Quad Winter 2016

Designing a Dynasty Art and design legacies follow in their parents’ footsteps—or do they?

The First Hearsts

New scholarship funds incoming students from underrepresented groups in art and design.

2016 Winter

E DITORIAL Editor in Chief/Writer Angela Harwood

Copy Editors

Julie LeFebvre Hayley Westphal

A R T— G R A P H I C D E S I G N STUDENT OFFICE Faculty Advisor Rod Parker

Art Directors

Luisa Restrepo Perez Kitty Pheney

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Design & Illustration Gabe Hilliard, BFA 2017

Photographers

Dason Pettit, MFA candidate Abigail Smithson, MFA candidate Jim Zeitz

18 ON THE COVER: Broaden Your Horizons in Ireland LSU School of Art students in the 2015 Art in Ireland program based at the Burren College of Art in Ballyvaughan, CountyClare, broaden their horizons in a culturally rich country while returning to nature for inspiration. Wherever our students decide to study abroad, they don’t come back the same. When our students return from their international experiences, they all say the same thing: “It changed my life; I came back a new person.” But don’t take our word for it—try it for yourself! Learn more about LSU’s Academic Programs Abroad at international.lsu.edu.

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04 To share feedback, contact Angela Harwood – aharwood@lsu.edu – 225-578-9041

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Contents F E AT U R E S 08 18

Designing a Dynasty Art and design legacies follow in their parents’ footsteps—or do they?

The First Hearsts

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New scholarship funds incoming students from underrepresented groups in art and design.

D E PA R T M E N T S 04

Letter from the Dean

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Did You Know?

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Four Minutes on . . . Restorative Gardens

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Percy “Rebel” Roberts III

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I Made That!

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Design Education as an Event

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From Good to Great

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Class Notes

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Equipped

Where do you fit in our kaleidoscope?

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Art historian Elena FitzPatrick Sifford discusses earth eating and polychrome sculpture.

Kathleen Bogaski discusses the concept of nature as a restorative environment.

The president of VOA Associates is committed to globalizing the LSU brand.

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MFA ceramics candidate Mike Stumbras shares his soda-fired pottery techniques.

CxC certified interior design studio focuses on multimodal written and visual communication assignment.

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ASLA Firm Award winner redefines how the public interacts with the environment.

See what your classmates are doing!

Architecture student Atianna Cordova shows us her studio.

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Letter from the Dean Circles of Friends

Kaleidoscope — from the Greek Κ α λ ε ι δ ο σ κ ό π ι ον : κ α λό ς or kalos (beautiful); ε ἶδ ο ς or eidos (thing, shape); and σ κο π έ ω or skopeō (to observe, to examine)—an instrument for the creation and contemplation of beautiful things.

The College of Art & Design is like a kaleidoscope. It transforms a crowd of diverse people into complex concentric patterns of ever-changing relationships. Our kaleidoscopic community extends over time and space. It consists of circles of friends forged in the unique environment of the studio, held together by the mirrors of creativity, the passion for the making of beautiful and meaningful things, and loyalty to LSU. The studio is the basic circle, the model for all circles of friends. It is at the center. It generates the relationships that form all subsequent circles and represents all the values that remain permanent through movement and time. The students that gather around faculty mentors semester after semester, year after year, form the lasting legacy of the college. In this issue of Quad, we pay homage to some of the families for whom LSU College of Art & Design traditions have become part of a family circle— sometimes unbroken over generations. Such as the Cashio family, whose members span generations and careers in multiple disciplines.

The circles of friends formed during the college apprenticeship evolve into successful professional associations in the tradition of the medieval guilds. New alumni continue and expand their creative pursuits under the mentorship of successful older colleagues.

Upon graduation our alumni find themselves in an extended College of Art & Design studio on a local, regional, national, and international level—an LSU “World Wide Web.” The office of GraceHebert Architects, featured in this issue, is a perfect example of the solidarity and commitment of LSU College of Art & Design alumni in practice; 70 percent of the firm’s designers bleed purple and gold!

Finally, as we move away from the kaleidoscopic center we find another wider, more intriguing but equally strong, set of relationships held together by an appreciation and even admiration of the quality of our art and design education. This wider audience of donors, supporters, and friends endows professorships like the Nadine Carter Russell Chair, supports leadership initiatives through Dean’s Circle membership and Annual Fund giving, volunteers their time as mentors to our students, serves as colleagues to our faculty, and provides an audience for our emerging artists and designers, reinstating the value of art and design in the community and the world.

Where do you fit in our kaleidoscope?

—Alkis Tsolakis, Dean

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Did You Know? with Elena FitzPatrick Sifford

Q: What does earth eating have to do with polychrome sculpture?

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The eastern corner of modern-day Guatemala houses the most important sacred pilgrimage center in Central America, the Basilica of Esquipulas, famed for its miracle working Cristo Negro, or Black Christ. Quirio CataĂąo, an Italian artist living in the Guatemalan capital, carved the polychrome sculpture in 1594. Originally painted as a typical European crucifix, the cristo slowly darkened from age and exposure, and its black color was deliberately preserved and enhanced.

My research looks at the cult that centered on this Italian Mannerist crucifix that was infused with ChortĂ­ Maya cultural practice, particularly the ritual of geophagy, or earth eating. To this day, tablets of white kaolin clay are embossed with images of the cristo and sold near the basilica. These pieces of sacred earth are called benditos and are believed to bestow health on pilgrims and devotees of the famed image.

Beginning in the colonial period, the uniquely blackened appearance of the cristo was complimented by the white clay of the sacred earth, creating an alluring dichotomy that attracted pilgrims from throughout the Viceroyalty of New Spain (modern-day Mexico and Central America).

My research bridges the fields of art history, ethnohistory, geography, and anthropology, examining not only the materiality of the sculpture itself, but the cultural practices that developed around it. Earth eating, while not unique to Esquipulas, became a prime feature of the cult of the Black Christ, thus infusing a traditional Catholic devotional image with the unique features of a Latin American geological and cultural landscape.

Elena FitzPatrick Sifford is an assistant professor of art history at LSU.

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Four Minutes on...

Restorative Gardens

with Kathleen Bogaski, 2015–16 Marie M. Bickham Chair Recently, fourth-year landscape architecture students at LSU were given the opportunity to study the evidence-based approach to designing for healthcare facilities in Portland, Oregon. The students toured a memory garden for Alzheimer patients and five Legacy Health System facilities, including a wide variety of well-designed therapeutic gardens serving staff and users of the Oregon Burn Center, children’s hospital, birthing center, and rehabilitation facilities. Guided by Teresia Hagen, coordinator of Legacy Gardens, students learned that the success of a healthcare garden is more likely when using a collaborative design process involving the people using and caring for the garden and a strong understanding of the patients’ health outcome goals.

The concept of nature as a restorative environment is not a new or modern idea. Since ancient times, gardens have been designed to aid in the healing process. From the first tablets of herbal medicine to the Asclepius gardens in ancient Greece, monastic cloisters to Zen gardens in Asia, and public parks to modern healthcare facilities, the garden has been proposed as a place of care, restoration, and healing of the spirit.

The idea of “nature as a healer” has waxed and waned over the centuries. Advances in modern medical science led to a dramatic decline in access to nature by the 20th century as hospitals were institutionalized and designs were driven by costs, efficiency, and infection control. By the 1980s, the AIDS epidemic, virulent new viruses, and the high cost of medical care became prominent issues and possibly compelled researchers to examine the physical and psychological benefits of nature in the healing process.

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Kathleen Bogaski has more than 25 years of professional experience working at exceptional design firms including Design Workshop, Inc., EDAW/AECOM, and Land Design Research. Her research and design practice, Bogaski Design Studios, focuses on site designs using low-water-consumption plantings and sustainable materials, landscape renovation and redesign, and creative surface-water management and reuse techniques. She has advanced training and certificates in healthcare garden design, fire-wise design, and quality management.

A restorative garden at Legacy Health System Meridian Park Medical Center in Portland, Oregon

In 1984, Dr. Roger Ulrich, one of the most influential evidence-based healthcare design researchers in the world, provided the first credible scientific evidence to support what most people knew intuitively about the restorative benefits of nature. He found that surgical patients with views of nature had shorter post-operative stays, fewer negative observations from nurses, took less pain medication, and experienced fewer minor post-operative complications than those with views of only a brick wall. Ulrich’s studies in the 1990s indicated that only 5-7 minutes spent in nature or viewing natural scenes reduced the physiological indicators of stress (such as elevated heart rate, blood pressure, production of stress hormones), resulting in a calming effect that improved mood and aided in the healing process.

Similarly, Rachel and Stephen Kaplan’s research in 1999 indicated that exposure to nature and natural scenes could restore a person’s ability to concentrate after mental fatigue due to focused effort.

Further research revealed a 20 percent improvement in both memory and attention span for people who walked LSU Robert Reich School of Landscape Architecture students enjoy the garden space at the Legacy for one hour in Health System Emanuel Children’s Hospital in Portland, Oregon. nature as opposed to those in an urban patient populations through a collaborative desetting; elderly stroke patients who received as little as 15 minutes per day sign process with clinical staff, former patients, in sunlight had 84 percent fewer hip fractures than those not regularly therapy occupations, and maintenance staff. exposed to sunlight; and women 50 years of age or older who gardened But it could also be argued that any garden can at least once a week had a higher bone density reading than those who have a therapeutic effect and aid in the healing performed other types of exercise. process if thoughtfully designed with the users’ needs placed first and foremost at the center of These research findings demonstrated to the medical community that the the design process. physical environment—specifically, views of nature—had a measurable positive effect on patient health and established a business case for supporting the development of gardens and access to nature. Medical authorities began to see nature/gardens in hospital settings as not just cosmetic extras but as ways to improve health outcomes for patients that translated directly into potential cost savings for hospitals and insurance companies (Marcus, Sachs 2014).

“A place of care, restoration, and healing of the spirit” The need for design reform became even more evident in 2000 when a report from the Institute of Medicine revealed that medical errors were involved in more than 98,000 hospital deaths per year, and in the same year, the Centers for Disease Control and Prevention reported that the annual cost for U.S. hospital-acquired infections was estimated at $5 billion (Ulrich, et al., 2008). These findings resulted in a promising new direction in healthcare design where gardens were created for specific

In the 21st century, the goal is to continue to train more professionals in this specialized area and gather additional evidence on how the design of therapeutic gardens can more appropriately support the healing process for specific diseases and injuries. What specific design components lead to the creation of an environment that supports health benefits?

How might healing gardens become an integral part of the healthcare design process?

With the recent trend toward more outpatient facilities, we may need to rely on all landscape types to provide restorative qualities. Fortunately, most of the evidence-based design guidelines for healthcare gardens can be applied to any site, as they are developed from the foundational principles of design, access for all, and creating aesthetically pleasing and sustainable landscapes designed to meet users’ needs.

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DESIGING A DYNASTY The old adage, “the cobbler’s children go unshod,” may ring true, but one thing is certain—at least here at the LSU College of Art & Design: the children of artists and designers learn to find what they love and love what they do; many become artists and designers themselves. Creativity spawns creativity. The art of making, the efforts of labor becoming tangible realities, being able to say “I made that” inspires and influences family members to do the same.

More than creativity and the act of making, there’s another quality that artists and designers pass down from one generation to the next: passion.

The individuals featured here were never pushed or coerced to enter their professions. In fact, parents encouraged their children to explore and exhaust all options. Many yearned to keep their children close while insisting that they consider internships and careers away from home.

Travel, they advised. Explore every possibility from small town to big city, corporate firm to boutique office, residential to commercial design.

As architect Buddy Ragland said to his daughter, Grace, “You don’t know what you don’t know.”

THE RAGLANDS Similar but Different

Marvin “Buddy” Ragland is a partner and architect at Coleman Partners Architects, LLC, in Baton Rouge, Louisiana. Since receiving his Bachelor of Architecture from LSU in 1980, he has developed a broad base of architectural knowledge and now serves as partner in charge of many ongoing projects for the firm. While others in the firm are engaged in projects such as the continuing renovations to the Taylor Engineering Building on LSU’s campus, Buddy is actively engaged in the effort for the new office building for the Water Institute for the Gulf, a signature building for the innovative Water Campus in downtown Baton Rouge.

LSU College of Art & Design legacies—the apple doesn’t fall far from the tree

Grace agreed that she was never pushed toward design, but she said her choice to major in landscape architecture had much to do with her parents. “My mom was always painting and doing things around the house, and I always liked going to my dad’s office and seeing what he was doing. He redesigned our house, and I grew up knowing that something my dad had done was built in a real-life setting. I loved what he did, and I think I just kind of took it and turned it in my own direction. So we’re staying similar but different.”

In her senior year of high school, Grace was assigned to shadow a professional for career day. She couldn’t think of anything she was interested in other than design. Her father set her up with one of his colleagues, LSU Professor Emeritus Suzanne Turner of Suzanne Turner Associates, a landscape design, planning, and research firm in Baton Rouge.

“I went to her office and really liked the dynamic there,” Grace recalled. “It was kind of like my dad’s office—very collaborative and free-flowing. I just liked how it felt, and so I chose landscape architecture as my major.”

Grace returned to intern with Turner over the summer “to make sure I like where I’m going, and I do.”

Mrs. Lauren Ragland also graduated from LSU with a BS in marketing.

Their daughter, Grace, is in her second year of the landscape architecture program at the LSU Robert Reich School. Both parents were influential in Grace’s decision to major in landscape architecture.

Both Grace and Buddy entertain the idea of working together one day. “She might end up in a firm that we do work with, and that would be kind of fun. Grace jokingly tells me that by the time I retire she’ll have opened her own firm and I can work for her,” Buddy mused.

“We never had an overt ‘you must follow in this track’ thing at all, really,” said Buddy. “We were more about trying to get Grace to settle on something that she could be enthusiastic about.”

“Yeah, my mom thinks we’ll end up a duo,” Grace added. “When he retires, he’s not really

Architect Buddy Ragland is excited to see his daughter Grace pursuing a design profession—landscape architecture. The two entertain the idea of working together someday.

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“Our respective professions have a lot to offer, especially as the world becomes more urban and dense. As designers we are—for better or worse—going to leave a big mark on that, and if it’s working like it’s supposed to, a good mark.

It’s fun for me to watch Grace learning how to be a part of that, to be active in that.”

THE MITCHELLS

“Dad, you were right!”

Some legacies try to fight it, but they eventually end up where they’re supposed to be.

Dennis and Anna Mitchell are designing the world we live in—inside and out.

going to give it up. I’ll be ready. We can have a practice that will cover both disciplines.”

Grace currently envisions working in residential landscape design but is definitely open to exploring other possibilities. She sees the fourth-year semester-long internship (a curriculum requirement) as her opportunity to travel and experience working at a larger firm.

“I’ve moved around and lived in lots of places, and I’ve really pushed the envelope for Grace to travel and see,” said Buddy. “I think there’s value there. You can be totally happy where you are, but you don’t know what you don’t know. Traveling might reinforce what you love about where you come from, or you might discover you like something else.”

Most of all, Buddy is excited to see Grace pursuing a design profession.

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Anna Mitchell’s father, Dennis, received his Bachelor of Landscape Architecture from the Robert Reich School in 1989. He began working at LSU 12 years ago as the campus landscape architect and is currently the assistant director of master planning and construction. Before LSU he worked at a few architecture and engineering firms, but most influential was his time spent working for LSU Professor Emeritus Jon Emerson at Jon Emerson & Associates, a landscape architecture firm in Baton Rouge.

He adopted Emerson’s philosophy as his own.

“Jon always wanted the project to be directed by the client. It was your job as the landscape architect to pull the personality out of the client and make the project memorable,” Dennis explained.

That philosophy carries over into Dennis’s work at LSU. “I’ve been able to make a difference here. LSU is like a little city. We’re always pushing, raising the bar towards being the most attractive campus we can possibly be while making it safer and more navigable.”

Anna inherited her father’s creative juices. She grew up watching her father draw and admired his craftsmanship. But when it came time to decide on a major, she went into pre-nursing, which Dennis said he found interesting.

“My favorite moment is when she called me and said, ‘Dad, you were right!’ ”

“Biology and chemistry were not her forte,” he conceded. “But I let her discover that on her own.”

“I realized after my first year that I just wasn’t happy,” Anna stated. “I sat down with my father to regroup. I’d always been interested in decorating and enjoyed helping remodel our home, and my father suggested interior design.

I transferred and everything clicked.”

Anna graduated from LSU with a Bachelor of Interior Design in May 2015. During her last semester at LSU, she participated in the International Interior Design Association Student Conference, where she was immersed in the design industry. She met with representatives from the architecture firm Page and was given the opportunity to interview. Anna is now working at Page as a furniture designer/ planner in the corporate/healthcare division.

“I’m enjoying it so far,” said Anna. “It’s interesting to focus on one facet of interior design, such as furniture, and see how that specific aspect goes through each design phase. I’ve

always had a high interest in space planning, and I’m getting to be a part of that at Page.”

Anna wants to stay in Houston for at least another five years. After that, who knows?

Her father hopes she’ll eventually settle nearby. “We are die-hard LSU folks—home people,” remarked Dennis. “But my wife and I have been very deliberate in traveling and seeing other places with our two daughters.” Dennis’s other daughter, Allie, also graduated from LSU in May 2015 with a degree in sports administration.

As for Anna, Dennis insisted, “I didn’t push her—she came to interior design naturally. But I have to say my favorite moment is when she called me and said, ‘Dad, you were right!’”

THE COFFEES

A Changing Profession Suzie and Brandon Coffee both graduated from the LSU School of Art with a focus in graphic design—just 25 years apart.

Suzie was carrying Brandon when she received her degree in 1990; she married Brandon’s father during winter break of her senior year. “You sure move fast,” she recalled Professor Gerald Bower commenting when he realized she was pregnant. (Bower couldn’t have guessed he’d be teaching Brandon 20 years later.)

Suzie was interning at Diane Allen & Associates, a media and public relations firm in Baton Rouge, before her and her husband, a turnaround manager in the petro-chemical industry, moved to Houston immediately after graduation. Their daughter was born 18 months after Brandon, and Suzie took a hiatus to concentrate on motherhood. When the Coffees returned to Baton Rouge, Suzie was ready to get back to graphic design.

She joined the communications team at Southeastern University in Hammond, Louisiana, “perhaps the most fun job I ever had,” she observed.

Two years later, the Coffees found themselves in Utah, then Colorado, with the possibility of being stationed in Wyoming. “Nope, I’d had enough,” Suzie divulged, remembering that time. “I called Diane Allen and begged her to help me find a job in Baton Rouge as I didn’t think I’d survive another northern winter.” Diane offered her a job, and Suzie announced she would be moving back to Baton Rouge with the children.

Her husband got his old job back at Jacob’s Engineering, and the family settled, for a time, in their home state.

Later, Suzie left Diane Allen to work at Xdesign, a great opportunity with one of the most prominent graphic design firms in Baton Rouge. Her biggest clients became Community Coffee and Louisiana Fish Fry.

Suzie Coffee and her son Brandon both received BFAs with a focus in graphic design from the LSU School of Art.

“I fell in love with the work,” said Suzie, “especially Louisiana Fish Fry,” where she ended up working as the in-house art director for several years

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“I’m excited to watch him take the world by storm.” until she started her own business, Hot Coffee Design, in 2007. Louisiana Fish Fry remains a client to this day.

The Coffees moved back to Texas in 2011, but Brandon stayed in Baton Rouge to attend LSU, graduating in 2015. Brandon has also done freelance work for Louisiana Fish Fry, filling in for his mother when the company needed someone nearby. He most enjoys creating presentations, videos, and motion graphics. He realized a childhood dream through his thesis project, a 2½-minute animated short film. “I did everything—hand-rendered illustrations and graphics, the voices,” said Brandon, who grew up drawing his own humorous cartoons and hopes to work in animation one day.

Brandon remembered seeing his mother’s work—the posters and materials she designed for Southeastern University made a particular impression. But he was never pushed toward graphic design.

“I was really surprised when he announced what he wanted to do,” shared Suzie. “But I’ve known he was gifted from the time he could hold a crayon.”

Brandon currently works part-time as a graphic designer/animator at Big Fish Presentations, a creative agency that specializes in delivering interactive experiences. Both mother and son commented on how much the profession has changed over the years.

“He will go on to do so much more than I ever did,” Suzie stated. “I’m excited to watch him take the world by storm.”

THE CASHIOS Like Old Family

Spanning generations and careers in multiple disciplines, the Cashios are the quintessential LSU College of Art & Design family.

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Emily and Chris Cashio, siblings, are fourth-generation LSU students, Emily the third in her family to pursue landscape architecture after her father, Sam, and her grandfather, Carlos. Chris is pursuing a BFA in graphic design at the LSU School of Art. Their late grandfather, Carlos Cashio—a student and colleague of Professor Max Conrad and a protégé of Dr. Robert S. Reich—was one of the first graduates of the landscape architecture program at LSU. Carlos’s grandfather—the great-great-great-grandfather of Emily and Chris—came to Louisiana from Sicily, working on sugar cane plantations until he earned enough for the rest of his family to migrate to the U.S. Carlos’s father, Samuel, was born in America and was the first in the family to attend LSU. He graduated from the law school and built a career as an attorney general, working within the Louisiana legislature. Someone from every Cashio generation has since attended LSU. After graduating from LSU in 1966, Carlos worked in the Northeast for a while before moving back to Louisiana to cofound Carlos and Morgan, which later became Cashio, Cochran and Sullivan (then Cashio, Cochran), one of the first successful landscape architecture firms in the state. Carlos, also a licensed architect, worked with LSU Professor Max Conrad on significant projects with lasting impact such as the redevelopment of the Vieux Carre Riverfront, the Louisiana World Exposition, and the Audubon Park Zoological Garden in New Orleans. He was elevated to fellow of the American Society of Landscape Architects and served as president of the Louisiana Chapter of ASLA and as vice president of the New Orleans Chapter of the American Institute of Architects. His firm won numerous design awards and began to gain a national reputation for its design work and public projects. LSU alumni Azeo “Ace” Torre joined the firm in the 1980s, and the firm became Cashio, Cochran, Torre Design Consortium. According to Max Conrad’s memoir, Landscape Architecture and New Orleans: Room for Only One?, “Cashio, Cochran’s work in zoo design, together with that later completed by Torre, soon became models of zoological planning and design in the United States.” Carlos passed away in 2011, but his legacy lives on through his influential work and his children and grandchildren who inherited his penchant for design.

Carlos’s children, Sam and Cathy, also graduated from the LSU College of Art & Design. Cathy earned a Bachelor of Fine Arts with a focus in ceramics in 1991. She was a studio potter in California and returned to Louisiana, where she opened a gallery on Magazine Street in New Orleans. The gallery is no longer in business, but Sam said Catherine still has a kiln in her garage.

Sam began his education in construction technology, switching to landscape architecture after two years. “I took off with it; I liked it a lot,

From left: Sam Cashio, Emily Cashio, and Chris Cashio. The quintessential LSU College of Art & Design family, the Cashios span multiple generations and careers in several disciplines.

and the electives were similar. It felt natural,” Sam recalled. Sam also recounted spending time at his father’s firm, where he first met Max Conrad. “I remember playing with a box of ink stamps, and he was like ‘why don’t you put some trees here?’ I was in the third grade, and he was critiquing me already,” Sam laughed.

“Coming to the landscape architecture program felt like old family.”

Sam participated in Conrad’s legendary East Coast/West Coast field trips and was among the first group of students to visit Tokyo. Since graduation, he has worked at McDougal-Steele in Houston and Clean Cut Austin, one of the largest landscape/contractor groups in Texas at the time. “I gravitated toward the project

management side of the business,” Sam shared. “It was a good blend for me. I like to be in the field, seeing things being built.” He returned to Baton Rouge in the mid-1990s and has focused more on industrial and petrochemical construction with his background in civil and structural engineering, “all the building blocks I learned in landscape architecture and construction management.”

“Coming to the landscape architecture program felt like old family.”

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Legacies & Loyalties: GraceHebert Architects Family and fellow LSU alumni make up a large part of the team at GraceHebert Architects, APAC, a full-service architecture, interior architecture, programming, and master-planning firm in Baton Rouge, Louisiana.

Professor Max Conrad’s first class (1966)—urban design—visited Poydras Street in New Orleans. Carlos Cashio (wearing black glasses, second from left), was one of Conrad’s first students.

Sam’s son Chris also started his education at LSU in engineering—mechanical engineering—but after the first year, he knew it wasn’t the right fit. He longed to design.

He spent the summer taking introductory graphic design classes with Professor Gerald Bower and is now fully enmeshed in first-year foundations classes at the LSU School of Art. Sam’s daughter Emily is in her first year of the LSU Robert Reich School of Landscape Architecture undergraduate program. She learned to draw from her grandfather, Carlos, and has always enjoyed the outdoors.

The Cashio family comes together for the holidays at Cashio Farms in Maringouin. The property—a mini arboretum—has crawfish ponds, trees, fishing ponds, and wildlife. Emily recalled surveying the driveway with her dad and how he explained what elevations meant.

President Jerry Hebert and Architect Jimmy Hebert are brothers; Principle David Hebert is Jerry’s son. Principle Jody Gascon is Jerry’s and Jimmy’s cousin. All four graduated from the LSU School of Architecture, and a total of 12 more LSU College of Art & Design graduates work at GraceHebert. In other words, 16 of the firm’s 23 designers bleed purple and gold.

“Our corporate office is in close proximity to LSU, which allows us the capability to easily reach top talent from the university,” said Jerry Hebert, president and principal of GraceHebert. “We know students coming from LSU are prepared for the realities of architecture/ interior design and are able to handle this fast-paced environment. We will continue to work hard to recruit and retain LSU alumni.”

While neither Chris nor Emily directly attributed their career choices to their family history, their father is sure they’re on the right path, no matter what they end up doing. “One thing you learn at the LSU College of Art & Design is how to present your ideas and speak in front of a crowd,” explained Sam. “When you get into the business world, it’s a great advantage to have some comfort and ability to write a speech and prepare a good presentation.

An education at the college level is all about stimulating your mind, challenging yourself, getting out of your comfort zone, and traveling—the building blocks to any successful career.”

Gerald D. “Jerry” Hebert II, BArch 1985 AIA, NCARB, LEED AP President

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Raymond J. “Jody” Gascon III, BArch 1984 AIA, NCARB, ICC Partner, Architect

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Kriste C. Rigby, BID 1987 NCIDQ, IIDA, ASID Partner, Interior Design

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David Hebert, BArch 2008 AIA, NCARB, LEED AP Partner, Architect

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Gary “Jimmy” Hebert Jr., BArch 1993 AIA, NCARB Architect

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Joel Fontenot, BArch 1989 AIA, NCARB Architect

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Seamus McGuire, BArch 2010 AIA, NCARB, LEED AP BD+C Architect

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Michelle Higby Stevens, BArch 2000 AIA, NCARB Architect

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Marcus Williams, BArch 2005 AIA, NCARB Architect

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John Streva, BArch 1994 Project Manager

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Sarah Gravois, BArch 2013 AAIA, LEED GA Intern Architect

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Giselle Grenier, MArch 2006 Associate AIA Intern Architect

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Taylor King, BArch 2013 Associate AIA Intern Architect

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Kathryn Miles, BID 2013 Intern Interior Designer

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Melissa Pourciau, BArch 2003 Associate AIA Intern Architect

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Katy Robinson-Morton, BFA 2009, BID 2011 Intern Interior Designer

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“We will continue to work hard to recruit and retain LSU alumni.”

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Percy “Rebel” Roberts III Continuing the Roberts Legacy and Globalizing the LSU Brand Percy “Rebel” Roberts III, AIA, RIBA, NCARB, FACHA, is president, chief operating officer, and a design partner of VOA Associates, Incorporated. VOA is an international architecture, planning, and interior design firm based in Chicago with more than 300 employees serving international markets in the education, healthcare, hospitality, commercial, government, cultural, workplace, and residential sectors. Rebel’s architectural projects have been recognized with more than 20 international, national, and local awards for design excellence. He has worked on projects totaling more than $5 billion worldwide. Rebel believes great design must “energize the spaces and buildings with a spirit that grows from the deep roots of our culture and our dreams.”

Born in Los Angeles and raised in Baton Rouge, Louisiana, Rebel received his Bachelor of Architecture from LSU in 1976. He spent his fifth year studying abroad in the Royal Academy of Art and Architecture in Copenhagen, Denmark. “In Copenhagen, we competed against people from internationally prestigious schools—Harvard, PENN, CalPoly—and we did well,” Rebel related. “It was the first time I tested myself against outside competition, and the experience gave me the confidence to try a career further afield.”

Percy “Rebel” Roberts III is president, COO, and design partner at VOA Associates in Chicago.

He moved to Chicago and joined VOA Associates as a design architect— one of 17 employees—in 1980. Today, Rebel continues to design and to mentor young designers and architects. Over the course of his career he has gravitated to healthcare architecture, where he considers it a privilege to contribute his expertise to improve the lives of patients, their families, and caregivers.

“Architecture is so fundamentally about taking care of people, providing shelter and space to work, play, and relax,” explained Rebel. “The holistic impact of architecture is compelling to me. For healthcare patients and

VOA Associates worked on the redevelopment of Wrigley Field.

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their families, who are at their most vulnerable, designing an environment that supports healing and comfort is one of the most complex, toughest challenges to take on.”

Rebel’s healthcare projects in Baton Rouge include the LSU Medical Education Building, which he designed with fellow alumnus Carroll Blewster, and the cardiology tower and Mary Bird Perkins Cancer Center at Our Lady of the Lake. His current projects in Chicago include the new lakefront Lucas Museum of Narrative Art (lucasmuseum.org), the redevelopment of Wrigley Field, and Google’s new Chicago headquarters. Further afield, VOA is working on three new themed entertainment projects for the Great Wall of China.

Rebel’s family has deep historic connections with LSU. He counts 31 LSU alumni among his relatives. His wife, Leigh Ann, graduated from the LSU School of Architecture in 1979. His grandfathers attended LSU, and his late father, Percy Roberts Jr., was among the first graduates of the LSU School of Architecture; Rebel and Leigh Ann funded a scholarship in his name, the Percy E. Roberts Jr. Memorial Scholarship in Architecture.

Rebel continues the Roberts legacy of dedication and involvement at LSU. He is a member of the 1860 Society, and, in 2007, Rebel and his wife initiated and funded the Percy E. “Rebel” and Leigh Ann Roberts Scholarship. His service as an advisory board member at the School of Architecture has been most rewarding.

“I am encouraged with the progress Director Jori Erdman is making and the global focus of the dean and current leadership,” added Rebel. “Our aim is to open opportunities to LSU graduates globally by including an outward focus so the LSU brand is seen by the world.”

Designed by VOA Associates, the Lucas Museum of Narrative Art in Chicago will be a gathering place to experience narrative art and the evolution of moving images, from illustration to cinema to the digital media of the future.

ArtiFACT

Rebel Roberts continues to mentor young designers and architects. He hosted two groups of LSU School of Architecture students visiting the Windy City in fall 2015: third-year undergraduates in Associate Professor Greg Watson’s studio and second-year graduate students in Professional in Residence17 William Doran’s community design studio. As an active member of his community, Rebel has served as chairman of his church finance committee, coached and led training efforts for the park district, and served as Scoutmaster in Wheaton, Illinois.

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THE FIRST HEARSTS In summer 2015, The Hearst Foundations granted $80,000 toward current-use scholarships for incoming undergraduate minority students in the LSU College of Art & Design.

The Hearst Foundations are national philanthropic resources for organizations working in the fields of culture, education, health, and social services. The foundations identify and fund outstanding nonprofits to ensure that people of all backgrounds in the United States have the opportunity to build healthy, productive, and inspiring lives. Since 1945, the foundations have made over 20,000 grants totaling more than $1 billion.

“We were inspired by the talent and the excellence of the LSU College of Art & Design and the belief that providing scholarships will help people realize their dreams and their ambitions,” commented Mason Granger, director of grants at The Hearst Foundations.

The $80,000 grant has been divided equally among the schools of architecture, art, interior design, and landscape architecture for the recruitment and retention of underrepresented groups in art and design, providing scholarships to 20 LSU College of Art & Design students over the next five years. Each Hearst scholarship recipient will receive $4,000—$2,000 a year during their first and second years of study. The scholarships may be used for tuition, supplies, living expenses—whatever the students need to succeed in their studies at LSU.

WHY DIVERSIFY? Every major professional organization in art and design has a committee, council, commitment, or board of some kind intended to increase diversity and inclusion and attract and encourage underrepresented groups through mentorships and role models. But why is diversity in design important?

The article, “Diversity & Inclusion in Design: Why Do They Matter,” written by Antoinette Carroll, chair of AIGA’s National Diversity and Inclusion Task Force, states that “Diversity in design means diversity of experience, perspective and creativity—otherwise known as diversity of thought—and these can be shaped by multiple factors including race, ethnicity, gender, age, sexual identity, ability/disability and location, among others. The diversity problem in design is not only in the numbers, but also in the lack of diverse role models, opportunities, and

$80,000 grant provides scholarships for underrepresented groups in art and design

public awareness—which leads to apathy, insensitivity and even outright discrimination.”

Increasing diversity in the art and design professions starts by increasing diversity in art and design education. And increasing diversity in education means identifying and addressing the obstacles and challenges underrepresented groups face in pursuing an education in art and design, most notably, the financial burdens beyond the cost of tuition and the workload and long studio hours that mean students with jobs often struggle to keep up. The Hearst scholarship provides the recipients with some relief from these obstacles while reinforcing that diversity matters at LSU and in these professions.

As the college’s first donation from The Hearst Foundations and as the first scholarship available for incoming freshmen, the $80,000 grant is a milestone for the College of Art & Design’s mission to educate a diverse student population. Diversity—strengthening the intellectual environment by broadening the cultural diversity of the college to promote understanding others—is also one of the four main goals in the college’s strategic plan.

“We are thrilled to be able to encourage underrepresented students to pursue careers in the design professions through the scholarships now available to them,” said LSU College of Art & Design Dean Alkis Tsolakis. “Because of The Hearst Foundations, our students will have once-in-a-lifetime experiences at LSU.” Starting with Malachi Pursley, Kamea Comeaux, Amanda Campos, and Scott Self—the college’s first Hearst Foundations scholarship recipients.

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From left: Scott Self (BLA), Malachi Pursley (BArch), Kamea Comeaux (ART), and Amanda Campos (BID) are the college’s first Hearst scholarship recipients.

Photos by Dason Pettit

MALACHI PURSLEY Bachelor of Architecture

Malachi Pursley wanted to be a doctor until his junior year at Baton Rouge High School when he realized he didn’t want to abandon his passion for art and design. After shadowing an architect—a friend of his mother’s—he came to see architecture as a nice balance between his background in science and math and his creative interests.

“I love the way architects are able to be freely creative,” Malachi said.

He is already experiencing that creative freedom as a first year student in the Bachelor of Architecture program at LSU. “The foundation classes are opening my eyes to the design process and what we should be looking at and how differently architects view the world. The work is always challenging, which I enjoy,” he said while laughing about drawing lines for the first two weeks in the foundation design studio. (Malachi sees lines everywhere now, one of the points of the exercise.)

He realizes that an architecture degree is a lot of work. “People give you a consoling look when you say you’re majoring in architecture,” he explained. “It’s a time commitment, for sure.”

On top of taking 16 credit hours (of which he actually spends 22 hours in class; studio courses require 12 hours of in-class time but only count for 6 credit hours), Malachi spends at least four hours a day working in the studio.

“The Hearst scholarship is a big help as I don’t have time to have a job while pursuing this degree. It also helps with the cost of supplies. I don’t have to rely as much on money from my parents, and I can focus more on the project versus how to fund the project,” he said.

Malachi was awarded The Hearst Foundations scholarship for his outstanding ACT score and high school GPA. He also received a Stamps Scholars Award from LSU. This elite award offers full cost of attendance for four years, as well as an unprecedented level of funding for enrichment experiences. The Stamps scholarship allows Malachi to live on

“ Because of The Hearst Foundations, our students will have once-in-a-lifetime experiences at LSU.” 20

Malachi Pursley said he spends at least four hours a day working in studio. Because of the Hearst scholarship, he said, “I can focus more on the project versus how to fund the project.”

campus. “Otherwise, I’d be living at home.

Being on campus is so much easier, especially with the long studio hours and not having to worry about the commute.”

Malachi is proud of what he’s made in studio so far, especially his blind contours and print blocks. “I made the print blocks and did the prints with the blocks I made. It was really satisfying to be able to say, ‘hey, I made that from start to finish.’”

KAMEA COMEAUX Bachelor of Fine Arts

Art has been a part of Kamea Comeaux’s life since childhood.

“I grew up with it,” said Kamea. “My uncle is an artist. I’ve seen it all my life. It’s my passion.

I didn’t have a doubt about my major; I just went for it.”

Kamea’s uncle (who was also an NBA player), mother, and grandmother all encouraged her artistic proclivities. “My mother really pushed me to pursue art, and my grandmother, who lives in New York—she’s originally from Canada and is really spunky—she would send me news about artists and exhibitions. She is very supportive of my ventures. I’m so grateful to have family like that.”

Kamea was born in Houston, Texas, but her family has roots in Louisiana. They lived in Virginia while her father completed medical school at Howard University and six years ago moved to Louisiana where he completed his residency. As well as the influence of her family, Kamea attributed her interest and talents in art to her early exposure to art museums, such as the Smithsonian in Washington, D.C., and the Metropolitan Museum of Art in New York.

“Seeing the works of such successful artists really influenced my decision to major in studio art,” said Kamea. “It reminds me that I can do this when so many people don’t understand or think I’m crazy.”

She also fondly recalled her sophomore fine arts teacher at Sulphur High School, Mr. Danos, as another major influence in her life.

“He was tough and hard on me, but he saw and acknowledged my strengths as an artist,” Kamea remembered. “He taught me a lot and pushed me to take more advanced art courses. I grew as an artist because of him.”

She is completely enmeshed in art this semester. “All my classes are strictly art,” she laughed. “No math or English composition this semester, although I know I’ll have to get to that. Right now it’s two- and three-dimensional composition, art history, and, my favorite, painting and drawing.”

Kamea’s favorite artist is surrealist Salvador Dali, and she attributes her creative bravery to her love of Frieda Kalho. She also idolizes George Rodrigue, painter of Blue Dog. “He is the epitome of Louisiana to me. I love this state because of the food, culture, music, and all that—but for me, it’s the art here. I want to create art that’s native.”

As a well-rounded, hardworking student ensured for success, Kamea was selected for The Hearst Foundations scholarship. “The scholarship takes a lot of stress off financially,” she said, “and I am more motivated with this acknowledgment.” Kamea said she searched everywhere for art scholarships. “There just aren’t that many scholarships out there for studio art majors. It really put me in the dumps not being able to find anything, and then this scholarship found me.

“I’ll do very well with this scholarship,” added Kamea. “And it will create more opportunities for people like me to pursue art.”

Kamea Comeux is thrilled to be completely enmeshed in art this semester.

“The scholarship takes a lot of stress off financially,” she said, “and I am more

Kamea wants to be a painter and is considering pursuing art therapy. “Art therapy is an important field and a great way to have a career and practice art at the same time.”

motivated with this acknowledgment.”

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The Hearst Foundations scholarship is a big help to Amanda’s family. “I have three siblings, including an older sister in college, a younger sister entering high school, and a younger brother with Down syndrome. My parents do okay and, thankfully, my grandmother helps a lot, but tuition and medical bills add up. The scholarship is something I accomplished that will help them, and I’m so proud to be able to do so.”

SCOTT SELF

Bachelor of Landscape Architecture

The Hearst scholarship is a big help to Amanda Campos and her family.

“The scholarship is something I accomplished that will help them, and I’m so proud to be able to do so,” she said.

AMANDA CAMPOS

Bachelor of Interior Design Amanda Campos originally had her heart set on becoming a neurologist and majoring in biology. At Lafayette High School, she enrolled in the Health Academy and took four years of health classes before abruptly changing her major to interior design in March of her senior year.

“I’ve always been artsy, and I watch a lot of HGTV,” said Amanda. “I’m really interested in interior design and enjoy designing spaces, so I decided to go for it, and—so far—I love it!”

Amanda said she finds her teacher, Professional in Residence Matthew Edmonds, inspiring. “He talks about how much he loves going to work every day and how it doesn’t feel like a job to him. I hope interior design is like that for me. I can see myself loving it forever. I have friends majoring in biology, and they just don’t seem to love it.”

In her first semester at LSU, Amanda is already learning how to draft floor plans in Edmonds’ studio. “It’s a lot harder than it looks. Everything has to be perfect. They don’t portray this level of detail on HGTV,” she laughed. “I didn’t realize how important craftsmanship is in this profession. It’s tedious work that takes hours, and then it still isn’t perfect. But it’s definitely worth it to see the end result.”

One interior design studio project takes Amanda at least four hours to complete, “and we have two a week!” she added. On top of art classes she’s taking two-dimensional design, which means she’s spending 13–24 hours a week completing studio projects. Even though it will be more work, she is considering minoring in art.

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Scott Self has enjoyed being outdoors since he was a young boy searching for arrowheads and pottery artifacts in DeRidder, Louisiana, with his grandfather, a member of the Four Winds Tribe. Descendants of American Indians who migrated to and settled in the western portion of Louisiana in the mid-1700s through the mid-1800s, the tribe is a blend of Cherokee and Choctaw heritage.

Scott grew up in Lafayette, Louisiana, where he spent many summers operating his own lawn care business in order to save money for college. When it came time to consider his major, Scott knew he’d never be happy sitting behind a computer all day.

“That would drive me nuts,” he said, with all seriousness. “I enjoy working with my hands and seeing a finished product—the result of my work.”

A family friend introduced Scott to landscape architecture and encouraged him to apply to the Robert Reich School. The first year of the program has “been a wake-up call,” Scott laughed. “Especially the combined architecture and landscape architecture foundations studio.

I’ve learned a lot about time management.”

Scott and Malachi Pursley, the first LSU School of Architecture Hearst scholarship recipient, are in the foundation design studio together.

The architecture and landscape architecture curricula begin with the same design foundation, so the first-year interdisciplinary studio

“I want to create art that’s native.” makes sense. Students learn together while getting to know each other.

Scott’s favorite part of the program so far is the studio atmosphere. “I enjoy the social aspect of how we work and learn in studio—the peer reviews, the critiques. We’re always moving around, consulting each other, but we’re still doing the work.”

Scott said The Hearst Foundations scholarship helps him purchase books and studio supplies, expenses that add up quickly. “I was looking for a job to help pay for everything, and Director Mark Boyer suggested the Hearst scholarship,” Scott recalled. “The extra funds allow me to not have to work during the semester—and that really helps with my workload.”

After graduation, Scott is interested in designing golf courses and recreational spaces around the Gulf Coast—whatever it takes to stay outdoors.

MEASURING SUCCESS The LSU College of Art & Design has measures in place to track the success of the Hearst scholarship recipients according to three main goals outlined in the initial grant proposal. Associate Dean of Academics Tom Sofranko and the undergraduate coordinators of each discipline will guide and advise the cohort of scholarship recipients to ensure they go from orientation to graduation to successful careers in their respective professions.

By communicating the availability of minority scholarships in each discipline directly with high school counselors, the college’s recruiters will be able to encourage applications from underrepresented groups in the art and design professions. College counselors, faculty, and administrators can reach out directly to the student applicants, not only in an effort to help select the most deserving scholarship recipients but also to help alleviate fears young people may have about pursuing careers in art and design and to demonstrate the systems the college has in place to ensure success in their programs.

The Hearst scholarship provides four semesters of assistance during the first two years of study, allowing the recipients to settle into the curriculum and the atmosphere at LSU. As the students advance in their studies, they can acquire additional funding within the university or college as well as from outside sources. As each of the first four Hearst recipients demonstrated, providing financial relief in the first two years of college is crucial in allowing the students to truly focus on their studies. By offering this financial relief, the college hopes to significantly increase minority student retention rates over the next six years.

The intended end result is that each student will be hired or pursue graduate school in their respective fields of study. Thanks to the foresight of The Hearst Foundations, the LSU College of Art & Design is better equipped to help increase diversity in the college, at LSU, and in the art and design professions.

Scott Self is enjoying the atmosphere of the combined architecture and landscape architecture foundations studio. “The extra funds allow me to not have to work during the semester—and that really helps with my workload,” Scott said.

“The leadership at the College of Art & Design is such that we have great faith in their ability to do great things,” stated Granger. “These students have ambition, tenacity, commitment—everything it takes for young people to excel and succeed in the world.”

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I Made That!

Soda-Fired Pottery with Michael Stumbras First-year MFA ceramics student Mike Stumbras grew up in Chicago, Illinois. He received a BFA in studio art and a BS in biology from St. Olaf College in Northfield, Minnesota. Before coming to LSU, Mike learned about single firing, glaze chemistry, and layering sprayed glazes from his mentor Steven Hill. Mike has had residencies in Chicago, Kansas City, New York, and Colorado.

Recently, he won best in show at the national juried Tabletop exhibition at the Art League of Alexandria, and his radiation-sensitive glazing technique was featured in Ceramics Monthly magazine. His work was accepted into three other nationally juried shows this year: The Annual Teapot Show at Three Wheel Studio in Providence, Rhode Island; the 2015 Nellie Allen Smith Pottery Exhibition at Cape Fear Studios in Fayetteville, North Carolina; and the 3rd Annual Cup Show at Studio 550 in Manchester, New Hampshire. Here, Mike shares one of his techniques for making porcelain cups.

MATERIALS:

Sponge

Glazes

X-Acto knife

Paintbrush

Porcelain and colored

Sandpaper

clays

2 1 24

MIXING THE CLAY

WHEEL THROWING I use an electric pottery wheel to form the clay into the desired shape,

I mix up my own porcelain recipe to the right thickness,

altering the forms to give them some

“wedging� the clay to prepare it for working.

character.

3

EMBELLISHMENTS After the clay dries to leather hardness, I incise a pattern or design onto the surface. I carefully sand the pieces to remove any tooth left over from the altering or incising process before firing.

4

FIRST FIRING—ELECTRIC KILN I fire the vessels to 1,800 degrees Fahrenheit in an electric kiln to harden them for glazing.

5

PAINTING INLAYS I inlay colored clay in the cracks by painting a “slip” over the surface and sponging away the excess.

6

GLAZING I cover the surface with a variety of glazes that stick to the ware, and I load them into LSU’s soda kiln.

7

SECOND FIRING—SODA KILN I fire the ware a second time to 2,300 degrees Fahrenheit and watch the glazes melt into glassy exteriors.

The surfaces can be affected by the unique atmosphere inside the soda kiln. Not all will survive!

HARDWARE: Electric kiln Electric pottery wheel Soda kiln

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Design Education as an Event A Creative Course Assignment Revealed

At LSU, and especially in the College of Art & Design, we approach teaching the college course as a creative act—an iterative process of inquiry, instruction, and design. Balancing professional accreditation standards and learning objectives to develop students’ critical capacities and visual representation skills, we seek to imbue courses with creativity and a concern for humanity. We are also committed to developing student communication skills by creating communication-intensive coursework with Communication across the Curriculum (CxC), a 21st-century academic excellence program unique to LSU.

for a design application that emphasized the students’ empirical perceptions of designed space and its inhabitants.

The students were instructed to produce event maps as a means for recording pre-reflective data and observations, utilizing sketches and integrating words and graphics. Students observed two local contemporary design

CxC certified coursework stresses at least two modes of communication (e.g., writing and speaking, visual and technological) and offers individualized feedback and communication training to students. In addition to the professional development of students, CxC supports faculty to dynamically integrate new technology—like 3D scanning and 3D printing—in the classroom, as well as more traditional writing and communication assignments. The collaboration between professors and CxC professionals results in some of the most innovative learning and course models on campus.

For example, in fall 2015, Associate Professor Marsha Cuddeback’s senior interior design studio focused on a multimodal written and visual communication assignment. Cuddeback’s studio was one of 38 CxC certified course offerings incorporating both communication-intensive instruction and creative pedagogy in the College of Art & Design.

The major component of the assignment, Event Maps: A First Person Phenomenological Inquiry, derived from Hannah Hinchman’s concept of using event maps as a method for learning how to make scientific observations in the field and for participating in the world of events as a means to develop a richer awareness of others and our surroundings.

Cuddeback and CxC Art + Design Studio Coordinator Vincent Cellucci adapted this idea

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The Grand Walk: An Experience of Scale, by Klaudia Wasowska “This project reminded me that all design decisions that we, as designers, make result in different experiences of the space and can affect the mood and behavior of the users and, sometimes, even how they approach other people in the building,” said Wasowska.

spaces in Baton Rouge: the Shaw Center for the Arts and the East Baton Rouge Parish Main Library at Goodwood. The primary final product was an assemblage of words and text mounted on 24”x24” MDF board.

Other deliverables included written reflections and high resolution photographs and scans of process work. The assemblages were evaluated on craft in both visual and textual representation and how well they conveyed and illustrated through design elements and literary devices the unfolding experiences of the space.

Before they made site visits, the students were assigned several readings, including an introduction to phenomenology, Virginia Woolf’s “Kew Gardens,” and event map–inspired contemporary poetry. These texts provided a foundational context for practicing intense observation and using text and literary devices to convey vivid experiences.

The learning objectives for the assignment included practicing and exploring alternative methods of representation to expand students’ capacity to inform and represent design solutions. Of significant import was developing students’ writing proficiencies as a complementary tool for describing experiences, reflecting on those experiences, and depicting designed experience. The event maps provided an additional opportunity to strengthen students’ abilities to evaluate and assess the condition of human behavior and perception in the interior environment.

The assignment also allowed students to engage in a non-traditional interior design problem to redress creative fatigue before embarking on their capstone projects.

To begin answering how people experience interior environments and how this experience informs the design process and design solutions, the students made two site visits to engage interior phenomena. The field trips helped students question their perception and understanding of specific events and increased their awareness of the interaction of human behavior and the space we inhabit. Over three weeks, students explored graphics and text in an iterative process to formulate understandings from intensive periods of observation, reflection, and representation.

They then utilized a collage technique to reveal the layers of their described experiences.

The final project boards were presented to an interdisciplinary panel of guest critics, including Cellucci and his colleague, Annemarie Galeucia; Professor Michael Desmond and Associate Professor Greg Watson (School of Architecture); Professor Peter Sutherland (International Studies); Dean Alkis Tsolakis (College of Art & Design); and LSU alumna Suzan Tillotson, professional lighting designer, founder, and principal of Tillotson Design Associates in New York. The event mapping assignment fostered several conclusions from the panelists and students. All agreed upon the challenge of creating clear representation to impart the complexities of perception and the messiness of experience. Students reflected on the importance of the experiences of others and on the notions of how people inhabit design to round out their own subjectivities

Immersion: The Spirit Revealed, by Pam Sills “The project helped me understand alternative ways to work through a problem and find solutions,” said Sills. “It was an innovative learning experience.”

and personal biases. Comments from critics included tips on how best to sacrifice some sensory information and observations for the sake of building an overriding narrative.

Preliminary analysis of the design work and student reflections suggests the need to continue to expand our capacity to broaden contemporary interior design education and practices through heightening the everyday experience, enhancing our sense of connectedness, reinforcing memory, and enriching our experience of place. Through the event maps, students discovered an appropriate method of analysis and representation to assess and express the condition of human experience while honing sensory observations and communication skills. The final project boards evidence an increased awareness of the value of human experience in the interior environment and a deeper appreciation of the complex and inextricable connection between human experience and place.

Students also learned how to spell and pronounce phenomenological.

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CxC Celebrates 10 Years!

LSU Communication across the Curriculum by the Numbers

Happy Birthday CxC!

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As the first program of its kind in the nation, Communication across the Curriculum works with LSU faculty to advance the communication skills of all LSU undergraduate students. Through enhanced learning experiences inside and outside the classroom, CxC initiatives help students improve their written, spoken, visual, and technological communication skills and deepen their learning of course content—skills that are especially valuable in the art and design professions.

4 disciplinary communication studios support 7,300+ student visits each semester

374 faculty from 77 departments have participated in the

LSU Summer Institute

3,260

C-I courses taken by

566

faculty have formally certified their courses as

64,015

Communication Intensive

students

366

students certified as

LSU Distinguished Communicators

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From Good to Great The Office of James Burnett

In 1989, LSU alumnus James “Jim” Burnett (BLA 1983) founded the Office of James Burnett (OJB) in Houston, Texas. Focused on creating landscapes that transform perspectives and evoke emotional responses, the firm’s philosophy was to reimagine and expand the relationship between landscape and architecture.

From the firm’s first major project in healthcare, St. Michael Hospital in Texarkana, Texas, to their more recent work in public parks, OJB has continued to honor this original philosophy while garnering one professional award after another. Today the firm employs 45 professionals—including nine LSU alumni—working in Houston, San Diego, and Boston, and OJB has earned more than 80 state and national design awards for projects consistently cited for redefining how the public interacts with the environment.

The year 2015 was especially exciting for OJB. The firm received the 2015 American Society of Landscape Architects (ASLA) Firm Award

Jim Burnett founded the Office of James Burnett in Houston, Texas, in 1989. Today, OJB employs 45 professionals—including nine LSU alumni—at offices in Houston, San Diego, and Boston.

on November 9 at the Annual Meeting in Chicago. The ASLA Firm Award recognizes distinguished and influential work and is the highest honor the organization bestows upon a landscape architecture firm. On November 8, Burnett was also honored with the 2015 ASLA Outstanding Service Award, given annually to recognize volunteers who make notable contributions to or on behalf of the society. Burnett was the jury chair for the 2014 ASLA professional awards and part of the jury for the 2013 awards, and for the past year, he has been chair of the Fundraising Task Force, a team of 18 leading landscape architects working to raise funds for the renovation of ASLA’s headquarters.

In addition to these esteemed national awards, OJB received the prestigious Urban Land Institute 2015 Urban Open Space Award for Myriad Botanic Gardens in Oklahoma City. OJB also won this award in 2014 for Klyde Warren Park in Dallas, which was featured in the USA Today article “10 Best Parks That Have Helped Revive Their Cities.”

OJB won the Urban Land Institute 2015 Urban Open Space Award for Myriad Botanic Gardens in Oklahoma City. Photo by Carl Shortt

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In recent years, OJB’s work has focused on the aesthetic and economic transformation of many American cities through the creation of fascinating public spaces. Burnett is proud of the fact that most of OJB’s projects are public or semi-public and easily accessible. “We’ve focused our attention on projects that tell a story and make an impact. Our team is inspired to

make projects that change neighborhoods and contribute to the fabric of the community,” said Burnett.

“Nothing is more invigorating and great for the team than working on projects that change communities. The place-making aspect of the work is refreshing and brings another level of excitement to our work,” added Chip Trageser, principal at OJB’s Houston office.

Another major coup in 2015: Trageser was named a Fellow of the American Society of Landscape Architects. His elevation to fellow is based on outstanding works of landscape architecture. Among Trageser’s notable projects are Rice University Brochstein Pavilion and the recently completed Baylor University Fountain Mall—important and notable campus projects that have greatly contributed to the feel of these important institutions. His park in Chicago, the Park at Lakeshore East, has become the heart of the neighborhood and the focus of a large 16-building project.

Trageser, who received his BLA from LSU in 1990, has served on the Robert Reich School of Landscape Architecture’s Professional Advisory Board for the past three years. “It has been a great experience reconnecting with the department and helping to assist with new challenges at the school.”

Currently, OJB is Chip Trageser, principal of OJB’s Houston working on two major office, was named a Fellow of the American projects in Houston Society of Landscape Architects in 2015. that continue their place-making legacy: Levy Park, an important new six-acre park in the Upper Kirby district in Houston; and Regent Square, a large, multi-building, mixed-use development inside The Loop near Buffalo Bayou.

“We believe that the connection to nature can change the way one feels and make a positive impact on individuals. We have strived to make a more seamless connection in our work since the founding of the firm,” related Trageser.

“Daylight, color, the kinetic quality of movement—how does the design perform?

Is it sustainable? Does it meet the program and development requirements? These are all issues we discuss and evaluate continuously throughout the design process,” Burnett added.

OJB won the Urban Land Institute 2014 Urban Open Space Award for Klyde Warren Park in Dallas. USA Today named the park one of the 10 best parks that have helped revive their cities. Photo by Thomas McConnell

ArtiFACT

The Office of James Burnett is the fourth LSU alumni-led firm to receive the ASLA Firm Award since 2005, continuing the tradition of excellence the Robert Reich School of Landscape Architecture instills in its alumni— alumni who make places great.

In 2015, LSU Robert Reich School of Landscape Architecture Director Mark Boyer was also named a Fellow of the American Society of Landscape Architects for his knowledge and service to the profession. Boyer received his MLA from LSU in 1996. “I find particular delight in remembering that Jim 31 Burnett conducted Design Week when I was a student at LSU. We spent the week focused on a therapeutic garden at a hospital, and the Office of James Burnett has remained true to that philosophy,” said Boyer.

Class Notes

Keeping up with Art and Design Alumni

1960s 1970s Lewis Brown, BArch ’62, is principal of Lewis R. Brown, Architect, in Baton Rouge, Louisiana.

Eugene Cizek, BArch ’64, retired with professor emeritus status from Tulane after teaching preservation studies for 46 years.

As principal of George McConnell Jr. Architect, George McConnell, BArch ’67, successfully completed an eight-year contract with South Carolina Electric & Gas, advising on architectural design and property development around Lake Murray in Columbia, South Carolina. He is excited to have more time to travel and spend with grandkids!

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Larry Singleton, BArch ’71, was inducted into the McComb (Mississippi) High School Hall of Fame due to his outstanding leadership in architecture.

Ray Scott, BArch ’73, merged his firm with a former staff member to create Scott+Cormia Architecture and Interiors in Orlando, Florida. With a staff of 22, the firm creates multi-family high rises, mixed-use centers, and other project types throughout the U.S.

Kent Lancaster, BArch ’74, was awarded the 2014 Gerald C. Brown Mentoring Award by the Society of American Military Engineers. Kent has provided mentoring to young SAME members and others in the engineering business throughout his military career and for

more than 10 years since he left active duty as a colonel.

He was instrumental in the creation and continuation of a Leadership Lab in San Antonio, which is entering its fifth year as a model mentoring program for SAME. Kent currently serves as vice president of Valhalla Engineering Group and chief operating officer of Clean Energy Engineering.

David Baldwin, BLA ’75, celebrates 31 great years as principal of David Baldwin Inc. Landscape Architecture and Planning in Plano, Texas, where he provides the gray hair and design inspiration for the firm. The company is currently enjoying the exceptional growth in the Dallas/Fort Worth area with some exciting urban design, park planning, and master-planned community projects.

WHR Architects in Houston, where Charles Cadenhead, BArch ’75, is senior principal and medical designer, won the Danish International design competition for the Bispebjerg Hospital replacement in Copenhagen. Team members are KHR Architects and ARUP. Also in international practice, Charles is working on a master plan for Shaare Zedek Medical Center in Jerusalem, Israel.

Boyd Warren, BLA ’75, is theoretically retired but still doing consulting work in planning. For the past 10 years he has been working on the Main Arm Village Eco Centre Trust project, a spiritual community, learning center, and ecovillage in New South Wales, Australia, where he lives 100 percent solar in Byron Bay, surrounded by tropical rainforest 20 minutes from the beach.

Marshall Collins, BFA ’77, completed the two-year Texas Viticulture Certification program through

Texas A&M Agrilife and Texas Tech. Marshall, who spent nearly 30 years leading university public relations and marketing, now runs a small vineyard and cow-calf operation. He still employs his design degree in everything he creates on his farm/ranch.

Kevin Harris, BArch ’77, principal of Kevin Harris, Architect, LLC, released his first book, The Forever Home: How to Work with an Architect to Design the Home of Your Dreams, published in July 2015 by Advantage Media Group. It earned Amazon bestseller status and #1 new release in five categories.

Architect/planner Bruce Tolar, BArch ’77, was honored with the fifth annual Michael Barranco Award at the 2015 gathering of the Congress for the New Urbanism in Dallas, Texas. The award is given

to an individual who has demonstrated a Barran colike gift for “building enduring relationships beyond architecture, inspiring passionate coalitions for transformative change in the lives of families and communities.”

1980s

Matt Mathes, BLA ’80, works and lives in Bellevue and Richland, Washington, with his wife, Kathy. As infrastructure and services alignment program director at Jacobs Technology Federal Operations, he is an expert witness in land use planning, water management, master planning, contracts, quality, and professional practice.

Mark Smith, BLA ’80, is vice president and

practicing landscape architect at RVi, Austin.

His responsibilities include concept development, firm-wide design oversight, site planning and master planning, hardscape and landscape design, strategic marketing, and firm operations. A lifelong resident of the Gulf Coast region, Mark has lived in Texas, Louisiana, and Georgia and understands the subtle nuances of Southern living and design.

He has practiced in over 30 states and internationally.

Margaret Robinson, BLA ’82, is principal and founder of Asakura Robinson Company, a landscape architecture, urban design, and planning firm with offices in Austin, Houston, Los Angeles, and most recently, New Orleans. Her expertise lies in master planning, green infrastructure, and public open space. In 2014 and 2015, her firm ranked on the LSU100 list of fastest growing alumni businesses.

Gracia Maria Shiffrin, BArch ’84, was elevated to the College of Fellows of the American Institute of Architects at the 2015 AIA Annual Conference in Atlanta. Gracia practiced architecture in the San

Francisco Bay area and became licensed in California. After moving to Chicago, she went to law school and became an attorney. She has spent the past two decades in affordable housing, historic preservation, and community development and is currently working at the Chicago Regional Center of the U.S. Department of Housing & Urban Development Multifamily Midwest Region.

Randall Connaughton, BArch ’86, left architectural practice to complete an MFA in photography from Savannah College of Art & Design. Randall’s photos explore the contrasts of the urban and natural environments, and his photographs of historic buildings are in the collections of the J. Paul Getty Museum and the Library of Congress. He currently resides in Atlanta, where he specializes in architectural photography and exhibits landscape photographs.

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Ken Uhle, MLA ’86, has been practicing landscape architecture for 29 years, the past 23 as the landscape architect for the Westchester County Department of Parks, Recreation and Conservation. Ken is licensed in New York and Connecticut.

He is an avid gardener and active with the Native Plant Center and the Garden Conservancy Open Day program. His garden was recently included in the Garden Conservancy’s 25th anniversary publication, Outstanding American Gardens: A Celebration.

1990s

Devorie L. White Brown, BID ’90, is principal at Commercial Studio Interior Design in Vail, Arizona. She has spent the past 20 years working in the field of design, developing a strong knowledge base in healthcare, government, and private sector work.

Devorie is also an adjunct instructor at the Art Center Design College.

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Janie Kleinschmidt Hirsch, BID ’90, president of J. Hirsch Interior Design, LLC, in Atlanta, is the 2015-16 president of the Georgia chapter of ASID. As the previous director-at-large for programs, she elevated the level of ASID Georgia events and increased attendance to the largest in the chapter’s history.

Ellen McDowell, BID ’91, is a contributing author to the bestselling book, Journey to the Stage: Volume II, which came out in paperback in October 2015. She is an email marketing and social media specialist and regularly speaks on those subjects.

Lisa Herring Nice, BArch ’92, has worked

at Post Architects for over 19 years and has been a partner in the firm since 2008. She is currently serving as president of the AIA Louisiana chapter.

She was honored to receive the president’s medal and certificate from AIALA in September 2015. She is happily married to Jeff Nice and has twin girls who just turned 10.

Patrick Vicknair, BLA ’92, joined the infrastructure division of Texas Parks & Wildlife Department as Region II project manager. Previously he was a construction project consultant for the Florida Department of Environmental Protection/Bureau of Design and Construction where he provided design and construction oversight for 25 state parks in Southeast Florida.

Nadine Bopp, MLA ’94, retired from college-level teaching at the School of the Art Institute, Columbia College, and Depaul University in Chicago and relocated to Carlsbad, California. She is designing classes for the Osher Lifelong Learning Institutes at SDSU, CSUSM, and UCSD in urbanism, sustainability, economic botany and science, technology, and society.

She is also doing freelance drought tolerance work for Andrea Loosen Design.

Steve McLaughlin, MLA ’94, spent three weeks in August traveling on behalf of the U.S. Dept. of State to Uganda and to three cities in Mexico.

As Bureau of Overseas Building Operations supervising landscape architect, he directed site analysis and conceptual site planning for a new office annex expansion of an existing embassy campus in Kampala and for new consulate compounds in Guadalajara, Jalisco, and Nagales, Sonora, and to supervise xeriscaping of new Marine Security Guard quarters in Tijuana, Baja California Norte.

Hung Van Nguyen, BArch ’96, is an architect at Element Architects in the Woodlands, Texas.

Mary Mowad Guiteau, BID ’97, is the director of interior design at Holly & Smith Architects in Hammond, Louisiana.

Holly & Smith won three awards of excellence at the IIDA Delta Region’s annual gala for the Loyola University Monroe Hall renovation and addition, the Pond House at Ten Oaks Farm, and the SLU Student Union addition.

Coleen Guste Waguespack, BID ’97, of Holden & Dupuy Interiors, recently launched a line of couture holiday décor at figanddove.com with Mollie Hill, BID ’89.

Peter Walls, MFA ’97, is the lead designer at DPF Design. Peter has spent the past 14 years working in the decorative arts industry.

He is a hands-on artist bringing rich experience and appreciation to the field of interior design.

As vice president of marketing communications and media at Nissan, Jeremy Tucker, BFA ’99, is responsible for marketing communications for the Nissan brand in the U.S. Jeremy joined Nissan from Disney Consumer Products where he led a franchise-focused strategic marketing organization across product business units and collaborated across the Walt Disney Company to ensure consistency with content creators.

2000s

Emil Martone, BArch ’00, works in the administration of the New York City Mayor’s Office, where he is responsible for managing more than $5 billion in construction projects that advance the city’s economic development agenda. Emil was recently promoted to executive vice president of the Capital Program Division, which under his leadership has built the Highline Park and managed the demolition of the old Yankee Stadium. He lives in New York City with his wife, Sara, and their two boys, Nathan, 6, and Joshua, 2.

Nikki Villagomez, BFA ’00, is a nationally recognized speaker on typography. After graduating from LSU, she worked in New York City for three years. She was a freelance

designer in South Carolina where she founded and served as president for AIGA SC. She has been an educator teaching graphic design and typography, and is currently the creative studio manager at Dixon Hughes Goodman in Charlotte, North Carolina.

Her book, Culture+Typography: How Culture Affects Typography, was published in 2015.

Rebecca Barber Bradley, BLA ’01, principal and cofounder of Cadence, has served as the creative director, project manager, and landscape architect of record for the development of the Mockingbird Trail, Ft. Lauderdale’s first urban art trail; phase one of the trail launched in October 2015.

Ryan Harrison, BLA ’03, was promoted to studio lead at the Office of James Burnett, Houston.

Ryan joined OJB as an associate in 2008. His current projects include the Union in downtown Dallas and the North Houston bike park.

Michelle Rosenbohm Holmes, BID ’03, associate and senior designer at LEO A DALY in Dallas, is celebrating her tenth anniversary as a hospitality interior designer.

Jennifer Graves Romero, BID ’03, is a senior interior designer at Coleman Partners Architects in Baton Rouge.

Natalie F. Smith, BFA ’05, is a book designer at Duke University Press.

Previously, she was an in-house book designer at the University of Chicago Press. Natalie grew up in Louisiana and began her career in book design during an internship at LSU Press. Her cover designs have been recognized by AIGA, Print, the Society of Typographic Arts, Communication Arts, and the American Association of University Presses.

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Gregory Drewes, BArch ’06, became a licensed architect in Louisiana in early 2015 and is working as an architect at HRI Properties in Slidell.

Gregory recently welcomed Simon Drewes as a new addition to the family.

Jennifer Harris Mitchell, BID ’06, is an interior designer at the New Orleans Department of Veterans Affairs. She received two IDEA Awards of Excellence from the Delta Regional chapter for her 2015 projects, Chronos MediSpa and St. Charles Parish Community Center.

architect at Johnson Engineering, Inc., a multidisciplinary consulting firm in Fort Myers, includes working with public and private sector clients on projects such as roadway landscape design, park design, commercial, multi-family, and singlefamily developments.

As a project manager at DL Meacham Construction, Ryan Clary, BLA ’07, is designing a five-acre multiuse recreation complex in Miramesa at Canyon Lakes West in Houston.

Isral Duke, BFA ’07, joined Stun Design as a designer and front end developer. When he’s not at work he enjoys making illustrations and drinking coffee. His time at LSU showed him what a vibrant treasure it is to live in a continuum of people preserving and transmitting knowledge through visual means.

the Hammond Regional Arts Center in July 2015.

HRAC accepts exhibition proposals on an ongoing basis. Visit hammondarts. org/artist-calls for more information.

Ebru Özer, MLA ’07, received tenure and was promoted to associate professor at Florida International University.

Ebru also received a faculty award for excellence in teaching, her and her students’ work was exhibited at Coral Gables Museum, and she coauthored Best Practices in Sustainable Building Design.

Originally from Mississippi, J. David West, MFA ’09, is an artist and educator who currently lives and works in Gloucester, Massachusetts. He is an associate professor at Gordon.

Scott Smith, BLA ’06, is a registered landscape architect in Florida. His work as a landscape

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Katherine Hoffpauir Marquette, BFA ’07, accepted the position of executive director at

2010s

Cody Arnall, MFA ’10, is an artist in residence and instructor of sculpture at Paducah School of Art

& Design in Kentucky.

In 2015 his work was exhibited in a three-person show, Here and Not Here, with Edward Kelley and Megan Stroech, DEMO Project, and Springfield Art Association at M.G. Nelson Gallery in Springfield, Illinois, and he had a solo show, Heading Towards Midnight, at Myers North Gallery of Living Arts in Tulsa, Oklahoma.

While interning at various design firms in Houston, Elyse Herman, BArch ’10, worked on a range of high-end modern homes and won multiple design competitions, most notably one for the Saudi Arabian General Consulate. She is currently employed at PBK Architects in Houston, where she works on educational projects. Elyse and her brother are also starting a custom furniture business, Bark & Beam.

After working at Hollander Design in New York City for two years, Philip Rebowe, BLA ’10, joined Lutsko Associates in San Francisco in August 2015.

The firm works in all areas of professional practice:

worked on many shows that have aired on multiple networks such as Food Network, History Channel, FYI, Animal Planet, Investigation Discovery, HGTV, and Travel Channel.

His recent projects include Travel Channel’s Breaking Borders and History Channel’s Counting Cars.

residential, commercial, civic, and institutional.

Marc Berard Jr., MArch ’12, is a registered architect at the Front Door Design Studio in New Orleans. His recent projects include custom residences in Lexington Estates, Baton Rouge, and Village at Magnolia Square, Central, Louisiana.

Erin Callegari Clement, BID ’12, is an interior designer at STG Design in Austin, Texas. She is currently pursuing registration and LEED AP certification.

Cerys Heroman, MLA ’12, is a landscape architect and vice president of design at HeroMan Services Plant Company, LLC, in Pensacola, Florida.

Mercedes Jelinek, MFA ’12, is a photographer and current resident artist at Penland School of Crafts in North Carolina. She has built a freelance career working in several genres of photography: architecture, fashion, events, and journalism. Her work has been exhibited both nationally and internationally and has been included in exhibits at the Ogden Southern Museum of Art in New Orleans and numerous private collections. Mercedes has taught classes at multiple universities and photo centers and has run professional and communal photo studios.

Christopher Peoples, MArch ’12, is senior project coordinator at GTM Architects in Kensington, Maryland.

Brock Barlow, BFA ’13, is a post-production coordinator in New York City’s booming television industry at one of the largest leading production companies, Leftfield Entertainment. Brock has

Monica Morel, BID ’13, is an interior designer at Proporción y Escala in Guatemala City.

Shelby Prindaville, MFA ’13, art program director and assistant professor of art at University of St. Mary in Leavenworth, Kansas, was recently chosen by the World Wildlife Fund to be a featured tour artist within Art Works for Change’s curated international exhibition, Footing the Bill: Art and Our Ecological Footprint, for her artwork capturing the beauty and frailty of the natural world. She also won best in show for her painting, Confrontation, in the Wild Things juried national exhibition at the Arts Council of Southeast Missouri.

Forrest Sincoff Gard, MFA ’14, is assistant editor at Ceramics Monthly and Pottery Making Illustrated.

Autumn Higgins, MFA ’14, is a Fogelberg Studio Fellow at the Northern Clay Center in Minneapolis.

Ruoyi Peng, MLA ’14, recently moved from Florida to Los Angeles.

She works for Meléndrez, a landscape architecture, planning, and urban design firm in downtown Los Angeles.

Kevin Latusek, BLA ’15, joined Newton Landscape Group in Baton Rouge as a landscape architect.

Ace Martin, BLA ’15, is a landscape architect at RNL in Denver, Colorado.

Stay in touch!

design.lsu.edu/alumni design.lsu.edu/give

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Equipped Atianna Cordova, BArch 2016

1. Earphones. Architecture can be demanding and time consuming, so it is important that I have earphones to listen to my daily spiritual devotionals to keep up my spirits and allow God’s strength to see me through the rest of the day.

2. Paintbrush. With my background in art, the combination of ink and watercolor has always been my top two mediums. When applicable, I incorporate this layering technique in my renderings, giving the digital drawings a personal touch.

3. Trace paper. By far one of my favorite materials to work with, its versatility and flexibility is very useful when building physical models and diagramming conceptual ideas.

4. Sketchbook. Inspiration for projects can come at any moment,

Photo by Abigail Smithson

6. Lead drafting pencil. There’s something simply comforting about the boldness of an HB lead pencil depicted on paper or cardboard. With the influx of computer-aided design, I still find satisfaction in freely expressing my ideas by hand before placing them in a software application.

7. Flash drives. Where would I be without these? Throughout the course of a day, I transfer documents (JPEGs, PDFs, scans) among many different programs and media. Flash drives are handy for switching relatively quickly from physical to digital realms.

8. Architectural and engineering scales. While it is great to convey initial ideas through abstract and conceptualized forms, scales are handy for those transitioning moments when ideas need to be applied and tested realistically.

9. Thread. When using cardboard and trace paper as primary and secondary materials, I like to incorporate a tertiary material to help illustrate a better understanding of my conceptual ideas. With thread, I

anywhere—while conversing with friends, walking around campus, or

am able to draw physical connections between the important aspects of

even when watching on-campus plays and performances—so I always

my design, identifying and emphasizing the most important ideas.

keep my sketchbook nearby to jot down or draw out instantaneous ideas.

5. Laptop. With so many digital programs, my personal laptop is vital and

10. T-pins. On the walls surrounding my studio I pin up my work and precedent studies. Having everything so easily accessible serves as

also serves as a screen for Netflix and Hulu when I need to take a break

personal reminders and checking points for me to evaluate my current

when working on projects after hours.

work and methods.

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LANDSCAPE ARCHITECTURE EXPLORATIONS SUMMER CAMP—JUNE 2016 High school students, age 14–18, can explore the profession of landscape architecture in this weeklong camp developed by faculty of the LSU Robert Reich School of Landscape Architecture, the number one landscape architecture undergraduate program in the country, according to DesignIntelligence magazine, the leading journal of design professionals.

The camp includes: + Individually tutored drawing and design workshops + Information sessions and lectures by advanced professionals and faculty + Field trips to professional design offices and awardwinning project sites in the greater Baton Rouge area

ARCHITECTURE CAMP—JUNE 2016 Architecture Camp is an exciting chance for high school students entering grades 10–12 to explore the world of architecture and design. This one-week, residential workshop on the LSU campus is sponsored by the College of Art & Design and the School of Architecture.

Register today. Programs fill early!

+ Get a taste of college life—live on campus! (Workshop includes dormitory accommodations and meal plan.) + Explore architectural ideas through hands-on studios and field trips. + Attend seminars and lectures; participate in critiques. + Meet professional architects—learn how they work and how they prepared for their careers.

outreach.lsu.edu/precollege | 225-578-2500 | precollege@outreach.lsu.edu

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