theCharrette march 2011

tulane school of architecture

URBAN INTRICACIES

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 power-ful 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.

MISSION

Much has been said about the role of writing within the collegiate architecture set-ting. I believe the formulation of design through verbiage is a crucial element in any successful academic setting. Students choose the design field because of its innate expressive nature. Creativ-ity stems from connectivity and an increasingly open interpretation of place and how to relate a generative idea into its physical manifestation. We question and challenge what can work and often times find our best solutions contingent on what has the most personal value. The same concepts apply to journal-ism. Initial research follows a set method but then we are free to develop ideas across multiple disciplines while considering differing scales as a reference - often in a non-linear fashion and with a individualistic feel. The passion we bring forth with theCharrette is unique person to person but I believe we’re aligning to a greater social need: becoming a staple within Tulane School of Archi-tecture as a publication willing to establish con-

nections between realms, vehicles for the continu-ous growth seen at the global scale. One theme discussed in this issue is Olympic architecture and its ability to spur the developmental wheels of industry sectors. This summer London, England will be flooded with rich diversity in an already cosmopolitan and multinational city. It will express in built form new answers to design and density and remind visitors of its distinctive roots, where nationalism overrides individualism and team glory unites for collective goals. We as writers are pleased to present the March 2012 Issue of theCharrette, a feeder install-ment for May 2012 in attempt to create more high-impact writing in a place and city we increasingly identify with. Email me at kmichnio@tulane.edu with your thoughts.

Past issues are available at: http://issuu.com/thecharrette/docs

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LETTERFROM THE EDITORKEVIN MICHNIOK | M.Arch Candidate, 2013

CONTENTS

LETTER FROM THE EDITOR KEVIN MICHNIOK

INTERVIEW WITH DEAN SCHWARTZ KEVIN MICHNIOK

OLYMPIC ARCHITECTURE LIZ KOVACEVIC

ARCHITECTURE STEALS THE STAGE JOHN COYLE

MARDI GRAS INDIANS ANNELISE HASKELL

LIFTA THE ABANDONED CITY CAMERON CONKLIN

SPORTING NEW ORLEANS ALIA SOOMRO

FLEUR DE FLEA NOLA MARKETING CAMERON CONKLIN

PETER ROOK EXHIBITIONIST

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*THECHARETTE | TULANE SCHOOL OF ARCHITECTURE

Q. Many design students are considering alternate career paths, whether it be through journalism or lesser known markets. How interdisciplinary has design education become?

I think design education has always been very in-clusive. I don’t think that is a recent phenomena but the fundamental skills in design education/ archi-tectural education involves spatial reasoning and critical thinking. I think those skills are translatable or transferable to many other fields and many other disciplines. I think that our students are increasingly taking advantage of the breadth of activity that they can pursue in addition to traditional architectural practice settings.

Q. The School of Architecture has seen a great increase in involvement amongst alumni as of late. What initiatives are you and the admin-istration enacting for engaging the well-posi-tioned nature of our graduates?

I’ve been spending almost four years now com-municating actively, aggressively, and diversely with our alumni population of the Tulane School of Architecture. I do this for several reasons. I think it’s very important from the standpoint of the school’s identity and the pride of place. I also think it’s very important for current students and recent graduates in order to help you take advantage of the Tulane net-work, the network of good will that exists across all of you as Tulanians as you enter the workplace. And I’ve seen the results of this very tangibly. We have much greater degrees of alumni involvement. We have a fantastic forty-two person Board of Advisors. And I think the tangible benefits have to do with the way in which people are viewing the school and our prog-ress as a school over the past number of years It’s a very big priority for me and it has been from the very first day I came here to Tulane almost four years ago. And it’s a fun part of my job as well because I get a very interesting set of insights into the nature of the school over history, literally over the past fifty plus years based on different ages of our

alumni groups. So I think alumni engagement is vital and I see very tangible improvements in the way our alumni are feeling about the school because we’ve simply made the effort to engage them. Coming up on Thursday we’re doing a panel discussion with five architects, four of whom are alumni, one is our architect of the University, to talk with students about career paths and what they look for with a recent graduate of the School of Architec-ture with then are hiring. They are coming back to give you insights into what they think are the valu-able skills, knowledge, attitude, you name it that they like to see in people they choose to hire. On Friday as you directly know, we have another discussion with alumni who are architects who have taken their architecture education and leveraged them into very successful careers as real estate developers. So these are examples of alumni coming back into the School and giving back to students through their knowledge and opportunities. One last example that I’d give is that we have coming up in November our third Tulane School of Architecture Sustainable Design Symposium conference that will be a day long event that is largely targeted at Tulane School of Architecture alumni, many of whom are out of town who will come back and spend an entire day with some prominent practitioners who are operating at the cutting-edge of sustainable design practice. Last year it was led by John Klingman who brought in three phenomenal speakers. And we will continue this tradition prob-ably every other year going forward. We think its a good program but the right sequence is doing it on an every other year basis.

Q. Can you comment on Megan Weyland’s posi-tion and involvement at TSA?

I’ve hired Megan Weyland who is an alumna of the School and someone who has practiced archi-tecture before coming back for her M.Arch II degree here. [She] is working with us half-time now and providing a good deal of advising for students who are taking advantage of her availability and resources.

Dean Kenneth Schwartz, FAIA

INTERVIEWCONDUCTED BY KEVIN MICHNIOK | MARCH 20, 2012

WITH DEAN SCHWARTZ

And as you know I’ve been running this Career Devel-opment Workshop series that has been well attended and the students who are choosing to participate are getting tremendous advantage out of opportunities we’re putting before them. The other novel idea I’ve introduced that I hope is successful is a week-long boot camp for any and all Tulane students [not exclusively for gradu-ating students] which will start the Monday after graduation, teaching fundamental skills that will be valuable and valued in the workplace. This boot camp clearly is for those who have not secured jobs yet and will help students in that situation better position themselves to find a job. [Megan’s] role is to support Tulane School of Architecture students and she is already networking with the central career development office for Tulane University. They are a tremendous resource and I feel strongly that students should be taking advantage of those resources. I’ve found just in my experience this semester that there are students who are vitally interested in their professional future and are willing to spend the time to get involved either here or in the central resources and opportunities available as well at Tulane. And there are other students who don’t choose to do so. I can’t make a student take advan-tage of these but I want to make the opportunities available for those who do have the desire to pursue these possibilities. Q. As an educator yourself, what patterns have you witnessed in your time in academia amongst students in how they approach design and the problems set forth in front of them? What has most evolved?

This is very specifically about Tulane; maybe there are larger implications for other schools too but I know this first hand from what I’ve seen here in the last four years. There is a much greater sense of awareness in the architect’s role in the community

and a much greater appreciation for collaboration and the skills necessary to be an effective col-laborator. These are tremendously important qualities among our students and it also involves the work of our faculty. I think that is going to have positive long-term implications about your potential

as architects serving your communities in the future. It’s very encouraging to see what’s happening. We can see the work that you do day-to-day and that’s great. But you can also step back from the day-to-day and see the nature of how you work is actually quite different than the way in which a typical architecture

student like myself would’ve worked decades ago. I think it’s a tremendous hope for the profession. I think it argues for a greater breadth of practice in architecture. It’ll include the traditional practice of architecture as many of us know it but I think these various skills allow for diversification and a reach that goes beyond just the center line of practice and starts to pick up a lot of adjoining opportunities that an ambitious, thoughtful and creative student can accomplish in his or her career. I’m very encouraged by these qualities.

Dean Schwartz’s Addition:

We are very close to welcoming Maurice Cox into the faculty as a new colleague....and completing [his] appointment [as] the first Associate Dean for Community Engagement in the School’s history. It’s a new position and a new title; He’ll also have over-sight of the Tulane City Center, the URBANbuild program and outreach programs of preservation and sustainable real estate development. He is a national leader in the field of design and community empowerment and he’s going to be able to come in and add to the fantastic legacy that Scott Bernhard put in place over his five years as the Director of the Tulane City Center. I’ve explained the potential that he has when he comes here working closely with our faculty and students and building on the rich tradition that is already in place here. He has the potential of be-ing a game-changer because of the way in which he can bring added layers of expertise to the great trajectory we’ve had in the Tulane City Center since Hurricane Katrina. Scott Bernhard is stepping down as Director at the end of this academic year; he’s done a phenomenal job and he’ll be returning to full-time teaching. And Maurice will be coming into this role which will have opportunities available in large part as a result of the great work that’s been going on. And then the next question is what’s the next step we take as an institution in our already impressive work we do in the community. He’ll be the leader and he’ll be working with me and the faculty and the students on making that happen for the forseeable future for Tulane School Architecture. I’m very excited about this recruitment. Its a very high-level recruit-ment for this institution and whenever you have an opportunity to bring someone in with tenure who is a significant person in the field, it’s a cause for celebra-tion. I’m looking forward to his arrival here.

“He has the potential of being a game-changer because of the way in which he can bring added layers of expertise to the great trajectory we’ve had in the Tulane City Center since Hurricane Katrina.”

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“There is a much greater sense of awareness in the architect’s role in the community and a much greater appreciation for collaboration and the skills necessary to be an effective collaborator.”

Basketball Arena

Basketball Arena frame by the London Velodrome

London Olympic torch

The Olympics and other global events of its size and magnitude present great opportunities for the cities that host them. They invigorate urban and rural spaces with new economic capital and spur investment in infrastructure. The roadblock for many cities is the vast sums of money that are required to build extraordinary arenas and to hire the architects that design them. Iconic buildings, such as the Bird’s Nest and the Water Cube in Beijing, become symbols of the games because of elements of the dynamic, becoming points of attraction for architecture rich in innovation. To make the capital investment worth-while, the after-Olympics life of the building must

be strategically planned. Some cities create plans that will repurpose the Olympic stadiums and facilities into neighborhood sports facilities or commercial areas, evidenced by the water park that now inhabits the Water Cube. London, which will host the 2012 Summer Olympics, has adapted its master plan to this one time influx of people by creating extra seating that is temporary and constructed solely for the extra crowd the games will bring. While most of the venues (the Olympics Stadium by Populous and the Aquatics Center by Zaha Hadid) are partly temporary, the Basketball Arena is completely temporary.

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OLYMPICARCHITECTUREDEGREES OF TEMPORARY FOR LONDON 2012

LIZ KOVACEVIC

The former structures house seating that can be disassembled, leaving a more realistic number for non-Olympic events. Zaha Hadid’s Aquatic Center deals with this temporary seating in a non-comprehensive fashion. The undulating surface of the permanent building lies in stark contrast to the rigid, triangular forms that pro-trude to create 15,000 extra temporary seats. It seems as if the building will not be completed in

its intended state until the Olympics have left town. The Olympic stadium incorporates temporary seating that will be removed

without changing the overall forms with an upper tier of 55,000 seats that will be removed after the games. The Basketball Arena, designed through a partnership of Sinclair Knight Merz, Wilkinson Eyre, and KSS, is a completely temporary struc-ture, bypassing the need to design a building in two forms. It is the largest temporary structure that has been designed for the Olympics and will influence the ideas and plans for future games. In this arena, they will host the basketball, handball, and wheelchair basketball and rugby events. It is designed to seat 12,000 people with a very flexible arrangement that allows for the arena to adapt to its many different uses quickly throughout the games. While none of the main and most popular events will be held in the Basketball Arena, its creative and adaptive form makes it a key piece in

the operation of the London Olympics. The architects incorporated the structure and temporariness into a light and airy design that celebrates its fleeting usage during the seven-teen days of the Olympics. The frame is alluded to through the tight skin that accentuates the rhythm of the structure. The light-weight steel frame is re-peated making it easily produced and assembled. The construction of the arena was completed in fif-teen months and can be deconstructed in less. The plastic that wraps to form the façade begins above ground level, allowing event-goers to enter beneath the ‘floating’ mass which encloses the arena. While this white, stretchy, and sterile material forming the façade gives the building an unfinished quality, it also alludes to the innovation and novelty of the temporary structure. After the 2012 Olympics have left London and the spotlight has moved away, the 12,000 seat Basketball Arena will be deconstructed. Two-thirds of the material will be recycled or used elsewhere in the United Kingdom. The structure might also be reassembled in an area that is lacking an arena of this size. The architecture and form of the Basketball Arena may not be the center of attrac-tion for the crowds that will enter the city during the Olympics; however, the idea of temporary structure opens a new spectrum of design for large-scale events. It creates an precedent that future Olympic cities will reference to answer the question: “What happens after the Olympics have left?”

“Two-thirds of the material will be recycled or used elsewhere in the United Kingdom.”

“It is the largest temporary struc-ture, that was been designed for the Olympics and will influence the ideas and plans for future games.”

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London Olympic Aquatic Center,Zaha Hadid Architects

ARCHITECTURESTEALS THE SHOWINCEPTION AND ITS DESIGN IMPLICATIONS

JOHN COYLE

Have you ever dreamt of non-existent architectural spaces? Whether it be impossible architecture or your very own studio project, during the dream it feels as real as waking life. Our dreams have the quirky quality of tricking our unconscious mind into forgetting that we are asleep. Our dream-self fails to ask the important questions: “Where am I?” or “how did I get here?” Although the spaces we dream of are obviously not real, one hardly thinks to question them. Dreamscapes are surreal but at the same time familiar enough to our subcon-scious to believe in. The premise of Christopher Nolan’s 2010 Sci-Fi thriller “Inception” rests on this condition that the dreamer is unaware that they are dream-ing and able to accept surreal spaces as com-monplace. The film follows Dom Cobb (Leonardo DiCaprio), a corporate spy who is able to extract valuable information from the unconscious minds of his targets through their dreams. Cobb and his team are hired to perform inception, to plant an idea into the subconscious mind of an heir to an energy conglomerate. Arguably, the most important member of the inception team is the “architect”. The role of the architect is to design the dreamscapes that the team and target will enter. Cobb enlists promising architecture student Ariadne, played by Ellen Page

to act as chief designer and innovator. Design stu-dents appreciate how movie features a student of architecture as one of the most prominent players who employs ideas of space creation at the fore-front of her work. Ariadne must produce complex labyrinths so the team can navigate through the dream without being caught by “projections” of the targets subconscious. The most active role in this film however, was taken by the architecture itself. The success of the team rests on Ariadne’s ability as a proven de-signer to envision dreams-capes familiar enough for the target and his subcon-scious projections to ac-cept, but elaborate enough to allow the team to operate undetected. In the dream world, the laws of physics need not necessarily be applied to archi-tecture, allowing for interesting spacial conditions. Like MC Escher’s famous lithograph print, Relativity (1960), spaces are able to be formed while deny-ing the forces of gravity. Another architectural device used to divert the projections is the infinite staircase, also known as the penrose staircase. This example of paradoxical architecture is reminiscent of one of MC Escher’s lithograph prints, Ascending and Descending (1960).

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“In the dream world, the laws of physics need not necessarily be applied to the architecture, allowing for interesting spacial conditions.”

DECONSTRUCTION

DESTRUCTION?-OR-

Despite the paradoxical architecture, including the scene in which Ariadne folds the streets of Paris over themselves, the dream se-quences do not strike the mind as visually fantas-tic. The viewer is expected to see more imagina-tive architecture after that scene, evidenced when Cobb warns Ariadne of the danger of creating places from memory, and instructs her to “always imagine new places.” (The architectural spaces that are created by Ariadne are less than impressive, partially because of the need to create familiar spaces for the dreamer, though do not rule out the film’s set designer, Guy Hendrix Dyas, from taking credit for these spaces as well.) We expect more architecture without boundaries, or “pure creation” as Ariadne puts it. The closest thing we receive is Cobb’s dream-city, which strikingly looks like an array of Corbusian skyscrapers on a rocky coast. If a movie takes place in such a limitless setting like a dream, where is the limit to the creation of inspir-

ing architecture - and what prevents the mind from producing its own layers upon layers of space creation? The only design constraint in a dream setting is the imagination of the architect. Have you ever dreamt of non-existent architectural spaces? Imagine the possibilities of letting your subconscious mind actively design in a world without any parameters. Most experience dreams closer to the way they experience a movie, as an outside observer along for the ride. However, like the architect from Inception, it is possible to have an active role in manipulating the dreamscape. A lucid dream is one in which the dreamer becomes aware that he or she is dreaming. The architect can design and “build” with their imagination while in a dream and experience these forms in a surreal way. Part Two of this series will discuss architectural design via dreaming and methods used to achieve a lucid dream.

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DECONSTRUCTION

MARDI GRASINDIANSLOCAL MASTERPIECES IN DANGER OF EXTINCTION

ANNELISE HASKELL

Mardi Gras Indians play a famous role in Mardi Gras festivities and have existed since slavery, but today their art and culture face serious and crip-pling obstacles. The history of Mardi Gras Indians begins as early as the mid 1800’s when freed slaves as-sembled and recruited others to established tribes. Because black communities were historically excluded from the grand parades and festivities of white Mardi Gras, the Mardi Gras Indians became valued and celebrated cultural icons in their com-munities. Although formerly violent, today the city’s fifty plus tribes compete and show off their skill and craftsmanship by revealing their costume through dance, role playing and song. Mardi Gras tribes chose the Indian persona as a way to honor Native Americans who experienced similar discrimination and aided runaway slaves, sometimes later welcoming the former slaves into their tribes. Both groups shared

heritages that valued ritual costumes and rega-lia and hence Mardi Gras Indian’s borrowed Native

American’s suites for their Mardi Gras costume. In line with custom, an Indian spends the entire year designing and crafting a new suit to reveal on Mardi Gras day, a process called masking. The Indian reveals their suit on Mardi Gras and will only wear it for that one season. No true Indian will wear the same suit for multiple Mardi Gras. A suit includes the vest, apron, wings, sleeves and sometimes dickey. These pieces are timestakenly adorned with sequins, ribbons, satin, velvet, beads, jewels and feathered plumes (usually ostrich). Depending on the tribe and its neighborhood, design materials may differ but all result in exquisite and showy costume. When worn together a suit can easily weigh over 100 pounds.

The apron piece, worn on the front and back of the costume below the chest and back vest, is one of the most ornate pieces. It flaunts the artisan’s skill and usually portrays a visual message or story. These pieces require serious attention to detail as they are usually beaded with the small-est materials and numbering in the hundreds of thousands of beads. Masking includes a timeline of design steps beginning with designing the layout of the suit. A layout is created and will include design patches for the different pieces of the suit. Next an abundance of different materials must be gathered for each piece and finally an immense amount of time spent sewing and beading. The cost of materials and time invested in these pieces of art are one of the largest obstacles. Some materials may be recycled for the next year’s suit, but the average suit still costs thousands of dollars. As costumes have become more elabo-rate the individuals able to afford such involve-ment decreases. Many Indian’s receive financial and artistic support from family and friends, but the process remains difficult and relatively private until masking on Mardi Gras day. Indian culture and art suffered huge blows after Katrina when tribes were dislocated and lost invaluable materials. Losing a suit to the storm was common and severely damaging. Because most tribes are native to neighborhoods worst hit by the hurricane, this unique local culture and art have been seriously endangered. Local efforts and groups have encour-aged and aided in short term recovery after Ka-trina, but the goal today focuses on keeping future generations engaged in the culture and artisan skills. Mardi Gras Indian’s work must be protected and supported. Their art is not only a local master-piece but an important national folk art.

“As costumes have become more elaborate the individuals able to afford such involvement decreases.”

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INDIANS

Among the hills of Jerusalem lie the remnants of a once vibrant village. Three thousand residents were forced out of their homes or fled during fighting that erupted before the creation of Israel in 1948, what Palestinians call the “nakba” or ca-tastrophe, leaving this once wealthy hillside town abandoned and desolate. The perils of war, such as this conflict, have wide reaching effects, but often communities like Lifta go without the public attention they deserve. The impact of civil and international conflict on architectural works and urban or rural communities is a topic often pushed aside and forgotten. However, the story of Lifta

shows positive steps in terms of preserving historic sights across the world that have been destroyed by war. During Israel’s war of independence an estimated 700,000 Palestinians fled their

homes. Many of the Palestinian villages, in what is now Israel, have been redeveloped, destroyed or taken-over. However, Lifta is empty and still largely intact. Lying in West Jerusalem, Lifta has been in-

habited since ancient times. Although wild flowers and vines have over-grown most of the buildings, the beautiful mosaic flooring in many still remain. It was known to be one of the most wealthy com-munities in the Jerusalem area and the embroiders of Lifta were said to be some of the most artistic in the region. Yacoub Odeh, a Palestinian activist living in East Jerusalem, takes tour groups around Lifta to educate them on the Palestinian history in the area. He spent his boyhood living in Lifta and recalls vivid memories of the life that inhabited the hillside. The mosque, olive press, and courtyard were central to the traditional community life and can still be explored today. For the past year and a half, activists have been fighting a legal battle to save this historic village. The Israel Land Authority (ILA) has been working on a tender for a construction plan for 212 luxury villas on the Lifta sight, some of which would be built over the existing stone structures, destroying the ruins. This plan has spurred uproar by Palestinian decedents of the village and non-governmental Israeli organizations.

“Many families still have dreams of returning to the town in which they were raised but know that political obstacles are preventing it.”

LIFTATHE ABANDONED CITYA CULTURAL DIVIDE AMIDST JERUSALEM

CAMERON CONKLIN

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Many families still have dreams of return-ing to the town in which they were raised but know that political obstacles are preventing it. The only salvation they have is to work to prevent others from inhabiting their beloved village. These families and organizations are working to preserve Lifta as a historic site. Although many Lifta refu-gees fled to Jordan, Syria and Libya, many have stayed within close proximity to their old village. These families are some of the most ardent activ-ists, trying to hold on to any memory left of their home. Although many believed Lifta would never be saved, this past February brought hope and joy to the defenders of the abandoned hillside town. The Jerusalem District Count ruled that the Israel Land Administration could not market and

sell the lands of Lifta. The court found that the ILA’s plan to survey the area prior to construction to determine what areas needed preser-vation were not sufficient.

Activists were overjoyed and have now begun to prepare for a multi-dimensional survey of Lifta. The Citizens’ Committee to Save Lifta, an umbrella group of concerned activists and orga-nizations wants to involve experts from a variety of fields to work on researching Lifta through a multi-disciplinary approach. They plan to involve experts from a variety of fields such as ecology, zoology, archeology, architecture, sociology, and history. The goal of this approach is to expand

on the tradition archeological survey and learn more about the communities that inhabited it as well as the physical site. The area is famous for the scenic old stone buildings that were built into the steep hillside in the 19th century. The area also has buildings from the Temple period as well as the Crusader Period. The “open campus” concept being ap-plied to the preservation and research of Lifta is hoping to incorporate both the Palestinian history as well as the Jewish influence that is now preva-lent in the area. The ultra-orthodox Jews from the nearby Romema neighborhood have recently enjoyed Lifta’s welcoming spaces. They have very few open areas in their crowded neighborhoods and have been using the pool in Lifta as a mikve. Although hope has been spurred for Lifta’s preservation, the reality of the new construc-tion contract still weighs heavy in people’s minds. If comprehensive surveys are completed then the ILA may still be able to hire contractors and build the project. Activists are working to get an unbiased group of surveyors they will take account of the many important aspects of Lifta, versus ILA private contractors who many not have the sites best interests in mind. Lifta is an interesting case study in the struggle between cultural divides and preserva-tion versus modernity. Caught between many worlds, Lifta is a great example of the way in which culture, society, and space interact together in regions of high cultural identity.

“Although the hope has been spurred for Lifta’s preservation, the reality of the new construc-tion contract still weighs heavy in people’s minds.”

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For over thirty years, the city of New Orleans, and more specifically the Superdome, have played host to a number of memorable events ranging from boxing matches and concerts, to the Republican National Convention and a visit from the Pope. After Hurricane Katrina struck and the damage was

accessed to the Superdome, citi-zens voiced the necessity to bring sports back to New Orleans. Not only were the Saints and Hornets brought back to New Orleans, but the city has begun to host a num-

ber of sporting events in the past few years,. This past winter, New Orleans hosted nine major sporting events in a two week span: two college BCS bowl games, three Saint’s games, and four Hornet’s games. City officials estimated approximately 250,000 visitors and an economic boost of about $500 million ( Greg Bishop, New

York Times). In addition to these events, the city will host the NCAA Men’s Final Four in March and April of this year, and the Super Bowl and NCAA Women’s Final Four will take place during 2013. Although the Super Bowl has been held in New Orleans a total of nine times, it had not hosted one in the last decade. Officials for the New Orleans Super Bowl Host Committee visited Indianapolis during the most recent Super Bowl in order to observe the preparations and tasks at hand. Officials were impressed by the events lead-ing up to the Indianapolis Super Bowl and how clean the city was kept throughout the period. The New Orleans Host Committee also noticed the sig-nificance of the centrality of Indianapolis, making it easier to form a central gathering place for both natives and visitors. Both the French Quarter and downtown New Orleans offers these gathering spaces for guests and locals alike.

“City officials estimated ap-proximately 250,000 visitors and an economic boost of about $500 million.”

SPORTINGNEW ORLEANSLOCAL PREPARATION FOR HIGH-IMPACT ATHLETIC EVENTS

ALIA SOOMRO

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In preparation for future events, the Greater New Orleans Sports Foundation is devel-oping business programs for local entrepreneurs. Both the NCAA Men’s Final Four Local Organizing Committee and the New Orleans Super Bowl Host Committee formed the “NCAA Access Program” and the “NFL Emerging Business Program”. These programs will run until the Final Four in 2012 and the Super Bowl in 2013 and are meant to give both educational and business opportunities for minori-ties and women-owned businesses, allowing for more access to the city’s economy and rebuilding. Along with these programs, the New Orleans Super Bowl Host Committee is launch-ing a new “Environmental Program” that will last through Super Bowl 2013. The mission is to incorporate environmental ethics and standards for Super Bowl preparations and the resulting carbon footprint. After the Saints won Super Bowl 2010, the New Orleans Super Bowl Host Commit-tee was offered (and later accepted) over 30,000 feet of Super Bowl and Pro Bowl décor material from the NFL. The majority of this material is sports memorabilia which the committee plans to donate to non-profit groups and die-hard sports fans, such as the group REpurposing NOLA, which uses ex-cess materials and fabrics from the city to rework them into designer goods. The Host Committee is partnering with the Green Project and REpurpos-ing NOLA and plans to reevaluate and reuse these materials for the Super Bowl in 2013. Although the Saints recently experi-enced a major setback due to the bounty program scandal, there is no doubt the players, coaches,

and the fans will recover and look to the future’s high potential sporting interaction within the city. Hosting these major sporting events is certainly beneficial to this city and surrounding region; and while the Super Bowl is a grand annual American spectacle, next year it has the potential to be more than another championship game. It gives this city an opportunity to be on the national scale once again to show the country how our city continues to progress. At the same time, New Orleans has many serious issues to address and improve for future expanded infrastructure and engagement, specifically the high level of crime, infrastructure, clean streets, and education. While the Super Bowl Host Committee’s programming is developing are positive steps forward for locals, those programs will only last up until the event. It is necessary that there are more sustainable solutions to take place throughout the city in order to give local citizens opportunities for development not just when major sporting events take place. As for the economy, New Orleans can-not solely rely on tourism and big events as an economic engine. New Orleans needs to continue to develop a sustainable economy that relies on lo-cal citizens to create jobs and educational oppor-tunities in order to prepare future generations with the right tools to improve this city. Much of this development has the potential to be undertaken by out-of-state firms but the hope is that inclusion of local design firms will continue to showcase the highly skilled design culture existent within the city at many levels and disciplines.

Although New Orleans sports many great attrac-tions, one of its most valuable assets is the diverse people and cultures that are represented. This rich history is often talked of and analyzed but evidence of it can also be materialized. In case you find yourself with a weekend in need of a little ad-venture, every New Orleanian should spend a day exploring the sometimes hidden flea markets that have popped up in every parish throughout the region. Antique furniture, trinkets, art, and almost anything else shows up in these great melting pots of style and design; not to mention a bargain and one-of-a-kind item to add to your collections. No Fleas Market, Freret Market, and The French Market are three of New Orleans’ finest. The

No Fleas Market is best known for its philan-thropic qualities, donating a portion of its profits to support animal welfare. Individuals who donate

items can designate which shelter or group they would like to support. They accept everything from clothing to furniture, making this resale shop a great mixed bag. Located on Maple Street and within walking distance from Tulane, students can easily and conveniently stop by. No Fleas Market is a great place for animals to come and shop around with you. If your dog is leashed and friendly, No Fleas would love to see it. No Fleas Market is also a participant in the newest New Orleans tradition, the “Bead Dog”. You can have your dogs name written on the Bead Dog to be remembered forever if you donate $50

through No Fleas Market to the Society for the Pre-vention of Cruetly to Animals (SPCA). This is a great way to support local organizations, give your dog an honorary spot in the city, and continue a com-munity building initiative in the form of outdoor art. The Freret Market is a favorite among uptown residents. Unlike No Fleas Market, Freret Market is designed in a festival format. The next chance to catch all the great vendors is April 7th, when Freret Street will be taken over by music, food and art. The Freret Market was started in an effort to revitalize the business corridor of Freret and boost the community feeling in the area. This market is not only creating an outlet for local arti-sans but also working towards keeping business local and improving the urban neighborhood. The French Market is one of the most popular markets in the city. Established in 1791 and still existing in the same location, the French Market is a symbol of the enduring spirit and life of New Orleans. It began as a Native American trad-ing post on the Mississippi River but now plays a leading role in the local economy and spirit of the French Quarter. It is considered America’s oldest public market and now showcases amongst the flea market entertainment and a farmers market. The markets of New Orleans have a great impact on the urban social and economic land-scape of the city. These markets are not just a great place to find design inspirations or a new piece of furniture. They encompass the rich urban culture of New Orleans and embody one of the most inter-esting cities in America.

“The No Fleas Market is best known for its philanthropic qualities, donat-ing a portion of its profits to support animal welfare.”

FLEUR DE FLEANOLA MARKETINGIMPACT OF FLEA MARKETS ON NEW ORLEANS URBAN DEVELOPMENT

CAMERON CONKLIN

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Peter Root was born in Jersey in 1978 and was raised and educated in Guernsey, both British Channel Islands. Since graduating in 2000 with a fine art degree from University College Falmouth, Peter’s work has achieved notable recognition including exhibiting in conjunction with the Saatchi Gallery London. Peter was recently commissioned to create a digital installation for LIVELIVEProject, a digital arts periodical and community engagement programme supported by the BBC. Peter is currently cycling around the World.

As well as lecturing in Art and Media, Peter has worked in various professional fields including architectural presentation and model making; the associated techniques, both digital and physical, are evident in Peter’s drawings and architectonic installations.

Peter’s work touches upon themes of impermanence, repetition, structure, future, architecture and the city.

Please visit Peter’s Portfolio and Cycling website: www.peterroot.comwww.twoonfourwheels.com

BIO

HONEY AND ALMOND

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Digital works range from meticulous sound edits to virtual installations in Google Earth. Physical installa-tions manifest themselves as precarious and ephemeral arrangements of materials such as potatoes, staples and transformer laminates. The fragile nature of these installations renders them exposed to micro-apoca-lyptic events such as a light breeze, a falling leaf or the furry infestation mould.

PETER ROOK-

PETER ROOKEXHIBITIONISTDESIGN INSTALLATIONS

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PLOT

60 KG OF POTATOES, PALLETS

EPHEMICROPOLIS

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EPHEMICROPOLIS

STAPLE CITY100,000 STAPLESMAXIMUM HEIGHT : 12 CM

Kevin MichniokEditor-in-ChiefTSA ‘13St. Louis, MO

Hannah AmbroseEditorTSA ‘13Chicago, IL

John CoyleWriterTSA ‘14Centereach, New York

Annelise HaskellWriterTSA ‘14Washington, D.C.

Liz KovacevicWriterTSA ‘14Indianapolis, IN

Alia SoomroWriterTSA ‘14New Orleans, LA

Cameron ConklinEditorTulane ‘13Baltimore, MD

Katherine DeLaceyEditorTSA ‘13Chicago, IL

STAFF

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FRONT AND BACK COVERimage courtesy of London Olympic 2012 http://www.london2012.com/INTERVIEW WITH DEAN SCHWARTZimage courtesy of Tulane School of Architecture http://architecture.tulane.edu/news/1824OLYMPIC ARCHITECTUREolympic torch, basketball arena: Am Walker http://www.flickr.com/photos/24093987@N00/6795804720/aquatic center: Ian Jones http://www.flickr.com/photos/iocmedia/5981722206/diagram: Sinclair Knight Merz, Wilkinson Eyre, and KSS ArchitectsARCHITECTURE STEALS THE SHOWimages courtesy of Warner Brothers Pictures http://www.warnerbros.com/movies/home-entertainment/ inception/43fa9f3c-54cb-4b0a-9571-313859716823.htmlMARDI GRAS INDIANSimage courtesy of Tulane University via flickr http://www.flickr.com/groups/tulane/LIFTA THE ABANDONED CITYimages courtesy of Ron Almog http://www.flickr.com/photos/ronalmog/SPORTING NEW ORLEANSimages courtesy of Wikipedia Commons http://commons.wikimedia.org/wiki/Main_PageFLEUR DE FLEA NOLA MARKETINGimage courtesy of No Fleas Market http://www.nofleasmarketnola.com/PETER ROOK EXHIBITIONISTimages courtesy of Peter Rook www.peterroot.comWe as a staff appreciate the usgae of imagery in a fully academic context.All rights reserved by the owner.

CREDITS credit where credit is due