theCharrette July 2012 by thecharrette

theCharrette tulane school of architecture july 2012

I S S I O

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

FRONT AND BACK PHOTO CAPTION: HALDEN FENGSEL PRISON

LETTER FROM THE EDITOR KEVIN MICHNIOK | M.Arch Candidate, 2013

Tulane School of Architecture is in a pivotal and exciting time in its existence. Academic wise, we have a strong and growing team of Deans who will continue to strengthen what I believe are key elements within the school: scholarship, student leadership, community engagement, and studio culture. Wendy Redfield finished her first full year as Associate Dean for Academics this past Spring; I I believe her influence on the school was felt instantly with her role in Thesis and in creating high potential student programming. I am confident in her visionary thought heading forward as Tulane further solidifies its force in groundbreaking research and innovation. Students will feel the direct impact of Maurice Cox come Fall as he assumes the position of Associate Dean For Community Engagement and Director of the Tulane City Center. Dean Schwartz commented on Cox in our March Issue stating his great potential to become a “game

changer”. Given the nature of TSA’s curriculum and the strong theme of social responsibility in design, his role is particularly relevant as students define what it means to them to foster elements of the social dynamic in their own work. In this issue, I’d like to call to attention the wide breadth of design topics featured which align to the theme, Layered Capacities. Design has the great potential to add layer upon layer of dimensions based on a project’s innate qualities. It is how we capture and express these attributes that shows the true essence of a design. Please also refer to page 33-34: tribute to the Class of 2012, a great group of graduates who just left Tulane onward in their journey through the profession or wherever their degree takes them. Past issues are available at: http://issuu.com/thecharrette/docs

C O N T E N T

DANISH BY DESIGN KEVIN MICHNIOK

INTERVIEW WITH DEAN SCHWARTZ KEVIN MICHNIOK

DEFINING CONFINEMENT ANNELISE HASKELL

2011-12 STUDY ABROAD IN PHOTOGRAPHY

GENESIS

JOHN COYLE

A MODERNIST PERSPECTIVE ALIA SOOMRO

2012 THESIS REVIEWS IN PHOTOGRAPHY

THE SHARD

KEVIN MICHNIOK

QUESTIONING LEGACY LIZ KOVACEVIC

INTERVIEW

WITH DEAN SCHWARTZ KENNETH SCHWARTZ, FAIA

Dean | Favrot Professor of Architecture, Tulane School of Architecture New Orleans, LA

CONDUCTED BY KEVIN MICHNIOK | JULY 15, 2012

Q. You’ve just finished four years at Tulane School of Architecture. Looking back, what was the defining moment(s) which culminated in you finally calling New Orleans and Tulane home?

Q. Many recent architecture graduates all around the U.S. are moving abroad for an extent of time. In your opinion, where are the big markets and what is the benefit/challenge of working internationally directly after college?

The timing of this “interview” is propitious. I just finished writing my introductory letter for the TSA Newsletter. This will be my fourth such newsletter since arriving, and I will indulge in quoting from myself, “As a School, we are helping to shape the next generation of leaders by developing “the habits of the heart and mind”, as President Cowen puts it, to make positive contributions and social change. The institution’s commitment to public service and community engagement is the single quality that drew me to Tulane, and it has accelerated and filled out as a concept in these last four years.”

There are firms in the U.S., China, Europe, and elsewhere doing work all across the globe. I see as many recent graduates (and some older alumni) working in U.S. firms but in other locations. Even at my age, I have a classmate who is one of the leaders of Perkins Eastman (originally based in their New York office), and he is now in Mumbai running their practice in India and beyond for that area of Asia. I see tremendous international opportunity, and I have been working hard to build connections for Tulane students and graduates to be better positioned for firms that have largely weathered the recession through global practice. We have three Tulane students working in Shanghai in one such arrangement that I set up.

Q. Following a successful year of the Career Development Workshop series, can you comment on any upcoming changes and/or additions to next year’s programming? I have been thrilled with the student response, and our initiative has clearly made a very large difference for the many students who have availed themselves of these opportunities. Megan Weyland (TSA ‘11) has done a spectacular job as our Director of Career Services, and she will continue in this role. We will continue evening Workshops throughout the year, and we are seriously considering the move of our Career Development Bootcamp to the week before classes begin in January based on student suggestions.

Q. Where does the Richardson Memorial renovation project stand and how do you see its design evolving in the next year? I will make an exciting announcement about this at the first All School Meeting.

Q. When do you plan to launch the new Tulane School of Architecture website and how do you perceive it changing people’s perception of the school? The website will launch in January, 2013 and it will present a new way of reflecting the vibrancy of the School today. The current website, design by Zande-Newman, has served us VERY well. They deserve tremendous credit for putting in place a site that has been robust, expressive and we pack it with news and information on a regular basis (thanks to Dave Armentor who is our superb webmaster).

Q. When a student graduates from Tulane School of Architecture, sits down for the first time at their new job and begins their professional development, what learned skill do you think will most aid him or her as they navigate and network through the profession? The hallmarks of a great architectural education have been acuity in spatial reasoning, an ability to visualize and represent ideas (multiple ideas, not just a single approach), critical thinking, and a concern for the way architecture engages the public. In addition to our embrace of these issues as a School, Tulane is also unique. At risk of self-indulgence, I’d like to quote from my letter once again, because I have been thinking a lot about this issue as you can imagine: “In many ways, the School of Architecture is unique among schools in the way we have embraced the creative potential associated with the challenges “I see tremendous international and opportunities of rebuilding the opportunity, and I have been social, physical, and economic fabric working hard to build conof New Orleans. I often worry that members of the school community – nections for Tulane students students, faculty, staff, alumni, friends and graduates to be better – may at times take these qualities for positioned for firms that have granted, given the fact that engagement largely weathered the recession has become so fundamental for us. At through global practice.” the same time, whenever a student works with a community group, builds a structure in a neighborhood, develops a vision where no clear vision previously existed, partners with a non-profit agency, or designs a building that will serve a noble purpose, she or he clearly understands the relevance of connecting skills with pressing issues.”

8 HOUSE | COPENHAGEN, DENMARK

DESIGN

STUDYING IN SCANDINAVIA Kevin Michniok

KUNSTEN MUSEUM OF MODERN ART | ÅLBORG, DENMARK Hvor bor du I Danmark? This came to be a phrase asked of me quite often while I lived in Denmark. In my hometown of St. Louis, Missouri, the question always asked is, “Where did you go to high school?” The way you answer it decides how local “...Danes are innovators in St. Louisans judge you. I came to find the Danish tradition – and many sectors of society and leaders in socially and European for that manner – environmentally responsible much different. Danes are very place-oriented people. They have design.” immense pride in their roots and in the cultural identity of the Scandinavian region. They do little to compare themselves to others, on many levels. Living in Copenhagen, a city with population slightly over 1.9 million people, you see this manifested in simple daily interactions. For a country of approximately 5.6 million people total, a number less than the whole of New York City, many will automatically discount the Danish people as being relevant or effective at the global stage. People will assume strength is found in numbers, but despite the sheer size of Denmark, Danes are innovators in many sectors of society and leaders in socially and environmentally responsible design. Where did I live in Denmark? I lived in the city of Copenhagen – København – in an area called Amagerbro (pronounced Ama-bo). As I found out, the best method of learning Danish is to be bold by attempting to speak the language right away, although the pronunciation of words and phrases will seem highly illogical to the English-speaking tongue. While listening to a concert in Christiania during my first night in the city, a local compared speaking Danish to the likes of speaking with a potato stuck in ones throat. Her friend quickly slapped her, though forming a smile while doing so. I could begin to picture the parallel, having had an eight-hour plane ride – and first afternoon – full of Danish, wondering how I’d fair speaking it for four months. I came to Denmark to attend the Danish Institute for Study Abroad (DIS), a school recommended to me by both undergraduate and graduate level students at Tulane School of Architecture. Denmark was perhaps the country I knew least

about out of the locations considered – Austria, Germany, and Switzerland – and would prove to offer top-notch practitioners in architecture, design, and the arts. All of my professors were Danish and all of them could speak English very well. Many could also speak Swedish. I learned that Danes can understand Swedes but Swedes have a harder time understanding Danes – possibility because in Danish I perceived half of a word’s syllables to be hardly pronounced, whereas in Swedish more syllables are commonly spoken in a word. Most days I either biked or took the 5A Husum Torv bus line into the city center, stopping at Radhuspladsen, the city hall and public square designed by Danish architect Martin Nyrop in the National Romantic Style. Living just across the harbor on the island of Amager, I was far enough from the city where the streets were completely quiet at night – but close enough to easily get to and from the heart of activity on any-given evening. Copenhagen has a very efficient public transit system and the highest rated Metro in the world. Built in 2002, it is conductor-less allowing it to run 24/7 and is currently rapidly expanding to service a much larger public radius. Being amused by the efficiency of these transportation systems, I remember counting a continuous five-minute interval for buses passing my apartment window. Because of this, I always had a route back to my apartment no matter what time it was. Living with a Danish roommate proved to be the best aspect of my experience. The DIS staff placed me with a young Dane named Jacob, originally from Karlsunde Strand, Roskilde, and we became immediate best friends sealed by our love for football and house music. I was amazed at the level to which he appreciated my music recommendations, as I considered Europeans to be experts on the house and electronica genre. A fair few of his friends, like myself, supported Arsenal Football Club. Between watching football matches (finally on European time), challenging his friends to games of FIFA (to which I am horrible at), and enjoying my newfound interest in Danish rap artist L.O.C., my Danish experience was enhanced from the very beginning.

Efficiency is a point of pride for the whole of Scandinavia. For Danes, their lifestyle revolves around daily engagement with useful and well-organized public and private spaces. I learned that many Danes are instilled from a very early age with concepts of conservation and “Social Democracy at its roots knowledge of well-designed helps everyone to a high stan- goods. Following the postWorld War Two era, a series dard of living as a manner of of occurrences paved the principle.” way for the Golden Age of the 1950’s and 60’s. There was a general view of scarcity of resources both natural and financial within Denmark, as the war had rid Europe as a whole of many raw materials – cotton, wool, and steel. These existent shortages led to a closer view of conservation amongst designers; more and more objects began to be made for everyday use. During this time Danish designer Hans Wegner created the beloved Peter’s Chair – the epitome of such design: a chair able to be easily constructed from a kit of parts, which could be mass-produced. In this sense, Danish designers

ØRESTAD COLLEGE | COPENHAGEN, DENMARK

of the period embraced an emphasis on situation-driven design – design directly affected by societal changes. The comparison between Danish and American cultures, Social Welfare vs. Capitalism, caused profound discussions in classes and as a result many Americans in the program quickly challenged the Socialistic Danish society. The government places a 25% sales tax on all goods and taxes annual income in a progressive system of up to 60% continent on ones personal salary. New vehicles are taxed virtually 200%. With this, Danes receive free education, health care, and many essential services. But the differences in American and Danish societies amount to deeper implications. The United States, driven by competition and Capitalism, is built on a completely different notion than the collective nature of Denmark. Social Welfare at its root helps everyone to a high standard of living as a manner of principle. This is also very evident in Danish architecture.

One of the best examples of Danish design which has implications beyond its physical manifestation is Ørestad College in Copenhagen, designed by local office 3XN Architects. In 2007, this progressive-design for the upper secondary school received Best Building in Scandinavia for its cross-disciplinary elements used in revolutionizing the idea of learning and challenging the idea of educational space. The interior is anchored around four boomerang-shaped storey decks which “rotate in relation to each other like the shutter of a camera.” This results in four distinct study zones, each on its own level, but with organizational flexibility and visual dominance (as each extrude out into the central hall). What emerges is an interdisciplinary link, both physical and visual, between all of the zones influencing how students perceive their schoolwork and socialize with one another. But the higher degree of architectural language conveyed here is the hierarchy of weight Denmark places on education. Stig

Broström of the Danish School of Education at Aarhus University believes a pedagogical approach at the grassroots level best develops young Danes to become the future innovators of society. Private businesses have even taken interest in the future of Denmark. In 2010, U.S.based technology giant IBM spent $33.7 million (over 200 million Danish “Because of its unique position in Kroner) for K- 12 education Northern Europe and influences programs on technology to be from local Scandinavian neighbors held each summer in several Norway and Sweden, Denmark is countries including Denmark. the ideal location to study archiThese enrichment opportuni- tecture.” ties encourage learning among school-age youth to aspire careers in math, science, engineering, and the arts. Interdisciplinary learning of this caliber was commonplace at DIS. Because of its unique position in Northern Europe and influences from local Scandinavian neighbors Norway and Sweden, Denmark is the ideal location to study architecture.

CITY SKYLINE | AARHUS, DENMARK

Study trips were organized for every student regardless of major. In Architecture and Design, students chose between long study tours to Sweden and Finland or Germany and Netherlands - in addition to Jutland (Denmark’s mainland). To be able to finally see up “The promise of high-powered close in person the buildings architecture in a city easily one to which Tulane Architecture of the most livable in the world Professor Scott Bernhard draws many students, design- taught during first year is ers, and environmental enthusi- one of the most invaluable asts to Denmark.” aspects of any study abroad program, and proved to be a catalyst for the projects assigned in studio. To fully comprehend the boundaries of exploration during study abroad is almost unimaginable but the opportunity to engage a completely new way of thinking proved to be instrumental in enriching my experience. Many locals were adamant on the fact that biking was the best way to discover the city. Nearly 1.3 million km are cycled by Danes each day. Bike paths

are perhaps the most innovative transit quality of Copenhagen: they are clearly separated lanes integrated into the transportation fabric - slightly elevated two, sometimes three inches from the main road or painted paths along the side. People of all ages, income groups, and stature in Danish society utilize this feature of transportation - in what I believe is the aspect that best sums up the communal nature of the country. The promise of high-powered architecture in a city easily one of the most livable in the world draws many students, designers, and environmental enthusiasts to Denmark. But what did it for me was the opening that existed in my education where I knew the next steps taken needed to be dipped in cultural acuity and sensibility. The Danish know how to make the simple gestures into the bold ones, in order to create scenarios which place the individual’s well-being above all else. This is design of the highest quality and something I interacted with everyday.

DEFINING

CONFINEMENT

ARE POSH PRISONS THE ANSWER? Annelise Haskell

COURTYARD | HALDEN FENGSEL PRISON, HALDEN, NORWAY

HALDEN FENGSEL PRISON, HALDEN, NORWAY

Across the Atlantic, away from U.S. news stories of overcrowded prisons, European countries are building a new type of prison that challenges the established norm. These posh or “most humane” modern prisons spark an interest in the architecture of punishment and surveillance but with surprising spatial additions that break from societal perspectives of the places which house the villains of society. As an architecture student, we are taught to design spaces that aid the inhabitants; spaces that are safe, allow for productivity and add a dimension of high aesthetics. This requires making a shift from designing buildings such as schools and hospitals – that have in the past resembled jails – into spaces that encourage growth and a larger degree of freedom. But what happens when the building’s function is a rehabilitation center, juvenile detention center, jail, or high security prison? To a growing number of architects and government officials, the answer may not be so clear anymore.

Historically and in many countries today, prisons are foreboding places. Artist, filmmakers, and authors explore this topic through differing lenses but often with the same overarching agenda by framing the condition of the convicted. Piranesi captured these emotions in his Carceri or Prison series, depicting prints of romantic and surreal dungeons and labyrinths of monumental scale. In the 1700’s Englishman Jeremy Bentham, philosopher of law and social theory, designed the Panoticon, an early turning point in prison design that has been particularly influential. It examined the importance of surveillance through its circular structure. An inspection house was located within the structure’s core, requiring fewer guards, and allowing for visible connection with all cells against the buildings perimeter where inmates would be backlit by the cells’ windows. Cuba’s Presido Modela prison, consisting of five circular prison buildings, is one of the best examples of influence of this design.

Today, many European countries are reaching another turning point, this time in designs that shift the focus from punishment to rehabilitation, even at the highest security level. The Halden Fengsel Prison, Norway’s second largest prison designed by Danish firm Erik Møller Arkitekter, is the leader in this new and controversial prison style that caused uproar amongst many foreigners when it was unveiled in 2010. Hans Henrik Hoilund, one of the prison’s architects, stated in an interview: “The most important thing is that the prison looks as much like the outside world as possible.” As a result, the most “unusual” of amenities include a recreation and sound studio, teaching kitchen for culinary classes, guest quarters for visiting family members, and running paths on the 75 acre compound. Individual rooms provide the

inmate with their own bathroom, flat screen TV, and mini fridge. One might question whether an inmate actually feels confined while inside. But the prison’s governor, Are Hoidal, states “We don’t see any of this as unusual. In the Norwegian prison system, there’s a focus on human rights and respect.” Additional steps taken by the architect to reduce the prison-like feel include ample natural light, shatter proof glass in replacement of barred windows, and avoiding “hostile” material choices such as concrete walls. This “experiment” of kinds also includes social reforms. Since studies found that male inmates are more likely to cooperate with and be less aggressive towards female guards, 50% of the unarmed guards at the all male Halden Fengsel Prison are female.

CANTEEN FACADE | HALDEN FENGSEL PRISON, HALDEN, NORWAY

Norway’s Halden Fengsel Prison isn’t the only prison of its kind seeking change. The Justizzentrum Leoben-Minimum Security Prison in Austria, built in 2004, provides designer furniture and table tennis courts. Folster Island in Denmark will also soon welcome a new design for their state prison won by C.F. Møller Architects. This facility introduces a new scheme in this movement that will recreate the feel of a “small village.” So how much does all of this cost? A hefty sum, but re-incarceration costs more. When repeatedly asked, prisoner’s say they want greater rehabilitation and educational opportunities within prisons. Experts and the data seem to agree. When invested in, individuals end up giving far more back to their communities. To provide for the growing number of future inmates in the United States and to account for the “Taxpayers pay $45,000 a year time needed to build new facilities, on one prisoner, easily the cost third grade reading scores from standardized testing are used as a of tuition at many universities.” tool for estimating the number of future felons who will enter the system and need cells. This is because a direct link has been established between education and crime. Today, “more than 60% of all prison inmates are functionally illiterate” in the United States and in juvenile centers the number increases to 85%. If literacy help is provided to inmates, the chance of

re-incarceration drops to 16%, whereas those who do not receive educational services have a 70% chance of returning. Beyond social implications, these statistics also have a huge economic affect. Taxpayers pay $45,000 a year on one prisoner, easily the cost of tuition at many universities. Unfortunately, the United States leads globally in the highest incarnation rate, 50%, followed closely by Britain. Far lower are countries such as Norway at 20%. Other factors most likely contribute to the contrast in numbers, yet the difference is stark. So the question remains: are these facilities, resembling summer camps and boarding schools, actual punishment and are they working? It appears the only thing missing in such facilities is the freedom to leave, but is that enough? The numbers seem to say so. What should the prisoner experience be and what should they come away with if and when released? Architects are making the correct move in designing buildings that encourage development, even in the cases of jails. The effort to design spaces that foster growth and allow for outlets such as libraries, classrooms, and exercise spaces demonstrates what architecture should be doing: stimulating social and political debate. Whether these prisons went a step too far or not, architects and the governments involved are taking effective steps in using architecture for profound change.

ATOP THE SAGRADA FAMILIA | BARCELONA, SPAIN

2011-2012

K 47 | VIENNA, AUSTRIA

STUDY ABROAD

PROJECTION ON FACADE, ARCHITECTURAL ASSOCIATION | LONDON, U.K.

LA DEFENSE | PARIS, FRANCE

EIFEL TOWER | PARIS, FRANCE

LOCATIONS OF STUDENTS

THE

HONG KONG FROM ABOVE

PLACES VISITED SELECT PHOTOS FROM INTL EXPERIENCE 22

BEIJING, CHINA

MAXXI MUSEUM | ROME, ITALY

TORRE DIAGONAL ZERO ZERO | BARCELONA, SPAIN

THE CRYSTAL | COPENHAGEN, DENMARK

HAMMARBY SJÖSTAD | STOCKHOLM, SWEDEN

SHENZHEN STOCK EXCHANGE | SHENZHEN, CHINA

UNIVERSITY OF SYDNEY LAW SCHOOL | SYDNEY, AUSTRALIA

TORRE CALATRAVA | BARCELONA, SPAIN

PHILLIS WHEATLEY ELEMENTARY SCHOOL | NEW ORLEANS, LA

MODERNISTPERSPECTIVE

NEW ORLEANS DESIGN THREATENED Alia Soomro

Mention New Orleans architecture in a conversation and most people immediately think of the picturesque shotguns and double gallery homes of the French Quarter and Garden District. But beyond the obvious, there is a deeper layer to this city’s rich urban fabric. Having been born and raised in New Orleans, I grew up appreciating our local architectural history—yet never realizing that my city’s architectural timeline included not only French and colonial, but also a significant amount of modernist architecture. It wasn’t until I enrolled in architecture school that New Orleans revealed its rich, yet short, modernist history. Although these buildings come across as simple geometric boxes that have no relevance to the local vernacular urban fabric, many of the modernist designs adapt strategies that traditional New Orleans houses have already utilized: capitalizing on air circulation, providing shaded outdoor areas, and elevating for the occasional flood. The architectural significance of these structures is more prevalent than ever in light of the recent demolitions of modernist buildings around the city: Phillis Wheatley School, the Thomy Lafon Elementary School, St. Francis Xavier Cabrini Church and many more. Not only do they offer a glimpse into our past, but they also present the possibility of designing buildings that reflected contemporary ideals while respecting our city’s preserved demeanor. In the post-WWII era, locals lived in a city that was experiencing a significant increase in construction catalyzed by the booming economy in the United States. Many of the buildings being erected were public

schools, often receiving awards due to their innovative designs that incorporated regionalist strategies. Not only did they take the local climate and site into consideration, but they designed buildings with contemporary technologies and aesthetics instead of adhering to traditional customs. The recently demolished Phillis Wheatley School in Treme, designed by architect Charles Colbert, is a prime example of a building that incorporates these regional strategies. Not only was this building innovative and modern, incorporating a glass and steel-truss cantilevered design, it “Phillis Wheatley is part of a numwas progressive in that ber of modernist buildings that the design reflected local have met their untimely destrucclimatic strategies in tion in the past few years, mainly a contemporary fashdue to the lack of awareness of ion. It was particularly regional modernist architecture.” significant because its flexible and open floor plan gave it great potential as an adaptive-reuse building. The building was also raised to provide shade for school children. While this is an excellent example of a modernist structure that respects its local context (one of the most historic neighborhoods in New Orleans), it is also a prime example of how many mid-century designed buildings are treated in this city. Phillis Wheatley is part of a number of modernist buildings that have met their untimely destruction in the past few years, mainly due to the lack of awareness of regional modernist architecture.

PHILLIS WHEATLEY ELEMENTARY SCHOOL | NEW ORLEANS, LA

According to Francine Stock, Tulane School of Architecture Visual Resources Curator, as of 2008 there are only four public schools still standing today, compared to the thirty that were built in the 1950’s and yet three of these four schools have a high possibility of being demolished. Along with the Wheatley School’s demolition, two Curtis and Davis projects, Thomy Lafon Elementary School and the George Washington Carver Junior-Senior High School, were also destroyed. These demolitions are not new to the post-Katrina world; unfortunately a few noteworthy modern buildings also have a history of being torn down: Curtis and Davis’ St. Francis Xavier Cabrini Church and the Rivergate, which was a large exhibition center where Harrah’s Casino is currently located. Both of these buildings were eloquent

and innovative concrete structures for their time and are still very relevant to the city’s history. While there are plenty of examples of demolished modern buildings throughout this city, there is a good amount of mid-century architecture preserved, upgraded, or re-adapted for new uses. The most noticeable modernist structure in New Orleans that has lasted through the decades is Curtis and Davis’ Superdome, which has been successfully retrofitted after Katrina with a $185 million renovation. There have been a number of buildings that have also gone through the adaptive-reuse process: The Old Sewell Chevrolet dealership downtown (renovated and converted into a Rouses grocery store) and the Blue Plate Fine Foods building (converted into lofts).

Both of these success stories show the potential modernist designs have in the twenty-first century. New Orleans firm Wisznia Architecture + Development is familiar with the significance of traditional and modernist buildings in New Orleans and specializes in adaptive reuse. They have successfully renovated modernist buildings with contemporary design seen in the Saratoga and Union Lofts. In maintaining this trend, Wisznia is planning on converting the once Stephens Buick garage into apartments as well. It is regrettable that New Orleans has recently experienced a high level of demolitions to several welldesigned and critically praised modernist structures. Although these events are tragic, they bring a greater

awareness to the importance of modernist buildings in New Orleans and the necessity of designing buildings that reflect contemporary technologies and practices. With that in mind, this city is currently at an important moment in its history. Similar to the booming post-WWII years in New Orleans, the post-Katrina world offers new and exciting building opportunities for students and architects. Instead of trying to replicate past aesthetics, our practices should take the local climate, site, and contemporary technologies into consideration when designing. By doing this, we add another pioneering and discrete yet connected chapter to this cityâ&#x20AC;&#x2122;s rich architectural history.

GENESIS

LUCID DREAMING AS A DESIGN TOOL John Coyle

Last issue the architectural implications of the movie “Inception” were discussed. Architecture student Adriane was responsible for designing dreamscapes for the Inception team to navigate through. We do not yet have the means to enter the dreams of another person; however, the idea of designing a dream is not too far from reality. The architecture of the mind is a complicated and mysterious network of electrical connections that scientists do not fully understand…yet. Dreams “While awake we have the ability present a frontier to distinguish between that which that is even less is imagined and that which is understood. There external, but during a dream this has been speculation function is almost non-existent.” over the function of dreaming for thousands of years, with insight coming from writers, religious figures, philosophers, psychologists, neuroscientists, and now finally architects. Aristotle wrote about dreams as early as 350 BC in three essays– De Somno et Vigilia; De Insomnis; and De Divinatione Per Somnum (On Sleep and Dreams – On Sleeping and Waking – On Divination through Sleep). His views on dreaming are based on the concept of mind and imagination. He recognized that the human mind is capable of forming powerful and realistic images of things no longer present, and expanded this insight into the realm of sleep and dreaming. While awake we have the ability to distinguish between that which is imagined and that which is external, but during a dream this function is almost non-existent (except for lucid dreamers). This phenomenon is what Freud called the hallucinatory property in dreams; however, it can be overcome by achieving lucidity. Oneirology, or the study of dreams, has gained validity after the emergence of new technology. Electroencephalography (EEG) allows for electrical activity of human brain waves to be recorded and measured. Sleep has been discovered to occur in five stages. The first two stages of sleep are light and characterized by beta waves which are small and fast, followed by high amplitude theta waves. The third stage

shows the emergence of delta waves as body temperature and heart rate decrease. The fourth stage is known as the delta stage because of delta waves produced by the brain. Dreaming occurs during the fifth stage of sleep, known as rapid eye movement (REM) sleep. REM sleep is characterized by increased respiration rate and brain activity, the same type as what occurs during waking life. The brain cycles through these stages four through five times in a regular night of sleep. Dr. Stephen LaBerge of Stanford University has studied Lucid Dreaming since 1977. Oneironauts, or lucid dreamers, have been trained to transmit eye signals in the form of Morse code during REM sleep in order to confirm the occurrences of lucid dreams. Dr. LaBerge’s groundbreaking treatise “Lucid Dreaming”, first published in 1985, scientifically proves that one can be fully conscious in their dreams while remaining asleep. What “Everyone experiences dreams was previously thought when they enter REM sleep, alto be impossible opens though many will not remember the possibilities of human them upon waking.” consciousness. LaBerge provides techniques showing how to become a lucid dreamer and how to make practical use of this state of mind to stimulate personal growth, promoting physical and mental health, as well as creativity and problem solving. How to achieve a lucid dream: The ability to have a lucid dream begins with honing your ability to remember your dreams, or dream recall. Everyone experiences dreams when they enter REM sleep, although many will not remember them upon waking. The first step is simply awareness and motivation: making the decision to start remembering dreams will eventually lead to a greater dream recall. The best thing to do is to keep a dream journal and to record the dream immediately upon awakening, as the memory is likely to fade after five minutes. The more consistently you record dreams, the more often you will remember them. Eventually you will be able to remember multiple dreams every night.

Once you have a good grasp on dream recall, the ability to have a lucid dream is more attainable. It may be a slow process, but is ultimately very rewarding. The second step is to identify dream cues or reality checks. Much like the concept of having a “totem” in the movie “Inception”, it may be beneficial for the dreamer to have an object which they associate with being awake in order to identify dreams. Regularly asking yourself the question “am I awake?” or “am I dreaming?” can lead you to consider this idea while in a dream itself. Also repeating a mantra before you go to sleep, i.e. “I will have a lucid dream”, will encourage one to occur. There are other simple tests you can perform habitually that carry over into your dream state and make you aware of it. “Many creative thinkers Look critically at your environments for throughout history have sure signs of a dream. Ask yourself where accredited their dreams you are, how you got there, and what as a source for inspiration you are doing. Texts, clocks and floor or or as a tool for problem wall patterns will not remain consistent solving.” in an uncontrolled dream state and are therefore very good indicators that you is dreaming. An architecture student, trained in the art of observation, should be able to recognize such things if they put their mind to it. LaBerge suggests a method to induce lucidity, which he called Mnemonic Induced Lucid Dreaming (MILD). Using the MILD method, the dreamer sets alarms to wake themselves in the middle of REM sleep, as to interrupt a dream. He has found that

when returning to sleep immediately after being woken from a dream, the dreamer is likely to enter the same dream which was interrupted and with a newfound awareness that he or she is dreaming. The first few times one achieves lucidity it is often so exciting and overwhelming that the dreamer will wake up. A rush of vividness and clarity in an environment that is too perfect to be real is a lot to take in at first. There are a few tricks to extending the duration of the dream once you achieve lucidity. Spinning in place and rubbing your hands in the dream seem to calm the dreamer down and allow them to actually explore the dreamscape. Consciousness in the dream state allows the same advantages as it does in waking life; you can respond to unexpected situations and make decisions rationally. Additionally, you can act without the inhibitions of the real world which allows for greater control, freedom and flexibility over your surroundings. Many creative thinkers throughout history have accredited their dreams as a source for inspiration or as a tool for problem solving.

Beginners use the lucid dream as a tool to carry out fantasy, and report dreams of flying and other rewarding activities. Taking an active role in a dream rather than passively watching it happen can be a liberating experience. The most interesting part is that all these wild manifestations that you “see” are creations of your own subconscious mind. Beyond flying and experiencing a fantastic dreamscape, you can actually control the surroundings if you remain in control of your imagination. It is like creating a rhino model in your mind that you can control without a mouse. This can happen differently for each dreamer; for some, an architectural creation can simply appear, but for others it can actually be generated like the process one goes through with

3D modeling. It is all about how you imagine it. In the early conceptual phase of a studio project, it is probably best to treat these dreams as a way to explore massing models, and later on when detailing the project you can make it appear “Beyond flying and experiencing in your dream instantly in order a fantastic dreamscape, you can to move forward. Experience the actually control the surroundproject in what feels like full scale ings if you remain in control of and change what you will upon your imagination.” closer inspection. If only you could perform inception on your studio professor and critics and allow them to enter and walk around your dream as if it were real. Hopefully you will remember your design decisions upon awakening and begin to design and sleep simultaneously.

2012

THESIS REVIEWS

THE

FINAL JUDGMENT

THE

SHARD

EXPERIENCING LONDON’s VERTICAL CITY Kevin Michniok

A new invasion of the London skyline is finally complete amidst the hustle of local officials hurrying to put the final touches on the city for upcoming 2012 Summer Games. The Shard, the masterpiece envisioned and designed by Renzo Piano, pierces through the sky in the London Bridge Quarter as what developers “From the uppermost floors call a “beacon” for the city and beyond. The 1016 ft. (309.6 m) on a day without the fog and high tower is the largest buildhaze of the city, it is rumored ing in the European Union with you can even see France.” 72 habitable floors, 44 lifts, 306 flights of stairs and a staggering 11,000 glass panels which is enough to more than cover eight football pitches (that’s Arsenal + Charlton Athletic + Chelsea + Fulham + Leyton Orient + QPR + Tottenham + West Ham United all combined). The Shard sits on the site of the old Southwark Towers, the 1970’s office block next to London Bridge Station. The Londonbased entrepreneur Irvine Sellar, responsible for the development team, has been labeled the “Blue-Sky thinker” for his role in bringing further dominance in architecture to London

but this time in the form of a fragment of glass, thus how it derives its clever name. Sellar reiterates the project is not an “ego thing. We’re not the tallest building in the world by a long way, but we are the best-looking in Europe.” When Sellar first approached Piano to design his masterpiece, he was said to have been sketching an iceberg-like structure emerging from the River Thames but also speaking of his defiance for tall buildings. Local contextual inspirations are believed to be the railways next to the site, masts of sailing ships, and London spires located throughout the city. As a mixed-use tower, it is the epitome of such designs emphasizing the architecture as a Vertical City. Offices occupy floors 2-28, Residences 53-65, and sandwiched in between is the 5-Star Shangri-La Hotel and various top notch restaurants. At the top, visitors can experience what has been coined “The View” via high speed lifts for dominant 360 degree panorama reaching an estimated 40 miles across London. From the uppermost floors on day without the fog and haze of the city, it is rumored you can even see France.

As a well-connected business and residential hub serviced by central London’s transportation infrastructure, the Shard adds flare to one of the world’s already dominant financial capitals with timeless qualities that will inspire future investment in the region (as if the London Olympics weren’t already a catalyst). But for a building which was envisioned in 2000, the road to final completion in 2012 seems a large delay “After the World Trade Center in its delivery. Following opdestruction in September 2001, position by the Royal Parks Foundation and English Herithere began a worldwide retage who called it “a shard evaluation of designs of tall of glass through the heart of structures by architects and historic London”, a planning structural engineers.” inquiry was ordered by then Deputy-Prime Minister John Prescott. Official word for the go-ahead was given in November of 2003 and it wasn’t until after funding packages were secured and completion of demolition of the Southwark Towers in 2009 that actually construction could begin. After the World Trade Center destruction in September of 2001, there began a worldwide reevaluating of designs of tall structures by architects and structural engineers. The Shard’s early conceptual phases were first in the United Kingdom to be developed after the release of US National Institute of Standards and Technology (NIST) report following 9/11. It’s design is said to maintain stability under arduous conditions. While Americans across the pond were celebrating the 4th of July, the British put on their own light show for the Grand Opening. Lasers emitting from various floors bathed London in shades of green, blue, purple, and gold, what for many will be the best view of the Shard they will see. For £25 you can ride the lift to the top. But for the time being, here at theCharrette we recommend you visit www.the-shard. com and click on ‘Explore the Shard Views”, fullscreen it, and enjoy a complimentary spin around.

EARLY CONCEPTUAL SKETCH

UNDER CONSTRUCTION, LONDON OLYMPIC STADIUM | LONDON, U.K.

QUESTIONING

LONGEVITY

LEGACY AND THE OLYMPIC GAMES Liz Kovacevic

UNUSED FLAG POSTS + LITTERED POND ATHENS OLYMPIC COMPLEX | ATHENS, GREECE

Hosting the Olympics is a privilege that brings international prestige and attention for the billions who watch and report it. During these three weeks, the host city is in the ultimate spotlight, able to promote its cultural acuity and accentuate its best aspects, all while encouraging economic investment in the region with the promise of future return and longevity. All of the positive aspects of hosting the Olympics come at a great price to the city. Since no city owns the Olympics and its place is ever-changing, past host cities are forgotten in the wake of the present Games. While some Olympic architecture becomes famous and attracts tourists beyond the weeks of the Olympics, many cities struggle to find uses for their once iconic stadiums and arenas after the games are over. The London Olympics dealt with this problem in an interesting way. A majority of the seating constructed for the games is temporary. The Basketball Arena is a completely temporary structure, while the other main venues, such as the Aquatics Center (Zaha Hadid Architects) and the Olympic Stadium (Populous), have additional temporary tiers of seating. The Aquatics Center will fulfill its use after the 2012 games by becoming a community node, allowing locals to use its facilities in a public manner. While the upcoming Olympics in London have used effective strategies to maximize usage after their main spectacle use, other cities have seen the buildings fall into disrepair with their futures uncertain.

Glancing back at the last two Summer Olympic Games, two separate and complicated scenarios face the cities in their post-Olympic life. The Athens Olympics in 2004 were celebrated as a homecoming. The games were returning to their ancient and original location, a glorified celebration of the long and proud history of the Games in a country which was “Twenty-one of the twenty-two the smallest ever to host an venues are now abandoned and Olympics; however, the $15 left to the elements .” billion price tag now seems like an overwhelming planning problem when looking at the derelict remains. The deputy mayor of an Athens suburb stated, “I think that during the Olympics there was a good feeling. But after the Olympics, I see that nothing has been done. We have lost the chance to change the face of the city.” Twenty-one of the twenty-two venues are now abandoned and left to the elements. While weeds sprout and graffiti adorns the walls, it is hard to imagine the large crowds cheering in the stands and the grand events that took place inside. The Olympic stadiums are now guarded by police in order to keep out vagrants. The city has not found a use for these buildings and has now cut off their access to the public, while the people are footing the bill. This amazing opportunity that could have sparked Greece’s economy has become a drain on the government and society. While Athens faces a monetary problem in the aftermath of the Olympics, Beijing faces other dilemmas.

HIGH POLLUTION DAY AT BIRD’S NEST | BEIJING, CHINA

The 2008 Beijing Olympics were to be an important event for the country of China, the first games hosted by the 1.3 billion Asian giant. The buildings commissioned were extravagant and breathtaking, including the renowned Bird’s “The fleeting glory of hosting Nest (Herzog & de Meuthe Olympics should be translat- ron) and the Water Cube ed into a long lasting condition (PTW Architects). The city focused on creating a that benefits society.” better environment with their urban planning and design. They particularly focused on reducing blight and the large air pollution problem. The games were to represent the future of Beijing and show China as a world leader on the brink of much success at the international stage. While Beijing has benefitted greatly from the Olympics and tourism has increased, many of its plans now have an unclear future. The once improved air quality in Beijing has returned to its original state, a layer of smog still surrounding the city. The air quality presently is labeled “unhealthy” on most days. Without the mandatory no-driving days, the city has returned to its usual amount of pollutants. The planning has also proved to be shortsighted. The stadiums have had a string of

miscellaneous events, but no permanent use has been established for them. The majestic Bird’s Nest that was the emblem of the Games now has an uncertain future. The local soccer team has declined to use it as a home field. It has been diminished to housing a souvenir shop for visiting tourists, emphasizing its role as a statue to be ogled at but not a full-functioning stadium. The building may now be turned into a mall, completely unrelated to its intended use. The Water Cube was in a similar ordeal but has now been turned into an indoor water park. These cities, who built expensive and massive structures to host the games, are now seeing that more effort should have been spent in the planning of the after-Olympic life of the city: legacy. Plans should have been made to assimilate these buildings into the city, creating a long lasting asset, instead of a one-time extravaganza for spectators. As the London Olympics begin and Rio di Janeiro plans for the 2016 games, the future of these cities should be carefully considered amidst the existent prevalent problems. The fleeting glory of hosting the Olympics should be translated into a long lasting condition that benefits society.

Kevin Michniok

Cameron Conklin

Editor-in-Chief TSA ‘13 St. Louis, MO

Hannah Ambrose Editor TSA ‘13 Chicago, IL

S T A F F

John Coyle

Editor Tulane ‘14 Baltimore, MD

Writer TSA ‘14 Centereach, NY

Katherine DeLacey Editor TSA ‘13 Chicago, IL

Annelise Haskell Writer TSA ‘14 Washington, D.C.

FRONT AND BACK COVER INTERVIEW WITH DEAN SCHWARTZ

DANISH BY DESIGN

DESIGNING PRISONS THAT WORK

2011-2012 STUDY ABROAD: IN PHOTOGRAPHY

A MODERNIST PERSPECTIVE GENESIS

2012 THESIS REVIEWS: IN PHOTOGRAPHY

THE SHARD

QUESTIONING LONGEVITY

Liz Kovacevic Writer TSA ‘14 Indianapolis, IN

Alia Soomro

Writer TSA ‘14 New Orleans, LA

CREDIT WHERE CREDIT IS DUE images courtesy of Trond Isaksen, http://www.statsbygg.no/ image courtesy of Jill Stoll images courtesy of Adam Mørk, Krista Merrill & Kevin Michniok images courtesy of Trond Isaksen, http://www.statsbygg.no/ images courtesy of Marcus Allen, Chamberlain Beard, Lisa Coryell, Elizabeth Davis, Jazzy Li, Michael Kahn, Kevin Michniok & Joshua Ungar images courtesy of Preservation Resource Center, Advocacy Department images copyright of theCharrette images courtesy of Jill Stoll images courtesy of Mark Garth, http://www.flickr.com; Jorge Hermoso, http://hermosodesign.wordpress.com/ images courtesy of Darren Lewis, http://www.flickr.com; Oli Scarff, Getty Images; David Grey, Reuters We as a staff appreciate the usage of imagery in a fully academic context. All rights reserved by the owner.

C R E D I T