BARNworks 15/16 3

132

Didactic Sketching (ARC 4990/6990) Facade and Detail Study Instructor: Hans Herrmann

Didacitc sketching is a course about seeing and making seen, the intention is to pass along a way of visualization that not only informs the viewer of the subject but also the intent behind the making of the subject. This is to say, students are not draw postcard images of building but instead

they learn to draw diagrams and illustrations for someone to understand the design intent of these buildings. This course is as much about reading architecture and it is about reading architecture through the architect’s language of drawing.

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134

Geography & Design Final Thesis Project Instructor: Zulaikha Ayub

The Semester Highlights to Assist with the student’s independent study: • Field Trip to Oak Ridge National Laboratory, American Museum of Science and Energy, MP Historical Sites • Lecture: “Geospatial Science: How Sense of Place Influences Life” • Close reading and presentations of Edward Tufte’s Envisioning Information • Film Screening of “Secrecy” by Peter Galison and Robb Moss

Zachary R. Henry

Prison island archetype diagrams

Selected Readings assigned throughout the semester to assist with the student’s independent study: Gissen, David. “Architecture’s Geographic Turns.”

Graves, Michael. “Architecture and the Lost Art of Drawing.”

Sarkis, Hashim. “Geo-Architecture: A Prehistory for an Emerging Aesthetic.”

Wood, Denis. “Cartography is Dead (Thank God!).”

Cosgrove, Denis. “Maps, Mapping, Modernity: Art and Cartography in the Twentieth Century.”

Crampton, Jeremy and John Krygier. “An Introduction to Critical Cartography.”

Maison d’Arrêt de Paris-la Santé, 14é, Paris, France

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135

Zachary R. Henry

Prison island map analysis

Introduction

during the late 19th and early 20th century.

The relationship between Geography and Architecture is usually defined as one of canvas and paint. The existence of one determines the other and the success of either can have widereaching cultural impacts on the surrounding society. Of the many physical constructs whose relationship is tied to their geography, the prison typology’s impact is felt not only from with the physical structure but also in the social fabric of the adjacent, geographic region.

In verb form, Gaze means “to fix the eyes in a steady, intent look often with eagerness or studious attention” and when a noun means “a fixed intent look”. The etymological origins of gaze only hint at one of the primary purposes of our eyes, to gather information. The specific action of analyzing information via the eyes is called critical visuality, as explored by Mischa Davison in The Conscious Gaze: Visuality as Practice in the Post-modern World. Davison writes,“Visuality, or the capacity to see and be seen, does not necessarily involve questioning the validity of visual information, nor does it include critical consideration of the mundane visual environment or one’s relationship with it.

Critical visuality,however, refers to the ability to purposefully analyze visual experiences by deconstructing elements of images and reconstructing them through critical viewing, as well as interpreting visual messages within a broad social, environmental, and cultural context (Falihi & Wason Ellam,2009).”(Davison) It is our vision, one of five essential, bodily senses, which allows for us to interpret the surrounding environment.

Prison, as defined by the Merriam-Webster Dictionary, is a state of confinement or captivity. This vague definition leaves several arguable positions over the idea of crime and punishment of which two pertain to architecture; what exactly is confinement and what exactly is captivity? The etymological roots of captivity stem from the Latin “captivitateum” from “captivus” meaning “caught, taken prisoner” which in turn is derived from “captus” past participle of the verb “capere” which means “to take, to hold, or to seize”. Confinement, in turn, is derived from the French “confiner” which is in turn from the noun “confins” meaning “boundaries”, the same definition as its Latin root “confinium”.

Nowhere in the definition or the etymology of captivity or confinement does the concept of punishment appear. Yet these two words form the basis from which our society’s ideas of crime and punishment are derived. The connotation of the word captivity implies the isolation of an individual from the general population and confinement is seen as placement within a specified, enclosed area.

These notions of the general populace are physically embodied in the form of a prison, an area removed from general population to punish individuals who defy the laws of society.

This punishment is termed in the English language as “incarceration”, the state of being confined/ imprisoned.

Incarceration is derived from the Latin stem of the participle “incarcerare” meaning to imprison which in turn has its roots in the Latin “in” meaning “in” and “carcer” an enclosed space.

It is within this space that the implications of architecture are invoked. According to esteemed architect Louis Khan, “architecture is the thoughtful making of space.” Space is area articulated by the architect and in prisons this articulation is accomplished physically by walls, towers, and geographic location. These methods are but the visible aspects of the central theme of a prison, control. Control of the prisoner from meals, sleep patterns, and physical activity are crucial to the continuation of order within the prison. It is control which dictates the formulation of space within the prison and its extension beyond the prison walls.

136 “The Prison of Vision: How Visual Perception Extends and Informs Incarceration” Student: Zachary White

Control can be projected beyond the prison complex through the use overt or covert means. From the ordering of urban centers to the selection of areas for subsidized housing, control can limit the ability for success in society while imprisoning an individual in within their own choices. Prison is more than just the physical space defined by the walls of a building, it is economic, it is social, it is geographic; prison is the scalable control exerted over an individual.

Part I: Gaze & the Panopticon “The eyes are the windows to the soul” the old saying goes, but it perfectly illustrates how much information can be gleaned just from the eyes themselves. The importance of gaze or the attention of the eyes in cultural and social interactions was a subject of intense study

In architecture, architects play to vison through the creation of space, attempting to curry favor to the viewer through their eyes. Japanese Architect Kengo Kuma, in his essay To See and Be Seen observed, “Although some modern architects have used the concept of function to analyze human life-styles, believing that it was possible to control-that is, govern-through function, it is however, the sight line rather than the function which truly controls modern society and life.” (Kuma 114) This control of the sight line as a means to control life was the fundamental argument postulated by Michael Foucault, a philosopher of the 20th century.

Foucault’s arguments written down in his treatise on the history of crime, Discipline and Punishment, included the evolution of punishment from macabre displays of torture to invoke compliance with the law to incarceration. This change termed “The Society of the Spectacle” references the revulsion which gripped the citizenship regarding public punishment and how incarceration became the humane way to deal with criminals.

The source of Foucault’s arguments is the Panopticon, a prison system designed by jurist Jeremy Bentham in correspondence to his brother. The Panopticon design was circular in form, with cells placed along the outer walls on multiple levels with a single tower in the center. The cavernous space would include a large exercise area between the cells and the tower, and from its vantage point the tower made surveillance of all activity in the prison possible. This constant surveillance was intended to keep the prisoners complaint while they served their sentences. Walter Corbella, author of Panopticism and the Construction of Power in Franz Kafka’s The Castle, wrote, “The crucial factor in panoptic surveillance and in the workings of the panoptic Castle does not lie in the intervention of the officials but in the operation of the gaze, that is, the ability of the Inspector-Director to see in all directions at all times.” (Corbella 72) The theory being that the tower in the center would become to be associated with being observed and that was all that was needed, the paranoia of constantly being watched, that would ensure order within the prison.

While the physical version of the Panopticon embodied the humane punishment through the use of incarceration and ensuring the prisoner’s compliance by controlling them through constant supervision, the fundamental aspects of the Panopticon, control of the sight line, is all that is need for the system to succeed.

Kengo Kuma wrote, “The ultimate paradox of the Panopticon is that it is not even necessary for the surveillance sight line to actually exist for the system to work. The tower looms high over the prison center and only the tiniest peep-hole cut into the wall of the tower would be all that was necessary. The system would not require a jailor to stand in person and keep up constant surveillance of the prison cells.” () The system of control was not derived from the form of the system but rather to underlying elements of ensuring order and compliance with authority which decided its success of the prison environment.

Humans shape the world around them, imbuing the environment with sense of purpose and order. Inherent within this order that humans give their environment, is the desire for control over the characteristics of their surroundings.

Among these characteristics which manifest themselves into the environment is the hierarchy of the social order, from which the forms of control are derived and applied. Thus the function of the environment is a result of the form of control which the social hierarchy deems useful to ensure order.

Part II: Prison & Projects The qualities of a space are interpreted by our vision, the function, form and utility can be constructed in such a way as to inform the lives of those inhabiting the space. The spaces which we inhabit and the way they are inhabited can affect not only the way the spaces are used but the behavior of its inhabitants when they go to other spaces. The function of an individual can be controlled through the thoughtful making of space.

Prisons are arguably the least thought about spaces in architecture, and are commonly seen as structures of pure function. Prison originates from the from Old French prisoun “captivity, imprisonment; prison; prisoner, captive” and in turn in derived from the Latin prensionem “a taking” which is a noun form of the past participle prehendere “to take”. This is also interpreted to mean “Captivity,” and by association with incarceration “a place for captives,” which is what prison means now in the modern era.

Modernity in prisons originated with philosopher Jeremy Bentham’s correspondence with his brother architect Samuel Bentham. In the Panopticon Letters the idea of the Panopticon, a prison where surveillance was the chief instrument for ensuring compliance during the term of a convicts sentence, was created.

The term panopticon comes from the Greek pan meaning “all” and optikon “of or for sight”.

Together they mean “a place of all seeing” which was the pure spatial function of the Panopticon. The phrase “spatial function” varies in definition between individuals. To some “spatial function” refers to the role the space serves in the greater fabric of the environment.

To others living for labor in much the same way that it is a condition of production for capital.

The system of private property that excludes labor from the land as a condition of production also serves to exclude labor from the land as a condition of living.” Harvey writes in reference to the relationship between production and inhabiting a space.

The main driver for production and inhabitation is the accumulation of capital, but many find themselves unable to meet that drive.

Whether it be by the modernization of industry or the health of the economy, individuals find themselves without jobs to help with their accumulation of wealth. Without capital these people find themselves on the street or in major urban centers, in housing projects.

Zachary White

These projects, intended to be havens from the difficult life on the street, turn into dumping grounds for the perceived dregs of society.

In New York City, Rikers Island is host to the Rikers Island Penitentiary which is the main prison for convicted felons and those awaiting trial in the Five Boroughs. Founded in 1932 as a jail for men, the jail is now the second largest in the nation with a population of around 15,000 inmates. The island houses several facilities divided by gender and severity of crime. The island also houses isolation facilities for infectious diseases. The facilities at Rikers Island are a typical example of the prison system in the United States, overcrowded and underfunded. The system of incarceration in the United States have issues which effect not just the convicts within, but people outside the prison walls.

The prison system in the United States has been termed by many as a “prison-industrial complex”. This phrase reflects the view that those within the incarceration system are kept there as a solution for social or economic problems stemming from government and industry overlap. Typically the prison-industrial complex uses the surveillance, policing and imprisonment capabilities of the incarceration system to control those within the system.

These qualities of surveillance correlated to the writings of author George Orwell whose view of a panoptic device was explored in The Panopticon’s Changing Geometry by Jerome E. Dobson and Peter F. Fisher. Dobson and Fisher write, “When television came along in the 1940s, George Orwell imagined a new sort of electronic Panopticon that would be far less expensive to implement and would extend beyond buildings to streets and other public spaces.” (308) termed the Panopticon II, surveillance in spaces outside the prison to ensure compliance with the law became increasingly common in the urban centers of the world, especially in New York City.

A panoptic device is designed to maintain continuous surveillance on a subject efficiently and economically. According to Jerome E. Dobson and Peter F. Fisher, “One serious limitation of [the] Panopticon was that it could only be deployed as Bentham admitted”, within a space not too large to be covered or commanded by buildings.” (314) The stationary nature of the Panopticon rendered it ineffective outside a certain range, rendering it the building itself useless. But as Lila Kalinich, author of Beyond Horror: Sensationalism and the Hermeneutics of War, wrote “Foucault takes care to remind us not to take this model too concretely (2000,157).Bentham’s optical system designed to exercise power through the gaze, is finally a political schema “,a way of defining power relations in terms of the everyday life of men”( p.157). It is this extension of the Panopticon system into everyday life which finds in the project housing of New York City.

In its most basic form, the Panopticon consists of a central node with several wings which can be viewed from the central point. This basic layout is found not only in the construction of Rikers Prison but also in the footprints of the majority of the project housing of New York City. Additionally, the projects are constructed similarly to a prison building in isolating the building through the placement of a large open area. In contrast to the urban fabric of major urban centers where the most economical method of construction is to pack as much square footage in the smallest area, project housing reverses this idea in favor of preventing the seedy little areas and backrooms historically associated with project houses.

Furthermore, the placement of project housing locations corresponds to former industrial areas or former landfills. The desirability of these areas leaving them to be developed as infrastructure (highways) or suitable areas for the housing projects. Interspersed throughout the city, project housing areas are commonly separated by areas of high rises and businesses. This is similar to the practice of Israeli colonists settlements which are placed upon hilltops above Palestinian areas. According to the work of architect Eyal Weizman, author of Hollow Land: Israel’s Architecture of Occupation, this typology is used to simulate submissiveness from one group to another.

Another aspect apparent in the layout of the projects is that standing in one area of allows an individual multiple view angle of different buildings. Indeed utilizations of panoptic devices are incorporated not just in the footprint or dispersed layout of the project sites, but also in their locations. Many projects are located next to major highway interchanges, a placement which puts the projects under the eyes of all individuals who travel within the city.

Curiously research shows that when engaged in a task the eyes focus on the task at hand and peripheral vision suffers as a result. This means that while the inhabitants of the projects may feel like they’re under the eyes of thousands of travelers, in reality those drivers are more concerned with their interchange than the going on in the project areas.

Now while panoptic devices or practices in the project areas are a key component to understanding their relationship with Rikers Island, another aspect is the correlation of poverty and imprisonment. Laura Kurgan gathered data from many studies in her essay Million Dollar Blocks illustrating the cost of imprisonment for areas of low-income families.

Kurgan writes, “Like poverty, incarceration is spatially concentrated, much more so than crime. It is by imprisoning the residents of these neighborhoods---making them disappear from their city---we were simply mirroring the disappearance of the conversation on poverty.”

(Kurgan pg 196) Additionally Kurgan comments on the migration of prison populations from their place of incarceration to residence, “Six hundred thousand people return from prison each year in the United States, and millions more come home from jails. About two hundred and forty thousand of the released prisoners--roughly forty percent---will return to prison within three years.” (Kurgan pg 198). This constant pattern of convicts returning home to the projects and then in turn going back to prison only illustrates the continued use of panoptic devices, because every move made by residents of the project housing is recorded and reported leaving most with little hope left but returning to prison.

Part III: Conclusion Our vision is our primary device for seeing and interpreting our surrounding environment.

The spaces created through architectural practice can do more than visually stimulate the senses. Spatial qualities can inform the usage of space as well as the behavior of the individuals who use them. The Panopticon, through the complete control of the sight-line, or gaze, controls the behavior of the incarcerated individual and ensures order within the prison.

The project housing typologies of New York City and other urban centers not simply mimic the panoptic qualities, but improve upon them by utilizing 21st century technology to extend effect of imprisonment outside the walls of the prison.

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Semipalatinsk Nuclear Test Site

138 Soviet Nuclear Weapons Testing during the Infancy of U.S. Satellite Surveillance Student: Ryan Fierro

The United States’ system of surveillance satellites in orbits polar, geosynchronous, solar-synchronous or otherwise is extensive and encompassing. This comprehensive network of cameras that operates silently and (nearly) beyond detection has the ability to monitor, image, and survey every square meter of the globe. || As the world’s largest landholding body, the United States Department of Defense has immense influence domestic and abroad. Within United States borders, the Department of Defense employs the use of at least eleven individual launch sites. Several of these sites have been prolific in their launches of militarized surveillance satellites. || The Vandenberg Air Force Base in California (maximum orbital inclination

51° to 145°) is one such launch facility, whose location has for decades facilitated the launch of military-operated satellites into orbit. Vandenberg Air Force Base is known to be the most-used launch facility by the United States National Reconnaissance Office, the governing body responsible for the development and operation of all militarized imaging satellites launched into orbit. Divided between the many distinct categories of satellites utilized by the military, more than 250 specimens have been launched from Vandenberg. || Another such site—Kodiak Launch Complex in Kodiak, AK—has required the manipulation of site and sea in order to accommodate such an intensive program.

Because of the complex’s location at 57°N,

Scientific

quantitati ve physi cal effec of nucle ar weapo distances nry at vario ts (500, 800, us 1200, 1800m ).

Opitnoe Pole — N–1 Experiment al Field Semipalati nsk, Kazak 50.4379N, h SSR 77.8139E 800km 2 Simulated reinforced infrastruc tural eleme [See enlar gement 01] nts

Target Spott ing for N-1 Chalk and earth marke Served as rs indicators carrying atmospheri for pilots c test bombs

Detonation of RDS-6 S CIA Coden First therm ame “Joe4” onuclear weapon 30 meter tower deton test ation 400 kilot on charg Two-layer e 15-20% Fusio “Sloika” Schem e n, 80-85 % Fission 12 Aug 1953

Periphery Blast Sites Explosive Craters 0.3–1.3 kiloton devic Detonated 5–15m from es surface Primary Viewing Bunker 2m reinf orced concr Approx. ete walls 6km from Ground Zero

Building collapse in city at of Kurch atov, Khaza 65km kstan 50.4379N, 77.8139E 22 Nov 1955

77.85 E

77.80 E

77.75 E

77.70 E

Abandoned Air Field Multiple runways used for Air drop deton Supply deliv ations ery

77.65 E

77.60 E

Detonation of RDS-3 World’s 7 first Hydro gen Bomb Nominal Yeild Actual Yeild : 3 Megatons : 1.6 Megat ons

Plutonium Implosion Charge Mass Device : 6403.

Outer Diame 39 grams Inner Diame ter : 93 milli meters ter : 32-facet 28 milli meters Explosive 1,500 Anima Encas l test subje ement 50 Aircr cts aft test subjects

77.90 E

Observatio n Towers Chain of radial concr ete monoliths fitted with instrument s to recor d the

77.90 E

77.85 E

77.80 E

77.75 E

77.70 E

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77.60 E

RDS-1 (Firs t Lightning) CIA Class ification: Joe-1 (Namesake: Joseph Stali Detonation n) 22.4 kilot – 29 Aug. 1949 0700 on blast 50.4379N, | 97 teraj 77.8139E oules Direct mecha Debut Sovie nical copy of Fat t nuclear Man capabiliti es

Target Spott ing for N-1 Chalk and earth marke Served as rs indicators carrying atmospheri for pilots c test shell

Phyisical Instrumentation Towers Reinforced concrete bunkers with measurement devices for physical impacts, temperature, and shock.

Spaced at 800m, 1200m, 1800m, and (not shown) 2500,, 3200m.

Reinforced concrete bunkers

1-P, or Ground Zero

with assembly equipment and preparatory fixtures for bomb placement and logistical decisions.

30m steel tower located 25m from reinforced concrete bunker for final device assembly.

Reinforced concrete road bridge

Chemical, radiation, and radioactivity instrumentation

installed on highway segment to simulate infrastructural damage of the bombs. 800m from epicenter.

towers of reinforced, buttressed concrete. Spaced as 300m, 500m, 1000m, 1800m, and (not shown) 2500m, 3200m.

23m Steel bridge installed for RDS-1. Truss thrown 45m from site.

500m from epicenter.

20m steel bridge for RDS-6S. Train cars placed on the tracks. 1000m from epicenter.

Chalk and Earth Marker Serves at indication for warhead drops from aircraft during testing missions.

139 orbital insertions at high inclinations are made easier, meaning polar orbits (90° inclination) are significantly more efficient, call for less fuel and demand fewer course adjustments while the craft is mid-flight. || Distinctions between a polar orbit and, for example, a geostationary orbit include time of observation, repetition of orbit, and orbital inclination changeability.

Polar orbits have the unique ability to survey the entire surface of the earth daily, whereas geosynchronous or solar synchronous satellites predominantly focus on one area of the earth (thus imaging the same coordinates constantly, both during the day or during the night) or revolve around the earth in such a way to view only illuminated areas of the globe (thus imaging only well-let areas of the globe).

Highly elliptical polar orbits (the type flown by military surveillance satellites) are ideal to reliably map a significant variety of land area while also providing variable imaging distances from the surface, thus allowing monitoring at multiple distances and scale. || Throughout the United States’ history of surveillance satellites and militarized orbital imaging, several generations of spacecraft have continued the intimidating pedigree and reputation of their predecessors. This history has procured images that have direct effect on the management of military operations and strategy. || Of immediate focus to this research are the film-based Keyhole projects KH-1 (code-named Corona) to KH-9 (code-named Hexagon). The first generation (Corona)

embodied the perceived need for surveillance of foreign enemies, which catalyzed into one of the most impressive outlets of government research, design, and coordination. The first project contained just one imaging device and one film canister re-entry capsule (along with 8,000 feet of film rolls). The later—and much more ambitious—projects (i.e. Hexagon) contained as many as four recovery capsules, two imaging devices, and in excess of 316,000 miles of film rolls. || These filmbased projects re-present the logistic and technological advancements made during the Cold War, and stand themselves as a testament to the infrastructural manipulation necessitated by the government’s desire to be one step ahead of their perceived threats.

140

Trashion Show National Organization for Minority Architect Students (N.O.M.A.S.) Instructor: Emily McGlohn

Zachary Henry & Lucas Posey Monopoly Money

NOMAS, the National Organization of Minority Architecture Students, works to supplement the design culture at the School of Architecture by providing a series of non-conventional design opportunities. In the fall, Architecture students involved in the Trashion Show produce an array of clothing items made completely from “trash� or repurposed materials.

Students also design the set and a ceiling installation. The MSU Fashion Board works in conjunciton with NOMAS by providing models and to help organize the show.

All photos taken by Kamau Bostic

141 Set design team: Leah Ballard Ebony Batchelor Kapish Cheema (President) Ian Smart Emily Turner

Set Design Paper Cranes

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A. Bottle Caps B. Stockings C. Monopoly Money D. Newspaper E. Water Bottle Wrappers F. CDs G. Water Bottle Wrappers H. Miller Lite Case I. Receipts

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A. Kimball Hansard, Lara Lynn Waddell & Savannah Ingram - Stockings B. Kapish Cheema & Jacob Adamsky - CDs C. Lee Bryant, Leah Ballard & Brittney Riland - Bottle Caps D. Garrett Yelverton - Newspaper E. Maria Ory & Ashely Wyatt - Water Bottle Wrappers F. Zachary Henry & Lucas Posey - Monopoly Money

148

Student Architectural Field Trips Field trips are an important component of architectural education; therefore, for one week during the fall semester, the entire student and faculty population leaves the Starkville campus on excursions to major

American metropolitan centers and other points of interest. The field trip location generally coincides with the studio focus for that year level, and students prepare for these trips by engaging in research

and producing case studies. The time on site is divided between structured visits to important buildings, museums, and architectural offices, and free time for students to explore on their own

149 All photos captured by students

Fifth Year Rome, Italy

150

151 151 First Year - Fort Worth Second Year - Cincinnati Third Year - Chicago Fourth Year - New York Third Year - Chicago First Year - Fort Worth Second Year - Cincinnati Fourth Year - New York Fourth Year - New York Third Year - Chicago Fourth Year - New York Second Year - Cincinnati Student pictures taken over field trips

The School of Architecture (S|ARC), established in 1973 by the Board of Trustees of the Institutions of Higher Learning (IHL), offers the only professional degree in architecture in the state of Mississippi. After an advisory council consisting of state architects urged the three senior universities to submit proposals, the IHL Board designated Mississippi State University (a land grant institution) as the location for the new program. At the suggestion of the Mississippi Chapter of the American Institute of Architects (AIA) under the leadership of Robert V. M. Harrison, FAIA, a team of architects was appointed by the National AIA to visit MSU. This important action helped the University better understand the unique requirements of a professional degree program in architecture. It was largely due to this committee’s report that MSU created the School of Architecture as an autonomous academic unit.

When the first group of architecture students entered the University in 1973, advising was provided by the College of Engineering.

Professor William G. McMinn, FAIA was named first Dean of the School of Architecture (S|ARC) and was charged with assembling a faculty. Initially, it consisted of borrowed classrooms and a few adventurous students and faculty members. In 1977, studio space was relocated from a renovated dormitory to a building originally designed as a livestock-judging pavilion (the BARN) and later used as a motor pool. Legislative approval in 1981 of $4.9 million for construction and furnishings resulted in an award-winning addition (designed by James H. Eley, FAIA) to the previously mentioned BARN building conversion. Dedication of the new facility took place during May 1983 with the national presidents of AIA, ACSA, NCARB, and NAAB participating. This event culminated the School’s first ten years of growth from initial idea to full development and national recognition.

Having been participants on the original advisory council, Mississippi architects continue to be extremely supportive of, and intimately involved with, the School’s programs. Their participation in juries, reviews, and thesis preparation continues to benefit the consistently high caliber of both faculty and students. The visiting lecturer series and field trips, in addition to co-op and exchange programs, are considered fundamental to the School’s mission and absolutely necessary given the School’s somewhat isolated location. Following development of the undergraduate program and an initial five-year accreditation, the School expanded its activities through the establishment of the Center for Small Town Research (one of the first community design studios in the country – and later renamed the Carl Small Town Center). This outreach component of the School of Architecture continues to focus local, regional, and national attention on problems and opportunities for small-town design. In 1996, the School established the Jackson Community Design Center, located at 509 E. Capitol Street in Jackson, MS, home of the Stuart C. Irby, Jr. Studios and the Jackson Center Fifth-Year Program. This facility is a three-story award-winning complex (designed by Charles C. Barlow, Jr., AIA) in the historic

152 152

History School of Architecture Mississippi State University

part of downtown Jackson adjacent to the Old Capitol Building and Governor’s Mansion. In the aftermath of Hurricane Katrina, the Gulf Coast Community Design Studio was established and is currently housed on the Gulf Coast in Biloxi, MS. Following Dean McMinn’s departure in 1984, Professor James F. Barker, FAIA became dean. Following Dean Barker’s departure in 1986 (to later become Clemson University’s president), Professor John M. McRae, FAIA (vacating the department chair at the University of Florida) became dean and was responsible for guiding S|ARC’s development through its second decade.

Upon his retirement in 2001, Professor James L. West, AIA, became the School’s fourth dean. In the early 1990’s, the School was recognized nationally (in the Carnegie Boyer Report) for its pioneering Digital Nomads pedagogy of integrating laptop computers directly into the design studio (led by Professor Michael Berk, AIA); its commitment to the innovative and combined use of digital and analog technology continues to mature. In 1995, the School established a Master of Science degree in Architecture (under the leadership of Professors Charles Calvo and Michael Fazio, PhD) and established an advanced research and teaching laboratory for high-performance computing. As a result, the Design Research and Informatics Lab (DRIL) not only served the undergraduate and graduate programs but also supported college, communities, and university related research activities using digital media and the web.

In 2004, a new College of Architecture, Art, and Design (CAAD) was formed by the Provost (under the guidance of Dean West) with the idea of bringing all the design and fine art disciplines on campus under one umbrella and one dean; this college currently houses the School of Architecture, the Department of Art, the Interior Design program, and the newly created Building Construction Science program. These collateral units offer many new and exciting possibilities for the enrichment of S|ARC and its programs. With this new organizational structure, the School of Architecture had its first interim director appointed, senior faculty member Professor David Lewis, PhD. After a lengthy national search in 2006, Professor Caleb Crawford, AIA, (from Pratt Institute) was hired. In 2009, senior faculty member and F.L. Crane Endowed Professor Michael A. Berk, AIA, was appointed interim director, and officially named the director of the School of Architecture in 2010 by the Provost.

Over the years, S|ARC’s focus has been applauded in numerous publications: Architecture (the journal of the American Institute of Architects in the 90s), Newsweek on Campus, Architectural Record, Architect, and The Carnegie Boyer Report. Its graduates have thrived in graduate programs at Harvard, Yale, Columbia, Rice, Washington University, Virginia, Virginia Tech, SCI-ARC, Boston University, and The Architectural Association and Cambridge University in England --- as well as leading and managing international design firms such as: HKS, TVS, SOM, Gensler, RTKL,

Herzog & De Meuron, Foreign Office Architects, and Perkins & Will, to just name a few. Statistics derived from records of the National Council of Architectural Registration Boards (NCARB) show that S|ARC alumni continuously score higher on their ARE board exams than the national average for candidates seeking registration as professional architects.

A few additional noteworthy accomplishments include the following: in 2003, the School of Architecture received its largest ever gift -- a $2.5 million endowment to the Small Town Center by Fred Carl of the Viking Range Corporation; in 2005, the School received its first endowed professorship -- the F.L. Crane Professorship in Architecture; from a group of alums, the School received its first facility endowment (upon the retirement of founding faculty member Professor Michael Fazio, PhD) with the upgrading and renaming of the Jury Room (Fazio Jury Room); in 2007, with support of the Lukes, the Giles Hall Architecture Library was endowed and renamed (Bob and Kathy Luke Library); in 2009, the School received the endowed Robert and Freda Harrison Lecture Series; in 2010, the School also received support (from the Harrisons) to endow and name the S|ARC Giles Hall Auditorium (Robert and Freda Harrison Auditorium); in 2011, Professor David Perkes, Director of the Gulf Coast Community Design Studio, was awarded the AIA Latrobe Prize ($100k) from the AIA College of Fellows and was also named a Champion of Change by the White House; in 2015, the Gulf Coast Community Design Studio was named an official AIA National Resilience Studio (one of 8 in the country); and in 2016, MSU had its first (ever) exhibit in the Smithsonian Institution (at the Cooper-Hewitt Design Museum), showcasing the SuperUse Pavilion design/build project headed-up by Associate Professor Prof. Hans Herrmann, AIA. S|ARC continues to make its mark. Recently, the School was prominently featured in two of the leading architectural professional journals of North America. The December 2009 Education issue of ARCHITECT magazine identified our School as one of three programs leading the nation in the area of Community Design; we were also identified as one of six schools leading the nation in the area of Social Justice in the built environment. The October 2008 issue of ARCHITECTURAL RECORD featured the Gulf Coast Community Design Studio (our research center in Biloxi, MS) on the cover along with an in-depth multi-page article and images of their work. In 2016, DesignIntelligence named the MSU School of Architecture a “TOP 25 Program in North America” (out of 120+ accredited programs). In recent years, S|ARC has been nationally recognized by NAAB (National Architecture Accreditation Board) and A+CA (Architecture + Construction Alliance) for pioneering a new and innovative Collaborative IPD Studio pedagogical model which involves teaching two of its design studios integrally with the college’s Building Construction Science program.

The MSU School of Architecture offers the only NAAB accredited professional architecture degree in Mississippi. It has approximately 200 students with a student-to-faculty ratio of about 15:1. All of its students receive a dedicated 24/7 studio workstation

space in the architecture building (Giles Hall). These studios are the center of all teaching, activity, culture, and life in our School.

The School hosts the Harrison Visiting Lecture Series bringing in national and internationally recognized architects, artists, and philosophers. The student organizations (AIAS, NOMAS, APX, & TSD) regularly host Friday Forum weekly lectures, Gallery Shows, Movie Night Film Series, and other major activities (like the Annual Beaux Arts Ball and the annual NOMAS Symposium and TrashionShow). These events help shape the School and our place in the region and world. The School has also been the host to national and international conferences; most recently, the 34th Annual International Merleau-Ponty Circle Conference, FORMCities, an international urban design conference at the Jackson Center, and we co-hosted the International 2015 BTES (Building Technology Educators’ Society) Conference. In 2016, S|ARC received a continued 8-year full accreditation from NAAB with numerous mentions of ‘Met with Distinction’; it has been continuously accredited since its inception in 1973. Coming in 2018, the Giles Hall gallery will be endowed (by the McNeels) and named the Richard and Charlotte McNeel Architecture Gallery.

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Chair

Michael Fazio, Ph.D, AIA Professor Emeritus, School of Architecture

Wayne F. Timmer, AIA Principal - WFT Architects, PA

Vice Chair

Timothy Geddie, AIA Vice President - Dean & Dean Associates/Architects

Bradley Touchstone, AIA Principal, Touchstone Architects

Kimberly Brown, AIA Principal, Strata Architects, PLLC

Robert V.M. Harrison, FAIA, FCSI Emeritus Architect

Ken M. Tse, AIA Principal – KMT Architects LLC

Creig Hoskins, AIA, NOMA President President - Hoskins Architecture, LLC

Irene Dumas Tyson, AICP, ASSOC. AIA, LEED Director of Planning - The Bourdreaux Group

Tom Howorth, FAIA Howorth & Associates Architects

Stan Wagnon, AIA Principle-Burris/Wagnon Architects, PA

Robert Ivy, FAIA CEO, American Institute of Architects

Gina Walcott Partner - Walcott Adams Verneuille Architects

Michael Grey Jones, AIA SOZO Architecture

Todd Walker, FAIA Principal - archimania

Bob Luke, FAIA Principal - LPK Architects, PA

Jenny Owens Executive Director - Mississippi State Board of Architecture

Richard McNeel, AIA President, JBHM Architects, PA

Larry Albert, AIA President, Albert & Associates Architects Wendy Allen VP Media Engineering, Fox Network Center Ben Chappell Principal, Interior Elements Charles C. “Chuck” Barlow, AIA CEO, Barlow Eddy Jenkins, PA Jeffrey R. Barnes, AIA Dale & Associates Architects, PA Joe Blake Executive Director - AIA MIssissippi Chapter Nathan Boggan, AIA Principal - Foil-Wyatt Architects & Planners, PLLC

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Daria F. Pizzetta, AIA Partner - H3 Hardy Collaboration William “Bill” Polk, AIA, LEED AP BD+C Associate Principal - Stevens & Wilkinson, Inc.

David C. Burt, AIA LS3P Associates LTD

Tim Rosenbury, AIA Principal - Butler, Rosenbury, & Partners, Inc.

Fred Carl, Jr. Fred Carl Investment

Ann Somers, AIA Principal - CDFL

Steve Davis, AIA Vice President - Canizaro Cawthon Davis

Belinda Stewart, FAIA President - Belinda Stewart Architects PA

S|ARC Advisory Board + Students The BARNworks editorial team would like to graciously thank numerous members of the School of Architecture Advisory Board for their generous financial contributions to this edition of BARNworks.

A. Bruce Wood, AIA Principal - JH&H Architects David L. Wooley, FAIA

Class of 2020

Class of 2019

Class of 2018

Class of 2017

Class of 2016

Anthony Adamsky LaVontae Alexander William Banister Brian Berry Charles Box Brianna Brown Davis Byars Tony Coleman Caitlin Finch Heather Gillich Damion Hardy Jesscia Hines Matthew Hudgins Eric Hughes Baleigh Hull Meredith Hutto Shelby Jaco Myles Jeffries Tyler Johnson Isaac Johnson Austin Keaton Danielle Mason Evan McElrath Erika Moller Mercer Murphy Matthew Murphy Donald Murray Maria Ory Caroline Pettis Samantha Puckett Daniel Ruff Jordan Smith Derrill Starling Taylor Vaughn Audrey Weeks Laura White Daniel Wikoff

Jeronda Beason Rayce Belton Jonas Brooking Warren Brown Marian Cancio Lauren Case Danielle Castaneda Shelby Christian Laura Cole Cameron Coleman Joshua Cummins Micah Dear Samantha Graham Patrick Greene Hannah Hebinck David Henderson Mitchell Hubbell David Johnson Zachary Kelly Ikhlas Khan Tahir Khan Amanda Kotecki Matthew Lewis Karly Morgan Annabelle Neville Stephanie Ogden Andrea Osby Prem Patel Asher Paxton Alan Pittman Alex Ross Brooke Russo Justin Scott Bailey Stephens Race Stewart William Stocker Regan Surles Lawrence Symington Emily Turner Jacob Turner Breana Watkins Kelli Weiland Garland Willcutt Maxwell Wilson

Charles Barlow Ebony Batchelor Diondria Bingham Quintarius Brown Elizabeth Bueche Ashtyn Bryant Jarred Creel Maria Degtyareva De’Andre Gaskin Ian Smart Kimball Hansard Zachary Henry Taylor McKinney Nathan Miley Cory Moxley Omkar Prabhu Abigail Raper Curtis Reed D’ Shari Richardson Leandra Santos Austin Schnitzlein Claire Sims Mary Singletary Nicholas Vezinaw Lara Lynn Waddell Charles Warlick Benjamin Webster

Ashton Aime Conner Ansley Anna Barr Ria Bennett Zachary Busman Walter Carter Kapish Cheema Aaron Ellzey Brandon Fairbanks Caleb Fearing Ryan Fierro Samantha Goodwin Edward Holmes Joshua Johnson David Kett Kirby Lockard Benjamin Marshall Luke Marshall Rashida Momoh Yerix Morel Rachel Patronas Lucas Posey Spencer Powell Jared Robinson Nathan Thomas Bradford Trevino Zachary White Garrett Yelverton

Lorianna Baker Stefan Balcer Ryan Bridges Carter Brown Patrick Brown Daniela Bustillos Devin Carr Ericia Cox Kevin Flores Jonathan Greer Alaina Griffin Andrew McMahan Emma Kate Morse Ryan Mura Danielle Nail Sang Nguyen Aryn Phillips West Pierce Scott Polley Morgan Powell Joseph Rose Mary Sanders Cody Skinner Cody Smith Nenyatta Smith Megan Vansant Casey Walker Hannah Waycaster Haley Whiteman Taylor Yates

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Faculty + Staff Fall 2015 - Spring 2016

Director’s Office

Faculty

Michael A. Berk, AIA, F.L. Crane Professor Director, School of Architecture

Jassen Callender Associate Professor Director, 5th Year Program

Dean’s Office

Fred Esenwein, Ph.D., AIA, NCARB Assistant Professor

David Mockbee, ESQ Lecturer, 5th Year Program

Jim West, AIA, Professor Dean, CAAD

Jacob Gines, Assoc. AIA Assistant Professor

Lawson Newman, AIA Lecturer, 5th Year Program

Greg G. Hall, PhD, AIA, NCARB, Professor Associate Dean,CAAD

Alexis Gregory, AIA Associate Professor

Amelia Salmon, RA Lecturer, 5th Year Program

Emeritus Faculty

Francesca Hankins, Assoc. AIA Visiting Assistant Professor

Staff

Robert Craycroft, RA Professor Emeritus

Hans Herrmann, AIA Associate Professor

Michael Fazio, PhD, AIA Professor Emeritus

George Martin Visiting Associate Professor

Robert Ford, FAIA Professor Emeritus

Emily M. McGlohn, AIA Assistant Professor

David Lewis, PhD Professor Emeritus

David Perkes, AIA Professor Director, Gulf Coast Community Design Studio

Rachel McCann, PhD Professor Emeritus Gary Shafer, AIA Professor Emeritus

John Poros, AIA Professor Justin Taylor, Assoc. AIA Assistant Clinical Professor Andrew Tripp, Ph.D. Assistant Professor Mark Vaughan, RA Studio Faculty, 5th Year Program

Briar Jones, AIA Lecturer Leah Kemp, AIA Assistant Director, Carl Small Town Center

Tiffany Allen-Barner Administrative Assistant, Fifth-Year Program Phyllis Davis-Webber Administrative Assistant, Design Discovery Adinistrative Coordinator Susan Hall Associate Professor , Bob and Kathy Luke Library Judy Hammett Senior Library Staff, Bob and Kathy Luke Library Scott Hudspeth Building Services and Shop Coordinator Jane Lewis Dean’s Administrative Assistant Christie McNeal Communications Specialist Laura Mitchell IT Coordinator Admissions/Advising Coordinator

Adjunct Faculty

Pandora Prater Director’s Administrative Assistant Academic Records Assistant

Ted Ammon, PhD Lecturer, 5th Year Program

Tammy Vaughan Library Associate, Fifth-Year Program

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Editor’s Note BARNworks Collaborators

W

It is with great honor, being the editor in chief of the seventh edition of BARNworks, that I write this letter. BARNworks is representation of the diligent efforts put forth by the production team as well as the school of architecture student body that created the artifacts that make up the BARNworks monograph.

Being editor in chief is not a job to be taken lightly, it takes talent and patience to successfully oversee a group of scholars. I cannot take full responsibility for the success of this publication, thankfully, I had a remarkable production team to help me through this process. This edition would not being in your hands without the help of them as well as Director Berk, the advisory board, my faculty advisors, and countless of other people that helped tie this production together.

I would like to thank my production team for all the time and effort they put forth during the year, as well as Leah Welborn and Kelli Weiland for stepping up and becoming the next co-editors of BARNworks. I would also like to thank Director Berk for the all the support and patience that he has shown and the faculty advisors, Francesca Hankins & George Martin that gave prodigious advice when we were at a loss. Lastly, I would like to thank the previous fauclty advisors, Zulaikha Ayub & Jeffery Roberson, for choosing me to be the editor of this edition of BARNworks.

Production Team Lee Bryant Shelby Chrstian Kimball Hansar Aaliyah Hawkins Zachary R. Henry Tahir Khan Baron Necaise Prem Patel Kelli Weiland Leah Welborn Max Wilson

I am hopeful that I have set a good example for the upcoming editors in chief to not only reach the level of dedication that we have established this year, but to exceed in ways that I could not reach. I wish the future of BARNworks and its upcoming members, nothing but good fortune.

Ebony Sakura Batchelor Editor-in-Chief

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