Summer 2020 + THE LASTING LEGACY OF JULIAN T. WHITE + DIVERSE EXPERIENCES CONTENTS + FEATURES

06 THE LASTING LEGACY OF JULIAN T. WHITE

14 + Photo by Micah Viccinelli

+ “Nature vs. Nurture” by Chayse Sampy, Black Men in America series

QUAD · LSU COLLEGE OF ART & DESIGN 24 WHY LSU ART & DESIGN? Tigers Share Why

02 LETTER FROM 26 I MADE THAT! THE DEAN Designing the Brain with Madelyn Riche 03 DID YOU KNOW? A Line in the Land, with 30 FIELD NOTES Kevin Benham Travel Snapshots

04 FOUR MINUTES ON . . . 32 CLASS NOTES Visualizing Genetic Relationships, Alumni News and Updates with Courtney Barr 36 EQUIPPED 18 FROM GREAT HEIGHTS For the Doctor of Design in Restoration Architect Elyse Marks Cultural Preservation

CREDITS

EDITORIAL DESIGN — GDSO PHOTOGRAPHY

EDITOR/WRITER ART DIRECTION PHOTOGRAPHERS Elizabeth Mariotti Luisa Restrepo Kevin Duffy Cover photo by Micah Viccinelli, CONTRIBUTORS FACULTY ADVISOR BFA candidate Courtney Barr, Associate Professor Lynne Baggett Kevin Benham, Assistant Professor Madelyn Riche, BID candidate DESIGN & ILLUSTRATION Erika Witt, DDES candidate Lindsey Henriques, BFA candidate Gabrielle Trupiano, BFA candidate COPY EDITOR Ellen Mathis

SPRING/SUMMER ���� + Dean Alkis Tsolakis instructs students in the Design Paris program in France, fall 2019. Photo by Willie Goliday II, MArch candidate. Letter from the Dean

This issue of the Quad explores the LSU College of Art & Design’s inherently question what is, and what could – rich history, and celebrates change – in our own institution of or what can – be. education, and in the fields of art and design. Meet some current students who are working to You will read about the life of Professor Julian T. White, the first change the worlds around them through their African American professor at Louisiana State University and craft, and find yourself inspired by alumni who the second licensed black architect in the state of Louisiana. The fearlessly embark upon less-tread-upon career following pages give a glimpse of the many lives that he touched, paths. They all show us how meaningful it is to as an educator and highly regarded member of the architectural be included in the classroom, on campus, and community. We honor him with the unveiling of the Julian T. in the chosen field of their dreams. White Atrium Mural, which celebrates his illustrious career.

The College of Art & Design has been a leader in many ways, from welcoming diverse faculty, to adopting new technology, to challenging the status quo in art and design disciplines, which Alkis Tsolakis, Dean

2 QUAD · LSU COLLEGE OF ART & DESIGN Did You Know? WITH KEVIN BENHAM

Kevin Benham holds the Jon Emerson/ installations that elucidate phenomena requiring Wayne Womack Design Professorship at careful observation through space and time. He the LSU Robert Reich School of Landscape has exhibited his conceptual work throughout the Architecture. His research and work focuses world, including exhibits at the Royal Institute on landscape phenomena and the temporal of British Architects, London, England; Zurich, qualities inherent in the discipline. To that Switzerland; and New Orleans, Louisiana. end, he produces temporal and ephemeral

Q: What is the language of a line?

A: A line in the land is one of the simplest of gestures, yet it is empowered with the capacity for meaning and significance. A line suggests the human act of possessing the land, claiming ground, and marking territory. A simple line + Broken Kilometer, traversing topography is also imbued with by Kevin Benham the possibility of travel, discovery, hope, and opportunity. It holds within it the memory of Mile Long Burn, a more recent temporal land art project with the past actions: as a recording of a physical act National Park Service in the Tallgrass Prairie National Preserve imprinted upon the surface of the earth. of Kansas, was conducted to maintain the health and vitality of endemic species in the prairie landscape. This particular In the past few years, my work has capitalized project, developed over a three-year period, consisted of a on the power of the line as a datum and mark controlled burn exactly a mile in length along the eastern edge in the landscape through simple interventions of the Tallgrass Prairie National Reserve. The burn was allowed of erasure that exploit the line as a temporal, to naturally extinguish itself as the fire came into contact with transitory phenomenon and as a catalyst natural fire-breaks, wet vegetation or gurgling streams. As a for advantageous ecosystem change. Broken result, the act of burning left an artifact of the natural processes Kilometer, a kilometer-long cut in the earth and forces that shaped the final work. The piece will continue near Harlösa, Sweden, completed in con- to evolve as the seedbed is exposed and new plant material junction with the EU project Sandlife and germinates and thrives. managed by the Swedish Fortifications Agency, acts simultaneously as land art and as a As my work and practice continues to evolve, I continue to think stimulus for increasing biodiversity in the about actions to disrupt ecologies as a means of diversifying area by exposing nutrient poor soils that the complexity of species in the landscape through the use of foster the growth of rare plant species, which unorthodox maintenance strategies that include the manipulation in turn attract extraordinary species of insects of soil surfaces, grazing, burning and other potential mechanical and birds. and natural means of alteration.

SPRING/SUMMER ���� 3 Four Minutes On... VISUALIZING GENETIC RELATIONSHIPS WITH COURTNEY BARR

We are familiar with textbook visualizations of scientific personal DNA sequencing has only been made information, most often represented through carefully labeled available to the general public in the past few diagrams and charts. We experience these diagrams in a scientific years; people can now utilize a variety of online context—their purpose is to explain purely factual information services to collect a DNA swab and learn about about biology, chemistry, physics, anatomy, and so forth. their genealogical connections, ethnic heritage, and genetic health risks. In fact, through DNA What if a visualization can provide more testing I was united with a relative who had than facts? What if it can provoke an emotional been adopted and never knew her biological reaction or be persuasive in some way? The family until now. answer to this question is where art and science converge. Due to public pressure, these online services have released previously inaccessible raw DNA Arguably the most widely recognized and significant scientific data to their customers. Individuals can now diagram of the last 100 years, Odile Crick’s drawing of the DNA download their raw DNA data, a spreadsheet of double helix structure stands out as one of the few that provokes more than 700,000 lines of chromosome base contemplation in a general audience. This elegant diagram pair positions of the human genotype. Without stimulates self-reflection and a deep curiosity in our human the assistance of a genetic consultant or analysis origins, and it is this kind of impact that I seek to achieve in my own service, this data is relatively meaningless to work. I create visual explanations that reveal insights and about the average user. However, when most see human relationships, such as intricate genealogical and genetic meaningless data, I see an opportunity. I began connections. My intent is to transform the scientific diagram into to explore how this dense information could be a creative visualization that crosses the bridge between science transformed into something both aesthetically and art; resonating beyond the scientific audience. fulfilling and informative.

This line of inquiry grew from my long-term research into my Visualizing Genetic Relationships is a series own family genealogy. I have traced some of my ancestral lines of creative information displays that makes beyond the 1700s, while other ancestral lines come to a dead-end visual comparisons of genetic data between after one or two generations. To fill these gaps of information, individuals. I am currently working with the much of my research has been conducted using online genealogy DNA sequences of my own family members; communities such as Ancestry.com. Affordable and fast access to comparing my own sequence with that of my family members reveals where we share the “SciArt” community. The SciArt movement is propelled by genetic matches, offering a visual affirmation a growing community of artists that are inspired by scientific of a connection only visible on the molec- concepts. Organizations, art museums, and galleries that ular level. recognize the merit of science-inspired and data-driven art are growing in number and influence. One such entity, The SciArt To create this work, I had to develop a tool Initiative, is a New York-based group that produces SciArt for efficiently translating the thousands of Magazine and offers programs, grants, artist residencies, and characters in a text-based genetic sequence facilitates a community network for collaborations. In 2018 I had into color-coded symbols. I created a custom the opportunity to exhibit my work in a SciArt related exhibition color font called DNA Loops, which allows a at Northern Illinois University Art Museum. user to transform the base pairs A (Adenine), C (Cytosine), T (Thymine), and G (Guanine) into a In 2014, I began teaching a special topics course on information set of visually compelling graphic symbols. This design in the LSU School of Art. This interdisciplinary course tool facilitates experimentation with a variety of included junior, senior, and graduate level students from visual forms. The potential for this visualization graphic design, landscape architecture, and architecture. This method is exciting; I envision the possibility course was originally developed for graphic design majors, but of developing a system of DNA visualizations opening it to multiple areas gave me the opportunity to format that can be uniquely customized to the an interdisciplinary course that met the needs of students with individual, for a multitude of end-products, varying interests and creative goals. The fundamental principles from fine art prints to custom DNA textiles. of information design are relevant to students in all design Recently I have expanded my subject matter to disciplines. Teaching a course directly related to my area of include animal DNA, in order to bring attention research was extremely rewarding and allowed me to fine tune to extinction threats. my approach to information design as a focus of investigation. I hope to convey through teaching that a creative visualization How and where should this kind of creative has the potential to reveal accurate and emotionally compelling work, that straddles art and science, be scientific information. shared? This has been a challenging question to resolve. By seeking opportunities to share my Courtney Barr is an associate professor of graphic design at LSU investigations and exhibit my work, I discovered who uses visual explanations to reveal new understandings.

SPRING/SUMMER ���� 5 THE LASTING LEGACY OF JULIAN T. WHITE

+ Photo by Micah Viccinelli

6 QUAD · LSU COLLEGE OF ART & DESIGN In 1953, when Julian Thaddeus White was nine the LSU Department of Architecture, where he worked for 33 years. years old, on a drive with his family along After a long successful career in education, he retired in 2003. He Louisiana’s River Road, he spotted Louisiana passed away from cancer in 2011. This year the LSU College of Art State University’s campus from the car. & Design unveiled the Julian T. White Atrium Mural in his honor, memorializing his incredible legacy at LSU. “I’m going to go there one day,” he informed his family. “I’m going to LSU.” It was not an easy road, relayed Loretta White, Julian’s wife. The question Julian asked her repeatedly throughout his life was: “do “No you’re not,” replied his grandmother. As an you think they will accept us?” The answer was not always yes. African American, he would not have been accepted to the state university at the time. When Julian took the Louisiana state architecture license exam, held on LSU’s campus in the 1960s, a white man taking the Ultimately Julian was right, and though he went exam that day asked the instructor that Julian sit in a different to the University of Illinois Urbana-Champaign room to take the test. He was segregated from the other test- for his undergraduate and graduate degrees, he takers – all white men – and was told to take the exam upstairs. later came to LSU as a professor of architecture. Incredibly, that room became part of his life again when he returned to LSU as a faculty member. Julian White was the first black professor at LSU and the second licensed black architect in the “That very same room, where he was told he had to take the state of Louisiana. In 1971 he joined the faculty of exam, became his office for many years,” Loretta said with a grin. “It was actually a great office, in my opinion. It had a good view of the campus.”

“That very same room became his office for many years.”

Julian became the second licensed black architect in the state (the first being Dickie Thurman, his cousin by marriage.) He worked for the renowned architectural firm Caudill Rowlett & Scott (CRS) for 3 years, and taught at Tuskegee University in Alabama, and at Southern University in Louisiana. He started his architecture practice in Baton Rouge, which he maintained throughout his life.

LSU Board of Education First black First black female enrolls first black student undergraduate student to graduate at LSU (Roy S. Wilson, student enrolls at LSU from LSU (Pearl Andrews, Law School) (A. P. Tureaud Jr.) Masters of Education)

First black student to First black earn a degree from LSU student to graduate (Charles E. Harrington, from LSU Law School Masters of Education) (Ernest N. “Dutch” Morial)

SPRING/SUMMER ���� 7 + THE LASTING LEGACY OF JULIAN T. WHITE

There were times when he didn’t feel comfortable Today, Professor White’s former students are in architectural firms as the only black professor on campus, Loretta throughout Louisiana and across the country. One of his many said. “In the early years he never went to campus students, Steve Dumez (BArch ’82), a partner in the New Orleans by himself at night,” she shared. “If he needed architecture firm Eskew+Dumez+Ripple, remembers Professor to go get materials from his office after dark, I White as an engaged and demanding professor. “He required our would come with him – we would take the kids, best work and challenged us to produce just that,” Dumez said. pile into the car, all go over there together. He didn’t say it, but I understood that he didn’t Dumez said Professor White had a formative influence on his career, want to go alone.” but also a subsequent influence as a mentor. “I would continue to seek his opinion on my work when he was no longer my teacher,” Even as a professor who proved to be an ex- he said. cellent instructor and garnered respect from his students and fellow faculty members, there “Julian was the most ethical, self-possessed man I have ever known, were still times living in Baton Rouge in the and has always been an inspiration to me,” former LSU architecture 1970s when he was rejected because of race. instructor Cymbre Raub said. “I was profoundly fortunate to be “One time I remember, a country club wouldn’t able to teach with him at LSU in the 1990s. He was always honest, allow him to give a talk there, Loretta said. “His often funny, and kind beyond words while holding to clear and students were so upset. They tried to show him unassailable principles.” how much he meant to them, that he was so much more.”

Julian, however, always carried himself with tremendous dignity, and over time became well-respected by his peers at LSU.

“He was kind, but tough as a faculty member,” said Ken Carpenter, professor of architecture. “Yet I think his students all understood that he cared about them. He knew them individually.” + + Photos courtesy of the White family

First black First black LSU First black student to LSU professor varsity football players First group (6) of black earn her Ph.D. from LSU (Julian T. White, (Lora O. Hinton, Jr. and students enroll at LSU (Pinkie Gordon Lane) Architecture) Mikell Williams)

First black female First black LSU First meeting space undergraduate baseball player for black students to attend LSU (Henry LeBoyd) was established (Freya Anderson Rivers) (Harambeé House) First black LSU Student Government President (Kerry Pourciau) 8 QUAD · LSU COLLEGE OF ART & DESIGN Julian taught countless students over three decades, and over the years saw the program evolve and grow into its own School of Architecture in the College of Art & Design.

“Young people want to see themselves in their professors, want to believe that their dreams are attainable.”

As an architect he designed buildings with social purpose, including educational facilities and churches across the country. His clients included the East Baton Rouge Parish Recreation and Park Commission, Baton Rouge Medical Center, East Baton Rouge Parish school system, and both Southern University and LSU. He Over the years, Professor White was a major was a member of the American Institute of Architects and served influence in the lives of his students. numerous years on the regional board of the National Council of Architectural Registration Boards and the Louisiana Board of “Professor White was an outstanding teacher, Architectural Examiners, ensuring that future architects received and a phenomenal mentor,” said Kasia Zaruska fair treatment during review. Gallo (BArch ’97, MLA ’00) when she learned of his passing. “My son is named Julian in his honor.” He leaves behind a legacy through buildings around the region that he designed, and in the many architects he taught. “He “I remember very few professors in the same holds an important place in the university’s history by breaking cherished way as I remember Professor Julian T. the color barrier as its first black professor,” LSU Chancellor Mike White,” said John Radionoff (BArch ’80). “He was Martin said upon Julian’s death. “He also leaves behind a strong kind and treated students with the utmost dig- impression with his fellow educators and the students who he nity. I am very thankful that he represented LSU taught, as well as a lasting legacy in the architectural community.” and that he will always be such a huge part of the university.”

First black First black LSU First black quarterback First black LSU Golden Girls dean of an for LSU (Carl Otis Trimble) female tennis player (Paula Jackson and academic college [1974-76] (Kyle Copeland Muse) Saundra Mims) (Carolyn Collins)

First black LSU First black LSU First black LSU basketball player female tenured female gymnast (Collis Temple, Jr.) professor (Debra Ross) (Christine Minor)

SPRING/SUMMER ���� 9 + THE LASTING LEGACY OF JULIAN T. WHITE

“Young people want to see themselves in their professors, want to believe that their dreams are attainable,” said Casey Phillips, The Walls Project Director, the firm the College partnered with to man- JULIAN T. age the mural’s implementation. “When you see someone who looks like you, that you can identify with, that’s powerful. By simply being their teacher, he inspired students of different backgrounds, WHITE showed them they could achieve their goals.”

Julian’s painted image seems to look down on everything – and everyone – in the Design Building below. The atrium is the bustling hub of the college, filled with students and faculty members day in and out, who glance up at the colorful mural on the walls with keen interest. It’s breathtaking.

“There were those who would have liked to push him out, simply because he wasn’t white,” Loretta said. “But it didn’t work.” She laughed, glancing with pride toward the mural honoring her husband. “And now they get to look at it.”

Above all, Julian was a family man. He had five children, 13 grandchildren, and was married to Loretta for over 50 years. As dedicated as he was to his life’s work, he did it all for his family.

“All I want is for my grandchildren to know I have been here,” Julian told Loretta before he died.

Now we all do. + Mural plan illustration by artist Robert Dafford. The Julian T. White Memorial Scholarship Fund supports full-time bachelor of architecture students, considering financial need. The fund will help future students for years to come.

Minority Services is First black LSU established (In 1993, it Establishment female soccer players becomes the Office of of the LSU (Fallon Buckner and Multicultural Affairs) Women’s Center Somalia Lindsay)

First black female Establishment First Vice Provost First black LSU Boyd president of the LSU of the LSU of Campus Diversity Professor is named Union Governing Board African American is appointed by the LSU System and Programming Council Cultural Center (Gregory Vincent) (Isiah Warner) (Nicole Moliere) Safe Space Campaign begins

10 QUAD · LSU COLLEGE OF ART & DESIGN ATRIUM MURAL The three-story mural honoring Julian White is Palazzo Medici Riccardi in Florence, painted in the atrium of the LSU Design Building, Italy. The mural artist Dafford worked 1,075 square feet and visible from numerous with Julian’s family to capture his vantage points. Renowned muralist Robert Dafford likeness, sharing family photographs was selected to execute the project, and site and stories. The painted scene is installation was directed by The Walls Project, a joyful, a celebration of his life. nonprofit that implements large-scale murals across Baton Rouge. The College of Art & Design The artistic aim of the mural is to mural serves as a testament to Julian, symbolizing portray how Julian opened the how his perseverance paved the way for racial doors for all those who followed, equality at the university. according to the artist Dafford. It’s a story, a narrative of the steady “Julian White is the person that opened the doors, march of progress over time. led the way to free LSU from segregation,” said Alkis Interspersed among the figures Tsolakis, Dean of the College of Art & Design. “In this are images that have personal sense he is an icon to our community.” meaning to Julian’s life, such as the scene of Professor White teaching in a classroom, looking out from the The mural depicts Julian leading a procession of balcony window of his infamous office, and buildings that he designed students and faculty through stately live oaks that layered along the promenade. The piece revels in the evolution of LSU. evoke the LSU campus. Those following behind him are individuals of different races, men and women, “In photographs, Julian has a kind intensity in his eyes from a young people from all walks of life. Among them walks age,” said Casey Phillips, Director of the Walls Project. “That kindness Isiah Warner, the Boyd Professor and Philip W. West is captured in his rendering in the mural.” Professor of Analytical & Environmental Chemistry. “This project means everything to me,” said Dean Tsolakis. “It means The mural draws inspiration from a diverse variety another step in freeing LSU and making a home for everyone. of sources, from street art in New Orleans to the Another step in what Julian White did for LSU, for Louisiana, and for “Procession of the Magi” fresco by Benozzo Gozzoli at the world.”

First black (male First LSU student to First black LSU or female) British First black be named as a Morris Men’s Basketball Marshall Scholar at Miss LSU-USA Black Faculty K. Udall Scholar Head Coach LSU (Ebony Spikes) (Courtney Rawls) Association forms (Nita Anne Clark) (Trent Johnson)

First black female First black LSU Women’s First black (male or First black Dean Corp Commander Basketball Head Coach female) to complete of the E.J. Ourso for the LSU (Dana “Pokey” Chatman) the LSU MBA/ College of Business Corp of Cadets JD joint program (Eli Jones) (Daphne LaSalle) (Natasha U. Francis)

SPRING/SUMMER ���� 11 12 QUAD · LSU COLLEGE OF ART & DESIGN SPRING/SUMMER ���� 13 + DIVERSE EXPERIENCES EXPLORING AFRICAN AMERICAN HISTORY THROUGH DESIGN: TAYLER HARRISON

Fifth year architecture student Tayler Harrison had the internship In 2018, she served as lead organizer for the of a lifetime: working at the Smithsonian National Museum of museum’s three-day symposium, “Shifting the African American History & Culture (NMAAHC). The monumental Landscape: Black Architects and Planners, museum in Washington, D.C., which opened in fall 2016, is the only 1968 to Now.” Wilkinson holds a 2020 Harvard national museum devoted exclusively to the documentation of Loeb Fellowship. African American life, history, and culture. During the internship Harrison had the opport- “It was inspiring to work in the presence of the people who unity to research and write an article for the helped to build the museum,” Harrison said. The building itself Smithsonian website, prepare a grant proposal is amazing: the physical space reflects the messages that the for the Smithsonian Women’s Committee, and exhibitions convey, she noted. visit local sites of interest such as NPR’s head- quarters and the Glenstone Museum. “It felt like the internship was tailored to my experiences as a black design student,” she shared. “Working at the museum “The internship was such a meaningful exper- strengthened my interests, and now I have a clearer lens of ience,” she said. “I was able to genuinely what I want to do.” contribute and learn more about the history of black architects in the U.S. I studied drawings Harrison interned with Michelle Joan Wilkinson, PhD, a NMAAHC of the works of black architects, such as the curator and acting associate director for curatorial affairs, where work of Julian Abele who was born in the late she is expanding the museum’s collections in architecture and 1800s and became one of the chief designers design. She co-curated two inaugural NMAAHC exhibitions: A of Duke University’s campus.” Century in the Making: Building the National Museum of African American History and Culture and A Changing America: 1968 “It felt like the internship was and Beyond. tailored to my experiences as a black design student.”

+ Smithsonian interns. Image courtesy of Tayler Harrison.

14 QUAD · LSU COLLEGE OF ART & DESIGN The Smithsonian internship was an inspirational experience, working with influential people in the nation’s capital, she said. “One day Colin Powell came to a staff meeting! I felt I was in the midst of greatness,” she shared.

She also enjoyed working with other student interns with interests in different areas of study, who came to Washington, D.C. from universi- ties across the country. She interned alongside students of art history, engineering, music, and design disciplines. “It was interesting to see the work other students are doing, and how we were all able to tell the story of the journey of African Americans through different lenses.”

In Washington, D.C., she also had the opportunity to observe professionals trained in architecture that are using their degrees in different ways, providing inspiration for potential career possibilities after graduation. In the future Harrison would love to go into curation and bring together her interests in black architecture, urbanism and museum education.

+ Tayler by the the Smithsonian National Museum of Throughout her studies at LSU, Harrison has African American History & Culture. found herself drawn to the intersections of design, art, and history. “I want to use my architecture education in a way that explores Harrison, who is originally from New Orleans, is focusing her art, culture, and communities,” she said. “I’m final project on urban design in her home city. “I’m translating interested in curating, and am drawn to exhibit what I’ve learned, and bringing it back to New Orleans,” she said. and museum design. I’m exploring urbanism now “I’m passionate to work on solving problems in my home city.” in my research, and my internship experiences Reflecting on her internship experience: “I’m so grateful for the are influencing the work I’m creating now opportunities I’ve had so far.” in studio.”

SPRING/SUMMER ���� 15 + DIVERSE EXPERIENCES CONFRONTING CHANGE: CHAYSE SAMPY

the second place prize in the LSU Discover Day 2019 Juried Art Show contest for her series Black Men in America.

In her current work, Sampy confronts issues that she describes as disregarded in the past, which have become a catalyst in recent years. She aims to focus on racism, xenophobia, a lack of environmental consciousness, mass violence, patriarchy, and a flawed education system. Children are the primary figure in this series.

“Placing children in unbelievable situations and odd places that seem to juxtapose modern-day + Chayse Sampy with piece “Modern Day Lynchings” reality,” she said. “I intend on this series being BFA student Chayse Sampy is an artist dedicated to creating art- my senior project, and I believe it will commu- work that both entices and challenges her audience. Originally nicate issues that unite us all as Americans, as from Houston, she came to LSU to study art and hone her craft to well as exhibit the skills I have acquired in my communicate about pressing issues in American society. academics at LSU.”

“I got into art at a very young age, drawing silly family portraits “My primary goal with my artwork and on the walls, as most children do,” she said. “But no one could is to force uncomfortable but have predicted how big this passion would grow over the years, necessary conversation.” which has led me to LSU to pursue a BFA in studio art.” Her work aims to confront the realities of rac- She chose to study art at LSU because “it was the only thing I ism and stereotypes. “I would describe my art as could envision myself doing,” she explained. “I didn’t want to have necessary,” she said. “Most people don’t want to to force myself to get up every morning and go to a job that I hate. talk about politics, most people don’t want to I was lucky enough to have a mother that believed in me enough talk about racism — most people don’t want to to fund my art education.” talk about anything negative. I think that it is the job of artists to make art that reflects on the Sampy aims to bring to life societal woes, racial issues, and key times that we live in.” aspects of the urban culture in realistic, pop art style paintings and drawings. “I give a voice to those that have yet to find their “My primary goal with my artwork is to force un- own.” Her mediums range from pencil and acrylic paint to lino- comfortable but necessary conversation,” she leum carving. said. “Early on, we are taught that America is this global superpower, a safe-haven where She has had her work featured at the Museum of Fine Arts, anyone is welcome and offered a chance to Houston and displayed in local and national art shows. She won prosper. As I grew up, being a black female,

16 QUAD · LSU COLLEGE OF ART & DESIGN I realized that there were structural flaws in the Sterling and Philando Castile, both of whom were unarmed black foundation of my country. My work is simply a men shot by police officers; Sterling was killed in Baton Rouge. reflection of the issues I see in my community and America as a whole.” “The fact that police officers can get away with it,” Sampy said in an interview Study Breaks, “and that there are no repercussions “My work is simply a reflection of and it’s happening so frequently — it’s kind of like a modern-day the issues I see in my community lynching. These people can go back to their regular lives after. and America as a whole.” There’s no accountability.”

Her paintings are inspired by racial justice Throughout her work made at LSU, Sampy intends to keep and social justice — any issue, she says, that challenging the status quo, sparking conversations with her work has a social consequence. Sampy asserts that to ignite a crucial dialogue about change needed in the United because racism in particular is such a deeply States. “I believe we inherited this glorious country but forgot to entrenched, underlying issue in American society, address its dark side. So as a ‘millennial,’ I will question everything!” it’s a challenge to get people to pay attention to it over time. In the future, Sampy wants to bring about societal change by creating spaces in urban communities for children to discover art In her piece “Modern Day Lynchings,” a tree and develop their own abilities. And, of course, she intends to grows out of a police car. Three black men hang keep creating. “There are so many issues out there, I’ll probably from the tree. Sampy made the painting in the never run out of things to paint.” immediate aftermath of the deaths of Alton

+ “Beware” by Chayse Sampy Black Men in America series From Great Heights

Elyse Marks studies the façade of a historic building, inspecting the walls for cracks. Hundreds of feet below her, the city streets of New York buzz, a distant blur. Tethered to the side of a skyscraper, Elyse scales a window many stories above the ground, trusting her harness and ropes.

“I always get a rush of fear and excitement every time I go over the roof parapet of a new building – it is an incredible experience,” she shared. “The first time I went on a scaffold I remember being terrified the whole time, but at the same time I found it exhilarating. Over the years it has actually become one of my favorite parts of the job, because it means I get to see the city from a very unique perspective that not that many people get to experience.”

Elyse received a bachelor of architecture from LSU in 2010 with a minor in architectural history. She received a master of science in historic preservation from Columbia University in 2012. From there, she has worked in several architecture and engineering firms within the New York City area that specialize in the restoration and rehabilitation of exterior building enclosures. She is now Project Manager / Studio Head at CANY Architecture + Engineering, DPC. Over the past five years, her work has mainly been focused on exterior façade restoration of historic and landmarked buildings within New York City.

So far she has worked on several historically significant buildings in New York City, such as The City Bank Farmer’s Trust Building, The Plaza Hotel, The Coty Building, The Crown Building, and The Flatiron Building. △ 18 QUAD · LSU COLLEGE OF ART & DESIGN SPRING/SUMMER ���� 19 + FROM GREAT HEIGHTS

“I get to see the city from a very unique For an undergraduate assignment at the LSU perspective that not that many people School of Architecture, students were tasked get to experience.” with designing a building of their own choosing, and Elyse asked a professor if she could pick an “Contributing to the history of these significant structures has existing building on the proposed project site been a great honor to me, not only as a lover of architectural histo- and create a new use. “It was my first exposure ry with a passion for preserving the iconic New York City skyline, to the concepts of restoration and adaptive but also because it is extremely satisfying to see a project come to reuse,” she said. “Though at that point my completion,” she said. “I know that I have participated in some understanding of the field was limited, the small way to furthering the life of an existing building so that it experience planted a seed in me and I began may be appreciated by future generations.” to look into alternative architecture careers outside the realm of new construction.” Her journey towards a career in preservation started when she was an undergraduate. “About three years into the architecture “I was set to graduate in 2010, during the height program, I started to realize that although I loved the freedom and of the recession,” she said. “I knew I wanted to creativity of designing new buildings, I wasn’t as in love with the pursue a master’s degree, but was unsure about idea of how much waste is created by new construction projects, what field of study would be best suited to my not to mention the displacement within cities that can come from talents and interests. A teacher whom I greatly new development,” she said. “My grandmother was an antique admire and respect advised me to look into dealer, and she instilled in me a great appreciation for antiques Columbia’s historic preservation program. After and historic buildings.” a visit to the campus in the fall of 2009, I began to realize how many career paths could be open to me. Once I was accepted into the program and began attending classes, I was exposed to so many other people with different backgrounds who felt the same way I did towards restoration and historic buildings.”

“When I discovered the world of restoration, it was the first time I envisioned a career path for myself where I could provide a significant contribution to society.”

Projects generally begin when building dete- rioration is noted, posing public safety issues. Elyse and her team conduct a comprehensive building investigation, visiting all roofs, terraces, balconies, setbacks – “every nook and cranny of the building.” For the parts of the building that can’t be accessed on foot, such as the exterior + Photos courtesy of Elyse Marks. façade, investigations are typically conducted brating women in architecture from different generations, coun- via rope access, which must be performed by a tries, and corners of the industry. “I was interviewed on such sub- SPRAT or IRATA - certified rope access technician. jects as how I got my start in architectural restoration, my path towards becoming a licensed architect, and on my experiences As a SPRAT-certified rope access technician, with trying to successfully navigate a male-dominated industry.” Elyse is able to gain access to all areas of a building to perform close-up inspections, with She was also featured on The Today Show, along with several of the purpose of identifying and evaluating her female colleagues, on her experiences as a SPRAT-certified deteriorated components of the structure’s Level I rope access technician. façade. From there, she can develop a repair scope to address the deficient building con- “One of my proudest moments was finishing the first full facade ditions before they become hazardous. restoration campaign where I was involved in every step of the process from initial investigation through closeout,” she said. Elyse has received recognition as a female suc- “Being able to witness and have a hand in bringing a beautiful ceeding in a formerly male-dominated field. historic building back to its former glory was a revelatory expe- Last year, she was the subject of a weekly career rience for me — it really confirmed that I had chosen the right profile as part of a series published by Madame career path and that I could see myself doing this kind of work Architect, an online platform profiling and cele- for a long time.”

SPRING/SUMMER ���� 21 + FROM GREAT HEIGHTS

New York City may seem a world away from Louisiana, but Elyse Though her particular focus is in the pre- said she always knew that she wanted to go to LSU, and it ulti- servation of historic buildings, there is actually mately led her to the “city that never sleeps.” “What it really came much more to the field of building restoration down to was picking a field of study that was both interesting and than meets the eye, Elyse explained. “Though challenging to me, which is where LSU’s architecture program the opportunity to work on these well-known came into the picture,” she said. “After visiting as a senior in high buildings has been important to my career, school and falling in love with the welcoming and diverse atmo- many of the smaller, less ‘impressive’ buildings sphere of the program, as well as the passion of its teachers and I have worked to restore have provided me with students, I knew it would be a good fit for me.” more opportunities to learn more about various repair trades and methods of restoring various “My architecture degree was invaluable towards giving me architectural elements than I ever expected. At a head start when I got to Columbia and started the gradu- this point in my life, I am still acquiring new ate level curriculum,” she said. “Because my LSU professors skills and advancing my technical knowledge had given me a strong foundation of knowledge on build- almost every day. In that way, every project has ing systems, structures, and architectural history, I already defined my work in some small way, which I understood the fundamentals of building and design – so it am sure will continue to be the case throughout wasn’t like I had to start from scratch, as many of my class- my career.” mates did.” “While in architecture school, I had a hard time “My career thus far has been a world away from envisioning the type of career I wanted to have what I even knew was possible when I started because I figured out pretty early on that I was out, and I am so grateful for that!” not particularly inspired by the traditional career path of new construction, so I worried about how I would find my place in this indus- try,” she said.

“In fourth year, we were assigned to read Jane Jacob’s The Death and Life of Great American Cities. This book really opened my eyes to the importance of investing in the existing built en- vironment, and from there I just never looked back. The evolution of my career path has been organically driven by my primary interests in history and in the continued preservation of our existing building stock for future generations to enjoy.”

+ Female team members featured on The Today Show.

22 QUAD · LSU COLLEGE OF ART & DESIGN + Elyse at work inspecting historic building façade in New York City.

“I am interested in the continued preservation of our existing building stock for future generations to enjoy.” Why LSU Art & Design STUDENTS SHARE WHY THEY CHOSE TO COME TO THE LSU COLLEGE OF ART & DESIGN? NICK BERTUCCI - Architecture

+ Why did you choose LSU? + What drew you to your chosen field? I chose LSU originally due to my family My first exposure to architecture was through my connection. Both of my brothers attended oldest brother. While he was enrolled in LSU’s LSU, which meant we spent many weekends School of Architecture, I was exposed to all of up here visiting them and going to football games. I fell in love his work; the drawings, models, and images, all with the campus and the whole atmosphere surrounding it. of it fascinated me. When I started to look more When I later decided I wanted to pursue architecture, I was happy into the field, the implications of these drawings to hear that LSU had a well-respected program with so many and models and how they shaped what our built opportunities and meaningful connections. environment around us might look like, there was no going back. + Why did you choose the College of Art & Design? Architecture is the study and creation of meaningful spaces. The idea of being able to create a space that can both physically and emotionally move someone has always been something I wanted to study and professionally pursue.

+

BLAINE SWANZY - Interior Design

+ Why did you choose LSU? beauty of places and the College of Art & I am from California and I was looking to Design will provide me with ways to turn my branch out and find a school that not only passion into a career! provided great academics but great student life as well, and LSU showed me that. + What drew you to your chosen field? My mom actually owns an interior design + Why did you choose the College of Art & Design? studio back in California, and when I started I have been interested in design since I was young. First it was working with her over summers, I became fashion design, then it was graphic design, and now it’s interior more and more interested in the process of design. I have always loved the beauty of things as well as the turning an empty room into a masterpiece.

24 QUAD · LSU COLLEGE OF ART & DESIGN BETSEY PETERSON - Landscape Architecture

+ Why did you choose LSU? for the students, going above and beyond to When considering graduate programs, I give their time to students, to conduct research weighed cost and scholarship opportunities, that pushes the field forward, and to constantly proximity to family and a support system, improve this program is incredibly unique. and looked at the collaboration opportunities at the institution, in addition to the specific program I was considering. LSU made + What drew you to your chosen field? sense for a well-rounded life during graduate school for all these I had been drawn to issues of sustainability, reasons, not just the stellar program to which I had applied. Not community-building, and equity for a while and to mention it’s a beautiful, inspiring campus! finally discovered landscape architecture, which grapples with all these issues and more. The field + Why did you choose the College of Art & Design? is a tangible way to shape spaces to improve the I chose the College of Art and Design, specifically the Robert health of people and the environment, foster Reich School of Landscape Architecture, for several reasons and connections, and design inspiring spaces that am constantly uncovering more reasons why I am glad I ended up offer rest or exercise for us. I think we are all here. I initially was drawn to the program’s history of excellence hyper aware of our spaces at home and the local (it tops the charts of the best landscape architecture programs in public parks and trails as we go through this the country consistently) and the wide net of alumni that take quarantine / social-distancing period together. I’m pride in this institution. The thing I value even more, now that I thankful more people are realizing the value of know more about the profession, is the balance between preparing these spaces and am hopeful we will continue to students for professional practice and pushing the bounds of value them once we come out on the other side of design that this program offers. The staff come from various this unprecedented time. backgrounds and students truly get a breadth of exposure to this diverse field. Finally, the professors’ willingness to be here

+

KAYLA HALL - Studio Art

+ Why did you choose LSU? + What drew you to your chosen field? It’s a great place for me to explore, go on I love to create! After graduation I’d love to various internships, and prepare for gradu- work as a story board artist for Disney anima- ate school. tions or Pixar, and / or go on to work at a small- scale design company, and once I gain years of + Why did you choose the College of Art & Design? experience, become an art director. I chose the LSU College of Art and Design to do what I love most-create art. I’d rather spend my years learning/doing some- thing that truly makes me happy and constantly challenges me rather than settle for mediocrity.

SPRING/SUMMER ���� 25 + Images courtesy of Madelyn Riche I Made That! MADELYN RICHE

Interior design students in professor Matthew Dunn’s class created models of human brains that were displayed at TEDxLSU 2019, a day filled with interactive exhibits and talks across a variety of academic disciplines. The TEDxLSU theme was “illuminate” – a prompt that challenged students to “illustrate what you know and what you want to know within your ‘head.’”

There are some things we know, and others that appear only through a glass darkly to us, operating just beyond the forefront of our consciousness. How do we reach through that darkness to grasp new meaning and expand our understanding? We seek to illuminate that which is still only dimly within our grasp.

Illumination is a reciprocal process; what to you is fully illuminated can be only a spark of an idea to another person. To spread that idea, we take care to illuminate our own knowledge for others, and to receive and spread the spark of knowledge that those around us offer. With that illumination comes a deeper sense of clarity, and from there…

Illuminate il·lu·mi·nate /i’loom nāt/ Illustrate, embellish, throw light on, enlighten, elucidate — TEDxLSU 2019 Theme

Students were posed with the questions: “What do you know, what do you not know and what do you want to know? How do you illustrate / visualize knowledge or lack thereof? How would you visually differentiate between the two? How would you express what is most important and illustrate a hierarchy of knowledge?”

Using text cut from magazines, illustrate what you know and what you want to know within your “head.” You are not confined just to the “brain cavity”…

SPRING/SUMMER ���� 27 + I MADE THAT: MADELYN RICHE

Here, BID candidate Madelyn Riche explains her design process:

+ Step 1: Design Concept + Step 2: Building the 3D Head The first phase of this project involved mapping my brain and Once I was happy with the concept work I had using words and short phrases to describe what my brain looks like done, it was time to start building the thing. to me. I created a visual collage of words clipped from magazines Using PDF templates, I cut out and assembled to quickly map the things that I thought took up the most space the head. I attached the templates to cardboard and “processing power” in my brain. I looked at other artists’ with rubber cement so that the paper could work to gather some inspiration, and the word collage evolved be cleanly removed once the pieces were cut into an isometric drawing of the inside of my head, complete out. Assembly involved cutting notches into with rooms and circulation of information. I created a factory- interconnected pieces of the head and making like environment where information flowed in through the five sure they fit snugly with no noticeable gaps. I senses to a “knowledge dump” in the base of the head. From there, built the two sides of the head separately so that knowledge and information flowed through pipes to the other I could work on the interior space easily without specialized areas for processing and storage. Excess, unnecessary having to disassemble the head. information found its way out through a release spout in the top of the head. + Step 3: Designing the Interior Now that I had my head built and knew precise- ly what the interior dimensions were, I could move on to designing the interior space. I decid- ed I would recreate the knowledge dump from the map of my head and got to work. To recreate the liquid information at the base of the space, I used a waffling technique with chip board. Much like the assembly of the head itself, the waves in the pool required precise measure- ment of curves and dips to make the model read as liquid in motion. The pipes coming from the nose, ear, eye, and up from the spine were also made of long strips of chip board which I formed around pencils and secured with tacky glue. Once they were sturdy, I made rings out of silver wire to attach at even intervals to give them an industrial look. Finally, I included a battery powered LED light that I wrapped in vellum to illuminate the interior space.

28 QUAD · LSU COLLEGE OF ART & DESIGN + Step 4: Finalizing the Exterior With the interior done, I moved on to adding the structural and aesthetic elements on the exterior of the head that would clarify and secure my design. I added funnel shapes made of chip board and rimmed with the silver wire to represent the external inputs that feed into the knowledge dump. To allow people to see into the interior of the head, I installed a peep hole (like the one in your front door) into one of the eyes of the head. To secure it, I cut a circle out of cardboard and punched a hole into the mid- dle to feed the peep hole through. I was then able to attach the cardboard to the head and the flange of the peep hold to hold it in place. I finished it off by adding a silver wire monocle around the cardboard brace to add character. I used small hidden binder clips to hold the two halves of the head together, and was finished!

+ Photo by Heather McClelland Photography.

SPRING/SUMMER ���� 29 Field Notes SNAPSHOTS FROM OUR TRAVELS

Interior Design Chicago +

39 third-year interior design students traveled to Chicago, where they visited Stantec and Cannon Designs, and toured DIRT, and OFS, Steelcase and Herman Miller showrooms.

“Having the opportunity to visit Chicago and experience different parts of the design community was valuable in reassuring our class as to who we are as designers and who we want to grow to become. Between firm visits and showroom tours, I couldn’t have asked for a more inspiring trip.”

–Brannon Hardy, BID candidate

+ Architecture Panama

Architecture students in the “At the Border in Panama City” interdisciplinary option studio traveled to Panama to explore infrastructure and investigate the geographic line that historically demarcated the eastern border of the Panama Canal Zone from Panama City, the apex of the isthmus that ecologically links North and South America.

“Being given the opportunity to travel back to my native land of Panama, view my country of origin through an architectural lens, and to also be able to work with fellow Panamanians has been a highlight of my architecture experience at LSU. I was given once in a life time chance to merge my love for architec- ture with my national identity and I couldn’t be more grateful to have had that chance.”

–Oscar Almengor, MArch candidate

30 QUAD · LSU COLLEGE OF ART & DESIGN Landscape Architecture China

In fall 2019 design students in assistant professor + Brendan Harmon’s “Giant Panda Studio” de- signed a new national park for giant panda conservation and tourism in the wilds of Sichuan Province, China. They traveled to China to conduct fieldwork in the Fengtongzhai National Nature Reserve, and worked in part- nership with Sichuan Agricultural University (SAU)’s College of Landscape Architecture.

“I didn’t expect to experience a taste of what it must be like to be a college student in China. We lived on campus, had breakfast and lunch at the school canteen, and went to class in different buildings to learn Chinese language, native plants, tea culture and ink painting. I never thought that I would meet landscape architecture students and teachers in a different country, and in Asia.”

Art Iceland

Andy Shaw, associate professor of ceramics, envisioned and + launched the Mid-Atlantic Keramik Exchange in Iceland, which held its inaugural meeting in June 2019 at the studios of Myndlis- taskólinn í Reykjavík (MIR), The Reykjavik School of Visual Arts. Artists from Europe and North America participated, including LSU students and alumni.

“It was my first time ever visiting Iceland and I was blown away by the landscape and the otherworldly feel of the scenery. The experience of making work alongside other artists in another country was inspiring and creatively very fruitful. It was a chance to engage in conversation with other artists coming from Europe and other parts across North America.”

–Jessi Maddox, MFA candidate

SPRING/SUMMER ���� 31 Class Notes KEEPING UP WITH ART & DESIGN ALUMNI

70s 80s + +

PHILL EVANS BFA 1973 manages Phill Trahan Architects, a global Evans Sculptural Design in Carmichael, architecture firm based in California. He has produced more than 75 New Orleans with design sculptural chairs over the past 30 years. studios in New York City and Chicago, founded by STEPHEN PLUNKARD BLA 1977 FASLA, VICTOR F. “TREY” TRAHAN III BArch is senior principal at Q4! Associates PLLC in 1983, FAIA, was named as the #1 Design Cavendish, Vermont. He has practiced plan- firm in the U.S. for 2019 by ARCHITECT ning, urban design, landscape architecture 50, a national ranking of architecture firms and public engagement for 40 years. The published by ARCHITECT magazine. majority of his work has been in the United States, but on occasion he has worked on projects in the Middle East, Europe, MARY ELIZABETH CIAMBOTTI BFA 1985, Canada and Africa. Projects he has worked on have won awards sculpture concentration, is an OSINT Hunter/ from the American Society of Landscape Architects, American OSINT For Missing Persons CTF Events/ Institute of Architects, Urban Land Institute and the National Drone Pilots for SAR. She is based in Lake Trust for Historic Preservation. During his career, he has had a Charles, Louisiana. successful consulting firm and has been in leadership positions in international firms. He has been a lecturer and critic at more than a dozen universities and colleges. He was invited to the White 90s House as SBA Small Business of the Year. Recently he completed + a prototype master plan for the New Start school and orphanage in Waterfall, Zimbabwe. While living in Canada, he prepared MARK PREVOT BArch 1990 is president of a master plan for the First Nation, Blood Band of the Blackfoot Prevot Design Services, APAC and currently lives Nation in Alberta. He is currently working on preparing plans for and practices in Shreveport, Louisiana. Upon a Native American heritage river trail in southern Vermont. graduation from LSU he launched his career in Dallas, TX to work on some large civic CHRISTOPHER UPTON BArch 1977 is senior facilities program projects. Mark relocated to Shreveport, LA in manager at Parkland Health and Hospital System. He specializes 1992 and has practiced there ever since. The firm in hospital design with a focus on pediatric care, and has designed offers architecture, interior design, planning hospitals in multiple U.S. locations and many international sites. and graphic design across the United States. His practice is focused on commercial projects, but he has recently enjoyed delving into the residential world.

32 QUAD · LSU COLLEGE OF ART & DESIGN PAUL MARTINEZ BFA 1991, graphic design JILL TRAYLOR BID 1998 has been named concentration, is executive creative director director of interior design at architecture, for the travel + leisure brand and departures interiors and urban design firm Eskew Dumez brand at Meredith Corporation, a media Ripple in New Orleans. Traylor was an associate and marketing services corporation in New and has more than 20 years of national expertise York City. He was named to Ad Week’s 2019 annual “Creative in the design of interiors, having practiced in 100 List: The Most Fascinating People in Marketing, Media Manhattan, Dallas and her hometown of New and Culture” and won a 2019 Ozzie Award for Best Typography. Orleans. She joined Eskew Dumez Ripple in 2014.

Le Museede Kaplan hosted exhibition “Making Architecture” DAVID HOOVER BArch 1999 is an architect by JAMES TRAHAN, AIA BArch 1993. He is the founder at Gasaway Bankston Architects in Hammond. of 180 Degrees Design + Build, an architect-led design and construction firm specializing in modern architecture. 180 Degrees + Build’s work has been published worldwide and has 00s won numerous design and construction awards. AIA honored + them with the Contractor of the Year in both 2006 and 2016. He is a registered architect and a general contractor in Arizona. JOHNATHAN LEE TRAPP BID 2000 is owner of Lee Trapp, LLC in Marquette, Michigan MIKE LANAUX BLA 1994 was elevated to the on Lake Superior. He earned his MFA at the American Society of Landscape Architects School of the Art Institute of Chicago in 2003. (ASLA) class of Fellows in November 2019; After working in exhibit design (interning at he received his nomination in “works” the Field Museum and AIA Chicago Firm of from the Louisiana Chapter. Early in his the Year Architecture Is Fun), he taught interior career, he had the opportunity to participate in a work-study design at Central Michigan University and program at the Life Planning Office in Tokyo, Japan. Indiana State University, and recently launched His exposure to Asian sensibilities, reflected in ancient temples, his own residential interior design practice. landscapes, and contemporary Japanese residential work, has led to an appreciation of the power of simplicity in ANDREW FOX MLA 2001 design. His awards include the Shangri La Botanical Garden was elevated to the ASLA and Nature Center in Orange, Texas; the Indian Springs School/ class of Fellows in Novem- Landscape Laboratories in Birmingham, Alabama; and the ber 2019. He received his St. Landry Parish Visitors’ Center in Louisiana. He is a partner, nomination in “knowledge” senior designer and project managerat CARBO Landscape from the North Carolina Chapter. Among his Architecture in Alexandria, Louisiana. many achievements during his distinguished career, Andrew received the prestigious ROB GRAY BLA 1997, PLA, EED AP, was made partner 2016 Excellence in Teaching Award from at Hoerr Schaudt landscape architecture studio. He directs the International Council of Educators in business development firm-wide, and has a vast range of Landscape Architecture; established the award- experience in large-scale urban planning in design, including winning NC State Design + Build Studio; and streetscape design, campus and community planning, healthcare, launched his department’s inaugural “Design public parks, botanical and zoological gardens, resorts and theme Week” program, an exemplary educational parks. He lives in Kansas City. engagement experience in keeping with the

SPRING/SUMMER ���� 33 + CLASS NOTES land grant mission of NC State. His scholarship focuses on DARREN SHARKEY BLA 2013 has been resilient design for coastal regions and green infrastructure, promoted to associate at SWA landscape work that has had significant social outcomes for people in architecture, urban design and planning firm marginalized communities. Under his leadership, the Coastal in Houston, Texas. Dynamics Design Lab, which he founded and co-directs, has become a national model for resilient design research and TYLER DETIVEAUX BArch 2015 is an architect education. He is a professor of landscape architecture at NC at Corgan in Houston, Texas. He began work State University College of Design, Raleigh, North Carolina. at Corgan Houston in 2015 in the education studio. His specialization is in K-12 schools SATISH RAO VAYUVEGULA MArch 2006 is practice leader and has had the opportunity to design several at Arch Wert Planners & Designers in Pune, India. schools for ISDs across the state.

WILLIAM DORAN BArch 2008, former LSU architecture MARCI HARGRODER SABOE BFA 2015 instructor, is an architectural associate and community is senior graphic designer at Stuller, Inc. in planner at Duvall Decker in Jackson, Mississippi. He received Lafayette, Louisiana. his architectural license with the Louisiana State Board of Architectural Examiners in October 2019. ANDREW LAYMAN BArch 2016 is a technical CAILAN MANG SILVA BID 2009 is an event designer at Amento Group coordinator in Nashville, Tennessee. in Seattle, Washington.

BRAD SILVA BArch 2005 is Territory Sales ALEX MORVANT BLA 2016 is a landscape Manager for John Deere in Nashville, Tennessee. architect at Design Works in Charleston, South Carolina.

TINA NARAGHI-POUR BArch 2016 is an +10s architectural staff member at Corgan Houston.

ZANE BUSBEE BLA 2011 has been promoted to associate JUSTIN BRYANT MFA 2018, painting and principal at SWA landscape architecture, urban design and drawing concentration, is a 2019 Interchange planning firm in Dallas, Texas. Fellow, awarded to southern regional artists whose work focus on social impact in the region. QUINN MILLER BFA 2013, digital art concentration, is art Bryant’s project Holman: A Living Archive is director at SASSO branding & advertising agency in Baton Rouge. a community project that centralizes art and social engagement as a key component to the SHELBY PRINDAVILLE MFA 2013, painting revitalization of the historically black Holman and drawing concentration, is director of High School in Stuttgart, Arkansas. the Helen Levitt Art Gallery, and associate professor of art at Morning-side College MICHELLE JONES in Sioux City, Iowa. She completed an JAMES BArch 2018 is an invitational artist residency with BROTA in collaboration with intern architect at Labarre the Buenos Aires Botanical Garden in Buenos Aires, Argentina Associates in Baton Rouge. in the summer of 2019.

34 QUAD · LSU COLLEGE OF ART & DESIGN SPRING/SUMMER ���� 35 Equipped WITH ERIKA N. WITT DOCTOR OF DESIGN CANDIDATE

Erika Witt is a doctoral candidate in the Doctor University and a Master of Art in Museum Studies with a specialization of Design in Cultural Preservation program with in the traditional Arts of Africa from Southern University at New Orleans. a research focus on traditional African art history, Her doctoral thesis analyzes performativity of traditional African art Egyptology, museology, and African American verses the normative views on the performativity of traditional African history and culture. art in museum exhibitions. Erika is a 2014 Fellow in the Shafik Gabr East-West Art of Dialogue Initiative, a fellowship program for young Erika is a curatorial specialist and museology emerging leaders from the United States and Egypt to join forces to instructor based in New Orleans. She received a discuss critical issues of their countries and develop projects addressing Bachelor of Art in Museum Studies from Tusculum those issues.

1. ARTIFACT: Ngaady A Mwaash mask, Kuba People, Democratic Republic of the Congo, 20th Century. 1 2. COTTON GLOVES: necessary to wear white cotton gloves when handling artifact to prevent finger oils and salts from contacting the surface of an artifact that could result in damage. These are known as the symbol for museum professionals.

3. MICRON BLACK PEN: this archival- quality ink pen is good for writing on artifact tags because it is waterproof and fade-resistant smear when dry. Writing on the artifact tag should occur away from the artifact.

4. ARTIFACT TAGS: strung on the artifact to display the name, ethnic group, and accessioning number.

5. NO. 2 PENCILS: can be used for writing on archival labels but mostly used on writing condition reports to erase and amend the information when needed. 2

36 QUAD · LSU COLLEGE OF ART & DESIGN ON THE COVER

The photograph on the cover of this issue of the Quad, by BFA Micah Viccinelli, shows muralist Robert Dafford at work on the Julian White memorial mural on LSU’s campus, which honors the university’s first African American professor.

The College of Art & Design and The Walls Project recruited Dafford, a master artist with nearly 500 murals completed, to paint the mural in the Julian T. White Atrium of the LSU Design Building. Globally known for his murals, Dafford has painted in a variety of places across the United States, as well as some in Canada, Belgium, France, and England.

“When we were thinking about how to celebrate the naming of this space, we came upon the idea of doing a mural and not just a bronze plaque,” said Dean Alkis Tsolakis. “We thought that this man’s contribution that freed and opened the doors of LSU to everyone was great enough to be commemorated in a way just as exceptional as he - and his teaching – was.”

Dafford installed the mural on LSU’s campus in February March 2020, and students had the opportunity to watch the muralist at work, as he painted from a raised platform 4 in the public atrium.

For the LSU art and design students who will see the mural every day, Julian T. White’s impact is still being made.

3 “This project means everything to me,” said Dean Tsolakis. “It means another step in freeing LSU and making a home for everyone. Another step in what Julian White did for LSU, for Louisiana, and for the world.”

Thanks to Mural Sponsors: Coleman Partners Architects Rachel Emmanuel, Ph.D. 5 Buddy and Lauren Ragland Michael Robinson and Don Boutte Gary and Lisa Gilbert A.P. Tureaud Sr. Chapter of the LSU Dale and Diane Songy Alumni Association Tipton Associates Laura Lindsay, Ph.D. and Ken and Patricia Tipton Wendell Lindsay Jr. Trahan Architects RHH Architects Trey Trahan SOMA Design Consultants Inc. Kenneth Miles Bryan Hudson

SPRING/SUMMER ���� 37 Louisiana State University 102 Design Building Baton Rouge, LA 70803-70101

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38 QUAD · LSU COLLEGE OF ART & DESIGN