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LAND MASS 1932
LAND MASS 1958
LAND MASS 1974
LAND MASS 2001
ARCHITECTURE AT TULANE Wendy Redfield Editor and Associate Professor of Architecture
In his preface to the revised edition of Communitas, by Percival and Paul Goodman, architecture critic Paul Goldberger declared that the time had come for architects to shake off their complacency and get back to the “business of being visionary.” He exhorts us to remember: “ . . . that the architect’s mission is a broad one: that he or she is not merely a maker of shapes, but a force for social good. . . . that the city is a collective, shared place, a place that is in the most literal sense common ground. [This vision] emerges from the belief that the architect has an ability, not to mention a duty, to exercise vision, to dream of better ways of doing things and not merely to respond to the narrow demands of the moment.”
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From his vantage at the time of writing in 1990, Goldberger characterized the decades since the book’s original publication in 1947 as a period of architectural modesty and pragmatism. The generation of architects “shaken by the arrogance” of the 20th century’s utopian planners and the spectacular failure of many of modernism’s most influential urban schemes were understandably reluctant to contemplate ideal plans and solutions. Each worldview supporting urban proposals such as Broadacre City, Ville Radieuse, and Garden City, among others was too simplistic, too rigid, and too narrow by far to meaningfully engage real cities with their complex and contradictory forces. But if there is risk of failure in architectural overreach in speculating on possibly brighter futures and the ways architecture might promote them, so too, surely is there risk in complacent acceptance of the status quo. At this point in time, faced as we are with global crises on every front—mounting and catastrophic environmental threats, profound economic and social inequity, failing physical infrastructure, public institutions that are frayed almost to the breaking point—how can we fail to act? In light of these conditions on both the local and global scale architects cannot afford to be passive when there is so much at stake. Atop the watery mouth of the mighty Mississippi River our geographic location is at once a privileged and vulnerable perch; it places us at the intersection of a complexly layered urban culture, a uniquely fragile and poignantly beautiful landscape, and now, the leading edge of an existential crisis of global proportion. As front-line observers of climate change and its consequences that become more disruptive to life in coastal regions every year, the aspiring architects who inhabit the Tulane School of Architecture are keenly aware of this and other crises—foreclosures, urban blight, social injustice—that greet us daily in our own city, and reports from afar. In view of the urgency of these challenges, perhaps it seems incongruous to place the emphasis we do on the rigorous precision of your line weights, and crispness of your drawings; the craft of the joints, corners, and assembly of your models; and the specific words you use to communicate your ideas and intentions. You may wonder at our insistence on discussing certain architectural texts—Vitruvius, Alberti, Venturi and others—and the enduring impact they have had on architecture over time. Or the learning of other bits of knowledge whose application may not immediately be clear: the sixteen divisions of the Construction Specifications Institute; the names of the Greek orders and their origins in wood construction; the social and political context leading to 19th century Eclecticism.
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We stress these things because in sum they represent the body of knowledge of our discipline, without which there is no basis for knowing how, why, or in what ways to better the world through architecture. Architecture’s capacity to direct and influence complex systems of exchange through precisely targeted strategies and interventions; its nearly unlimited capacity to lend identity, status, and relevance to public institutions; and to reframe relationships between people, places, and things render our discipline of vital importance as we face the vexing problems ahead. The challenges before us, and the expanding scope and complexity of the work ahead portends the need for an ever-broadening body of relevant knowledge to equip the aspiring architect. While the unprecedented availability of information at the tip of the nearest web browser gives hope, it also brings the endless haystacks and rabbit holes we all have fallen into, only to emerge hours later barely remembering what prompted our initial quest, and without the time to graphically represent the endless information, let alone incorporate it into the project itself. Since our aim as architects is not merely to analyze and interpret, but to propose possible solutions, determining what information is relevant to a given problem, and what is not is of primary importance. As a school, we seek to provide a strong and well-rounded education in the discipline of architecture and the liberal arts and sciences to which it is inextricably allied. As a faculty, we seek to help students build a reliable methodology of design and a capacity for discernment in framing the right questions. We seek to further our students’ understanding of what knowledge is relevant to those questions, and how, most importantly, to direct this knowledge toward the proposition of architectural projects seeking to define better futures. Paul Goldberger’s exhortation to architects “to exercise vision, to dream of better ways of doing things” while avoiding the pitfalls that doomed the proposals of the 20th century utopian planners, sets a very high bar. Such work requires conscientious engagement with the many contexts—historical, physical, social, environmental, ethical—of a proposed action’s domain, coupled with speculative conjecture unhampered by the enormity of the challenge. All of these activities, furthermore, must be guided by strong and clear values as to what will constitute a better and more just world. On the following pages, we offer a small sampling of the work our students have done that has made us very proud and very hopeful for the future.
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CORE DESIGN STUDIOS
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COMPREHENSIVE DESIGN Tanzakademie
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10 AM
10 AM
10 AM
8 AM
8 AM
8 AM
JUNE 21 10 AM
SEPTEMBER 23 10 AM
DECEMBER 21 10 AM
11 12AM PM
11PM AM 12
11 12 AM PM
1 PM
1 PM
1 PM
3 PM
3 PM
3 PM
5 PM
5 PM
5 PM
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DESIGN BUILD Louisiana Outdoor Outreach Program (LOOP) Studio
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ADVANCED DESIGN Retreat for a Maritime Craftsman
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wall of ritual _living, gathering and bathing isometric vignette with living cells + gathering spaces Plans 1’ - 0” = 0’ - 1/16”
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Elevation + 35’
Elevation + 22’
Elevation + 8’
wall of ritual _living, gathering and bathing isometric vignette with living cells + gathering spaces Plans 1’ - 0” = 0’ - 1/16”
Elevation - 3’
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BUILDING 1 - Floor 2 1/8” - 1’0”
BUILDING 1 - Floor 1 1/8” - 1’0”
N N
N N
BUILDING 2 - Floor 2 1/8” - 1’0”
BUILDING 2 - Floor 1 1/8” - 1’0”
N N
N N
BUILDING 3 - Floor 2 1/8” - 1’0”
BUILDING 3 - Floor 1 1/8” - 1’0”
N N
N N
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DESIGN BUILD URBANbuild
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THESIS
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COAL RIVER VALLEY, WEST VIRGINIA Location of 3 Sites in the Valley
+ To Whitesville, WV 2 mi
1 mi
6 mi
4 mi
7 mi
8 mi
9 mi
10 mi
11 mi
+ Marfork, WV
1 mi
+ Twilight, WV 2 mi
+ Montcoal, WV
X
Marfork Processing Pond
Montcoal Prep Plant
X
+ Lindytown, WV
3 mi
X
Lindytown Mining Operation + Stickney, WV
Appalachian Trail
4 mi
+ Naoma, WV
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5 mi
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Brushy Fork Prep Plant
+ Bald Knob, WV 6 mi
+ Dry Creek, WV
X
Brushy Fork Mine
7 mi
+ Rock Creek, WV
8 mi
+ Glen Daniel, WV
SITE PLAN | RESEARCH & PROCESSING FACILITY Scale:
0
.125 mi
.25 mi
3.75 mi
.5 mi
1500
.625 mi
3000
X Entering Coal River Valley
1:3000
6000
.75 mi
12000
.875mi
1 mi
1.125 mi
1.25 mi
1.375 mi
.125 mi
.25 mi
.375 mi
.5 mi
.625 mi
.75 mi
675 ft .875 mi
600 ft 525 ft 450 ft
375 ft 300 ft 1 mi
225 ft 150 ft
75 ft
+ To Particulate Collectors
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STUDENT WORK
COMPREHENSIVE DESIGN
DESIGN BUILD
Tanzakademie
Louisiana Outdoor Outreach Program - LOOP
Instructor
Irene Keil
Instructors Emilie Taylor
Students
Elizabeth Himmel
Sam Richards
Christopher Longman
Students
Dan Akerley, Madison Baker, Casey Bemis, Jose Cotto, John Coyle, Rachel Conques,
ADVANCED DESIGN
Michelle Carroll, Maggie Easley, Ellen Hearle, Emma Jasinski, Kate Luxner, Sarah
Retreat for a Maritime Craftsman
Satterlee, Meredith Zelenka
Instructor
Marty McElveen
Students
Christina Buschman
URBANbuild
Elizabeth Himmel
Instructors Byron Mouton
Colin Keith
Eric Lynn
Kyle Graham
Shelby Mills
Sarah Morasso
Sam Richards
Students UB 01
Jared Bowers, Ned Brown, Claire Cahan, Nick Crowley, Robert Deacon, David Demsey, Mark Enlow, Jason Heinze, Tyler Hutcherson, Matt Hux, Maggie Joyce,
THESIS Student
Sam Naylor
Advisor
Ammar Eloueini
Student
Max Katz
Advisor
Marianne Desmarais
Student
Colin Keith
Advisor
Marty McElveen
Student
Eric Lynn
Advisor
Marty McElveen
Student
Cameron Ringness
Advisor
Irene Keil
Student
Megan Artsdalen
Advisor
Cordula Roser-Gray
Nicole McGlinn, Andrea Patrick, Jonathon Reyes Carlos Sanchez, Heather Skeehan, Emilie Taylor, Steve Thesman, Ben Wasserman, Seth Welty, Daniel Zangara UB 10
Daisy Dodge, Ali Rex, Kaitlin Seibert, Rosemary Philips, Shira Latch, Casey Hill, Nicole Mehaffey, Blair Begbie, Helen Lummis, Nicole Esser, Jeffrey Zolan, Jonathan Sharp, Max Katz, Lee Cooper, Christopher Collins, Peter Henseler, Ari Levine, Michael Nunnik, Caitlin Parker, Vincent Baudoin, Sara Connerr, Alfia White, Colleen Loughlin, Ian Rosenfield, Mat Ngo, Lizzie Himmel
UB 11
Carly Bowman, Charles Boyne, Ben Feiger, Diana Mendez, Ruben Contreras, Kathleen Aurora Smith, Chesley McCarty, Mike Meline, John Ludlam, Alisha Croft, Ashley Ricketson, Laura Gil-Diaz, Jamie Park, Kyle Graham, Francke Wurzelbacher
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FACULTY
Dean Kenneth Schwartz Faculty
Adjunct and Visiting Faculty
Core Studio Coordinators
Errol Barron
Christian Ardeneaux
2014–2017
Ammar Eloueini
Marianne Desmarais
Emily Baker
Judith Kinnard
Sabri Farouki
Scott Bernhard
John Klingman
Giovanna Galfione-Cox
Maurice Cox
Carol Reese
Maggie Hansen
Marcela del Signore
Scott Bernhard
Lauren Hickman
Irene Keil
Michael Crosby
Stuart Hurt
Andrew Liles
Bruce Goodwin
Charles Jones
Tiffany Lin
Tiffany Lin
Andrew Liles
Wendy Redfield
Graham Owen
David Merlin
Cordula Roser Gray
Wendy Redfield
Jenny Pelc-Chandela
Scott Ruff
Kentaro Tsubaki
Brian Rome
Kentaro Tsubaki
Emily Baker
Melissa Rome
Ben Smith
Z Smith
Emeriti
Richard Campanella
Seth Welty
Geoffrey Baker
Byron Mouton
Megan Weyland
Eugene Cizek
John Stubbs
Maggie Williams
Ronald Filson
Marcella Del Signore
Tyler Young
Elizabeth Gamard
Irene Keil
Shawn Rickenbacker
Karen Kingsley
Casius Pealer
Eugene Cizek
Eean McNaughton
Cordula Roser-Gray
Grover Mouton
Richard Powell
Emilie Taylor Welty
Ellen Weiss
ABOUT TULANE SCHOOL OF ARCHITECTURE The mission of the Tulane School of Architecture is to prepare students for leadership positions in the design professions and in their communities. This school aspires to provide the highest quality professional education in architecture, to develop and conserve knowledge, and to promote excellence and innovation in architecture, landscape urbanism, preservation, and urban and environmental design and development. The School aspires to reach many students within and beyond Richardson Memorial Hall through undergraduate minors in Architecture, Sustainable Real Estate Development, Preservation Studies, and Social Innovation and Social Entrepreneurship, and graduate certificates in Preservation Studies and Sustainable Real Estate Development. The School recognizes the centrality of design thinking as a process of synthesis that incorporates history, theory, technology, economics, behavior, and culture. The School supports diversity and meaningful engagement with urban and community issues, while embracing the creative potential and imperative of sustainable design.
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Publisher
For more information on all programs at
Tulane School of Architecture
the Tulane School of Architecture, visit http://architecture.tulane.edu/
Editor Wendy Redfield
Tulane University
Favrot Associate Professor of
School of Architecture
Architecture
Richardson Memorial Hall 6823 St. Charles Ave.
Designer
New Orleans, LA 70118-5698
Leigh Ayers, 10/HALF Studios
(504) 865-5389
Production Assistants
facebook: facebook.com/TulaneArch
Maggie Harris
twitter: @TulaneArch
Haynes Johnson
Instagram: tulanearch
Photographer David Armentor Printing Emprint, Baton Rouge, LA Sponsorship We thank Robert Dean, FAIA and Rick Powell for their generous support of this publication. Cover Student work from Phlatness workshop run by Michael Nesbit. Front: Sam Naylor Back: Charles Weimer All images of student work appear courtesy of the students, copyright Tulane School of Architecture, unless otherwise noted.
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