theCharrette February 2011 Issue by thecharrette

theCharrette tulane school of architecture

february 2011

the AA

930 POYDRAS

MAZIAR BEHROOZ

CONTENTS 3

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

9 10 11 12 13

A Moment with Ken

Associate Dean for Academics

URBANbuild Update

Faculty Profile : Marcella Del Signore

A Week!

Site Visit : Bioinnovation Center

The Architectural Association

Number 2 Audubon Place

12 13 14 15 16 17 18

Residential College

930 Poydras

19 20 21 22 23 24 25

Tutorial Man

Missed Connections | Sketches

Firm Profile : MAZIAR BEHROOZ

9 10 11 12 13 14 15

14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 5

9 10 11

26 27 28 29 30 31 3

1 8

16 17 18 19 20 21 22 feb. 28

francine stock : material language

23 24 25 26 27 28 29

mar. 10

MSRED conference

mar. 18

architects as developers panel discussion

30 31

mar. 21

edward ford AIA lecture

mar. 25

AIAS tulane career expo

9 10 11 12

13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28

front cover photo. contemporary, georgian and brutalist architecture collide in the checkered design landscape of london.

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Letter from the Editor | Kevin Michniok Since I last put my thoughts together for an editorial, TSA’s physical development took a major step forward. Dean Schwartz released a statement that FXFOWLE’s New York Office will lead the renovations of our historic building. Alongside FXFOWLE, Dan Maginn TSA ‘89 will play a pivotal role in this process with his inherent knowledge of Tulane and the importance of additional functional space that will transform our building. For those of you who don’t know FXFOWLE’s work, they have produced a wide range of bold and forward-thinking designs including the expansion to the Julliard School in New York City with Diller Scofidio+Renfro Architects. They chose a rather powerful pallet of deep reds and turquoise which pair nicely with the white and greys of the interior. I’m thrilled to see their expertise (particularly on sustainability) applied to the building we students have come to spend our lives in. As a volunteer for the AIA New Orleans Design Awards on Thursday February 17, I witnessed TSA faculty and alumni acknowl-

edged for their outstanding work. Those recognized included the Tulane City Center, Ammar Eloueini, Carey Clouse, Cordula Roser Gray, Errol Barron, Juddith Kinnard, Tiffany Lin and many others involved in these design processes. The nine awards in total are an acknowledgement of contributions to the architecture of New Orleans and strong work produced for other locations as well, in the case of Ammar’s Gutenmacher Apartment Paris. This February 2011 Issue is dedicated to Elizabeth Gamard who from the beginning has aided us in the crafting of theCharrette, encouraging the editors and I to focus a critical eye on our content and providing us with phenomenal resources to celebrate TSA through journalism. Send us your thoughts to thecharrette@gmail.com and please join our facebook page.

February 2011

A Moment with Ken | Renovation, New Faculty & the Odgen Q. With the addition of new IBM technology in the building, what does this imply for other schools of architecture as a model of conscious sustainable practices? A. First of all it means for us a way of introducing and measuring new and more efficient building technologies in this historic structure. At the beginning we’re able to meter, measure and record the environmental impact of an existing structure. As this structure gets updated with new technology, the smart building system that is implemented by IBM gives us a frame of reference where we can measure the efficiency and effectiveness of what we’re introducing. It’s an investment in information technology that is tied to the building technology systems of Richardson Memorial. What it means for others schools of architecture: if it plays out in the way that I hope it will, it will not only be a bricks and mortar project where we’re actually improving the building physically but it has a significant spillover effect in terms of our curriculum, research and the opportunity to use this building as a laboratory that we’re studying in real time as we’re also implementing these changes. So I think the idea of an architecture school as both a place of traditional activities for a design student and also a place where significant research is done to measure environmental effectiveness of change is something that many school’s of architecture will be interested in.

Q. What major qualities in FXFOWLE make them an excellent fit for the Richardson Memorial renovation? A. We had a number of excellent firms who submitted through the selection process. [FXFOWLE] stood out for a number of reasons. As an architectural firm themselves, they have done an extraordinary range of sustainable projects of various scales and of various types throughout the country including projects in hot and humid climates. The engineering team that is tied to them is a team that has worked with them on several projects. Again, its not only that they’re knowledgeable about sustainable design principles. They’ve done and have a demonstrated track record of a whole series of projects that have direct relevance to what we’re doing here. The principal of the lead engineering MEP firm is currently doing a project at Xavier University and a major project in San Juan. Obviously those projects which are aiming for a very high level of environmental and energy efficiency are in our climate which is a very different kind of design process and engineering challenge than wouldn’t be the case if you were in a mild climate. I think the role of Dan Maginn is crucial because he brings to the team a direct knowledge of this school, of this building, of our traditions and with the design

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excellence of this school of architecture. He personifies the qualities that many Tulane alumni have out their practicing in the country. And so it was really an ideal combination of strengths and they stood out to the selection committee.

Q. Does TSA plan to bring in any new faculty for the next academic year? A. I’m very close to appointing a visiting assistant professor for a one-year term named Amber Wiley who is a Ph.D. candidate at George Washington University in American Studies and in Preservation. Her masters degree in architecture is from the University of Virginia and her undergraduate from Yale...She’s very interested in issues of race in the city and will be involved in teaching architectural history courses and in our City, Culture, and Community program. She’s going to have an impact through her teaching and involvement.

Q. Looking forward to the third year of thesis work exhibited at the Ogden, what was your original motivation for creating this event and how important is a showcase of this caliber for students and local professionals? A. The main motivation was to celebrate the great work of Tulane students and faculty through the curriculum they are responsible for and really to make it very public, very accessible and alive for the rest of the community. When I send invitations, I issue them to the entire listserv for the Odgen Museum and we publicize it widely; the exhibition, reception and commentary are all free and open to the public. It’s a great chance for the Tulane community to be more visible to the downtown community. In the first two years of this program we’ve had many artists, architects and people who care about culture coming to these events as well as many students, faculty, and alumni of the school. It’s a great way to bring individuals together around really wonderful work and it becomes a representation of the entire student body through a selection of eight projects. We will certainly continue this tradition. The Odgen loves it. Its a great way for them to embrace the work that all of you are doing. The presentation at the end where our two visiting architects talk about the students’ work in the Patrick Taylor Library is really fascinating because we’re in this historic structure designed by H.H. Richardson with eight wonderful projects by students and two prominent architects from outside who are talking about the qualities of the work and exploring the implications of the projects, how they relate to one another and to larger ideas in the United States and beyond which really stimulate the discussion. And we typically have more than 200 people come to that discussion so it’s a very festive way to end the year on a positive note through the quality of work of our students.

Associate Dean for Academics

Candidates :

Wendy Redfield

Rene Davids

Erik Hemingway

James Williamson

sanaa shaikh The Tulane School of Architecture is seeking a new position of Associate Dean for Academics. Dean Schwartz expressed interest in the new position at the all-school meeting on August 30, 2010. The Associate Dean for Academics will work closely with the Dean and the Associate Dean for Students on academic issues, curriculum, interdisciplinary matters across the university and new opportunities (such as the new MSRED program). This person will hold a key role in helping run an academic institution. The process of filling the new position began with an applicant pool of around twenty people. This pool was then reviewed and narrowed down to four current candidates by the New Faculty Committee, two of which visited the school in December while the other two visited earlier in January. The first candidate to visit was Wendy Redfield, Associate Professor of Architecture at North Carolina State University. Redfield received her B.A. in Architecture at Barnard College, Columbia University and her Master of Architecture at the University of Virginia. She has lectured across the United States and at Tulane University. Practicing in Charlottesville, Virginia and San Francisco, California, Redfield engages in design projects through NC State’ extension and outreach programs. It would be natural for Redfield to gravitate towards a position at TSA as her interest in sustainability, affordable housing and neighborhood design are current hot topics in New Orleans and particularly TSA. The second candidate to visit in December was Rene Davids, Professor of Architecture and Urban Design at the University of California, Berkeley. Davids is a principal of Davids Killory Architecture. “The design work of Davids Killory Architects is a laboratory for the exploration of new materials and technologies as well as the reinterpretation of traditional building types, the potential for landscape to influence architectural form and the development of architecture responsive to social change.”

The third candidate and first of January, Erik Hemingway, Associate Professor at the University of Illinois at Urabana-Champaign, received his Bachelor of Architecture, with Honors, at California Polytechnic State University, San Luis Obispo and his Master of Science in Advanced Architectural Design at Columbia University. Hemingway has professional experience with countless other architects along with being the Principal in charge of hemingway+a/studio. He has numerous publications and awards, and offers a wide array of attributes that align with the new position and curriculum in a fascinating way. The final candidate, James Williamson is Visiting Associate Professor at Cornell University, received his Master of Architecture at Cranbrook Academy of Art and studied history and theory of architecture at the Architectural Association. He, too, has won numerous design and teaching awards and has taught architecture and theory at a number of architects school across the United States including Harvard University, Rice University, and the Cooper Union for the Advancement of Science and Art. These accomplishments commend Williamson widely to the position. These four candidates have been narrowed down to two finalists and the position will be decided by the end of February 2011. The Associate Dean of Academics will most likely begin work in June to help prepare for the coming year and the numerous summer programs TSA offers. According to Dean Schwartz, “It will be very helpful for the school to expand it’s capacity to do good work in support of it’s student and faculty, and that is essentially the big picture of what this person is going to be about. It needs to be a person who is really committed and really passionate about the good things that are happening here and how she or he can contribute to that momentum that we have so clearly underway right now.”

February 2011

URBANbuild Update Led by Byron Mouton, TSA students continue to work hard on their design at 1821 Toledano.

cutting and nailing wood

interior detailing

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uar

jan

r ua

feb

rch

apr

hosting up wood member

assembly of wood framing

February 2011

Faculty Profile |

MARCELLA

frank xiong

The success of Tulane’s architecture program is centered around the richness and diversity of its faculty. This month we’re celebrating one of its excellent younger members, Marcella Del Signore. Educated in Italy, Marcella’s experiences range from work in small firms to the New York offices of Peter Eisenmen and Richard Meier; her teaching experiences also span several different programs across the country. Recognized for her excellence as a young designer, Marcella Del Signore is a crucial part of Tulane’s community. Marcella was born in a small Italian town located in the Umbria region of central Italy where she remained until the end of high school. Marcella attended the University La Sapienza in Rome. There, she was enrolled in a 5- Year architecture program similar to those in America. During her fourth year, Marcella independently studied abroad in the E.T.S.A.M. School of Architecture in Madrid through the Erasmus Program. She explains that the European higher-education system uses Erasmus, an expansive network independent from individual universities which matches students for study-abroad programs. After graduating from La Sapienza in 2004, Marcella worked for a brief time in Ireland. In 2005, she moved to New Orleans. At first Marcella worked for a small local firm to gain experience, familiarize herself with the American system and sustain herself while applying for other jobs. Six months later, Marcella relocated again to complete her New York circuit. During September 2005, Marcella began practicing under Peter Eisenman in New York City and later Richard Meiers and Partners. “Those times were hard work,” explains Marcella, “I regularly worked twelve-to-fourteen hours a day, especially in Eisenman’s Office” In 2006, a year and a half into her New York career, Marcella decided she needed a career change and enrolled in Columbia University’s Masters in Advanced Architectural Design program. At the time, Columbia’s graduate program was lead by Mark Wigley. The one-year degree was focused on a consolidation of digital programming and practices and other architectural issues such as urban design and tectonics. One studio professor that played a particularly influential role in Marcella’s development was Bernard Tschumi for his particular design focus on Typology, Urban Narratives, and Event Space. During that time, Marcella also taught a studio in Barnard and Columbia’s undergraduate program. After graduating in 2007, Marcella accepted a position as Assistant Professor at LSU’s School of Architecture. Finally, 8

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in 2008, Marcella made her way back to New Orleans and has been an Assistant Professor at Tulane School of Architecture ever since. Marcella’s life-long passion for theatre and dance was crucial in making the decision to pursue design. As a child, Marcella would travel and tour with a theatre company that dominated a large portion of her time. However, Marcella was involved in a unique type of experimental theater. This art form relied heavily on its ideas about space and how one occupies and moves through it. A trip during her youth to Barcelona, Spain made a strong impression on her passion for theatre. Antonio Gaudi’s works were an important part of Marcella’s decision to study architecture. Today, theatre and dance are both still major hobbies of Marcella; she has recently been involved in both Flamenco and African dance and enjoys leisurely visits to theatrical productions. Most of Marcella’s works take form in competitions, small renovations, and installations. She has also worked on many projects involving digital fabrication. As a process, Marcella enjoys digital software such as Maya, Rhino and scripting platforms as generative tools. These tools are especially effective in the design of art installations with unique organic forms. Sketches, drawings, and models would then be supplemented to aid the development of the project. Marcella has recently been working on several projects with the Tulane City Center, an interior renovation in Italy, and some smaller scale industrial designs. For her accomplishments and vast potential, the Italian Ministry of Development and National Youth Agency recently selected Marcella as a recipient of the Young Italian Talent Award in November 2010, Marcella is recognized as one of the premier burgeoning designers from Italy. Marcella emphasizes the importance of setting goals during one’s five years at TSA. “It is important to establish your motives and goals as a young designer,” says Marcella, “since the field of architecture is so wide, the five years are here for you to inspire a sense of designer identity and critical thinking. Don’t go through the program just to go thought it. If you take time to learn about yourself as a designer, you will know what you want to do when you come out of school.”

attention from the media : document released by italian government in november 2010

February 2011

A-WEEK! TSA’s ANNUAL DESIGN-BUILD WEEK cameron conklin

With each spring semester, students and faculty alike look forward to the excitement of Architects’ Week. Thanks to a Nora Schwaller and her vitally important group of committee members, this February 4th through the 11th the whole Tulane Community experienced a riveting event. Throughout the week the buzz of design innovation, collaboration and rivalry prompted different approaches to the project. Friday’s final review showcased the talent and immense design-build experience that the students of TSA are known to exhibit during this annual event. The theme of Architects’ Week 2011 was Sensory Interaction. Unlike year’s past, the program focused on a starting point instead of an end result. The aim was to spark creativity by establishing only a few parameters. However, all of the projects still needed to engage one or more of the senses and provoke interaction by those who experience 10

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it. The students were encouraged to focus on the environment in their design schemes including materials used and plans of disposal. Likewise, altering the natural site was not an option due to the need for a speedy dismantle and deconstruction the following week. Teams were given guidance and advice by visiting Architects Jing Liu and Iannis Kandyciaris from the firm Solid Objectives - Idenburg Lui in Brooklyn, New York. Jing Lui, co-founder of the firm SO-IL, TSA ‘04, was invited to spend the week assisting each team in material use, design sequence and construction logistics. While she completed the first round of critiques, Lui noticed a trend in teams using recycled plastic bottles. Though each team was only given 350 dollars, she encouraged the students to consider alternative material use. Her suggestions and influence helped them to retain vision while still staying within budget. She

advised that editing is a significant part of design and that a deep focus on a singular idea and material is often most successful. Lui was very impressed with the groups and their ability to be flexible in fishing out designs. She noted this malleability made a big difference in work during the first and second critique. Rigor and attention to sustainability, two topics Lui focused on significantly also seemed to increase as the week continued. This year’s Architects Week 2011 winner was Group Four, titled Strawblurry Fields. The group leaders Jazzy Li and Eric Baumgartner, both third years, combined building experience with design methodology to create their final product. Though many of the groups had a diverse set of students, group four had at least one representative from every grade level. Group Four and Group Eight were the only groups able to engage three senses within their projects—sight, sound as well as touch. The objective of the winning project was to play with light through a moving and shifting enclosure. The main components of this project were fishing line, straws, and nails. The way in which these curtains associated with each other created a space between that was visually inviting yet endlessly changing. The use of material enabled each panel to reflect natural light, as well as become a projection surface for artificial light. The members of Strawblurry Fields found biggest obstacle to be the extent of small pieces used in their construction. “Every step in itself for one strand is no problem, but when you times it by almost 1200, its tedious,” Baumgartner said In comparison to the first place winner, third place was given to the project that was conceptually most similar to Strawblurry Fields. Andrew Graham and Xiaoyun Li led Group Seven, whose project was festively named Colorpalooza Canopy. These students designed an overhang made of recycled plastic bottles. The canopy was designed to frame a bench already located on the site. As with Group Four, it addressed sight and touch, though left out the element of sound. Both teams explored the concept of a translucent hanging element to activate these senses. Strawblurry Fields used this concept through curtains that defined vertical planes, while the Colorpalooza Canopy expressed it through a structure referencing the horizontal plane. As well as conceptual similarities, groups used similar materials for their designs. Group Six, the second place winner led by Nick Cusimano and Rianna Bennett, as well as Group Two, “Team Wombat”, led by Sam Levin and Sophie Dardant, used shipping pallets as a basic construction element. Group Six utilized these pallets by placing them in a stacking formation, creating an elevated path that incorporated seating and walking

components. With only one basic material, they successfully transformed a utilitarian pass through into a unique space. The concept behind this design sought to enrich an environment that is often used, but seems to be ignored. The interaction it invokes could provide a moment of relaxation on a busy day or serve as a alternative path for those seeking a touch of excitement on their way to or from the north side of the Lavin Bernick Center. On a very different note, Group Two used similar pallets as the “floor” for their project called the Home Wrecker. This project was one of the most important in terms of sustainability and focused on reuse. The concept was to create a seating area that could move and shift by cutting a small living room into five pieces. The pallets were put on wheels and set in a shallow wooden fame, while leaving a void for movement. The “set” resembled children’s puzzle sliding games, which proved an inspiration for their design. The pieces used to furnish the living room attempted to project a picture of the “American Dream” through used furniture from decades past. This idea addressed the growing concern of fads in American consumerism and how once sought-after items can quickly become obsolete. Reuse of these items reveals the importance of revitalization and attempt to counteract this trend. Home Wrecker was able to invoke more than a physical or sensory interaction. It used a concept that had pertinence in human development and socioeconomic realms as well providing another layer of intrigue. The ability to have the designs cross boarders into other fields beyond architecture is something future Architects’ Week competitions could continue to explore further. On the surface, A-Week is just a competition, but endless benefits ensue from these projects. One of the most important opportunities it provides is the chance for students of every year to work together as an integrated group. This year, over 100 students, ranging from first years to fifth years, collaborated to create much more then what they simply constructed. A diverse group dynamic gives each student a new perspective on a problem and allows each project to be accessed with a unique set of skills. The hands-on experience of actually building an idea is very gratifying, especially for younger students who are often working theoretically in studio.

1st Place : Strawblurry Fields

Group Leaders Eric Baumgartner, Jazzy Li; Amelia Steelman, William Braddock, Chris Baker, James Ball, Kevin Franklin, Spencer Knight, Robbie Mosby, Will Nemitoff, Lexi Tammer, Jennifer Wickham, Frank Xiong group four’s initial design sketch

February 2011

2nd Place : Prospect Delivered Rianna Bennett, Nick Cusimano

3rd Place : Color Canopy Andrew Graham, Xioayun Li

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The Home Wrecker

Bottle Shocked

Canvas Triangles Tube Haus

Reaction Threshold February 2011

Site Visit | christine foley

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BIOINNOVATION CENTER

clockwise from top left. 1) students observe exposed ceiling supports 2) exterior rendering; photos courtesy of wanhao cui

134 lasalle street 134 LaSalle St.

What could have been an average studio day on the second Wednesday of the month turned out to be an intriguing and insightful experience for the students in Andrew Liles’ Integrated Technology II class. Liles arranged an out-of-the-classroom excursion to a downtown construction site, the now in-progress project of the New Orleans Bioinnovation Center located along the Canal Street Commercial Corridor. Tulane School of Architecture has a close connection with Eskew+Dumez+Ripple, the New Orleans firm designing the project. Liles contacted the firm directly to set up the tour to give his students a glimpse into building fabrication firsthand. “Students are able to learn the fundamental components of construction when seeing it in play. Observing in real life enhances what I teach in class,” Liles explained as the motive for the field trip. Jessica Stumpf, an intern architect at EDR led the late afternoon tours. She joined EDR in 2006 and has contributed to several major studio projects, Bioinnovation Center included. She held an important leadership role on the project and has been present from design through construction. Working on site the past few months has been an incredible educational endeavor enabling her with new insight into the construction world and building techniques.

February 2011

The feelings post-tour were quite different than beforehand. Students felt a new appreciation and understanding for design and assembly. Third year Tyler Guidroz found inspiration for his BIM class, mimicking a spider joint that he saw on site as an envelope design for a parametrically-modified bridge. He expressed, “It was helpful to see an actual 1:1 scale, a materialization of the implications of our drawings.” Scott Heath, second year graduate student, felt the entire handson experience supplemented class lectures. He enjoyed hearing building perspectives first from the project engineer and later from contractor with their subtle differences in approaches to the design and built project. Many specificities of exposed joints and materiality amounted to new-found interests. “It was insightful to see the layering of different systems in person,” he said. “It was really interesting to see the fire protection majors and the mitigation between the exposure of the atrium and the separations with the roll down doors.” This later helped him in taking an approach in his office building studio project. The overall consensus was that the expedition highly complemented integrated approaches to design introduced in class. “I learned so much walking around the site and asking questions.” Thirdyear Rebecca Bradley stated. “I think we should go on a site visit once a month.”

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clockwise from top left. 1) building detail 2) looking across at neighboring at neighboring building 3)students assemble before the tour 4) glass detail; photos courtesy of wanhao cui

February 2011

DESIGN WITH BEAUTY, BUILD IN TRUTH

STUDYING AT THE ARCHITECTURAL ASSOCIATION sean mcgwire

Not to be confused with the alcoholic’s confessional group in the United States, the AA is the oldest independent school of architecture in the United Kingdom, founded by two rebellious architects in their midtwenties. A half meter turquoise disc is mounted next to the entrance of the AA, reading “most famous architects have been here…sooner or later.” Indeed, the AA has produced “starchitects” from every corner of the globe: Zaha Hadid from Iraq, Rem Koolhaas from Holland, Richard Rogers from the UK and so on. It attracts staff and students from over sixty countries across the globe—I am one of the handfuls of Americans in the Intermediate School (and one of the only two Americans not holding citizenships from at least one other country). Upon arrival to the AA and after desperately searching for an apartment for two weeks, I was quickly swept into the “unit fever” of the introduction week. While in the infamous AA bar, a fellow student in third year said, “the two most important weeks of the AA are unit selection and exhibition at the end of the year.” I was confused. “Don’t we just sign up for the studio we want and, by chance, get it?” “No of course not. You have to choose your top three choices, and then you must interview with each of them. It all depends on the strength of your portfolio.” Gulp. This didn’t sound like a cakewalk to me. My portfolio, frantically reformatted to standard A4 Euro-zone size, was quite old fashioned compared to the ones my peers clutched, even though I had the occasional dabble in generative design. Jorret, a Dutch transfer in second year, just came back from working for OMA for eight months and had several high profile projects from China to show off. Mond Qu, my Chinese-Australian flat mate who transferred from Melbourne University, worked for MAD in Beijing and had some of the sexiest pen drawings I’ve seen. We all fantasized over our favorite units—I was always interested in Intermediate 10: Self Organizing Cities, designing network oasises in the United Arab Emirates. Mond had his eye on Intermediate 9, a unit famous for its gigantic atelier filled with digitally and hand fabricated ceramics. This year, they will continue to work with Gaudi’s great-grandson to complete his unfinished Colonia Guell in Santa Coloma de Cervello. He had been stalking the unit master for Intermediate 9, Christopher Pierce, for about one week. Jorret was interested in Intermediate 1: The Lost Highway, working on design interventions ala Venturi Scott Brown in the Mississippi River, including New Orleans. He joked, “New Orleans

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could use some Dutch sensibility!” We finished off our cappuccinos and rushed to the 3rd floor for the registration office. It was time: the interview schedules were posted. I shoved my way to the Intermediate 10 list and was quite shocked: I was the first up for interviews, in five minutes. There were over thirty interviews and only twelve spots in the studio. Some studios were less popular, and others were absurdly requested. Intermediate 6, taught by Jeroen van Ameijde who runs a DRL design studio and the AA Digital Prototyping Lab (their version of the DOL), had over eighty people to interview for twelve spots. Mond said, “They’ll be here into the night and continue the next morning.” I rushed over to my interview where Claudia Pasquero, Marco Poletto and their one-month-old son Giacomo awaited me. Mond also had a 10:00 AM interview, but his tutor was late so he watched me give my portfolio pitch. I sat down and handed my portfolio to Claudia; she flipped through it, baby in one hand, my work in another. “I’ve had my interest in your unit since I applied to the AA, and I am highly interested in generative architecture and digital prototyping. As you can see, my work is a bit different from what you may see at the AA… “No they are very good quality drawings, and models,” said Claudia “Is this one a rendering?” as she pointed to my Stern Façade renovation model (a little photoshopping on wooden models goes a long way in deception…).

“Ah no, It’s a renovation project for this ugly 1960’s Brutalist building we have on campus at Tulane. The façade panels respond to environmental parameters surrounding the building, with the perforations changing in size according to foliage density and daylighting requirements.” “Okay where’s the process? “uhhhh…” “like sketches, diagramming?” “a couple there.” I pointed at some… hastily made diagrams in the last days of the project. They did some more flipping around the portfolio and pointed several times at some drawings and spoke to each other in Italian as I waited nervously.

“Okay, you clearly have some talent and can produce good drawings and models. You need to document your process much more with us. But you have the skills necessary and you clearly are very passionate about the unit...” Claudia took out her pen and began writing my name down. “We will email you soon, and we begin designing right away. Read New Babylon by Constant Nieuwenhuys by tomorrow.” I was in! My unit was set, just fifteen minutes into the beginning of interviews. I walked out, Mond gave me a high five, and began in his thick Australian accent: “Nice mate! Yeah I got Inter 9, first choices within twenty minutes!” We would later find out that some students didn’t even get their third choice and some had to come in at 7 AM the morning the next day for interviews.

an impromptu lesson on the urban history of london in front of the AA during introduction week

February 2011

The AA is structured very differently from Tulane: after completing first year studio, you enter into the intermediate school for two years, which is mixed with second and third years in twelve different units. Each of the units have their own philosophy, design ideology and are almost mini-schools within themselves. For example, Intermediate 2, Crafted Narratives, used the 15th century Venetian Hypnertotomachia Poliphili as its design manifesto, pursuing the potential of fine handcraft drawing and modeling as a potential for craft-let, bespoke design in our present economic downturn. This unit rejects the use of any digital means of reproductions and thus their philosophy differs tremendously from my unit. Intermediate 10 focuses upon parametric drawing techniques and the fabrication of physical experimental model as a design apparatus for simulating patterns of self-organization and visualization of emergent urban networks in the context of the United Arab Emirates. Organized in groups of two or three, there are five projects dealing with everything from the emergent networks of prostitutes in the border cities of UAE/Oman to my project, Sarana (Hindi for refuge), which seeks to alleviate the dual issues of enslaved construction workers and halted construction projects in Dubai by creating emergency labor camps that recycle and re-inhabit these buildings. Our studio visited the UAE for eighteen days in January, where we were able to document our site and work with the Abu Dhabi Cultural Ministry—sponsoring organization in the UAE—who publishes our work every year. My partner and I also explored the notorious labor camp of Sonapur in Dubai where we were chased by security guards for several hours, but were able to see some of the most deplorable living conditions forced upon a human being. We learned about the existence of this labor camp after interviewing a local photojournalist, Matilde Gattoni. Armed with a pen video camera, my partner and I exposed conditions of over fifteen to twenty people per room with over three hundred laborers sharing four restrooms. At a population of primarily 165,000 South Asian workers, Sonapur is the most densely populated district in all of the UAE.

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It is no wonder that this “city of gold,” Sonapur’s hardly appropriate translation in Hindi is carefully hidden by the Dubai authorities. After third year, students have a portfolio examination with several RIBA (UK equivalence of AIA) representatives, whereupon one (should) receive a Part 1 Exemption, similar to a Bachelor’s of Architecture. Many students work for a year after the third year called the “year out.” Upon return, students study for two more years in the Diploma school, mixed of fourth and fifth year students. The facilities at the AA are astounding: five laser cutters, four CNC machines including one oversized, two vacuum forming machines, and three 3D printing machines—all free for use, besides material cost. There is also a woodshop/metal shop, staffed by an American with the most epic muttonchops known to mankind (literally at least two foot extrusions where I am sure he stores his extra drill bits) and a model shop/plastics shop staffed by a Brit named Tris who charges you by the day if you forget to return a tool (I’m banned from his shop for forgetting to return some acrylic adhesive last semester). The AA also attracts some of the most widely known architects in the world for their weekly seminars. After waiting for two hours, I was able to sit in the third from the front row during a debate between Peter Eisenmann and Luis Fernandez-Galiano. Midway during the debate, I realized I was sitting next to none other than Alan Colquhoun, the author of Modern Architecture. There is one regret I do have so far, and hopefully it will be solved before I return to Tulane: I have barely traveled Europe, besides my extensive and frequent trips to Italy and my sojourn to the Middle East. As a fifth year AA student said to me when I asked her what I should tour in London: “I have no idea. I have seen the same parts of London for the past five years: the trip from my home to studio. At the AA, there is no time for such things.” Sean is finishing up his third year at the AA and you can keep track of him and see a video about the labor camps of Dubai at http:// seanataa.blogspot.com.

1) tree frames lake in the UAE 2) ancient vernacular architecture is far and between in the UAE, with mud brick homes and fortresses having been completely rebuilt in the 1980’s 3) introduction week at the AA ends at a temporary “pop-up” bar/grill designed by FAT architects on the top of a parking garage in South London 4) the Palm Jumeirah Beach Hotel, the world’s first six star hotel 5) Dubai’s obsession with skyscrapers mirrors that of Manhattan’s in the early 20th century 6) additional ancient vernacular architecture in the UAE

February 2011

NO. 2 AUDUBON PLACE AN EXCLUSIVE LOOK INSIDE kevin michniok

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2 audubon street

Many students, faculty and local residents traverse in front of Number 2 Audubon Place, glancing up at it dominant white facade during a jog or bike ride. Few students have seen the inside of any mansion along historic St. Charles Avenue let alone this one. It serves as President Scott Cowen’s home and has housed four past presidents since the year 1967. Locals refer to it as the House that United Fruit built. Before any President of Tulane ever called Number 2 Audubon Place home, it went through its own separate and unique and place-specific history. Number 2 dates back to 1907 when uptown lots were being sold in the city’s second residential park. Then Vice President of Union Lumber Company William Jay purchased the lot and commissioned his architects to design a six-bedroom Colonial-style Mansion with a grand entrance looking out over Audubon Park. However, developers required the entrance of any home on Audubon Place to face the neighborhood avenue; WIlliamson had two grand entrances constructed to adhere to this law but placed a circle drive on his favorite side (St. Charles Avenue). After living in the mansion for ten years, he sold the property to Samuel Zemurray for $60,000, over $1,000,000 in current value using the consumer price index. Zemurray emigrated from Russia in the late 1800’s as a youngster to stay with relatives. He accumulated enough money through his economic endeavors to buy a steamboat and establish a banana plantation and import business called Cuyamel Fruit Company in Honduras. At age forty, he bought the mansion at Number 2 and eventually sold his business to United Fruit Company headquartered in Boston becoming the largest stockholder, later emerging out of retirement to assume the role as President given his power in company shares. The Zemurrays greatly remodeled the mansion and integrated a porte cochere with an Art Nuevue stained glass marquee. The enclosed space above became known to the Zemurray family as the “sleeping porch” which extended family often frequented for afternoon naps. The mansion’s high ceilings and large porches keep the house cool and well circulated during the summer months. A Solarium was added to the third floor to capture the tremendous views of St. Charles Avenue and Audubon Park to the south; also new to the third floor was the installation of the house’s first elevator, giving direct access to the billiard room remodeled to become a grand mahogany ballroom complete with wooden grillwork. Cyprus, pine, oak and Honduran Mahogany were all used throughout the house. Apart from hosting house parties and weddings of family members, a prestigious list of houseguests included members of Franklin Delano Roosevelt’s New Deal Administration. Zemurray had great reverence for the excellent academics at Tulane University and became a member of the board of trustees and benefactor of Zemurray and Doris Halls on campus. He generously provided major funding in support of research and library institutes for Latin American studies. An

astounding collection of Pre-Colombian art was donated as well, lending to his commitment and reputation of “service to the community.” At his death in 1961, he willed half of the house to Tulane in the understanding that his wife would do the same. Tulane assumed control in 1964. After a five-year hiatus, in 1967 Herbert Longenecker became the first president to inhabit the mansion, then vacant of any furniture. He brought in the building’s first HVAC system and separated public and private by making the first and third floor public and open to the many students, faculty, and prominent educators he invited inside. The third floor ballroom was used for exclusive dinner parties and the Tulane Women’s Association. Francis Sheldon Hackney was appointed Tulane President in 1975 from Princeton University where he was provost. Wife Lucy Hackney settled in with three children and was overwhelmed at the size, often pondering how to populate it with such an abundance of space. Esteemed guests included writers Lillian Hellman and Art Bookwald as well as King Hussein of Jordan. A public program called Direction drew in social activists, politicians and artists. When President Hackney left from the University of Pennsylvania, then Vice President Eamon Kelly who previous worked for the Ford Foundation in New York assumed the role as President for seventeen years from 1981-1998. As with other Presidents, the first and third floor remained open to public amenities but the family often had difficulty screening the second floor from guests. Three or four times per week the Kelly’s welcomed guests which included Presidents Carter and Ford. Tulane hosted the 1988 Democratic Presidential Debate in which Michael Ducockas, Richard Gephard, Al Gore and Jessie Jackson all attended a reception at Number 2. Current President Scott Cowen and his wife Marjorie came to Tulane from Case Western Reserve in 1998 and orchestrated the mansion’s first interior renovation in thirty years. Marjorie believes Number 2 to be one of the most historic and meaningful President’s houses in all of the American Association of Universities (AAU). A grant from the Stone Foundation saw to it that every corner of the house be restored, allocating more family living space on the top two floors which included converting a large bathroom into President Cowen’s current study. The house even played host to the set of Runaway Jury directed by Gary Fleder and staring john Grisham, released in 2003. Following Hurricane Katrina, the house saw no structural damage but did incur three feet of water in the basement. President Cowen commented, saying, “The one thing about Number 2 that has been reinforced for me since Katrina [is that] this is really a symbol of Strength, this house. In a way it’s like Tulane University and it’s like New Orleans. We were battered; we were cluttered for a while but we stood tall and we stood strong and this house has a great future, as does Tulane. University in New Orleans.” February 2011

third floor solarium

third floor ballroom

dining room first floor foyer

sitting room; location of scene from runaway jury

photos courtesy of kevin michniok

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PRINC PRINCETON RESIDENTIAL COLLEGES

Campus Models | Residential College alexandra bojarski-stauffer

RICE RESIDENTIAL COLLEGES

WASH

WASHINGINGTON RESIDENTIAL COLLEGES

harvard university

HARVARD RESIDENTIAL COLLEGES

rice university

princeton university

HARVAR PRINCETON RESIDENTIAL COLLEGES RICE RESIDENTIAL COLLEGES

YALE RESIDENTIAL COLLEGES

washington university in saint louis

yale university RESIDENTIAL COLLEGES WASHINGINGTON

YALE RE

PRINCETON RESIDENTIAL COLLE

In August 2011, Tulane will receive its largest incoming freshman class estimated to be around 1,700 students compared to the 1,375 who attended in 2007. With this immense influx of students, Tulane needed a drastic housing solution. Following the success of the Lallage Feazel Wall Residential College completed in 2005, Tulane University decided to construct a second Residential College. A residential college is a type of on-campus dormitory that places academic activity in a community setting of students and faculty. The college itself is organized by a system of self-government run by Residential and Senior Residential Advisors, overseen by a Residential Director. The Residential Advisors act as live-in student leaders, organizing academic programs and social events in order to engage student residents in an intellectual college atmosphere. A residential college also provides home for a Professor in Residence and his or her family, who further assists residents cultivate a variety of cultural and intellectual interests. The new Residential College II at Doris Site designed by Hanbury Evans Wright Vlattas + Company is scheduled for completion in Fall 2011. The residential college comprising of 80,747 square feet of space will house 265 students chosen from a pool of applicants. The college will include a Resident Director apartment, a two-story Faculty Residence, courtyards, communal kitchens, laundry rooms, lounges, offices, support spaces and a reading, seminar and game rooms. Many other prominent universities in the United States house students solely in residential colleges including Harvard University, Yale University, Princeton University and Washington University in Saint Louis. Rice University this past year randomly assigned each of its 3,279 undergraduates to one of eleven on-campus residential colleges. Each residential college has its own dining hall, public spaces and dorm rooms. The students of each residential college are expected to eat their meals together as a unified body. Each student is anticipated to maintain membership in the same residential college throughout their

undergraduate experience. Rice University’s residential colleges also engage and supplement students’ academic life by providing a variety of social events, intramural sports, student plays, lecture series, courses and an active role in student government. HARVARD RESIDENTIAL COLLEGES WASHINGINGTON Residential colleges in the United Kingdom, for example, RESIDENTIAL combine both the living and academic aspects of the university into one entity. Students often take their classes on the lower floors of the college building and then retreat to their dormitories on the upper floors. In the United States, the academic and residential functions of the residential college system have been largely separated. Tulane University’s campus RESIDENTIAL COLLEGES from residential organization clearly separatesYALE academic buildings buildings. Perhaps one day Tulane will tear down Sharp, Monroe, Irby, HARVARD RESIDENTIAL COLLEGES Phelps and the Boot to replace them with new residential colleges further integrating an intellectual academic lifestyle into the campus body as a whole.

YALE RESIDENTIAL COLLEGES

residential colleges at yale university

February 2011

an architectural review john coyle

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930 Poydras Eskew+Dumez+Ripple

930 poydras street

french quarter courtyard diagram; courtesy of EDR

typical residential floor

ninth floor

Something new has come to the central business district of New Orleans. 930 Poydras is the first prominent living complex in the vicinity, bringing forth an innovative formal arrangement to the idea of vertical living in an urban environment. Completed just over a year ago, this residential tower reached full occupancy by May 2010. The twenty-one floors exhibit retail space on the ground, a parking garage with 500 spaces on the first eight floors and 250 residences on upper floors. The designers approached this project with a single question in mind: How do you compel a sense of community among apartment dwellers? Hidden from the eyes of the passerby, a special moment occurs on the ninth floor, defining the importance of this project. Those who are architecturally inclined to look up may notice the two story glass box cantilevering over the sidewalk from the south façade; this “sky lobby” redefines the concept of communal living and provides an uncommon view down the street from an elevated perspective. Taking inspiration from the model of a French quarter courtyard, the sky lobby incorporates a communal living area, with all the amenities, into the main hub of circulation. One enters either through the street entrance or parking garage and takes the elevators to the sky lobby. From there one must walk through the lobby in order to reach the elevators that will bring them to their apartment. The 6,000 square foot lobby is an impressive double-height space that encourages congregation among the residence through this forced pattern of circulation. Professor Thaddeus Zarse describes the space as a “forced social condenser”, where all traffic of the resident is funneled into this glass courtyard before returning home. I was concerned that this forced interaction would be uncomfortable, inconvenient, or that it would simply not work. It was a pleasant surprise to find that the residents take full advantage of said living space, which boasts a movie projector, large televisions, work stations, sinks, a smoker’s balcony and the mailroom. At least ten percent of the occupants frequent the area for morning

section diagram showing program distribution

coffee and in the evening you will find students lounging or working on their laptops. The interaction with the space is enhanced by the completely moveable furniture. Modular chairs can be moved and arranged into informal combinations ranging from the popular movie nights to a quiet reading corner. Cube shaped foam furniture pieces can be used as an end table or stool. Accessible from the sky lobby but completely protected from the street by the building itself is a rooftop pool, directly above the parking garage. The apartments rise up in an “L” shape around this elevated oasis, and a tiered bleacher ascends from the saltwater pool to a sunning platform, creating a framed view of the city. From the rooftop garden striking façade composed of dark metal and glass panels greets residents at eye level. From down the block, the deceptive skin of thin two-story panels reduces the scale and grants a continuous transition from parking garage to residences. The focal point is the sky lobby, seen at night as an illuminating glass box. Donna, 46, has been living at 930 Poydras for six months and describes her experience and the people she as met as “fabulous.” She adds “I have met more people by going through the courtyard than I have ever met in the elevators.” Let’s face it, elevators force people together but do not encourage social interaction. Here at 930 Poydras “people want to hang out “says Derrick, 33, who has only been living there for a week, but was prompted to do so because of good experiences he has had with friends who live there. The demographic of dwellers ranges from grad students to professionals to retirees but one thing they must have in common is the desire to transcend the average apartment complex and live in a place where daily interaction creates a dynamic living environment. The beauty of this project is the simplicity of its design and distribution of program and the sky lobby is an elegant solution to a living situation which is usually introverted and alienating.

February 2011

clockwise from left. 1) lobby space 2) rooftop terrace 3) graduating students in 930 poydras during reception 4) entrance 5) public component

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February 2011

Tutorial Man l Use the Feather Tool to Create Smooth Patterns tyler guidroz The Feather Tool in Adobe Photoshop allows for a selection which is solid in the center increase in opacity towards the borders. Begin by selecting a desired area with the marquee tool (Shortcut: M). Go to Select - Modify - Feather from the top menu; a dialogue box will appear where the radius of the feather can be controlled based on pixels. Each image is different and you should experiment with this limit to get the desired effect. The example picture is 1000 x 500 pixels and a 40 pixel was used for the feather. Now that you have a feathered selection, copy and paste to a new layer. From here, Free Transform (shortcut: Command/Control T) to move, stretch, or distort the feathered selection into the shape you want. The example uses feathered selections of grass to fill in the dead spots. Feathering the selections of grass gives the grafted sections a smooth look and allows them to integrate seamlessly with the existing patches.

3rd year Guan Wangâ&#x20AC;&#x2122;s Percival Stern project using the feather tool.

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Missed Connections Intellect with a Hint of Aesthetic Pleasure

Wood

I’ve begun to make a habit of laser cutting at least once a week just so I have a reason to lovingly gander as you tinker with the 3D printer you put together yourself, which is amazing because it’s difficult enough for me to print in one dimension. Ever since those first magical words, “Would you like this on accounts receivable?” I was entranced. I know you’re into photography so I have an idea for your next series: you and I ever so gently nestled in each other’s arms, and hearts, as we ride on your long board into the sunset with your voluptuous black locks flowing in the wind. If this isn’t love, or a slightly creepy voyeuristic distortion of it, then I don’t know what love is.

Sometimes I’m afraid to work in the wood shop because during my safety session you made it impossible to pay attention. How am I supposed to be able to resist a strapping bodacious ox like yourself? Time seemed to be stagnant as I watched you crosscut. Jean shirt half way unbuttoned, sawdust floating in the air, a bead of sweat delicately glistening on your brow – purely heaven. And to top it off, you’re also into pirate humor and jokes that aren’t even remotely funny! I’m requesting an immediate oneon-one shop safety course so I can really learn how to use a lathe…

Handywoman I’m going to be blunt – I want us to build our dream house together. We truly make the perfect team, you with your carpentry and masonry skills and me with my uncanny ability to fetch tools. I wouldn’t trade my URBANbuild memories with you for the world. I don’t know whether it was the calluses on your hands or the way you swing a hammer that won me over, but undoubtedly it’s your smile that makes being little spoon that much more enjoyable.

sketches by sanaa shaikh February 2011

Firm Profile | annalise haskel

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MAZIAR BEHROOZ ARCHITECTURE

With the completion of the Arc House, an incredibly popular project on the ArchDaily blog, Maziar Behrooz’s architecture has yet again entered the spotlight. A previous three time AIA Peconic Award winner, in addition to a Green Building Council Award in 2008, Maziar Behrooz Architecture explores a unique building pallet and relationship to the calamity of the landscape. Maziar Behrooz has been paving ground in architecture from a young age. He graduated from the Tulane School of Architecture in 1984 and went on to study at the Cornell School of Architecture before establishing a firm with a close friend in New York City called NewBox Architecture. While in New York, Behrooz mainly designed interiors but grew dissatisfied with the small scope of his projects. His move to East Hampton in 1996 allowed him to expand and open his own firm, Maziar Behrooz Architecture, where he began working at a scale better preferred. In a new and freer environment Behrooz’s projects have proved to be innovative. While the firm portfolio’s contains diverse award -winning projects such as their winning entry for the Beijing Financial Center and a finalist distinction for the Chilean Baha’i Temple design in 2004, the body of the firm’s work is primarily residential. Without a doubt, Behrooz’s work challenges the stereotypical suburban built environment. Using two 9’6” X 40’ X 8’ shipping containers, Behrooz demonstrates his ability to turn an industrial object into a functional and elegant structure. As he explained “once you come to the conclusion that using 2x4 studs sandwiched between plywood and Gypsum board is not an efficient form of construction, you allow yourself to see all sorts of alternatives.” And indeed, his design meets the criteria too. Container Studio met the challenge of providing 700 square for a foot painter’s studio with a $60,000 budget. For Behrooz, efficiency is a given whether economically or sustainably. In fact, sustainability has always lay at the core of Behrooz’s work and while he “applauds the awakening of the public to green design”, [Behrooz] thinks it’s not a new story for architects. Throughout the design process, [Behrooz does] not differentiate between landscape and building design; they are both used to achieve a unified objective.

The ever present role of the environment is particularly evident in the Arc House, which appropriately becomes integrates itself into landscape but further complements it. Arc House “is literally half buried and extends itself into the environment in the form of courtyards and sunken driveways.” The flat terrain of the landscape also influences Behrooz’s desire to alter the topography in order to create an increased diversity in depth and plane. These extensions are essential to the house’s passive cooling system and the large column-free open spaces that the client desired for their art are aesthetically attractive and aid in air circulation. Nearby transportation routes to the site, a railroad track and flight path overhead, inspired Behrooz to “use the same technology as an airplane hangar...[to] transcend the perceived limitations of these proximities.” What results is geometrically appealing arced metal rods assembled in eight foot segments. Technological experimentation can be seen in several of Behrooz’s projects, especially because the majority of the design include prefabricated elements. This past fall at the Salomon Contemporary warehouse in East Hampton, Maziar Behrooz Architects exhibited their “Rapid Deployment Functional Unit” as part of an ongoing exploration. A refined shipping unit became the “space of undetermined functional value” and welcomed interaction with visitors who interpreted its possible functions, an example of which has already been demonstrated with the dynamic and economical Container Studio. With a love for New Orleans culture, significant involvement in and a generous gift to the Grow Dat Youth Farm and as a member of the Tulane Board of Advisors, Behrooz continues to build a strong relationship with the area and university. TSA should look forward to watching what Behrooz produces next whether it be the completion of his latest environmentally friendly projects inspired by hanging gardens or his ongoing desire to push the edge of pre-fabrication “in the design of a prototype for a habitable box that will be fully finished and even furnished: click, buy, drop.” You can follow Maziar Behrooz at www.mbarchitecture.com.

February 2011

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clockwise from left.1) maziar behrooz inside RDMU 2) stair detail inside arc house 3) kitchen inside of arc house 4) arc house exterior; photos courtesy of matthew carbone and maziar behrooz architecture.

February 2011

editors

kevin michniok, eic hannah ambrose katherine delacey

staff

alexandra bojarski-stauffer contributors annalise haskel cameron conklin christine foley frank xiong john coyle jenny oâ&#x20AC;&#x2122;leary sanaa shaikh tyler guidroz

c.j. gassam jill stoll sean mcgwire wanhao cui

faculty graham owen advisor