theater in
Miami Beach, and worked with the City of
Miami Springs to rehabilitate the Curtiss
Mansion. Heisenbottle was recently awarded
the Florida Trust for Historic Preservation’s
Outstanding Achievement in the Field of
Preservation Education/Media.
Roberto Gonzalez, MARCH ’97, is working for
Perkins and Will’s Chicago office.
Beverly Mor Haase, BARCH ’96, started iArch,
a digital media company in Miami. She teaches
part-time in the SOA.
Jonathan Jackson, BARCH ’92, is working
with Cayman Islands PWD-Architecture
Department as architect/project manager.
Georgy John, BARCH ’01, and Huei Lyn Liu,
BARCH ’01, will attend Harvard University’s
Graduate School of Design in the fall. John will
join the Master of Architecture program and Lu,
the Master of Landscape Design program.
SELECTED AWARDS
Award of Excellence in Architecture;
Florida Association of the American
Institute of Architects; Award of
Excellence in Architecture; Miami Chapter
of the American; Institute of Architects;
Design Honor Award; Miami Chapter of the
American; Institute of Architects
RECENT PROJECTS & ACTIVITIES
The Miami News “Freedom” Tower
restoration; Lecturer, Tracing Parallel
Cultural Experiences Symposium, Lowe Art
Museum; Member, curatorial committee
for SOA’s 75th Anniversary exhibit
Six faculty and alumni firms have been selected
by Dacra Companies, the developer of the island
neighborhood of Aqua, to collaborate on the design
of low-rise housing. Duany Plater-Zyberk and
Company devised the zoning codes and master plan
of the 8-acre Miami Beach site. The firms include
Brown and Demandt, Suzanne Martinson
Architects, Albaisa, Musumano Architects and
Allan T. Shulman, MARCH ’92.
Suzanne Martinson, BARCH ’82, won a Florida
A.I.A. Merit Award for Excellence in Design for
the Ellison Residence. The project has been
published in the Florida/Caribbean Architect.
Andrew Kristian Ness, BARCH ’80, is working
for McCree General Contractors and Architects in
Orlando, FL.
Einar Olafsson, MARCH ’02, is working as a
project manager at ARKIS in Reykjavik, Iceland.
He is a member of the organizing committee of
the Icelandic Architectural Association. He and
his wife Gudrun Helga are expecting another
baby in May.
Patrick Panetta, BARCH ’94, is working with
the Smithsonian Museum in Washington, DC.
He previously worked as a facilities manager at
Luke Air Force Base in Phoenix, AZ.
The “Meigs Field Airport” studio projects, by
Diosdado Perera, BARCH ’98, and Alain
Bartroli, BARCH ’99, were both published in
The Classicist, No. 6.
Philip J. Regan, BARCH ’88, is a principal/
lead architect with Mark Hutker & Associates
Architects. His work with the firm was featured
on the HGTV Network in February 2001.
Lourdes Rodriguez, BARCH ’83, is working for
Architecniks in Miami, FL.
Lieutenant Whitley H. Robinson, BARCH ’93,
of the U.S. Navy Civil Engineers Corps is Officer
in Charge of the Metro Field Office in the White
House Military office.
Governor Jeb Bush has appointed Mike
Rodriguez, BARCH ’81, to the State of Florida
Board of Architecture and Interior Design.
Rodriguez just completed his term as 2001
President of AIA Florida and is currently serving
as the Association’s immediate past president. He
is involved with continuing education, licensing
and practice issues at the local, state, and national
level through his service with the AIA. Rodriguez
also maintains his architectural firm Rodriguez
Architects in Coral Gables, which is primarily
involved in restaurant, hospitality, and retail
projects. He is a part-time SOA faculty member.
George J. Sainz, BARCH ’98, is currently
enrolled in the Master in Construction
Management program at Florida International
University. He joined The Corradino Group in
March 2002 after having worked for Bruno-Elias
Architects for the past 7 1⁄2 years.
Felicia Salazar, BARCH ’77, is the Continuing
Education Program Director for the Miami
Chapter of the A.I.A.
Luay Ahmed Al Saleh, BARCH ’93, is managing
his own firm in Kuwait and in 2001 completed a
housing project adjecent to the historic city.
Iskandar Shafie, BARCH ’92, is currently the
town architect for Telrelay Investments in
Manila, Philippines. He is working on projects
he designed while working with Duany PlaterZyberk Architects. Iskandar and his wife, Lisa,
live in Manila.
Jordy Sopourn, BARCH ’96, is married and has
two girls. She was registered as an architect in
the State of Florida in 2000 and is currently an
associate with Steven L. Cohen and Associates,
P.A., in Plantation, FL.
Miriam Trapp Spear, BARCH ’94, was with
Rawn Associates in Boston, MA until 1999. She
now has two daughters.
Jack Tufano, BARCH ’95, was a construction
manager with Burdines until he recently accepted
a position with Spillis Candela DMJM as
construction administrator.
Jorge Valcarcel, BARCH ’85, has rejoined the
Miami office of Perkins & Will as senior associate.
Paul Viccica, BARCH ’83, is a senior associate/
senior designer at Childs Bertman Tseckares
(CBT) in Boston. Prior to CBT, he worked at Perry
Dean Rogers and Partners. His current works
include the Center for Entrepreneurial Studies at
Babson College, a 500-seat concert hall and music
wing at St. Mark’s School Center for the Arts, and
a renovation and addition to the Suffolk County
Courthouse, the new home of the Supreme Judicial
Court of the Commonwealth of Massachusetts.
Viccica is married and has two children, Anna
and Mae. He lives with his family in Salem, MA.
Marlene Etta Weiss, BARCH ’84, is working with
her husband at Albert Socol Architects in Naples, FL.
In Memoriam
Maria Elena Camargo Alvarez, 37,
passed away May 9, 2002. She is survived
by her husband of 12 years, Jose, two sons,
Mitchell and Jonathan, her parents and
three sisters. Maria graduated from the
University of Miami School of Architecture
with a Bachelor’s degree in 1988. She started
her professional career interning with Spillis
Candela & Partners and later worked with
Carr Smith Corradino. In 1992, she and
classmate Ofelia del Rio Chiavacci founded
their own firm, Terraforma. Maria will be
remembered for her dedication to her
family and friends as well as for her courage
in the face of adversity.
Dear SOA Alum:
We enjoy hearing from you! Please use this form to tell us what you’ve been doing and update your personal information. Thanks for staying in touch.
Name ________________________________________________________________________________ Year Graduated ______________________________
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Mail to: Carolyn White, University of Miami School of Architecture, 1223 Dickinson Drive, Coral Gables, Florida 33146 • Phone: 305-284-5002 • Email: [email protected]
14
Faculty News
Jaime Correa, Knight Professor in Community
Building and director of the Graduate Program
in Suburb and Town Design, delivered a lecture
on the influence of aborigine urbanism at the
First Symposium on the Law of the Indies in
Santa Fe, New Mexico. He has been working with
Dr. Richard John on various maps of historic
new towns in Miami-Dade County. The maps
will be exhibited this summer in Miami Beach
during the 10th Congress for the New Urbanism.
the symposium of the same name in Santa Fe.
Other lectures last year include: “Schinkel and
Lenné in Berlin” in Santo Domingo at the
Friends of Schinkel Conference, “Miami: NorthSouth in Brussels, and North-South:
Rationalism and Tradition in the New Towns of
the Reconstruction in Spain 1939-1959” at the
ACSA International Conference 2001 in
Istanbul. Essays published by Lejeune include:
“The Doxiadis Plan for Miami: When a Global
Faculty Profile: Dr. Richard Langendorf
EDUCATION
Massachusetts Institute of Technology, Ph.D.,
1964-1967, Urban and Regional Planning, minor
in Political Science; additional studies at
Harvard, UCLA and Brandeis; Massachusetts
Institute of Technology, B. Arch., 1952-1957
Dr. Nicholas N. Patricios’ new book depicts the architecture of
Kefallinia and Ithaki from the Mycenaean through the British eras.
Adolfo Albaisa and Kristopher Musumano
received the AIA Miami Chapter’s Un-built Award
of Merit for design of “The Roads Tower” in Miami.
Roberto Behar and Rosario Marquardt received
the 2001 South Florida Cultural Consortium
Fellowship for Visual and Media Artists. A
regional exhibition of the winners’ work will be
held in June at the Palm Beach Institute of
Contemporary Art. Their firm R&R Studios
recently completed a public project titled “Living
Room”, a giant room, in the Miami Design District.
They also completed “Kids”, a public sculpture at
the Design Arts High School in Miami. Their work
has recently been exhibited at The Bass Museum
in Miami Beach and the IV Bienal del Caribe in
Santo Domingo, Dominican Republic. They have
lectured at the Palm Beach Institute of
Contemporary Art in Palm Beach, South Florida
Art Center in Miami Beach, and the Universidad
Federal do Rio Grande do Sul in Porto Alegre, Brazil.
Dr. Gregory Alan Castillo has entered tenure
track as assistant professor. Dr. Castillo accepted
the 2002/2003 J. Paul Getty Postdoctoral
Fellowship in the History of Art and the
Humanities. He is one of the Getty Center’s 15
international postdoctoral research fellows.
Dr. Castillo was named one of 10 research
fellows for 2001/2002 by the Visiting Scholars
Program of the Canadian Centre for Architecture
(CCA) in Montreal. His research area is
Architecture and the “Critical Debate After
1945.” Dr. Castillo donated to SOA’s reference
library 950 documents from Spiro Kostoff’s
private collection of books and manuscripts.
Castillo and Allan T. Shulman are the guest
editors of the next issue of AULA (Architecture
and Urbanism in Las Americas), a bilingual
journal dedicated to the study of Latin
American and Caribbean built environments.
The theme issue, Tropical Miami, looks at tropical
regionalism, preservation and new urbanism in
Latin America among other topics.
Rocco Ceo was mentioned for his work on the
Rawson Cottage by Beth Dunlop in her Miami
Herald article of December 2001 titled “After
Events of 9/11, it May Be Time to Rethink the
Role of Tall Towers.” Professor Ceo has recently
been a participant and co-leader for the Coral
Gables Charrette held in January 2002 as well
as a panelist for the symposium A Declaration
of Place: African Influences in Vernacular
Architecture of South Florida, which was held at
the Miami-Dade Public Library in February
2002. The symposium was part of a month
long Celebration of Black History.
TEACHING & ADMINISTRATIVE
EXPERIENCE
Professor, University of Miami, 1972-present
Coordinator, M.Arch. in Computing, 1998present; Visiting Scholar, Stanford University,
Spring 1986; Director, Graduate Program in
Urban and Regional Planning, 1975-1978;
Director, Center for Urban and Regional
Studies, 1972-1975; Visiting Lecturer at
a number of schools, 1952-present
MEMBERSHIPS/REGISTRATION
American Planning Association;
Charter Member, American Institute of
Certified Planners
RECENT HONORS
Graduate School Recognition of Outstanding
Service, April 1997.
RECENT RESEARCH
Immigration in Dade County and Florida;
Dynamics of Metropolitan Population Change,
“The Future of Havana,” an article written by
Andres Duany, was published in the February
2001 issue of Designer/Builder. Duany argued
that Latin Americans have lost every major
capital city to insensitive redevelopment and
modern traffic engineering. “Havana is the only
capital remaining intact,” he states, in great
measure due to Cuba’s poverty and property
right restrictions, but, her future is uncertain.
Preservation interventions are warranted but
foreign investment is importing insensitive
typologies, welcomed to prop up the weak economy.
Duany and Sonia R. Chao spearheaded a
successful grant application to the J.M. Kaplan
PUBLICATIONS
Computer-Aided Visualization: Possibilities
for Urban Design, Planning and Management.
In Brail, Richard K. Langendorf and Richard E.
Klosterman, Planning Support Systems.
Redlands, CA: ESRI Press, 2001, 309-359;
“Computer-aided Visualization: from
Applications to Information Environments”, at
the 7th International Conference, “Computers
in Urban Planning and Urban Management,”
Honolulu, Hawaii, July 18-20, 2001;
“Visualization: Architecture and the City.”
Urbanistica, 113:7, December 1999, pp.151-161.
RECENT SERVICE
Professional Community: Vice Chair, American
Planning Association Information Technology
Division, 1997-98; University: Information
Technology Advisory Committee Graduate
Council, 1985-present, Graduate Research
Council; School: Recruitment Screening
Committee, 1998-present; Library Committee,
Image Archives, Graduate Programs, Methods
Stream committees.
Architect Goes Local,” AULA 3: June 2002;
“I have been twenty-three years old too,” in
Thomas Spain: Drawings of Rome (Coral Gables:
University of Miami, 2002); “Schinkel and Lenné
in Berlin: From the Biedermeier Flâneur to
Beuth?s Großstadt;” “Karl Friedrich Schinkel:
Aspects of his Works” (Stuttgart: Axel Menges,
2001); “Verso nuove città per l’America: le fonti
del New Urbanism; Rinascimento urbano: la città
nel Terzo Millennio” (Milano: Teleura, 2001).
Lejeune has been reappointed to the Planning
Board of Miami Beach for another 3-year term. He
has also been named curator of an exhibition to
open in Brussels in June 2003 under the title
The Americas: City and Landscape between Utopia
Part Time Faculty Profile: Derrick Wendell Smith
EXPERIENCE
A+S Architects, Planners P.A., Miami, FL,
Principal, June 1993 to Present; University of
Miami, School of Architecture, Coral Gables,
FL, Lecturer, September 1993 to Present; Robert
A.M. Stern Architects, New York, NY, Designer,
Registered Architect, December 1986 to June
1993; Seaside, FL, Town Architect, June 1984
to December 1985; Andres Duany & Elizabeth
Plater-Zyberk, Architects, Miami, FL, Junior
Architect, December 1982 to June 1984
Fund to translate into Spanish and re-publish
seminal architecture, urbanism and preservation
books to be donated to Cuban professionals
through local charities in the hope they may slow
the loss of Cuba’s great building patrimony.
David Fix was recently featured in an article in
The South Florida Business Journal by Lois
Perdue titled “Architecture Career: Music to
Violin Maker’s Ears in the Architect’s Portfolio.”
The article detailed Professor Fix’s career
including his eight-year tenure with Mies van der
Rohe, his 20 year violin-making career in Italy,
and his current position as faculty in the SOA.
Carmen Guerrero has been engaged in several
professional commissions this year, including
the renovation of Canton Chinese Restaurant,
Dadeland, interiors for Nazca Saatchi & Saatchi
Advertising in Brickell, DRMddb Advertising
in Coral Gables and Queen of Arts in South Miami.
The work of Jorge L. Hernandez was published in a 2002 monograph titled Casas/
Houses. Hernandez chaired the Florida Historical
Commission. Hernandez and Joanna Lombard
were promoted to professor with tenure.
“Living Room” by R&R Studios.
1950-2000; Computing and communications
technology forecasts and their impacts upon
urban form, architecture, and professional
practice; Visualization, the built environment,
and information graphics
Jean-Francois Lejeune lectured on the topic
“Dynamic City: the Sources of the New Urbanism”
at the eTH in Zürich, in Panama City, and at the
first Urban Design Laboratory in Sabaudia, Italy.
He gave a lecture on the “Laws of the Indies” at
EDUCATION
Harvard University, Master of Architecture, Second
Professional Degree, June 1986; University of Miami,
Bachelor of Architecture, May 1980; Florida State
University: School of Visual Arts, Bachelor of
Science: Interior Design, August 1975
RECENT PROJECTS
Gibson Charter School, Coconut Grove, FL;
Midfield Airport Fire Station, Miami
International Airport
and Reality. Roberto Behar and Rosario
Marquardt will develop a special scenography
for the exhibition, which is expected to travel
to Miami.
Frank Martinez has been promoted to
associate professor with tenure.
Aristides Millas and Ellen Uguccioni served
as the local co-chairs of the 53rd Annual
Meeting of the Society of Architectural Historians.
The meeting, held June 14-18, 2000, was headquartered at the historic Biltmore Hotel in
Coral Gables, Florida. Several of the eleven
local tours were guided by SOA faculty
members. Professor Millas has been awarded
the Historic Preservation Award by the Miami
chapter of A.I.A. as well as a Certificate of
Appreciation by the Dade Heritage Trust. He
has received the Historic Preservation Education
Grant from the Florida Department of State and
the Villagers for Coral Gables Architectural
Guide. Millas’ recent publications include a
chapter titled Miami in Miami Historic
Neighborhoods edited by B. Matkov and
published by Dade Heritage Trust. His book,
Old Miami Beach: A Case Study in Historic
Preservation has been accepted for inclusion
in the forthcoming University of Miami 75th
Anniversary Faculty Anthology.
Dr. Nicholas Patricios delivered two papers at
international conferences.“Kefallinia: The Imperial
The new book by Dr. Richard John presents a compedium of
Thomas Gordon Smith’s buildings and projects.
Legacy of Britain’s Greek Empire” was presented
at the ACSA International conference held in
Istanbul. “Urban Design of the Original Neighborhood Concepts” was presented at the World
Planning Schools Congress in Shanghai. He is
also a recipient of a University of Miami grant to
visit the Hellenic Institute of Byzantine and Post
Byzantine Studies in Venice to study the history
and architecture of the Greek Islands. He just
completed an article titled “The Neighborhood
Concept: A Retrospective of Physical Design and
Social Interaction” to be published this year in the
Journal of Architectural and Planning Research.
Dean Elizabeth Plater-Zyberk and Andres
Duany were awarded the Third Annual Vincent
J. Scully Prize by the National Building Museum
in Washington, D.C. The prize recognizes
exemplary practice, scholarship, or criticism in
architecture, landscape architecture, historic
preservation, planning and urban design.
Research Assistant Professor Allan T. Shulman,
MARCH ’91, has been commissioned to
restore Miami Beach’s first hotel, The
Brown. Miami Beach became a city in 1915
and that same year Scottish immigrant
William Brown built the wood-framed
structure. The history of the site and the
city’s “layered” evolution were discussed in a
recent publication entitled: The Making of
Miami Beach: The Architecture of L. Murray
Dixon 1933-42, authored by Shulman and
Jean-Francois Lejeune. Sonia R. Chao,
BARCH ’83, was the publication’s editor.
Yale and New Haven’s Urban and Architectural History, a book by faculty members
Vincent Scully and Eric Vogt together with
Paul Goldberger and Catherine Lynn, is
in production. The book is to be published by
Yale University. Vogt also published an article
on the Turnbull Art Gallery of New Haven in
the Spring 2001 issue of Yale University Art
Gallery Bulletin. He recently opened an
architectural practice, Khoury and Vogt, with
his partner and wife Marieanne Khoury. He is
the project manager for the Center for Urban
and Community Design’s Coconut Grove/
Grand Avenue Vision Plan.
Professor Emeritus Ralph Warburton has
been serving on the Life Safety Code and the
Building Code National Committees of the
National Fire Protection Association for the
past several years. He is a listed contributor
to the 2000 Life Safety Code and its related
Life Safety Code Handbook, which was
adopted by Florida.
Casas/Houses, the new book on works by Jorge L. Hernandez.
15
Honor Roll: Contributors to the School of Architecture
The following listing recognizes individuals, organizations, corporations, and foundations who donated to the School of Architecture between June 1, 2000, and April 30, 2002. Alumni are listed in the year in which they received their degree(s).
Please note that all names have been carefully reviewed; nevertheless, errors and omissions may occur. If your name has been misprinted or omitted, please accept our apologies. Questions or corrections may be directed to Carolyn White at 305-284-5002.
Gifts from Friends
Beth and Leslie Adler
Humberto Pedro Alonso, Jr.
Betty L. and Marcelo A. Alvarez
James B. D. Beauchamp
Fay M. Bernardo
William E. Betsch, Ph.D.
Luis Sanchez Bonilla, M.D.
Robert T. Brinkley II
Denise Scott Brown and Robert Venturi, Jr.
Peter H. Brown
Sally Ann Browne
Myrna Canin
Michael L. Carlbach, Ph.D.
Guillermo E. Carreras
William K. Chester, Esq.
Hon. Sue M. and Hon. Charles E. Cobb
Ugo Colombo
Susan Cumins
David Marc Dayan
Suzanne Delehanty
Sharon and David S. Desatnik
Benjamin Eglin
David W. Fix
James Kevin Foster
Joan G. Frechette
Jose A. Gelabert-Navia
Matthew B. Gorson
Jennifer L. Graziano
Steven Gretenstein
Mark G. Hampton
John C. Harrison, Jr.
Nancy and Louis Hector
Rita and Benjamin D. Holloway
Sallye and James R. Jude, M.D.
Betsy H. Kaplan
Michael Kent Lambert
Joanna L. Lombard and Denis H. Hector
Alina G. and Tomas L. Lopez-Gottardi
Frances “Dolly” MacIntyre
Bruce Matheson
Robert H. McCabe, Ph.D.
Muriel Oxenberg Murphy
Lyn D. and Robert Parks
Elizabeth Plater-Zyberk and
Andres Duany
Samina Quraeshi and Richard C. Shepard
Carole and Arthur Lee Rietz
Judith and John Ritter
Evelyn and Craig Robins
Katherine S. Rosenberg
Doris I. Ruiz
Denis Arthur Russ, Esq.
Anne and Eduardo M. Sardina
Jose M. Sardou
Roger L. Schluntz
Charles Edward Seitz
Donna E. Shalala, Ph.D.
Hao Shan
Manuel Sola, Jr.
Harold Charles Spear, M.D.
Frank S. Starkey
Sarah and John Ames Steffian, Sr.
Mimi and James G. Stewart, Jr., M.D.
Robert M. Swedroe
Carol D. Trent
Milton J. Wallace, Esq.
Rev. Marta and L. Austin Weeks
R. Earl Welbaum, Esq.
Harriet W. Weyhe
Lynda M. Zettel
Edward Lewis Architects, Inc.
The Evans Group
Evesham Veterinary Clinic
Falcon Design Consultants
Felix Pardo & Associates, Inc.
First Florida Building Corp.
Forbes Architects
GLB & Associates, Inc.
Galfa CEE Company
Gannett Foundation
General Entertainment Productions
Giller Family Foundation II, Inc.
Greenberg Traurig LLP
Gulfside-Dadeland, Ltd.
Gurri Matute, P.A.
Harum Architects
Hersh Vitalini Corazzini, P.A.
Imai/Keller, Inc.
Imola Marketing & Services, Inc.
James N. Archer Architect, P.A.
Jeffrey Evans Associates, P.A.
John Di Nisio Designs
John S. and James L. Knight Foundation
Jorge L. Hernandez Architect, P.A.
Joseph Middlebrooks & Associates
Kravit Architectural Associates, Inc.
LCO, Inc.
Louis J. Aguirre and Associates
The M Group
MGE Architects
Machado & Silvetti Associates, Inc.
Mailman Foundation, Inc.
Main Street Architects, Inc.
Mark G. Hampton Architects
Marshall and Vera Lea Rinker
Foundation, Inc.
Maspons Goicouria & Estevez
Max Wolfe Sturman Architects
Miami Chapter of CSI, Inc.
Murai, Wald, Biondo & Moreno
Myers Construction
Nichols Brosch Sandoval & Associates
OBM Miami, Inc.
Ocean Club Development Company
Octavio A. Santurio, P.A.
Pascual Perez & Associates
Premier Design Homes, Inc.
Puig & Martinez Architects
R.E. Chisholm Architects, Inc.
Ramms Engineering, Inc.
Reelization, Inc.
Remos Building & Development Corp.
re.Presentation, Inc.
Revuelta, Vega, Leon, P.A.
Rinker Materials Corp.
Robert M. Swedroe, A.I.A., P.A.
Roger Piper, Architect, Inc.
Ryder Consumer Truck Rental
Ryder System, Inc.
S&A Engineers, Inc.
San Cristobal de la Habana Foundation
Sanders Designs
Seaside Institute, Inc.
Sieger & Suarez Partnership
Smith, Korach, Hayet, Haynie
Spillis Candela DMJM
Sola Consulting Agency, Inc.
Steven Z. Epstein & Associates
Supermix
Swedroe Architects
T-Square Express
Tate Enterprises
Gifts from Corporations,
Tessi Garcia & Associates, Inc.
Foundations and Organizations
Thomson Photo Imaging
A.E. Greyson & Company
Tropicana Corp.
A.P. Savino, LLC
Tubosun Giwa & Partners, Inc.
Abbott Group, Inc.
Turner Construction Company
Alexander C. MacIntyre Charitable Trust The Villagers, Inc.
Alison Spear Architect, P.A.
Vital Engineering, P.A.
Allen Morris Company
Weiss & Socol Architects Charter
American Institute of Architects,
Welbaum Guernsey Hingston etal
Miami Chapter
Wilson R. Hernandez, P.A.
Arriba Enterprises, Inc.
Wittington Investments Limited
Ayers/Saint/Gross, Inc.
Wolfberg Alvarez & Partners
Bacardi-Martini USA, Inc.
Zyscovich, Inc.
Balli Construction
Bay Colony Historical Tours
Gifts from Alumni
Beame Architectural Partnership
1952
Beauchamp Construction Co., Inc.
Jerome Eckert
Ben Lopez & Associates, Inc.
Howard Earl McCall
Bermello, Ajamil & Partners
Bittinger Associates, LLC
1954
Brown, Demandt Architects, P.A.
Elmer Marmorstein
Buzinec Associates
Robert S. Palmer, Sr.
CSR America
Jan Hochstim
Cannon Development Corp.
Carmen Guerrero Design Studio
1956
Caruncho, Martinez & Alvarez
Donald R. Vizza, A.I.A.
Architecture, Inc.
Ceo & Nardi, Inc.
1957
Charitable Gift Fund
Nick Boyiazis
Christ & Associates
Citigroup Foundation
1958
Clifford M. Scholz Architects
David Harum
Coastal Construction Group
Cobb Family Foundation, Inc.
1959
Collins Foundation
Robert Stephen Monsour
Community Foundation of Nashville
Community Technologies, Inc.
1960
CMC Group, Inc.
Gail Byron Baldwin
CSR America
Dacra Development Corp.
1961
Dade Community Foundation
Robert L. Dykes
Dauer Family Foundation
Deering Trust
1965
Delphi Design & Development
Arthur W. Dearborn
1967
Pedro Carlos Bravo
Arthur Evans Ross, Jr.
John Douglas Shelton
1968
William Robert Mee, Jr.
William L. O’Toole, Jr.
1969
Robert Athos Koger
1970
Thomas A. Spain
1971
James W. Brotherton
Ralph Kenneth Cappola
1972
Maria T. Duquesne
Jeffrey Robert Jenkins
Raul Lorenzo Rodriguez
John Ruffalo III
1973
Samuel Shapiro
1975
Edward Gorton Davis
Joseph M. Hussle
Gregory John Olson
Max Wolfe Sturman
Robert W. Tuthill
1976
Raqueeb Abdul Albaari
Roger Emanuel Bolling
Raymond Carrion, A.I.A.
Richard G. Coker, Jr.
Thomas D. Lonardo
Lloyd Miller
Pasquale Papaianni
Luis O. Revuelta
Eusebio Viera
1977
Guido Jose Brito
Pedro De La Horra
Jose M. Diaz
Jeffrey L. Evans
Yamil O. Gacel
Jorge H. Garcia
Thomas W. Graboski
Kent D. Hamilton, A.I.A.
Nicolas A. Luaces
Tetsuko Akiyama Miller
Felix Pardo
1978
Harold Benjamin Barrand
Steven B. Baumann
Bruce K. Deutsch
Rafael Diaz
Frank Leroy McCune
Luisa B. Murai
David R. Phillips
Glenn Hudson Pratt
1979
Armand T. Christopher, Jr.
Fred Jack Colquitt
Richard J. Cronenberger
Paul Ulrich Dritenbas
Yolanda Ana Garcia
Arnaldo Hernandez
Harlan L. Kuritzky
Carolina P. Macias
Jane Harrison McGarry
Stephen Courtney McGarry
Charles Alan Michelson
Patricia Ficaro Moffett
Edgardo Perez
Ruben Juan Pujol
Clifford Merritt Scholz
1980
Maria Elena Anderson
Ramon L. Arronte
Theodore M. Evangelakis
Raymundo Feito
Sara Jean Gingras
Robert W. Griffith
Daniel J. Halberstein
Jorge L. Hernandez
Joseph David Kusnick
Mitchell L. O’Neil
Claudio Ricardo Ramos
Dolores Benet Ramos
Armando Mauricio Rizo
Roberto Arturo Smith
Maria Elena Wollberg
1981
Steven Z. Epstein
Robert Allen Hey
Thomas Kirchhoff, A.I.A.
Julio Ripoll, A.I.A.
Miguel Angel Rodriguez
Derek Christopher Ross
Anthony Peter Savino
Jeffrey S. Tucker
1982
Edgardo H. Anderson
Reid William Brockmeier
John Robert Forbes
Gloria Gonzalez-Gandolfi
Kevin Stewart Light
Kevin T. Morris
Min Lum Mossman
Orestes R. Rodriguez
James Donovan Wigglesworth
Kristin Z. Wlazlo
1995
Julie Anne Cecere
Gail Elaine Goretsky
Stephen T. Hafer
Michael P. Hennessy
Chad H. Nehring
Maritere Irizarry Rosso
Padraic Ryan
Jennifer Anne Scrocca
Janice S. Selz
Seth Alan Shapiro
Galina I. Tahchieva
1983
Lisa R. Barrowman
Carolina V. Bromberg
Annabelle Delgado
Maria DeLeon-Fleites
John Mark Harrington
Don A. Lockenbach
Enrique J. Macia
Phillip L. Noret
Lourdes Rodriguez
Paul C. Viccica
1996
Juan Castillo
Andrew B. Cogar
Kyle Thomas Meiser
Myrene Giuliani Ortiz
Eric Rustan Osth
Tricia A. Russell
David Sears Swetland
1984
Marc E. Bouche
Tom C. Christ
Kevin J. D’Angiolillo
Carmen Valdivia Delpino
Scott D. Dyer
Thomas J. Frechette
Susan Lockenbach
Mona L. Root
Max E. Ruehrmund III
1997
Juan M. Alfonso
Najeeb Emur Campbell
Kevin James DeMark
Robert Douglas Hudock
Jesus Antonio Martinez
Jodel E. Narcise
Jeremy Patrick Sommer
1985
Lourdes A. Belfranin
Audrey Green Camacho
Maria M. de la Guardia
Anne Jackaway
Elizabeth M. Jahn
Arthur J. Pearl
Cathy S. Sweetapple
1998
Angela B. Aguirre
Kristin Diane Cole
Christine Judith Gurrieri
Marcia Maria L. Mello
Marcela Vieco
Shana Willinsky
Ryan S. Richards
1986
Elena Levis
1999
Margot Ammidown
Alain Roberto Bartroli
Maria Teresa Diaz
Francilis J. Domond
David Evan Jaffe
1987
Ana Alvarez Arimon
Maria C. Chael
Scott A. Hedge
Jori Bernat-Lipka Smith
Mark P. Tashjian
Mark J. Thiele, A.I.A.
2000
Erin Lee Bonsor
Jane Megan Lanahan
1988
Hilary Joseph Candela
Vivian Izsack
Frank Martinez
Shelley Natasha Meloni
Jose M. Requejo
Rafael Rodriguez
Thomas E. Thibeaux
2001
Christina Ross
Heritage Society
Those individual donors who have included
the School in their estate plans.
Odelia and Alexander Sakhnovsky
1989
Ofelia Del Rio Chiavacci
Ivonne Garcia
Martin G. Kelln
Robert A. Mathias
Daphne G. Matute, A.I.A.
Francisco A. Mendez
Frank J. Nola, Jr.
Osvaldo Nunez
George L. Pastor
Mark Petrella
Andrew R. Stavich
Maggie Tomcej
Building Campaign Honor Roll
This is a list of gifts evolving since the campaign began in
1998. These have been received as of March 1, 2002.
Pledges will be recorded as they are paid.
Pinnacles
Estate of Jewell and Stanley Glasgow
Marshall and Vera Lea Rinker
Foundation, Inc.
State of Florida Cultural Arts Program
Arches
Elizabeth Plater-Zyberk and Andres Duany
Pillars
Collins Foundation: Dorothy and
David Weaver
Gulfside-Dadeland, Ltd.: Daysi and
Stefan Johansson
MGE Architects: Pedro A. Goicouria,
Jose L. Estevez, Roberto A. Smith,
Rolando Conesa
Wittington Investments Limited:
Galen Weston
Columns
Bermello, Ajamil & Partners: Willy
Bermello
Dacra Development: Craig Robins
Nancy and Louis Hector
Joanna L. Lombard and Denis Hector
Nichols Brosch Sandoval & Associates:
John Nichols
Ninon and Raul Rodriguez
Sieger & Suarez Partnership: Charles
M. Sieger and Jose J. Suarez
Spillis Candela DJMJ: Hilario Candela
Platinum Pavers
A. E. Greyson & Company: J. Kusnick
James N. Archer, Architect
Ceramica D’Imola and Imola
Marketing: Arturo Mastelli
Cobb Family Foundation: Chuck, Sue
and Chris Cobb
Greenberg Traurig LLP
Jean and William Soman
T-Square Express: Jeff Gidney
Gold Pavers
Alexander MacIntyre Charitable Trust
Beauchamp Construction Company:
James B. D. Beauchamp
CSR America
Coastal Construction Group:
Thomas P. Murphy
Dauer Family Foundation, Inc.
First Florida Building Corp.: Robert E. Miller
Forbes Architects: John R. Forbes
Matthew Gorson
1990
Kenneth R. Benjamin
Arturo A. Castellanos
Carmen L.Guerrero
1991
Ana M. Alvarez-Martinez
Virginia Maria Dominicis
Victor Brandon Dover
David Ryder Henderson
Richard K. Jones
Joseph Andrew Kohl
Thomas Edward Low
Rene Puchades, Jr.
1992
Dawn Michelle Evans
Anthony M. Graziano
Jason M. Robertson
Timothy J. Slawson
John T. Sydnor
1993
Stuart W. Baur
Falconer Jones III
Jorge M. Planas
Albert I. Rodriguez
Allan Todd Shulman
Christopher J. Stansfield
Michael W. Thrailkill
Thomas J. Verell, Jr.
Erik N. Vogt
1994
Keith R. Dooley
Ludwig R. Fontalvo-Abello
Vanessa A. Jimenez
Maria T. Moral
Patrick P. Panetta
Robert A. Sly
Miriam Tropp Spear
Amy Celeste Whyte
Jorge L. Hernandez
John Kushner
Alina G. and Tomas Lopez-Gottardi
LCO, Inc.: Jay Wiley Lotspeich
Mailman Foundation, Inc.: Jody Wolfe
Arva Parks and Robert H. McCabe
Murai, Wald, Biondi & Moreno, P.A.:
Luisa B. Murai
Myers Construction: Don Myers
Lamar Noriega
Nicholas Patricios
S&A Engineers, Inc.: Eugenio Santiago
Anne and Eduardo M. Sardina
Thomas A. Spain
Mimi and James Stewart, M.D.
Swedroe Architects: Robert M. Swedroe
Stanley G. Tate, Builder
James Arthur Taylor
Turner Construction Co.: Michael B. Smith
Thomas Verell, Jr.
The Villagers, Inc.
Rev. Marta and L. Austin Weeks
Silver Pavers
The Allen Morris Company
American Institute of Architects,
Miami Chapter
Beame Architectural Partnership, P.A.:
Larry Beame
Peter H. Brown
Ralph K. Cappola
Maria de la Guardia and Teofilo Victoria
Delphi Design & Development: Sonia
Baltodano and Maria Eugenia Blanco
David Fix
Ludwig Fontalvo-Abello
Gannett Foundation
Jose A. Gelabert-Navia
The Giller Family Foundation II, Inc.:
Norman Giller
John Harrison
Rita and Benjamin Holloway
Sallye and James Jude, M.D.
Joseph Middlebrooks & Associates:
Joseph Middlebrooks
Rinker Materials: Antonio Obregon
Lyn and Bob Parks
Premier Home Designs, Inc.:
Alex and Frank Robles
Samina Quraeshi and Richard Shepard
Reelization, Inc.: Rafael Tapanes
Lourdes and Miguel Rodriguez
Seaside Institute, Inc.
Donna Shalala, Ph.D.
Allan T. Shulman
Smith, Korach, Hayet, Haynie
Frank S. Starkey
Thomson Photo Imaging
Luis Trelles
Tubosun Giwa & Partners, Inc.
Vital Engineering, P.A.: Nelson Vital
Patricia and Milton J. Wallace
Welbaum, Guernsey, Hingston et al:
Earl Welbaum
Wolfberg, Alvarez & Partners, Inc.:
David Wolfberg
Zyscovich, Inc.: Bernard Zyscovich
Bricks
AIAS, University of Miami Chapter
Beth and Leslie Adler
Angela B. Aguirre
Louis J. Aguirre and Associates, P.A.
Gail Baldwin, Architect
Balli Construction: Georgio L. Balli
Patricia K. Beer
Jose E. Blanco, Architect
Nick Boyiazis
Robert T. Brinkley II for John Little
Denise Scott Brown and Robert Venturi, Jr.
Brown, Demandt, Architects, P.A.
Buzinec Associates
Madeleine Calzadilla
Najeeb E. Campbell
Cristina A. Canton
Carmen Guerrero Design Studio, Inc.:
Carmen Guerrero
Art Castellanos
Maria Chael and Victor Dover
Ofelia Chiavacci
Judith B. and Edward D. Colina
Community Technologies, Inc.
Kevin James DeMark
Michael M. Frank
Joan G. Frechette
Sara Jean “Sally” and Paul Gingras
Gary Greenan
Steven Gretenstein
Gary Jaggernauth
Patricia A. and William T. Keon III
Thomas M. Kirchhoff
Kravit Architectural Associates, Inc.
Eddie Lamas
The M Group: Hermes Miller
Machado & Silvetti Associates, Inc.
Frances “Dolly” MacIntyre
Nancy D. Maffessanti
Main Street Architects, Inc.
Ana A. and Frank Martinez
William R. Mee, Jr.
Charles Michelson
Glenn H. Pratt
Puig & Martinez Architects: Rey Martinez
Dolores and Claudio Ramos
Julio Ripoll, Architect
Judith and John Ritter
Katherine Rosenberg
A.P. Savino, LLC
David Ser
Sola Consulting Agency, Inc.:Manuel Sola, Jr.
Alison Spear Architect, P.A.
Charles L. Stevens
Supermix: Bernardo Diaz
Bonnie L. Suttin
David S. Swetland
Galina Tahchiev and Georgi Ivanov
Carolyn White
Foundation
Margot Ammidown and Michael
Carlson, Ph.D.
Maryann and Steven G. Avdakov
Ayers/Saint/Gross, Inc.: Dhiru Thadani
Lourdes Armenteros Belfrani
Ben Lopez & Associates. Inc.
Fay Bernardo
Bittinger Associates, LLC
Reid Brockmeier
Ceo & Nardi, Inc.: Maria Nardi and
Rocco Ceo
Angela Ciceraro
Andrew B. Cogar
Fred J. Colquitt
Susan Cumins
Suzanne Delahanty
Rafael Diaz
Edward Lewis Architects, Inc.
Benjamin Eglin
Evesham Veterinary Clinic
Luisa and Craig J. Fiebe
Bonnie A. and James K. Foster
Jorge Loynaz Garcia
Maria and Mario Garcia
Gloria Gonzalez-Gandolfi
Elena Gurri
Christine J. Gurrieri
Mark G. Hampton, Architect
Harum Architects
Robert D. Hudock
Imai/Keller, Inc.
Elizabeth Jahn
John Di Niso Designs
Betsy Kaplan
Robert Koger
Gretchen D. Lambert
Jeffrey Lurie
Lourdes and Enrique Macia
Debbie M. and Jesus A. Martinez
John Mauldin-Jeronimo
Marjorie and Howard E. McCall
Jodel Narcisse
Osvaldo Nuñez
Octavio A. Santurio, P.A., Architect
Eric Osth
Ramon Pacheco
Pascual, Perez & Associates: P. Kiliddjian
Jorge Miguel Planas
R.E. Chisholm Architects, Inc.
Ramms Engineering, Inc.
Aurelio Jesus Ramos
Jose M. Requejo
Roger Piper Architect, Inc.
Mona L. Root
Mariterre Irizarry Rosso
Arthur E. Ross, Jr.
Doris Ruiz and Ivan Fajardo
Denis A. Russ
Sanders Designs:
Timothy H. Sanders, Sr.
Jose M. Sardou
Roger L. Schluntz
Hao Shan
Helen Sides
Suzanne and Harold C. Spears, M.D.
Miriam S. Tropp Spear
Andrew Stavish
Steven Z. Epstein & Associates, Inc.
Terry Glenn
Tessi Garcia & Associates, Inc.
Mark J. Thiele
Maggie Tomcej
Milton Allen Tremblay
Carol Dufresne and William A. Trent
Karen Tucker
Paul Viccica
Erik N. Vogt
Ralph Warburton
Weiss & Socol Architects Charter, Inc.
Susan Jenks and James D.Wigglesworth III
Wilson R. Hernandez, P.A., Architects
& Associates
Anne Wise and Thomas E. Low
Maria Elena Wollberg
Friends Who Have Provided
Major Gifts In-Kind
James B.D. Beauchamp
Bermello, Ajamil & Parnters:
Daysi and Willy Bermello
Dacra Development Corp.: Craig Robins
Virginia and Jorge Dominicis
Tibor Hollo
Sallye and James Jude, M.D.
Mimi and James Stewart, M.D.
Categories of giving as shown above:
Pinnacles, $250,000 and over
Arches, $50,000 and over
Pillars, $10,000 and over
Columns, $5,000 and over
Platinum Pavers, $3,000 and over
Gold Pavers, $1,000 and over
Silver Pavers, $500 and over
Bricks, $150 and over
Foundation, up to $150.
Yes! I support the University of Miami School of Architecture with my gift of:
❏ $1,000
❏ $500
❏ $250
❏ $100
Method of Payment: ❏ Check (Please make checks payable to: University of Miami)
❏ Other____________
❏ VISA ❏ MasterCard ❏ Discover
Name _______________________________________________________________
Gift Amount__________________________
Address _____________________________________________________________
Card Number: ________________________
City, State, Zip ________________________________________________________
Exp. Date:____________________________
Phone: (______) ______________________________________________________
Signature: ____________________________
Corporate Matching Gift
Are you employed by a matching gift
company? Many companies have
programs that will match your gift,
thereby multiplying its value. Please
obtain the proper form from your
personnel office, fill it in and return
it with your gift.
Mail to: Carolyn White, University of Miami School of Architecture, 1223 Dickinson Drive, Coral Gables, Florida 33146 • Phone: 305-284-5002 • Email: [email protected]
UPCOMING EVENTS
Books & Apparel 2001/2002
The Congress for the New Urbanism-CNU X
Conference will be held June 13-16 at
the Lowe’s Hotel in Miami Beach. The local
host committee co-chairs are Elizabeth
Plater-Zyberk and James Murley. The
CNU is an AIA and AICP continuing credit
provider. E-mail [email protected] for
more information.
The Center for Urban and Community
Design celebrates one of Miami’s most
historic yet most endangered communities
with the exhibition The Living Traditions
of Coconut Grove. Works will be on display
at the Lowe Art Museum from Aug. 15
through Sept. 10, 2002, with a formal
reception on Wednesday, Sept. 4. Please
call (305) 284-3439 for more information.
The searchable database of images known
as EmbARK Web will be on line by Sept. 1,
2002. This has been an ongoing project by
the Image Archive. It allows searches of
images through the History of Architecture
for use in class, study, research, and the
Design Studio. Jorge Loynaz Garcia,
Director of the Image Archive will be
available for instruction.
School of Architecture
Academic Philosophy
The School’s programs are based upon its
faculty’s belief in the role of architecture as
civic art that places the architect at the vital
core of society. Although fictional architects
are often portrayed as isolated visionaries,
the University of Miami School of Architecture
envisions the architect to be central to an active
citizenry. The School’s programs recognize that
history’s most heroic figures in architecture
were fully integrated in the culture of their
time. This understanding has led to an
innovative view of architectural education that
develops each student’s capacity to participate
in the public role of architecture and to respond
creatively to the inevitable changes that
characterize an engaged modern life.
Item No. 1001 – $25.00
Historic Landscapes of
Florida, 2001
ISBN-0-9714066-0-X
Item No. 1004 – $40.00
Between Two Towers:
The Drawings of the
School of Miami, 1996
ISBN-1-885254-07-5
Item No. 1007
$15.00
The Living Traditions
of Coconut Grove
2002
ISBN-0-9717289-0-9
Item No. 1010 – $25.00
Drawings of Rome
1991-2001, 2002
ISBN 0-9652301-5-5
Item No. 1008 – $15.00
Tracing Parallel
Cultural Experiences
Between Cubans and
Cuban-Americans,
2001, Video
Price
$25.00
$30.00
$40.00
$40.00
$35.00
N/C
$15.00
$15.00
$10.00
$25.00
$19.95
$10.00
$25.00
$15.00
Qty.
Total
6.5% FL Sales Tax:
Item No. 1002
$30.00
The New City 3, 1996
ISBN-1-56898-058-2
Shipping ($2.50 per item):
Order Total:
Orders will be shipped via first class mail.
Item No. 1003
$40.00
Coral Gables:
An American
Garden City, 1997
ISBN-2-90928-334-8
Item No. 1009
$10.00
Sketch Book
Cover Drawing
by Rocco Ceo
Item No. 1011 $19.95
Chapel of Light
Kenneth Treister, 2000
ISBN-08074-0744-5
Item No. 1107
$10.00
Detail of “Doc” Thomas
House and Grounds
Tan Canvas Bag 15"x15"
Item #
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1107
1108
1109
Sub-Total:
Item No. 1005
$35.00
ONE WORLD
Shared
Cultural Influences
In The Architecture
of The Americas,
1997
ISBN-0-9652301-0-4
Item No. 1109
$15.00
School of Architecture
T-Shirt
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ORDER FORM
Item No. 1006
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Building through Time:
The Making of a School
of Architecture
Over 70 projects by
the school’s alumni from
1926 through 2001
ISBN-0-9652301-4-7
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