the university of miami school of architecture newsletter summer 2002
Transcription
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 ______________________________ Address ______________________________________________________________________________________ Phone ______________________________ Email Address ___________________________________________________________________________________ Fax ______________________________ News _____________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________ 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 Sizes: S, M, L, XL ORDER FORM Item No. 1006 No Charge 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 Please indicate shirt sizes and quantities below: 1108: ___S ___M ___L ___XL Total Qty.______ 1109: ___S ___M ___L ___XL Total Qty.______ Name Address City, State, Zip E-Mail Item No. 1108 $25.00 School of Architecture Logo Shirt Sizes: S, M, L, XL Phone, Fax Make check payable to: University of Miami Send Order Form to: School of Architecture, University of Miami Attn: Barbara Carbonell P.O. Box 249178, Coral Gables, FL 33124-5010 Fax: (305) 284-2173 • Phone: (305) 284-5003 NON-PROFIT ORGANIZATION U.S. POSTAGE PAID MIAMI, FL PERMIT NO. 438 P.O. BOX 249178 CORAL GABLES, FLORIDA 33124-5010 Send newsletter notes to: Carolyn White Public Relations & Special Projects 305-284-5002 e-mail: [email protected] Visit the UM/SOA website http://www.arc.miami.edu Front Cover: Preliminary Study for University of Miami, 1925 Campus aerial, pencil and watercolor Phineas E. Paist and Harold D. Steward, Architects Editor: Sonia R. Chao Design: Diaz & Cooper Advertising, South Miami