theCharrettefall_2011

crescent city illuminations

tulane school of architecture

MISSION

We are students interested in contemplating what it means to study Architecture in a city as unque as New Orleans. The potential of journalism within the realm of architecture al-lows us to research, investigate, and theorize the future direction of design in a highly impactful profession. Due to the well-posi-tioned nature of Tulane School of Architecture within both the larger architecture community and the city, we have powerful resources at our disposal and students who represent differing backgrounds - all converging to form what we call theCharrette. theCharrette is critical, interdisciplinary, and a positive force. It communicates and makes bold assertions. It creates a culture of debate and a voice for which we bring forth our agen-da: a medium of ideas uniting in the form of a magazine.

Letter from the editor

When I originally sat down with the editors to re-write our intentions as a staff during Fall 2010, I anticipated a great emphasis on cross-disciplinary content to develop alongside ideas of research and criticality for our writers. Our vision was to implement such focuses but we found the current format at that time would not allow for the depth we desired. This issue is monumental for us as it represents our first stab at fulfilling our original promise in detailed form. Back in 2006, we were a newspaper, distributed monthly. In 2010 we shifted to a journal, still produced monthly but with significantly more content and the element of longevity. Still now, we embrace our past but in the current form of a magazine, which will provide us the necessary time and depth to produce a piece of architecture and design worthy of what we write. I’ve said before, craft and writing must be interwoven and of equal importance because they highly complement each other. We have the experience and creativity going forward to deliver such a product.

This semester can best be characterized as a “think tank.” During an interview with Graham Owen in the May 2011 Issue I discussed theory and how architecture schools deal with debating it in academia. As our staff becomes more defined, our belief in theory and a research-driven product solidifies as well. I applaud the efforts of my editors for pushing this agenda through and into fruition, as you will read. The addition of Cameron Conklin alongside Hannah and Katherine has allowed dif-ferent perspectives to influence our content and design in a manner consistent with our original desires. As I sit and write this, my first editorial from abroad, I look forward to the high potential we have created and I am eager to watch how our magazine materializes in the future.

Past issues are available at: http://issuu.com/th-echarrette/docs

Kevin Michniok (Copenhagen, Denmark)

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CONTENTS

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2 Letter from the editor (abroad): Kevin Michniok 5 An interview with Dean Schwartz

7 More Than a Hipster Haven Once Arabella Station and now Whole Food’s history and architectural significance

9 iMOD: NOLA modern architecture on the go

10 Fall Crawl: AIAS fall firm crawl to Wisznia is a great success

11 “Ya Mama’s Mynezz” The Landmark Blue Plate Mayonnaise Factory is Converted into Artist Lofts

17 Sukkah 3.0: hillel and TSA team up to celebrate the sukot festival

19 The Unbeaten Path One students longing for a more flexible architectural education and a desegregated academic community

21 My Roman Experience: a fourth year student’s experience abraoad

23 Our Very Own Bear Grylls: A Student Profile on Shea Trahan: Zombie Survivalist Extraordinaire

29 A Voice for the Poor Architecture’s role in improving the low-income neighborhoods of New Orleans

31 Designing an Education A critical look at the curriculum of TSA

33 Student LEEDers: Student Found US Green Building Council Chapter at Tulane

34 A New Development: The new MSRED program redefines the definition of an architectural education

35 VOODOO: !st annual design competition started by Tulane students

37 An Architect’s Wish List

Q. We (the students) have noticed that you have been quite busy this semester. Where has your job as dean taken you, and what has has been your main focus for this fall semester?

Well, I would back up… I have been here for 3 and a half years now, and in my first three years as dean I focused very much on the internal strengths and opportunities of the school in terms of curriculum, what we are doing, how we want to position the school for the future, and also bring-ing a number of new people into new positions. So the backdrop of where I am right now is a lot of work on my part and the work of the faculty to get the school to a point where we can actually take some new steps. Those major new steps are very much the focus of my attention now. Those steps include my three highest priorities for this year which I talked about at the all school meeting. One of these steps is really just helping the new leadership of the school to become as effective as possible in their various roles, and each of these people are making a major impact in their own work. These people include Dean Redfield, who is the new associate dean for academics, Dean Harmon, who has been around for ten years or so but is stepping into a new role as the associate dean for students, and John Stubbs the new director of the preservation program, and of course Sandy Stroud who is the director of the new Master of Sustainable Real Estate Program. There are others, of course, who are involved in running the school, but those people in their par-ticular leadership roles are very important to each of the student groups in their orbits, and they are very strong. One priority of mine is to help them do their jobs and to help them be as effective as possible in collaboration with the faculty and the students. The second priority is working on career development issues, and we are working hard on this issue. Wendy Sack and I are working very hard to figure out how to create a more robust set of opportunities for students in the job market—a job market that is still very challenging for stu-

dents in the design and construction industry. The third priority is Richardson Memorial Hall, and trying to figure out how we can accom-plish an ambitious renovation strategy that is fundamentally tied to sustainability for this build-ing and for the identity and future of the school. So those have been the things that have kept me really busy. I think more generally, what I’ve been doing is focusing externally, establishing connec-tions, raising money, and hoping to make things happen for the school based on a more ambitious agenda, based on how I’m connecting this build-ing beyond the campus and beyond the city. I’ve been traveling a lot, I’ve been talking to a lot of people, I’ve raised around three and a half million dollars so far since I’ve came, and even though the economy has been difficult there is still a lot of opportunity for the school with all the things we have going on here.

Q. As we near the end of this fall semester, how would you say Wendy Redfield has done in her first semester as Dean? Do you think she is integrating well with our academic community?

Very well. Wendy Spent a lot of time in the summer talking with almost every full-time faculty member to get a sense about where we are and where we might be in our next step as a school. The most tangible result that that has had is that she has been working closely with a group of faculty on a number of curriculum issues that are going to be really interesting. We don’t know the shape that will take in the future, but she has been the leader behind those discussions that will also include students starting in January, now that we have some idea about how to structure those discussions going forward. I think that will be a big part of our discussion in the spring semester with student involvement.

An Interview with Dean Schwartzconducted by: Hannah Ambrose

1. Dean Kennith Schwartz FAIA

Q. There have been rumors circulating that ap-plicants for the incoming freshman class of 2017 were required to submit a portfolio with their application to the school. If this is true, what was the motive for this application change and how do you think it will affect next year’s first year studio?

Right now we are highly recommending portfolios but we are not requiring them. This is on our website and on the admissions website. In the past Tulane School of Architecture (post Katrina) has not pushed the issue, we have always accepted portfolios but we’ve had a fairly small percentage of students that have submitted them

by choice. Now we are sending a signal- a clear signal- that we want to see portfolios, and many of our competitor

schools require portfolios today. So I will tell you that we are ready to begin requiring portfolios for the fall of 2013 entering class. This will not be required of the students who will be joining us in the fall of 2012. Moving forward, we think it is going to be important in this highly competitive environment to secure the students who are best positioned for success when they arrive here as freshman.

Q. Do you see job outlook improving for recent graduates?

The economy is still very challenging in the construction industry. However, I keep in touch with a lot of recent graduates and I will tell you that I honestly believe that Tulane graduates are better positioned than almost any other architec-ture graduate in the country. I’m saying that for a couple of specific reasons. I see how it’s play-ing out in which they are landing jobs. Of course there is the foundation of design excellence which is true here and it is true of many other schools as well, so that is not necessarily a differentiator between our graduates and others. The thing that differentiates you from most other architecture graduates in the United States and abroad, really, is the dimension of civic engagement and entre-preneurship that ties with the kinds of experiences you’ve had as a graduate or undergraduate stu-dent here. The public service requirement is crucial to this, but it is not the only thing. It is not unusual for a student coming out of the 5 year undergraduate program to have had several different experiences that really tap into their energy and creativity in ways that are not exactly the same as the traditional design activi-ties that we do as architects and as architecture students. It is very complimentary and it actually builds a set of skills that are extremely valuable

in the context of entry level positions and long term leadership development within the profes-sion of architecture. When I came here three and a half years ago I had a sense that this place was really doing some very special things, unlike any other place that I’ve seen in the country. And those qualities that I have described have actually grown and filled out over the three and a half years even beyond my own efforts and expectations of what I thought I would see over the course of my initial time here as dean. It’s been amazing. It is a signal of long term success for our graduates with an economy right now that is still challenging, but that will change, and I think that in the long run 5, even 10 years out you will find yourself with differ-ent kinds of opportunities within architecture than a student that comes out of just a good design school.

Q. The first semester of the Sustainable Real Estate Development Program seems to be quite success-ful. Do you see any other programs (graduate or otherwise) starting up in the future?

I don’t see other new graduate programs beginning in the school within my cone of vision, I think maybe 3-5 years out in this regard and I do not anticipate another new program starting up in that time frame. I do anticipate the continued success of the Master of Sustainable Real Estate program which is just in its first year as a program. It is going to be evolving and growing, it’s a very strong program. Sandy Stroud is an amazing lead-er, and she has put together both an extraordinary group of faculty as well as an amazing group of students, and that com-bination is going to lead us to success as you start to play that out over the next three to five years or so. That program will be largely, if not entirely, the way that it is right now but I think it is going to grow. Since it is not a studio-based curriculum we have the ability to grow that program within reason. Preservation is going to evolve over the next several years, for sure. It is not going to be a new graduate program but it will be a newly positioned program that will build on the success of that program to date, now that we have new leadership and new opportunities that are really starting to emerge. I think we have a really good mix of programs at the graduate level and then we will always be spending a lot of attention and our resources supporting the historic 5 year under-graduate degree which has been really important to the identity of Tulane for a long time and will continue to be.

“Tulane graduates are better positioned than almost any other architecture graduate in the country.”

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“Now we are sending a signal- a clear signal- that we want to see portfolios”

1. Arabella Station. rally

1948 streetcar ra

ils removed in

favor of tr

olley coaches

1963 changed to deisel

buses

1996 added to th

e National

Register of H

istorical Places

2002 Whole foods opened

as it exists to

day

1893 built and housed th

e

majortiy of u

ptown streetcars

Patrons of Whole Foods Market: Arabella Station may not realize that the building they shop in is over 100 years old. The historic building was renovated and adapted from a street car bus barn into our local grocery store, transforming a dete-riorating building into a thriving commercial area. Whole Foods Market is a company unlike any other in its position, striving for the “wholistic” health of its customers and the environment. Whole Foods employs sustainable practices not only in their core product and company values but also in their buildings. The uptown Whole Foods structure is a handsome warehouse that occupies a full block on Magazine Street between Arabella and Joseph Streets. What you may not know is that the former Arabella Station was erected in 1893 to house the majority of the uptown streetcars. It was one of the largest and most important bus barns oper-ated by the New Orleans Public Service Inc. The

streetcar line ran from Canal Street, up Magazine and Broadway to S. Claiborne Ave. In 1948 the streetcar rails were removed from this line in favor of trolley coaches, and then finally to diesel buses in 1963. The building was added to the National Register of Historic Places in 1996 for its potential to provide information pertinent to American his-tory. After initial opposition from neighbor-hood organizations, and litigation over the zoning of the site, Whole Foods Market provided a new purpose for the warehouse in 2002. The original site included not only the historic barn but also the adjacent empty block across Constance Street. As early as 1991, the City Council was aware of the RTA’s intention to sell the property and changed the zoning from light-industrial to a combination of neighborhood commercial and multi-family housing. Early plans envisioned a series of small

More Than a Hipster HavenJohn CoyleOnce Arabella Station and now Whole Food’s history and architectural significance

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2. Whole Foods. November 2011

boutiques along the street front of Magazine, with apartments on the second level and Whole Foods in the rear. Developers wanted to rezone the entire square as a general commercial space which allows larger stores, and to create a 200 space parking on the block across Constance Street. Up-town Neighborhood Improvement Inc. voiced its concerns that the project would be too disruptive to the neighborhood because of increased traffic from shoppers and commercial delivery trucks. The president of Whole Foods Market Southeast operations, Lee Valkenaar, worked with architects and neighbors, including former TSA professor Franklin Adams, to reach a design com-promise that satisfied the needs of all parties. The revised plan reduced the size of the grocery store to 21,000 square feet, with covered parking for 100 cars, encompassed under the original structure of the bus barn. An interior loading dock also exists beneath the rear canopy of this structure, and the store uses indoor trash compactors instead of open-air dumpsters. The adjacent block was trans-formed into residential units and the street front is now a public patio space in front of the store, complete with landscape, bike racks and a small performance stage. Manning architects provided the design services for the renovation and restoration of the building. The design incorporates many of the original building features awarding developers his-torical tax credits worth 20 percent of the $15 mil-lion spent on the project. The renovations made

to the bus barn retained most of the historic brick shell and steel of the original building in-cluding the intricate steel trusses which were restored and

left exposed. The double-break in its gabled roof allows for clerestory windows to wash the high ceilings with natural light and illuminating the structure and systems. Heating and air-condition-ing units are suspended from a steel platform in the ceiling space. Thousands of boards of tongue-and-groove old-growth pine were salvaged from the barn; enough to create a ceiling for the store’s half of the structure. Looking up from the original concrete floor one is able to see an array of histori-cal character and architectural features. The facade which looks towards Maga-zine Street was given a glass wall with rear steel

column support and flanges embedded in the glass. The corrugated tin on the elevation was replaced and appears to be weightless atop the glass wall. The Whole Foods Market logo adorns the center of this symmetrical façade, inviting people to enter its doors or sit among the plants on its street side patio. The company intends to “create store en-vironments that are inviting, fun, unique, informal, comfortable, attractive, nurturing and educational. We want our stores to become community meet-ing place”. To enable this, fung shui consultants are hired to balance the interior spaces and imple-ment calming colors throughout the store. From personal experience, working at both a newly built store in New York and also the repurposed store in New Orleans, I can say with confidence that the company is committed to sustainable performance. This is evident in details such as posting boards and signage made from recycled materials and their stringen-cy in recycling and waste management. These values are companywide and apparent through conversations with other team members in both stores. The store I worked for in New York, Whole Foods Market: Lake Grove, is LEED certified gold and new stores are being built at even higher LEED standards. Since the compa-ny’s beginnings they have been passionate about their “green mission” to have a positive impact on the environment. This commitment to sustainabil-ity contributed to their ranking third on the U.S. Environmental Protection Agency’s list of the “top 25 green power partners” and they offset 100% of their energy cost with the purchase of wind power credits. Whole foods practices two forms of sustainable architecture by refurbishing old build-ings such as our local Arabella Station, and also by building new LEED certified buildings. The new lo-cations exhibit Whole Foods stance on their “green mission” and serves as a model for sustainability. In the instance of renovating Arabella Station, Whole Foods has integrated itself into the surrounding area of uptown New Orleans, and by refurbishing this important landmark, Whole Foods serves as a model for adaptive reuse. By renovating Arabella Station, Whole foods was able to conserve re-sources and also sustain the history and character inherent within this historic landmark of a build-ing.

“We want our stores to become community meeting place”.

“The design incorporates many of the original building features awarding developers historical tax credits worth 20 percent of the $15 million spent on the project ”.

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3. elevational photo. taken from Constance st perspec-tive

4. origional use for housing streetcars (photo on left)

5. plaque (photo on right)

6. streetcar

iMOD NOLA modern architecture on the goJohn Coyle

1. Home screen 2. Map view 3. Project Description

http://www.regional-modernism.com/2011/05/new-orleans-regional-modernism-is.html

The New Orleans Regional Modernism app puts modernism on the map!LITERALLY! The first of its kind, this location based application allows users to digitally navigate the city through over 150 modern buildings. Users may browse based on architect, category, or status, which includes existing, threatened and lost architecture. The App provides descriptions along with photos via a flickr account and three tour routes for users to follow through the city. Much of the initial documentation was provided through Francine Stock’s regional mod-ernism class at Tulane School of Architecture and through Tulane Libraries’ Southeastern Architec-tural Archive. The project was achieved through a partnership with DOCOMOMO US/Lousiana, a regional chapter of an international committee dedicated to the documentation and conservation

of the buildings, sites, and neighborhoods of the modern movement. The goal of the application, according to creator Francine Stock, was to highlight and docu-ment the modern buildings in New Orleans before they are lost. It is essentially an “historic preserva-tion app”, which aims to show the importance of these modern buildings. Stock explains that in a city where modern architecture is “often regarded as an intrusion to the historical landscape”, the application begins to make a case that buildings of the modern movement also belong here. The App has been available since June 14th and has close to 500 downloads, though it continues to grow and raise awareness.

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Fall Crawl AIAS firm crawl to Wisznia was a great success

This year’s Fall Crawl, hosted by Wisznia Architecture + Development, was a huge suc-cess and is one of many events to look forward to from AIAS. The American Institute of Architecture students is an important network, providing its members with opportunities to meet professionals and students through Firm Crawls, dinners with architects, National Forums and Conferences in various cities. The renovated Maritime building on Common Street in downtown New Orleans provided the stage for this season’s crawl, which included a personal tour of the eleven story mixed use development from the Architect and Devel-

oper, Principal Marcel Wisznia. As a Tulane graduate himself, Marcel Wisznia shared stories about architecture school and provided advice to students about the possibilities of becoming an architect involved in development. The building was renovated by the firm to include office space on the second floor with luxury apartment and amenities above. After these spaces were shown the Fall Crawl concluded on the ground floor of the building in the Merchant café, designed by Tu-lane third year studio coordinator Ammar Elouini.

John Coyle

2. The Maritime building. It was origionally opened in1893.

3. Typical Floor Plan

1. group shot.

New Orleans’ Blue Plate food factory, a former mayonnaise factory and modern architec-tural landmark, is soon to become mixed income artists’ lofts. Having once been the factory of a local household name product, the Blue Plate Fac-tory has experienced an interesting ordeal in the new millennium. The factory ended production in 2000, laid vacant post Katrina, and was then added to the National Register of Historic Places in 2008. Hopefully in its next life, as a 72 loft mixed- income artisan housing complex, it will take on new mean-ing as it continues to preserve local culture. Built in 1942 by architect August Perez Jr., the factory was the first “art modern style” building in New Orleans, and at one time the largest food processing business in the city. Blue plate mayon-naise was heavily distributed across the south as one of the first resale mayonnaises. It became a local household staple who’s slogan claimed its quality matched “ya mama’s mynezz.” Today the factory, located at the intersec-tion of 1315 South Jefferson Davis Parkway and

the corner of Earhart Boulevard, still remains an eye-catching landmark in the Gert Town district of New Orleans. Important to its identity is the building’s sleek facade. As the National Registrar of Historic Places emphasized, “The Blue Plate Building em-bodies all the textbook characteristics of stream-lined modern style. It has dramatic, streamlined, horizontal form; ribbon windows; curving glass block windows; a flat roof; and a smooth gleaming white surface devoid of ornamentation.”1 Due to construction and labor shortages during World War II, the building was also unique in its adaptive character, which required the use of unusual materials and building techniques. One such example was the use of local recycled railroad ties for concrete reinforcement. Other unusual ele-ments include acid proofing technologies in order to withstand the factory’s production practices, and the particularly unusual construction of a basement in New Orleans.

“Ya Mama’s Mynezz” Annelise Haskell

The Landmark Blue Plate Mayonnaise Factory is Converted into Artist Lofts

1942 built by August P

erez Jr.

food processing buisness

2000 stopped production

2008 added to th

e National

Register of H

istorical Places

2012 Blue Plate lofts are

scheduled to open

1. 2012 Blue Plate rendering of exterior

HRI properties, the new building’s new owner, and JCH development are currently leading the $25 million dollar project with backing from the local government. Woodword Design + Build is the contractor. HRI has clearly defined their goal of sup-porting local artisans in the new lofts, and choos-ing the Blue Plate Factory also allows them the opportunity to architecturally preserve another part of the local culture in danger. They seem to being doing this wholeheartedly, and it is essential that they do so. Modern architecture in New Orleans has struggled in the last 20 years and the stream-line modern style has been particularly hard it. “While Louisiana retains about 40 major Art Deco buildings, [David Gebhard] has identified only 6 or 7 major streamline style buildings statewide.”2 Beside the Blue Plate, the only other identified streamline style building in the city is the old Wal-greens building on Canal Street. Even more so, Blue Plate is the best of the best. Its scale, covering the entire block, is massive

for its style. In addition, its entire design speaks to streamline modern architecture rather than subjecting itself to the frequent rounded corner or stylistic signage observed around the city. As de-scribed by the National register of Historic Places Nomination, “The Blue Plate building is the most intensively articulated...incorporate[ing] virtually every signature feature...Blue Plate exemplifies the futuristic modern look quite splendidly. In short, it is a classic, or textbook, example of Streamline Modern Architecture.”3 The new design for the lofts has left the iconic exterior intact. Because so many streamline modern buildings have not aged well, they have often been remodeled, but in this case HRI has paid special attention to preserving the original detailing. They understand the danger of dimin-ishing modern architecture and they are certainly taking steps to preserve this wonderful example for the passerby of the future.

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2. Blue Plate pre-renovations eff_Davis_MLK_Earhart_Blue_Plate_From_Neu-tral_GroundV

“In short, it is a classic, or text-book, example of Streamline Modern Architecture.”

4. blue plate. april 18 2011

3. glass bricks with wire.

So crucial to Blue Plates design is its sig-nage. The large Blue Plate lettering has been suc-cessfully restored to the top of the roof, although somewhat historically compromised since the original sign has been modified to read Blue Plate “lofts.” In the interior, a different form of local culture will be preserved and fostered: that of struggling New Orleans musicians, painters, or filmmakers. HRI’s latest press release stated hous-ing priority will be given to artisans, and that 70% of the lofts will be occupied by low income artists. “Soon Blue Plate Artists’ Lofts will become equally iconic as artists preference housing to support the bourgeoning creative industry that is leading the post Katrina New Orleans industry,” said Tara Hernandez, JCH development president and Project Executive. In order to keep utility costs low for resi-dents, the majority of whom will be low income, renewable and sustainable elements have been

incorporated into the redevelopment design. A gallery space, multipurpose room, and sound-proof music rehearsal room will allow the residents to make art in a communal setting. The project will also include a fitness center, business center, roof deck, outdoor patio, and gated park-ing. The developers hope that Blue Plate lofts will act as a guiding light in the community through events such regular exhibitions for the residents and public similar to those at the Bywa-ter Arts Lofts. HRI has experience with similar projects, having converted the old Rex Garment Factory into 37 artists’ lofts in the Bywater neighborhood of New Orleans in 2009. If HRI’s previous development of the Bywater Art Lofts is any indication, the Blue Plate Lofts will be an even greater success. Blue Plate Artists’ lofts are scheduled to open in March of 2012.

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5. The Bywater Art Lofts II are located in New Orleans, LA and are scheduled to open in March of 2013. It has 30 units and is mixed income property.

Similar Project by HRI Properties

Sukkah 3.0 Sanaa Shaikh

hillel and TSA team up to celebrate the sukot festival

This past semester, TSA students and faculty came together to initiate Sukkah 3.0: a design exercise and initiative, sponsored by Tulane Hillel, devoted to the construction of three Sukkot across Tulane’s campus for use during the week long festival of Sukkot. TSA faculty members Scott Ruff and Thaddeus Zarse along with consultation from Rabi Yonah Schiller educated, informed, and helped students throughout this process of con-ceiving the three Sukkot, and the design initiative was overall extremely successful. A Sukkah is a temporary structure built for use during the week-long Jewish festival of Sukkot. This “ephemeral, elemental shelter” is re-quired to have three walls--which can be made out of any material, a roof built from natural organic materials that are disconnected from the ground, and is required to be at least three feet tall and be positioned so that its roof is open to the sky. Sukkah structures must be kosher, and the unique set of requirements surrounding their construction allows ample room for various spatial configura-tions, varying materiality, and interesting tectonic configurations in their design. Sukkah 3.0 provides a hands-on build-ing project for students to understand different materials at a one to one scale. This construction experience is a great way for students to really get involved and perhaps have a taste for design-build before participating in upper-level option studios such as Urban Build. The smaller team sizes also allow for a better design cooperative and charrette where even first year students can have heavy influence on a design and successfully create a Sukkah structure. Sukkah 3.0 ran for three weeks and culminated with three structures that were placed on Tulane’s campus in two locations: near the fountain by Percival Stern Hall and inside Pocket Park by the LBC. Students who officially partici-pated numbered seventeen but as the three weeks of design and construction went on, the teams

recruited more members to help out. Each Sukkah explored interesting design strategies like hanging lengths of rope that dangled through the central space of the Sukkah, various translucent ideas of enclosure along the sides of the Sukkah, and even ideas of splaying the Sukkah out in a curved layout. During the week of Sukkot, Tulane students wandered in and out of these structures and en-joyed food and drink within them. Sukkah 3.0 is not the only one of its kind; in fact, Sukkah 2.0 was enacted last year at Tulane University and was successful as well. Due to the increased interest in the program, its future looks bright. It will continue to grow and perhaps evolve into something that involves the city of New Orleans as opposed to staying on Tulane’s campus; Scott Ruff hopes the design initiative will eventu-ally reach this level of success and would love to see the program grow. He is open to the varying directions that it could move in. One example of a Sukkah design competition is Sukkah City that took place in New York City in 2010; perhaps the Tulane Sukkah design program will evolve in the same way, becoming more competitive and add-ing a unique aspect of both Tulane University and New Orleans overall.

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One students longing for a more flexible architectural education and a desegregated academic community

Architectural education, like all dis-ciplines, has transformed over the years and continuously encompasses new theories and ideals as the decades march on. Geography has played a role in this transformation, with specific areas around the world leaning towards educa-tional practices that fit their environment. Growth and interest in an architectural education has also changed the way in which this practice is taught. Past schools of thought, as well as the continued emphasis on a college education for success, has strongly influenced the American form of architec-tural education we know today. In modern American programs, more often then not, the architecture school within a research or technical university is isolated as a singular department, a separate institution. These programs are often disassociated from art departments, music departments, or any other creativity-based discipline within the school. In strictly art or design schools however, this separa-

tion is somewhat diminished. These institutions often have a more integrated relationship between specific discourses, which can be argued is a result of their small size and limited educational disciplines, if not conscious meshing. Many believe this integration between

design disciplines is a good thing, but many students that seek a program independent of other artistic fields, or hope to have exposure to non-design disciplines, choose larger schools. In-dependence is easily achieved in these programs; however, exposure to non-design disciplines is not necessarily guaranteed in many cases. This leaves students with a choice- the trade-off between isolation within a more broad research or techni-cal university, versus the integration within an arts school. This choice between integration and isola-tion is key in revealing three distinct categories of architecture students today- the “design student”, the “architecture student”, and the “theory student” (these terms do not reflect a sectors desire or will

to pursue architectural education, only the avenue with which each sector prefers to pursue this craft). The “design student” is interested in an architecture program within a design-centered community. This student may be talented in other design disciplines, and wants to continue develop-ing those skills as well as pursue architecture. Or, this student may feel more comfortable within a smaller social setting, surrounded by creative and more like-minded thinkers. Either way, the “design student” has a relatively easy choice between the two architectural programs that we commonly see, and will often opt to study architecture through an art or design school. The “architecture student” is interested in an architecture program within an architectural school. This student is focused almost solely on one disciple and does not seek complementary influence within their education. Though not always true, an “architecture student” often avoids a design school because other artistic interests may be required or encouraged in these cases. The “architecture student” is not necessarily interested in these other fields, and will be more enticed by an architecture program that is more independent. The “architecture student” will be more likely to study architecture in an architecture program within a more diverse research or technical university. They may also like the benefits of this larger university in terms of social interaction and exploring disciplines outside of their field. How-ever, this exploration is not an important part of their education, the architectural program within this university is the most significant component for the “architecture student”. The “theory student” is interested in an ar-chitecture program that is multidisciplinary, using architectural concepts and applying them to other fields. The “theory student” is very interested in being in an architectural program, but this student is also interested in other fields as well. The “theory student” may be interested in other design related disciplines, but more importantly is interested

The Unbeaten PathCameron Conklin

“This leaves students with a choice- the trade-off between isolation with-in a more broad research or techni-cal university, versus the integration within an arts school”.

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in non-design fields such as economics, political science, or medicine. The “theory student” may not know which discipline they want to pursue, but they seek to study this program in conjunction with architectural education. Unlike the “design student” and the “architecture student”, the “theory student” is faced with a difficult choice. Though design schools may integrate to an extent, they in-tegrate design fields, which are not as important to the “theory student”. The larger schools offer non-design programs, but the isolation of the architec-ture program from these other disciplines does not give the “theory student” what it is seeking either. In turn, the “theory student” often becomes stuck in a program that isn’t maximizing the students potential, be it an architecture program or a differ-ent discipline. The argument behind the “theory student” is rooted in the unique organization of architectural education. The process of ‘learning by doing’ is a fundamental to this field. This motto encourages and establishes a more independent way of accessing, analyzing and applying infor-mation then almost any other course of study. However, this important fundamental is not only applicable to architecture. The way in which an architecture student is taught to learn can be very beneficial when properly applied in another realm as well. At its core, architecture is simply the study of an organizational pattern. In design, we seek to maximize the potential of this pattern in rela-tion to our specific geographical, economical, or aesthetic constraints. However architecture is not alone. Economics is the study of an organizational pattern as well. Economists seek to maximize the potential of economic patterns within the current monetary climate. Science is also the study of an organizational pattern. In medicine, we seek to uncover and maximize the potential of interrelated factors to cure particular diseases or syndromes. Pre-established relationships that create an organi-zational pattern, wanting to maximize the poten-

tial of these relationships, and having particular constraints, are fundamentals of all three of these disciplines. However, architecture is unique in its process of studying these patterns, and I believe that this process could benefit students studying other patterns mentioned above as well. I am very interested in the establishment of an architecture program that caters to the “theo-ry student” here at Tulane University. I think that an interdisciplinary program in which architecture is a double major with another Tulane discipline will broaden both the architecture program as well as the university as a whole. This program will give students the chance to pursue architecture, but not at the expense of another career path. This program will not be as rigorous, but will fill a gap that the 5-year program has left behind. Studio will still be implemented specific semesters through-out the participants’ careers, to establish the ‘learn by doing’ thought process. The other course of study will be integrated into studio through specific projects, to help uncover the connections between the two disciplines. After graduating from this four-year program, students will be well suited for pursuing architecture in graduate school or their coordinate field if they are so inclined. This article does not question the impor-tance of traditional architecture programs or call for a replacement of the current 5- year program. Instead, it argues that architectural education is in a prominent position to expand its influence. Integrating architectural processes and theories with other courses of study could easily release an unknown level of ac-complishment within many students. Inspiration is key in maximizing the potential of students here at Tulane and around the world. I think this expan-sion could spark inspiration that has been left untapped.

“Integrating architectural processes and theories with other courses of study could easily release an unknown level of accomplishment within many students”.

My Roman Experience a fourth year student’s experience abraoad

I've been in one continuous lecture for three months straight, and it's been awesome.

That’s my study abroad experience in one sentence. Living in Rome this semester has been like one ongoing lesson on the power of what peo-ple can build and how long they’ve been doing it. The group we have here in Rome is really great. I feel like I can speak for all when I say that our mutual company has made each other’s expe-rience that much better. We have a saying, which is an adaption from an orientation speech one of our professors gave. He was trying to explain that when you walk through sites like the pantheon or across bridges like the one we take every day, you’re having the same experiences that the ancient Romans had. In fact, in some cases your head is roughly in the same place as Caesar’s head was. In moments like these we like to say to each other, ‘Caesar’s head was here’. It’s a good way to remind ourselves of the incredible opportunity we’re being afforded and of the majesty of the city as a collection of some of the greatest monuments to human achievement. Also, imagining floating Caesar heads is humorous. A good way to describe how we’re inter-acting with this city is through our walks to studio. We live in a quiet urban neighborhood across the river from the main part of town, where our studio is. The entire trip is a slow increase in intensity of experience. Every morning we begin at our apart-ment in the sleepy Trastevere area. The locals are starting their days as well, and it’s common to see a gathering of old men outside a coffee shop de-bating the morning news in rapid Italian. Usually I choose not to lend my two cents. We cross the foaming Tiber river on a bridge that has been standing since the first century BC, no big deal. Next, we cut through the

Jewish ghetto and pass under the remains of the Portico D’ottavia, an actual ancient roman ruin. Yup, ‘Caesar’s head was here’. As we emerge onto one of Rome’s modern streets the Michelangelo’s Campidoglio stands to our right. Sorry mike, no time today, gotta get to studio. Our next street crossing puts us in front of an Italian government building, always sur-rounded by the Carabinieri police. (I like to call them the ‘Carbonara’ because I miss quiznos) They’re always keeping at bay the swarm of re-porters looking to cash in on the newest political scandal. Then we get to studio, sometimes stop-ping just before to grab a caffe or a slice of pizza. The locals hate making change, but the banks only give fifties out, therefore there’s always this overly dramatic conflict between us and cashiers. It’s still money! Why don’t they just keep smaller bills in the register! Caesar’s head definitely did not have to put up with this. There are tourists everywhere now, be-cause we’re now entering the central city. Operat-ing in ‘centro’ is like being inside one enormous museum that cars can drive through. Every corner turned reveals another incredible church, monu-ment, or public square that has the power to take your breath away. And stop in the middle of the street and almost get hit by a scooter. If Caesar’s head was here they would totally stop. What may be most rewarding, though, is the layering of built form which is pervasive throughout the city. The Romans waste little, and will re-appropriate almost anything instead of starting from scratch. It’s a process of building that can be very rewarding as it preserves the memory and knowledge of generation after generation and movement after movement. We could learn from them in this regard, granted they seem to have less to deal with in terms of code. I think they just make sure Caesar’s head could have been there, and then everything is ok.

Tyler Guidroz

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1. Shea, Tell us a little bit about your past…

I was born and raised (an only child) in Lafayette, LA. I have grown to appreciate the fact that I was born into a cajun family (where I’m from my last name is pronounced T-R-uh-huh rather than tray-han). In high school I developed an inter-est in architecture, but I came out of high school unmotivated and lacking rigorous work habits. I began my undergraduate studies at the University of Louisiana at Lafayette. I spent a few years drop-ping into and out-of school, failing to complete my courses which were not design centered, and wan-dering through topics of interest such as physics,

theology, music, media, and acoustics. It was actu-ally up in the air whether graduation would be in my future at all for a while (which was unfortunate because I had the ability, I just lacked the focus). A friend of mine was able to help me get an internship one summer at a turn+burn firm in Dallas which pumped out corporate architecture for fast food joints and coffee shops (Starbucks specifically). That experience, despite its banal nature, caused a change in me which served as the spark which has found me at Tulane today. I returned from that summer with a new work ethic and a determination to move forward.

Hannah AmbroseA Student Profile on Shea Trahan: Zombie Survivalist Extraordinaire

As students and architecture professionals we are frequently bombarded by posters, emails, ad-vertisements, and flyers calling for competition applications and design proposals. After a while, the prompts all start to sound the same:

<Insert “big name architect”> wants YOU to submit a proposal for the world’s FIRST <sustainable/mixed-use/ socially conscious/robotic> public <library/museum/elementary school/ art gallery> with the hypothetical budget of <entirely too little > and these (unrealistic) requirements….

Imagine my surprise when, in the fall of 2009, I came across this rather unorthodox call for submis-sions:

“Design a haven that can withstand a full-on zombie assault on civilization as we know it.”

That’s what I’m talking about. Fast forward two years and I find myself making small talk with none-other than Shea Trahan, Founder and 2010 winner of the Zombie Apocalypse Safe House Competition, who also happens to be in his first year of the MArch 1 program…. Only at Tulane, Only in New Orleans.

Our Very Own Bear Grylls

1. Shea Trahanfeatures

2011’s 1st place Winner: Austin FlemmingTexas, USA

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I immediately joined the team at Archi-tects Southwest in Lafayette. and went back to the university to finish my degree. I maintained a 4.0 for my remaining course loads while working as

many hours as possible within the firm. While working for Architects Southwest I was used in many of the Schematic Design phases of projects and was allowed to de-

velop my modeling and rendering skills within the office. In 2010 two of my projects from ASW were awarded AIA South Louisiana Design Awards for unbuilt work. Originally I intended to attend graduate school in a more distant city from Lafayette. I was looking at schools on the west coast (San Fran). In the interim though I fell in love with a long time friend (Chloe) whom I married in February of 2010 (also making me a stepfather to River - 5 years old now). We also welcomed another son to our family last November (Poet William Trahan - aka. Poe-Willie). The nature of my family life helped to focus my grad school search to a regional school which still offered a level of distinction as a program which is helping to push the envelope. Upon researching and visiting the program here at Tulane, I knew it was a great fit for me. Since then my affection for this school has only grown. That was a decision I have never felt the need to second guess. I’m proud to call Tulane my home now. Being a husband and father of two in addition to pursuing my masters and running an international competition keeps me extremely

busy. I’ve had to learn to be highly efficient in the windows of op-portunity I get to work on studio (between classes and after the kids go to bed). Most days I find my zen when I arrive at Richardson Memo-

rial in the morning (after a crazy morning of run-ning kids around) and the studio is pretty empty. I put on my headphones and get to designing (thats the fun part)...its what keeps me sane!

2. How did you come up with the concept for the “Zombie Safe house Competition”?

While working at ASW, I had floated the idea of creating an inner-office design competition for my coworkers and myself to be competitive, vent ideas in a pragmatic free format, and keep our design and presentation skills sharp outside of standard office practice. Inspired by a friend’s comment about a house design I posted on

Facebook, “thats gunna be a terrible place to live when the zombies attack!”, I proposed (as a joke) the following day that we should design a safe house for a zombie apocalypse. My cohort Steven Domingue quickly ran with developing it and we had a website by the end of the afternoon to try and get other designers to enter. We hit social media trying to convince our friends to create de-signs and enter. When the deadline came only 3 of us from ASW had created anything and NOBODY from our social media attempts had entered. Feel-ing a bit deflated, we decided to post our entries to the website regardless and allow our friends to vote for their favorite. I can remember that we flipped out when we got 100 total votes!! Then a small blog or 2 picked up our link. Then slightly larger blogs carried our projects. Within 6 weeks time we had 150,000 hits from all around the world and our projects were being written about in lan-guages we could not read! We were as surprised as anyone at the response from those 4 entries last year. It became apparent that we had stumbled onto something significant and we decided to turn this into an annual design competition. For 2011 we compiled a number of spon-sors to provide us with the ability to offer prize packages as incentive to enter the competition (we didn’t want to get zero entrants again!). We also began to create a jury to aid in the selection of the winner. We sought people who were highly re-spected in either the field of architecture or in zombie culture. When we were able to secure the participation of EDR, Mike McClure, Ryan Reiter, and particularly Max Brooks, we realized we had el-evated the scope of our competition beyond even our wildest intentions. When registration opened, we received a steady stream of interest. We to-taled over 700 registrations, over 200 submissions, and our web traffic is through the roof. The viral nature of the competition once again launched us into the marketing game, this time by the likes of names such as FHM, Yahoo, MSNBC, ArchDaily, and Discovery Channel. Whereas last year we celebrat-ed 150,000 hits in 6 weeks, in 2011 we surpassed 250,000 in a single day!! Surpassing 1 million hits places us in a position to potentially develop this competition to even greater heights for next year. While staying busy working on the 2011 competition, I have already begun the PR legwork to arrange for an equally impressive array of jurors, sponsors, and prizes for the 2012 campaign.

“Inspired by a friend's comment about a house design I posted on Facebook, ‘thats gunna be a terrible place to live when the zombies attack!’ “

“I maintained a 4.0 for my remaining course loads while working as many hours as possible within the firm. “

3. Although some might describe The ZSHC as “tongue-in-cheek,” many of the comments and discussions on the safe house website seem pretty serious in nature. What are your thoughts on zom-bie subculture?

I have been floored by not only the size of the cultural influence of the zombie genre, but also by the sophistication of many of its outlets. I had no idea there was such a large number of people interested in this subculture and it appears that it continues to grow each day. In my work with the competition I have had the pleasure of forming friendships with numerous zombie culture cre-ators such as Max Brooks (author Zombie Survival Guide and World War Z) and Ryan Reiter (creator of ZomBcon International). I am always so impressed with the ingenuity and motivation behind these

creative people and the implications beyond zombie culture their work represents. Ryan Reiter has really driven us to explore how this compe-

tition can translate into actually affecting people’s lives in a beneficial way. He’s featured neurosci-entists to speak at his conference to educate the attendees about the “Zombie Brain” (cutting edge neuroscience wrapped in a bit of zombie fun). On the flip side, it is always interesting to peruse the comments sections of some of the blogs we are featured on. There is no shortage of haters out there and its entertaining to see the is-sues people have in regards to these designs. One of my favorites was a woman who did not approve of the variety of foods I intended to grow in the greenhouses within my design (nevermind the fact that I invented a fictional green energy source in “zombie diesel”). Reading the heated arguments that occur over topics such as “can zombies swim” is a guilty pleasure of mine...they crack me up.

4. In your opinion, could you see any of the ideas expressed in the competition entries as applicable to real life?

Yes. Absolutely. While I don’t expect developers to begin building the designs sub-mitted for the competition (impossible in many cases), the more basic ideas behind what we are doing are incredibly important. At the heart of our competition is really a question of preparedness

and crisis mitigation. The CDC put it best when they released their Preparedness 101 campaign: “If you’re ready for a zombie apocalypse, then you’re ready for any emergency” . In a post-911 world, when ecological devastation seems to be on the up, the human population has just hit 7 billion, and images such as the Tsunami and Katrina are vivid in our minds, emergency preparedness is a legitimate area of interest. One of our goals in the coming year is to develop beyond simply a fun competition into a catalyst for developing this area of interest in preparedness and disaster proof design. As a side note, this has also been an intense look into the ability of viral marketing techniques. My fellow cofounder is continuously compiling and interpreting the data from the viral explosion we have experienced in the last 14 months.

5. The Zombie Safe House competition was a smash-hit in 2010 and an even bigger success in 2011, how do the entries from this year’s competi-tion compare with entries in the past? It has been incredible to discover the sophisticated and complex responses people have created for this competition. I remember seeing this year’s winner for the first time and I just stared at it thinking, “this is amazing”. Every one of the finalists is worth the time it takes to really investi-gate their designs. Our bug-in winner created an entire newspaper (articles, advertisements, even sports) to communicate their design ideas. I could not have been any happier with the variety of entries and the high quality of presentations we received. One goal of our competition is to remain free of entry fees. We considered charging this year (since we started with a gross budget of exactly $0.00) but we really consider it best to remain cost free so as to attract the widest array of entries. I want high school kids to be comfortable sketching out their ideas and submitting them just as much as I want architecture firms to compete.

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“There is no shortage of haters out there and its entertaining to see the issues people have in regards to these designs.”

6. After winning last year’s competition and tak-ing home the coveted “golden shovel,” you had the opportunity to judge this year’s competition alongside multiple zombie writers and zombie-film experts, as well as the esteemed New Orleans architects at Eskew Dumez Ripple. How did the Zombie Safe House Competition garner interest from such a high profile firm?

Haha...as with everything in this com-petition, we had to think on our feet. Once my design was declared the winner (by online voting) we realized we had no prize. Fortunately, there was a shovel in the office which had been spray-painted gold for a groundbreaking at one of our projects. Voila - The Golden Shovel Award!!! As we began to lay the groundwork for this year’s competition, we basically took the ap-proach of cold calling (emailing actually) people we thought would be great judges. We managed

to track down Max Brooks’ agent, I contacted Michael McClure, we got back in touch with Zom-Bcon, and then I had a conversation with a friend of mine who is a young designer at Eskew. He ex-pressed an interest in participating and mentioned that a few of his fellow EDR designers would also like to partake. We decided that it would be an in-teresting approach for them to form a panel from EDR and to complete the voting in a group format. I am proud of all the members of our jury this year. We are looking at a few firms to extend an invitation to for next year’s competition. I think its a great way to build studio culture within the firm, plus we can offer a substantial amount of web traffic to their business. We also intend to create a Legacy Prize which will be selected by all of the competition’s past winners. We hope that bringing the designers back to participate in following years will help to keep the momentum of this competi-tion moving forward.

Shea’s 2011’s 1st place Project: SS Huckelberry

7. Will the Zombie safe house competition contin-ue into the future? Are any exciting side-projects in the works?

Yes and yes! We are already working on the 2012 competition. I am faced with the challenge of creating a judges panel which is bet-ter than this years! We also intend to revise our approach slightly based on issues we discovered in our growing pains of 2011. I think we will see substantial growth again this year, not only in the entries but also in what we can offer from our end. Interesting tidbit: It was brought to our attention that a mathematical analysis of the com-petition’s growth from 2010 to 2011 (500 times the amount of entries); applied forward to 2012 gives an estimate of 10,000 submitted designs!! I pray that is not the case. As a few volunteers doing this out of our love for the topic, we would be crushed by that sort of success!! We will likely have a considerable budget this year built from advertising revenue, sponsor opportunities, and revenue garnered from our next venture - A coffee table book due out next year. We have secured a publisher in Avatar Press and are fast-tracking a publication in partnership with Max Brooks. The book will present the history of the competition as well as this year’s winners and honorable mentions. In addition, Max Brooks

will be adding some SUB-STANTIAL surprises of his own!! The implication of this move is that now I have to deal with lawyers to confirm copyright legalities, create an

LLC, register a tax code, and start a business on top of my busy schedule. Additionally, we are already working with ZomBcon International to become an interactive part of their 2012 conference in San Francisco this year. This will likely take the form of some sort of installation exhibit as well as interactivity (pos-sibly in a special voting category). Our team is also developing a series of long term goals for turning the potential of this competition into tangible results in the fields of disaster mitigation and emergency prepared-ness. My hope is that in the next 2 years we might be able to deploy a built design which would provide some service in the face of an emergency or disaster situation. We are currently considering potential industry partners in this venture.

8. How do you think your experience working with, and participating in the ZSHC has affected your work as a designer?

I have come to discover a market sav-vy side to myself that I was unaware of previous-

ly. I have become quite comfortable negotiating relationships with substantial partners in this ven-ture. Sometimes I’ll hang up the phone and shake myself into the realization that I was just playing hardball with leaders in their field (architects, pub-lishers, agents, PR reps). The entire experience has opened my eyes to the fact that NOTHING is out of reach. I now realize that if there is something I set my sights on, I will get there. I’ve also come to realize that the path between where I am now and where I’m heading is the real prize. Seeing this competition grow has been amazing and to be quite honest I often feel like a skier who is being pulled by the momentum of this project. I don’t know if my design approach has changed much because of this competition, but I do know that whatever I do design, I’ll find an audience to share it with.

9. One last question….would you like to see more student entries in next year’s Zombie Safe House competition? If so, what advice do you have for students?

I loved seeing the participation from ar-chitecture students in this year’s competition. We had architecture studios using this competition as their course work in Mississippi, Michigan, Toronto, and Mexico City (just to name a few). I would anticipate seeing a rise in that occurrence for next year’s competition as more professors will certainly have heard of us by now. After our anonymous voting results were announced, it was brought to our attention that 4 of the honorable men-tion designs were from a single studio class in Michigan. Thats impressive! I think Tulane should consider offering an Options Studio next fall which first addresses the competition (till midterm) then focuses on disaster specific design (hurricane, tsunami, seasonal flooding, earthquakes, torna-does). I think some brilliantly site specific designs could result from such a course. Of course, I want to teach it (wink, wink)!! Besides that point, I don’t think this com-petition would be the same without the involve-ment of student designers, and as such I hope to attract as much university involvement as possible from around the world. Advice for students - I suppose there is something to be said for considerations of avail-ability. Your design wants to reach as many people as possible, either by distributability (Vagabond), commercial availability (IKEA model), or scaven-ger’s ability (oil silo). The strongest critique for my entry came from Max Brooks who pointed out that only Richard Branson could afford my design. A home which saves 6 people is less useful than a modular system which can save hundreds of thou-sands.

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“The entire experience has opened my eyes to the fact that NOTHING is out of reach.”

A Voice for the PoorLiz Kovacevic

The provision of public housing is a heated topic that affects the lives of thousands of Americans. In December of 2007, the New Orleans City Council approved a controversial vote to allow the federal government to tear down 4 of the big-gest housing projects in New Orleans, demolishing 4,500 low income apartments1. This has given the city a unique opportunity, not only to rebuild, but also to advance the world of public housing. Some believe that contemporary, sustain-able architecture is not compatible with affordable or low-income housing and is only reserved for the

elite. Contrary to this belief, integrating sustainable design with low-income housing is socially responsible and can be quite an interesting and

challenging endeavor. Well-designed affordable housing can reduce operating costs and improve the quality of living for its inhabitants. Unfortu-nately, the design of public housing has developed

a negative reputation due to poorly designed proj-ects that have deteriorated into neighborhoods of crime and violence largely due to inadequate designs that end up alienating the communities that inhabit them. Looking deeper into the social implications of affordable housing design can offer solutions to these problems. The philosophy of American public hous-ing has a lot to do with the American Dream and the single family house. As Sam Davis says in The Architecture of Affordable Housing, “In order to behave like an American you had to live like one, and that meant living in, and preferably owning, a house.2” The importance of individuality and dignity in public housing design can help create communities that prosper instead of falter. Hous-ing projects must integrate and blend into the surrounding community. We should strive to elimi-nate social isolation of these low-income neigh-borhoods. Lastly, housing projects must include

Architecture’s role in improving the low-income neighborhoods of New Orleans

“In order to behave like an American you had to live like one, and that meant living in, and preferably owning, a house.”

1. Iberville

2. Harmony Oaks, New Orleans

3. Pajaro apartments, Davis California

vlow maintenance features. If a building must be constantly renovated and fixed, the operating cost and the rent will be higher, making it uneconomi-cal. Iberville is one of the few housing projects in central New Orleans that has not been demolished post-Katrina. It is also one of the most controversial sites due to its proximity to the French Quarter. These apartments and their surroundings have had a long history of gang violence and drug offences. One might argue that the urban planning and architectural design of Iberville has facilitated the decline of this area.

Historically, 10 city blocks of ‘substandard’ housing were flattened to build Iberville in the 1940s. The flawed design essentially isolated the inhabitants of this public housing in two main ways. Firstly, they cut off the traffic flow through the blocks and replaced the streets with walk-ing paths. This decreased the number of people, and in effect the number of eyes, that can deter crime. Without people watching and observing, or as the great Jane Jacobs calls them “eyes on the street,3” Iberville became a place where orga-nized crime was easier to carry out. Secondly, the apartments have very little in common with the context in which they are placed. This emphasizes the separation between the ‘normal’ housing and the assisted housing. These apartments are not seen as dignified homes for people, but instead as temporary and shameful shelter for those who are less fortunate. Harmony Oaks (formerly C. J. Peete or Magnolia Projects) is another example of local

public housing. The site had been stuck in a con-tinuous cycle of substandard and vacant housing for decades. After the damage from Katrina, the city demolished most of the buildings

and has recently replaced them with a new form of public housing. Harmony Oaks is an example of mixed-income housing. This inclusion of subsi-dized and market price rentals helps integrate the community into its surroundings. There are also opportunities for home-ownership and construc-tion of infill houses within the neighborhood. The design, although not architecturally exciting, does its job of being dignified and easily blends into

its context. The apartments are incorporated into large houses that are in the New Orleans style. “The Louisiana Speaks Pattern Book served as the planning and design guide for the new commu-nity. The Louisiana Vernacular, Victorian, and Clas-sical styles are featured in combination of double and multiplex buildings. The development team successfully reconnected the property with the surrounding neighborhood by re-establishing the public grid and blending with the existing commu-nity character.4” Harmony Oaks is a great example of integrating public housing into a community. The above example may seem to neglect the idea of contemporary design in public hous-ing; however, there is a place for new and excit-ing designs to be used. Infill housing, designed by Koning Eizenberg Architecture through-out the city of Santa Monica, has proved to be compatible with affordable housing and contemporary design. The ideas and concepts addressed in contem-porary architecture can help fill the last goal of successful public housing the vitality of low operating and maintenance costs. New technol-ogy and building envelopes can greatly reduce energy consumption and cost of operation. For example, the Pajaro apartments in Davis, California by Sam Davis Architects use active solar energy and passive design strategies to cut costs. Also, contemporary design allows for the freedom to choose materials that weather well and grace-fully. If the physical appearance of public housing begins to degrade, the community itself will follow suit. Contemporary design and technology can be an interesting opportunity to rethink and reinvent public housing. As New Orleans moves forward in this process of revitalizing its public housing system, they should keep in mind the impacts of design and planning on the success of these communi-ties. Many people have not moved back after Katrina, partly due to the lack of public housing. The city should use this opportunity to give its citizens an improved city to return to-- a city that is a leader in providing high-quality housing and introducing innovative techniques to elevate the standards of public housing in America. There is a not only a place for great contemporary architec-ture in the realm of public housing, but there is a great need for it.

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This fall students in the Tulane School of Architecture found a local Tulane affiliated US Green Building Council chapter. USGBC headquar-ters are located in Washington DC with chapters across the nation. Tulane’s chapter is particularly significant due to Lousiana’s comparatively low level of sustainable building initiatives. There are only 2 other USGBC chapters in the state. The US Green Building Council is an orga-nization that promotes sustainable design and is most well known for its establishment, regulation, and promotion of LEED accreditations. The Leader-ship in Energy and Environmental Design (LEED) program is a certification system that ranks how “green” a design is by awarding the project points in multiple categories for the design’s sustainable features. A building may be categorized as a certi-fied, silver, gold or platinum level LEED building. Electing members to its board and es-tablishing goals for the future have been the new chapter’s main focus this first semester. In addition to the regular board members, the chapter is fortu-nate to have a number of liaison positions who represent the undergraduate architecture, gradu-ate architecture, sustainable real estate develop-

ment, and preservation programs as well other Tulane programs such as the school of science and engineering, environmental law, business and ac-counting. Having a large and diverse group of members will be crucial in the success of the Tulane USGBC. In particular, member’s broad educational backgrounds will allow USGBC to grow in the oncoming years, seeing that many of its board and founding members are in the one year sustainable real estate development masters program. LEED accreditation is a significant goal for many club members, particularly those studying within Tulane School of Architecture. Members of the club have already voiced the desire to begin studying for the LEED student exam and some plan on taking it as early as January before classes resume in the spring semester. Many participants feel that the ability to study together and become LEED certified will be one of the most important takeaways from being an active member in Tu-lane’s new USBGC chapter.

Student LEEDers Annelise Haskell

Students Found US Green Building Council Chapter at Tulane

The pilot class of TSA’s new Master of Sustainable Real Estate Development (MSRED) program broke ground this summer under the direction of Alexandra Stroud AIA LEED AP BD+C. While the seventeen students of this class come from a variety of educational backgrounds and work experiences, Brinda Sen Gupta (TSA 2011), is the only scholar to enter this program with archi-tectural training. She sees the opportunities and advantages of this program to be the next step in the evolution of architecture. The mission of this program is to prepare students to enter the development sector with a focus on the regenerative development of cities. The one-year program will immerse students in all the disciplines integrated into the field through courses such as real estate finance and econom-ics, sustainable architecture and design, and legal issues in real estate development. They are also exposed to real life scenarios through various case studies presented throughout the year. Trips were made to Washington DC and New York City to learn about sustainable development and meet with professionals directly involved with these projects. Extensive networking opportunities are available as well, with the many industry profes-sionals invited to lecture. Issues of sustainability are not only relat-ed to the environment, but also to economic and social issues and the MSRED program provides the

tools which one needs to navigate through these arenas. Having a background in development as well as architecture opens the possibility of bridg-ing the gap that has often been see between these sectors. In architecture school we focus on the design aspect without many constraints, however “buildings are not only made of bricks and mortar, but also money”. Brinda elaborates on this and explains how the knowledge she gains from the program will help her reach her creative goals in architecture through the business side of develop-ment. Architects as developers seem to be the logical next step in the profession and Tulane seems to be heading in this forward direction by offering the MSRED program through the School of Architecture. Eventually, as the program grows, the trajectory that the program is aimed for will offer more integration with other the other schools in Tulane University including business, law, envi-ronmental studies, ect. An architect versed in the many aspects of development becomes more marketable to both fields and can eventually work independently of a developer, essentially becom-ing one’s own client.

For more information please visit Brinda’s Blog: http://tulanemsred.tumblr.com/

A New Development The new MSRED program redefines the definition of an architectural educationJohn Coyle

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Students Found US Green Building Council Chapter at Tulane

Designing an Education

The study of Architecture in New Orleans, particularly at the Tulane School of Architecture, provides a unique environment and educational model; this model is an ever-changing template for improvement and investigation that should be evaluated often in terms of really providing stu-dents with a comprehensive architectural educa-tion. A model for design education is perhaps dif-ficult to define, but should include four particularly important aspirations: teaching a design process, addressing the ever changing tide of contempo-rary architecture and design, the integration of skills such as writing within studios, and creating a more comprehensive studio sequence that is competitively stimulating. Symbolically speaking, students are the meat of an Architecture school; they provide the catalyst for education. It should be inherently em-phasized that architecture schools are a necessary means to teach students, but to teach students what? It is here that the answer becomes more ambiguous. Should architecture schools teach de-sign? Architecture History? Technical Skills? Draw-ing? Design programs? The answer is a combina-tion of all of these aspects, but most importantly the culmination of these aspects that become the design process. Above all things architects are problem-solvers; they exist to question, explore, realize, qualify, and quantify questions concern-ing a volumetric envelope, a space. The emphasis TSA has put upon establishing a design process is extremely evident to the point where even the process is clearly indicated beforehand. From first semester to thesis year, students are slowly eased into the position of being able to initiate and pro-pel their own projects in a successful way. Their first year, students are given proj-ects to do, told when to do them, how to assemble them, and furthermore how to do them. So a pro-cess is born, but how well does the process actu-ally establish a comprehensive exploration of the true architectural and design problem presented? Perhaps the answer is not quite so simple as “very

well” and “well enough.” In the past, TSA’s first year curriculum has changed drastically moving from projects concerning buildings to an explora-tion of more abstract conceptual ideas of space. No longer are concrete building forms initially realized, but instead ideas of space and sequence are explored through a distinct procession. Both semesters seem to coordinate exceedingly well and the understanding of an architectural process is clearer regardless of whether actual buildings are being designed. As students progress from first year to second year and beyond, this process would seem to become less orchestrated. That being said, thesis students have expressed concerns of being unable to begin orchestrating their own process due to a lack of education of multiple processes. Each project cannot perhaps begin with only plan drawings or only conceptual models. A degree of work must be executed before pencils begin drawing plans and sections and glue begins drying in a massing model. Understanding the full grasp of the extents and implications of a certain project is crucial to a design process. Has the initial step of realizing the project has been forgone for drawings and model assignments? An assignment is after all just an assignment and does not truly articulate the beginning of a series of design processes. That being said, TSA does indeed do a sufficient job of articulating specific design pro-cesses, particularly that of the formal approach—articulated by working in model before drawings--along with the fusion of conceptual terms and ideas. As the history of design and architecture progresses, new popular trends of design process have been cycled through becoming more and more abstract as the years go by. A concept for a design used to be more concrete than a verb and a noun like rotate, shift, mass, void etc. Early mod-ernists like Le Corbusier for example were more interested in the mechanical engineering systems seen in every day life like automobiles.

Sanaa ShaikhA critical look at the curriculum of TSA

This turn towards the abstract can be seen as par-ticularly liberating but also somewhat constrain-ing, qualities that are both somewhat inherent to architecture. Architecture is both constrained by exterior forces—gravity and weather—and liber-ated by the sheer number of answers/solutions to a particular architectural problem. In this respect Tulane is very much looking towards future ideas of architecture in context with contemporary movements, particularly with first year studio as stated earlier. Though first year studio is moving to-wards a stronger program in terms of a sequence of design, this process becomes muddled or at least strained through the lack of specific coor-dination between studios from year to year and semester to semester. An architectural education must be fully rounded and each studio should build upon and solidify learning’s from previous studios to ultimately provide its students with a comprehensive core of knowledge and skills to proceed from architecture school. A comprehen-sive consolidated education instills the confidence needed to approach thesis year with the proper skills to truly conceive and design a self-driven exploration. Where the Tulane program seems weakest is in teaching the art of architectural writ-ing, or at least writing concerned specifically with Architectural ideas. One writing course outside of architecture is simply not going to prepare students to write convincing, analytical, and exploratory articles and papers about their own architectural ideas. Integration of writing and per-haps even proper presentation skills into everyday studio would allow students to have a more firm grounding. Though integration of writing into the coursework seems to be a particular weak point, integration of other studio classes such as struc-tures and digital media should also be taken note of. Structures classes in particular seem to be less integrated into studio, but more so than they have been before. In fast TSA is moving towards a better integration of regular studio and technological systems classes that proves to be incredibly useful and telling to both the students and faculty. Inte-gration could be better in its respect, but it is most assuredly moving in that direction. One particu-larly successful integration in TSA would be that of digital media within studio. Each class proves to be highly informative and gives students a compre-hensive skill set to comfortably handle programs like Rhino, VRAY etc. Students feel prepared to work for offices in the future after graduating from TSA with their capabilities of handling modeling and rendering programs. Finally the question of architectural edu-cation at Tulane rests on the current studio culture

and atmosphere present within the school itself. Tulane is first and foremost a private institution in New Orleans, Louisiana. Both of these aspects have come to help define Tulane in its unique niche within the architectural world. As a school in New Orleans, TSA perhaps draws to it a certain kind of person: students that initiate more friendly ap-proaches towards one another resulting in a sense of comradery throughout studios, particularly first and second year studios. This friendly atmosphere results in an overall positive work environment where students are more willing to help one an-other and learn from each other. This atmosphere can also be seen as somewhat of a preparation for collaborative projects that architects often work on in a group setting. On the other hand this sense of laidback friendship between each student cuts back on competitiveness, which may result in work that isn’t perhaps at its full potential. A touch more competition and rigor might be inductive to a more rigorous work ethic and/or successful studio project. Though of course there begins to be a fine line between competition and cutthroat, the latter of which is not particularly conducive to a positive work environment for students at an architecture school. TSA, however, can already be seen as addressing this issue of competition and laxness that is somewhat prevalent and resultant of being in such a leisurely city. One way this is being ad-dressed is again through the radical changes with the first year program and the first year admission process. Prospective students of TSA will now have to submit a portfolio of artistic work that will be subject to reviews by faculty members at TSA. TSA has had problems with having a high attrition rate that can be as drastic as losing thirty-five to forty students in just two semesters in first year studio. Having the portfolio requirement might perhaps allow for a lower attrition rate and an environment of students already somewhat skilled in the design approach. On the other hand this could and will hinder other students who think of architecture as an option, but not a serious one, students that could have perhaps truly excelled at architecture were they only given the chance. In a final critical conclusion, TSA is im-proving and working towards a better unique ar-chitectural education model, but we are not quite there yet. The school has made huge improve-ments over the years and those improvements will only continue, but specific care must be taken to address issues of truly teaching a design process, integrating writing elements and structures classes more fully with studio, and providing more com-petitive stimulation for students thus resulting in better work.

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This semester the students at TSA got yet another chance to enter a design-build competi-tion. The Voodoo Pavilion Contest gave students an opportunity to design pavilion/art installation for the renowned festival that has become a part of New Orleans tradition. The mission of the Voodoo Experience is to “provide a comprehensive, multisensory experi-ence” and “interactive opportunities for partici-pants to make both their individual and collective presence felt.” This design competition focused on these aspects, but also included an emphasis on sustainability. Modular construction was encour-aged for ease of assembly and disassembly. The competition designated 2 weeks for the design phase and 2 weeks for the winner to construct the pavilion. With 26 teams with 3-8 people on each team, about 84 people participated, with a large number from the second year studio. Will Trakas, one of the student coordinators along with Chris Berends and Austin Frankel, stated that, “It was nice to see such competitive designs come out of second year.” The large amount of involvement helped create a competitive atmosphere that lead to the successful completion and installation of the winning pavilion.

The winning design, by Mike Landry and Matt Decotiis, was a “provocative passage” that led people from one part of the festival to another. The triangular towers, emblazoned with a glowing Voodoo emblem, were woven together with nylon rope. The light, ethereal strings created a path and contrasted with the wooden structures that were used for seating. The design blends in well with the festivals other bright and playful installations. Overall the competition was very suc-cessful and “The Voodoo organization was very pleased with the outcome of the design,” says Trakas. This competition will most likely be con-tinued on an annual basis with the new winning pavilion being constructed alongside past ones. Hopefully, this is just one of the many produc-tion design opportunities that will be available to Tulane students.

This could be a quote to have set into the graph-ics of the article: “Production design is a field more and more architects are getting into and it is good to get exposure to that while still in school.” –Will Trakas

VOODOOLiz Kovacevic

Chris Berrends 13’

Will Trakas 12’

Austin Frankel 14’

A new student run design competition Council Chapter at Tulane

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An Architect’s Wish List

With the holiday season fast approaching, we at theCharrette thought it would be fun to include a segment on a few awesome gifts for your architectur-ally inclined friends, or for yourself! These goodies range from goofy to glamorous, all with an underlin-ing theme of architecture and design.

1. Architect's Cubes:

polyvore.com ($55)

This is a collection of eight cubes, each made of a different natural, synthetic, or composite material—maple wood, ba-kelite, cork, granite, EVA, silicone, acrylic, and aluminum. The Architect's Cubes can be combined to create one large cube or arranged individually as sculptural building blocks. Architects John Bennett and Gustavo Bonevardi designed this compel-lingly tactile set to encourage creative exploration with forms and materials. http://www.polyvore.com/john_bennett_gustavo_bonevardi_architects/thing?id=39155560

2. Architecture Wall Clock:

cafepress.com ($15)

This wall clock is a fun gift for any architecture student or professional. We all know sleep isn’t much of a priority when it comes to designing. This clock will help you remember to get in that little nap time even when all you can think about is work, work, work! http://www.cafepress.com/+architecture_wall_clock,6813951

Cameron Conklin

3. Frank Lloyd Wright Robie House Sterling Sil-ver Cuff Bracelet:

maclinstudio.com ($128)

This bracelet is crafted in brushed finish sterling silver and is a beautiful addition to any jewelry collection. The design is adapted from one of the many distinctive art glass windows in the Frederick C. Robie House (Chicago, Illinois, 1909). http://www.maclinstudio.com/frllwrrohost2.html

4. Bird's Nest Snap Case:

goingCase.com ( 34.95)

For all of the iPhone sporting architects out there, the eye-catching style of the Bird’s Nest Snap Case truly stands out from the crowd. Featuring a unique “woven” look, the ultra light design of the Bird’s Nest lets your iP-hone peek through while still keeping it safely protected. The geometric pattern adds that touch of intrigue that every great designer knows is very important!http://goincase.com/products/detail/birds-nest-snap-case-cl59615

5. The Phaidon Atlas of Contemporary World Architecture:

amazon.com (153.25)

This world-class book is a classic for all things contem-porary architecture related. The book features hundreds of pages exhibiting architectural works from around the globe. Both bright pictures and floor plans are included, making this book great for the pros, as well as the aver-age curious dinner guest. It features over 1,000 complete buildings and is sure to add quite an extensive amount of knowledge to your living room coffee table. http://www.amazon.com/Phaidon-Atlas-Contemporary-World-Architecture/dp/0714843121

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6. Bamboo Connect:

wacom.com ($79)

Connect in your own unique way! With Bamboo Connect, get all the pen input capabilities you need to personalize your work, mark up and annotate your documents, take notes, and get into the spirit of visual communication. This is a great way to make notes on your floor plans or renderings without wasting money on printing! http://www.wacom.com/en/Products/Bamboo/BambooT-ablets/BambooConnect.aspx

7. Architecture Inspired Cufflinks:

Amazon.com ($49.95)

Add a touch of architecture glam to your formal attire! In a setting where everyone looks the same, these blue-print and ruler cuff links are far from the ordinary. A great conversation starter, these specialty pieces are subtle, yet still intriguing. Don’t let your wardrobe miss out on your creativity! http://www.amazon.com/Gift-for-Architect-Blueprint-Cufflinks/dp/B001U8BTC4/ref=pd_sbs_jw_3

8. Architect Paperweight:

FindGift.com (29.65)

A great addition to any architect’s desk, this five-inch-tall, rigid, silk-screened vinyl paperweight is hand-crumpled, and wrapped around a steel weight. A great reminder of experimentation let these old floor plans hold down your newest creations. We all need a little fresh air every once in a while… so go ahead, open those windows! This pa-perweight puts an end to the winds plans of kidnapping your tracing paper. http://online.findgift.com/gift-ideas/pid-144776/

9. LEGO 2011 Architecture Farnsworth House:

BarnesandNoble.com (59.95)

Have fun over the holiday break with this LEGO replica of the Farnsworth House by Mies van der Rohe. LEGO also features many other architectural landmarks to choose from as well! Think you know everything about some of America’s most famous buildings? Test your knowledge and build them with LEGO! But don’t, worry directions are included incase you overestimated your abilities. (http://www.barnesandnoble.com/p/toys-games-lego-2011-architecture-farnsworth-house/22746463?cm_

11. Frank Gehry for Tiffany and Co.

Tifany.com ($225)

Since 2005, Frank Gehry has been teaming up with Tif-fany’s to design beautiful jewelry for women and men. His pieces have “stayed true to the original design” states Tiffany’s and he has always managed to come up with fantastic new pieces for the collection. This necklace and bracelet are some of the beautiful pieces that he has cre-ated. Building design isn’t the only reason to praise this renowned architect any longer! http://www.tiffany.com/shopping/category.aspx?cid=288188

10. Pop Up 3D Architecture Card:

Etsy.com ($30)

Tired of seeing the same old holiday, birthday, and thank you cards? Check out this awesome 3-D card featuring Fallingwater by Frank Lloyd Wright. This card is hand-made and designed with beautiful detail and clarity. Any architecture enthusiast is sure to be wowed. A card and a gift in one? What could be better! http://www.etsy.com/listing/86770602/pop-up-3d-origamic-architecture-cardof

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Credit where credit is dueAn interview with Dean Schwartz images: 1. http://architecture.tulane.edu/news/1824More Than a Hipster Haven sources: Staff writer, Bruce Eggler. “Whole Foods site in bus barn catches flak - Residents say store plans too big.” Times- Picayune, The (New Orleans, LA) 10 Jan. 2001, METRO: 01. NewsBank. Web. 15 Nov. 2011. Real estate writer, Greg Thomas. “Plans for bus barn have neighbors edgy - Food store, shops, apartments in works.” Times-Pica yune, The (New Orleans, LA) 11 Dec. 2000, MONEY: 01. NewsBank. Web. 15 Nov. 2011. images: 2. John CoyleFall Crawl images: 1. group shot: austin frankel 2. Maratime Building: http://www.themaritimeneworleans.com/ 3. Typical floor plan http://www.themaritimeneworleans.com/home_one/Floor-Plans/“Ya Mama’s Mynezz” sources: 1 Architectural Case Criterion C for Nomination of the Blue Plate Building in the National Registrar of Historic Places, pg. 4. 2 Architectural Case Criterion C for Nomination of the Blue Plate Building in the National Registrar of Historic Places, pg. 4. 3 Architectural Case Criterion C for Nomination of the Blue Plate Building in the National Registrar of Historic Places, pg. 13.Sukkah 3.0 images: provided by Austin FrankelMy Experience in Rome images: provided by Tyler GuidrozOur Very Own Bear Grylls: images: all are from competition web site: http://zombiesafehouse.wordpress.com/A Voice for the Poor sources: 1 http://www.nytimes.com/2007/12/21/us/nationalspecial/21orleans.html?_r=1&ref=us&oref=slogin 2 Davis, Sam. The Architecture of Affordable Housing 3 Jacobs, Jane. The Life and Death of Great American Cities 4 http://www.hano.org/index.php?q=node/50 images: 1. http://blog.nola.com/news_impact/2009/05/large_iberville%201.jpg 2. http://www.sdavisarchitecture.com/photos1/pajaroSM.jpegA New Development image: Brinda Sen Gupta VOODOO

CREDITS

Keep Us in mind...

Looking for a resume booster? Editors of theCharrette are always looking for talented writers and contributors.

Not interested in writing for us? No problem. We are expanding our staff to include graphic specialists, technology gurus, photographers and web designers! We need your expertise.

for more information on joining theCharrette please contact:

Kevin at kmichnio@tulane.edu

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Katherine DeLaceyDesign EditorTSA ‘13

John CoyleWriterTSA ‘14

Cameron ConklinEditor

Tulane ‘13

Hannah AmbroseEditorTSA ‘13

Annelise HaskelWriterTSA ‘14

Tyler Guidroz

Sanaa ShaikhWriterTSA ‘15

Liz KoveWriterTSA ‘14

Kevin MichniokEditor in ChiefTSA ’13

contributions from abroad:

STAFF

WriterTSA ‘13