Centennial Legacy: An Exhibition of Faculty and Alumni Publications

CENTENNIAL LEGACY

An Exhibition of Faculty and Alumni Publications

University of Miami School of Architecture

Fall 2025 - Spring 2026

Catalog

Victor Deupi

CENTENNIAL LEGACY

An Exhibition of Faculty and Alumni Publications

University of Miami School of Architecture

Fall 2025 - Spring 2026

Catalog

Victor Deupi

Dedicated to the memory of Professor Teofilo Victoria, (1953-2024)

University of Miami School of Architecture, Thomas P. Murphy Design Studio Building, Arquitectonica, photo © Steven Brooke

University of Miami School of Architecture, Thomas P. Murphy Design Studio Building, Arquitectonica, photo © Steven Brooke

List of Figures and Plates

Figure 1 Centennial Legacy Exhibition Poster, © Varsha Gopal

Figure 2 John Llewellyn Skinner, “The Drawings of Bob Fink,” Pencil Points VIII, no. 9 (1927)

Figure 3 John Llewellyn Skinner, “Whittlings,” Pencil Points VIII, no. 1 (1927)

Figure 4 George E. Merrick, Venetian Casino: Coral Gables (1924), cover by Denman Fink

Figure 5 Robert Fitch Smith, The Work of Robert Fitch Smith, A.I.A. (1941), cover

Figure 6 Exterior view of the McArthur Engineering Building, University of Miami Historical Photograph Collection, University of Miami Library, Coral Gables FL

Figure 7 University of Miami School of Architecture, Marion Manley Buildings, photo © Steven Brooke

Figure 8 Aldo Rossi, Proposal for a New School of Architecture at the University of Miami (1986), University of Miami Architecture Research Center

Figure 9 Jean-François Lejuene, ed., The New City (1991), cover

Figure 10 University of Miami School of Architecture, Jorge M. Perez Architecture Center, Léon Krier and Merril, Pastor & Colgan Architects, photo © Steven Brooke

Figure 11 University of Miami School of Architecture, B.E. & W.R. Miller BuildLab, Rocco Ceo et al., photo © Steven Brooke.

Figure 12 University of Miami School of Architecture, Murphy Design Studio, Arquitectonica, photo © Miami in Focus

Plate 1 Jan Hochstim, The Paintings and Sketches of Louis I. Kahn (Rizzoli, 1991), cover

Plate 2 Maurice Culot and Jean-François Lejeune, Miami: Architecture of the Tropics (Center of Fine Arts; Archives d’Architecture Moderne, 1992), cover

Plate 3 Steven Brooke, Seaside (Pelican Pub. Co. Inc., 1995), cover

Plate 4 Vincent Scully, et al., Between Two Towers: The Drawings of the School of Miami (Monacelli Press, 1996), cover

Plate 5 Roberto M. Behar and Maurice Culot, Coral Gables: An American Garden City (Norma Editions, 1997), cover

Plate 6 Andres Duany et al., Charter of the New Urbanism (McGraw-Hill Professional, 1999), cover

Plate 7 Richard John, Thomas Gordon Smith and the Rebirth of Classical Architecture (Andreas Papadakis, 2001), cover

Plate 8 Rocco Ceo and Joanna Lombard, Historic Landscapes of Florida (University of Miami School of Architecture, 2001), cover

Plate 9 Charles C. Bohl, Place Making: Town Centers, Main Streets and Transit Villages (Urban Land Institute, 2002), cover

Plate 10 Jan Hochstim and Steven Brooke, Florida Modern: Residential Architecture 1945-1970 (Rizzoli, 2005), cover

Plate 11 Beth Dunlop and Joanna Lombard, Great Houses of Florida (Rizzoli, 2008), cover

University of Miami School of Architecture, Thomas P. Murphy Design Studio Building, Arquitectonica, photo © Steven Brooke

(In the list of Figures and Plates)

Plate 12 Carmen Guerrero, Salvatore Santuccio, and Nicolò Sardo, Luigi Moretti: Le Ville: Disegni e Modelli (Palombi, 2009), cover

Plate 13 Allan T. Shulman et al., Miami Modern Metropolis: Paradise and Paradox in Midcentury Architecture and Planning (Balcony Press, 2009), cover

Plate 14 Galina Tachieva, Sprawl Repair Manual (Island Press, 2010), cover

Plate 15 Catherine Lynn and Carie Penabad, Marion Manley: Miami’s First Woman Architect (University of Georgia Press, 2010), cover

Plate 16 Sonia Cháo ed., Under the Sun: Sustainable Traditions & Innovations in Sustainable Architecture and Urbanism (Center for Urban and Community Design, University of Miami School of Architecture, 2012), cover

Plate 17 Rodolphe el-Khoury, Figures: Essays on Contemporary Architecture (Oscar Riera Ojeda, 2014), cover

Plate 18 Allan T. Shulman, Building Bacardi: Architecture, Art & Identity (Rizzoli, 2016), cover

Plate 19 Carie Penabad ed., Call to Order: Sustaining Simplicity in Architecture (Oscar Riera Ojeda Publishers, 2017), cover

Plate 20 Tom Spain, The Drawings and Paintings of Coral Gables and Rome (Oscar Riera Ojeda Publishers, 2018), cover

Plate 21 Victor Deupi ed., Transformation in Classical Architecture (Oscar Riera Ojeda Publishers, 2018), cover

Plate 22 Eric Firley, Designing Change: Professional Mutations in Urban Design 1980-2020 (nai010, 2019), cover

Plate 23 Jaime Correa, Unbuilt Intentions: Towards a New Phenomenology of Cities and Architecture (Lulu, 2020), cover

Plate 24 Germane Barnes and Shawhin Roudbari, Vigilantism (MAS Context, 2020), cover

Plate 25 Victor Deupi and Jean-François Lejeune, Cuban Modernism: Mid-Century Architecture 1940-1970 (Birkhäuser, 2021), cover

Plate 26 Charlotte von Moos, In Miami in the 1980s (Buchhandlung Walther König, 2022), cover

Plate 27 Charlotte von Moos and Florian Sauter, Some Fragments (Verlag der Buchhandlung Walther und Franz König, 2022), cover

Plate 28 Carmen Guerrero ed., Resilience in Concrete: The Thomas P. Murphy Design Studio Building (Oscar Riera Ojeda Publishers, 2022), cover

Plate 29 José Gelabert-Navia, Rome (Oscar Riera Ojeda Publishers, 2023), cover

Plate 30 Charles Bohl and James Dougherty, The Art of the New Urbanism (Wiley, 2025), cover

Plate 31 Sonia Cháo, Calibrating Coastal Urban Resilience (Routledge, 2025), cover

Plate 32 Jean-François Lejeune, The Other Rome: Building the Modern Metropolis, 1870-1960 (Birkhäuser, 2025), cover

Plate 33 Roberto M. Behar and Rosario Marquardt / R&R STUDIOS, The Home We Share: Three Social Sculptures for Princeton University (Park Books / Scheidegger & Spiess, 2025), cover

University of Miami School of Architecture, Jorge M. Perez Architecture Center, Korach Gallery, Léon Krier and Merril, Pastor & Colgan Architects, photo © Steven Brooke

Acknowledgments

The design of the Centennial Legacy: An Exhibition of Faculty and Alumni Publications and the associated catalog could not have come about without the collaboration of many people, or the institutional backing of the School of Architecture. I would like to thank the dean of the school, Rodolphe el-Khoury, for his encouragement and support for both the exhibition and catalog and for his thoughtful suggestions throughout the process. The school’s Centennial Task Force, chaired by Elizabeth Plater-Zyberk, spawned the Exhibition Committee that has met weekly over the course of the last year to gather material and design the exhibition. Lizz has been a constant presence throughout, whose insight and thoughtfulness has made the curation and design of the exhibition infinitely more substantial and enjoyable. Gilda B. Santana, head of the Architecture Research Center, has not only shared her research on the history of the School of Architecture but has also opened the collection to us to use as needed. My research assistants, Varsha Gopal and Delayni Etienne, both graduate students in the School of Architecture, have worked meticulously on the documentation and design of the exhibition, and for that I am immensely grateful. Ivonne de la Paz, the school’s marketing specialist, has provided invaluable exhibition and book design, and communications advice. I thank everyone on the Exhibition Committee profoundly for their tireless dedication to this project.

Several School of Architecture colleagues contributed to the process at key moments, adding nuanced insights and production support. They include Roberto Behar, Madison Brinnon, Steven Brooke, Michael Cannon, Max Jarosz, Jean-François Lejeune, Allan Shulman, and Veruska Vasconez. The initial selection of published works could not have come about without Sonia Cháo’s web list of faculty publications spread across 15 categories. We reduced the categories to five and updated them with recent additions and alumni contributions. We also assembled them in chronological order to create a distinct visual presentation.

Exclusions from the exhibition or list of publications are unintentional, and for any errors or attribution failures that exist, I apologize in advance. Still, as part of the larger centennial project, we will be updating the list which will be on the school’s website. Finally, the phrase “it takes a village” comes to mind when considering the production of the Centennial Legacy exhibition, and in this case the academic village of the University of Miami School of Architecture truly does resemble an extended family over generations, all linked by a common desire to improve and enhance the built environment, one book at a time.

Victor Deupi, Ph.D.

Associate Professor in Practice

University of Miami School of Architecture

University of Miami School of Architecture, Jorge M. Perez Architecture Center, Léon Krier and Merril, Pastor & Colgan Architects, photo © Steven Brooke

Preface

The centennial of the University of Miami offers the School of Architecture an opportunity to reflect on its legacy and its evolving contributions to the discipline. Milestones of this magnitude are often marked by exhibitions of buildings or design projects—tangible works that embody the architect’s craft. Instead, our choice to highlight books authored by faculty and alumni signals a different yet equally vital dimension of architectural education: the production of knowledge.

At the School of Architecture, we remain deeply committed to the practice of architecture and to the design of buildings and cities. That commitment defines our teaching, our research, and our engagement with communities. The university context also compels us to look beyond the building project to the ideas, histories, and theories that frame and sustain it. Scholarship and publishing are part of this endeavor. Books extend the reach of our studios and classrooms, carrying the school’s influence well beyond our community, and situating our work in broader conversations across disciplines, geographies, and generations.

This exhibition, and the catalog that accompanies it, reveal the extraordinary breadth of that scholarly engagement. The volumes represented here span history and theory, technology and sustainability, design and urbanism. They encompass studies of the Mediterranean and the Caribbean, investigations into modernism and classicism, explorations of resilience, and visions for new forms of urban life. Taken together, they remind us that architecture thrives when ideas are tested across a wide horizon, and when diverse perspectives are brought into dialogue.

Equally striking is the diversity of intellectual and ideological orientations. Our faculty and alumni pursue their work from many different vantage points and convictions, sometimes in tension with one another, but always contributing to a fertile ground of inquiry. The richness of this collective endeavor affirms that the vitality of an academic community lies not in consensus but in the coexistence of multiple voices—a setting in which, to borrow a phrase, “a thousand flowers bloom.”

In celebrating these publications, we honor not only the individuals who produced them but also the larger culture of curiosity and critical reflection that defines this school. As the University enters its second century, the School of Architecture looks forward to continuing this dual commitment: to the practice of architecture as a building project, and to the production of knowledge that expands and deepens our understanding of it.

Rodolphe el-Khoury Dean, University of Miami School of Architecture

University of Miami School of Architecture, Jorge M. Perez Architecture Center, View from the entrance of Glasgow Hall, Léon Krier and Merril, Pastor & Colgan Architects, photo © Steven Brooke

Introduction: Building Books

Victor Deupi

No literary effect in the world can compare to the pure, sober taste of history. [The historian] does not want his history dry, but he does want it sec (Johan Huizinga).1

The distinguished Dutch historian Johan Huizinga (1872-1945) deftly drew the analogy between history and wine in his celebrated essay “The Task of Cultural History” (1929), suggesting that history, like excellent wine, should be appreciated more for its richness, depth, and ability to evoke a specific unique flavor, or sense of terroir (the total natural environment of any viticultural site), than as a simple chronological sequence of events.2 For Huizinga, the historian does not want to read – or drink –something so adulterated that a general historical sensibility is lost. Instead, cultural history, like great wine, requires a certain conviction or belief that it can be appreciated and understood, and that it conveys a sense that it must have been that way, and in doing so, it revives the aesthetic element in historical interpretation.3

Huizinga’s analogy offers a valuable framework for understanding the Centennial Legacy exhibition. This exhibition, presented by the School of Architecture as part of the University of Miami’s centenary celebration, showcases the rich history of professional, academic, and scholarly publications produced by its faculty and alumni since the school’s founding in 1927. Indeed, throughout its history, the University has contributed to the discipline of architecture by having its faculty engage in both professional practice and scholarly research. To that end, An Exhibition of Faculty and Alumni Publications presents for the first time a visual display of published book covers in chronological order alongside the major developments and events at the school over its first centenary. Consisting of more than 200 volumes, the exhibition covers a range of topics that include architecture, urban design, history and theory, landscape and the environment, art and design, with a considerable number having a distinct focus on South Florida. With selected volumes highlighted in greater detail, and many physical copies on view for perusing, the exhibition provides an interactive presentation of the often-solitary practice of researching and writing (Figure 1). To be sure, the exhibition should be appreciated with a delicious glass of wine.

1 “The Task of Cultural History,” republished in his collected essays Men and Ideas: History, the Middle Ages, the Renaissance, trans. by James S. Holmes and Hans van Marle (Princeton: Princeton University Press 1984), 49.

2 The dry/sec distinction is of interest as most highly rated wines- whether red, white, or rosé- can be described as dry, with sweet wines that have a higher residual sugar content being the exception, Jancis Robinson, and Julia Harding, eds., The Oxford Companion to Wine (Oxford: Oxford University Press, 2006), 618. On the concept of terroir, see idem, 693-95.

3 See for instance R. L. Colie, “Johan Huizinga and the Task of Cultural History,” The American Historical Review 69, no. 3 (1964): 607–30.

4 Bowman Foster Ashe, University of Miami, the First Twenty-Five Years: 1926-1951 (Coral Gables, FL: University of Miami Press, 1952).

5 The most comprehensive account of the school’s history is by Gilda B. Santana, “Making the University of Miami School of Architecture: Conversations with Faculty on Research, Pedagogy, and the City: 1983-2003,” Masters’ Thesis, University of Miami School of Architecture (2019). Continuous footnotes will not be given.

6 Pencil Points VIII, no. 9 (1927): 525-34, and 573.

7 See, “Whittlings,” in Pencil Points VIII, no. 1 (1927):43.

Humble Beginnings

The University of Miami was originally founded in 1925 on a 160-acre site in Coral Gables donated by the City of Coral Gables founder George E. Merrick. An ambitious Beaux-Arts masterplan showed preliminary designs of Spanish revival buildings by the Miami architects Paul Chalfin (1874-1959) and Phineas Paist (1873-1937), and the artist and designer Denman Fink (1880-1956).4 Despite a devastating hurricane that decimated Miami in September of 1926, plans for the University continued forward. In 1927, the American architect John Llewellyn Skinner (1893-1972) initiated the first program of architecture at the University as a department within the College of Liberal Arts.5 A graduate of Harvard University (1921), he took an extended tour of Europe with a stay at the American Academy in Rome (1921-1922), then became head of the Department of Architecture at the Georgia School of Technology (1922-1925). In Miami, Skinner would team up with Phineas Paist and Denman Fink to form the core of the University’s new architecture faculty. The new department, the second in the state after the University of Florida, which was established in 1925, consisted of four years of study leading to a Bachelor of Science in Architecture degree, which followed the French Beaux-Arts educational system under the supervision of the Beaux-Arts Institute of Design in New York. Students also engaged in the study of local vernacular buildings, and the early cohort also included women.

During those early years, Skinner would publish essays in the journal Pencil Points, such as “The Drawings of Bob Fink,” the son of Denman Fink and a talented artist, as well and provide updates on the new Miami program in architecture (Figures 1-2).6 At a public lecture at the Coral Gables Theater, Skinner quoted Cardinal Richelieu, “If you seek versatility, go find an architect, for he must be an artist or his buildings would offend the eye,” further suggesting that “[i]t is the architect’s duty to know … and to understand that a great deal of beauty lies in the simple mass and proportion of a building as well as in its detail.”7 This modern classical thinking was very much at the core of the new program’s mission and evident in the kinds of early publications that came out of the department’s faculty.

In addition to Skinner, both Phineas Paist and Denman Fink would engage in book and journal publications promoting Coral Gables as a kind of magical dreamscape. Paist graduated from the Pennsylvania Academy of Fine Arts (1904) and traveled through Europe, like Skinner, with extended stays at the American Academy in Rome (1911-12, 1913).8 He settled in Miami in 1916, working with Paul Chalfin and F. Burrall Hofmann at the Villa Vizcaya overlooking Biscayne Bay, and by 1923 he was an important supervising architect in the early development of George E. Merrick’s garden city of Coral Gables.9 His writings included an essay on color, and his architectural projects were featured in several early books on Coral Gables.10 Denman Fink was an American artist and illustrator who studied at the Pittsburgh School of Design, the Boston Museum of Art, and the Art Students League of New York.11 More importantly, he was George E. Merrick’s uncle, and the latter brought him to Miami in 1926 to join the Coral Gables development team not only to work on murals and drawings, but also to design entrances to the community, fountains, plazas, and the city-owned Venetian Pool. He became the head of the art department at the University of Miami, where he also taught architecture students until his retirement in 1952. Fink would contribute cover illustrations and images to several publications such as George E. Merrick’s Venetian Casino: Coral Gables (1924) and Merrick’s The Story of Coral Gables (1927), two books that promoted the new garden city with its Spanish Mediterranean imagery (Figure 4).

Skinner would also hire Ohio-raised Robert Fitch Smith as a design instructor. Smith received his degree from the University in 1931, and shortly thereafter established his architectural practice in Miami, working on residential, resort, religious, and civic buildings until his death in 1964. Fitch also published a book on his architectural projects in 1941 (Figure 5).12 In 1940, Skinner would go into architectural partnership with Harold Steward, who had previously worked with Phineas Paist, to form Steward and Skinner Associates. Among their most important works were the Miami Memorial Library in Bayfront Park (1950), and the Miami-Dade County Auditorium in Little Havana (1951).13

By the early 1930s, however, several factors including the lingering effects of the hurricane, the market crash of 1929, and the subsequent Great Depression, caused the University to reduce its scale of operation and terminate the architecture program at the end of the 1932-1933 academic year. Five students from the first enrolled class

8 The Centennial Directory of the American Academy in Rome, ed. by Benjamin G. Kohl, Wayne A. Linker, and Buff Suzanne Kavelman (New York and Rome: The American Academy in Rome, 1995), 238.

9 On his life and work, see Nicholas N. Patricios, “Phineas Paist and the Architecture of Coral Gables, Florida,” Tequesta LXIV (2004): 5-27. On the Villa Vizcaya, see Witold Rybczynski, Laurie Olin, and Steven Brooke, Vizcaya: An American Villa and Its Makers (Philadelphia: University of Pennsylvania Press, 2007).

10 Phineas E. Paist, “StuccoColor,” National Builder (October 1924): 46-47; Marjorie Stoneman Douglas, Coral Gables: Miami Riviera (Coral Gables: Coral Gables Corporation, 1925); and Coral Gables Today: The Miami Riviera (publisher not identified), 1926.

11 “Denman Fink Dies; Drew Gables Plans,” The Miami Herald (June 7, 1956), 1; and “Denman Fink Dead; Artist and Teacher,” The New York Times (June 8, 1956), 24.

12 Smith, Robert Fitch, The Work of Robert Fitch Smith, A.I.A., Architect, Robert S. Yeats, Associate, Miami, Florida (New York: Architectural Catalog Co., 1941).

13 “Miami Memorial Public Library,” Florida Architecture (1952): 100–102; and “Dade County Auditorium,” Florida Architecture (1953): 86–87.

Figure 4

Figure 5

14 Planos en desarrollo. Un informe especial al VI Congreso Panamericano de Arquitectura que se reunirá en la ciudad de Lima, Peru, 1947 (Coral Gables, FL: University of Miami, 1947); “University of Miami Moves Back to Boom-Bought Campus and into First Unit of AllModern Educational Plant,” Architectural Forum 89, no. 1 (July 1948): 76–82; and Carie Penabad, “University of Miami: Building a Postwar American Campus,” in Miami Modern Metropolis: Paradise and Paradox in Midcentury Architecture and Planning, ed. by Allan T. Shulman (Glendale, CA: Bass Museum of Art, 2009), 240-49.

15 “Diversity Achievement Award: Women’s Reunion + Symposium,” The School of Architecture at the University of Illinois at UrbanaChampagne (2019), n.p.

graduated in a ceremony at the Miami Biltmore Club. It was not be until after the Second World War that the University’s first president, Bowman Foster Ashe, took advantage of the U.S. government’s postwar educational programs to launch a bold vision of a modern campus.14 Ashe hired Miami architects Marion Manley, the state’s first woman architect, and Robert Law Weed to provide the University with a new master plan. Their vision was a radical departure from the 1926 plan, offering instead a flexible and functionalist approach new to University settings, seen only before at Florida Southern College in Lakeland by Frank Lloyd Wright (1938) and at the Illinois Institute of Technology in Chicago by Ludwig Mies van der Rohe (1941). It was under this bold vision of a modern university that architectural courses once again appeared in the 1950s, now in the Department of Architectural Engineering curriculum in the newly established School of Engineering.

Mid-Century Progress

The School of Engineering, like the Department of Architecture, had humble beginnings in the late 1920s and early 1930s. With the onset of the Second World War, however, the University expanded its engineering related courses to support the military effort. After the war, the School of Engineering was established in 1947, with a new five-year Bachelor of Science in Architectural Engineering program started in 1952 under the leadership of James Elliott Branch, who ran the program until 1968. Branch graduated from the University of Illinois in 1929 and had been an instructor in architecture there from 19311950 before joining the University of Miami, with the experience of having taught at one of the most important and long-standing architecture programs in the nation.15 With a new cohort of faculty from Illinois, Branch re-structured the program into a five-year Bachelor of Architecture in 1961, describing it as “a sequence of courses in architectural design, structural design, construction, building materials, city planning, building equipment, office practice, and the humanities.”16

During this time, the University was undergoing a radical transformation and architects such as Marion Manley, Robert Law Weed, Robert Murray Little, and Wahl Snyder were responsible for the designs of several distinctive buildings on campus. Indeed, Wahl Snyder and Darrell F. Fleeger were in charge of the new J. Neville McArthur Engineering Building, which opened in 1959. The building’s signature feature was a molded concrete sculptural screen made of diagonally cut cylinders shading walls of glass and was described by the architects as resembling a series of stacked potato chips or rippling waves (Figure 6).

16 University of Miami Bulletin (Coral Gables: The University of Miami, 1965) 249. Figure 6

During this time, architects such as Jan Hochstim, who graduated in 1954, would emerge as leading faculty

members of the program. Other faculty to join during 1960s included Paul Buisson, Felipe J. Préstamo, and Thomas A. Spain, all of whom would contribute significantly to the scholarly output of the school over the next several decades, with publications ranging from the drawings and paintings of Louis I. Kahn to the study of Caribbean and Latin American urbanization (Plate 1 & 20).17

In 1968, the architecture program became affiliated with the University’s new Center for Urban Studies, and figures such as Ralph Warburton, Joseph Middlebrooks, and Richard Langendorf introduced students to urban planning and housing, establishing the Master of Urban and Regional Planning. Middlebrooks would produce several community planning reports, including comprehensive development plans for Riviera Beach, and Opa Locka, Florida.18 Langendorf, who came from the Department of Housing and Urban Development, in Washington, D.C., would write about residential segregation and new communities from a public policy perspective.19 In this context, additions to the faculty from the 1970s and early 1980s included Tomás López-Gottardi, Aristides J. Millas, Nicholas N. Patricios, and John Ames Steffan, who would strengthen the program and initiate a robust period of academic and scholarly publications that continues to the present.20

As the program began to grow in numbers, not just in terms of faculty but student enrollment as well, the desire to separate from the School of Engineering also grew. Accreditation by the National Architectural Accreditation Board (NAAB) was achieved in 1974, allowing students to graduate with a professional degree in architecture, required for licensure. From there, independence from the School of Engineering was simply a matter of time. In 1983, department chair John Steffan urged the new University president, Edward T. Foote, to establish a separate school of architecture.21

Autonomy and Reputation

In June 1983, the Department of Architecture and Planning officially became the University of Miami School of Architecture. The school moved from the McArthur Building to a group of international-style apartment buildings designed in 1947 by Marion Manley (Figure 7). It had an enrollment of 320 students in two programs, the five-year Bachelor of Architecture, and a two- year Masters in Urban and Regional Planning.

Following Steffan’s departure the following year to become dean at the University of Maryland, Nicholas Patricios was appointed interim dean, and a year later after a national search, Thomas John Regan was appointed the school’s first dean. The school’s emergence coincided with several intellectual strains that were shaping the critical discourse of

17 Jan Hochstim, Sketches and paintings of Louis I. Kahn, analysis and Catalog raisonné (Thesis, Dissertation, University of Miami, 1976), later published as The Paintings and Sketches of Louis I. Kahn (New York: Rizzoli, 1991); and Felipe J. Préstamo y Hernández, Plan for the Coordination of Transportation Services: Dade County, 1981-1985 (Miami, FL: United Way of Dade County, Area Agency on Aging for Dade and Monroe Counties, 1981).

18 Joseph Middlebrooks, Comprehensive development plan: capital improvement program, Riviera Beach, Florida (Miami, Fla., Urban Planning Studio, 1975); and Comprehensive development plan for the City of OpaLocka (Miami, FL, Urban Planning Studio, 1978).

19 Richard Langendorf, New communities--the American experience: a discussion paper (Coral Gables, University of Miami Center for Urban and Regional Studies, 1973); and Richard Langendorf, Arthur L. Silvers, and Rodney P. Stiefbold, Residential segregation and economic opportunity in metropolitan areas (Coral Gables, Fl and Springfield, Va: National Technical Information Service, 1976).

20 See for instance, Aristides J. Millas, and Claudia M. Rogers, The Development of Mobility Criteria for the Elderly: Within the Context of a Neighborhood: An Interdisciplinary Research Project Supported by the University of Miami Institute for the Study of Aging (Coral Gables, FL: University of Miami, 1979); and Nicholas N. Patricios, and Aristides J. Millas, Coral Gables Central Business District Study: An Academic Community Service Project (Coral Gables, FL: University of Miami, 1983).

21 Steffan had previously published along with Horacio Caminos, and John F. C Turner, Urban Dwelling Environments: An Elementary Survey of Settlements for the Study of Design Determinants (Cambridge, Mass: M.I.T. Press, 1969).

architectural education at the time. The increasing interest in history and theory, the elaboration of architectural representation, environmental concerns, and the recognition that architecture and urban design are reciprocally related were shaping a contemporary pluralism, challenging the foundations of international modernism, the Bauhaus, and any form of structural or functional determinism.

The influence of Europeans played an enormous part in transforming the School of Architecture’s vision in the mid-1980s. Aldo Rossi’s The Architecture of the City, first published in 1966 and reprinted in multiple languages worldwide, and Maurice Culot and Léon Krier’s Rational Architecture: The Reconstruction of the European City (1978), encouraged a rediscovery of the traditional European city.22 Rossi came to the University of Miami in 1986 to design a new campus for the School of Architecture, a highly publicized work that was never built (Figure 8).23 Conceived as an academic village based on his concept of the basic typologies that constitute a city, the plan had an enormous impact on the school’s burgeoning intellectual focus on design, history, city planning and civic activism, ecology, and the conservation of vernacular forms, giving the school a unique identity among North American programs in architecture.

22 The English edition was first printed in 1982 and published by Opposition books under the editorial leadership of Peter Eisenman. The full title of Krier’s book was Rational Architecture: The Reconstruction of the European City = Architecture Rationnelle: La Reconstruction de La Ville Européenne (Brussels: Éditions des Archives d’architecture moderne, 1978).

23 See the “Aldo Rossi Proposal for University of Miami School of Architecture,” Architecture Research Center, University of Miami Libraries, Coral Gables, FL (1987).

The faculty at the School of Architecture, which now included a third wave of new hirings, responded with a strong output of architectural design and critical thinking through many built works and publications. It was in the 1980s that study abroad emerged with programs in Venice, then Rome, offering students similar “Grand Tour” experiences to what Skinner and Paist experienced in the 1920s, and what Rossi and Krier were encouraging architects to consider more directly. Also, in 1988 the Master of Architecture in Suburb and Town Design was initiated to promote the idea of architecture as a civic art. In the wake of this new program, the school launched its first journal, The New City, which was published in three editions from 1991-1996 under the editorial supervision of faculty member Jean-François Lejeune (Figure 9).

Figure 8

Figure 9

The school’s interest in the cultural continuity of traditional architecture and urbanism caught the attention of architectural historian Vincent Scully, whose student at Yale in the 1950s had been University President Edward Foote. Scully was invited to teach at the School of Architecture as a distinguished visiting professor in 1991. He would teach both at Yale and the University of Miami until his retirement in 2009. The 1996 publication of Between Two Towers: The Drawings of the School of Miami, by Scully with contributions by faculty members Jorge Hernandez, Catherine Lynn, and Teofilo Victoria, featured students’ remarkable drawings and watercolors, bringing further national and international attention to the school (Plate 4).24

Faculty publications reflecting the many facets of the school and architectural thinking at the time increased in volume and scale. Works such Towns & Town Making Principles (1991), documenting the Harvard exhibit of the work of Andres Duany and Elizabeth Plater-Zyberk; Maurice Culot and Jean-François Lejeune’s Miami: Architecture of the Tropics (1992); and Roberto Behar’s Coral Gables: An American Garden City (1997) all brought to light the importance of South Florida’s urbanism and the unique presence of the school within its historical context (Plates 2 & 5). Hurricane Andrew, which ravaged South Florida in August of 1992, encouraged faculty to engage in community activism, resulting in its documentation in The New South Dade Planning Charrette: From Adversity to Opportunity (1992), produced by Elizabeth Plater-Zyberk and Sonia Cháo, who subsequently established the school’s Center for Urban and Community Design under the auspices of dean Roger Schluntz.

The late 1990s and early 21st century brought many changes to the architectural campus, including new buildings and deans. The Jorge M. Perez Architecture Center by Léon Krier in conjunction with Merrill Pastor & Colgan Architects of Vero Beach, and the firm of Ferguson Glasgow Schuster Soto of Coral Gables, opened in 2005 (Figure 10). Alumna Nati Soto worked with Krier to produce the Perez Center, which includes Glasgow Hall, commemorating the initiating gift of her partner. The B.E. and W.R. BuildLab designed by Professor Rocco Ceo (Figure 11) and the Thomas P. Murphy Design Studio Building, designed by the Miami firm Arquitectonica followed in 2018 (Figure 12). Elizabeth Plater-Zyberk became dean in 1995 and remained in place until 2013 when she was succeeded by the current dean, Rodolphe el-Khoury (2014-present).

Many new architects from across the Americas, Europe, Asia, and Africa have joined the faculty, representing the pluralism of contemporary architecture while still acknowledging the school’s historic approach to urbanism and the rich context of South Florida.

This diversity reflects clearly in the many publications produced in the last 25 years, beginning with Richard John’s Thomas Gordon Smith and the Rebirth of Classical

24 Vincent Scully, et al., Between Two Towers: The Drawings of the School of Miami (New York: Monacelli Press, 1996).

Figures 10-12

25 This material will also be compiled and made available during the exhibition, though not as prominently as the book publications.

Architecture (2001), and Rocco Ceo and Joanna Lombard’s Historic Landscapes of Florida (2002). There followed The New Civic Art (2003), with multiple faculty and alumni authors, Jan Hochstim and Steven Brooke’s Florida Modern (2005), Allan T. Shulman’s (ed.) Miami Modern Metropolis (2009), Catherine Lynn and Carie Penabad’s Marion Manley (2010), Eric Firley’s Urban Housing Handbook (2011, and revised 2023), Nicholas Patricios’ The Sacred Architecture of Byzantium (2013), Rodolphe el- Khoury’s Figures: Essays on Contemporary Architecture (2014), Germane Barnes’ Vigilantism (2020), Charlotte von Moos’ In Miami in the 1980s (2022), José Gelabert Navia’s Rome and Coral Gables (both 2023), and Jean-François Lejeune’s, The Other Rome: Building the Modern Metropolis 1870-1960 (2025), among many others (Plates 7, 8, 10, 13, 15, 17, 24, 26, 29 & 32).

It should be noted that the intellectual focus of the school has not been strictly limited to Europe and North America but is equally concerned with the Caribbean and Latin America. Beginning with Jean-Francois Lejeune’s Cruelty & Utopia: Cities and Landscapes of Latin America (2005), a recipient of the International Committee of Architectural Critics (CICA) Julius Posener Exhibition Catalog Award, and followed by Kenneth Treister, Felipe J. Préstamo, and Raúl B. García’s Havana Forever: A Pictorial and Cultural History of an Unforgettable City (2009); Adib Cure and Carie Penabad’s Barranquilla: Redefining the Urban Center (2009); Sonia Cháo’s Under the Sun: Sustainable Traditions & Innovations in Sustainable Architecture and Urbanism (2012); Allan Shulman’s Building Bacardi: Architecture, Art & Identity (2016); and Victor Deupi and Jean-François Lejeune’s Cuban Modernism (2021), several School of Architecture faculty have brought to light the critical importance of the American north/south axis (Plates 16, 18, 25).

In addition, a reflection of the school’s wide publishing interests are the works of alumni authors (Plates 14 & 30). Galina Tachieva published Sprawl Repair Manual (2010), and Hermes Mallea published Great Houses of Havana (2011) and Havana Living Today (2017). Victor Dover co-authored Street Design (2014), Andrew Cogar published Visions of Home (2021), and more recently James Dougherty and Chuck Bohl (faculty member since 2000) edited The Art of the New Urbanism (2025). Finally, it should be mentioned that books are not the only form of publications faculty and alumni have produced. There are many scholarly essays, book chapters, reviews, exhibition catalogs, pamphlets and documents, newspaper articles, and online blogs and podcasts that increase the growing list of scholarly work exponentially.25

As the University of Miami embarks on its second century, it is safe to say that scholarly publications will remain at the forefront of the intellectual work produced by faculty and alumni of the School of Architecture. And no doubt, new and unpredictable forms of published work will emerge, adding to the many ways that curiosity and critical thinking about the built environment can reach the wider public. Media will change, and the modes of transmission will inevitably evolve with it, but the writing will never stop!

University of Miami School of Architecture, Jorge M. Perez Architecture Center, Léon Krier and Merril, Pastor & Colgan Architects, photo © Steven Brooke

Selected Highlights

The following titles have been selected from the exhibition and highlighted in much greater detail, providing viewers of the exhibition with a more interactive and nuanced experience of what it takes to produce a scholarly book and market it commercially. Book reviews, publishers’ descriptions, and personal anecdotes add to the viewer’s experience and underline the fact that as in architectural design, book publication requires a team effort.

26 “Review of The Paintings and Sketches of Louis I. Kahn, by J. Hochstim,” Journal of the Society of Architectural Historians 52, no. 1 (1993): 115–18.

Jan Hochstim

The Paintings and Sketches of Louis I. Kahn. Rizzoli, 1991

Brief Description

Hochstim’s book, The Paintings and Sketches of Louis I. Kahn, is the first complete collection and study of the artistic work created by the renowned 20th-century Estonian-born American architect Louis I. Kahn (1901-1974). Before he became famous for his many buildings and projects, Kahn produced an extensive collection of paintings, sketches, pastels, watercolors, and oil paintings, largely from his North American and European travels, particularly at the American Academy in Rome in 1950. His artwork, which includes landscapes, still lifes, portraits, and cityscapes, evolved over time, ranging from modern illustration and realism to the more abstract and stark pieces he produced later in his career. Hochstim’s book is arranged in chronological order, with a description and analysis for each of the 480 known artworks. In addition to the catalog, the book contains a detailed analysis of how his art influenced his architecture, a biography, a comprehensive bibliography, and an introduction by Vincent Scully, a leading authority on Kahn and University of Miami visiting professor.

Review

Jan Hochstim’s The Paintings and Sketches of Louis I. Kahn, with 480 major illustrations in the Catalog section, is the most comprehensive collection of Kahn’s artistic work yet published.

It is based on the author’s master’s thesis (University of Miami, 1976), which included a two-day interview with Kahn in 1972 … Kahn’s drawings, like those of other great architectural draftsmen (Le Corbusier’s sketches were a major source of influence), attempt to capture the essence of his subjects; they become increasingly re-compositions and re-creations of reality rather than photographic renderings (Fikret K. Yegul).26

Plate 1

Maurice Culot and Jean-François Lejeune

Miami: Architecture of the Tropics. Center of Fine Arts; Archives d’Architecture Moderne, 1992

Brief Description

Maurice Culot and Jean-François Lejeune’s book, Miami: Architecture of the Tropics, served as the catalog for an exhibition of the same name that was held at the Center for the Fine Arts in Miami from December 19, 1992, to March 7, 1993. The exhibition was a collaboration between the Fondation pour l’Architecture in Brussels and the University of Miami’s School of Architecture. The book includes a foreword by Mark Ormond (director of the Miami Center for the Fine Arts), an introduction by Caroline Mierop (curator of the exhibition), and essays by Maurice Culot (president of the Fondation pour l’Architecture), Andres Duany, Elizabeth Plater- Zyberk, and Jean-François Lejeune. The content explores modern tropical architecture, which is a design approach that uses passive strategies to minimize heat and promote air circulation in response to a tropical climate. The book reveals how Miami architects have successfully addressed the challenges of designing residential, commercial, and institutional buildings that harmonize with the tropical environment and topography of South Florida.

Author’s Comments

1992: the summer of the destruction of Hurricane Andrew. Yet, it was also a seminal fall with the publication of the special issue “Miami” of the Italian periodical Abitare in November 1992 and one month later, the opening of the large exhibition Miami Architecture of the Tropics at the Center for Fine Arts (now PAMM). The accompanying book was edited jointly by Jean-François Lejeune and historian, author, and urbanist Maurice Culot. Invited at the school as visiting critics, Mierop and Culot discovered and explored both Miami’s architectural history and its new architecture—much of it involving the faculty— being thought up and built in continuation of the three traditions of Miami discussed by Duany and Plater-Zyberk: the Cracker vernacular, the Mediterranean Revival, and the Modernist. Also on display was Aldo Rossi’s project for the new school of architecture. Sadly unbuilt, it attracted disappointed visitors for many years (Jean- François Lejeune).

Review

For the historian the most interesting chapter is the somewhat tongue-in-cheek work “The Three Traditions of Miami” by Andres Duany and Elizabeth Plater-Zyberk, probably America’s most innovative contemporary urban planners … In “Dream of Cities,” JeanFrançois Lejeune, also associated with the University of Miami School of Architecture, discusses urbanism in the last years of this century … This is a beautifully designed book with many striking color photographs. It is at its best, as was the exhibit, in detailing the contemporary work of the young architects of Miami (Donald W. Curl).27

27 “Review of Miami: Architecture of the Tropics,” The Florida Historical Quarterly 72, no. 4 (1994): 515–17.

Plate 2

Steven Brooke

Seaside. Pelican Publishing Company, 1995

Brief Description

Steven Brooke’s book Seaside is a photographic guide and documentation of the Florida resort town of the same name, designed by Andres Duany and Plater-Zyberk (with others) in 1981. The book details how the town evolved from its origins as an idea—by founder Robert Davis—of a traditional seaside village on the water to a model for the New Urbanism movement. The book is heavily illustrated with Brooke’s extraordinary architectural photographs, which capture the essence and design of the town. Moreover, the book serves as a guide to Seaside, providing a comprehensive look at the town’s buildings, including some of its most beautifully designed homes. Brooke’s text describes the specific architectural elements that define the “Florida style” as seen in Seaside. This includes features like tin roofs, picket fences, and large porches, which all contribute to the town’s Southern vernacular character. The book also highlights the urban design principles of New Urbanism, such as walkable, mixed-use neighborhoods. Through his photography and text, Brooke documents Seaside’s growth from its “earliest pioneer stages” with dirt roads and simple cottages to its development into a thriving community with award-winning houses and public buildings.

Author’s Comments

From Seaside’s inception, I was asked to serve as its photographer of record. To my knowledge, no photographer—past or present—has had such an opportunity. Piranesi and Vasi documented 18th-century Rome already in decay. Canaletto, Marieschi, and Bellotto depicted Venice in its static grandeur. David Roberts portrayed a relatively changeless Holy Land, while Vermeer and de Hooch captured fragments of Dutch towns. Even my earlier work in Miami Beach recorded an existing district undergoing modest transformation. Seaside, by contrast, offered something wholly different: the chance to document, from the very beginning, a community destined to become a landmark in architectural and urban history.

I understood that the world would first encounter Seaside largely through my photographs. At a time when its simple coastal cottages were derided by critics as “Tobacco Road shacks,” it was essential to present them with the same disciplined eye I applied to works of greater size, cost, or pedigree. My responsibility was not only to ennoble these modest structures but also to convey Seaside’s larger vision: the human scale of its streets, the careful arrangement of its buildings, and the presence of iconic beach pavilions rather than high-rises at street termini. The way each view was framed became critical to communicating both what was there and what was to come (Steven Brooke).

Plate 3

Vincent Scully, et al.

Contributions by Jorge Hernandez, Catherine Lynn, Teofilo Victoria Between Two Towers: The Drawings of the School of Miami. Monacelli Press, 1996

Brief Description

This exceptionally elegant publication combines the work of the students and faculty of the University of Miami School of Architecture with a text by the school’s distinguished visiting architectural history professor, Vincent Scully, from Yale University. The School of Architecture is known for its whimsical and analytical drawings of architecture, urban planning, and landscape design, illustrating the natural and man-made environment, animals and objects, and plans for designing and reinventing built and unbuilt cities. Miami’s principal urban centers and surrounding environments are apparent in the students’ work, with vivid colors echoing the spirit of Coral Gables, Key West, and the Everglades. Miami’s vital position as a major nexus of the greater Caribbean world is also evident, as the drawings embrace the cultural richness of the West Indies and Central and South America in both subject matter and style. Imaginatively designed, Between Two Towers features a horizontal, sketchbook-like format with gatefold pages, capturing the incredible detail, complexity, and scale of the student and faculty drawings, some reaching 10 feet in height and length. The drawings come in a variety of media, including graphite, colored pencil, ink, and watercolor. Scully’s informative text recounts the school’s history and documents the distinctive teaching approach of its faculty.

Contributor’s Comments

In this provocative and highly visual work, Scully casts the drawings and attendant pedagogy of the University of Miami School of Architecture to counterpose prevailing trends in Modernism as a critique which “…involves, before all else, the development of a special kind of drawing, one which, by the late years of the 20th century, has begun to affect the course of contemporary architecture profoundly, has begun to restore architecture… to its former glory as the shaper of the human community, as the fundamental intermediary between humanity and nature’s invincible laws.” (Scully pg. 9)

Scully and Lynn first saw the drawings in process in 1990 in New London, Connecticut, where Professors Hernandez and Victoria, with Jorge and Luis Trelles and Frank Martinez in assistance and their students, began testing and putting together the methodology of the summer traveling studio at the invitation of former chair and the school’s founder, John Steffan, in an old barn he lent. There, under the hay lofts and rafters, the students drew, documented and analyzed the structure and iconography of New England’s townscapes, landscapes, and monuments. They drew as an act of respect, of deference to the place where they would later site their designs.

28 “Drawing to Understand,” The Chronicle of Higher Education 43, no. 31 (Apr 11, 1997): 1.

This studio was born as a reaction to the explosive global colonization of the “Local” fostered by the phenomena of “Starchitecture,” which treated site as a petri dish for gargantuan “follies” from the egos of whomever the prevailing star might be at any given time. The program grew and continued over many summers to distinct and distant places. Scully and Lynn joined the faculty in 1991 and taught at Miami every winter term for nearly 20 years. The traveling summer studio – now the “Open City Studio”—has continued under a new generation of faculty, Adib Cure, Steven Fett, Carie Penabad, and Edgar Sarli, where the experiment, its intellectual progeny, and Scully’s insight have been memorialized in the school curriculum and pedagogy to this day (Jorge Hernandez).

Additional Comments

Ten years after being elevated from a department in the engineering school to become the School of Architecture (1983), a visual identity was coalescing amidst national recognition of the school’s special character. This became the subject matter for Between Two Towers: The Drawings of the School of Miami (1996). Instigated by architecture historians Vincent Scully and Catherine Lynn shortly after they joined the faculty, the images and text represent a foundational time in the school’s history. The work reflects a renewed international appreciation for architectural drawings and the faculty’s growing awareness of the cultural—read local and historical—context for buildings, landscapes, and cities. From historical documentation to interpretative images of character and identity, to design projects in the studio and in budding professional practice, the subject matter concerns place-making a focus for that emerging movement called the New Urbanism.

Escaping the continental antipode of South Florida, and in search of a deeper history, the peripatetic (young) faculty took students to points north and abroad – New England, Venice (hence the reference to Ruskin), the Caribbean (with the Mediterranean a single discontinuous sea), Latin America, and Japan. Often the travelers’ resource limits inspired inventions of subject matter and technique. Keen observation and precision in skills encouraged, many students produced the first beautiful drawing of their career (Elizabeth Plater-Zyberk).

Review

Something very like (John) Ruskin’s fever of drawing animates the School of Architecture at the University of Miami. From the moment undergraduates arrive, they are pushed to draw freehand. Close by, they draw the works of architects, the local products of their profession and the works of nature, the palms, ficus, and live oak trees that press right up to studio windows, the leaves, blossoms, and fruits that instantly appear on drafting tables. Promptly students find themselves in the Everglades, in the citrus groves, in the agricultural Redland of South Florida, drawing, drawing, as are the young instructors at their sides. And they continue to do so for their full five years, dodging the traffic of downtown Miami, the skateboarders on South Beach, the tourists in Key West. A great many travel with their ever-drawing mentors to the ancient Spanish towns of the Caribbean and Central and South America. And some go to Rome. They can amaze even themselves with the pictures they bring back (Catherine Lynn).28

Roberto M. Behar and Maurice Culot

Contributors: Maurice Culot, Elizabeth Guyton, Joanna Lombard, Roberto M. Behar, Elizabeth Plater-Zyberk, Vincent Scully

Coral Gables: An American Garden City. Norma Editions, 1997

Publisher’s Description

In 1921 a visionary entrepreneur, George E. Merrick, decided to build the most beautiful garden city in the world eight kilometers southwest of Miami, on the site of a family lemon plantation: Coral Gables, named for the coral stone used for the prominent gable of the Merricks’ first house. Surrounded by a stone wall pierced by monumental gates, Coral Gables, with its trees, its shaded paths, its fountains, actually corresponds to the dream of its creator. The beauty and extravagance of the place is based on unforgettable monuments: the picturesque Venetian swimming pool from 1924, a mecca of social life where Esther Williams frolicked and where Johnny Weissmuller, alias Tarzan, made his debut as a master swimmer; the Biltmore Hotel with its tower inspired by the Giralda of Seville; the baroque churches supposed to recall the Californian Catholic missions intended to evangelize the Indian populations; and the unique network of canals that connect the city to Biscayne Bay, populated in the 1920s with authentic gondolas.

Author’s Comments

Working on Coral Gables: An American Garden City gave me the opportunity to explore and uncover the unique and fascinating history behind the making of Coral Gables. The city’s distinctive approach to uniting architecture, landscape, and urban design into an artistic civic endeavor shaped everything I pursued thereafter. Collaborating with Maurice Culot, founder of the remarkable Archives d’Architecture Moderne in Brussels, and editor of numerous influential books on architecture and cities, I discovered the joy of telling architectural stories through beautiful and meaningful publications. His lessons, along with the gift of his enduring friendship, remain treasures I will always cherish (Roberto M. Behar). Plate 5

Michael Leccese and Kathleen McCormick, eds.

Contributors: Andres Duany, Elizabeth Plater-Zyberk, Galina Tachieva, et al.

Charter of the New Urbanism. McGraw Hill, 1999

Publisher’s Description

The Congress for the New Urbanism (CNU) is the leading organization promoting walkable, mixed-use neighborhood development, sustainable communities, and healthier living conditions. Thoroughly updated to cover the latest environmental, economic, and social implications of urban design, Charter of the New Urbanism features insightful writing from [multiple] authors on each of the Charter’s principles. Real-world case studies, plans, and examples are included throughout.

This pioneering guide explains how to restore urban centers, reconfigure sprawling suburbs, conserve environmental assets, and preserve our built legacy. It examines communities at three separate but interdependent levels:

• The region: Metropolis, city, and town

• Neighborhood, district, and corridor

• Block, street, and building

Featuring new photos and illustrations, this practical, up-to-date resource is invaluable for design professionals, developers, planners, elected officials, and citizen activists.

Author’s Comments

The Charter of the New Urbanism is an elaboration of the manifesto of the same title that defines the principles of New Urbanism. The book’s 27 chapters, each written by a founding member of the Congress for the New Urbanism (CNU), explain the 27 principles of the charter. These are organized by a gradation of the built environment: Region, Metropolis, City, and Town; Neighborhood; Street, Block, and Building. These reflect the expertise of the organization’s founders: Calthorpe, proponent of regional plans in California and Oregon; Duany and Plater- Zyberk, designers of new neighborhoods and towns in Florida and Maryland; Moule, Polyzoides and Solomon, designers of urban housing in California.

The Congress for the New Urbanism was founded in 1993, a year after a meeting in Alexandria, Virginia of architects, landscape architects, planners, traffic engineers, attorneys, civic activists, and others, determined that an organization was needed to

Plate 6

advance knowledge and experience in a unified manner, to address the problems of suburban sprawl and urban disinvestment as “one interrelated community-building challenge.”

The charter was written in 1996 and at the CNU meeting in Charleston signed by all the attendees, including then secretary of United States Department of Housing and Urban Development. Henry Cisneros and many faculty members of the University of Miami School of Architecture. The book was published in 1999; a second edition followed in 2013. The charter has been translated into more than a dozen languages, which can be accessed on the organization’s website www.cnu.org (Elizabeth Plater-Zyberk).

Review

Planners can stop grumbling. The Charter of the New Urbanism has arrived: a bold, visionary, fleshed-out statement of the original set of principles put forth by the Congress of the New Urbanism in their earlier Ahwanhee Principles. Here is planning’s emancipation proclamation of freedom from postmodern relativity: Planning, it seems, is not entirely about process. There are, in fact, some fairly concrete principles that can be adhered to, and, in this document, no less than 27 urban designers, architects, politicians, and even a few planners have stepped forward to lay down the law of good city form. This is not to say that change, diversity, and participatory process are not an integral part of their statement.

The significance of the charter must be judged from two perspectives. From the point of view of planning academicians, it represents a bold statement insofar as it is unabashedly normative: It asserts, in resolute terms, what the basis of beauty in urban planning is. Here, beauty is not entirely within the eye of the beholder. Instead, it is centered on the values of truth and goodness in urban form, ideals that are knowable, manifested in specific aesthetic principles of spatial organization. Yet the boldness of this ideal is probably perceptible only if one is looking from the academic point of view. For a majority of practicing planners, the charter undoubtedly represents a composite summary of the kinds of principles they have tried (ineffectively, for the most part) to pursue on a daily basis. There is hope here for realization of these principles, since the New Urbanists expertly tie together an amalgam of many widely held beliefs about what a good pattern of development is supposed to be and how it can be sustained (Emily Talen).29

29 “Charter of the New Urbanism: Valuing the New Urbanism: The Impact of the New Urbanism on Prices of Single-Family Homes,” Journal of the American Planning Association 67, no. 1 (Winter, 2001): 110-12.

Richard John

Thomas Gordon Smith and the Rebirth of Classical Architecture. Andreas Papadakis, 2001

Publisher’s Description

Thomas Gordon Smith has played a central role in the revival of classicism in contemporary architecture in America. In the late 1970s he became a key figure in the development of PostModernism but after contributing to that movement’s seminal exhibition at the 1980 Venice Biennale, he rejected the ironic approach of Robert Venturi and the decontextualization of Charles Moore to develop an architecture that draws freely on the 25 centuries of the classical tradition. His conviction in the enduring relevance of the tradition to contemporary life has resulted in buildings that in terms of materials and function are just as much a product of the modern world as a high-tech office building or a Deconstructivist museum extension, but in addition to admirably fulfilling the job for which they were intended, they also have the rare quality of engaging us intellectually. This extensively illustrated monograph presents Thomas Gordon Smith’s buildings and projects for the first time. A biographical essay explores the polymathic range of his other activities, including his influential role as an educator, commentator on Vitruvius, historian of the Greek Revival, painter of frescoes, and designer and collector of furniture.

Author’s Comments

In August 1994 I was asked to speak at a symposium on contemporary classical architecture held at a stunning new seaside villa in the Peloponnese, which had been designed and built by the expatriate American artist Charles Shoup. At the time I was a fellow of Merton College, Oxford, where I taught medieval and Renaissance Italian history. I had recently completed a three-year stint as a thesis tutor at the Architectural Association School of Architecture while completing my PhD at the Warburg Institute. The villa had its own private beach and so, at the first break in the proceedings, I leapt at the opportunity to have a cooling dip in the Mediterranean; when I emerged from my swim I encountered a figure sitting on a rock at the edge of the beach hunched over a sheaf of papers, furiously making notes. It was Thomas Gordon Smith, one of the participants in the symposium, at work on his commentary on Vitruvius. The University of Notre Dame had hired him five years previously to transform its architecture program into a new classical architecture school, the first to operate in the United States for many decades, and his intense study of Vitruvius was part of that endeavor. A few months after the symposium, the Prince of Wales invited me to become the director of his Institute of Architecture in London, so over the next three years, as the head of the only traditional school of architecture in the UK, I naturally turned to Thomas to collaborate

Plate 7

on a number of initiatives: I asked him (and several members of his faculty) to teach on the Summer Schools I organized for the prince in the United States and he, in turn, invited me to speak at Notre Dame and in a lecture series he organized in Russia at the St. Petersburg Academy of Fine Arts.

In early 1998, following the dramatic shift in British popular sentiment against the Royal family in the wake of Diana’s death, it was announced that Prince Charles would curtail what were perceived to be his most publicly controversial activities and, consequently, the professional architectural program at his Institute of Architecture would be wound down. Finding myself, unexpectedly, with time on my hands and keen to continue contributing to the intellectual project of reviving a classical pedagogy, I asked Thomas if he would be willing to be the subject of an architectural biography. Over the next few months, with long interviews conducted by telephone and working closely with Thomas and his wife Marika, who ran his architectural office, to gather images, the publication took shape. The timing was fortuitous because Andreas Papadakis, the Greek Cypriot publisher whose imprint Academy Editions had played a crucial role in the international architectural debates of the 1970s and 80s, was itching to return to the business now that the non-competition clause imposed as part of the sale of his publishing house to Wiley-VCH had expired. The result was this book: Thomas Gordon Smith and the Rebirth of Classical Architecture (Richard John).

Praise

Richard John admirably conveys the fey qualities of Smith’s work, skipping around the edges of antiquity, at once faun-like and sacerdotal, Etruscan and Early Christian, exuding innocence, strangeness, and abandon, and always suggesting a variety of religious experiences (Vincent Scully).

Thomas Gordon Smith, perhaps the most intellectually stimulating of the traditional and classical architects at work today in the United States, has found in Richard John the ideal biographer. As in the plot of a first-class detective story, we follow the careful construction of a career through the analysis of a complex weave of contrasting social, intellectual and architectural conjunctions, including Thomas Gordon Smith’s meetings with figures as varied as Paolo Portoghesi, Christian Norberg Schulz, Philip Johnson, and Stanley Tigerman. The result, rich with illustrations of stunning beauty, is one of the most remarkable biographies of any modern architect (David Watkin).

Review

Smith, of the School of Architecture at the University of Notre Dame, was in the 1970s a key figure in the postmodernist and decontexualist movements, but he has moved on, having rediscovered the imaginative richness of the classical tradition. This handsome book provides an engaging account of what he thinks architecture can again be, along with striking illustrations of his work, including private houses, civic buildings, and churches. If it is true that we are, in significant part, the spaces in which we live, Smith points to a future of greater human flourishing.30

30 “Thomas Gordon Smith: The Rebirth of Classical Architecture.” First Things: A Monthly Journal of Religion and Public Life (February 2003): 65.

Rocco J. Ceo and Joanna Lombard

Historic Landscapes of Florida. Deering Foundation and the University of Miami School of Architecture, 2001

Brief Description

Historic Landscapes of Florida by Rocco Ceo and Joanna Lombard is a book that documents and analyzes significant historic landscapes across the state of Florida. The book is the result of a decade-long project where the authors, in collaboration with students from the University of Miami, created a record of Florida’s important and often threatened landscapes. The book also highlights the need to understand these spaces as meaningful cultural resources. Moreover, the authors explore how these landscapes are not just natural areas but are interconnected systems that reveal the history and aspirations of the people who shaped them. They argue for the conservation and preservation of these sites, to build public awareness and encourage advocacy for their protection. Finally, the book also delves into the design principles behind these historic landscapes, often revealing the work of visionary landscape architects who artfully orchestrated site planning, landscaping, and architecture to create a true sense of place.

Author’s Comments

Judging a book by its cover, Historic Landscapes of Florida suggests a broad regional topic, with only a hint at its method. What is less obvious is the extensive primary research undertaken by the slow and careful process of documenting the landscapes and its architecture—to scale. This work, carried on by students over many years, teaches architecture students about how to use drawing as a research method. The images form more than a catalog of these landscapes; they are explorations in new ways of representing the intimate relationship found between landscape and architecture. Many landscapes, drawn for the first time here, became tools of preservation for their stewards, and 24 years later, a record of change. A moment in time that captures how architecture education was both learning the tools of the profession and simultaneously producing new knowledge for future generations (Rocco Ceo).

If it weren’t for a series of timely associations, I am not sure this book would have happened! I had been documenting and studying American gardens and their European precedents through a Wheelwright Fellowship and continued that work here at UM with students, while also studying the Florida work of William Lyman Phillips, an Olmsted protégé. Rocco had been documenting cultural landscapes in Florida. Javier Cenicacelaya was the dean at the time, and he brought us together to his office to suggest that we collaborate on publishing the 10 years of work we each had been conducting. That was the beginning of the great adventure that led to the book. Catherine (Tappy) Lynn Plate 8

edited the book with us over summer months, and we also launched an accompanying exhibition of the book’s 27 drawings that traveled to museums and libraries across Florida. A few of the drawings are at the top of Glasgow Hall today (Joanna Lombard).

Review

Florida’s historic gardens and landscapes are the subject of a new book and traveling exhibition. Historic Landscapes of Florida by Rocco J. Ceo and Joanna Lombard details the history and design of 27 such diverse landscapes as Miami’s Villa Vizcaya and Parrot Jungle; the Fairchild Tropical Gardens in Coral Gables; Sarasota’s Ca’ d’Zan; the Mountain Lake Sanctuary (Bok Tower Gardens) in Lake Wales; and the Ravine Gardens in Palatka. The volume is richly illustrated with handsome line drawings, historic postcards and views, and contemporary photographs. Thirty original drawings from the book will be on display at the Thomas Edison Estate and Botanical Gardens in Fort Myers March 1 to May 31 and at the Mennella Museum of American Folk Art in Orlando October 1 to December 31. The book and accompanying exhibit were made possible by a grant from the Deering Foundation.31

31 “A New Look at Florida’s Historic Landscapes,” Florida History & The Arts Magazine 10, no. 2 (Spring 2002): 5.

Charles C. Bohl

Place Making: Developing Town Centers, Main Streets, and Urban Villages. Urban Land Institute, 2002

Brief Description

Place Making was the first book to specifically focus on New Urbanist town centers. The book was commissioned and published by the Urban Land Institute, the oldest and largest network of cross-disciplinary real estate and land use experts in the world. Place Making remains in print today and has been a best-selling book in the extensive ULI catalog for over two decades.

Publisher’s Description

Addressing one of the hottest trends in real estate—the development of town centers and urban villages with mixed uses in pedestrian-friendly settings— this book will help navigate through the unique design and development issues and reveal how to make all elements work together.

Author’s Comments

The creation of Place Making was a pivotal moment in my personal life and career, almost like a Dickens story. I was all but dissertation at UNC-Chapel Hill and spent the summer writing three grant proposals to fund my doctoral research, “The Social, Civic and Symbolic Functions of the Public Realm: A Comparative Analysis of New Urbanist Town Centers and Conventional Shopping Centers.” I had turned down opportunities to explore different topics and use existing data from faculty research grants I was involved in, taking a risk that I might persuade someone to fund my research on New Urbanism. That fall, the anxiety grew around the dinner table as rejection letters arrived one after another (picture the family by the fireside with three children aged 7 months to 5 years). I was writing book reviews for Urban Land at the time, and a friend suggested I propose covering a ULI conference on town centers and writing a feature article to help advance my research. That proposal was approved but quickly canceled because the assignment had already been promised to another writer. Just a few weeks later, I received a call from a vice president at ULI, who had read my letter about my dissertation research on town centers and asked me to submit a proposal for a book. The project was approved on Thanksgiving Day, securing the funding I needed to visit the case study sites and meet with dozens of developers, architects, consultants, and local officials involved in the projects featured in the book and, later, in my dissertation.

The writing of the book began in Chapel Hill and continued in Miami less than a year later, when I joined the faculty at the School of Architecture. While most ULI books

Plate 9

focus primarily on contemporary case studies, my proposal called for additional chapters on “Learning from the Past,” “Timeless Design Principles,” and a “Compendium of Placemaking Practices for Town Centers” as a concluding chapter. The goal was to give the book a longer shelf life, which has been born out over the years, and I credit the rich intellectual environment and engagement of my colleagues at the School of Architecture as being instrumental in helping me realize that goal (Chuck Bohl).

Review

Ever try to create a mixed-use development? Do not try it without first reading Place Making: Developing Town Centers, Main Streets and Urban Villages by Charles C. Bohl. This excellently researched book describes the state of the art of mixed-use, placecreating developments. The case studies are particularly valuable ... The book seamlessly serves a variety of audiences: developers, planners, designers, and general readers interested in urban places (Douglas Farr).32

32 “Urban Design,” Journal of the American Planning Association 70, no. 1 (Winter 2004): 103-04.

Jan Hochstim and Steven Brooke

Florida Modern: Residential Architecture 1945-1970. Rizzoli, 2004

Publisher’s Description

Between 1941 and 1966, Florida became host to sweeping innovations in residential architecture rivaled only by what was happening in California with the Case Study Houses. Florida Modern documents the best work of the era, from Key West to Jacksonville, documenting numerous unsung and unpublished masterpieces by such architects as Paul Rudolph, Gene Leedy, and Rufus Nims. With today’s widespread resurgence of interest in “Mid-century Modernism,” the houses appear as fresh and contemporary as they did over 50 years ago. Many of the houses have been preserved as they were originally built, with Saarinen chairs and Eames furniture all part of the mise-en-scène.

While these houses found their inspiration in part from the philosophies of the Bauhaus, they were quick to incorporate aspects of regional Southern architecture, using verandas, porches, and raised floors to open out to tropical vegetation, and more importantly, cooling breezes. The appeal of many of these homes is the blurring of indoors and outdoors, the connection to the natural environment, and, perhaps even more so today, the ecoconscious spirit that favored local materials and natural ventilation.

Author’s Comments

I had the good fortune to be mentored by one of the Sarasota School’s leading figures, Mark Hampton. Through that relationship I was given the opportunity to photograph not only his work, but also the architecture of Carl Abbott, Paul Rudolph, Gene Leedy, Victor Lundy, and other luminaries. Much of their most significant work was completed before I began my own career, so revisiting these projects was both a privilege and a challenge. Documenting this body of architecture allowed me to engage directly with a vital chapter in Florida’s modernist history, and to contribute to preserving its legacy for future generations (Steven Brooke).

Review

Florida’s fragile, elegant early Modern architecture has been comparatively uncelebrated, even in a period of intense interest in the decades immediately following World War II. The notable exception was, of course, Paul Rudolph, who lived in Sarasota in 1940 and 1941 and returned after the war to produce works of enormous delicacy and delight before leaving in 1958 to become dean of architecture

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at Yale. The Sarasota School (as it came to be called) eclipsed inquiries into other postwar architecture in Florida.

Jan Hochstim’s Florida Modern, with a fine selection of contemporary photographs by Steven Brooke, goes far to redress the oversight. Hochstim, a professor at the University of Miami School of Architecture, notes that the postwar Florida house did not necessarily “reflect the prewar European concern for social significance and functionality,” but rather, it was based on a fierce desire to experiment with materials and forms responsive to a hot and unyielding climate. Thus came houses with deep, overhanging flat roofs, louvered windows, and cross ventilation. Before air-conditioning became the norm, houses were wrapped around courtyards or ensconced within a larger screened enclosure, as in Igor Polevitsky’s 1949 Birdcage House.

These houses are finally getting their due. Many that survived have owners committed to preserving them. Hochstim has documented almost 100 houses in his statewide study, which is enhanced by informative text and an appealing design, itself an ode to the graphics of the era (Beth Dunlop).33

33 “Florida Modern: Residential Architecture 1945-1970.” Architectural Record 194, no. 4 (April 1, 2006): 70.

34 “Great Houses of Florida Book Celebrates Legacy of Florida’s ‘Great Houses’.” Sarasota Herald Tribune, 25 Oct. 2008.

Beth Dunlop and Joanna Lombard

Great Houses of Florida. Rizzoli, 2008

Brief Description

Great Houses of Florida, published by Rizzoli in 2008, is a lavishly illustrated book that provides a tour of some of the state’s most notable and intriguing historic homes. The book showcases a variety of architectural styles and periods, including iconic residences such as the Ca’ d’Zan, the Venetian style palazzo of John and Mabel Ringling in Sarasota; Villa Vizcaya, James Deering’s spectacular Italianate estate in Miami; and the historic homes of Ernest Hemingway and John James Audubon in Key West. Featuring new color photography, the book offers a detailed look into the architecture and history of these magnificent houses, which were once the winter playgrounds for America’s wealthiest and most famous figures.

Author’s Comments

Collaboration is always the key! I was a “Florida Humanities Road Scholar” giving talks on the Historic Landscapes of Florida work all over the state. As I encountered historic properties and communities seeking to preserve them, Beth Dunlop suggested that telling the stories of the houses associated with the landscapes would contribute to those efforts. The editors at Rizzoli had done another kind of “Great Houses” book so they provided support. We connected with Steven Brooke, who set out on a photographic journey and the book came together over many months of exploration and research. Then we traveled around Florida to give talks at many of the houses, and they shared their stories of the book bringing attention to their preservation efforts, which was an especially rewarding aspect of the project (Joanna Lombard).

Review

Vizcaya, El Jardin, Ca’ d’Zan. These are among the landmark houses of Florida, celebrated in a new book from Rizzoli New York, “Great Houses of Florida,” by Beth Dunlop and Joanna Lombard, with photography by Steven Brooke.

But the book is more than just a look inside the mansions of Florida’s Gilded Age. Most of the 39 featured houses were built in the 1880s, of wood rather than masonry, and are more modest in scale than circus king John Ringling’s Ca’ d’Zan or International Harvester founder James Deering’s Vizcaya. Houses as small as “The Yearling” author Marjorie Kinnan Rawlings’ home in Cross Creek, or a cigar maker’s house in Tampa’s Ybor City, also are spotlighted, with interesting stories… The book’s you-are-there photography will tempt lovers of history, architecture and interior design to take it off the coffee table and give it some lap time (Harold Bubil).34

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Carmen L. Guerrero, Salvatore Santuccio, and Nicoló Sardo

Luigi Moretti: le ville: disegni e modelli. Palombi, 2009

Publisher’s Description

The book stems from a teaching experience conducted at the Faculty of Architecture of the University of Camerino, located in Ascoli Piceno, in collaboration with the School of Architecture of the University of Miami. Studying the single-family homes of the great Roman architect, the students traced the original drawings using materials held at the ACS (Archivio Centrale dello Sato) in Rome. They then proceeded to redesign the houses and create a series of 1:100 scale models of all the buildings analyzed … What emerges is a very interesting aspect of Moretti’s design journey, continuous and coherent, contrary to what appears to be his overall production. It also reveals the architect’s leading role in Italian civic life, given his clients, often public figures and minor stars of a changing society.

Author’s Comments

I wrote Luigi Moretti: le Ville to focus on the architect’s lesser-known residential works. Having been taught Italian Rationalism largely through the lens of Moretti’s monumental works of the Fascist period, I became fascinated by his ability to move beyond politics. In the villas, I discovered an architecture shaped not by ideology but by fundamental values —the interplay of form, light, and space—revealing a more enlightened and timeless dimension of Moretti’s work (Carmen Guerrero).

Review

This book, published in Italian alongside an English translation, shows in its 159 pages many small photographs of models and thumbnail floor plans, the houses and villas in the oeuvre of the Italian architect Luigi Moretti (1907–1973). In the Americas his name is best known as the architect of the Watergate Complex in Washington, D.C.) (completed 1971) and, with Pier Luigi Nervi, the Stock Exchange Tower in Montreal (completed 1965).35

35 “Book Reviews,” Docomomo 44 (2011): 94.

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Allan T. Shulman (ED.)

Contributors: Jean-François Lejeune, Carie Penabad, Aristides J. Millas, Rocco Ceo, Greg Castillo, Gray Read, Charles Treister, Anthony Abbate, et al.

Miami Modern Metropolis: Paradise and Paradox in Midcentury Architecture and Planning. Bass Museum of Art, Balcony Press, 2009

Publisher’s Description

The two decades that followed World War II were a period of extraordinary growth in Miami. During that time architectural modernism provided a framework for the city’s new urban patterns, novel building types, evolving aesthetics, and emerging environmental consciousness. The city was a virtual laboratory of modern architecture, a semitropical hothouse where modernism was probed, challenged, adapted, and ultimately expanded. Miami Modern Metropolis explores the distinctive and illuminating premises embodied in the city’s growth from 1945 to 1965. Covering a range of architectural topics including hotels, retail, aerospace, and residential, Miami Modern Metropolis is both a thoroughly researched and entertaining look at one of the country’s most distinctive urban confections.

Author’s Comments

The initial research for Miami Modern Metropolis began while I was exploring Miami Beach’s prewar modern design culture, work that was published in The Making of Miami Beach 1933-1942 (Rizzoli, co-authored with Jean-François Lejeune). The inter-war Miami Beach period was, for many Miami architects, an interlude in the larger picture of the region’s metropolitan development. As Miami’s archives reveal, the resort hotels of the 1930s were the prelude to the explosive growth of housing, commercial development, and civic infrastructure in the 1950s-60s. Like many of my projects, this book began with an exhibition project for the Bass Museum of Art in Miami Beach, Promises of Paradise: Staging Midcentury Miami (co-guest curated with Tom Hine). For the exhibit, we received grants from the Graham Foundation for Advanced Studies in the Fine Arts, the Florida Department of State Division of Historical Resources, and the National Endowment for the Humanities. The NEH grant was especially formative, allowing us to invite a national panel of experts in postwar American culture to Miami, and to develop our themes.

Through the project’s development, the inherent paradoxes of modernity in Miami were thrown into sharp relief and inspired further explorations of identity and image-

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making. This then formed the foundation for the book project, for which I assembled a wide range of contributions from UM faculty, students, and professional colleagues (Allan Shulman).

Review

This extensively illustrated book accompanied the exhibit Promises of Paradise: Staging Midcentury Miami, which was first mounted in the Bass Museum of Art in Miami and subsequently in Samuel P. Harn Museum in Gainesville in 2008. While the exhibit was managed by Ruth Grim of the Bass and co–curated by Allan Shulman and Tome Hine, the book was edited by Shulman, who is a practicing architect in Miami, a faculty member of the University of Miami School of Architecture and an active member of docomomo US/FLA. This lavishly illustrated work, which contains a series of essays about the various aspects of the development of Miami in the postwar period, is in many ways the culmination of a recognition and preservation process of modern architecture in Miami that began as early as the 1970s with its Art Deco hotels. Not surprisingly the majority of the essays, several of which are the work of docomomo members Jean-François Lejeune, Anthony J. Abbate and Alice Friedman, highlights its residential and hotel architecture but also brings attention to the growth and open–spirited ethos of the region and some of its remarkable examples of its civic, religious, commercial, and industrial architecture. Largely illustrated with photographs and images of the book period, as the original exhibit did, it offers an extraordinary insight in the development, growth, and architecture of postwar Miami.36

Galina Tachieva

Sprawl Repair Manual. Island Press, 2010

Publisher’s Description

There is a wealth of research and literature explaining suburban sprawl and the urgent need to retrofit suburbia. However, until now there has been no single guide that directly explains how to repair typical sprawl elements. The Sprawl Repair Manual demonstrates a step-by-step design process for the re-balancing and reurbanization of suburbia into more sustainable, economical, energy- and resource-efficient patterns, from the region and the community to the block and the individual building. As Galina Tachieva asserts in this exceptionally useful book, sprawl repair will require a proactive and aggressive approach, focused on design, regulation, and incentives. The Sprawl Repair Manual is a much-needed, single-volume reference for fixing sprawl, incorporating changes into the regulatory system, and implementing repairs through incentives and permitting strategies. This manual specifies the expertise that’s needed and details the techniques and algorithms of sprawl repair within the context of reducing the financial and ecological footprint of urban growth.

The Sprawl Repair Manual draws on more than two decades of practical experience in the field of repairing and building communities to analyze the current pattern of sprawl development, disassemble it into its elemental components, and present a process for transforming them into human-scale, sustainable elements. The techniques are illustrated both two- and three-dimensionally, providing users with clear methodologies for the sprawl repair interventions, some of which are radical, but all of which will produce positive results.

Author’s Comments

The Sprawl Repair Manual was envisioned as the first in a series showcasing Duany Plater-Zyberk’s (DPZ) urban design methods. When the Great Recession hit and the subprime mortgage crisis exposed the vulnerabilities of car-dependent suburbs, it became clear this book needed to be the first.

Working with talented DPZ colleagues, including University of Miami School of Architecture alumni Judith Bell, Rachel Merson, and Chris Ritter, we drew on decades of suburban retrofitting experience to create something useful—a practical guide for transforming sprawl into walkable, human-scale places. The manual tackles repair at every scale, from regional planning down to individual buildings. Just as sprawl

Plate 14

was built through normative, replicable methods, the book demonstrates equally systematic approaches for its repair. Fifteen years later, it may be considered prescient, as states and municipalities across the country modify zoning ordinances to reflect the manual’s suggestions for transforming malls and office parks into town centers, and for densifying single-family suburbs (Galina Tachieva).

Praise

The Sprawl Repair Manual is so far the only complete physical planning manual for handling the impending transformation of suburbia into vital human communities. It is not only hugely instructive but formidably inspirational (Léon Krier).

The successful strategies and highly effective illustrations of prototypical solutions in the Sprawl Repair Manual are extremely useful to both citizens and professionals eager to communicate the many advantages of reconfiguring sprawl into more compact, complete, and connected places. Packed with ideas, this book is a great read and will be a must-have reference for years to come! (Ellen Dunham-Jones).

Review

By now, most people familiar with or actively involved in the built environment—such as professional planners, designers, developers, regulators and concerned citizens, know that despite recognizing that sprawl is wasteful, inefficient and unsustainable, it continues to be the growth pattern across the United States and in many other countries. The obvious question arises: Is it possible to repair sprawling suburbs so that they become more livable and sustainable communities? This book addresses this question, and the repair strategy is designed to achieve communities based on the neighborhood unit, similar to the traditional fabric that was established in towns and cities before World War II … This manual demonstrates how growing housing demand can be achieved by the intensification of sprawling developments … especially near places with the potential for transit. The sprawl repair method presented in the book comprises urban design, regulatory and implementation techniques (Besim S. Hakim).37

37 “Sprawl Repair Manual,” Urban Design International 16, no. 4 (Winter, 2011): 297.

Catherine Lynn and Carie Penabad

Marion Manley: Miami’s First Woman Architect. University of Georgia Press, 2010

Publisher’s

Description

Marion Manley (1893–1984), Miami’s first female architect, successfully maintained an independent architectural practice in South Florida over much of the 20th century. In this first comprehensive, illustrated work on Manley, Catherine Lynn and Carie Penabad explore the relationship of Manley’s work to her life and to the broader historical moment of which she was a part, including the overall development of the city of Miami. The book catalogs all of Manley’s known work, includes images and plans where available, and provides detailed examinations of what the authors consider to be her best, most emblematic work in each phase of her long career.

15

Best known as one of the designers of the innovative University of Miami campus built just after the Second World War, Manley worked on other public buildings that are less well known, including an addition to the John Ringling Museum in Sarasota. Her residential work is interesting as well: modest and rational, with careful consideration of regional characteristics and construction appropriate to the South Florida landscape. As noted architect Elizabeth Plater-Zyberk remarks in her foreword, “Understanding the reduced circumstances of the provenance of these buildings and their low-tech characteristics such as rooms with cross ventilation, large areas of shaded glass, and the almost tactile relationship to the adjacent landscape, we must admire the legacy of Marion Manley.”

Author’s Comments

When I first joined the faculty at the University of Miami, I was asked to document the historic wooden administration building on campus. In researching its history, I uncovered the name and career of Marion Manley—a pioneering architect I had never heard of. As a practicing architect, I felt a responsibility to highlight the contributions of women like Manley, whose stories can inspire future generations and offer meaningful insights into architectural practice. This discovery sparked a rewarding collaboration with Catherine Lynn, ultimately leading not only to the co-authoring of Marion Manley: Miami’s First Woman Architect but also to the preservation of the historic wooden structure that was then at risk of demolition (Carie Penabad).

Praise

Marion Manley, Miami’s first woman architect, spent her career battling for commissions and for the recognition she deserved for what was a very impressive body of work. Her commissions included well-designed small Spanish-style houses in the 1920s; work on

Miami’s U.S. Post Office and Federal Building in the 1930s; with Robert Law Weed, the masterplan for the Coral Gables Campus of the University of Miami and its first large classroom building in the 1940s; many “tropical modern” houses; and the University of Miami’s Ring Theater, the shell for the Asolo Theater at the Ringling Museum in the 1950s; and she continued through the 1960s and early 1970s to have numerous commissions. Manley also laid the groundwork for today’s women architects’ acceptance in the still-male-dominated profession. This work traces both Marion Manley’s career and also the architectural history of Miami through six decades of the 20th century (Donald W. Curl).

This fine monograph on Marion Manley (1893-1984) is long overdue . . . beautifully designed and is highly recommended for libraries of all types with an interest in Miami and Florida, and academic libraries collecting architectural history, art history and women’s studies (Art Libraries Society of North America).

Review

Some of most inspiring visual material included by Lynn and Penabad relates to Manley’s building designs for the University of Miami. Most of these renderings reside in the University Libraries’ Special Collections department at the Otto G. Richter Library on the Coral Gables Campus.. The strongest images include the preliminary design for a classroom building in multiple views; sketches for a marine lab that was never built; an amazing aerial perspective of the “Central Group” of campus buildings (which quite conceivably would have made an interesting book cover); a pencil rendering of a student dormitory and fine arts building group; and actual photos of temporary buildings, administration buildings, and veterans’ housing. The most exciting building documented in the book, however, is Manley’s Memorial Classroom Building, which exemplifies institutional or university architecture’s essence of the bar building type and its modular counterparts (Allan Horton).38

38 “Miami International,” The Architect’s Newspaper (May 20, 2011): https://www.miamiinternational/archpaper. com/2011/05

Sonia R. Cháo (ED.)

Introduction: Elizabeth Plater-Zyberk

Contributors: Sonia Cháo, Jaime Correa, Thorn Grafton, Jorge Hernandez, Jan Hochstim, Becky Matkov, Gustavo Sánchez-Hugalde, Allan Shulman

Under the Sun: Traditions and Innovations in Sustainable Architecture and Urbanism in the Sub-Tropics. University of Miami School of Architecture, 2012

Publisher’s Description

Under the Sun is a carefully curated collection of essays born from a three-day symposium organized and chaired by Sonia R. Cháo at the University of Miami’s School of Architecture. The symposium provided a forum for interdisciplinary reflection on architectural practices uniquely adapted to sub-tropical climates— practices that foreground sustainability through an intimate, climate-attuned design ethos. Funded by the National Endowment for the Arts, Under the Sun is a multidisciplinary publication that critically analyzes the influence of subtropical climatic conditions on sustainable architectural design, emphasizing the extraction and integration of lessons from vernacular traditions and contemporary innovations to facilitate regionally adapted, eco-efficient architecture. It underscores the importance of climate-responsive, culturally sensitive design strategies. A principal chapter examines the historical and contemporary architectural exchanges between Florida and Cuba, evidencing their impact on regional architectural evolution. Additional sections address the escalating impact of climate change, the genetic makeup of American settlements, and the pivotal role cities play as both sources of environmental challenge and agents of mitigation. Chapter contributions by Cháo, Grafton, Hernandez, Hochstim, Sánchez-Hugalde, and Shulman advocate for placespecific, sustainable design paradigms, critiquing the applicability of universalist approaches. By integrating theoretical insights with practical methodologies, the volume affirms the significance of localized traditions as foundational to sustainable development in subtropical contexts.

Author’s Comments

Under the Sun grew from a 2006 symposium I organized at the University of Miami exploring sustainable architecture rooted in regional identity and technological adaptation. Influenced by my academic work under Kenneth Frampton and research across South Florida and the Caribbean, the book examines how vernacular strategies

Plate 16

and passive design have long addressed climate challenges. In one chapter, drawing on my research in Havana, I compare their later car-dependent development patterns with the resilience of historic urban forms—offering a cautionary lens for other coastal regions as climate risks threaten to render once-prosperous cities increasingly vulnerable. The publication, supported by the National Endowment for the Arts, assembles essays on mid-century regionalist architecture, walkable urbanism, and preservation as sustainability. It argues for bridging between past and future design values, expanding mainstream discourse by grounding resilience and sustainability in place, culture, and climate—a critical message for today’s scholars, practitioners, and policymakers (Sonia Cháo).

Rodolphe el-Khoury

Figures: Essays on Contemporary Architecture. Oscar Riera Ojeda, 2014

Publisher’s Description

A critical panorama of a global architectural landscape in rapid transformation since the 1990s, the essays consider the contemporary architectural scene from a variety of perspectives in theory and practice. They include seminal pieces that framed important debates in the field, such as the introduction to the exhibition catalog Monolithic Architecture, as well as observations on buildings and practices from around the world, from Santiago to Beirut and Beijing. Together, the polemical provocations and interpretive insights construct a critical panorama of a global architectural landscape in rapid transformation since the 1990s.

The book is divided into three parts. “Polemics” addresses broad issues and trends with essays that claim a position in current debates. “Agents” examines the oeuvres of particular architects, with pieces that situate their work in relation to such debates. “Artifacts” takes on single buildings, instances where ideas are sedimented into form to situate current architectural discussions in concrete objects.

Author’s Comments

Figures is a book that came together almost by accident. Over the years I had written essays, reviews, and commentaries on architects, buildings, and the occasional debate in the field. They lived scattered across journals, catalogs, and websites—until I decided to corral them into one volume. The result isn’t a manifesto or a “grand theory” but more like a collaborative sketchbook of encounters with architecture as it appeared in my path.

The book is divided into three parts—polemics, architects, and buildings—but the boundaries are loose, and that’s the point. Sometimes the writing is argumentative, taking a swing at an idea that needed a shake. Other times it’s a long look at an architect’s body of work, or a single building that caught my attention and wouldn’t let go. Together, the essays trace the shifting debates in architecture from digital experiments to environmental design, from boutique practices to global firms. What makes Figures unusual is that it doesn’t dwell on the usual “star” system of architecture. Instead, it shines a light on a wider cast: firms in unexpected places, projects that quietly shape their cities, and designers whose work deserves a bigger stage. That’s probably why the collection feels a bit unruly—because architecture itself

Plate 17

is unruly, and any attempt to file it neatly into categories misses the substance of its messy vitality.

If the book has a single thread, it’s curiosity. Each essay takes the work on its own terms, letting it lead the conversation. Sometimes I argue, sometimes I celebrate, and sometimes I change my mind along the way. For me, Figures is less about laying down the law than about keeping the debate alive. Think of it as a guided tour through architecture’s side streets, with a few detours, provocations, and surprises along the way (Rodolphe el-Khoury).

Allan T. Shulman

Building Bacardi: Architecture, Art & Identity. Rizzoli, 2016

Publisher’s Description

Richly illustrated with vintage, powerfully graphic, and often glamorous imagery, Building Bacardi tells the story of the iconic brand’s love affair with high design. Anyway you drink it … Bacardi rum is the mixable one. Bacardi is best known for its rum and trademark bat logo, yet the famed spirits company has also been a force in the development of avant-garde art and architecture.

True to the company slogan, Bacardi has asserted its corporate identity through buildings designed by a potent mix of modern architects with varying, sometimes radically different approaches to architecture. Corporate headquarters, distilleries, bottling plants, and executives’ private homes have shaped and reflected Bacardi’s position as a regional upstart, a national icon, and a global corporation with outposts in such places as Bermuda, Brazil, Cuba, Mexico, and the United States. Building Bacardi is the first book to explore the 20th century architectural legacy of the company.

Author’s Comments

Building Bacardi: Architecture, Art & Identity began as an exhibition project that I guest curated for the Coral Gables Museum of Art. I had been familiar with some of the company’s distinctive office buildings and distilleries. Through research, international site visits, and personal interviews, I found a deep institutional culture blending architecture with identity making – themes that resonate so clearly in Miami and that aligned with my own research trajectory of many years. Through Bacardi’s architectural commissions, spanning the Caribbean and Western Hemisphere, it is possible to track the evolution of regional modernisms, and weaving through these, powerful expressions of a cultural idea: pan-Americanism. As a bonus, I discovered Bacardi’s latest generation of brand homes, which have expanded the company’s impact to Europe and to other distilled products, and which explore the implications of brand and identity on hospitality design. The corporate ethos of Bacardi, with its celebration of art and architecture as a medium of communication, led me to an exploration into powerful themes of the 20th century and the American experience (Allan Shulman).

Review

Building Bacardi considers the intersection of modernism, architecture, and branding in the 20th century to reveal how office towers and corporate campuses, “the most

Plate 18

important commercial building types of the twentieth century,” encapsulated a range of corporate values … The volume chronicles Bacardi’s design activities in 11 beautifully illustrated essays organized by geography and product, allowing readers to grasp the regional idiosyncrasies from which the distiller’s international reputation emerged. Shulman’s thorough research and visual analyses elucidate a narrative in which dual commitments to history and innovation created an international brand that still reflects its Cuban origins while embracing the unique locales of its contemporary brand holdings (Rachel Hunnicutt).39

39

“Building Bacardi: Architecture, Art & Identity by Allan T. Shulman,” Design Issues 34, no. 3 (Summer 2018): 106-08.

Carie Penabad (ED.)

Preface by Rodolphe el-Khoury

Introduction by Carie Penabad

Interviews with Matteo Ghidoni, Nader Tehrani

Essays by Jean-François Lejeune, Esteban Salcedo, Katherine Wheeler, Steven Fett, Edgar Sarli

Call to Order: Sustaining Simplicity in Architecture. Oscar Riera Ojeda, 2017

Publisher’s Description

Call to Order, the first in a series of books to be produced by the University of Miami School of Architecture, is inspired by rappel l’ordre, the post-WWI, European art movement that rejected the extreme tenets of the avant garde and its praise of machinery, violence, and war in favor of a renewed interest in tradition.

Call to Order suggests a regrouping and a regrounding upon the foundations of the discipline and examines an international group of architects who are ostensibly rehearsing the ethos of the Neorationalist movement when architects and thinkers converged in their resistance to what they saw as an erosion of the discipline by behaviorism and the social sciences.

Call to Order frames and examines similar resistant practices on the contemporary architectural scene and in the context of a long historical trajectory to tease out and articulate a cultural project that is relevant to the ongoing architectural debate.

Author’s Comments

I edited Call to Order: Sustaining Simplicity in Architecture during a pivotal moment for the University of Miami School of Architecture—the first year under Dean Rodolphe el-Khoury’s leadership. We wanted to shine a light on a group of architects whose work returned to the essentials of the discipline—clarity, history, proportion, and material restraint at a time when architectural conversations often felt distracted by trends outside of the discipline itself. The idea was to create a space for reflection and dialogue, which we did through a semester-long series of lectures and an exhibition curated by my colleagues Steven Fett and Edgar Sarli. The book became a way to capture and preserve that energy; a permanent record of a year that reconnected us to architecture’s fundamentals while inviting others to join in that conversation and it now stands as a lasting, physical reminder of this transitional year at the School of Architecture (Carie Penabad).

Plate 19

Review

Call to Order is a thick book with a white cover that is similar in size, heft, and appearance to Transformations in Classical Architecture, another book from the University of Miami School of Architecture and Oscar Riera Ojeda Publishers. As such, it appears that a series of University of Miami School of Architecture books is in the works, meaning we may see books on housing, water, and other themes explored in the annual lecture series. This one starts and ends with contributions from the school. Following a preface by el-Khoury and an introduction by the book’s editor, Carie Penabad, are essays by Jean François Lejeune, Esteban Salcedo, Katherine Wheeler, Steven Fett and Edgar Sarli (they curated the exhibition accompanying the lecture series), and Adib Cúre- all professors at the University of Miami School of Architecture. At the end are interviews conducted by Penabad and el-Khoury with Matteo Ghidoni of San Rocco and Nader Tehrani of NADAA, respectively; those are followed by a brief excerpt from the Young Architects Symposium held in January 2015 and a postscript by Elizabeth Plater-Zyberk (John Hill).40

40 “Review of Call to Order,” A Weekly Dose of Architecture Books (January 8, 2021): https://archidose. blogspot. com/2021/01/callto-order. html

Thomas A. Spain

Edited by Steven Fett and Edgar Sarli

Transcribed Lecture by Jorge Hernandez

The Drawings and Paintings of Coral Gables and Rome. Oscar Riera Ojeda Publishers, 2018

Publisher’s Description

Thomas A. Spain, architect, recently retired from the University of Miami School of Architecture, where he’d been a faculty member since 1966. His enormous talent and unwavering devotion to teaching design and drawing have left an indelible impact on the students he taught over the past two generations.

Especially known on campus for his drawings of Rome, through his almost yearly visits from 1991 to 2014 with his students, Spain’s extensive and brilliant collection of work focuses on memorable locations, revisited and redrawn over the years. The work demonstrates how time and acute observation lead to new ways of seeing, while revealing the circumstantial relationship between author, subject, and medium.

“In the pencil drawings, place powerfully informs the work as the intense sunlight of South Florida is beautifully rendered through soft edges and deep shadows. In the watercolor series, unexpected attention is given to utilitarian parts of buildings contrasting with the more recognizable front façades, resulting in provocative, idealized compositions.”

Author’s Comments

Our most memorable moments working on the book were the conversations we shared with Tom on the rear porch of his home. They were an open door into Tom’s thinking process a world of references and reflections he uses to conceive and execute his fine art pieces. These conversations appear, unedited in the book (Steven Fett and Edgar Sarli).

Plate 20

Victor Deupi (ED.)

Preface by Rodolphe el-Khoury

Introduction by Victor Deupi

Essays by Jean-François Lejeune, Rocco Ceo, Victor Deupi and Eric Firley, Nathaniel Walker, Juan Yactayo, Andres Duany, Javier Cenicacelaya, Richard John

Postscript by Victor Deupi

Transformations in Classical Architecture: New Directions in Research and Practice. Oscar Riera Ojeda Publishers Limited, 2018

Publisher’s Description

A quiet revolution is unfolding in the realm of classical architecture today, as the environmental, technological, and economic demands of contemporary practice require levels of efficiency that were never previously expected. This new wave of modern classicism reflects a progressive approach, addressing the pressing needs of the present and future fabric of our cities, towns, and landscapes. This book examines how classical and traditional architecture can evolve in relation to new paradigms of research and practice (digital media and fabrication, sustainability, ecology, and emerging economies).

Based on recent work by leading figures associated with the University of Miami School of Architecture, and a series of design studios at the University (the William H. Harrison Visiting Critics in Classical Architecture), the book redefines the new classical discourse in terms of popular, professional, and academic appeal.

“We really don’t know what the future of classical architecture will be. It could very well end up remaining an elite academic discipline that primarily informs high-end architectural projects and preservation efforts around the world. Alternatively, it may take on new forms and meanings that are largely unrecognizable or unpredictable. After all, unpredictability is a reasonably reliable indicator that something is alive, sentient, and free.”

Author’s Comments

Working with the publisher, Oscar Riera Ojeda, is a breath of fresh air, as he produced his books in the reverse order of most academic or commercial publishers. Once the general parameters of the book have been determined, such as size, format, pagination, etc., Oscar then lays out the graphic design of the book with stunning front and back covers, high quality illustrations throughout, and Latin text to be filled in later. This provides the author or editor with a great enthusiasm for what’s to comeand seriously

41 “Review of Transformations in Classical Architecture,” A Weekly Dose of Architecture Books (September 23, 2020): https://archidose. blogspot.com/2020/09/ transformations-in-classical. html

encourages the immediate completion of the text. I have since produced another four books with Oscar and have enjoyed working with him immensely. It can be stressful but extremely rewarding … This was my first book published as a faculty member of the University of Miami School of Architecture, and therefore it was a great joy to collaborate with so many new colleagues (Victor Deupi).

Review

Looking at the dozens of projects presented in eight thematic chapters — tackling everything from representation and sustainability to digital technologies and the scientific method — reveals a diversity of forms and styles, few of them immediately sparking dismissive thoughts of “well, this is just too reactionary.” While there are some nice surprises such as the Brillhart Residence, which fuses a glass box with vernacular features, probably my least favorite projects throughout the book are the high-end residences that echo Deupi’s words in the introduction about classical architecture serving as “an elite academic discipline that primarily informs high-end architectural projects and preservation efforts around the world.” Therein lies the importance, not only in teaching classical architecture as a living tradition, but in putting student designs alongside the work of practicing architects; limiting it to the latter would have led to the word “transformations” being omitted from this book and its provocative grab bag of 21st-century classicism (John Hill).41

Eric Firley

In-depth interviews and extended case studies of 12 leading urban designers: Christopher Choa (AECOM), Bruno Fortier (Agence Bruno Fortier), Finn Geipel (LIN), Adriaan Geuze (West 8), Djamel Klouche (AUC), Winy Maas (MVRDV), Dennis Pieprz (Sasaki Associates), Elizabeth Plater-Zyberk (DPZ), Albert Speer (AS+P) with Michael Denkel, Paola Viganò (Studio Paola Viganò), Liu Xiaodu (Urbanus) with Wang Hui, Wenyi Zhu (ZhuWenyi-Atelier)

Designing Change: Professional Mutations in Urban Design 1980-2020. nai01, 2019

Publisher’s Description

Over the timespan of just one generation, the planet’s pace of urbanization has dramatically increased. Through these dynamics and its resulting environmental threats, new challenges have emerged that deeply question the validity of the postwar planning paradigms. Dominant ideologies have been replaced by a problem-solving attitude, increased economic pressure, and an urgent quest for evidence. What impact does this have on the work of the urban designer and planner, and how can the profession prepare for the future?

Designing Change tries to answer these and many other questions through in-depth conversations with 12 leading practitioners in the field. Conceived as an unpartisan contribution to the discourse about the future of the built environment, Designing Change offers an unorthodox combination of case-study analysis and theoretical debate. It addresses the topic’s complexity through a rigorous focus on process, client relationship and development initiative.

Author’s Comments

Designing Change represented an opportunity for me to engage in long and deep conversations with 12 internationally leading urban designers. Each of them picked a topic that they considered important but underrepresented. The result is intriguing and helps us to better evaluate the relationship between design and society. Retrospectively, as this book was published just before the pandemic, I feel a bit nostalgic about the fact that a contemporary version would be mostly based on remote interaction. And therefore, lead to an (arguably) different result (Eric Firley).

Review

We imagine the editor here wearing the clothes of a German geographer fin de siècle

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42 “Review of Eric Firley ed., Designing Change Professional Mutations in Urban Design 19802020,” FORMA CIVITATIS: International journal of urban and territorial morphological studies 1, no 1 (2021): 124-26.

exploring the intricate and unknown professional jungle of contemporary architecture and drafting on site a geographical map to be used for the orientation of future colonists moving to the new world. After a brief introduction Eric allows each tribe inhabiting the jungle to express itself with an interview, each text is delimitating on the map the territory belonging to the clan by the ostentation of its symbolic attributes: the projects … Like a totem delimitating its territory, each designer presents a number of projects and describes them within the interview, outlining methods, aims, orientations and models adopted within the professional activity. On each one of these texts delimitating on the territory the boundaries of the land belonging to its tribe, the editor has then conducted a textual analysis by elaborating a word cloud measuring the word frequency and showing them with a proportional font size (Alessandro Camiz).42

Jaime Correa

Unbuilt Intentions: Towards a New Phenomenology of Cities and Architecture.

Lulu Press, 2020

Brief Description

Plate 23

This publication is organized into three parts. The first part begins with human perception as the starting point, introducing the lexicon and principles established by the phenomenological movement in early 20th century continental Europe—particularly its insights into the observation of the built environment. From this foundation, it develops an innovative argument: that the task of architects and urban designers is to consciously uncover the meaning of everything around us (intentions) and to translate these findings into imaginative forms (unbuilt). The second part argues that liberation from the dominance of neoliberalism can be achieved only by resisting our active participation in the endless production of consumer objects, which means choosing not to build. Instead, it proposes imagining bold and unconventional projects aimed at rethinking the city and its architecture, regardless of economic limitations or technical feasibility. These “unbuilt intentions” are not meant to be constructed but to serve as catalysts for civic dialogue, questioning the validity of what we are currently doing. This publication serves as a platform for action, presenting counterproposals and utopian visions as alternatives to current practices. The third part presents a theoretical demonstration of these principles through architecture, urban design, and public art. Most of the projects engage with urgent contemporary issues, including climate change and sea-level rise, consumerism, digital media, and social inequality. Together, they illustrate how unbuilt intentions can shape a critical and imaginative discourse about the future of cities and architecture.

Author’s Comments

My book grew out of years of teaching and struggling with a central question: how do we discuss architecture and cities without immediately reducing them to the language of production and consumption? I found myself returning again to the phenomenologists of the early twentieth century, not as abstract philosophers but as companions who reminded me to slow down and notice the world. Writing the first section of the book was less about summarizing a movement and more about wrestling with how to translate that vocabulary of perception into something my students, colleagues, and I could use when standing in front of a street corner or inside a half-finished building or implemented master plan.

Frustration gave birth to the second section of the book. Cost estimates, feasibility studies, and client demands would often reshape brilliant ideas in my design studio, erasing the original spark. I began asking: what if we suspend that process entirely? What if we granted ourselves permission not to build? That became both a provocation and a challenge: to imagine projects liberated from budgets, building codes, and market logic. The situation wasn’t easy. I faced criticism that these ideas were “unrealistic” or “utopian,” but to me, that was precisely the point—they opened space for the type of civic conversations we weren’t having.

The third and final section is where theory met practice, at least on paper. Here I gathered projects that I had produced by myself and with students and collaborators— works that dealt with climate change, sea-level rise in Miami, digital media’s grip on our lives, and the widening chasms of inequality. I never intended these projects to physically break ground, but they did so intellectually. They required me to constantly balance rigor with imagination and to defend the idea that “unbuilt intentions” could be as serious and consequential as anything made of concrete or steel.

In short, Unbuilt Intentions is not just a book of ideas; it is the record of an intellectual process—of doubts, provocations, late-night sketches, classroom debates, and the persistent belief that architecture’s power lies not only in what gets built but in what we dare to imagine (Jaime Correa).

Germane Barnes and Shawhin Roudbari (EDS.)

Vigilantism. MAS Context, 2020

Publisher’s Description

Welcome to the Vigilantism issue. In this issue we explore spaces of vigilantism, both historically and today. What are the spatial dimensions of vigilante encounters, segregation, violence, and exclusion, or conversely emancipation, liberation, and inclusion? Threshold, circulation, private vs. public, and other architectural delineations of space have become the subject of much controversy as footage of sexist and racist policing of these spaces emerge. Beyond spatial dimensions, which regulatory, institutional, aesthetic, and material expressions of vigilantism does architecture condition? What is vigilante behavior in highly digital and post-digital space? In pop culture? In new media? How do technology and design become means for cultivating and expressing those behaviors? How do contentious political movements respond to, and draw from, vigilantism? What are the micro-, meso-, and macro-level dynamics of sociospatial acts of violence? Can vigilantism ever be good? Liberatory? And what are ways aggressors, resistors, and witnesses take on characteristics of vigilantes? To address these issues and more, vigilantism is a topic that needs to be explored.

Author’s Comments

This publication is a collection of essays presented through multiple media ranging from interviews to photo essays. The graphic design acts as another layer of vigilantism where the black space of the pages are interrupted by text, literally pushing Black bodies to the margins (Germane Barnes).

Praise

STA 100 Design Award for Graphic Typography

Plate 24

Victor Deupi and Jean-François Lejeune

Cuban Modernism: Mid-Century Architecture 1940-1970. Birkhäuser, 2021

Publisher’s Description

In the 20th century, modern architecture thrived in Cuba, and a wealth of buildings was realized prior to the revolution of 1959 and in its wake. The designs comprise luxurious nightclubs and stylish hotels, sports facilities, elegant private homes and apartment complexes. Drawing on the vernacular, their architects defined a way to be modern and Cuban at the same time – creating an architecture oscillating between tradition and avant garde … Audacious concrete shells, curving ramps, elegant brise soleils and a fluidity of interior and exterior spaces are characteristic of an airy, often colorful architecture well-suited to life in the tropics. New photographs and drawings were specially prepared for this publication. A biographical survey portraits the 40 most important Cuban architects of the era.

Authors’ Comments

This book was a deeply personal journey as my parents were architecture students at the University of Havana in the 1950s, before they emigrated to the US in 1961. They studied under and worked for many of the architects featured in this book, and I grew up meeting many of them in Washington, D.C., and Miami. The book began with an exhibition at the Coral Gables Museum on “Cuban Architects at Home and in Exile” to which many surviving architects or their family members donated material from their private collections, ephemera that they were able to get out of Cuba. Many of those collections have since been donated to the Cuban Heritage Collection at the University of Miami Libraries. After the exhibition, Jean-François Lejeune and I produced a chapter by the same title in the book Picturing Cuba (University Press of Florida, 2019). That chapter enabled us to submit a prospectus to Birkhäuser, which they then eagerly accepted as the basis for the book manuscript. It should be noted that several students contributed newly constructed drawings for the book as well, making it a truly UM publication (Victor Deupi).

When I arrived In Miami in 1987, I quickly decided to turn around and look south: Cuba, the Caribbean, and the Laws of the Indies of 1573 that modelled the omnipresent grid and plazas of Central and South America. In 1990, on the invitation of the late Jean-Louis Cohen, I presented a paper in Paris on Jean-Claude Nicolas Forestier, the French landscape architect who was so influential in Havana and

Plate 25

Buenos Aires. This was not only my first publication ever but the beginning of the Latin American odyssey that followed with The New City: Foundations, the exhibition and catalog Cruelty and Utopia: Cities and Landscapes of Latin America (Brussels, 2003-2005), and with Victor Deupi, the exhibition that led to our joint writing Cuban Modernism (Jean-François Lejeune).

Praise

If you are inclined to consider Cuba a provincial outpost of modernity, Deupi and Lejeune will soon put you right. From the early ’30s, Cuba had both modernist and traditionalist periodicals. Its students uniquely held a public burning of Vignola’s handbook in 1944 and welcomed, as did their teachers, visits from Neutra, Gropius, Sert’s prolonged working stay, and an aborted scheme by Mies. Deupi and Lejeune offer an unrivalled – balanced and fair – survey of the island’s architectural story over a dramatic half-century and more (Joseph Rykwert).

For the decades on either side of its 1959 political revolution, Cuba was a laboratory of architectural and urban planning experiments. With a stunning assembly of historic photographs and original architectural drawings, Cuban Modernism offers a fascinating reading of architectural developments as a complex dialogue between traditions and innovations on an island at the crossroads between North and South America. After 1959, Cuban architects carried these innovations with them to Caracas and Puerto Rico, to the United States and France (Barry Bergdoll).

Review

Each of the book’s chapters is either thematic or typological, and all cover roughly the same three decades, from the 1940s through the 1960s. The introduction lays out the key issues pertaining to the questions of modernity and cubanidad (defined in this volume as a Cuban identity based on transculturation), and thus advances a set of architectural concerns that are then developed in subsequent chapters. It also considers the theories and debates in modern Cuban architecture within the broader context of Latin America, the United States, Europe, and beyond. In this way the book argues that many architects strove to distill in their designs an essence of Cuban architecture, which they drew from the local vernacular, often emphasizing climate-responsive design features as uniquely Cuban … Cuban Modernism will be useful to both specialists and general readers seeking to learn more about Cuban architecture. The book’s abundance of plans and photographs, many of the latter original photography by Silvia Ros, make it a remarkably rich resource. While the discussion is easy to follow for those readers who are familiar with Havana, additional maps would have benefited those new to the topic, providing a better sense of the relationships between various Cuban cities and towns, and a better understanding of the locations of the different Havana neighborhoods mentioned throughout the book. This minor quibble points to the fact that Cuban Modernism is sure to become a bookshelf staple for Cubanists, and will hopefully encourage more scholars to include Cuban architecture in broader discussions of modern architecture (Erica N. Morawski).43

43 “Review of Victor Deupi and Jean-François Lejeune, Cuban Modernism: Mid-Century Architecture 1940–1970,” Journal of the Society of Architectural Historians 82, no. 1 (March 2023): 93-94.

Charlotte von Moos (ED.)

Contributions by Max Creasy (photography), and text by Kersten Geers, Niels Olsen, and Charlotte von Moos

In Miami in the 1980s: The Vanishing Architecture of a “Paradise Lost.” Verlag der Buchhandlung Walther und Franz König, 2022

Publisher’s Description

This book brings together a group of essays, a photo series, and a catalog of selected projects of Miami’s 1980s architecture—some built, some unbuilt. The text and the accompanying images celebrate a period in American architecture when, in Miami, the subtropical nexus of the Americas, art and architecture were intensely interconnected, and Miami architects were partaking in the discipline’s international discourse. Triggered by the case of The Babylon, Arquitectonica’s first building, which after having been designated as protected landmark in 2016 was in 2019 sadly demolished, Charlotte von Moos’ research was driven by a sense of urgency about today’s lack of care for such remarkable projects, even more at stake given South Florida’s contemporary challenges like climate change.

Author’s Comments

Working on this book was an excellent way for me to get to know Miami. Together with my students and distinguished European colleagues, I explored themes that interest me: the city, 1980s architecture and art, and the cross-continental ties between Europe and the United States. I particularly enjoyed exchanging ideas with colleagues who were active during this exciting period and celebrating the era’s aesthetic with my Swiss graphic designer (Charlotte von Moos).

Praise

Focuses on memorable but disposable postmodern buildings that were commissioned by newly minted millionaires. The architect and researcher Charlotte von Moos led a contributor team exploring homes, offices, transit hubs, and civic gathering places with nautical white railings, magenta and yellow facades, and sawtooth profiles (The Architect’s Newspaper).

Review

A loving excavation of Miami’s colorful but neglected architectural style of the 1980s … This publication celebrates a lost vision of Miami: the architectural golden age it enjoyed in the 1980s, when the subtropical city experienced a profound synergy

Plate 26

between art and architecture. In these years, Miami’s architects partook of the discipline’s international discourse, pushing back against the utilitarian International Style with a playful yet innovative sensibility. Firms like Arquitectonica, an experimental studio founded in 1977, introduced thoroughly modern buildings typified by abstract designs in bold colors and graphics.

Unfortunately, the contributions of these firms are often overlooked, and the era’s ethos of artistic inquiry has lapsed into a crude commercialism. The 2018 case of The Babylon, a building developed by Arquitectonica that was demolished only two years after its designation as a protected landmark, served as the impetus for Miami-based architectural historian and architect Charlotte von Moos’ research. Dismayed at the negligence shown toward such remarkable projects, she assembled this authoritative guide, compiling a group of essays and a photo series that delineate the treasures, built and unbuilt, of Miami’s 1980s architecture (Eve M. Kahn).44

44 “Hand-Me-Downs and Discards from Design History’s Treasure Chest,” in New York Times, 1 September 2022, www.nytimes.com

Florian Sauter, Charlotte Von Moos, and Craig Rodmore

Some Fragments. Verlag

der Buchhandlung Walther und Franz König, 2022

Publisher’s Description

This collection of aphorisms by Sauter von Moos is an inevitably fragmentary attempt to investigate architecture’s status quo from both within and without; in other words, it stems from both the world of making and the world of thinking about buildings today. Looking at an undefined phenomenon in motion, it is naturally hypothetical and suggestive, but also neither a defense nor an explanation of the architects’ work; on the contrary, it is an elaborate effort to avoid a position of lucidity that could be read as a dogma. At best, the reflections presented add up to an all-embracing philosophy of design, a portable piece thought that reflects on architecture in a non-linear way through the lens of six loosely related terms: presence, surrealism, archaism, freedom, loss, and space-time.

Authors’ Comments

Plate 27

This booklet was published in conjunction with our 2022 solo exhibition, “Some Fragments,” in Switzerland. After ten years of working with our studio Sauter von Moos, this inevitably fragmentary publication attempted to investigate the status quo of architecture from within and without. Instead of presenting a clear agenda, we introduced our architectural reflections through six loosely related terms: presence, surrealism, archaism, freedom, loss, and space-time.

We continue to explore architecture and our own work through new themes, such as clarity and decay (Sauter von Moos).

Review

Florian Sauter and Charlotte von Moos describe themselves as “two middle-aged architects who have built a series of houses, exhibited internationally, taught on both sides of the Atlantic, and published a few books on architecture.” One of the last is the wonderful In Miami In The 80s: The Vanishing Architecture of a “Paradise Lost,” published earlier this year. Considerably slimmer is the book accompanying the exhibition also called Some Fragments, which was displayed at the Museum in Bellpark Kriens in the spring of 2022. Compared to the laser-focused In Miami in The

80s, Some Fragments is, like the name says, made up of some fragments: statements about architecture and its contexts; images of Sauter von Moos’s houses and projects; and snippets from literature. Six thematic chapters (Presence, Surrealism, Archaism, Freedom, Loss, Space-Time) serve as armatures for numbered statement—300 of them, 50 per chapter. They range from the pithy (“The next building is always the best one”) and enigmatic (“Novelty is the oldest thing on earth”) to the obvious (“There are no good projects without good clients”) as well as the unexpected (“Have you ever noticed that natural light is for free?”). Most of the statements are considerably longer than these short examples, and as such are generally more complex in nature. Overall, the statements express how Sauter and von Moos theorize architecture, though they also manage to capture the mindset of most architects at this point in time (John Hill).45

45 “Book Briefs #46,” A Weekly Dose of Architecture Books (September 26, 2022): https://archidose.blogspot. com/2022/09/book-briefs-46. html

Carmen Guerrero (ED.)

Preface by Rodolphe el-Khoury

Interviews by Carmen L. Guerrero assisted by Kalil Mella, Ivonne de la Paz and Emily Nelms

Photography by Peter Leifer and Cheryl Stieffel of Miami in Focus, Inc. and Robin Hill Photography

Resilience in Concrete: The Thomas P. Murphy Design Studio Building. Oscar Riera Ojeda Publishers, 2022

Publisher’s Description

This book presents a privileged insight into the design and construction of the award-winning Thomas P. Murphy Design Studio Building through a series of interviews with the main professionals responsible for its conception, design, and construction: the lead architects Bernardo FortBrescia, Raymond Fort-Brescia, and Thomas Westberg; the builders Thomas C. Murphy, Erin Murphy, Nick Duke, and Jason Anderson; the curtain wall manufacturers Jose Daes and Carmen L. Guerrero; and the University of Miami project manager, Gary Tarbe. It also offers sumptuous, detailed photography to provide a thorough understanding of “a building that is not just a brilliant work of architecture in its own right but that also provides an inspiring, tailor-made environment in which to educate the architects of the future.”

Author’s Comments

I wrote Resilience in Concrete to capture the process behind the Thomas P. Murphy Design Studio Building, drawing on my experience in architecture, interiors, and project management, and my role as associate dean for physical planning. The project brought together an unusually large team—from University leaders and city officials to contractors and vendors—and my task was to safeguard the design mission while shaping interiors that would elevate the student experience. The book reflects on that collaborative journey and on the resilience required to translate ambitious design ideas into a space for learning and creativity (Carmen Guerrero).

Plate 28

José Gelabert-Navia

Rome. Oscar Riera Ojeda Publishers, 2024

Publisher’s Description

Livy wrote that two brothers, Romulus and Remus, set out to build the city that we now know as Rome. Romulus, who had murdered his brother, decided on the current site of the Palatine Hill. From here rose a city that was not only the administrative capital of the greatest empire of the ancient world, but also the very symbol of that empire. Augustus famously said: “I found the city built of brick and left it built of marble.

During the Renaissance, the Medici, Borgia, and Farnese Popes sought legitimacy for their newfound role as heads of the Catholic Church by engaging the greatest architects of the Renaissance and the Baroque period: Michelangelo, Bernini, and Borromini. In the 20th century Benito Mussolini realized, like the Roman emperors and the Renaissance Popes before him, that he could write his story into the fabric of the city. His vision for the Terza Roma included the opening of grand avenues and the reclaiming of ancient monuments.

The Spanish philosopher George Santayana spent the last years of his life in Rome. I would invariably follow his itineraries. As I sketched, I often thought of Santayana’s words:

“Many things depended on the time of day and the weather for their full effect, as landscape necessarily does, and great weathered works of architecture become part of the landscape and move the mind to poetry, not to pedantic criticism.”

It is this spirit I have sought to capture in the drawings in this collection.

Author’s Comments

I started sketching in Italy in 1974 when I fi rst studied in Venice. Sitting in the Giudecca I carefully drew the facades of S. Giorgio Maggiore and the Redentore churches while noting how superior (and modern) the latter was… On and off I have drawn all my life. Looking back as I come closer to my 72nd birthday, I think about what the most memorable moments of my last 50 years have been: I think of my family fi rst; then my academic and professional career; and fi nally, my drawings. I have thought of them as moments of peace or what Konstantin Balmont would describe as Visions Fugitives. They measure a time and a place. This book was conceived in Rome in the fall of 2022, when I taught there. Most of the drawings I still like. Like people, Rome has always been what Ezra Pound would eloquently call “Fragments against these Ruins.” These are drawings that suggest something that is no longer there, and in these voids is where we were, and where we still are (José Gelabert-Navia).

Plate 29

James

Dougherty and Charles C. Bohl (EDS.)

The Art of the New Urbanism. Wiley, 2025

Publisher’s Description

The New Urbanism has dramatically transformed the way illustrations are used to advance the dialogue of community planning and place making. New Urbanists have revived and advanced techniques of visual communication that enable professionals, elected officials and citizens from all walks of life to engage in designing their neighborhoods and communities. While created as means to an end, these visualizations are often compelling artworks in their own right.

The Art of the New Urbanism features the first-ever comprehensive collection of New Urbanist artworks, with more than 200 selected works produced by more than 100 practitioners and firms. The collected works include plans, renderings of buildings, streetscapes and gathering places, studies of precedents, and photographs of built projects. This book includes seminal material from the early history of the movement that has inspired generations of community building professionals, as well as a wide variety of hand-drawn and digital works that represent methods used today.

Through their commentaries on each work, designers share the place-making principles visualized through their plans and renderings and how their work responded to the public process.

Plate 30

Sonia R. Cháo

Contributors: Benjamin Ghansah, Katherine Hagemann, Madeline Li, Timothy Norris, Gustavo Sánchez-Hugalde

Calibrating Coastal Resilience. Routledge, 2025

Publisher’s Description

Calibrating Coastal Resilience by Sonia Cháo articulates a theoretical framework and practical methodology for synthesizing climate adaptation strategies with historic preservation in urban coastal environments. It introduces the concept of “urban terroir,” integrating cultural, ecological, geo-morphological, and urban systemic factors into resilience planning. This framework reinterprets “place” as a richly layered, hyperlocal fusion of cultural heritage, ecological context, and urban form— integrating historical memory with materiality to guide climate-resilient design. An urban terroir approach positions adaptation not as a generic technical fix, but as a negotiation among natural systems, human traditions, and built environments, ensuring that resilience planning honors local identity and memory. Through case studies in Southeast Florida, Cháo demonstrates how this holistic, historically sympathetic methodology can inform urban policies and design tools that reinforce both cultural continuity and climate readiness. The publication delineates advanced analytical tools, including her National Science Foundation-funded research resulting in the Storm Surge Building Vulnerability (SSBV) model, the SSBV Synoptic Survey methodology, and a novel Cultural Asset Benchmarking System, designed to align place-based urban design objectives with preservation and adaptive resilience metrics. Situated within the context of Southeast Florida’s vulnerability profile, the text emphasizes stakeholder participation, scalable analytical approaches, and cross-sector collaboration. By merging hyper-local documentation with data-driven modeling and cultural sensitivity, Cháo advocates for sustainable, context-specific adaptive interventions that safeguard heritage assets while adapting to emerging environmental hazards. There are valuable contributions by Profs. Ghansah and Norris and by professionals Hagemann, Li, and SánchezHugalde as well as projects by University of Miami students and faculty.

Author’s Comments

Calibrating Coastal Resilience emerged from my return to South Florida just hours before Hurricane Andrew struck—an event that catalyzed decades of applied research into the intersections of climate adaptation, preservation, and urban design. The

Plate 31

book introduces the Urban Terroir Method, a design framework that bisociates urban form to climate risks, culture, and natural systems. Developed with my Center for Urban and Community Design (CUCD) and Coastal Resilience (CoRe) Lab teams and supported by the National Science Foundation, the SSBV model offers granular, GISbased risk assessment tool for coastal zones. I also present sliding-scale benchmarking tools for aligning preservation with adaptation imperatives. Drawing on fieldwork across the Caribbean and Southeast Florida, the book includes chapters on public communication, governance innovation, and community toolkits. It offers scholars and practitioners a rigorously grounded, place-based approach to resilience in vulnerable historic and coastal urban contexts (Sonia Cháo).

46 The review, “A Profound Lightness,” will appear in an upcoming issue of JAE.

Jean-François Lejeune (ED.)

The Other Rome: Building the Modern Metropolis, 1870-1960. Birkhäuser, 2025

Publisher’s Description

Rome, the “Eternal City,” is a unique palimpsest of buildings and public spaces dating back to Antiquity. However, beyond the historic center built over millennia on the famous seven hills – the Other Rome exists, one of large and often stunning modern neighborhoods, housing estates, schools, and public buildings. When Rome became Italy’s capital in 1871, the population increased extensively and the city exceeded its boundaries since Roman times, the Aurelian Walls. This extraordinary transformation laid the foundation for many new quarters built to accommodate civil servants, service workers, and rural migrants, drawing on vernacular and ancient Roman traditions and blending past and present. This book looks at Rome’s evolution—from the late 19th century to the Fascist period, and the Olympic Games of 1960 into a modern metropolis whose architecture embodies a kind of “Splendid Ordinary,” a journey that is full of discoveries.

Plate 32

• With contributions by Lucio Barbera, Anna Irene Del Monaco, Jean-François Lejeune, Salvatore Santuccio, Daniel Solomon

• In-depth portraits of 16 neighborhoods with photographs and drawings

• An excursion on post-WWII Italian cinema highlights the locations of famous movies

Author’s Comments

I started teaching in Rome in 1990. The program was new, small, and housed in the wonderful rooms of Palazzo Pio. Like many young history and design faculty, my knowledge of Roman architecture and urbanism was mostly centered on the centro storico whose streets and piazze were still, in those years, real public spaces, with kids playing calcio on the Piazza Farnese and Campo dei Fiori. In 2008, our studio moved out of the Aurelian Walls to the edge of the gridded streets of Prati. There I started the discovery of The Other Rome—the new districts that were built from 1871 when Rome became the capital of Italy. This was an intense process of discovery that involved Roman architect and professor Lucio Barbera as the main author, Veruska Vasconez and the students who helped draw this new Roman urban topography, and of course my iPhone (Jean-François Lejeune).

Praise

Dear Jean-François, first, I want to thank you for the work you have done on my text, editing and shortening it to make it attractive to an international publisher and easier for, hopefully, a vast audience. I am truly amazed by the ability you have shown to not only tighten the text, but also in this tough exercise to not completely extinguish the sense of autobiographical narration that sustains the original. For this reason, and from now on, I will call you Diodorus Siculus, perhaps the greatest among those who knew how to write an epitome from a complex text, producing, however, a work of value (Lucio Barbera).

Roberto

M. Behar and Rosario Marquardt/ R&R Studios

Foreword by James Christen Steward, director of Princeton University Art Museum

Essays by Michelangelo Sabatino, and an interview with R&R Studio’s founders Roberto Behar and Rosario Marquardt by Harvard Art Museums’ curator Mitra Abbaspour

The Home We Share: Three Social Sculptures for Princeton University. Park Books / Scheidegger & Spiess, 2025

Publisher’s Description

In 2022, Princeton University inaugurated Yeh College and New College West and introduced a new addition to its extensive collection of site-responsive campus art installations. The Home We Share is a series of three joyous, poetic, and playful dreamscapes nestled into the landscape surrounding these new residential colleges that offer spaces for gathering, relaxation, and play to generations of students who call this place home. Designed by R&R Studios—a multidisciplinary Miamibased firm weaving together visual arts, architecture, landscape, and the city— they offer a unique artistic impulse for social interaction among the students, teachers, and other people visiting Princeton University.

Author’s Comments

This book features The Home We Share through some 100 conceptual diagrams, hand drawings, architectural plans, construction photos, and photographic documentation of the realized installations on the Princeton campus.

The Home We Share makes a unique contribution to the roster of books published by University of Miami School of Architecture professors and alumni. It is the only one to address the relationship between art and architecture, and to propose an understanding of public art as architecture. Furthermore, its thesis is advanced through real projects built in the context of Princeton University an outstanding educational institution and in many respects the book is inspirational for the student body. In this regard, it complements and expands upon the many University of Miami School of Architecture books that concentrate on cities as their primary subject. Most importantly, The Home We Share illustrates the diversity of approaches and interests that the School of Architecture fosters (Roberto M. Behar).

Review

There are many reasons why understanding the real world is becoming increasingly

difficult. Among them are the accumulation of images that, in many ways, shape it; the disorder and confusion that characterize it; and, not least, the efforts by urban planners and architects to rigidly impose form and function. Despite all this, the ordinary world continues to produce its own latent vitality ever more hidden, ever more timid, but still present beneath the surface of banality, clichés, and normalization. To reveal it, the statistics of sociologists or the stories of writers are not enough. What is needed are spatial devices of a different kind—ones that can act on the secret nature of things and their relationship with people, bringing forth that amalgam of material and immaterial capable of generating surprise and emotion—effects that are now rare in a world trapped in a perpetual déjà-vu, where everything seems known even before it is seen.

The works of Roberto Behar and Rosario Marquardt have taken on this task through an unconventional use of art and architecture, the disciplines from which they come. Their mastery in this field doesn’t arise from nothing—behind it is a broad, cosmopolitan culture, diverse personal roots, and life experiences that have nurtured in them a special sensitivity to places and, especially within them, to those recesses, those cracks, those unresolved corners, through which the extraordinariness they conceal can be brought to light (Alberto Ferlenga).46

University of Miami School of Architecture, Marion Manley Building 48, photo © Steven Brooke

Complete List of Titles1

Merrick, George E., and Denman Fink. Song of the Wind on a Southern Shore and Other Poems of Florida. Rand McNally, 1911.

Merrick, George E., and Denman Fink. Venetian Casino, Coral Gables. Courier-Journal Job Printing Co., 1924.

Merrick, George E., and Denman Fink. The Story of Coral Gables. G.E. Merrick, 1927.

Smith, Robert Fitch. The Work of Robert Fitch Smith. A.I.A. Architectural Catalog Co., 1941.

Langendorf, Richard. New Communities-the American Experience: a Discussion Paper. University of Miami, 1973.

Middlebrooks, Joseph. Comprehensive Development Plan: Capital Improvement Program, Riviera Beach, Florida. Urban Planning Studio, 1975.

Langendorf, Richard, Arthur L. Silvers, and Rodney P. Stiefbold. Residential Segregation and Economic Opportunity in Metropolitan Areas. National Technical Information Service, University of Miami, 1976.

Middlebrooks, Joseph. Comprehensive Development Plan for the City of Opa-Locka. Urban Planning Studio, 1978.

Millas, Aristides J., and Claudia M. Rogers. The Development of Mobility Criteria for the Elderly: Within the Context of a Neighborhood. University of Miami, 1979.

Préstamo y Hernández, Felipe J. Plan for the Coordination of Transportation Services: Dade County, 1981-1985. Area Agency on Aging for Dade and Monroe Counties and United Way of Dade County, 1981.

Patricios, Nicholas N., and Aristides J Millas. Coral Gables Central Business District Study: An Academic Community Service Project. University of Miami, 1985.

Brooke, Steven. Deco Delights. Dutton, 1988.

Quraeshi, Samina, and Annemarie Schimmel. Lahore: The City Within. Concept Media, 1988.

Nola, Frank J., and Monica Ponce de Leon, eds. Black & White: A Journal of Architecture and Ideas; Tradition and Invention in the New World, no. 1. University of Miami, 1988.

Nola, Frank J., and Monica Ponce de Leon, eds. Black & White: A Journal of Architecture and Ideas; Lessons from Italy, no. 2. University of Miami, 1989.

Cháo, Sonia, and Trevor Abramson. Kohn Pedersen Fox: Buildings and Projects, 1976-1986 Rizzoli, 1990.

Cerwinske, Laura, and Steven Brooke. Miami, Hot & Cool. C.N. Potter, 1990.

Hochstim, Jan. The Paintings and Sketches of Louis I. Kahn. Rizzoli, 1991.

Duany, Andres, Elizabeth Plater-Zyberk, et al. Towns & Town Making Principles. Rizzoli, 1991.

Lejeune, Jean-François. The New City: Modern Cities. University of Miami, 1991.

Plater-Zyberk, Elizabeth, and Sonia Cháo. The New South Dade Planning Charette: From Adversity to Opportunity. We Will Rebuild, 1992.

1 NB, this is not a bibliography but rather a chronological list of published books by the School of Architecture faculty and teaching alumni, that includes as well a brief list of articles in science and engineering journals by associated faculty in the Department of Engineering for whom books are not a priority.

Culot, Maurice, and Jean-François Lejeune. Miami: Architecture of the Tropics. Center of Fine Arts; Archives d’Architecture Moderne, 1992.

Ceo, Rocco, and Margot Ammigdow. Redland: A Preservation and Tourism Plan. Metropolitan Dade County Office of Community Development, Historic Preservation Division; University of Miami School of Architecture, 1993.

Patricios, Nicholas N. Building Marvelous Miami. University Press of Florida, 1994.

Lejeune, Jean- François, ed. The American City: The New City. Princeton Architectural Press, 1994.

Raley, H. M., Linda G. Polansky, and Aristides J. Millas. Old Miami Beach: A Case Study in Historic Preservation, July 1976-July 1980. Miami Design Preservation League, 1994.

Fausch, Deborah, and Rodolphe el-Khoury. Architecture: In Fashion. Princeton Architectural Press, 1994.

Behar, Roberto M., ed. The Architecture of Politics: 1910-1940. The Wolfsonian Foundation, 1995.

Brooke, Steven. Seaside. Pelican Publishing Company, 1995.

Williams, Daniel, and Tom Singleton. The South Dade Watershed Project. University of Miami Center for Urban and Community Design, 1995.

Brooke, Steven. Views of Rome (3rd Edition). Publish Drive, 1995.

Langendorf, Richard. Presentation Graphics. APA Planning Advisory Service, 1995.

Kostof, Spiro, and Greg Castillo. A History of Architecture: Settings and Rituals. Second edition / revisions by Greg Castillo. Oxford University Press, 1995.

Plowden, David, Michael L. Carlebach, Rocco Ceo, and J. Tomás López. The Plowden Project: Miami and the Everglades. University of Miami, 1996.

Scully, Vincent, et al. Between Two Towers: The Drawings of the School of Miami. Monacelli Press, 1996.

Hector, Dennis, and Beth Dunlop. Hurricane Hazard Mitigation. University of Miami School of Architecture, 1996.

Lejeune, Jean-François, ed. Modern Cities: The New City. Princeton Architectural Press, 1996.

Behar, Roberto M., and Maurice Culot. Coral Gables: An American Garden City. Norma Editions, 1997.

Cure, Adib, and Carie Penabad, eds. Black & White: A Journal of Architecture and Ideas; Mile Zero, no. 3. University of Miami, 1997.

Plater-Zyberk, Elizabeth, Robert Davis, and Andres Duany. The Technique of Town Planning: Operating System of the New Urbanism. Duany, Plater-Zyberk & Co., 1998.

Duany, Andres, et al. Charter of the New Urbanism (1st ed.). McGraw-Hill Professional, 1999.

Greenan, Gary. Urban Design Manual (Volume I). Miami-Dade County Planning Department, 1999.

Fonseca, Mary, and Steven Brooke. Louisiana Gardens. Pelican Publishing Company, 1999.

Brooke, Steven. The Majesty of Natchez. Pelican Publishing Company, 1999.

Kostof, Spiro, Greg Castillo, and Richard Tobias. The City Assembled: The Elements of Urban Form through History. Little, Brown, 1999.

Duany, Andres, Elizabeth Plater-Zyberk, and Jeff Speck. Suburban Nation: The Rise of Sprawl and the Decline of the American Dream. North Point Press, 2000.

Brooke, Steven. Historic Washington, Arkansas. Pelican, 2000.

John, Richard. Thomas Gordon Smith and the Rebirth of Classical Architecture. Andreas Papadakis, 2001.

University of Miami School of Architecture, Miami Beach (FL), and Miami Design Preservation League. Façade of Ocean Drive, Between 5th and 15 St. City of Miami Beach, Miami Design Preservation League, 2001.

Sully, Susan and Steven Brooke. Savannah Style: Mystery and Manners. Rizzoli, 2001.

Ceo, Rocco, and Joanna Lombard. Historic Landscapes of Florida. University of Miami School of Architecture, 2001.

Plater-Zyberk, Elizabeth. Coral Gables Charette Report. City of Coral Gables, University of Miami School of Architecture, 2002.

Patricios, Nicholas N. Kefallinia and Ithaki: A Historical and Architectural Odyssey Routledge, 2002.

Bohl, Charles C. Place Making: Town Centers, Main Streets and Transit Villages. Urban Land Institute, 2002.

Cerwinske, Laura, and Steven Brooke. South Beach Style. H.N. Abrams, 2002.

Laporte, Dominique, Nadia Banabid, and Rodolphe el-Khoury. History of Shit. MIT Press, 2002.

Millas, Aristides J., and Ellen J. Uguccioni. Coral Gables, Miami Riviera: An Architectural Guide. Dade Heritage Trust, 2003.

Brooke, Steven. Views of Jerusalem and the Holy Land. Rizzoli, 2003.

Nesmith, Eleanor Lynn, and Steven Brooke. Seaside Style. New York: Rizzoli, 2003.

Duany, Andres, Elizabeth Plater-Zyberk, Robert Alminana, and Jean-François Lejeune. The New Civic Art. Rizzoli, 2003.

el-Khoury, Rodolphe. Shaping the City: Studies in History/Theory, Theory, and Urban Design Routledge, 2004.

Dunlop, Beth, and Steven Brooke. Addison Mizner: Architect of Fantasy and Romance Rizzoli, 2004.

Ossman, Laurie and Steven Brooke. Great Houses of the South. Rizzoli, 2004.

el-Khoury, Rodolphe, and Mark Pasnik. Groupe Frère CNP Headquarters by Philippe Samyn and Partners. Princeton Architectural Press, 2004.

Scully, Vincent, Catherine Lynn, Eric Vogt, and Paul Goldberger. Yale in New Haven: Architecture and Urbanism. Yale University, 2004.

Hochstim, Jan, and Steven Brooke. Florida Modern: Residential Architecture 1945-1970 Rizzoli, 2005.

Lejeune, Jean-François. Cruelty & Utopia: Cities and Landscapes of Latin America. Princeton Architectural Press, 2005.

Brooke, Steven. Architectural Photography and Composition. Publish Drive, 2005.

Kolarevic, Branko. Architecture in the Digital Age: Design and Manufacturing. Taylor & Francis, 2005.

Kolarevic, Branko, and Ali Malkawi, eds. Performative Architecture: Beyond Instrumentality. Routledge, 2005.

Masson, Kathryn, and Steven Brooke. Historic Houses of Virginia: Great Plantation Houses, Mansions and Country Places. Rizzoli, 2005.

Sully, Susan and Steven Brooke. Casa Florida. Rizzoli, 2005.

Ossman, Laurie, Heather Ewing and Steven Brooke. Carrère and Hastings: The Masterworks. Rizzoli, 2005.

Brooke, Steven. The Majesty of St. Augustine. Pelican, 2005.

Quraeshi, Samina et al. Reimagining West Coconut Grove. Spacemaker Press, 2005.

Lombard, Joanna. The Architecture of Duany Plater-Zyberk and Company. Rizzoli, 2005.

el-Khoury, Rodolphe, and John Hans Lee. See Through Ledoux: Architecture, Theatre, and the Pursuit of Transparency. ORO Editions, 2006.

Masson, Kathryn, and Steven Brooke. Napa Valley Style. Rizzoli, 2006.

Jenkins, Stover, David Mohney, and Steven Brooke. The Houses of Philip Johnson. Abbeville, 2006.

de Bastide, Jean-François, Rodolphe el-Khoury, and Anthony Vidler. The Little House: An Architectural Seduction. Princeton Architectural Press, 2006

Masson, Kathryn, and Steven Brooke. Sonoma Valley Style. Rizzoli, 2006.

el-Khoury, Rodolphe, et al. Liberty Bell Center: Bohlin, Cywinski, Jackson. ORO Editions, 2006.

Cenicacelaya, Javier, and Carie Penabad. Monterrey: Redefining the Urban Center. University of Miami School of Architecture, 2006.

Cohen, Jean-Louis, and Gerard Martin Moeller. Liquid Stone: New Architecture in Concrete. Princeton Architectural Press, 2006.

Brooke, Steven, and Laura Cerwinske. Gardens of Florida. The Villagers, 2007.

Dunlop, Beth and Steven Brooke. Miami: Mediterranean Splendor and Deco Dreams. Rizzoli, 2007

Graham, Thomas, Leslee F. Keys, and Steven Brooke. Hotel Ponce de Léon: The Architecture & Decoration. Flagler College Press, 2007.

Brooke, Steven. Views of Miami. Publish Drive, 2007.

Behar, Roberto M., and Rosario Marquardt. The Peace Project. Museum of Contemporary Art Denver, 2007.

Behar, Roberto M., and Rosario Marquardt. Satellite of Love. Denver Museum of Contemporary Art, 2007.

Greenan, Gary. Urban Design Manual (Volume II). Miami-Dade County Planning Department, 2007.

Rybczynski Witold, Laurie Olin, and Steven Brooke. Vizcaya: An American Villa and Its Makers. University of Pennsylvania Press, 2007.

Dunlop, Beth, and Steven Brooke. Aqua: Miami Modern by the Sea. Rizzoli, 2007.

Quraeshi, Samina. Legends of the Indus: Epic Love Tales from the Indus Valley. Asia Ink, 2004.

Ceo, Rocco J., and José Grave de Peralta. Drawing from Casts: The Plaster Cast Collection at the University of Miami School of Architecture. University of Miami School of Architecture, 2008.

Dunlop, Beth, Joanna Lombard, and Steven Brooke. Great Houses of Florida. Rizzoli, 2008.

Lejeune, Jean-François, and Charles C. Bohl. Sitte, Hegemann, and the Metropolis: Modern Civic Art and International Exchanges. Routledge, 2008.

Dover, Kohl & Partners, and Leonard M. Miller School of Medicine. Creating a World Class Campus for the University of Miami Miller School of Medicine. Dover, Kohl & Partners, 2008.

el-Khoury, Rodolphe, and Michael Speaks. Architecture and Sensuality: Andrew Bromberg of Aedas: Recent Work. ORO Editions, 2008.

Cenicacelaya, Javier, et al. Trelles Cabarrocas Architects. Editions ACAM, 2008.

Kliczkowski, Guillermo Raúl. Casas = Houses: Trelles Cabarrocas Architect. Kliczkowski, 2008.

Driehaus, Richard H., Michael Lykoudis, and the University of Notre Dame School of Architecture. The Richard H. Driehaus Prize: Andrés Duany and Elizabeth PlaterZyberk: Established by Richard H. Driehaus and the University of Notre Dame School of Architecture. The University of Notre Dame, 2008.

Duany, Andres, et al. Views of Seaside: Commentaries and Observations on a City of Ideas. New York: Rizzoli, 2008

Sauter, Florian et al. Natural Metaphor: An Anthology of Essays on Architecture and Nature. Actar-D, 2008.

Correa, Jaime. Seven Recipes for the New Urbanism. Lulu, 2009.

Guerrero, Carmen, Salvatore Santuccio, and Nicolò Sardo. Luigi Moretti: Le Ville: Disegni e Modelli. Palombi, 2009.

Correa, Jaime. Self-Sufficient Urbanism: A Vision of Contraction for the Non-Distant Future. Lulu Press, 2009.

Davis, Robert, Andrés Duany, and Elizabeth Plater-Zyberk. Smart Code: A Comprehensive Form-Based Planning Ordinance. Centre for Applied Transect Studies, 2009.

Brooke, Steven. Seaside: Views of a New Town. Publish Drive, 2009.

Shulman, Allan T., ed. Miami Modern Metropolis: Paradise and Paradox in Midcentury Architecture and Planning. Bass Museum of Art, Balcony Press, 2009.

Treister, Kenneth, Felipe J. Préstamo y Hernández, and Raúl B. García. Havana Forever: A Pictorial and Cultural History of an Unforgettable City. University Press of Florida, 2009.

Firley, Eric, and Caroline Stahl. The Urban Housing Handbook (1st ed.), Wiley, 2009.

Cure, Adib, and Carie Penabad. Barranquilla: Redefining the Urban Center. University of Miami School of Architecture, 2009.

Aesopos, Yannis, and Florian Sauter, eds. Iconoclastia: News from a Post-Iconic World. ETH Zurich, 2009.

Lynn, Catherine, and Carie Penabad. Marion Manley: Miami’s First Woman Architect. University of Georgia Press, 2010.

Shulman, Allan T., Randall C. Robinson, and James F. Donnelly. Miami Architecture: An AIA Guide Featuring Downtown, the Beaches, and Coconut Grove. University Press of Florida, 2010.

Guerrero, Carmen L., and Victor M. Santana. Reinventing el Pueblo de los Pescadores: Las Terrenas, Samaná Peninsula, Dominican Republic. University of Miami School of Architecture, 2010.

Duany, Andres, Gustavo Sánchez Hugalde, and Sonia Cháo. Charlas en el Capitolio de La Habana sobre el nuevo urbanismo. Ediciones Unión, 2010.

Cháo, Sonia R. et al. Compendio de diseño urbano: con apuntes sobre el tema en Cuba. Ediciones Unión, 2010.

Krier, Léon, Mario Coyula, Sonia R. Cháo, and José Antonio Choy. Arquitectura: elección o destino adverso: teoría del nuevo urbanismo. Ediciones Unión, 2010.

el-Khoury, Rodolphe, et al. States of Architecture in the Twenty-first Century: New Directions from the Shanghai World Expo. Oscar Riera Ojeda Publishers, 2010.

John, Richard. Robert Adam: The Search for a Modern Classicism. Images Publishing, 2010.

Tachieva, Galina. Sprawl Repair Manual. Island Press, 2010.

Lejeune, Jean-François, and Michelangelo Sabatino. Modern Architecture and the Mediterranean: Vernacular Dialogues and Contested Identities. Routledge, 2010.

Castillo, Greg. Cold War on the Home Front: The Soft Power of Midcentury Design. University of Minnesota Press, 2010.

Firley, Eric, and Julie Gimbal. The Urban Towers Handbook. Wiley, 2011.

Brooke, Steven. Miami Beach Deco. Rizzoli, 2011.

John, Richard. The Classicist No. 9. ICAA, 2011.

Mallea, Hermes. Great Houses of Havana: A Century of Architecture and Design. Monacelli Press, 2011.

el-Khoury, Rodolphe, Christos Marcopoulos, and Carol Moukheiber. The Living, Breathing, Thinking, Responsive Buildings of the Future. Thames & Hudson, 2012.

Cháo, Sonia, ed. Under the Sun: Sustainable Traditions & Innovations in Sustainable Architecture and Urbanism. Center for Urban and Community Design, University of Miami School of Architecture, 2012.

Low, Thomas E., Robert Davis, Andrés Duany, and Elizabeth Plater-Zyberk. Light Imprint Handbook: Integrating Sustainability and Community Design. New Urban Press, 2012.

Duany, Andrés, Elizabeth Plater-Zyberk, and Robert Davis. Garden Cities: Theory and Practice of Agrarian Urbanism. Prince’s Foundation, 2012.

Brillhart, Jacob. On the Waterfront: Miami’s Fifteen Mile Promenade. University of Miami, 2012.

Mateo, José Luis, and Florian Sauter, eds. Expression: Architecture and the Arts: A Pedagogical Interaction. Park Books, 2013.

Behar, Roberto M., and Rosario Marquardt. The Living Room. Homemade Editions, 2013.

Behar, Roberto M., and Rosario Marquardt. Museum Works: R & R Studios Incomplete Works. Homemade Editions, 2013.

Gindroz, Ray, Rob Robinson, Paul Ostergaard, Barry J. Long, Maggie Connor, and Eric Osth. The Urban Design Handbook. W.W. Norton & Company, 2013.

el-Khoury, Rodolphe, Rodolfo Machado, and Detlef Mertins. Monolithic Architecture. Prestel, 2013.

Patricios, Nicholas N. The Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches. I.B. Tauris, 2013.

Firley, Eric, and Katharina Grön. The Urban Masterplanning Handbook. Wiley, 2013.

John, Richard. The Classicist No. 10. ICAA, 2013.

Colace, Alessandro, Carmen Guerrero, Flavia Benfante, Francesco Maggio, and Marcello Messana. Un Percorso del Fare 2. Edizioni Arianna, 2014.

Cháo, Sonia, and Jackie Genard. Arcahaie Vision Report. University of Miami, School of Architecture, 2014.

el-Khoury, Rodolphe. Figures: Essays on Contemporary Architecture. Oscar Riera Ojeda, 2014.

Mateo, José Luis, and Florian Sauter, eds. Earth Water Air Fire: The Four Elements and Architecture. Actar, 2014.

Correa, Jaime, and the Housing Finance Authority. Design Guidelines for New Construction and Rehabilitation. Lulu Pres, 2014.

Wheeler, Katherine. Victorian Perceptions of Renaissance Architecture. Ashgate Publishing Company, 2014.

Dover, Victor, and John Montague Massengale. Street Design: The Secret to Great Cities and Towns. Wiley, 2014.

Deupi, Victor. Architectural Temperance: Spain and Rome 1700-1759. Routledge, 2015.

Behar, Roberto M., and Rosario Marquardt. R & R Alphabet. Miami International Airport/ Division of Fine Arts & Cultural Affairs, 2015.

Brillhart, Jacob. Voyage Le Corbusier: Drawing on the Road. W. W. Norton & Company, 2016.

Behar, Roberto M., and Rosario Marquardt. The Little Book. Miami International Airport/ Division of Fine Arts & Cultural Affairs, 2016.

Shulman, Allan T. Building Bacardi: Architecture, Art & Identity. Rizzoli, 2016.

Shulman, Allan T., ed. The Discipline of Nature: Architect Alfred Browning Parker in Florida. University Press of Florida, 2016.

Mills, Elaine, Julie Petrella Arch, Joanna Lombard, and Steven Brooke. Gardens of Miami. The Villagers, 2016.

Euler, Lisa, Martino Tattara, Charlotte von Moos, and Metaxia Markaki. Achtung: Die Landschaft-Lässt sich die Stadt anders denken? Ein erster Versuch. Lars Müller Publishers, 2016.

Penabad, Carie, ed. Call to Order: Sustaining Simplicity in Architecture. Oscar Riera Ojeda Publishers, 2017.

Mallea, Hermes. Havana Living Today: Cuban Home Style Now. Rizzoli, 2017.

Spain, Thomas A. The Drawings and Paintings of Coral Gables and Rome. Edited by Steven Fett and Edgar Sarli. Oscar Riera Ojeda Publishers, 2018. Meyer, Christopher Michael, Daniel Hemmendinger, and Shawna Michelle Meyer. Buoyant Clarity. Princeton Architectural Press, 2018.

Correa, Jaime. Courtyard Houses: Mexican Enclave, the Rule and the Model. Jaime Correa and Associates, 2018.

Ceo, Rocco, Joanna Lombard, and Steven Brooke. Building Eden: The Beginning of MiamiDade County’s Visionary Park System. Pineapple Press, 2018.

Plater-Zyberk, Elizabeth, Robert Davis, and Andres Duany. The Lexicon of the New Urbanism. DPZ Co Design, 2018.

Correa, Jaime. Rome: The Parable of the Incomplete. Zine Publications, 2018.

Ceo, Rocco. Natural Acts/Rocco Ceo. Exhibition Catalog. Meetinghouse. 2018.

Gelabert-Navia, Jose, Allan T. Shulman, and Jean-François Lejeune. Ciudad City: Miami Beach-Ocean Drive, USA. Colegio Oficial de Arquitectos Vasco Navarro (COAVN), 2018.

Deupi, Victor, ed. Transformation in Classical Architecture. Oscar Riera Ojeda Publishers, 2018.

Moeller, Gerard Martin. The Favrot Family of Louisiana: A History Over Three Centuries. Tulane University School of Architecture, 2018.

Sauter, Florian. Painting the Sky Black: Louis Kahn and the Architectonization of Nature. De Gruyter, 2018.

Firley, Eric. Designing Change: Professional Mutations in Urban Design 1980-2020. nai010, 2019.

Graham, Thomas, Leslee F. Keys, and Steven Brooke. Flagler College, The First Fifty Years. Flagler College Press, 2019.

Correa, Jaime. Redacted Distillations: Le Corbu’s Transformative Erasures. Lulu, 2020.

Deupi, Victor. Emilio Sanchez in New York and Latin America. Routledge, 2020.

Guzman Kolaya, Iris, and Joanna Lombard. El Jardin: Creating the Modern Mediterranean Villa. Iris Guzman Kolaya, 2020.

Plater Zyberk, Elizabeth, ed. The Classicist No.17: Florida. ICAA, 2020.

Shulman, Allan T. Buoyant City: Historic District Resiliency & Adaptation Guidelines. City of Miami Beach, 2020.

Shulman, Allan T. Resilient Rehab: A Guide for Historic Buildings in Miami-Dade County. Miami-Dade County, 2020.

Correa, Jaime. Unbuilt Intentions: Towards a New Phenomenology of Cities and Architecture. Lulu, 2020.

Banks, Tiffany, ed. Lake Wales, Florida: The Northwest Neighborhood. University of Miami School of Architecture, 2020.

Barnes, Germane, and Shawhin Roudbari. Vigilantism. MAS Context, 2020.

Gelabert-Navia, José, et al. Cuba Memories of Travel / Recuerdos de Viaje. Oscar Riera Ojeda Publishers, 2020.

Ceo, Rocco, and Jim Adamson. Design/Build: 12 Projects. University of Miami, 2020.

Patricios, Nicholas N. The Sacred Architecture & Art of Four Byzantine Capitals: Constantinople, Thessaloniki, Mystras, Mount Athos. Barnes & Noble Press, 2020.

Deupi, Victor, and Oscar Riera-Ojeda. Stables: High Design for Horse and Home. Rizzoli, 2021.

Cogar, Andrew, and Marc Kristal. Visions of Home: Timeless Design, Modern Sensibility. Rizzoli, 2021.

Correa, Jaime. Barrio de la Merced: Brian Canin Urban Design Studio. Lulu Press, 2021.

Deupi, Victor, and Jean-François Lejeune. Cuban Modernism: Mid-Century Architecture 1940-1970. Birkhäuser, 2021.

Deupi, Victor. Emilio Sanchez Revisited: A Centenary Celebration of the Artist’s Life and Work. LnS Gallery and Oscar Riera Ojeda Publishers, 2021.

Deupi, Victor, and Oscar Riera Ojeda. Wineries of the World: Architecture and Viniculture. Rizzoli, 2021.

Lejeune, Jean-François. Rural Utopia and Water Urbanism: The Modern Village in Franco’s Spain. DOM Publishers, 2021.

von Moos, Charlotte. In Miami in the 1980s. Buchhandlung Walther König, 2022.

von Moos, Charlotte, and Florian Sauter. Some Fragments. Verlag der Buchhandlung Walther und Franz König, 2022.

Gelabert-Navia, José. Italy. Oscar Riera Ojeda Publishers, 2022.

Gelabert-Navia, José. Taos - Santa Fe. Oscar Riera Ojeda Publishers, 2022.

Gelabert-Navia, José. China. Oscar Riera Ojeda Publishers, 2022.

Guerrero, Carmen, ed. Resilience in Concrete: The Thomas P. Murphy Design Studio

Building. Oscar Riera Ojeda Publishers, 2022.

Moeller, Gerard Martin. AIA Guide to the Architecture of Washington, D.C., Sixth Edition. Johns Hopkins University Press, 2022.

Ponce de Leon, Monica, ed. Lina Bo Bardi: Material Ideologies. Princeton University Press. 2022.

Clum, Andrew. Delirious Miami: A Proactive Manifesto for an Extraordinary American Metropolis. Underwater Publishing, 2023.

Deupi, Victor. Pavilion Living: Architecture, Patronage, and Well-Being. Oscar Riera Ojeda Publishers, 2023.

Gelabert-Navia, José. Rome. Oscar Riera Ojeda Publishers, 2023.

Gelabert-Navia, José. Coral Gables. Oscar Riera Ojeda Publishers, 2023.

Gelabert-Navia, José. Miami Beach. Oscar Riera Ojeda Publishers, 2023.

Cure, Adib, and Carie Penabad. Miami Made: Housing in the Tropics. University of Miami School of Architecture, Yale School of Architecture, 2024.

Firley, Eric, and Victor Deupi. Urban Housing Handbook (Revised Edition). Wiley, 2023.

Correa, Jaime. New Harmony: A Counter Proposal to Charles Fourier’s Phalanstery. Lulu Press, 2024.

Nicolás Delgado Alcega, ed. Large, Lasting, and Inevitable: Jorge Silvetti in Dialogues and Writings on Architecture as a Cultural Practice. Park Books, 2024.

Patricios, Nicholas N. Architecture and Art: Byzantine Churches of Mount Athos. Ithaka House Press, 2024.

Correa, Jaime. Tales of the Departed: 25 Stories of Death, Fear, and Liberation. Lulu Press, 2024.

Behar, Roberto, and Rosario Marquardt. The Home We Share: Three Social Sculptures for Princeton University. Park Books / Scheidegger & Spiess, 2025.

Correa, Jaime, and Carmen Guerrero. Historic Sugar Mills in Santo Domingo: Case Studies in Adaptive Reuse. University Press of Florida, 2025.

Bohl, Charles, and James Doughherty. The Art of the New Urbanism. Wiley, 2025.

Cháo, Sonia. Calibrating Coastal Urban Resilience. Routledge, 2025.

Lejeune, Jean-François. The Other Rome: Building the Modern Metropolis, 1870-1960. Birkhäuser, 2025.

Correa, Jaime and Yasmine Zeghar. Contemporary Spolia: Reuse of Salvaged Construction Components and Materials. Lulu Press, 2025.

Young, Kevin A. Drawn Journeys Through the Eyes of the Yard Architect. YAR+D, 2025.

Deupi, Victor. Rada Photography: Mid-Century Architecture and Culture in South Florida and the Caribbean. University Press of Florida, 2026.

Articles in Science and Engineering Journals

Wang, Gang, Li Song, Esber Andiroglu, and Gyujin Shim. “Investigations on a Virtual Airflow Meter Using Projected Motor and Fan Efficiencies.” HVAC&R research 20, no. 2 (2014): 178–187.

Andiroglu, Esber et al. “Development of a Virtual Pump Water Flow Meter Using Power Derived from Comprehensive Energy Loss Analysis.” Science & Technology for the Built Environment 22, no. 2 (2016): 214–226.

Praharaj, Sarbeswar, Jung Hoon Han, and Scott Hawken. “Towards the Right Model of Smart City Governance in India.” International Journal of Sustainable Development and Planning 13, no. 2 (2018): 171–186.

Praharaj, Sarbeswar, Jung Hoon Han, and Scott Hawken. “Urban Innovation through Policy Integration: Critical Perspectives from 100 Smart Cities Mission in India.” City, Culture and Society 12 (2018): 35–43.

Praharaj, Sarbeswar, and Hoon Han. “Building a Typology of the 100 Smart Cities in India.” Smart and Sustainable Built Environment 8, no. 5 (2019): 400–414.

Gong, Changqing, Dan M. Frangopol, and Minghui Cheng. “Risk-Based Life-Cycle Optimal Dry-Docking Inspection of Corroding Ship Hull Tankers.” Engineering Structures 195 (2019): 559–567.

Liu, Yan, Dan M. Frangopol, and Minghui Cheng. “Risk-Informed Structural Repair Decision Making for Service Life Extension of Aging Naval Ships.” Marine Structures 64 (2019): 305–321.

Praharaj, Sarbeswar, and Hoon Han. “Cutting through the Clutter of Smart City Definitions: A Reading into the Smart City Perceptions in India.” City, Culture and Society 18 (2019): n.p.

Wang, Zufen, Esber Andiroglu, and Gang Wang. “Accuracy Improvement of Virtual Pump Water Flow Meters Using Calibrated Characteristics Curves at Various Frequencies.” Energy and Buildings 191 (2019): 143–150.

Cheng, Minghui, Dan M. Frangopol, and Changqing Gong. “Acceptance of CorrosionResistant Steel in Design of Steel Girder Bridges Based on Expected Utility Theory.” Journal of Bridge Engineering 25, no. 11 (2020): 04020098.

Gong, Changqing, Dan M. Frangopol, and Minghui Cheng. “Risk-Based Decision-Making on Corrosion Delay for Ship Hull Tankers.” Engineering Structures 212 (2020): 110455.

Cheng, Minghui, David Y. Yang, and Dan M. Frangopol. “Investigation of Effects of Time Preference and Risk Perception on Life-Cycle Management of Civil Infrastructure.” ASCEASME Journal of Risk and Uncertainty in Engineering Systems. Part A, Civil Engineering 6, no. 1 (2020): 04020001.

Praharaj, Sarbeswar, et al. “Using Aggregated Mobility Data to Measure the Effect of COVID-19 Policies on Mobility Changes in Sydney, London, Phoenix, and Pune.” Findings (2020): n.p.

Sealey, Kathleen Sullivan, Joel Lamere, James Sobczak, and Prannoy Suraneni.

“Multifunctional Performance of Coastal Structures Based on South Florida Coastal Environs.” Journal of Coastal Research 37, no. 3 (2021): 656–669.

Praharaj, Sarbeswar. “Area-Based Urban Renewal Approach for Smart Cities Development in India: Challenges of Inclusion and Sustainability.” Urban Planning 6, no. 4 (2021): 202–215.

Cheng, Minghui, and Dan M. Frangopol. “Optimal Load Rating-Based Inspection Planning of Corroded Steel Girders Using Markov Decision Process.” Probabilistic Engineering Mechanics 66 (2021): 103160.

Leao, Simone Z., Ryan van den Nouwelant, Vivien Shi, Hoon Han, Sarbeswar Praharaj, and Christopher J. Pettit. “A Rapid Analytics Tool to Map the Effect of Rezoning on Property Values.” Computers, Environment and Urban Systems 86 (2021): n.p.

Cheng, Minghui, and Dan M. Frangopol. “A Decision-Making Framework for Load Rating Planning of Aging Bridges Using Deep Reinforcement Learning.” Journal of Computing in Civil Engineering 35, no. 6 (2021): 04021024.

Solís, Patricia, Gautam Dasarathy, Pavan Turaga, Alexandria Drake, Kevin Jatin Vora, Akarshan Sajja, Ankith Raaman, Sarbeswar Praharaj, and Robert Lattus. “Understanding the Spatial Patchwork of Predictive Modeling of First Wave Pandemic Decisions by Us Governors.” Geographical Review 111, no. 4 (2021): 592–615.

Alic, Dijana, Alanya Drummond, Sarbeswar Praharaj, and Jack Peacock. “Leveraging the Capabilities of Sessional Teachers in Design Education.” International journal of design education 15, no. 1 (2021): 131–143.

Cheng, Minghui, and Dan M. Frangopol. “Life-Cycle Optimization of Structural Systems Based on Cumulative Prospect Theory: Effects of the Reference Point and Risk Attitudes.” Reliability Engineering & System Safety 218 (2022): 108100.

Cheng, Minghui et al. “Transfer Prior Knowledge from Surrogate Modelling: A MetaLearning Approach.” Computers & Structures 260 (2022): 106719.

Cheng, Jianda, Yan Liu, Minghui Cheng, Wei Li, and Tianyun Li. “Optimum ConditionBased Maintenance Policy with Dynamic Inspections Based on Reinforcement Learning.” Ocean Engineering 261 (2022): 112058.

Hosseinzadeh, Nima, Mohammad Ghiasian, Esber Andiroglu, Joel Lamere, Landolf RhodeBarbarigos, James Sobczak, Kathleen Sullivan Sealey, and Prannoy Suraneni. “Concrete Seawalls: A Review of Load Considerations, Ecological Performance, Durability, and Recent Innovations.” Ecological Engineering 178 (2022): n.p.

Praharaj, Sarbeswar, and Hoon Han. “Human Mobility Impacts on the Surging Incidence of COVID-19 in India.” Geographical Research 60, no. 1 (2022): 18–28.

Wang, Chuyuan, Ziqi Li, Mason Clay Mathews, Sarbeswar Praharaj, Brajesh Karna, and Patricia Solís. “The Spatial Association of Social Vulnerability with COVID-19 Prevalence in the Contiguous United States.” International Journal of Environmental Health Research 32, no. 5 (2022): 1147–1154.

Praharaj, Sarbeswar, Harsimran Kaur, and Elizabeth Wentz. “The Spatial Association of Demographic and Population Health Characteristics with COVID-19 Prevalence Across Districts in India.” Geographical Analysis 55, no. 3 (2023): 427–449.

Praharaj, Sarbeswar, Patricia Solis, and Elizabeth A Wentz. “Deploying Geospatial Visualization Dashboards to Combat the Socioeconomic Impacts of COVID-19.”

Environment and Planning B: Urban Analytics and City Science 50, no. 5 (2023): 1262–1279.

Cheng, Minghui, and Dan M. Frangopol. “Efficient Scenario Analysis for Optimal Adaptation of Bridge Networks under Deep Uncertainties through Knowledge Transfer.”

Structural Safety 100 (2023): 13.

Abdelghany, Ahmed Elsayed, Zhiyao Dou, Mohamed G. Alashram, Kamel Mohamed Eltohamy, Ahmed S. Elrys, Xiaoqiang Liu, You Wu, Minghui Cheng, Junliang Fan, and Fucang Elsevier Zhang. “The Joint Application of Biochar and Nitrogen Enhances Fruit Yield, Quality and Water-Nitrogen Productivity of Water-Stressed Greenhouse Tomato under Drip Fertigation.” Agricultural Water Management 290 (2023): n.p.

Amer, Lamis, Murat Erkoc, Nurcin Celik, Esber Andiroglu. “Operationalizing Resilience: A Deductive Fault-Driven Resilience Index for Enabling Adaptation.” Process Safety and Environmental Protection 177 (2023): 1085–1102.

Praharaj, Sarbeswar, and Tathagata Chatterji. “Editorial: The Impact That Local Governments and Ruling Bodies Can Have on Implementing Sustainable Changes and Practices.” Frontiers in Sustainable Cities 6 (2024): n.p.

Yan, Tingliang, Di Pei, Minghui Cheng, Zhaoyang Liang, Xinlin Li, and Xiang Wang. “Development of Mg–6Al–4Sn–1Zn Alloy Sheets with Ultra-High Strength by Combining Extrusion and High-Speed Rolling.” Journal of Materials Research and Technology 29 (2024): 1487–1497.

Cheng, Jianda, Minghui Cheng, Yan Liu, Jun Wu, Wei Li, and Dan M. Frangopol. “Knowledge Transfer for Adaptive Maintenance Policy Optimization in Engineering Fleets Based on Meta-Reinforcement Learning.” Reliability Engineering & System Safety 247 (2024): 16.

Xia, Ziyuan, Anchen Sun, Jingyi Xu, Yuanzhe Peng, Rui Ma, and Minghui Cheng. “Contemporary Recommendation Systems on Big Data and Their Applications: A Survey.” IEEE Access 12 (2024): 196914–196928.

Cheng, Minghui et al. “Automated Knowledge Graphs for Complex Systems (AutoGraCS): Applications to Management of Bridge Networks.” Resilient Cities and Structures 3, no. 4 (2024): 95–106.

Praharaj, Sarbeswar. “Command and Control Governance in the 100 Smart Cities Mission in India: Urban Innovation or Utopias?” Applied Geography 184 (2025): 103766.

Praharaj, Sarbeswar. “An Integrative Spatial Framework and Co-Design Toolkit to Measure and Visualize Multidimensional Poverty in the United States.” Geographical Analysis 57, no. 3 (2025): 355–369.

Moufid, Oumayma, Sarbeswar Praharaj, Hassane Jarar Oulidi, and Kaltoum Momayiz. “A Digital Twin Platform for the Cocreation of Urban Regeneration Projects. A Case Study in Morocco.” Habitat international 161 (2025): n.p.

Xu, Jingyi, Minghui Cheng, and Anchen Sun. “Assessing Sustainable Practices in Architecture: A Data-Driven Analysis of LEED Certification Adoption and Impact in Top Firms from 2000 to 2023.” Frontiers of Architectural Research 14, no. 3 (2025): 784–796.

Moufid, Oumayma, Sarbeswar Praharaj, and Hassane Jarar Oulidi. “Digital Technologies in Urban Regeneration: A Systematic Review of Literature.” Journal of Urban Management 14, no. 1 (2025): 264–278.

Geng, Ziheng, Chao Zhang, Yishuo Jiang, Dora Pugliese, and Minghui Cheng. “Integrating Multi-Source Data for Life-Cycle Risk Assessment of Bridge Networks: A System Digital Twin Framework.” Journal of Infrastructure Preservation and Resilience 6, no. 1 (2025): n.p.

Cheng, Minghui, Ziheng Geng, and H. Oliver Gao. “Performance-Oriented System Digital Twin: A Bayesian Network-Based Framework to Customize Sub-Digital Twins.” Structure and Infrastructure Engineering 21, nos. 7–8 (2025): 1303–1323.

Praharaj, Sarbeswar. “An Appraisal of the 100 Smart Cities’ Mission in India: Lessons for Post-Pandemic Urban Future.” Journal of Urban Technology (2025): 1-23.

Author’s Profile

Victor Deupi, Ph.D., is an Associate Professor in Practice at the University of Miami School of Architecture where he teaches history and theory, design, and representation. The principal focus of his research is on the Early Modern Spanish and IberoAmerican world, mid-20th- century Cuba, and contemporary architecture. His books include Architectural Temperance: Spain and Rome, 1700-1759 (Routledge, 2015), Transformations in Classical Architecture: New Directions in Research and Practice (Oscar Riera Ojeda Publishers, 2018), Emilio Sanchez in New York and Latin America (Routledge, 2020), Cuban Modernism: Mid-Century Architecture 1940-1970, with Jean-François Lejeune (Birkhäuser Verlag, 2021), Emilio Sanchez Revisited: A Centenary Celebration of the Artist’s Life and Work, with LnS Gallery (Oscar Riera Ojeda Publishers, 2021), Stables: High Design for Horse and Home (Rizzoli, 2021), Wineries of the World: Architecture and Viticulture (Rizzoli, 2021), Pavilion Living: Architecture, Patronage, and Well- Being (Oscar Riera Ojeda Publishers, 2023), The Urban Housing Handbook, with Eric Firley (Wiley 2023), and most recently Rada Photography: Mid-Century Architecture and Culture in South Florida and the Caribbean (University Press of Florida, 2026). A recipient of grants from Princeton University’s Program in Latin American Studies, the University of Miami’s Institute for Advanced Study of the Americas, the Driehaus Foundation, and the Graham Foundation, Dr. Deupi was also the President of the CINTAS Foundation from 20162018 and is currently the President of the DOCOMOMO US Florida Chapter.

Exhibition Committee

Victor Deupi

Dalayni Etienne

Varsha Gopal

Elizabeth Plater-Zyberk (Chair, School of Architecture Centennial Task Force)

Gilda B. Santana

Contributors

Roberto Behar

Madison Brinnon

Steven Brooke

Michael Cannon

Ivonne de la Paz

Max Jarosz

Jean-François Lejeune

Allan Shulman

Veruska Vasconez

Copyright © 2025 by University of Miami School of Architecture

All rights reserved.

Cover design by Varsha Gopal

Catalog design by Ivonne de la Paz

No part of this catalog may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the author. The only exception is by a reviewer, who may quote short excerpts in a review.

Printed in the United States of America, October 2025

University of Miami School of Architecture / Amazon KDP

ISBN 9798267721783

Since its founding in 1927, the University of Miami School of Architecture has contributed to the discipline of architecture by having its faculty engage in both professional practice and scholarly research. The Exhibition of Faculty and Alumni Publications presents for the first time a visual display of published book covers in chronological order alongside the major developments and events at the school over its first centenary. Consisting of nearly 200 volumes, the exhibition covers a range of topics that include architecture, urban design, history and theory, landscape and the environment, art and design, with a considerable number having a distinct focus on South Florida. With selected volumes highlighted in greater detail, and many physical copies on view for perusing, the exhibition provides a dynamic interactive presentation of the often solitary practice of researching and writing.