LOUISIANA

ARCHITECTURAL
REVIEW
ARCH 2401_2018_ANGELIKI SIOLI
 e d i t o r ’ s n o t e

It is important for students of architecture to learn about the built environment. This is not simply
committing famous buildings and architects to memory, or understanding structure, material, and
space. What is equally important is developing a stance on architecture. Architects must have the
ability to read a building as a multifaceted, nuanced orchestra of thinking, action, and history. From
this, a concrete, articulate response can be formed, which will immediately inform his or her own
architecture. This process allows us to truly learn from our predecessors, our peers, and even our
students.

The goal of the Louisiana Architectural Review is to present students with an exercise of consciously
and objectively experiencing architecture through a myriad of lenses. Considering issues of place,
socio-politics, religion, ethics, and history, students learned to acquire a deep understanding of an
architectural work. From this exercise, they produced articles, whose intent is to immerse the reader
in the visceral experience of buildings around Louisiana.

amir hussain
 04 The Shadows
07 Living with Nature
10 St. Martin De Tours Church: Oecodomic
12 Innovation in Lafayette

M A P O F C O N T E
 28 Brother Gordian Udinsky Science Center: Science and Tradition
31 The Digital Media Center of LSU
34 Holy Rosary Catholic Church: The Forgotten Chapel
37 LSU Student Union: Architectural Review
39 Magnolia Mound Plantation: Magnifying the Mound
42 The Experience of Shaw
46 The Nestled Gothic Church
18 Blurring the Lines 49 Like Mike
21 History Hidden in the Modern 52 Knock Knock, Who’s There?
55 Ej Ourso College of Business: Discovering the BEC
59 USS Kidd Museum: Exploring the history of a Battleship
62 A Dive Into History: Nottoway Plantation
64 The Ascetic Pleasures of God’s House
67 Houmas House: The Crown Jewel of Louisiana’s River Road
71 The Recharging Haven
73 Castle on the River
77 St. George Catholic Church: The Breath of St. George
80 Gleaming Fortress on the River
83 Louisiana State University Student Union
85 Memorial Tower
87 Patrick F Taylor Hall: Engineering a Home
90 Middleton Library
93 The Louisiana State Capitol Building: Huey Long’s Legacy
96 Alex Box Stadium
99 Le Manoir du Gouverneur de la Louisiane
102 Pete Maravich Assembly Center: The Deaf Dome
105 Title: Pentagon Barracks
108 Two “Bros” and a Basilica: Sacred Heart of Jesus
111 Capital Park Museum: A Louisiana History Time Capsule
114 Chateau on Highland
117 The Old Governor’s Mansion
120 Louisiana Museum of Natural Science: A North American Voyage
123 The Old with the New
126 The Heidelberg Hotel: Icon on the Mississippi
130 Tiger Stadium: Welcome to Death Valley
132 Tranquility of Glorification
135 Stained-Glass Wonder: St. George Cathedral
138 @Highland: Baton Rouge’s Breakthrough Building
141 The Pond House at Ten Oaks Farm

150 A Phantom’s Mirage

152 Buckner Mansion: Mysterious Manor
154 A Walk Through History
157 Saint Patrick’s Church: A Sanctuary for the Forgotten
161 Entre la rue Sainte Ann at la rue Sainte Pierre
163 The House on the Lake
166 Experiencias en la Noches
170 The Cabildo: An Important Piece of Louisiana History
174 The Old Ursuline Convent Museum: Stepping into Survival
180 Oak Alley Plantation: An Evolution of a “Sugarland”
183 Mercedes Benz Superdome: A Symbol of New Orleans
186 The Immaculate Conception Cathedral: Risen from Ashes
189 Benson Tower: Symbol of the Late Tom Benson and Louisiana Culture
193 Gayle and Tom Benson Science and Technology Complex: Pointing to the Truth
197 The National World War II Museum: Bombs Away
201 Impressions of an Impressionist

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L A F A Y E T T E
3
THE SHADOWS
Samantha McNeese, Louisiana State University

Intentions & History shutter fixtures in between the last two columns
on both sides, and staircase leading to the open
balcony (1).
The Shadows on the Teche plantation home was
under construction in the year of 1831 and
officially completed in 1834. The builder of the
home was David Weeks, who would eventually
reside in the home along with his wife Mary
Weeks and six children. The couple and kids had
originally moved to the Attakapas region to focus
on David’s business of sugar production at Grand
Cote. However, the property was seemingly too
remote for the family, so David, in 1825,
purchased 158 acres of property in New Iberia
along Bayou Teche to construct a new home for

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the family.1 Today, the plantation home serves
now as a museum and National Trust for Historic
Preservation site to commemorate the home’s
unique past and life lived during that period of
New Iberia, Louisiana. 2

First Level Tour

The plantation home is first seen occupying the
corner of East Main Street and North Weeks Street
surrounded entirely by a white picket fence with
two gates to enter the property. The main gates Fig. 1 Selfie in front of the Shadows on the Teche plantation home

guide you directly to the front of the home while

The backside of the plantation home features two
the other slightly hidden side en-trance, located
straightforward walls that eventually connect by
west of the main gate, steers you through a
an indented terrace with segmental arches to
pathway filled with endless features of nature all
enter through and a small-scale balcony above
the way through to the home’s front entrance.
with two smaller, white columns sustaining the
The planta-tion’s property offers many paths to
open space (2). The backside of the home is also
follow and view the complete home and gardens
fastened with multiple double-panel glass
encompassing the heart of the property. The
windows both on the exterior walls and within
three-story, Classical Revival style plan-tation
the terrace and balcony. The backside, like the
home is congregated fully by brick structure, with
façade, features another staircase that leads to
the façade compromising eight white Doric
the second level of the home, but unlike the
columns ex-tended from the ground floor to the
façade, is fixed with only one set of French doors
second and a balcony expanding across the
per floor and two sets of single doors on each
second level.3 The façade is fixed with three sets
side per floor.
of white, French doors faced forward per level,
multiple double-panel, glass windows, dark green

4

Fig. 2 View of the backside of the plantation home
Every exterior door on each level constructed in
the plan-tation home leads into a different room.
When beginning at the front of the house, the
exterior doors located to the right leads into the
art studio room, designed with solid cream color
walls, high ceilings, dark wood flooring, and three
sets of glass windows allowing for light to enter
through the space. The room occupies several
paintings completed by one of the fourth-gener-
ation family, the workspace set up throughout
the room and, a single, dark green door leading
into another room northeast of the home.
After leaving the art studio room via the same
entrance as before, the next room to be shown is
in the backside of the home through the
right-side door in the northwest section. The
space constructed here is the pantry room where
servants prepared the food on platters and dishes
after cooked in the outside to be served to the
family in the dining room. The room is construct-
ed very small-scale with high ceilings, a pair of
glass windows for natural light to enter, red stone
flooring, and single door placed to the of the
main entrance door leading into a storage room.
When brought back outside from the exterior
door and led into the set of double, French doors
to the right, the room alters exceedingly. The
room is the formal dining space for the family and
serves as the largest room built on the first floor
of the plantation home (3).
In the room, an immense amount of space is felt
in addition with high ceilings found with crown
molding all along the top of every wall and black
and white checkered, marble flooring throughout
the room.
Fig. 3 View of the formal dining room on the first floor
Second Level Tour
After exiting through the opposite set of French
doors and guided up the staircase located to the
left of the façade, the large balcony space is
revealed and provides a view over the front
gardens and the busy street beyond the white
gate. Upon entering through the first set of
French doors on the second level, the room
disclosed is the main bedroom of the plantation
home (4). The main bedroom holds the most
unique configuration of structure and lay-out out
of the entire plantation home for a special reason.
While standing in the room, a vast amount of
space is seen with high ceilings, wood crown
molding along the top of the ceiling, wood
flooring, and several windows along each wall. To
the other side of the room, an en-trance to
another room is portrayed with sliding doors
outlined with white crown molding all along the
edges. This connected room is the library of the
plantation home. Details of the room resemble
the exact ones from the main bedroom but
constructed in smaller dimensions.
5
 From the balcony, a view of the plantation’s open
and diverse garden is seen extending to all four
corners of the white fence. Straight ahead while
standing on the balcony, a view of Bayou Teche
can be seen flowing down alongside the property
(6). Located to the right of the balcony, if facing
the gardens and bayou, is set of stairs leading
back down to the indented terrace on the first
floor of the home. From here, several pathways
can be taken to stroll through endless gardens
surrounding the plantation home that eventually
bring you back to the front entrances.
Fig. 4 View of the home’s Main Bedroom

When standing back in the main bedroom,

another dark green door is seen that leads into
what is the parlor room (5). Like the formal dining
room on the first floor, this room serves as the
largest room on the second level. The room
encompasses geometric, floral patterned carpet

SECTION 1
as the flooring, Fresco wallpaper, white crown
molding along each corner of the high ceilings,
and an assortment of windows. The two sets of Fig. 6 View of the gardens and bayou from the second-floor balcony
opposite French doors that open to the balconies behind the plantation home
are seen in addition with another single, dark
green directly across from the other.

Fig. 5 View of the Parlor Room on the second floor

The other green door leads into the other sets of

bed-rooms in the plantation home. The first
bedroom is a moderate size with finishes favoring
those of the main bedroom. A second green door
to the left of the first door entered leads into
another bedroom with the same fea-tures but
confined in a smaller space. When standing in
between the door connecting the two bedrooms,
a door to the left is perceived and guides back
out onto the small balcony of the home’s
backside.
Notes
“History: David and Mary Weeks, The Builder of the
Shadows-on-the-Teche.” National Trust for Historic Preservation. 2017.
https://www.shadowsontheteche.org/david-mary-weeks
2 “History: William Weeks Hall.” National Trust for Historic Preserva-tion.”
2017. https://www.shadowsontheteche.org/william-weeks-hall
3 “History: David and Mary Weeks, The Builder of the
Shadows-on-the-Teche.” National Trust for Historic Preservation. 2017.
https://www.shadowsontheteche.org/david-mary-weeks

6
LIVING WITH NATURE
Harris Quadir & Eldar Latif, Louisiana State University
A house is explicitly known as a building for
human habitation, especially one that is lived in
by a family or small group of people; however,
through years of modernization and progression,
houses have evolved and adapted to fit more
than just the means of shelter. Mr. Philip and Mrs.
Monica Miller, built their own modern interpreta-
tion of a home in 2013 in the southwest
Louisi-ana metropolitan area of Lake Charles.
Though, their design process began many years
before the move in date was even in sight. The
Millers involved a family friend and Atlanta
architect, Richard Nelson, nearly immediately
during the beginning of the house and its design
process. The clients were very intrigued and
inspired by famous American architect, Frank
Lloyd Wright. Monica Phillip described the
designer to “make her feel like she was outside
while still inside.”i
fig. 1 Picture with contemporary house in Lake Charlse, La
As you enter the estate, the linear path for the
driveway allows for smooth transition towards
the house in a contrasting manor, however
keeping focus on the structure. The driveway
leads toward the entrance of the house which
includes a path constructed to resemble piano
keys that highlights the owners appreciation for
music(2). As you step through the piano path and
up the stairs, the elongated feeling of straight
lines sets the tone for the rest of the structure.
This feeling is used throughout the house to add
a sense of infinite space. The house itself sits
elevated on a manmade hill, and leads up to the
entrance where a back steel door contrasts its
surrounding glass. The guests at first may not
recognize that the door is from steel because the
steel itself is left in its natural state which
captures the appreciation of natural ele-ments
which is mimicked throughout the house. The
door opens up into the living room and straight
across the fire place sits in a raw steel mantle. The
living room is the heart of the house where the
outside and inside connect as one through the
usage of openness from materials such as glass
and light-colored concrete.
fig. 2 The piano keys path showing the appreciation for music
7

fig. 3 The living room opening up to an open concept layout
This area feels almost like an atrium with all
the floors meeting into this large open space,
where sound within the living room can be
lost from its point of origin, just like within a
forest. The living room itself has an open floor
concept with meeting spaces divided within
itself through the arrangement of furni-ture,
much like the Glass House by Philiip John-
son(3). To the left of the living room is a
curved wall constructed from Koa wood
which stands out and creates an inviting look
to the kitchen and dining spaces. The use of
the Koa wood itself symbolizes an apprecia-
tion of nature by using wood that can only be
harvested after it is dead . The kitchen
continues to appreciate nature through
materials left in their raw state such as the
cabinetry and the counter-tops. You can see
that in the cabinetry, a 1 inch reveal is spaced
between the meeting of materials which is
one of the most important design decisions
during planning phase of the house.
This is carried through out the entire house and
can be seen at times such as when the floor and
walls meet and etc. Opposite of the kitchen area is
the dining space mirrored to balance the area.
The dining space incorporates na dining table
which is made from the same materials as the
house making it seem as if the table has grown in
the house(4). Across from the Koa wall on the
opposite side of the house sits the elevator which
is also constructed from the Koa wood. The Koa is
well balanced through the usage its placement
on opposite sides of the house and seems as if it
connects through the continuous wood beams in
the ceiling.
SECTION 1
fig. 4 The dining table as part of the house itself
The elevator is constructed form glass and allows
view of the house unlike the average elevator
which keeps the main idea of open space. The
elevator contains artwork including work from
Frank Llolyd Wright to allow a continu-ous
appreciation of the house and a connection to
the inspiration of the struc-ture. The stairs wrap
around the elevator adding significance to Koa
and its use. The stairs are used in a simple floating
manor to create a simple means of going form
floor to floor without adding distraction from the
rest of the house. The next floor opens into a
hallway which divides into two directions. One
direction leads to a multipurpose space used
commonly as theater, but is currently being used
for musical purposes. As you step into the room,
the carpet and curtains help for sound absorption
and you can hear the silence.
8

fig. The elevated catwalk mergers with the dangling lights for an
astronomical feeling
The room also contains a stage which appreciates
the owners love for music. Unlike most theater
spaces, this space includes windows and allows
natural light whenever desired. On the opposite
side of the hallway, the hallway be-comes narrow
creating an illusion that the hallway is longer that
is seems. On the left, are indentions of space
where doors are constructed to open into
bedrooms. The indentations allow the hallway to
seem empty and hide the bedrooms and allow-
ing a sense of privacy. One of the bathrooms in
this hall incorporates natural night through an
indirect sunroof appreciating the outside even
during natural human performances. The stairs
continue upon on the last floor where when you
first step in, a sitting space is defined through
furni-ture. The owner established this area as “the
nest,” where users can sit and enjoy the views the
house has to offer while sitting in the comforts
and safety inside the glass and concrete walls.
The glass is the lowest E glass available and adds
an appreciation to energy consumption and
avoids the green house effect commonly found
all over the globe today. This space opens up into
the living rooms and continues into a catwalk
which allows more view and appreciation of
nature incorporated within the house. As you
continue on the path, you see the dangling lights
which infos the feeling of being in space as you
are elevated on the top floor of the house(5). The
path leads toward the Koa curved wood wall
which is continued up from downstairs.
The wall’s curves directed you to the master
bedroom in which the opening door is concealed
through another use of indented space allowing
privacy and mystery. The bathroom and closets
have no opening door but are instead inducted
into the room through the arrangement of space
highlighting an openness. The Her closet is
identified through the curved Koa wood to
match those of feminine curves.
Through the exploration of the house, it
can bee seen that the appreciation of space and
nature can be clearly seen through many
elements and not only in spaces seen by guests,
but spaces seen everyday even by the occupants.
The usage of minimal materials and materials left
in their raw form allows the beauty of mother
nature to be incorporated, and the combi-nation
of large splayed glass gives the fulfilling of not
only being outside while inside but to be a part
of nature itself.
Notes
i. Phillip and Monica Miller(owners of the house),
interview by Harris
Quadir and Eldar Latif, Lake Charles, LA, Novem-
ber 4, 2018.
ii. Tam, Michael. “Is Koa Wood Endangered – Or
Extinct?”
Martin & MacArthur, 3 Mar. 2015, marti-nandmac-
arthur.com/blogs/news/is-koa-wood-endan-
gered-or-extinct.
9
St. Martin De Tours Church: Oecodomic
Jacob Dick, Louisiana State University
Introduction
The St. Martin De Tours Church in St. Martinville,
Louisiana was originally built by Acadian exiles in
1765. It is one of the oldest catholic churches in
America, and the third old-est catholic church in
Louisiana. The town of St. Martinville officially
incorporated it on March 7th, 1814. There was a
lottery held on March 16th, 1820 to redesign the
church after a fire had burned the original
building down. The current church was built in
1836 and was dedicated on June 2nd, 1844. This
church is recognized as the mother church of
Acadians and causes some to go on a pilgrim-age
to this site.1
History
The site of the church contains 3 buildings and is
on a square lot. The main church structure, a
2-story rectory, and a 2-story parish house (which
all date back before the civil war) make up the
trio of buildings. All three buildings face a grassy,
tree shaded park, which in turn forms an impres-
sive and very domi-nant element in the town
plan. The three buildings are all in the Greek
revival style and were designed by an architect
from New Orleans; Pierre Benjamin Buisson. He
originally designed the main church building
with the intention of a simple rectangle, attempt-
ing to replicate the form of a roman basilica. Doric
columns line the aisles and are placed on simple
rectangles which separate the aisles and the
nave. The building consists of four tall semicircu-
lar head windows on each side of the building,
with 2 similar ones in each transept. The church
front is divided into 3 bays using projected
pilasters. The architect de-signed them in such a
way that they reflect the division of the nave and
side aisles. Within each bay is a tall semicircular
headed entrance door. This door is recessed in an
enframement of Romanesque type moldings.
The façade of the building is crowned by a tall
square steeple that includes a tapered spire. The
walls and columns of the building are plastered
over brick, creating a sense of enlargement, while
the roof is made of wood, which gives it a rustic
feel. The ceilings of the side aisles and transepts
are flat while the nave and apse are barreled. A
deep cornice surrounds the nave and apse, with
smaller cornices for the side aisles and transepts.
The sacristies flank the sanctuary in the
continuation of the side aisles. The 2-story rectory
was designed and built by Robert B. Benson in
1856 and features an antebellum style veranda
with fluted columns.2
SECTION 1
Fig. 1: Front view of church
Walkthrough
Upon entry of the site, we see many statues and
large oak trees dedicated as memorials or effigies
to the patron saint of the church and town.
Seeing these memorials and effigies really starts
to tie you into the church. It brings your focus not
to what’s in front of you, but to what’s in your
peripherals. The less you focus on the building
the more you see in the site and how well it was
designed in terms of place. As you move forward
into the church however, you can’t help but
realize just how massive this church is.
mesmerized by the size.
10
In the morning daylight the yellow offset of the
white which stretches the length of the building
almost seems to glow a golden hue, as if every
word you speak aloud is that of some immovable
force that can penetrate anyone’s heart and mind.
As you turn around and look toward the entrance,
you notice a sense of longing for something. As
though the church itself has more to offer but is
lacking. It causes a sense of disappointment as
you look along the aisle and your eyes begin to
draw towards the organ on display above the exit,
returning your mind to a sense of wonder that
was previously lost. As you exit the building you
feel empowered and as though you are ready to
take on the world.

Fig. 4: Altar

Fig. 2 View towards exit

Fig. 3: Nave and aisle

Notes
i. Church of St. Martin De Tours, Church Brochure, 2016.

11
The Louisiana Immersive Technologies Enterprise:
Innovation in Lafayette
Eldon Smith, Louisiana State University
Intentions
The Louisiana Immersive Technologies Enterprise
located in Lafayette was designed for the
purpose of letting creators develop technology
based busi-nesses. Otherwise known as the LITE
building, the futuristic and minimalistic style truly
represents what the building was built for. It
houses a 3D immersive visualization and a high
performance computing resource center, while
host-ing clients in commercial industry,
government, and university sectors. The design
of the LITE building represents innovation and
creativity which also matches the mission
statement of the project the people over at LITE
are trying to create.
Fig. 1 Visiting the LITE Building during the night
History
The project began in 2006 and was built by the
architectural firm, Eskew + Dumez + Ripple /
Guidry Beazley Architects. The project was
originally de-signed to give way to economic
development in the Lafayette region, helping
individuals start and accelerate businesses. Now,
the building holds many purposes such as oil and
gas exploration, university research, an economic
generator, and even virtual reality design. The
building is continuing to evolve as new purposes
and ideas are being found each day. The building
was first portrayed in the eyes of the public as
just another expense towards the state that they
SECTION 1
couldn’t afford to take, but once the public
realized what type of self-sustaining work
towards the future the building could offer, there
was no question about the funding and
importance this building holds.
Building Description
Walking up to the building is quite different
within the means of the original style of
architecture known in Lafayette. The area
surrounding the LITE building has an older feel
towards it and the LITE building offers something
refreshing and new.
Fig 2 The LITE Building from the main street
12
Upon walking towards the building, and the Plenty of the rooms of this building were off
busy-minded people walking in and out, you can limits to visitors due to the building being
feel the energy this building has created around primarily for office space. I was, however, able to
it. The struc-ture and the environment view the inside of ma-jority of these rooms
surrounding the building fosters a sense of through the vertical, elongated windows that
produc-tivity as you move around the individuals allowed me to look inside and see what sort of
at work upon approaching the en-trance. Upon activities these offices were engaging in.
entering the building, the well-light lobby is a
huge open space that provides you with
pathways that can lead to so many different
opportuni-ties. No matter where I was guided to,
every pathway seemed to have its designated
purpose and each pathway and each pathway
seemed as if they were connected and in
collaboration with one another. The first pathway
I took was towards the bathroom, the bathroom
is very easily found as it is positioned upon
entering. The bathroom was nothing short of
what I ex-pected, it was very well-kept and
brightly light. The bathroom was the first I saw of Fig. 3 Office space from the outside of the LITE Building
the common theme of open-space and highly
positioned ceilings. Hearing the patter of the The first floor holds the lobby and the entrance
shoes on the marble floors and the sound of the to the maze of office space, and just around the
large framed doors quietly opening and closing corner of the beginning of the lobby will have
made me feel as if I were in a seri-ous you directed by the light of the various windows
environment. Upon entering the building, my towards a staircase the goes in a zig-zag pattern
sight was immediately set on the this large set of to the second floor. You could hear the echo of
black door frames, and I knew it served as one of my steps as I walked up them due to the cubed
the main sections of the building. Behind those design of the corner the staircase was held.
set of doors, held an auditorium for the students
of the University of Louisiana at Lafayette.
Unfortunately, the room started to fill in with
students from the university, so I couldn’t stay for
too long. However, for the brief moment I was in
the auditorium alone I could feel the importance
of the wide-open lecturing room and what it
meant for the students attending that lecture.

Fig. 4 The staircase in the LITE Building

Fig. 2 The auditorium within the building

13
Majority of the second floor is office space, but
upon further walking you will be greeted with
areas designated for what I have assumed
presentation space and the virtual reality and
economic generator sector of the building. The
rooms were fairly consistent with each other,
meaning they had the same layout of an open
space and a bunch of technology, to which I have
zero knowledge to what they were used for, and
a center table and chairs sur-rounding it. I did not
feel necessarily comfortable walking around the
second floor of the building with no purpose, as
everyone within had a specific task that they
were working on. Upon observing the rooms on
the second floor which were all occupied with
individuals hard at work I decided it was time for
me to leave. Upon exiting, I was ultimately sad
my hour trip to Lafayette was over, but I feel as if I
was brought to light with the strides Lafayette

SECTION 1
and the University were taking to make the city
and the world better. I would say the most
im-portant of visiting the light building would
have to be just before entering the building and
just standing on the outside and admiring the
design of the build-ing and the people moving in
and out with a purpose. The LITE building is truly
the embodiment of the meaning of productivity,
efficiency, and determination that very well
matches with the work being done inside the
building.

Notes

1 The Louisiana Immersive Technologies Enterprise. “About Us”, LITE.

Accessed November 21, 2018. http://lite3d.com/what.we.do.html.

2 Eskew, Dumez, Ripple. “Louisiana Immersive Technologies Enter-prise

(LITE)”, Eskew. Accessed November 22, 2018. http://eskewdumezrip-
ple.com/projects/lite-louisiana-immersive-technologies-enterprise.

3 The Louisiana Immersive Technologies Enterprise. “Product

Devel-opment”, LITE. Accessed November 21, 2018.
http://lite3d.com/product-deveopment.html.

4 Burgess, Richard. “UL-Lafayette taking reins at LITE technology

center”, The Advocate. Accessed December 1, 2018. https://ww-
w.theadvocate.com/acadiana/news/arti-
cle_21c52dbc-bd7f-11e6-8f18-33fe30fe2bcd.html.

14
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S H R E V E P O R T
17
Blurring the Lines: Anne P. Tooke Memorial Library
Matt McClure and Isabelle Veneracion, Louisiana State University
Background
The Anna P. Tooke Memorial Library was built as a
means to pro-vide knowledge and accessibility to
a community far from the inner city. The library is
in southern Bossier Parish and mostly serves the
community of Koran1. Koran is a small unincorpo-
rated community, there is no city government
and few amenities. The library has allowed the
community a new connection to the world by
providing books and internet to people that have
previously gone without2.
The Anna P. Tooke Memorial Library finished
construction in 2015. It was designed by Prevot
Design to replace the “library” at the time3.
Consider-ing how new the library is, the commu-
nity has not made any changes or modifications
to it.
Walk Through
Unlike the 12-by-40 foot portable utility building
the library was before, it has now been trans-
formed into a 4000 square foot permanent fixture
in the Bossier com-munity, Koran4. When
someone first walks in, they are greeted by a
small room showing the history of the town, and
the history of the library. To the left are two
bath-rooms that are unisex along with a water
fountain. Con-tinuing to walk to the main part of
this building, a visitor is greeted by a large open
space filled with books. People are mainly drawn
to the east side of the library since there is an
implied path to follow due to the shelves. On the
east side of the library children are greeted by a
children’s’ zone. Walking towards the south side
of the library there is a small computer area for
students. Walking further south in the library, this
is the back of the library covered in young adult
reading material.
On the south side of the library, the shelves are
covered in DVDs and where there are no shelves
there are windows giving the visitors a view of
the trees surrounding the library and the walking
trail. This next path leads people to the west side
of the library. In the south west corner of the
library there are multiple tables to sit at while also
having a view of the playground outside.
SECTION 2
Fig. 1 Both authors and one of the architects outside Anna P. Tooke
This is very ideal for parents to watch their
children while still being able to enjoy the
comfort of air conditioning in the summer or heat
in the winter from sitting inside. On the west side
of the library, there is the librarian’s desk, and
more shelves covered in adult novels. In the north
west corner of the library there is a magazine
stand, very different from the bookshelves
covering the library. These magazines have their
own lighting fixtures and angled shelves since
they can not be displayed like books. Finally, you
are once again greeted by this small room that
leads to the exterior of the building.
Although the library is still small in size, open
floor plan, large windows, and angled roof allow
the view-er to experience a sense of openness.
From the larger exterior of the building, people
are invited into a small, cozy interior.
18
This inviting feeling brings a viewer inside to see
the vast array of books lined up along the walls
and shelves. Alt-hough this may seem to confine,
there is open space to walk around, desks to do
work, and even an area for chil-dren to read and
relax. This open floor plan allows people to
wander through the library and while also
viewing the large amount of books on display.
Besides the open floor plan, the large windows
allow views from all different directions of the
nature surrounding the exterior of the library. The
windows allow people a straight view through
the building which creates a sense of the space
merging with the landscape. The interior being
able to merge with the exterior also allows the
viewer to experience a one-ness with nature
wherever they choose to sit, inside of the library.
Fig. 2 A view off the playground from inside the library
These windows also allow a view to the children
releasing all their energy at the playground
outside while parents are able to read and work
inside while still having a direct view of their
children. While the large windows allow an
excellent view of the nature surrounding the
li-brary; they also are the gateway to the rear
patio.
The back patio is a very secluded space; just the
reader, the library and the forest. Out there it is
very easy to get lost in a novel or merely lost in
thought. The stature of the library echoes the
forest around it, columns of dark wood covered
by a canopy.
The land was donated to the city by the
Brotherton family -- where the building gets its
name -- and the architects put the landscape’s
natural and scenic beauty to good use5. The
combined feeling of seclusion and nature put
any-one at ease while they are there. If you go
back inside from the rear patio you find yourself
in an expanse of wooden columns, a beautiful
dark Ipe wood that echoes the surrounding trees.
Walking through the library, with its raw wood
and high ceilings makes you feel as though you
are going through the forests arund you.
While the surrounding woods are really
dramatized at the rear of the library, you can
definitely feel the natural elements through all
parts of the building. As you first approach the
library the front wall is partially covered in
horizontal wood panels stretching halfway up the
facade, the rest of the walls are glass, except for
the small wall jutting out the very front
announcing the libraries name. In fact, the front is
not the only side that is an elegant blend of glass
and wood. Almost every elevation of the library
has some blend of horizontal wood panels and
glass. This almost 360-degree glass view allows
any pa-trons to see straight through the library to
the woods behind, capturing them and pulling
them in. While the overall feeling provided by the
library is serene and peaceful; the library still has
places to allow children to play. The south-west
corner of the library houses a large children’s
area. It has lots of books and activities for children
to learn and have fun. There is also a large
playground next to the rear patio that allows
children to play. Another feature in the same vein
as the playground is the quarter-mile walking
track that meanders through the property6. With
these two additions, this library becomes a full
community center, bringing new life to this small
community.
19
Fig. 3 Anna P Tooke Mem. Library as seen from walking track
Fig. 4 Interior view of west and south wall
Fig. 5 One of the two identical restrooms
SECTION 2
Fig 6, 7 Plan and Sections
Notes
"Anna P. Tooke Memorial Branch." Bossier Parish Libraries. Ac-cessed
November 10, 2018. http://www.bossierlibrary.org/tooke-branch.
2 Erin Buchanan. "Anna P. Tooke Memorial Library Taking Shape in
South Bossier Parish." KTBS. August 27, 2014. Accessed November 15,
2018. https://www.ktbs.com/news/anna-p-tooke-memorial-li-
brary-tak-
ing-shape-in-south-bossier/article_3d1c0611-a459-5de3-84e7-327ea0
7b37ba.html.
3 "Anna P. Tooke Memorial Library – Update." PREVOT Design Ser-vices.
Accessed November 15, 2018. http://prevotdesign.com/project/an-
na-p-tooke-memorial-library-update/.
4 "Anna P. Tooke Memorial Library Officially Opened." Bossier
Press-Tribune. May 15, 2015. Accessed November 10, 2018.
http://bossierpress.com/anna-p-tooke-memorial-library-offi-
cially-opened/.
5 Erin Buchanan. "Anna P. Tooke Memorial Library Taking Shape in
South Bossier Parish." KTBS. August 27, 2014. Accessed November 15,
2018. https://www.ktbs.com/news/anna-p-tooke-memorial-li-
brary-tak-
ing-shape-in-south-bossier/article_3d1c0611-a459-5de3-84e7-327ea0
7b37ba.html.
6 "Grand Opening Set for Anna P. Tooke Memorial Library."
Shreve-porttimes.com. May 05, 2015. Accessed November 13, 2018.
https://www.shreveporttimes.com/story/life/communi-
ty/2015/05/05/grand-opening-set-anna-tooke-memorial-library/2689
2601/.
7 "Anna P. Tooke Memorial Library – Update." PREVOT Design Ser-vices.
Accessed November 15, 2018. http://prevotdesign.com/project/an-
na-p-tooke-memorial-library-update/.
20
History Hidden in the Modern
Ariana Dalmau and Ashley Lozier, Louisiana State University
A Brief Introduction
Nestled in the heart of Downtown Shreveport is
the historic Holy Trinity Catho-lic Church [Fig. 1]. It
stands out starkly against the sea of modern
buildings with its bright façade and venerable
appearance [Fig. 3]. Unique from the surrounding
office buildings and Court Room, the Holy Trinity
Catholic Church rests on a secluded corner,
almost unnoticed until you're almost right on top
of it. Upon looking at it, it becomes immediately
clear that this building is some-thing special. With
its white crosses on the towers and arched,
stained glass windows, Holy Trinity is
characterized by a profound feeling of awe and
timelessness.
Rich in history leading back to the mid-1800s,
Holy Trinity as it stands today was constructed in
1896 by the architect Nicholas Clayton
(1840-1916) who styled the church's design after
France's Romanesque architecture and bor-rowed
from High Victorian Gothic architecture.[1] The
oldest church in Shreveport, Holy Trinity has
faced many hardships such as the lack of
re-sources and a severe yellow fever
epidemic.[Ibid] Despite this, it has provided
education and sanctuary to many people
including students, Confederate soldiers, and the
general public over the past 150 years of its
existence.[Ibid]
Garden of Saints
On one side of the church is a small garden with
statues of saints [Fig. 5]. A placard with their
history stands beside one. A small source of
greenery in the concrete bustle of the city, the
garden provides us with a feeling of peace and
sanctuary from the world outside it.
Entering from the street that runs parallel to the
long side of the church, a narrow concrete
pathway guides us through to the white statues
dirtied slightly with exposure to the elements
until we reach a handicap ramp on the opposite
side running along the length of the building.
Standing in the garden, stray cats that frequent it
prowl around, enjoying the green or fighting with
each other.
Leaving the garden and moving to the front of
the church, the building feels vast and important
as it hangs over the sidewalk and mostly empty
street [Fig. 4]. Marble steps lead to its windowless,
wooden door. It intimidates us yet entices us to
find out what is on the other side. Climbing up
the steps to the landing in front of the door, the
soft marble makes our footsteps sound padded
and quiet. Pulling on the worn, bronze handles,
we enter the church with anticipation.
Fig. 1 Ariana Dalmau at the top of a parking garage across the street
from the church.
Timeless Architecture
The quiet, serious atmosphere is punctuated with
a few churchgoers talking amongst themselves in
hushed tones, their small voices absorbed by the
carpet. The interior of the church is breathtaking
and overwhelming.
21
Decorated and embellished with detailed ceiling
art, stained glass windows, statues, and bronze
Corinthian columns decorated with cherub faces,
the inside of the church begs the eyes to travel
over every inch many times to fully allow its
opulence to sink in [Fig. 2]. The stained-glass
windows depict biblical scenes and figures while
high up, above the arches, are paintings of
former priests.
Immediately when walking in, we arrive in a
small foyer. The wall to the front is glass, allowing
us to see into the main church. In front, a
door-less opening leads to the main part of the
church. On the left is a room for the pastor to do
his confession. On the right is a small, enclosed
space for children and their parents. It is filled
with toys and books for parents to occupy their
young children with. The walls are glass, allowing
those inside to peer out but preventing the
children from posing as distractions to the main
ceremony. Through this small room, a door in the
back leads to the restrooms. The walls of this
small foyer space are filled with painting and
photographs and intricately detailed decorations.
Moving through the doorway into the main part
of the church, a long aisle of red carpet leads to
the front of the church. On either side, rows of
wooden pews wish cushions face the sanctuary
at the front. Marble columns line either side at
ends of the pews, holding up gothic arches that
frame the stained-glass windows on both sides of
the church [Fig. 6]. In between the arches there
are painted portraits of former priests looking
down on the churchgoers, the dates of their
service listed beneath their picture.
At the front of both sections of pews are altars to
saints. People go up and light candles to place as
offerings. In the main sanctuary in between the
two smaller alters is an exquisitely detailed
marble altar, sitting beneath the main dome of
the church [Fig. 9]. It sits underneath the painted
ceiling and stained-glass windows of Jesus and
his crucifixion.
Behind the altar are two doors that lead to rooms
where the pastor and priest can prepare for the
ceremony. Beautiful in design, this altar area is the
centerpiece of the church and commands all
attention of the churchgoers in the pews.
Fig. 2 After passing through the main entryway, this is the immediate
view of the church. Taken a little bit before Mass begins, the pews are
mostly empty still as they await to be filled by worshippers who have
yet to arrive.
SECTION 2
Standing at the altar and looking back at the
pews, we notice an upstairs section that was not
immediately noticeable when we first walked in
[Fig. 7]. In the section, a large organ rests beneath
a circular stained-glass window. A few people,
presumably musicians, walk upstairs or sit in front
of the organ [Fig. 8].
After walking around and taking photos for about
twenty minutes, we make our way to the back of
the church and slide into a pew, waiting for
Saturday Mass to begin. By now, the church has
filled up with more people for the service. Sitting
in the hard, wooden pews, organ music begins
and the lights on the dome illuminate [Fig. 10].
Everyone stands together to sing hymns. The
voices of the people and the organ music
transform the atmosphere from solemn to loving
and joyous as together, everyone worships and
prays to God.
Notes
"Holy Trinity Catholic Church: History." Holy Trinity Catholic Church.
Accessed November 26, 2018. https://www.holytrinity-shreve-
port.com/history.html.
22
Fig. 3 Holy Trinity is surrounded by modern buildings. A small garden is
on the side of the church.

Fig. 5 This statue resides in the garden.

Fig. 4 This is the main entrance to the church.

Fig. 6 Cherub faces decorate the tops of the columns inside the church.

23
Fig. 7 Taken from the front of the church, this picture shows the organ
above the main foyer.

SECTION 2
Fig. 9 The marble altar at the front of the sanctuary is intricately
detailed.

Fig. 8 The organ above the foyer sits beneath the stained glass window
visible from the front of the church.

Fig. 10 The lights in the dome light up as Mass begins.

24
25
B A T O N R O U G E
27
Brother Gordian Udinsky Science Center:
Science and Tradition
Thomas Broussard and Anthony Bueche, Louisiana State University

A Continuing Mission For example, a computer lab that originally had

rows of bulky cases with CRT monitors is now a
The Brother Gordian Udinsky Science Center at clean room with freely moving chairs and tables
Catholic High School of Baton Rouge is a science to aid students in their construction projects, such
building that was built to serve an educational as a wind tunnel.5
community of high school men for the purpose
of preparing them to be upstanding and
participating members of society. The Science
Building, as it is called by students and faculty of
the campus, is surrounded by a rich academic
history. The Brothers of the Sacred Heart founded
Catholic High School in order to educate men in
the spirit of academic excellence and to instill
Christian gospel values.1, 2 The Science Building
plays a role in the scientific education of these

SECTION 3
men and is dedicated to this study which
highlights its importance to the community. The
structure is a symbol of the pursuit of truth both
through the scientific pursuit and also through Fig. 1 Alumnus Thomas Broussard climbs the front steps of the Brother
Gordian Udinsky Science Center
the overarching pursuit of truth in faith. The
building represents the complementarity of these
two goals and stands in defiance against a
modern sentiment that the two pursuits are
exclusive and separate.

Process and Product

The science building was designed from 2003 to

2004, with construction finishing in September
2005.3 Designed by Bani, Carville, and Brown
Architects, the building utilizes durable materials
to emphasize the simple design.4 The building
gives students an environment to compliment
Fig. 2 Façade with trees
both academic and hands-on study of science
and engineering. With its state of the art Walk to Class with Me
chemistry, physical science, and physics labs, as
well as adjoining hot house, the building gives As we approach the building from the front the
students many opportunities to apply what they incline on which the structure stands is
learn in class. In response to advancements in noticeable. The corner of the building has an
technology and increased emphasis on outside class-room/theater space that allows for
engi-neering, the building has undergone many instruction in the surroundings of nature.
changes since opening.

28
 Each room also includes a shower and eye
washing station which would be used in the case
of a chemical emergency. The similarity of the
classrooms gives each class session a similar
environment which allows the student to feel
comfortable in familiar surroundings as they use
different rooms throughout their high school
career.

When we enter room 170 on the south end of the

Fig. 3 Alumnus Anthony Bueche admires the plaque of Brother Gordian
in the main atrium
The building is designed with a smooth exterior
lacking embellishment and ornamentation. The
central visual feature of the building is a glass
building we enter the environmental science
classroom which is unique in that it has access to
the building’s greenhouse that can be used for
botanical surveys and experi-ments. It is the
home base of the school’s science club which
utilizes the space for experiments.

SECTION 3
atrium that is visually separate from the rest of the
building. It is clad with masonry walls and has
large windows lining the three external walls in
order to let in light. Atop the atrium is a green
arch which closely matches green arches in other
buildings on campus which provides the building Fig. 5 Panorama showing Environmental Science classroom and
continuity with the campus. Once inside we first ad-joining hothouse

enter the main atrium which includes stone walls

On the far north end of the building are different
that feature black and orange accents, the school
kinds of classrooms that are used for engineering
colors. The height of the ceiling makes the entry
and architectural drafting. These rooms include
feel very open and expansive in comparison with
high top desks with charging stations for student
the more closed off spaces that are the
laptops where they can work on their computers
classrooms. There are exhibits along the wall that
or draft by hand. The rooms also have ample
show the different scientific fields such as
space for the building of class projects. These
chemistry and biology as well as a plaque
rooms with these features act as professional
honoring the namesake of the building, Brother
spaces for students where they do not only learn
Gordian Udinsky.
about the subject matter but build and put their
knowledge into form with the tools at their
The atrium space flows into the main hall that
disposal in the classrooms. We come upon the
connects the classrooms to the atrium. As we
main bathroom for students which is located in
walk along we come upon scientific symbols on
the middle of the hallway and is positioned
the floor that break up the monotony of the
towards the front of the building nestled
Terrazzo flooring and give the hall decoration that
be-tween the front facing classroom and the
points to the building’s intended use as a place for
entry atrium. It is a windowless concrete room
the study of science.Most rooms we pass include
with two stalls and a urinal.
a large central area for moveable desks that are
surrounded by permanent lab stations which
have their own sink and gas line which is used to
light Bunsen Burners for experiments that require
heating.

29
Fig. 5 First floor hallway, Terrazzo floor with designs emphasizing Fig. 7 Architectural Drafting classroom, with free-moving desks and
scientific theme chairs

We access the second floor through the main

stairway located to the north end of the building
next to room 170. The second floor of the
building includes multiple classrooms modeled

SECTION 3
after the Environmental Science classroom
though there is a special feature. We stand
overlooking the atrium on a balcony accessible
from the second floor that allows us a full view of
the space and also a view out of the windows
towards the rest of the campus.

Fig. 8 Floorplan 6

Notes
1 “The Sacred Heart,” Brothers of the Sacred Heart, accessed
Novem-ber 15, 2018,
http://brothersofthesacredheart.org/content.cfm?id=19.
2 “Catholic High School: A Brothers of the Sacred Heart School Since
1894,” Catholic High School, accessed November 15, 2018,
https://catholichigh.org/.
3 Gene Tullier (President, Catholic High School), interviewed by
Thomas Broussard and Anthony Bueche, Catholic High School,
No-vember 2018.
4 “Catholic High School Science Building,” BCB Architects, accessed
November 15, 2018,
http://www.bcbaia.com/Portfolio/CatholicHighSchoolScienceBuilding
.aspx.
5 Gene Tullier (President, Catholic High School), interviewed by
Thomas Broussard and Anthony Bueche, Catholic High School,
No-vember 2018.
Fig. 6 (above) Emergency eye-washing station
6 Bani, Carville, and Brown Architects Inc. Science Building – First and
Second Floors, Floorplan.

30
The Digital Media Center of LSU

Kelvin Moreno, Dae Kyoung Kim

Building Features:
o 4K theater with 90 speaker
o Fabrication lab
o Audio recording studios
o Classrooms/research facilities
o 24 hour access to labs and facilities

The building feels different from other buildings

Fig. 1 Digital Media Center-Louisiana State University-Baton Rouge, LA
in Louisiana State University because the
building has restricted areas. Red brick,
Stuc-O-Flex finish, and curtain wall are examples.
Also, it is visible that the exterior of the building
can be divided into floors. In the Exterior of the
Digital Media Center, there are big glass windows
that from the outside they do not allow visibility

SECTION 3
70803 but from the inside, they give the opportunity to
observe the surroundings.
The Digital Media Center is an important place for
Louisiana State University because it works for
the development of new ideas. In the Digital
media Center, are built real-world projects that
are relevant to society because they do the
project to solve problems and satisfy the
necessities of people. There are many different
professional training in the Digital Media Center,
for example, Video Game Design, Video Game
Software Engineering, Web Development,
Interactive Sound Design, 3D Modeling, 3D
Animation, Digital Illustration, Visual Effects
Artists and many more… Fig. 2 Entrance of the Digital Media Center.

The main entrance along the arch and curved

A diverse work group of digital artists,
corridor allow entering into the lobby through a
technicians, and researchers are in the Digital
floor made of a simple material. The columns that
Media Center to develop ideas for the future of
support the building in the corridor have the
media. The objective of the Digital Media Center
form of bricks that provide a feeling of simplicity
is to Imagine, collaborate, create, develop, and
and comfort. Going through the first floor of the
surpass the imagination.
building offers a refined feel with a brightly
colored floor finish, dark wall finish (wood,
The group that created the design of the building
marble, gray paint) and a ceiling finish in
was Coleman Partners Architects, LLC. The
achromatic colored. There are many lights in the
intention of the building provides the facilities or
lobby and they are different in form and size.
tools that are necessary for the development of
new ideas that are beneficent for society through
media.

31
The light molded in the ceiling is the main light,
there are spotlights along the round wooden
decoration, and the lighting on the column gives
the brighter and more energetic feeling.
Fig. 3 First floor of the Digital Media Center
The light molded in the ceiling is the main light,
there are spotlights along the round wooden
decoration, and the lighting on the column gives
the brighter and more energetic feeling.
The Digital Media Center has a bent staircase. The
stairs allow movement in the building between
the floors. Gray stairs, wood-colored and textured
handles, and curtain walls are designed to be
seen outside when climbing stairs. In addition, a
column at the center of the staircase runs through
the entire building and provide support to the
structure.
Fig. 4 Stairs of the Digital Media Center
The Digital Media Center has different rooms on
the second floor but there are some spaces that
are inaccessible because there are some
restricted areas. Even though there are some
restricted areas, there are some free spaces with
glass walls that allow seeing through the rooms.
In addition, the circular finish shape of the lobby
ceiling used wood, but not on the second floor. It
can just be seen the shape of the circular form.
The biggest feature of the second floor is the
irregular lighting from the ceiling. It is like a light
stream. Curtain walls, which penetrate the entire
building, can be seen as an architect's effort to
accept natural light and artificial light together.
SECTION 3
Fig. 4 Second floor of the Digital Media Center
The top of the building is more restricted than the
second floor because there are more projects in
there. The top in the third floor is based more on
the development of media and that is the reason
why not everyone can go inside of that area.
Photography is strictly forbidden on the third
floor. The only place that can be photographed is
the entrance of the third floor. There are some
opportunities to explore the third floor of the
Digital Media Center because tours through the
building are offered but it is necessary to set a
tour. The structure of the third floor in the free
area is similar to the rest of the structure of the
building but with the difference that it has logos
of projects that are realized on the third floor. In
addition, the graphic wall is made up of the cover
of all the games EA has released, giving a glimpse
of the company's history at once. In short, EA can
be said to be a place to inform companies about
their work through this place.
32
In addition, the X-boxes and various
entertainment deployed for employees can see
how the world's best sports game company
strives for employee well-being.

Fig. 5 Third floor of the Digital Media Center

SECTION 3

Notes
“Louisiana Digital Media Center”, Coleman Partners, ARCHITECTS LLC,
accessed November 15, 2018,
www.cparch.com/prtafolio_detail.cfm?gal=76&galcat=6.
“LSU Digital Media Arts & Engineering”, Official Web page of Louisiana
State University, accessed November 15, 2018, https://dmae.lsu.edu.

33
Holy Rosary Catholic Church: The Forgotten Chapel

Cicily Christophe, Caroline Touchet, Louisiana State University

Introduction First Impressions

The community actively kept the church alive for
The Holy Rosary Church is a place for thoughtful
decades and was a key component to lives of the
meditation where a person can experience
people of St. Amant, allowing for its long life
spiritual embodiment. The church is held in a
within the city. When my partner and I first
rural campus that has a strong sense of place that
started researching the Holy Rosary Catholic
combines with drawing the differences of the
Church we were given the impression that the
secular and sacred components of the church.
main structures were made up of mostly of
windows and silver walls away from the older
Background main church. As we drove onto the grounds the
church looked like an atypical small-town church
Made for conversation with the Lord, the Holy
with no real special qualities. The new extensions
Rosary catholic Church has graced the city of St.
are clear from the older towering church, are
Amant, Louisiana since 1905. Trahan architects,
whiter in appearance made with materials of
based out of New Orleans, were hired in 2000 to

SECTION 3
concrete and steel. The administrative and adult
take on the job of providing the church with view
education buildings are all one even level and a
extension buildings such as new administration
break in the two buildings gives the separation
and adult education buildings, and a standalone
between the two uses. The break has multiple
chapel dedicated “The Chapel of Jesus, Our Light.”
paths to lead people to the parking lots, main
Construction was completed in 2004, just a year
church, and chapel, with the chapel tucked
shy of the devas-tating Hurricane Katrina. The
behind the two extension buildings.
church has sat in the same place for over 100
When walking up the path back towards the
years and has been a Catholic church since its
chapel you slowly become small against this
inception in 1863 when it was originally named
grandeur building with a pail concrete facade.
the Sacred Heart of Jesus Church.
There are no win-dows, just a single glass door
with a glass panel on its left side and a large silver
cross to the left of the door, gracing the front
façade and immediately speak-ing its purpose.
This is the only way in and out of the chapel. My
partner and I were luckily allowed to explore the
chapel and grounds freely, but on entering the
chapel we experienced great disappointment.

The church had been using the small chapel for

storage, no doubt because of it’s only door which
seemed to be a modern fire hazard. Even with all
of the items scattered amongst the floor we
could still see the remarkable cross that graced
the main wall, it was thin and made out of a
metal, but the body of Jesus did not appear on it
like most Catholic chapels would have.
Fig. 1 Selfie inside of the Chapel.

34
 SECTION 3
Fig. 2 The front façade of the Chapel

Fig. 3 The back wall of the Chapel with the large adorning metal cross.
Since there was storage everywhere, my partner
and I were frightened to enter fully in the chapel;
however, we were able to get a closer look of the
unique windows. There are a total of three
windows in the chapel, one on the lower left side
of the cross, one on the far right wall, and one on
the upper left wall when standing at the door. We
noticed the windows weren’t like other windows
from the pictures online, there were no normal
panels or rectangular glass window panes just
sharp cuts from the wall with light seeping in.

Further Examinations
As we examined the building, we learned that the
actual windows were on the roof, glass panels
that make up the roof allow the light to seep
through the sharp rectangular holes into the
church; however, the glass could only be seen
from the outside and was not a part of the interior
facade. Each glass panel on the roof was raised
into this pyramid form, allowing them to be
visible from the ground level outside. The interior
was a simplistic design with walls made out of
multicolored concrete, allowing for a more
natural stone appearance.
Fig. 4 The side left wall of the Chapel with one of the three cut out
windows.
When coming upon the chapel my partner and I
were excited but dissatisfied when we took a look
around into the interior of the small building. We
hoped that it would be well decorated for the
holidays but was only full of boxes and event
supplies. While my partner and I were
disappointed by the chapel, the outside of the
chapel was extremely groundbreaking.

35
We each had never seen a local architectural
building up close before and were both in awe of
how a tiny run-down chapel tucked behind a
small-town church could still capture our interest.

Final Examinations and Thoughts

As we put this article together, we noticed the
church had completely changed the original
designs of the Trahan’s team buildings. While the
small chapel still stands in its original glory, the
extension buildings do not carry the original gray
and white concrete materials and glass, but
simple steel walls with adjoining windows for
each room. We could not find a reason for the
change in the designs. Maybe the destructive
hurricane Katrina proved too dangerous and
destroyed the large floor to ceiling windows a
year later, or maybe the design did not accurately

SECTION 3
fit the churches small town needs or perhaps the
Louisiana weather proved to be too
unpredictable for such an innovative building.
Whatever the reason, we appreciate the small Fig. 6 The older main church.
Chapel that is left and hope to see it stand for
years to come.

Notes

“Our History”, Author unknown, A History of Holy Rosary Par-ish/Our

Fig. 5 The back facades of the chapel with views of the roof and its
raised glass windows.
Lady of the Holy Rosary Catholic Church, accessed November 13th,
2018, http://www.holyrcc.org/history.
2 Architects, Trahan. “Holy Rosary | St Amant, LA.” Trahan Archi-tects,
2004, accessed November 22, 2018,
http://www.trahanarchitects.com/work/holy-rosary/.
3 Trahan Architects, “Holy Rosary St Amant, LA.”, 1.
4 Unknown, “Our History”, 1.

36
LSU Student Union: Architectural Review
Jarad LeBlanc & Blaine Brading, Louisiana State University
Introduction
The Louisiana State University’s Student Union
was created as the universal living room that
intertwines the whole campus and all the
disciplines into one college. Its purpose was to
act as the central hub area for students to wait
during classes or have leisure time. It also serves
as a place for people and students to get some-
thing to eat and socialize while on campus. The
union is also used for hosting career services and
provides academic aid and advising for students.
Recently there was a barber shop put into the
Student Union making it a one stop place for
students to get everything they need without
leaving campus.
Fig. 1 Selfie with the Front entrance
History
The student Union idea was introduced in the
1939 but the project didn’t become popular till in
1955 and finally in 1958 the Board of Supervisors
gave the go to for the project. 1.Michelle Melan-
con, LSU Student Union Records (Louisiana State
University Libraries) The architect in charge of
this project was a Baton Rouge local architect
name John Desmond.
John wasn’t alone on this project he received help
designing the building from union consultant
Porter Butts and director of the union Carl
Maddox. The funding for the project came from a
ten-dollar fee paid by student and some came
from the Board of Supervisors. Construction of
the building started in 1962 and was eventually
finished on January 1964. Originally the student
union had both a men and women's quiet rest
area along with a bowling alley and even includ-
ed a bookstore. In 2006 renovations allowed the
addition of the fourth floor and a theatre to be
added on. Since the building has been built there
has been many changes to it and the rooms
within it but the pur-pose has always remained as
SECTION 3
a living room for the campus and its students.
Fig. 2 View of the front entrance from the second floor
Building Walkthrough
When advancing into the union there is a grand
staircase that brings you to the middle or main
floor of the building.
37
As you walk up the stairs you notice all the big
glass windows that line the wall which provide
plenty of natural light and a great view over the
parade grounds for those that are on the inside
of the building. Once you have entered the doors
of the building you instantly hear the productive
and leisurely alike sounds of all the people, when
looking right you can see a lounge area for
people to relax with couches, chairs, and tables.
To the left you can see the start of the large
dining area they have for the students to eat and
buy meals for lunches or just snacks for their
days. When the lounge is empty in the morn-ings
it is silent as a library. As you walk left you wrap
around the building with various dining options
and even a little grocery shop.
Fig. 3 A few of the restaurants leading to the entrance
That brings you to a split that shows you a big
ballroom used for many events. The second
option leads you back to the middle of the
building which has a skylight to brighten the
room. In this middle area there are staircases that
lead to the third floor where you first see a
balcony with lounging areas overlooking the
floor below. As you turn around you will pass by
office rooms and when you get to the back there
is a left option that leads to a smaller ballroom.
When taken right you are led to more offices and
another big lounge area with bigger tables which
is usually a quieter place to be because not as
busy. If you enter the building from the bottom
floor thing you will see to your left is the mailing
office with a seemingly never-ending wall of
student mailboxes.
As you continue towards the back of the building
there a multiple studio rooms for arts and poetry
for students and even students work on display
to buy. By the time you reach the back of the
union the hallway opens up to another food
court area that includes a restaurant and ATMs.
On the back wall of the union its turns into a
circular common area with chairs tables and tv
that allow students to take a break, eat or do
work. Entering from the southwest en-trance you
will face the barber shop and the entrance to the
bottom floor lounge.
SECTION 3
Fig. 4 Inside the ballroom
When entering from the southeast entrance you
will walk into the student government and an
entrance to the bottom floor lounge. No matter
where you walk through out the union you will
see glimpse of school spirit such the Geaux
Center which is surrounded almost entirely of
glass except one main wall that is purple and
gold.
Notes
1Melancon, Michelle. “LSU Student Union Records.” LSU RECORDS,
2015,
www.lib.lsu.edu/sites/default/files/ua/findingaids/a0303_lsustudentun
ion.pdf.
38
Magnolia Mound Plantation:
Magnifying the Mound
Christina Dang & Thaksin Kongchum, Louisiana State University
Intentions
In visiting and learning about the Magnolia
Mound Plantation, the intentions of the building
became evident when looking at the location,
sociopolitical, reli-gious, and ethical aspects. The
Magnolia Mound Plantation refers to a main
house, double slave quarters, kitchen, and
pigeonnier.1 In regards to the socio-political
aspect, the house and the extravagant size of the
land displayed the wealth of the family that lived
there. For the religious aspect, slaves were not
allowed to participate in religion. This is
evidenced by the lack of places to wor-ship near
the slave quarters. In regards to politics, the size
difference between the main house and the
house of the workers correlated with the
differences between the political influences of the
workers and the residents of the house. For the
location, the building was placed to allow
sustainable living. The sur-rounding trees allowed
the house to stay cool in the hot Baton Rouge
climate. The size of the land allowed the residents
to grow crops for personal use and to sell as a
commodity in the local market.
History
The main house was built in c.1791 by an
unknown architect, while the other additions
such as the pigeonnier and double slave cabin
were built during the next 30 years.2 In 1951, the
architectural firm of Goodman and Miller added
modern installments.3 The original use of the
house was as a dwelling for James Hillen, an early
Scots settler.4 Later, it was acquired by various
wealthy families to be used as a residence. Over
time, the purpose of the house changed from
residential to educational. The current house is a
museum that replicated the original intent of the
building.
In 1966, a local campaign petitioned the
demolition of Baton Rouge’s oldest surviving
frame house, but a court action allowed BREC to
acquire the property.5 The community is allowed
to go inside the house to view the furniture, learn
about what the life of those who lived on the
property was like, and learn about the history
through a well-preserved plantation.
Building Walk Through
Driving up to the building, the house loomed
over us from the top of the hill. It can be seen
from anywhere on the 800 acre land (12 and 2). A
small brick path led to the Magnolia Mound
SECTION 3
Plantation house from the welcome center and
the parking lot. A vast open green space greeted
us. This open area was home to the pigeonnier,
the outhouse, the kitchen, the kitchen garden,
and a lone tree (6). This area was separated from
the rest of the acres by a long wooden fence. With
each step, the house grew larger. At the foot of
the wooden steps, we were intimidated by the
size. The wooden floors creaked with every step.
From the top of the stairs, we could see the whole
800 acres (5). Other buildings looked minute in
the distance. A sense of empowerment washed
over us.
Fig. 1 Selfie with the Magnolia Mound main house
39
Turning back to the house, a large door
welcomed us in. A strong musk of old
wood streamed out from the house.
Light gleamed through the many
win-dows all around the building. The
length of the interior and the placement
of the furniture guided our eyes to the
sides of the building. The parlor room
could be seen from the back door. A long
table obstructed our path and led us to
the sides of the building. On the left, a
Fig. 3 View of the patio of Magnolia Mound main house
small staircase rested against the wall (4).
On the right, a small walled off opening Heading away from the front, the room led into a
contained a fireplace and a small guest smaller room and a kitchen area further in the
bedroom with a study table was located. back. This smaller room was dim as there was only
one window to let light in. This room also did not
have a fireplace to compensate for the lack of

SECTION 3
light. Deeper in led us into the kitchen. The
kitchen was well lit but hidden from the rest of
the house. There was a lot of light that flowed in
from the two windows. Afterwards, we left out
through the front of the house as the second floor
staircase was off limits.

Fig. 2 The front of the Magnolia Mound main house

Heading through the dining room into the parlor

led to the front of the house. The parlor area was
spacious with a lot of free moving furniture and a
fireplace. Heading to the right from the front
door led to a bedroom. This bedroom was large
and had two windows and a door that let light
into the space. Heading towards the left of the Fig. 4 Inside view of the Magnolia Mound main house
front door led to another smaller bedroom that
Going through the plantation, various sounds
only had one door to let light in. Therefore, this
were created by the architecture. In all of the
bedroom was darker than the rest. However, the
homes, the distinct tapping sound of the
addition of a fireplace provided the much
footsteps hitting the wood was clearly
needed light. Going further, the room housed a
pronounced. Looking over the patio, the sounds
smaller bedroom with a doll on the bed. The
of the wind blowing through the trees whistled
amount of furniture that took up space in the
across the large landscape.
house was astonishing.

40
The other distinct sound was the swaying of grass
as we crossed the large open areas outside.

Fig. 7 Double slave quarters

Fig. 5 View of the land from Magnolia Mound main house

There were distinct moments that made us stop

and reflect. The first poignant moment was

SECTION 3
viewing the bedrooms. Seeing the small doll on
the bed with the furnishing surrounding the bed
really brought back an eerie sense of the former
occupants of this house. The next poignant
experience was viewing the double slave quarters.
It was really astounding how two families fit in a
room the size of a modern day bedroom. At this
point, we both had to take a step back and
recognize the history behind this place and the
Fig. 8 Inside the double slave quarters
travesties that occurred. Overall, the Magnolia
Mound Plantation serves as a critical piece of
history that evokes emotion from all who tour.

Notes

1 “Magnolia Mound,” BREC, BREC, November 20, 2018,

Fig. 6 Inside the kitchen on the property
http://www.brec.org/index.cfm/park/MagnoliaMoundPlantation.;
“Magnolia Mound Plantation House,” NPS, National Park Service,
November 20, 2018,
https://www.nps.gov/nr/travel/louisiana/mag.htm.
2 Ibid.
3 “Magnolia Mound Plantation House,” NPS, National Park Service,
November 20, 2018,
https://www.nps.gov/nr/travel/louisiana/mag.htm.
4 “Magnolia Mound Plantation House,” NPS, National Park Service,
November 20, 2018,
https://www.nps.gov/nr/travel/louisiana/mag.htm.; Robert W. Heck
(January 1972). "National Register of Historic Places
Invento-ry/Nomination Form: Magnolia Mound Plantation House".
National Park Service. Retrieved November 21, 2018.
5 Ibid.
Appendix

41
The Experience of Shaw

Grayson Loudon & James Struck, Louisiana State University

The Shaw Center for Arts was created to be a

multipurpose building that could be adapted to a
multitude of uses in exposing many of the arts1.
It was made in the heart of downtown Baton
Rouge to give access to its facilities to as many
people as possible. Located within the arts
district of downtown, it shows off a variety of
work from those at LSU and living within the
neighbor-ing areas. It also allows for a more
inclusive feeling to visitors by frequently varying
what type of work is exhibited. It takes on many
socio political roles by being used as a museum,
theater and arts complex. The Center hosts many
events throughout the year that are to benefit the
citizens. They even offer a series of free to attend

SECTION 3
events called “Sundays in the Park” where regional
bands come in play during the spring and fall1.
Though it was not intended by the architects, the
dynamic nature of the building would allow for
religious events like weddings.

The Shaw Center for the Arts was built in 20052.

It is used for art exhibitions, shows, and events.
When going to the Shaw Center we encountered Fig. 1 Selfie with the Magnolia Mound main house
an AIA event on display, showing the design
process behind some buildings that were built. As we walk up to the Shaw Center we hear the
The Shaw Center for the Arts is a collaboration rushing water from the fountains jetting up (fig1,
with LSU. They always have LSU artist’s showings fig 2). There are trees lining the walkway and
there as well as other artists. Also LSU students different colored bricks to guide us. The long
and faculty get into the exhibitions for free vertical glass paneling on the side of the building
because of this collabora-tion. The architects for attracts us and entices us to look up (fig 3).
the Center were Eskew Dumez Ripple2. The
original use for the building has stayed basically
the same with minor changes in what events
occur there. One of the bigger changes is the use
of the building for weddings. This building
contributes to Baton Rouge by providing them
with a connection to the fine arts as well as
bringing them closer to one of the bigger focuses
of Baton Rouge, LSU.

Fig 2 (Entrance of The Shaw Museum for the Arts)

42

Fig 3 (glass paneling on façade)
Entering the building we immediately feel the
need to look up as the ceiling is four stories of
empty space with a pastel yellow-orange ceiling.
The rest of the building around us is a grey color
which makes the ceiling the ob-ject of our
attention. The entrance way has glass windows
leading to the ceiling to allow an abundance of
natural light to enter (fig 4). Looking to our right,
the walls of the theater pop out to form a
cylindrical enclo-sure, very different from the
sharp angles of the rest of the building (fig 5). To
the opposite of the theater is a rectangular mass
built from a semi-transparent grating that
encloses the elevators to usher us throughout
the building. The grated metal allows for any
visitor to ob-serve the machinery behind the
elevators. The floors flow as such; entrance and
greeting is on the first floor (fig 6). The next three
levels are used for both administration and
public events. Once arrived on the fifth floor, we
are greeted by a long rectangular window that
frames the Mississippi River (fig 7). This beam of
natural light draws us towards the reception desk
to allow us to begin view-ing the exhibitions
currently available.
SECTION 3
Fig 4 (Large glass panes at entrance)
At the time of visiting, there were multiple
exhi-bitions with a variety of different artists and
presentation forms. Walking through, we enter a
small enclosure that then brings we out into a
huge space capable of being utilized in many
different ways. Currently it was being utilized as a
giant projector screen displaying a short video
with two leather benches offered as seating.
Moving through to the next room, the atmo-
sphere is very differ-ent as it changed from a soft
grey to a bright orange. This allows us to not only
see a change in what is being shown as it
complements the art being shown but also
allows us to feel the change as well, getting us
ready for new works. The walls be-tween each
showing are cut so that only the sides are visible
to move through. Anticipation is a big part of the
Shaw Center’s exhibit and rightly so because
anticipating and getting ready for the next piece
of art does help with the surprise of moving to
the next exhibition but this also hurts the
building as you become less focused on the
current art work.
43
Fig 5 (looking through exhibition to view other rooms)

Some walls even include transparent exhibits so

that we are able to anticipate what is to come and
appreciate what we have just observed (fig 5).
The space also acous-tically makes us lower our
voice with high ceilings and little to absorb sound

SECTION 3
so voices are amplified. Fig 6 (Manship Theater)
Moving up the elevator to the restaurant we are
greeted by low light and a slightly comfy atmo-
sphere (fig 9). As you move down towards the
bar area you are greeted by the light coming from
the outside which over-shadows the orange hued
light that you first run into. This made us want to
move outside and peer at the scen-ery of the
Mississippi River as well as downtown Baton
Rouge. Even on a dreary day the view from the
top of the Shaw Center was incredible as all
manner of old and new buildings popped into
sight (fig 10).

Notes
Fig 7 (gratel metal sheeting on Elevator)
1 Ripple, Eskew Dumez. “The Shaw Center for the Arts.” Projects » New
Orleans Bioinnovation Center | Eskew+Dumez+Ripple, 2005,
www.eskewdumezripple.com/projects/the-shaw-center-for-the-arts.
2 The Day Group, and Odyssey. “The Shaw Center for the Arts.” Shaw
Center for the Arts, 2018, www.shawcenter.org/.
Appendix

44
 SECTION 3
Fig 10 (roof top)

Fig 8 (Horizontal window with long hallway)

Fig 9 (Restaurant on top floor) Fig 11 (Bathroom)

45
The Nestled Gothic Church
Aidan Gale & Raegan Dauthier, ARCH 2401 Section 1
St. James Episcopal Church
Fig. 1 Raegan and Aidan in front of the St. James Episcopal Church
The Purpose of St. James Episcopal
The intention behind the construction of St.
James Episco-pal Church was to establish the
first Episcopal Church in Baton Rouge. The
Episcopal community wanted to have a place to
gather and spread their outreach. The architects
designed the building to become a captivating
spectacle and draw citizens to join their congre-
gation.1 For the first time, the Episcopal Church
was able to reach out to those in need, which
changed the relationship of society in the city.2
History of St. James Cathedral
St. James Episcopal Church was built in 1844, and
was the first Episcopal Church in Baton Rouge.
SECTION 3
Fig. 2 Earliest known photograph of the church, 1896
The church was built in the gothic-revival style,
and was later expanded in 1895 to accommodate
the congregation size.3 The builder was a
contractor named W.H. Miller.4 There are three
windows in the church above the altar which
were made by Tiffany Studios in New York in 1910
which exhibit scenes from the Gospel. 5 The
building, when initially con-structed, was
celebrated as a magnificent new church to the
area and an adornment to the city of Baton
Rouge. This church still plays an important role to
the members of the Episcopal Church in Baton
Rouge and the league of churches in the area.
The involvement of this church in the members
of the church eventually aided in the addition of
the Day School attached to it. Following this
addition, the members of the Episcopal Church
became very active as families were orientated
into a new community with the addition of an
educational component to the church communi-
ty. 6 The façade, windows, and organ of the
church were recently restored and repaired.7
46
Building Walkthrough
Nestled amongst modern buildings of urban
downtown Baton Rouge, St. James showcases a
historical embodi-ment of the architectural
design of the city when it was constructed and
presents an exemplary understanding of primi-
tive gothic architecture. The building itself is
con-structed with intense red brick and tall,
pointed stained glass windows, which draw the
viewers’ eyes up and down its intricate façade.
Upon entering the church, guests are greeted
with tall, ornamental, arched doorways and a
long horizontal hall-way that separates the
church from the outer buildings and glimpses
into the central chapel. Immediately as you walk
through the main entry doorway of the chapel,
the many rows of front-facing pews guide your
eyes down the central aisle towards the altar at
the back of the chapel. As we walk further into
the chapel, the broad, ornate ceil-ing comes into
view. The ceiling is composed of mahoga-ny,
matching the warm colors of the outer façade,
remind-ing us of the view we just witnessed prior
to entering the chapel. The flying buttresses
woven into the design of the ceiling have an
intricate but dominating presence meeting
together above the vanguard altar.
Figure. 3 Flying Buttresses and Mahogany Ceiling
Suspended from the ceiling are gothic style
chandeliers placed in a crucifix form, the largest
being above the altar. As we walk down the aisle,
the altar becomes the primary spectacle. It is
elevated above the ground floor and nes-tled
within a semicircle-shaped wall. The walls behind
the altar are composed of the same wood as the
ceiling, ma-hogany, but are made of a much more
intricate carving pattern, which was done by
hand.
SECTION 3
Figure. 3 Flying Buttresses and Mahogany Ceiling
This ornamental design creates a sense of awe in
us and allows us to appreciate the work that was
physically put into adorning the space around the
altar. This detail high-lights and accentuates the
importance of the altar's role in the chapel. These
walls behind the altar are contrasted by and
sectioned off from the ceiling by a white,
plastered wall, which highlights the Tiffany,
stained-glass windows behind and above the
alter.
The windows, which embellish the perimeter of
the chap-el walls, are embedded into the
contrasting white walls. They are very colorful,
which is what makes them a prom-inent detail
against the neutral walls.
47
Fig. 5 Altar and stained glass windows

The vibrant colors of the windows draw our eyes

towards them, and when our eyes meet them the
form of the win-dow is recognized. The tall,
vertical lines of these win-dows, along with their

SECTION 3
pointed arches cause our eyes to travel upwards
to again view the ceiling. Located directly to the
left of the altar is the vestry. This modest room is
filled with large mahogany cabinets, where the
priests garments and silverware is stored and the
Eucharist is prepared. To the immediate right of
the door in the vestry is a small staircase that
leads to the undercroft, a cold narrow hallway
wrapping around the semi-circle wall of the altar.
The concrete walls with circular voids make it
reminiscent of a catacomb. As we walked
through the hallway, the curvature of the walls
Notes
made it seem like it would never end until we
came across a door leading to the other side of 1.Edward L. Bond “an Ornament to the Town” in “St. James Episcopal
the altar. Church, Baton Rouge: A History” (1994), 73.

2.Ibid: page 83.

3."Who we are," St. James Episcopal Church, 2018, Accessed November

13th, http://stjamesbr.org/about/who_we_are

4. "Architecture and Artisans," St. James Episcopal Church, 2018,

Accessed November 13th, 2018, http://stjamesbr.org/about/architec-
ture

5.Ibid

6."Who we are," St. James Episcopal Church, 2018, Accessed November

13th, 2018, http://stjamesbr.org/about/who_we_are

7.“2017 Repairs at St. James” St James Episcopal Church, 2017,

Accessed November 13th, 2018 http://stjamesbr.org/history/ChurchRe-
pair_June2017

48
Like Mike

Daniel Ahmed & Quinn Lawson, Louisiana State University

Intentions interact with Mike on their way to class or before

a game on a Louisiana Saturday night. Mike’s
Mike the Tiger’s habitat has a large role on habitat is an accred-ited sanctuary having the
campus, not only is it the house of Mike the Tiger, highest standards in animal care and operates in
but it is the source of Louisiana State Universities’ an ethically and responsible way. 3
pride. Without Mike, LSU wouldn’t be the same.
For that reason, the habitat for the famed Bengal
Tiger, serves as an icon for all LSU Athletics and
the entire student body. To appear as a landmark
and a living entity, Mike has had the largest
impact on LSU’s future for decades. There isn’t a
time where there is a football game where
students don’t chant “GEAUX TIGERS”. In fact, all
of Louisiana State University is centered around
Mike, the club location is coined “Tigerland” and

SECTION 3
the stadium is named “Tiger Stadium”. The
purpose of Mike’s habitat is to keep Mike happy
and healthy so that LSU can perform with the
spirit that a Tiger has. After seeing all the Figure 1: Walk up to the Habitat
students that actually go see Mike the Tiger in his
habitat every day, its undeniable that being able Experience
to visit your mascot every day is something that is
truly impressive. Depending on which side of campus you come
from, you are either faced with a LSU
History merchandise store, or you are first faced off with
Mike the Tiger himself, well actually his statue. As
The original Habitat was built for Mike I in 1937. we initially came closer with each step, we didn’t
The en-closure was only 2,000 square feet that have to think about where to go. Our eyes
had a cage around it and some logs for Mike to instinc-tively picked anything that was unique in
roam and climb on. In 2005 a 3-million-dollar and around the habitat. Our eyes led us to his
habitat was built for Mike by Torre Design statue, while very impres-sive, it isn’t quite the
Consortium, LTD which not only provided an same as being in the presence of the tiger
in-crease of space from the original 2,000 square himself.
feet, to a 15,00 square foot area, but also featured
programs for conservation, research and
husbandry. Mike’s habitat has been upgraded
from the time of Mike V to our current tiger Mike
VII with “lush plantings, a waterfall, a flowing
stream that empties into a wading pond, and
rocky plat-eaus.” Giving students a new way to
see and

49

Figure 2: Statue
The statue on the grounds of the Mike’s habitat,
is roughly the same size as Mike, maybe slightly
larger. This statue is mostly just for looks,
pictures, and for people to take pictures with. It
is made of metal so it is sturdy enough to climb
on, as I imagine many children would like to do.
Walking closer to his habitat may bring your
attention to the ground you’re walking on as this
is also a key aspect of the habitat. Looking at the
ground presents the observer with a chance to
acknowledge those who have their own brick in
the ground. The most noteworthy feeling at this
point is a feeling of belonging, there are only a
few words that can describe this “sense”. A word
such as “special”, would be a befitting description.
Upon further research, it turns out that the
people who have their names carved into the
bricks literally paved their way into the habitat.
These people are part of the Brick & Paver
Program. Over 13,000 have donated to be a part
of this habitat. At first people argued that it
wouldn’t be considered architecture, but we
started asking ourselves questions, “Is this
more of an engineering feat, or is this
something else?”.
Figure 3: Paved Names
Upon reaching the habitat’s walls you can see
the plaques of past generations of tigers
solidified into our history. Carved into the walls
are the numbers of mikes from the past,
currently we are on Mike VII. It isn’t that we keep
SECTION 3
recycling and raising tigers, that isn’t the case at
all. A plaque at the walls of the habitat states
that the tigers in captivity last several years
longer than the ones in the wild. The plaque
also goes on to show us how healthy and how
well-maintained Mike is. Of course, this is a
means of appealing all people who have an
interest in quality of life for animals.
Now for the main exhibit, upon glancing at
Mike’s living space you notice its one gigantic
room with varying envi-ronments. You can hear
audibly hear the stream through the fence, you
can see the grass is maintained, you notice how
many platforms Mike can lay on, you notice light
enters through the canopy made of net.
Figure 4: Environment
50
Luckily, you can see the whole process because
Mike is out every day of the year. Most of the
process of observing the habitat stems from
visuals. The audience can witness Mike move
from his rock, to under the bushes for a nap, up to
the screen. Everything about the habitat is
interac-tive with the people. Eventually when you
look at the envi-ronment you stop and realize that
you are part of the pro-cess of making the habitat
what it is. Mike is something that makes the
observer recognize how important this location is.
This habitat isn’t simply for show, we realized the
essence behind the habitat. The audience now
realiz-es that this isn’t the product of engineering,
because en-gineering is just a means of creating a
building. Mike’s habitat is an environment which
shapes everyone’s expe-rience not only at the
school, but the entire culture which is “Louisiana”.

SECTION 3
Figure 6: Bad Lighting Bad selfie

Figure 5: Mike sleeping under the bush

Notes
http://www.lsunow.com/daily/lsu-remodeling-tiger-habitat-to-becom
e-animal-sanctuary/article_eb2c1852-ee74-11e6-ac27-b340ec92b9f6.h
tml

http://www.wikiwand.com/en/Mike_the_Tiger_Habitat

http://www.lsunow.com/daily/lsu-remodeling-tiger-habitat-to-becom
e-animal-sanctuary/article_eb2c1852-ee74-11e6-ac27-b340ec92b9f6.h
tml

51
Knock Knock, Who’s There?

Shane Boone and Thu Nguyen, Louisiana State University

The Walk Through When designing the museum, architect Jonathan

Guelfo wanted to incorporate the local Louisiana
On top of the hill overlooking City Park Lake, the architecture with his nod to the shotgun and
Knock Knock Children’s museum gives off bungalow style homes in the surrounding
outstanding views of the local park while tapping neighborhoods.2
in to local architecture of the surrounding
neighborhoods. After thirteen years of exten-sive
research, planning and fundraising the museum
was recently finished in 2017. The goal of the
project was to give the community a place where
kids can be free to play and interact with hands
on learning stations. The learning stations
prompt young kids to focus on building their
liter-acy skills and awareness of math, science, art,
technology, and engineering.

SECTION 3
The Knock Knock Museum was designed by
architect Jon-athan Guelfo of Baton Rouge’s
Remson|Haley|Herpin Architects. The architecture
firm is located on Government Street and aims to
provide elegant solutions to their cli-ents’
complex problems through their designs.
Located off Dalrymple Drive exit, the children’s
museum opened its doors to the community in
2017. Baton Rouge, the capital of Louisiana is the
only city in the state of Louisiana with-out a
children’s museum and the members of the
com-munity feel that it was necessary. The
museum first came into speculation in 2010 with
plans to break ground in 2014.3 However, the
project was delayed a few more times until 2015
due to the need of funding.3 With money in
mind, Jonathan Guelfo designed an additional
quadrant and an unfinished third floor space that
they can build out from if needed. Architect
Jonathan Guelfo wanted to take advantage of the
Fig. 1 Selfie in front of the Knock Knock Children’s Museum
site that he was working with and knew he would
incorporate a lot of glass into the design. As day The exterior of the Knock Knock museum catches
turns to night the three large columns of glass passerby eyes with its green, blue, and yellow
light up like lanterns and draw attention to the walls that resemble the colors of nature that
building. surrounds it.1 Three of the structure’s corners as
designed with all glass, attract-ing anyone that
passes by.

52
Fig. 2 View of entrance of building
As you are walking through the double doors
from the parking lot to the front desk, entering
into the brightfully colored room, lit by skylights
from the high ceiling, sounds of children’s running
footsteps and laughter can be heard echoing
throughout the museum. The building is brightly
lit from the natural sunlight coming in through
the col-umns of windows. With the environment
of the museum being so loud and playful it was
only natural for the archi-tects to create a design
that allows in as much light as possible.
Fig. 3 View of entrance from the inside
Fig. 4 Side view of the Story Tree
There are small doors and openings at the trunk
of the trees that will reveal secret messages and
items that will motivate the children to look
further into the exhibits to find more books and
secret items.1 The architect designed the
museum to have very tall ceilings in the corners
SECTION 3
of the room with the glass columns to allow for
the interior de-signers to add large climbing
structures for young kids. As the kids climb up
one of the structures, as they reach the top the
kids can look out and see the tops of all the trees
giving them a feeling of playing up in the sky.1
As you take the stairs down to the bottom floor
of the museum, you can see and feel the same
type of energy being spread from upstairs to
downstairs. Downstairs are also where the
restrooms are located. As you walk down the
steps, the restrooms are tucked on the
right-hand corner. Going further into the
museum, there is an open space for ba-bies to
crawl around in. There is an exhibit where
toddlers are able to use their construction
abilities to take a part and put together a bridge.
Across from that exhibit, you can see other
toddlers creating giant bubbles out of soap that
are twice the size of themselves. There is also a
Ship Shape Health Challenge and the Story Book
Climber at the far end of the museum that can
also be seen on the upper level. Just seeing the
excitement and joy of the children running freely
around the museum and the parents watching
over them gleefully shows how muchof a
positive impact the Knock Knock Children’s
Museum has on the Baton Rouge community.
53
 SECTION 3
Notes

Richardson, Maggie Heyn. “The Knock Knock Children's

Museum-More than a Decade in the Making-Opens Its Doors in Baton
Rouge at Last.” [225], 29 Aug. 2017,
www.225batonrouge.com/things-to-do/knock-knock-childrens-muse
um-decade-making-opens-doors-baton-rouge-last.

2 Gallo, Andrea. “First Look: See the inside of Knock Knock Children's
Museum; Why 'Town Square' Is Unique to Ba-ton Rouge.” The
Advocate, The Advocate, 18 July 2017,
www.theadvocate.com/baton_rouge/news/article_d651f420-6bdc-11
e7-9252-c3691ca0cfb8.html.

3 Advocate staff. “Get Ready, Kids and Parents: Knock Knock Children's
Museum Announces Official Opening Date.” The Advocate, The
Advocate, 18 July 2017,
www.theadvocate.com/baton_rouge/news/article_29741fe8-6bba-1e
7-8489-67ca4e2f2a6e.html.

54
Ej Ourso College of Business: Discovering the BEC

Abigail Lowe and Patrick Brown, Louisiana State University

Intentions
After researching and visiting the EJ Ourso
College of Business, the intentions of the
architects becomes clear through the design and
placement of the buildings. The EJ Ourso College
of Business is made up of two large build-ings at
the front and back of a courtyard, while on the
sides of the courtyard lies smaller buildings that
hold the classrooms. In terms of the college’s
relations to place, each building has different
ways of combating the Baton Rouge heat. The
smaller buildings that house the class-rooms have
fritted glass walls that allow natural light in-side
(4), while also blocking some of the direct sunlight
History
In 2005 the LSU Business Building Oversight
Committee (LBBOC) began to plan the
construction of a college of business inside LSU,
with a budget of 30 million dollars. The College
was opened in March of 2012, under the name of
the “EJ Ourso College of Business”. The college
was designed by architects from the Ikon.5 firm
based in Princeton, New Jersey.2

SECTION 3
that causes glare and intense heating in the
classrooms. This glass is unique to this building
because it shows the architects took the location
of the college and the harsh Louisiana summer
climate into mindful consideration. Instead of
implementing expensive cooling systems into the
college and resisting the nature of Louisiana
climate, the architects made a building that
accepts this climate naturally. The larger building
at the front of the complex is walled with glass
but uses decorative steel arches to pre-vent
overheating from the hot Louisiana sun.1 Taking
the sociopolitical aspects into consideration, it is
obvious that the innovative and stylish buildings
were meant to attract a wealthier group, while
also serving as an attractive place for companies
to visit while looking to hire new employees.

Fig. 1 Picture with the commons building

Building Walkthrough

Walking up to the complex we were greeted by a huge

circular building decorated with steel arches that
resemble those of the Roman Colosseum.
Fig. 4 Fritted glass to block direct sunlight

55
There are concrete pathways leading to each
building, and a tunnel on the second floor
connecting the smaller classroom buildings to
the larger commons building on both sides (3).
Walking into the commons building we see a
large open plan room with high ceilings.
Mounted to the bottom of a glass office is an LCD
screen with the stocks of different companies
passing by. The main room is filled with tables
and chairs for students to work on, and a coffee
shop is tucked away on the back-left side of the
room. Behind the chairs and tables is a staircase
with glass sides that leads up to the 2nd and 3rd
floors.These upper floors are open and allow for
students to look down onto the main room
below (11). The second floor offers additional
seating and tables in front of large glass facultyin
the background. The third floor has offices as
well, but also includes a circular meeting room
with glass walls, that sits atop the circular LCD
screen mentioned before.
Fig. 8 Round meeting room atop LCD screen, on third floor of
commons building
Leaving the commons building, we turn to our
right and walk towards the smaller buildings that
house the class-rooms. Walking into the first of
these buildings we see a short and empty hallway
with stairs in front. Inside the hallway there is a
single door leading to a classroom, and the back
of the hallway is the same fritted glass. Climbing
up these stairs we see a long hallway that
connects the smaller classroom buildings
together while also connect-ing them to the
larger commons and classroom buildings. Inside
this hallway are carpeted floors with light colored
walls, and facing the courtyard are fritted glass
walls al-lowing natural light in and giving
students an uninhibited view of the outside.
SECTION 3
Fig. 2 Village style classroom buildings as seen from the main commons
building
Leaving the smaller classroom buildings, we move
into the larger classroom building at the opposite
end of the court-yard of the commons building.
This building is made primarily of steel and glass,
with the entire wall facing inside the courtyard
being made of glass. This gives the building itself
an open feeling, the glass façade sof-tening its
overall image in comparison to its otherwise
mostly steel structure. Through a door on the side
of the building we enter the lobby where we see a
staircase pressed up against the glass façade.
Climbing up this staircase we are given a full view
of the courtyard and the surrounding buildings.
As we walk into the second floor of the building
we see classrooms and meeting rooms with glass
walls, allowing outside light in. Facing the
courtyard there is another glass wall in front of
five steel columns on the second floor of the
building, this wall acting as a barri-er between the
second floor and the drop off created by the
implementation of the staircase.
56
 Fig. 7 Second floor of larger classroom building with glass safety barrier

Fig. 3 Tunnel connecting smaller classroom buildings to larger build-ing

in the back of the courtyard

SECTION 3
Fig. 5 Hallway connecting the classroom buildings

Fig. 9 Staircase on first floor of smaller classroom buildings

Fig. 6 Courtyard with larger classroom building at the back

57
 SECTION 3
Fig. 10 Tables and chairs for students, with glass staircase Fig. 11 Inside the commons building on the 2nd floor

Notes

“EJ Ourso College of Business,” Michael Deak, Architect Magazine,

accessed November 28, 2018, https://www.architectmaga-
zine.com/project-gallery/ej-ourso-college-of-business.

2 “Building the BEC,” LSU, https://www.lsu.edu/business/-

bec/about/building.php

58
USS Kidd Museum:
Exploring the history of a Battleship
Hong Zhu & Weiqi Chen, Louisiana State University

Intentions On April 11, 1945, during the battle for Okinawa,

In exploring and studying about the USS Kidd
Museum, the intentions behind the building
displayed location, sociopolitical, religious, and
ethical aspects to the visitors. The USS Kidd
(DD-661) is a Fletcher-class destroyer, the six
hundred sixty-first destroyer built by the United
States Navy. For the location aspect, the museum
was located in downtown Baton Rouge. Which is
a bustling place to attract the visitor. It was built
near the river, so the ship can settle on the port
which allowed the visitors to feel the atmosphere
of what’s like back then. In regard to the
sociopolitical aspect, Congressman W. Henson
the USS Kidd suffered a kamikaze attack when a
Japanese pilot targeted and crashed into her,
killing 38 crewmen.2 She also served in the
Korean war from March 28, 1951 to March 11,
1953. After earning twelve battle stars during
more than twenty years of service, the USS KIDD
was decommissioned in 1964 and campaigns
were launched to see her named a war
memorial.3 Louisiana Congressman W. Henson
Moore chose the USS Kidd battleship as a
repre-sentation of the hard work and the
scarification of Louisianan during the WWII.
Finally, on May 23, 1982 USS Kidd arrive from
Philadelphia to Baton Rouge to become a part of

SECTION 3
Moore chose the USS Kidd to represent the hard Louisiana. She opened to the public for the first
work of Louisiana veteran have done in WWII. time on August 27, 1983 when the museum
Forwarding to the religious aspect, there are finishes its construction.1
variety of different religious background of the
soldiers who have served on the USS Kidd. For
the ethical aspect, all men were served as part of
USS Kidd. But the ethnicity plays a big role
regarding to a soldier’s social class. Racism is very
common in the military.

History

The USS Kidd Fletcher-class destroyer was built at

Federal Shipbuilding & Dry-dock Company of
Kearny, New Jersey, Kidd was one of four destroy-
ers, USS BULLARD (DD-660), USS Thorn (DD-647),
and USS Turner (DD-648), launched on February
28, 1943 in a record-breaking fourteen minutes.1
She was named after Rear Admiral Isaac Campbell
Kidd. Who was killed abroad during the surprise
attack by Japanese on Pearl Harbor on December
7th 1941. USS Kidd was part of the Destroyer
Squadron 48 of World War II, which was
composed of nine Fletcher class destroyers.2 She
was served in both WWII and Korean War.
Fig. 1 Selfie inside of the USS Kidd Museum

59
Building Walk Though

We had a chance to visitor the USS Kidd Museum

on No-vember 7th, 2018. It took us 10 minutes to
drive from LSU to the museum. First thing to say,
the road when we are driving in to the parking
garage was narrow, and it was right beside a train
rail. When we drive to the parking gar-age, we
realized it’s a six floor parking garage. We drive all
the wall to the 4th floor and finally find a parking
spot. The empty lobby of the museum created a
solemn atmos-phere in the museum which
attracted our attention im-mediately as we step
Fig. 3 Model of the Battleship
into the room.

SECTION 3
Fig. 4 Cannon

Fast forward, we walk to the second floor of the

meusum, There was a section for the WWII
veteran was has served on this battleship.
Including the relic of Rear Admiral Isaac
Campbell Kidd (5).

Fig. 2 Picture inside the Museum

The museum consist of two floors. And it was

distrubted into 3 part. One for the histoy of WWII,
one for the crewman who has served on the
battleship, and the last one is a space for the
canons. We visit the WWII section first. It consit of
many battleship models, these models are stored
in a frame for dispay (3). On the other side of the
first floor, there is a samll section to display the
canons (4). Fig. 5 Relic of Rear Admiral Isaac Campbell Kidd

60
After exlporing the museum, we heading over to
the battleship. The battleship was settle on the
Missisippi River, the beautiful scenery is definitely
worth watching. We enter from the left end of the
battleship. Due to its enoroums size, the
battleship creates a auditory hallucination sound
to the visitor when they approach. The sunlight
reflect on ship creates a shinny look on the deck
which makes viewers admire how the
maintenance of the ship was done so well. The
battleship consist of three floors. But each floor
gets smaller and smaller. The control room is all
the way at the end of the ship from where we
enter. Gladly, when we were there that day,
there’s a tour guide explaining the history of this
battleship to a group of elementary kid. So we
had a chance to learn some history background
of this battleship (6).
Fig. 6 Tour guide and elementary kids with their parent
There are several important elements attracted
our attentionas we pass by. For example, the
personal room of the crew, the information room
fot recieiving and sending the telegrams, and the
control room. As we explore further and further,
we relized that the sound of the water splasghing
on the rock and the sunny weather creates a
relaxing atmosphere. The exist is the same place
where we enter. At this point, we both had to
take a step back and recognize the history behind
this battleship and missions it had servered.
Overall, it is a unique experience to explore the
USS Kidd meseum. It helped us to gain the
knowledge of this United states naval
Fletcher-class destroyer.
SECTION 3
Fig 7. USS Kidd Battleship
Note
1 "Ship History." USS Kidd. Accessed November 30, 2018.
https://www.usskidd.com/explore-the-kidd/ship-history/.
2 "U.S.S. Kidd." NPS.gov Homepage (U.S. National Park Service).
Accessed November 30, 2018.
https://www.nps.gov/nr/travel/louisiana/uss.htm.
3 Staff, CRMag. "USS KIDD Veterans Museum." Country Roads
Magazine. Accessed November 30, 2018.
https://countryroadsmagazine.com/art-and-culture/people-places/uss
-kidd-veterans/.
61
A Dive Into History: Nottoway Plantation

Sicily Builodeau & Gabrielle Milford, Louisiana State University

Introduction

Nottoway Plantation has provided aesthetic

pleasure and a home to many over the years. The
planta-tion is located between Baton Rouge and
New Orleans, Louisiana and accommodates to its
awe-inspiring sur-roundings. With towering
fifteen and a half foot ceilings, two hundred great
spacious windows, eleven-foot doors and
“windoors”, “White Castle” is truly an architectural
masterpiece2. The ceilings allow for the hot
Louisiana air to rise, providing some relief from
the hot summers and the great windows for
much needed ventilation purposes. The building
seems to fit perfectly with the outside world.

History
Nottoway Plantation has provided aesthetic
pleasure and a home to many over the years. The
planta-tion is located between Baton Rouge and
New Orleans, Louisiana and accommodates to its
awe-inspiring sur-roundings. With towering
fifteen and a half foot ceilings, two hundred
great spacious windows, eleven-foot doors and
“windoors”, “White Castle” is truly an architectural
masterpiece2. The ceilings allow for the hot
Louisiana air to rise, providing some relief from
the hot summers and the great windows for
much needed ventilation purposes. The building
seems to fit perfectly with the outside world.
SECTION 3
Building Walk Through
Experiencing and walking through the house
it-self is something out of a dream. The use of
cypress, mar-ble, crystal chandeliers, cast-iron
railings, Honduran ma-hogany and many other
materials combine to form a god-ly estate.
Having two hundred windows and one hundred
and sixty-five doors, the house is almost always
illuminat-ed with natural lighting2. Having
mostly hardwood floors and walls the plantation
home would seem to make much noise, but
having visited the “castle” surprisingly enough, it
is relatively solid and quiet. The warmth of the
wood combined with the cool/cold to the touch
marble creates an understood temperate
balance. The number and size of the windows
allow for the proper ventilation needed to live
comfortably in such a hot climate; otherwise, the
house would be suffocating and unenjoyable to
live in.

62
Upon entering the house, you are immediately
met by a both long and wide hallway, which is not
completely lack-luster but keeps the expectations
for the rest of the house at a lower setpoint than it
actually is. The detail work in the molding is quite
beautiful and intri-cate, obviously expensive,
especially impressive for the time in which it was
constructed. Each room of the home is designed
in a different way that had a particular pur-pose
of use to the Randolph family. In particular, the
colors of the rooms are important to note when
touring. In the “Gentleman’s Study”, the men of
the house and other male guests would gather
after dinner to smoke, drink and discuss politics1.
The study was painted green in order to hide the
smoke stains on the wall. The room itself held a
standard of male dominance between the color
scheme, the furniture used, and other elements.
When walking through the building there is a

SECTION 3
sense of calming. The centerpiece for this house,
what makes it so notewor-thy and worth seeing is
its “white room”. After seeing the ball room it is
clear why the house holds such praise and why so
many marriages are held here. We made our way
into the “White Room”; this where the family
would host social gatherings and larger parties.2
The room is also able to transform into the
women’s after dinner tea room. We felt the
completely white room emphasized the purity
and beauty standards of women in this time
period. It was easy to this antebellum age. It has
some scary moments when going through the
slave quarters. We felt it most when we visited the
on-site cemetery of the Randolph family.

Notes

1. Donovan- Tour Guide at Nottoway Plantation

2. Palmer. “Growing Up In The South...” The History Of
Not-toway Plantation, 1 Jan. 1970, bye-by2day.blog-
spot.com/2013/08/the-history-of-nottoway-plantation.html.

63
The Ascetic Pleasures of God’s House
Richard Schiro & Sabrina Dos Santos, Louisiana State University
The Original Parish
The history of the parish as well as the cathedral
itself reflects the sociopolitical change that
effected the state as well as the city of Baton
Rouge. The original acquisition of the colony of
Louisiana by the Spanish was marked by the
parish’s original Spanish name1. The cultural shift
from the original Spanyard colonizers to the
British allowed for the acceptance of English in
the society, permitting the parish’s name change.
The Cathedral serves as the center of the Catholic
Community in Baton Rouge and it is the home
parish of the Bishop, who is the spiritual leader of
the Diocese of Baton Rouge.
The History of the Original Parish
St. Josephs Cathedral is the cathedral church of
the Diocese of Baton Rouge that was chosen by
Pope St. John XXII, but it was originally founded
in 1792 with another name: Parroquia de Nuestra
Señora de los Dolores (Our Lady of Sorrows)1.
Since the parish was founded before Louisiana
formally achieved statehood, the colony was
under the administration of a Cuban diocese –
the Diocese of Santiago de Cuba1.
The Initial Construction
The third building (the one most similar to the
church today) was built in a Gothic Revival style
by the architect Father John Cambiaso, S.J., who
originally built the building with a lower tower
and red brick on the exterior1. Father Cambiaso,
in his lifetime, also built at least two other
churches in New Orleans: the church of the
Immaculate Conception and St. Maurice Church2.
Remodeling St. Joseph’s
Even after it’s partial destruction due to Union
cannons, the cathedral has undergone many
renovations1. Thirty-eight years after its
construction, the first additions to the structure,
a spire and cross, were added2. Interior
renovations along with the addition of a sacristy
and transepts in 1924 were the church’s first
major renovation2. The cathedral has undergone
many renovations from its enlargement twice by
1924 and the interior renovations done to the
church’s interior in accordance to the initiation
led by the Second Vatican Coun-cil1. Like many
churches, St. Joseph’s is at the service of its
SECTION 3
parishioners for not only mass but as a
community center for ministry and gatherings.
Fig. 1 A selfie of the authors in front of St. Joseph's
A Descriptive Walkthrough
After passing through the prominent red
doorway a large baptismal font greets visitors.
During a mass, either daily or on a Sunday, the
wood pews are filled with people waiting to hear
the word of God.
64
Although the pews are full, the ceiling, suspended In between the doors to the men’s and women’s
by dark wooden beams, rises high above the restrooms, their is a water fountain. Upon enter-
people’s heads allowing the room to seem so ing the restroom, a visitor must walk around a
immense. Light pours in from the tall, multicol- wall to get the urinals/stalls. Passing up the last
ored stained-glass windows that depict some of handicap stall, all the way at the back of the
the Saints. Between each window are mosaics restroom are the sinks. This is not a usual set up
that depict the Sta-tions of the Cross. Above the for a restroom because it makes you have to
entrance hangs the choir loft and organ, hidden recede to the back to wash your hands before you
from view unless looking back from the front of leave.
the church. Since this is a major church, many of
the masses are televised, so video cameras are
mounted on the walls. During the mass, the organ
playing and the singing from the choir echo
throughout. The choir singing from the loft was
out of view but still a very prominent element of
the church. The floor plan is the shape of a cross
(see Figure 2). At the top of the cross is the altar,
where the priest celebrates mass. It is the focal
point of the ceremony, where everyone faces.
Behind the altar is a large wood-carved crucifix

SECTION 3
(see Figure 5) and large chairs that seat the priest
and any other celebrants of the mass. To the left
of the main aisle, in the wing of the church is a
place with candles and a shrine to Mary. To the
right of the aisle is a place with more candles and
a kneeler. Upon turning around to exit, a clear
view of the aforementioned choir loft is seen. On
either side and above the choir loft are the pipes
of the organ. Walking back to the entrance, a
Fig. 2 View of congregation from the rear
visitor will notice the exits to the left and middle
of the church. Above both is more stained glass.

Walking through the empty cathedral during the

daytime lends to a very somber feeling. However,
this is not much different from when it is occu-
pied. With people populating the wooden pews
and the celebrants in the front of the church, the
cathedral felt full, yet still immense due to its
height. The only differences were the echoes of Fig. 3 A sketch of the floor plan and adjacent church buildings2
the people speaking, and the artificial lighting
that illuminated the places that natural light did
not reach.

In order to go to the restroom, a visitor must walk

out of the cathedral and into the adjacent
building. As well as the restrooms, this building
also includes a large conference room and other
parish offices.

65
 Fig. 6 Photograph with view of the altar

SECTION 3
Fig. 4 A photograph of the authors across the street from the church

Fig. 7 Photograph of the baptismal font

Fig. 5 A photograph facing the congregation, showing the loft

Notes
“Cathedral History: The Spiritual Heart of Baton Rouge,” St. Joseph
Cathedral, Cathedral History, accessed October 31, 2018, http://www.-
cathedralbr.org/church-history
2 “National Register of Historic Places Registration Form: St. Joseph
Historic District,” National Register Staff, Louisiana Department of
Culture Recreation and Tourism, accessed November 5, 2018,
https://npgallery.nps.gov/NRHP/GetAsset/NRHP/90000502text

66
Houmas House:
The Crown Jewel of Louisiana’s River Road
Hannah Patin, Austin Guillot
The Jewel
Houmas House is one of Louisiana’s most
well-known plantation homes to this day.
Originally built in the mid-1700’s, Houmas House
Plantation was placed where it remains today
because the land surrounding it was used for
harvesting crops, especially sugar cane. The
sociopolitical intentions behind the farm were
based off the economy and income of the farm.
They also housed other families and servants.
Houmas House does not involve a chapel or
church, and there was no history regarding
religious intentions or background of the
property. The structure was originally built simply
to farm and function as a plantation home, but
later transformed into an extravagant building
where tourists come to see the beauty and
aesthetic of the space and learn about the history
of the plantation and the lifestyle of the people.
Fig. 1 Hannah with Houmas House in background
Fig. 2 Austin with Houmas House in background
The Formation
Two New Orleans businessmen, Maurice Conway
and Alexandre Latil, first purchased the property
from Houmas Indians and began construction on
the original house in the mid-1700’s. In 1810
General Wade Hampton of South Carolina bought
the property and started construction on what is
now the present mansion, later completed in
1840. Originally, the home was built to maintain
the land for sugarcane, cotton, corn, indigo,
tobacco, and more dur-ing the early 1800’s. In
1940, Dr. George Crozat purchased the building as
his “country escape” from city life. Crozat did away
SECTION 3
with several features of the home, painted it
white, and added modern plumbing, amongst
other mod-ern additions. In 2003, Houmas house
was purchased by Kevin Kelly in hopes to recreate
the experience of the home. Today it is used for
tours, dining, and overnight stays. [2]
The Finish
Lorem ipsum
Fig. 2 Austin with Houmas House in background
We enter the houmas house from the north and
are greated with a mural along the walls of the
corridor. Natural light pours in from the entryway
to the south, highlighting the art that details the
crops once grown on the plantation.
67
The walls are decorated with crown moldings
that can be found throughout the whole house,
as common as the house’s wood floors. We then
go to the dining room, entering from a door at
the northwest corner of the corridor. The room is
decorated largely with crystal antiques, including
a crystal chandelier, all reflecting light from the
western windows. Between these windows is a
fireplace which one can imagine would bring
warmth and aroma when lit during a dinner. We
then go through a southern door that leads into
the lady’s parlor. The parlor is lit with natural light
from southern and western windows. The room is
painted in a similar red hue to the dining room. A
piano is placed in the room for the purpose of a
lady of the house to entertain her guests through
music, which pairs well with the accoustics of the
room. This room has a fireplace as well, which
would be lit at a colder time. Next we head east
to cross the corridor into the men’s parlor. The
dark grey walls of this room could be lit from
southern and eastern windows, however the
eastern windows are commonly found covered
by curtains. The room is decorated by several
metallic trinkets collected by previous owners,
with a gold headed eagle at the center of the
room. Another fireplace is found in this room,
possibly masking the smell of tobacco that long
past occupants of this room. We then head
through a northern door into the billiards room,
an extension of the men’s parlor. The room, as the
name suggests, harbors a billiards table at its
center. Yet another fireplace in this room,
however this one is found on the northern wall
instead of one of the outer walls. We leave this
room through a western door back into the main
corridor and head north into an oval shaped
room. The room has natural light coming from
doors to the north and east and from a
freestanding staircase. Looking up the satircase
from the bottom gives us a view of the sky
through a window at the very top of the building.
We then head up these stair onto the second
floor landing and south into the second floor
hallway. The hallways is lit partly by natural light
from a door leading to the balcony on the south.
We head through the rooms of the second floor,
all decorated vaguely similarly.
The northern bedrooms are the only ones with
bathrooms in them. Next we head south out onto
the balcony, gaining an overlooking view of the
yard and its live oaks. While out we see the façade
of the building is decorated to mimic marble.
Next we head north again through the landing
and into the library, place above the carriageway.
The room is lit by natural light from nearly all
directions and has yet another fireplace. We
continue to head north down a stair case,
stopping on the landing and into the trading
posts on either side. Both rooms are furnished the
same, with several tables and chairs for occupants
and windows bringing in natural light from the
north. As we leave these rooms we head down
the stairs and find ourselves within the
carriageway. This area is open to the elements
and thus lets in the sound of distant water, the
temperatures of the season, and the conditions
SECTION 3
that the climate may be enforcing. Heading
slightly northwest, we find ourselves in the
kitchen of the house. The kitchen smells heavily of
coffee and previously cooked meals, most likely
due to the large fireplace on the western wall. We
then exit through the northern door out into a
courtyard with a large fountain as its center piece.
Walking around the pond gives us a possibility to
connect to nature through the constant sound of
moving water, the soft mist from the fountain,
and the greenery throughout the courtyard.
When standing on the northen side of the
fountain, we can look south and see the fountain
obscuring a majority of the house and its mist
softening the colors of the house.
Notes
“Welcome to Houmas House,” November 29,2018,
https://houmashouse.com/
2 “History,” November 29, 2018, https://houmashouse.com/history/
68
Fig. 4 Houmas House south façade

Fig. 7 Children’s bedroom

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Fig. 8 West side balcony showing facde with faux marble painting

Fig. 5 Men’s parlor with view into billiards room

Fig. 6 Freestanding spiral staircase within oval room Fig. 9 Trading room dining tables and windows

69
Fig. 10 Northern façade obscured by fountain and greenery

Fig. 12 Sign featuring Houmas history

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Fig. 11 Café found in courtyard area

70
The Recharging Haven
Dae’Jhon Lewis and Serena Boatner, Louisiana State University’s Recreational Center
Intentions
The University Recreation Educational Center,
also known as the UREC, was revamped to
provide an area that would support the “healthy
bodies”¹ of its members and to create rooms
and open areas designated “for fitness, leisure,
wellness, aquatic and outdoor adventure in a
sustainable, flexible environment.”¹
History
There was already a space on campus that
allowed students and faculty to have a place
where they would
be able to go and get a workout in, but they felt
like it needed more to combat the new wave
of diversity. After a competition to see which
architects would be selected to help with the
new design that made use of both the inside and
outside spaces “Grace & Hebert Architects and
360 Architecture“² were chosen. The first phase of
the three part project began in May of 2013 and
the entire project was completed in 2016. There is
now an outside space that has a lazy river in the
shape of the letters LSU, a heated “lap pool”, and a
space to play volleyball and tennis with friends or
just use the space for practice.
Walk Through
The facade of the University Recreation
Educational Center is made of steel, glass,
concrete bricks, but even though the material is
consistent, the facade has three different looks. In
the mornings where the sun is shining, the UREC
shines as the sun reflects off of the steel columns
that allows the UREC to stand. When it is gloomy
and rainy, the lights from inside shine through
the large windows that lines the entire building,
highlighting the figures on the inside. And during
the night, the light of the moon shines down
on the building causing an illumination effect.
When you walk up to the UREC, there are three
paths that you are able to take. You can use the
step directly in front of the building, or the ramps
placed on the left and right sides of the building.
The ramps are strategically placed by the front
parking lots placed on either side of the outdoor
challenge course., All of the paths have little lights
placed on the ground beside them, that allow you
to see where you are walking if you go during the
night time; which is our favorite time to go.The
lights highlight the levelness of the grass, and the
lighter gray color of the concrete, but also creates
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shadows of the little creatures on the edge where
the grass and concrete line together. When you
Fig. 1 Selfie with the UREC
get in front of the building and look at it, it towers
over you and reminds you that you are so small,
because its size it so large. When you walk in
there is a pre space that prepares you for the stark
contrast of the main areas of the UREC compared
to the lighting outside. The space is dimmer
than the lighting inside the main area of the
UREC, but has brighter lighting than the natural
lighting the sun provides. The space is dim
compared to the strong lights inside, but it has
71
 right, we see more exercise equipment and
run into the track. The track goes around the
second floor and loops directly above the
basketball court. The track also slopes down as a
ramp to the first floor. We make our way back to
the wooden staircase and there is a rock wall that
shoots above the second floor all the way from
the first floor. We look up and there are cloud-like
streamers hanging off of the ceiling. After we go
back down, we go to the hallway that is directly
to the side of the staircase. There’s a sign pointing
to the basketball court that the track was above
earlier and the otherside points towards the
outside pools.
Fig. 2 Dae stepping into the main hallway

huge glass doors that allow you to see the events

taking place before you. You are able to see the
front desk on the left that holds at least two

SECTION 3
people at all times. To the right is the Smoothie
King that always has a line, but fills the space
with the sound of buzzing as the machine are
constantly running to make smoothies. You also
notice the whiteness of the floors as you walk
into the ‘talking area’. Once we get past the main
entrance, we immediately find ourselves in the
main hallway. To our right, there is a dead end
hallway that gets dimmer as you walk closer to
that side. As we go that way, we see that there are
brightly-lit study room-sized spaces behind glass
walls. There are also locker room areas.
While walking back to the middle of the main
hallway, we can see there are workout machines
and equipment ahead of us (the original left). But
once we are in the middle again, we see a huge
staircase with wide steps that leads you to the
second floor. The staircase itself was a medley of
light and dark browns. We could see it’s meant to
be used as a common area because the wide
steps can serve as seats, there were chairs placed
for group seating, and there were outlets in
the stairs for people to charge their phones or
laptops with. At the top (and to the left) of the of
the staircase, there’s an area with pool and ping
pong tables we see that the second floor is in a
big circle path. As we start the path going to the

72
The Castle on the River
Courtney Baker and James Rawls, Louisiana State University
A Powerful, Medieval Fortress
Preceding 1846, the capital and state legislature
of Loui-siana were housed in the city of New
Orleans1. Many representatives from other
locations in Louisiana ex-claimed apprehension
about a concentration of power within the largest
city of the state1. This capitol building was built
with the intention to both function and have
the aesthetic of a castle. This led local residents
to refer to the building as the “Castle on the
River” or “The Castle of Baton Rouge.” Nowadays
this building is referred to as “The Old State
Capitol” due to the creating of the current state
capitol building, built in the 1930s2. The design
of the older capital building was described as
“Castellated Gothic”2.
A History of the Capitol
On September 21, 1847, the City of Baton Rouge
donat-ed a $20,000 parcel of land to the state
of Louisiana for a state capital building, taking
the seat of the capital away from the City of
New Orleans2. The state house itself, which
was built between 1847 and 1852, is one of the
most distinguished examples of Gothic Revival
architec-ture in the United States2. Designed
by architect James Harrison Dakin, its floorplan,
towers, exterior stained glass windows, and
SECTION 3
gables give it the appearance of a 15th-century
Gothic Cathedral2. The capitol’s decoration with
cast-iron, which was both cheaper and more
dura-ble than other building materials used at
the time. After being used during the civil war,
and burning down twice, the state house was
completely reconstructed in 1882 by architect
and engineer William A. Freret, who is credited
with the installation of the spiral staircase
and stained glass dome, which are the focal
points of the interior2. The refurbished state
house remained in use until 1932, when it was
abandoned for the New State Capitol build-ing2.
The Old State Capitol Building has since been
used to house federally chartered veterans’
organizations and the seat of the Works Progress
Administration2. Restored in the 1990s, the
building is now the Old State Capitol Museum of
Political History2. The 170-year-old statehouse
has withstood war, fire, scandal, bitter de-bate,
abandonment and an occasional fistfight. Today,
the building stands as a testament to bold,
inspired lead-ership and active citizenship3.
An Embodied Experience
On arrival to the building, you are prompted
73
to enter through the west side of the building as if hiding a beautiful treasure within the heart
instead of the front of the building that faces of the building. For a second you forget you’re
the Mississippi River. This provides a unique in a government building in order to take in the
experience from one that used to allow you to beauty of the colors and layout seen in Figure 2.
use the main entrance. The Old State Capitol is
immensely larger in person compared to images
online. The size and design of the outside of the Fig. 2: The timeless, stained glass ceiling
building are intimidating, yet exquisite.
As you first walk in, you are brought to the most
central part of the building, housing the lobby.
Immediately you become very aware of the
immense amount of space surrounding you. The
middle of the room houses an immense wooden
staircase lined with flags that would usually be
seen in a government building. The sounds of
echoing noises dominate the space along with
a strong presence of light from the open ceiling.
When we first arrived the staircase was almost
demanding us to view the second floor first. In

SECTION 3
order to get to the second floor of the building
we must, of course, take the stairs. With every
step up the warn, elegant stairs you get a little bit
of a peek at what the second floor has in store,
seen in figure 1.

After about fifteen minutes of staring at the

Fig. 1: The view climbing the elegant staircase
Once you make your way up most of the staircase,
out of the corner of your eye, the light of the
space becomes increasingly brighter. As you look
up, you become enveloped in a beatiful creation
of a stained glass ceiling. The “Castellated Gothic”
style sets this ceiling up as somewhat of a surprise
ceiling, you have arrived onto the second floor of
the building. One of the first things you will see
is a surplus of paintings all over the wall. Within
these paintings are the significant government
leaders to the State of Louisiana seen in Figure 3.
Close by, there are the restrooms adjacent to the
gallery of paintings.
The second floor of the Old State Capitol contains
many different rooms of varying sizes and
functions. There is a room that acts as a chapel,
a more open ballroom, and a room for wedding
planning. Within this “chapel and ballroom” we
can see more work of stained glass on the center

74
wall of each room shown in Figure 4 and 5. Most
of the rooms in the Old State Capitol have been
closed and/or blocked off include the third and
fourth floors of the building.

The First Floor

After exploring the second floor of the building,

we made our way back down the grand spiral
staircase to the first floor. The first floor consists
of interactive exhibit rooms, each displaying
information about Louisiana’s governmental
history. The open lobby and two corridors (one on
either side) had the doors to each exhibit room Fig. 3: The gallery of paintings
open, welcoming us to interact with each exhibit
and take in all the information displayed in each.
In the first corridor we entered, busts of historical
Louisiana figures were displayed on marble Doric
columns with information of each figure placed

SECTION 3
with them. One of the exhibit rooms displayed
information about Huey P. Long throughout,
while another was an interactive exhibit about
the importance of voting and being educated
on politics; it even had a station where you could
register to vote. Most of the exhibits rooms had
dim lighting with spot-lights on what they were
showing. Various sounds could be heard from
each room, whether it was the recording or a
speech, or just Cajun music. Each interactive
exhibit room we visited focused on something Fig. 4: The Chapel

different, but each one educated us on Louisiana’s

gov-ernmental history. The overall experience
of the Old State capital went from intimidating
to comforting due to the stained glass work and
familiar smells of an old Louisiana building with
aged wood.

Fig. 5: The Ballroom

75
 SECTION 3
Fig. 6: One of the exhibits on the first floor of a model of the build-ing.

Notes

1 “A Brief History of Louisiana’s State Capitol and it Locations,”

Storyville New Orleans, accessed on November 30, 2018, http://www.
storyvilledistrictnola.com/louisiana_capital.html
2 ”Old Louisiana State Capitol,” Explore the History and Culture of
Southeastern Louisiana, nps.gov, accessed November 26, 2018,
https://www.nps.gov/nr/travel/louisiana/ocap.htm
3 “About,” www.louisianaoldstatecapitol.org, accessed December 5,
2018, http://www.louisianaoldstatecapitol.org/about/

76
St. George Catholic Church: The Breath of St. George

Zyzenti Brito and James Graugnard, Louisiana State University

Intentions two years which ended in 2017. The Architects for

this church was an architectural firm by the name
In visiting and discovering the history of St. of “Grace-Hebert Architects.” 2
George Catholic Church In Baton Rouge,
Louisiana, the intentions of the building become
evi-dent by looking at the Socio-Political,
Religious, The location and the Ethical aspects.
The intention of the building was for it to be
a beacon for the Catholic faith, as it creates
a very welcoming and community-oriented
environment. In regards to the Socio-political
aspect, In re-gards to the Religious aspect,
the intention for the building was for it to be
used as a beacon in the surrounding catholic

community.2 Since the building has been
constructed and in use. In regards to the ethical
aspect. In regards to the political aspects Its
purpose remains the same which is to bring
people of all sizes, races, genders and shapes
togeth-er through the use of the catholic faith
and to promote and have an open environment
for everybody that attends the Church.
History of Building
The origins of the church started with a small
wood frame building in 1908 3, Then, starting in
1960, the main church has been open along-side
the school as Fr. James Finnigan called for the
sisters of St. Joseph’s Catholic Church to come to
the parish of St. George and open a school. 1
SECTION 3
Fig. 1a Author James Graugnard (Right)) In front of the Prayer Hall of
St. George Catholic Church Fig. 1b Author Zyzenti Brito (Left) in front of
The St. George Catholic Church.
Coming Up to the Building.
Driving up to the entrance of the Church, it
seemed as if the church was meant to be there
as all of It’s 24,500 square feet can be seen from
many distances away.2The Church can also hold
approximately 1200 people which also a very
impressive feat for a church.2 As we are walking
in from the left, right, or front parking lot, a large
but subtle brick pathway allows for any person
walking into the building to become entranced
by the sheer size and energy that the building
outputs.

As the Church stood strong for over Fifty years,

with a supportive community and well supported
back of the school system, The church decided
that it would like to expand into something
bigger in order to spread their religion to even
farther places.3
The revitalized church was brought to life on
paper in the year 2015, where it went through the
Fig. 2 The Front of the Church with the Tall Bell Tower.
process of designing, tweaking, and build-ing for

77
Continuing along the brick road, we come to the
entrance of the building, which is overshadowed
by a large and tall three Bell Tower. The Bell Tower
was ringing very loudly when we arrived at the
church, signifying that it was a time of worship
and prayer. This Bell Tower was a towering portion
of the church whenever we first arrived at the
building. Going past and then beneath the Bell
Tower is a statue of Saint George, which was
given to the church as a gift from the graduating
class of 2017, representing the valour and honor
that the Church and the School have together.
Coming back around to the entrance, we are
greeted with a large variety of glass windows and
glass doors that are used to support the giant
crowds that come through the church for prayer
and worship. Driving up to this place and seeing
the massive size made every place surrounding
it seem miniscule in comparison, making us feel
small but empowered to be here.
Walkthrough of the Main Building
As we enter the church, we first see a glance of all
of the stained-glass windows in the front of the
church that allows for natural light to come in and
absolutely envelop the entire church with natural
light. Alongside the natural light, the church gives
off an natural echo that seems to follow us even
if we took the lightest of steps, Giving us an idea
of how big and grand this church actually was.
Walking forwards towards the altar, we began
to notice just how many places there were for
people to sit. The benches or what’s known as
Pews in the Church seemed endless and looked
as if it could fit over thousands of people.
As we approached the altar, we began to notice
how the natural sunlight in the room allow for the
center of the altar, which corresponds to where
the bread of Jesus Christ is, was glowing and
shining in many ways that could be described as
religious. This is because of the giant glass planes
that are completely overshadowing the entire
altar. Coming back to the center of the church,
we began to see that the building’s support
systems of the roof was compelety open and
bare. The various support systems were made up
of some sort of strong wood that seemed to be
immovable. Walking towards the left of the altar,
we approach three statues, each representing
a famous saint in the catholic church alongside
more and more pews. The same can be said for
the right side as they are mere copies of one
another. Above the statues on both sidesare giant
stained glass panels that made the two of us feel
in awe and amazed at the fact that the stained
glass was so pretty and meaningful as well. Each
of the stained glass windows represented a stage
in the life of the catholic faith such as baptism
and the receving of the eucharist.
When walking out of the church, we feel a sense
of uplifting pride and a sense of remorse.
SECTION 3
A Room for Prayer
While walking out of the church and back into
the car, we noticed a sign that would be leading
us to a new place of the church. We went and
discovered the same brick path that took us to
the main church but this time, the little brick path
took us to a smaller courtyard that was in the
shape of a square, which had many little plants
and trees inside of said courtyard. This courtyard
took us to an entrance that was small but still
very big compared to a human being. (3) We also
noticed that this was an open part of the church,
meaning we could go in and fully explore the
little prayer room.
Fig 3. The Front of The Little Prayer Room.
78
When we approached the entrance, We noticed
that there was a stained glass window from the
outside, but it was shimmering and glimmering
brighter that the inside of the main church was,
which made us wonder about the potential
possibilties that could be inside this little piece of
the building.
Fig 4. The Interior of The Little Prayer Room
We walked into the building and saw an altar
that was only a few hun-dred feet in front of us.
(4) Our footsteps echoed in the building loud-er
than in the main church. We smelled the many
flames that were lit for people that had prayers
for their friends and lost loved ones. The building
was very quiet and was much smaller than the
main church but had the large-scale grandeur of
the main church anyway. The altar was also small
compared to the main church but did also carry
that size of the church with it. In front of the altar
was a mosaic piece on the floor. The mosaic piece
was of the Louisiana State Bird, The Pelican and
was extremely pretty due to the mosaic nature
and the vibrant colors (5). Looking at this pelican
and the whole little altar around it filled us with a
great sense of pride, respect and honor.
Fig 5. The Mosaic of the Pelican on the floor.
Final Thoughts
There were distinct moments where we were
both breath-taken by the sheer size of the
building, let alone look at how big the place has
become since its old beginnings. Seeing how the
faith was incorpo-rated into the building made
SECTION 3
the experience of the building very inter-esting
and euphoric. We both have had opportunities to
experience the building in both the daytime and
the nighttime. While the experi-ences are more
and likely the same as the other, it was still an
interest-ing experience for the both of us. Overall,
The St. George Catholic Church is a place where
people can gather and feel safe and sound and
can evoke many emotions for all.
Notes
“Our History.” St. George School. Accessed December 05,
2018. http://st-georgeschool.com/content.cfm?id=480.
2 “”Mission Statement.” St George Catholic Church. Accessed
December 05, 2018. https://www.st-george.org/64.
3 GraceHebert Architects. “St. George Catholic Church.”
Grace-Hebert Architects. Accessed December 05, 2018. http://
gracehebert.com/portfolio/st-george-church.
4 Samuels, Diana. “St. George Catholic Church Is Set to Build
a New $15.2 Million Facility: See Renderings.” NOLA.com.
March 11, 2015. Accessed December 05, 2018. https://www.
nola.com/news/baton-rouge/index.ssf/2015/03/st_george_
catholic_church_bato.html.
79
Gleaming Fortress on the River

Madison Cappy & Alixandria Cinquigranno, Louisiana State University

Intentions distress, the house was not very liked due to its
allegiance to the union state, even though many
The Nottoway Plantation house in White Castle families did so in order to preserve their beloved
represents the ornate dwelling of a 19th-century homes.7 The back exterior of the home was of
family seeking the benefits of natural waterways a distinctively curved formation, shaping the
for the transport of cotton. The home was balcony and porch, allowing for panoramic views
created a few years before the Civil War, and to of the unending landscape. The ceilings were 16
preserve the masterpiece, the family pledged ft in height, and most doorways stand at 11.8
their allegiance to the Union.1 Slaves maintained
the property, as they did during this time period.
Nottoway served many roles but religiously
served as a place for marital ceremonies within
the family. With the conservative mannerisms
of the time, the home was designed to

accommodate for the social rules; this design
decision being the front entryway of two
staircases, one for women and one for men to
preserve the modesty of women and the risks of
having their ankles exposed to the men.2 It also
encompassed an above-ground basement to
compensate for flooding in the home’s location,
fireplaces in every room equipped with sweep
spaces for disposal of the ashes, running water,
which was unheard of for the time, and utilized
certain colors to absorb and repel radiating heat.3
The regal, elegant home can be distinguished by
male and female settings using color, lighting,
and furniture.
History
Completed in 1859, renown Louisiana architect
Henry Howard designed the Nottoway Plantation
for the Randolph family of 13.4 The 53,000 ft2
home has been mostly preserved, as it was only
renovated once to serve as a bed and breakfast,
which it still does today in addition to its dual
purpose of a museum.5 The minor renovations
included paint, electricity, and the conversion of
closets into bathrooms for the sole purpose of
privacy for guests.6 During the time of political
SECTION 3
Fig. 1 Writers Madison and Alixandria taking a selfie in front of
the Nottoway Plantation.
The staircase at the entry of the home was
only made possible by the height added at the
foundation construction for the basement. The
entire home was created with wood, conveying
the intended impression of durability. The
basement composed of brick and stucco was
done to imitate stone.9
Walkthrough
Walking through the Nottoway home, the endless
walls draw the eyes upward to find intricate
detailing in the crown molding. Following the
long corridor, one is drawn towards a bright white
light, which emanates from the room known as
the women’s parlor. The walls, ceiling, and floors
are painted a gleaming white the entire height

80
of the room with the repeated ceiling height,
as the windows allow in light that reflects off
every surface. Corinthian columns support the
structure of the women’s parlor which divide the
room into two separate yet continuous sections.
Fig. 2 Front exterior of the Nottoway Plantation.
Fig. 3 The women’s parlor.
Small details of gold within the fireplaces,
sconces, lighting, and mirrors contrast to the
white yet add a sheen to the entirety of the room.
Op-posite the women’s parlor is the gentlemen’s
parlor, contrasting to the white neighboring
room with dark greens, mahogany woods, and
low lighting. The light entering through the
few windows is absorbed by dark fabrics, heavy
curtains, and large furniture. The home as a whole
hints at a family-oriented lifestyle with every
member accommodated for and small details
incorporated into designs to please the couple’s
interests. One detail in particular, the staircase,
was made specifically for the function of the wife,
as it was modified at the banister to a height
appropriate for her small frame.
SECTION 3
Fig. 4 This banister in the Nottoway home is significantly
shorter than the standard banister height.
Walking through the home people are absorbed
in the immensity as their presence has very little
impact and their footsteps contribute nothing
to the sound of the home. One may associate a
certain smell to older homes, but this home has
a lack thereof; simply a smell of freshness. The
dimensions of the rooms are all very similar, and
the shapes fairly consistent of squares, with the
only variations being the closets/bathrooms.
81
The layout of the rooms is also consistent
throughout the two main floors of the home
that are occupied for living, the arrangement is
a long rectangle with a room adjacent to each
corner. The bedrooms are located upstairs, along
with the music room for learning the arts. One
of the rooms belonged to a young boy of the
family, despite the appearance of deep, mature
hues and elaborate bedding. The layout and
style of this room is fairly consistent throughout
all the bedrooms. All the bedrooms within the
home have a fireplace, and historical aspects are
preserved through the displaying of bed warmers
used on cold nights. Walking through this well-
preserved home, one feels as though they are a
socialite of the time of the home’s construction
in 1859. The atmosphere has a grand impression
on the visitors of the home, and their importance
can be expressed yet swallowed by its immensity.
Fig. 5 Boy’s room in the Nottoway House.
SECTION 3
Notes
1 Shellie Wilson, Oral Tour at Nottoway Plantation, October 16,
2018.
2 “The Grand Dame of Louisiana,” Louisiana Life, Accessed
Novem-ber 27, 2018, http://www.myneworleans.com/Blogs/
Lets-Go-Louisiana/October-2017/The-Grand-Dame-of-
Louisiana/.
3 “The History of Nottoway,” Plantation History | Nottoway
Plan-tation Resort, Accessed November 21, 2018, https://www.
nottoway.com/html/nottoway-plantation-history.htm.
4 “The History of Nottoway,” Plantation History | Nottoway
Plan-tation Resort, Accessed November 21, 2018, https://www.
nottoway.com/html/nottoway-plantation-history.htm.
5 Nottaway Plantation House,” National Parks Service,
Accessed November 29, 2018, https://www.nps.gov/nr/travel/
louisiana/not.htm.; “About Not-toway Plantation & Resort,”
Plantation History | Nottoway Planta-tion Resort, Accessed
November 21, 2018, https://www.nottoway.com/html/
nottoway-about.htm.
6 Wilson, Oral Tour at Nottoway Plantation.
7 Fisher, Caroline M., Ph.D., and Claire Anderson.,” The
Nottoway Plantation, Restaurant, and Inn: The White Castle
of Louisiana,” Case Research Journal, 1996, 619-30, Accessed
December 3, 2018, https://nscpolteksby.ac.id/ebook/files/
Ebook/Business Administration/Marketing-Planning and
Strategy (2010)/25.pdf.
8 Ibid., 622.
9 Kingsley, Karen “Nottoway Plantation,” In https://64parishes.
org Encyclopedia of Louisiana, edited by David Johnson,
Louisiana Endowment for the Humanities, 2010–, Article
published October 2, 2013, https://64parishes.org/entry/
nottoway-plantation-2.
82
Louisiana State University Student Union

Emily Coco, Louisiana State University

Intentions ball-room/meeting room improvements… These

improvements will pro-vide for unification of
The Louisiana State University Student Union student organizations…”3 The original structure
has, since its initial open-ing to students in 1964, still remains, but the current state of the Student
served as an integral part of the university’s Union is more con-ducive to its modern students’
community in which students can socialize, study, needs.
eat, and relax. The Student Union includes dining
options, meeting and private study rooms, a
career advising center, a barber shop, and various
other resources for students. Located on the
university’s campus within walking distance of
classrooms, the Student Union is a central place
of congregation for students.
Although mainly used by its students, LSU’s

Student Union is open to both students and non-
students, as well as people of all ages, races, and
sexes. The Union is conducive for its physically
disabled users with handicapped accessible
ramps, doors, and bathroom stalls. The Union’s
Interfaith Prayer and Meditation room enables
students to safely and comfortably practice their
spiritual and religious rituals1.
Brief History
The Louisiana State University Student Union
finished construction in 1964.2 “Local architect
John Desmond, well-known union consultant
Porter Butts, and Carl Maddox, first director of the
union, worked together to design the building.”2
Its original features included more places for
recreational activities, like a bowling alley and
a billiard room, than its modern features.2
The Union has been renovated and expanded
several times since its original construction
in order to meet the need of the university’s
growing population. An architecture firm which
worked on some of the more recent renovations
explains the importance of such changes, “The
improvements to the Student Un-ion include
enhanced retail amenities, new dining facilities,
SECTION 3
Fig. 1 Selfie with Louisiana State University’s Student Union
Walkthrough
Before I enter the Student Union, I walk up the
wide steps of a grand stone staircase. I stop on
a platform just before the Union’s entrance and
peer over a garden of greenery to see the patio
outside the bot-tom floor with round tables,
long bike racks, and a small amphithea-ter-style
seating area on either side of a section of the
large staircase which is free-standing. The bottom
floor patio appears sort of as a tunnel with the
second floor walkway acting as half of a cover.
Geo-metric shapes in earthy tones cover the
stoney ground.
I approach two sets of double doors side-by-side
and open one half of a set to enter a vestibule
of window walls and of the doors of the second
entrance and am finally inside the LSU Student

83
Union. As I take my first step in the building, I
am faced with another grand set of stone stairs
which sharply splits at a 180 degree angle into
two more freestanding staircases on either side of
the of the initial set of steps, leading to the third
floor balcony which overlooks the second floor.
The tall ceilings draw my eyes upward. Behind the
staircase at the entrance is an open sitting area.
To the right of this sitting area are bathrooms
with twelve stalls in each of them. Natural light
floods the building through wall comprised of
windows. The windows surrounding the building
also provide students a view of LSU’s landscape
and greenery, connecting students to nature and
Fig. 4 Garden of greenery overlooking the first floor patio and
reminding them of the world outside of their second floor balcony
studies. I turn to my right to see a large open
area filled with cushioned chairs and couches. I
look to my left and see another open space filled
with tables and chairs. I follow the right side of

SECTION 3
the building to see rooms used for studying and
meetings. As I follow the left side of the building,
I see the dining kiosks which wrap around all the
way to the back of the Union. More seating areas
accompany the food places and continue around
the entire building.
Fig. 5 The fisrt floor outdoor patio

Fig. 2 Northern entrance from inside the building

Fig. 3 The seating area directly left of the northern entrance
Notes
“Union Index,” Auxiliary Services, Louisiana State University,
accessed 1 December 2018, https://www.lsu.edu/as/union/
index.php.
2 Melancon, Michelle, University Archives, LSU Student Union
Rec-ords 1955-2008, Baton Rouge, LA: LSU Libraries, 2015, pg.
4.
3 “Portfolio: LSU Student Union,” Grace Hebert Architects, ac-
cessed 1 December 2018, http://gracehebert.com/portfolio/
lsu-student-union.

84
Memorial Tower

Quinlan Creech and Jeremy Collins, Louisiana State University

Introduction opened their doors in January of 1860, as a

Memorial Tower, The Campanile, LSU Military
Museum. These names all refer to the structure
that unites LSU’s campus. In 1923, the Cam-panile
(Italian for little bell) was one of the first buildings
built on LSU’s present day campus. The tower
itself was a donation from American Legion as a
memorial to the soldiers who died during their
service in World War I. They made the memorial
special to Louisiana by inscrib-ing all the names
of the Louisiana citizens who died in the war. This
location is especially unique because of the city
itself, Baton Rouge. Baton Rouge is Louisiana’s
seminary of learning and military academy, what
we call today: The Ole War Skule. Ever since,
Louisiana State University has carried on a long
and proud mili-tary tradition of “the Long Purple
Line”. Memorial Tower was first built on the
modern-day campus in 1923 and dedicated in
1926. It was originally a gift to the school, it then
turned into a memorial for the fallen soldiers,
but today renovations are being conducted for
the memorial to not only be the school’s military
museum, but also to fund an endowment for
military scholarships for ROTC cadets. The newly
renovated museum will become a house for
artifacts and memorabilia honoring Louisiana

SECTION 3
state capital, so for the names of every Louisiana
soldier who died in battle to be written on a State University’s long military history and
memorial in Baton Rouge serves as a symbol heritage.
for the unity of Louisiana. The small detail of
the soldiers names shows how Louisiana as a
state, suffered a great loss for their loved ones
due to World War I. Memorial Tower is facing
the campus Parade Grounds, along the Parade
Grounds are thirty trees. Each tree dedicated to a
fallen Louisiana soldier with one tree dedicated
to “The Unknown”, that represents the soldiers
who are missing in action but who will be forever
remembered for their bravery. There’s a plaza
that stands in front of the Campanile, and on the
plaza is the cornerstone excavated from the ruins
of the original military location. Thus, bringing
in another important aspect of the location,
whereas the location of where the tower stands
now repre-sents an honorary memorial of the Fig. 1 Memorial Tower before the current reconstruction
school’s past while also celebrating what the project
school is today.
Objects from General William T. Sherman and
General Troy H. Middle-ton will be added to the
History museum’s permanent collection. In 1860, the
ole war skule was nothing like the LSU we know
Louisiana State University wasn’t always located and love today. The campus started out on a
in the great city of Baton Rouge, its first location small 200-acre campus. In 1915, as a grow-ing
was in Pineville, Louisiana. The school first agriculture and mechanical school, Louisiana

85
State University knew they had to expand
their campus. In 1920, the Olmstead brothers
landscape architecture firm was hired to design a
plan of the new campus. Theodore Link was the
architect who designed the famous Campanile.
A three-day ceremony was held in 1926 when
the tower was dedicated to the school. The
ceremony featured speeches by various state
leaders, a performance by the LSU Cadet Band,
the Sta-nacola Refinery Band, and ended with
a track meet between Louisiana State and their
state rivals, Tulane University. There was also an
“old-fashioned Southern barbeque” held on the
Indian Mounds on cam-pus. It’s safe to say the
tower symbolizes the pride Louisiana citizens
feel for their home state as well as the pride LSU
alumni feel for their school. Today, the beautiful
Campanile in the center of campus is admired
while families tailgate on the parade grounds
on game days. There’s also a fun tradition the
tower upholds for students; Every Valentine’s
Day at midnight, if you kiss underneath the 175-
foot tower you become an official LSU couple
and it is seen as good luck for your relationship.
Even when it’s not a holiday or a game day,
students and faculty see the tower every day and
admire the beauty of their cam-pus while also
remembering the sacrifices those soldiers made
for their home.
Fig. 2 Memorial Tower at sunset
Walk Through
The tower is currently undergoing renovations.
When you walk through the front door you are
greeted with what is clearly a con-struction
area. The walls have been stripped bare and
construction materials are spread on the floor.
A spiraling staircase grips the walls of the shaft
and continues all the way to the top of the tower.
Upon reaching the top of the staircase, a cover
can be opened to reveal the bright sunlight and
allow you the opportunity to stand over 150 feet
above campus. The top of the tower provides
vast views of the cam-pus, allowing you to see
all the way to Tiger Stadium. While this view is
spectacular and the war museum inside will be
a great site once it’s completed, some would
argue it’s the outside of the tower that makes it so
special. It is a staple in Louisiana State University.
Fig. 3 Jeremy and Quinlan at the Memorial Tower
On a sunny, humid day in Baton Rouge, students
can be found loung-ing and eating on the
parade grounds while admiring the Campanile
that towers over them. As a student, seeing
the Campanile makes you feel united as a part
SECTION 3
of the school. You feel a sense of pride when
you look at Memorial Tower knowing students
like you died to protect our country. Memorial
Tower represents everything Louisiana State
Uni-versity stands for: Diversity, honor, pride, and
determination.
Fig. 3 Jeremy and Quinlan at the Memorial Tower
Notes
Slkjs, Oinne Roe. “Thek Poikems jkn poi” in Moithsn oijcneht
Oimn POIK Press: Cambridge, MA. 1985. p 39-86.
2 Slkjs, Oinne Roe. “Thek Poikems jkn poi” in Moithsn oijcneht
Oimn POIK Press: Cambridge, MA. 1985. p 39-86.
3 “Inside look at the Memorial Tower rennovations at LSU”, LSU
Tiger TV, YouTube, November 20, 2018, www.youtube.com/
watch?v=EXe7iPxgf8A
86
Patrick F Taylor Hall: Engineering a Home
Kaylynn Bromfield & Stonewall Johnson, Louisiana State University
Fig. 1 Selfie with Patrick F. Taylor Hall
Background
Patrick F. Taylor Hall is the engineering building
on LSU’s campus. It was originally built in
2007 where it was first known as the Center
for Engineering and Business Ad-ministration
(CEBA)1. Renovations for the building since
then were started November 17, 2014 and
were com-pleted on December 20172. The
newly renovated build-ing was designed by the
architectural firm Per-kins+Will and Coleman
Partners Architects3. The build-ing’s original use
has changed somewhat; it was once used by
business and engineering majors but is now cen-
tered mainly around engineering.
History and Features
The factor that kickstarted the creation of PFT
was when Phyllis M. Taylor donated $15 million
to recognize and honor her deceased husband,
Patrick F. Taylor4. This state of the art facility
costs $114 million, $57 million coming from
private investors, and the state matching the
other $57 million, making it the largest public-
private partnerships in Louisiana and the most
successful fund-raising effort by LSU to date5.
The entire building is 400,000 square feet,
making it the largest engineering building in
the US6. The building contains features like a
driving simulation lab, the 250-seat RoyOMartin
Audito-rium, and the MMR Building Information
Modeling (BIM) Lab, where students can utilize
virtual reality to analyze construction projects,
make site assessments, and many more things.
The dean of the College of Engineering, Judy
Wornat, said this, “The resources we provide help
ensure that, not only do our students receive the
best engineer-ing education possible, but that we
prepare them for life after graduation and in the
work-force.”7 This building was created to house
and forge the engineers of the future
SECTION 3
Intentions
This building was dedicated to Patrick F. Taylor
(creator of the TOPS scholarship which pays
tuition for many
Louisiana residents who go to college in the
state) he believed everyone should have the
opportunity to earn a college degree regardless
of their economic stand-ing. The building reflects
this belief in the way it allows visitors and anyone
who enters the building access to be able to see
students and faculty at work in classrooms and
laboratories.
Fig. 2 The laboratories open to public viewing from the
hallway
87
On the facade of the lab (2) is the statement, “We
believe science and humanity can come together
to innovate solutions that enhance the quality
of life”. This belief demonstrates an ethical
approach to engineering since it combines the
needs of humanity with science and it aims to
ultimately change people’s lives for the better.
Walkthrough
Fig. 3 The open space of the lobby in the front of the building.
Upon entering the front of the building, you
immediately encounter a large staircase which
leads to the second floor; this staircase also serves
as a place for sitting. As you look around, you
notice the high ceilings and tall glass windows
that allow light through. Your view is guided
upwards; from the ground you can see the high
reaching staircases and the passageways on the
higher levels of the building that allow people
to cross to other sides of the building. These
passageways are fully visible and sometimes you
may occasionally look up and see people passing
above you. The open spaces of the build-ing
naturally guide you through the hallways, and as
you walk through the building it feels somewhat
like a muse-um because the classrooms and
labs all seem like they are on display. Many of
the classrooms and laboratories have glass walls
so observers can see what students are doing
inside of the various rooms. This openness causes
the building to feel welcoming and inviting
because any-one can feel a part of the learning
environment. Natural light enters through the
top of the building and trickles down to the
bottom; it is allowed to illuminate the entire area
given the open floor plan of the first floor and all
of the glass walls that let light through to offices
and class-rooms. Behind the staircase in the front
entrance, is the back of the building.
Fig. 4 The image depicts the sight you would encounter upon
entering the rear entrance of the building8.
SECTION 3
As you enter the rear of the building you are
immediately greeted with the sounds of people
talking and you see everyone sitting at the tables
and socializing. The open design of this lobby
area causes all the voices you here to sound like
echoes (4). You cannot immediately see the
classrooms when you walk in the back, however
as you travel through the building you encounter
the class-rooms which tend to be more closed off
and less acces-sible to natural light compared to
the open rooms with glass walls you are initially
greeted with at the main en-trances. This sudden
shift from light and open to closed and less
light in the design gives the actual classrooms a
more focused atmosphere. These classrooms are
located down the long hallways of the building
as you turn to your left or right. Walking through
the building can be like walking through a maze
because it is so large. You may also feel like
you can get lost while wandering through the
corridors. Occasionally, you are surprised by
the sights you see. Scattered in various places
throughout the building are showcases. One
such show-case displays the names of those who
contributed to the construction of the building
(7).
88
Fig. 5 Murphy Oil Engineering Design Classroom.
One of the many classrooms with glass walls that
allows passersby to look into the classroom.

SECTION 3
Fig. 6 This is a plaque of Patrick F. Taylor to whom
the building was dedicated.

Fig. 7 This wall display shows the names of people
who contribut-ed to the building.
Notes
Louisiana State University. “College of Engineering Officially
Opens New Facility, Largest Academic Building in Louisiana.”
Louisiana State University. Accessed October 17, 2018. https://
www.lsu.edu/eng/news/2018/04/ribboncutting.php.
2 Ibid.
3 Ibid.
4 Ibid.
5 Ibid.
6 Ibid.
7 Ibid.
8 Business Report Insider. “Take a Look inside LSU’s Patrick
F. Taylor Hall following Its $116M Renovation, Expansion.”
Baton Rouge Business Report. February 28, 2018. Accessed
December 04, 2018. https://www.businessreport.com/
realestate/take-look-inside-lsus-patrick-f-taylor-hall-following-
116m-renovation-expansion.

89
Middleton Library
Brady Smith & Stephen Bonnecarrere, Louisiana State University
Intentions
Middleton Library is among one of the most
visited buildings on cam-pus bringing the diverse
students of Louisiana State University together
to accomplish a shared common goal, the
pursuit and comprehen-sion of education. It is
critical to establish a well accessible space where
collaboration, reinforcement, and research can all
take place on a large campus. It’s staff is carring
and knowlegblie and aids students in whatever
they may need to propel their education to the
next level.
History
Middleton Library was constructed on LSU’s
Baton Rouge campus between April 1956 and
August 1958 and finally opened to students in
September in the same year of its completion.
The architectural firm Bodman, Murrell & Smith1,
who influenced most of downtown Baton Rouge’s
skyline in the 1950’s, designed the library. The
library was constructed to accommodate the
rapidly growing population of the university
and provide more space for the students who
previously used the Hill Memorial Library,
which only seated 375. At the time it was built
Middleton Library had a seating capacity of 5,000
students, was air conditioned, and had more than
22 miles of shelving that could accommodate
one million books, Centrally located in the
quad, it is an integral part of academic life and
success at LSU2. It is the only twenty-four hour
study location on campus that offers resources
to students. Over the years, the library has
grown along with the school and now contains
individual and group study areas, a graduate
read-ing room, a math lab, the Shell Tutorial
Center, computers, wireless Internet access, and a
coffee shop3.
Building Walkthrough
Middle library is located on the north end of the
quad, a rectangular courtyard shaped by other
academic halls, with its entrance facing south.
The library’s façade is lined with red tile at its base
on the west and east sides of the buildings with
the middle lined with green-blue tiles. Above the
waist-high tile footings, the library is lined with
glass windows that extend up to the ceiling. The
rest of the building is made with tan bricks and
square exposed aggregate columns that over
lab the bricks and extent up to the top of the
SECTION 3
building, which is lined with, exposed aggregate
panels. The library is a four story building with
each floor divided by a continuous string of
windows that wraps around the building only
being broke by the columns that extend to the
roof (1).
Fig. 1 Selfie in front of Middleton Library
Entering through the library’s glass
sliding doors, there are three paths to take. To
the right there is an open study and collaboration
area. That space is divided from the coffee shop
and lounge area by a wood and glass wall with a
corridor that connects the bathrooms and eleva-
tors on the other side. Taking a left upon entry
is a quiet closed off large space with columns
90
throughout. It contains computers and study
desks with the Shell Tutoring Center in the back
left corner of the floor (2). Straight head after
entry, the book return is to the left, stair-well on
the right, and a coffee shop at the end of the
corridor opposite of the entrance.
Fig. 2 Shell Tutoring Center and computer room
Down the stairwell in the basement, houses
government documents with almost no doors
open to the public after entering the lobby
exit-ing the stairwell. There are multiple levels of
security thought the basement with gates and
locked rooms that contain documents.
On the second floor straight ahead is a help
desk that leads into a large room that contains
bookshelves, study cubicals, and computers (3).
Fig. 3 Access services
There are desks lined at the back and a relaxation
room on the north end of the building. Taking
two rights from the stairs will lead you to the
elevators, bathrooms and a closed off study room
on the east end of the building. Left from the
Stairwell is classrooms, offices (4), and to the right
is the Carter Music Resources Center.
Fig. 4 Office and classroom space
SECTION 3
After exiting the stairwell on the third floor, the
print desk is straight ahead. Taking a right, the
elevators and bathroom are located in a corridor
that lead to the math lab. On the north and
south end of the building, entrances to the study
and book rooms are divided from the lobby by
glass walls (5). The large space of the third floor
resembles the layout of the second floor with
columns throughout.
Fig. 5 book and study room
There is not a clear path for navigating this
space with its grid layout. The consistent lighting
throughout the floor and long narrow book-
shelves make exiting the room difficult (6).
91
Fig. 6 Book rows

Moving up to the last floor of the library, the

fourth floor has the sim-plest layout. Any path
taken will lead to the book room that mimics
the layout of the second and third floor. Once

SECTION 3
again, the bathrooms and elevators are located
from the right of the stairwell. There are almost
no points in the building, which we admire. The
leaky roof, stained ceiling tiles, and boxy floor
plan leave nothing to be desired in a build-ing
which destroys the university’s famous, beloved,
and traditional Italianate architecture and leaves
students feeling the vice of the stress-ful college
experience.

Notes
1 Jewett, Leah. “Middleton Library celebrates 50th
Anniversary.” lsu.edu. https://news.blogs.lib.lsu.
edu/2009/10/23/middleton-library-celebrates-50th-
anniversary/ (accessed November 26, 2018).
2 Looney, Aaron. “LSU Libraries to celebrate Middleton
Library’s 50th anniversary.” lsu.edu. https://www.lsu.edu/
highlights/2009/10/middleton.shtml (ac-cessed November
26, 2018).
3 Louisiana State University. “About the Libraries.” lsu.edu.
https://www.lib.lsu.edu/about (accessed November 26, 2018).

92
The Louisiana State Capitol Building:
Huey Long’s Legacy
Zoran Allen, Marco Perez, Louisiana State University
Introduction to the Building
The Louisiana State Capitol stands tall among
the clouds in the down-town Baton Rouge sky
and is home to the Louisiana State Legislature,
including the House of Representatives, Senate,
and the office of the Governor of Louisiana.
Upon its creation, it was touted as a monu-ment
to symbolize the end of political domination
by Louisiana’s social and economic elite1. The
building’s style is generally described as art deco
with hints of simplified classicism.2
History
Built under the heavy influence of former
Governor and U.S. Senator Huey P. Long, the
building is often regarded as “Huey Long’s monu-
ment.” In 1928, Long brought about the idea to
construct a new build-ing for the statehouse
when he was in the running for Governor of
Louisiana. The building was a major component
of his political plat-form at the time, further
driving his dedication to complete the struc-
ture. Tragically and ironically, Long was shot and
killed in the Capitol Building in 1935 and buried
in the center of the Capitol Gardens.3 Long was
also adamant about the location of the building,
which was once Louisiana State University
and Pentagon Barracks, a former military post.
Construction began on December 16th, 1930 and
finally inaugurated on May 16th, 1932, although
the actual construction only took a speedy year
and a half. All construction was seen under the
direction of the architectural firm Weiss, Dreyfous,
and Seiferth3, who was widely known across the
state for the numerous public buildings they were
responsible for designing.
Today, the capitol stands as the seventh tallest
building in Louisiana, and the tallest state capitol
in the United States at 450 feet tall4. Alt-hough
the building has been in use for the same political
reasons for almost a century, Louisiana did,
however, have a capitol building prior to the
current one. The Old Louisiana State Capitol, also
known as the State House, housed the Louisiana
State Legislature from the mid 19th century until
the current building was finished in the 1930’s.
The Old State Capitol and current capitol were
both added to the National Register of Historic
Places and were named National Historic Land-
marks in the 1970’s and into the 1980’s.3
Our Walkthrough Experience
SECTION 3
Fig. 1: A beautiful selfie in front of the building
As we approached the building, we were
immediately struck by its sheer size and
magnitude. Photos online do very little justice to
the building’s actual scale; each of the timeless
limestone-covered protu-berances, making up
the halls of the Senate and House, seemed to
independently dwarf any normal building. We
were awestruck by the great 40-foot-tall, bronze-
lined entranceway as well. The sunlight re-flected
brightly off of the white stone stairway and
façade, practically blinding us. Unfortunately,
93
on our visit, the main entrance was roped off
because the limestone facade was crumbling
from the upper floors. Instead, we entered
through a smaller door under the main staircase,
which lead us into a basement hallway and to the
main ele-vators. This basement level was rather
lackluster: dimly lit, a bit dingy, and complete
with low ceilings. It was clear that this floor had
been remodeled or constructed several decades
ago.
We exited the basement through the main
elevators, which took us up to the first floor. As
the elevator doors open, a bright natural light
be-gan to flood inside, coming from the great
windows above the grand entranceway. As soon
as we passed through the elevator’s doors, we
were overwhelmed by the fantastic nature of
the building’s interior; the main hall’s décor was
comparable with that of the throne room of a
king. Massive, intricate murals covered each of
the chamber, bor-dering black and white-veined
marble entranceways that lead to the halls of
the Senate and House. The black and white
marble continued around the walls of the main
room and the floor was a grainy, dark stone in a
checkerboard pattern. Looking up, the ceiling
was covered with intricate patterns and paintings,
complete with patterns in gold and two massive
hanging chandeliers. We spent several minutes
walking around the massive room, examining
and admiring its endless details.
The massive window above the doorway,
allowing plentiful natural light, gave the
impression of a gaping entranceway to a
cave. Voices of visitors and employees echoed
loudly around the building’s walls. We both felt
incredibly small, surrounded by the grandeur
of this 20th century building that’s experienced
the footsteps of millions, taking in everything
it had to offer. Life-sized carved marble statues
occupied each corner of the room, each in the
shape of a different historical Louisiana figure
with a story to tell. Both of us found them
impressive as marble carvings of their size are
rare in the 21st century.
Fig. 2: The building’s beautiful interior
We could have easily spent hours in this massive
SECTION 3
room, but we continued on, first to the chamber
of the House of Representat-ives. The massive
room was lined with marble, gold, and wood,
then studded with dozens of hardwood desks for
each of the representatives. This chamber was
equally as fantastic as the last; the size, intricacy,
and worksmanship was completely unparalleled
and far grander than anything we’d ever seen.
We exited the House chamber, crossed the main
room, and entered the room designated to the
Senate. The Senate hall was filled with desks as
well, surrounded by massive marble pillars and
topped with an intricate ceiling with hexagonal
holes, perhaps meant to absorb echo. The famous
pencil, embedded in the ceiling from a bomb
explosion, remained stuck.
We then exited the Senate chamber and main
room back into the elevator hallway, searching for
the place where Huey Long was shot. After some
confusion and searching, we eventually found the
bullethole in the marble column. It was crazy to
think that any man had died in that very spot, let
alone such a famous one.
Next, we took the elevator as high as it would
take us and exited onto the bulding’s balcony,
94
nearly 400 feet in the air. Although a wasp
infestation kept us from enjoying the view for
long, we were amazed at how high up we were
and how far we could see. Neither of us are
particularly well traveled and absolutely loved our
first experience being atop such a tall building.

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Fig. 3: The amazing view of Baton Rouge from atop the Capitol

What struck us most about this experience,

second to the building’s sheer scale and artistry,
was also its historical significance. At some
points in our tour, we stood in complete silence,
just taking it all in. We saw a wall of pictures of
all of the Senators and Representatives from its
conception to today, really contextualizing the
amazing history this building has. Millions of
people and thousands of legislators had walked
the halls, taken the elevators, and enjoyed the
same sighst we had. Not only this, it is said that
buildings aren’t made how they used to be, and
that is incredibly true. A project of this scale
would be impossible in modern days as the
cost would be absolutely immense. As we went
through our self guided tour, we both knew that
places like these would not come frequently and
that historical architecture requires preservation
and appreciation in the modern age.
Notes
1. “Louisiana State Capitol” James Dodd, Lance Malley,
The Architectural Studio - A Professional Architectural
Corporation, 2013, Accessed November 20, 2018, www.
architect7.com/portfolioentry/louisiana-capitol/
2. “Louisiana State Capitol,” National Parks Service, U.S.
Department of the Interior, Accessed November 25, 2018
www.nps.gov/nr/travel/louisiana/cap.htm.
3. “Legends and Lore of the State Capitol,” Kunian, David,
Folklife in Louisiana, Office of Cultural Development, 2015,
Accessed November 25, 2018, www.louisianafolklife.org/LT/
Articles_Essays/brcapitol.html.
4. “Louisiana State Capitol Welcome Center,” Visit
Baton Rouge, Accessed November 25, 2018 https://www.
visitbatonrouge.com/listing/louisiana-state-capitol-welcome-
center/238/
5. “Legends and Lore of the State Capitol,” Kunian, David,
Folklife in Louisiana, Office of Cultural Development, 2015,
Accessed November 25, 2018, www.louisianafolklife.org/LT/
Articles_Essays/brcapitol.html.

95
Alex Box Stadium

Roberto Vindel-Calix & Jared Brown, Louisiana State University

Alex Box Stadium home of Skip Bertman Field is Walking up either stair cases you go up to the
dedicat-ed to the sport of Baseball. It is the home second floor where you are greeted by the Skip
of the Lsu tigers and has a deep history where Bertman field which, at Center field reaches 405
history has been made. It opened up in 1938 feet.
and was closed down in 2008. It was rebuilt and
relocated a few hundred yards south in 2009 and
designed by a design team of Grace & Herbert,
DLR Group, and Jeffrey L. Bruce & Company. The
Alex Box stadium name has been in use since
March 12, 1938 and it has lived on with this new
park. Alex Box stadium has hosted countless
tournaments and has allowed LSU to finish first
place in the nation in total attendance for 23
straight seasons. Just in 2018 alone the Tigers
were able to draw 399,085 fans onto the fabulous

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park.

Driving up towards Skip Bertman field you turn

left to get in the rather small parking lot in its
front side. Here you get off and walk towards the
front where you will see Gate 2. First you can see
the Gerry Lane Championship Plaza. It is a ring set
on six pillars about 15 feet up.
Fig. 1
Passing that you walk in you are greeted with
sand col-ored buildings on both sides that hug
the two stair cases on both sides of the walls.
Fig. 2
This is stopped by the 15-foot fence at centerfield
and its followed by a ten-foot fence in the
outfield. Now when you look down, there are
three sections of vividly bright yellow seats in the
center of the stadium. Above your head you will
see the press boxes where all the various news
and sports talk people host games and speak
on the events held at the park. On both sides
of the press box there are terraces that allow
ticket holders a wider view of all the action and
on a nice evening the beautiful sun-set will not
disappoint from this viewing spot. The whole
seating area is cover by a metal canopy allowing
viewers shade from the sun and even some rain
protection on a rainy muggy day.

96

Fig. 3
Now if you walk down the steps you will reach
the netting where there are foldable chairs for
those fans that ere fearless of the 90 mile per
hour balls that get chipped by the batters at
home base. If you look down near the home base
you can see the various emblems involving the
team such as the Tigers logo and the NCAA logo.
Looking up and past everything you can see
the four big set of lights that allow for visibility
during late night games. Looking across the field
you can also see two seating areas on both sides
of the outfield and behind the seats there is the
scoreboard and also a few signs showing off
Tiger Spirit. Looking towards the horizon you can
even see the Tiger Stadi-um, home of the Tigers
Football team, out to the distance.
Fig. 4
The large open main level area also allows for
a cool breeze to enter and it allows shade from
the beating sun. In this area the bathrooms,
concessions, and different storage and janitor
rooms can be found. The bathroom areas are
pretty rudimentary and seem to be function over
looks oriented, such as to say, “that the show is
outside not in here”.
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Fig. 5
Three stalls line one wall while three urinals
line the oth-er. A sink faces the corresponding
side and next to this bathroom there is a family
bathroom in which babies may be changed
if need be. Also, on the main level there are
concessions booths in which guests may satisfy
their hungry stomachs before, during, and after
the games.
Fig. 6
97
Looking out from inside the stadium you can get
the view of the Gerry lane championship plaza
again with four flag poles indicating different
championships where the tigers have been
crowned winners and a wide blue sky. Walking
down the stairs in the beginning you will see
a main lobby on the first floor underneath the
whole stadium.

SECTION 3

Notes

“Alex Box Stadium, Skip Bertman Field.” LSUsports.

net, www.lsusports.net/ViewArticle.dbml?DB_OEM_
ID=5200&ATCLID=177194.
2 “Filter Projects.” DLR Group, www.dlrgroup.com/work/alex-
box-stadium-at-louisiana-state-university/.

98
Le Manoir du Gouverneur de la Louisiane
By Rojee Clark & Caleb Thibodaux
L’introduction
The Governor’s mansion: an all too familiar
building whose façade falls short in every regard
to the rich cultural images that lie within. The
building follows the Greek Revival architectural
style, which in the 1830s’, was started to transform
the way aesthetic of mansions in Louisiana. The
reason for this change was because antebellum
houses were destroyed by fires and the difficult
changes of climate in Louisi-ana. The Governor’s
mansion stands separated from the religious
atmosphere because of the amendment of
separating of state and church. There are no
religious feelings in the mansion or around it
because it would be unfair to the taxpayers if
their religion was exclud-ed in the building. The
Governor’s mansion is a beautiful and magnifi-
cent building, but in an ethical sense do we need
it. The Government is spending taxpayer’s money
on the house for the Governor that he or she has
the option to live in. Why can’t Governors’ stay
in their original house and the government can
use the taxpayer’s money for some-thing else,
something that will better the state of Louisiana.
So, is the Governor’s mansion ethical? The answer
to that is No.
Figure 1
L’Histoire
The completion of the new Governor’s mansion
was in 1963.1 The designs came from an
Architecture firm owned by Annan and Gilmer.2
Governor Jimmy Davis was the one who came
up with the idea to build another mansion and
was the first Governor to live in it.3 Louisiana
had already had a Governor’s mansion, but the
government decides they wanted something
different, bigger, and more modern for the
time.4 Relocating was the biggest reason for
the construction of the new mansion.5 The
Government wanted it to be closer to the middle
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of the city and also the state capitol. The location
of the Gover-nors’ mansion was not only to
make it easier for the Governor to travel from the
Mansion to the Capitol but also made a political
state-ment.6 The Mansion, placed in the middle
of the city where at that time there were only
government official buildings for everyone to
see.7 In front of the building in I-10 the main
interstate that runs through all of south Louisiana,
a visitor from the North will pass the Governor’s’
mansion and visitor from east and west will also
pass the Governors. The location of the building
makes sure the mansion is observed by every
visitor to Louisiana. At first when the governor’s’
mansion wasn’t opened to the public.8 It wasn’t
until the 1990s’ that people were al-lowed to visit
it, this decision was made because the taxpayers
fund the building, the taxpayers are the citizens.9
The citizens should be allowed to see how the
Government is spending their hard owned
money. When the mansion was built, it was a
stepping stone into a new direc-tion for Louisiana
architecture. The building has not changed much
since being opened in 1863, the outside looks
precisely the same, but the inside was updated
because of the Louisiana flood.10 The interior has
a more modern style to it, but still including that
old and historical feeling to it.
99
Procédure pas à pas
The Governor’s mansion fulfilled everything a
person would think would be in a mansion for
a political figure as the Governor. When walking
into the building, you get this feeling of hierarchy
and great responsibility. At first, the outside
of the building has enormous Doric columns
(Figure 1) which were created in Greece and
represent the firm and muscular bodies of male
Greek Gods. When walking into the building,
you are greeted by this magnificent and elegant
chandelier. This chandelier is in the middle of the
mansion and is floating above a separate shaker
maple table.11 The main room leads to three
other rooms, but before talking about the other
rooms, the main room’s walls are different from
all the others. The main room’s walls are used as
a canvas and have enormous attractive paintings
that span from wall to wall and catch the eyes
of the visitors (Figure 2). There are four corners
of the room and four paintings, each painting
representing a corner, or region, of Louisiana.
When you enter the room, the art in front of
you to your left represents Northeast Louisiana
(Figure 3).12 The painting is a picture of a huge
corn and grass fields. In Louisiana, most of our
dry crops come from the North because the soil
isn’t as moist up there as it is down here.13 Each
painting has an item representative of different
Louisiana governors. For example on this picture
there is a military cap which represents governor
John Bel Edwards for serving in the Military.14
If you turn to your right, you would be facing
Northwest, pointing you toward the second
painting. This painting represents the Northwest
of Louisiana and pictures a white antebellum
mansion with a beautiful lake in front of it. Before
the switch to a Greek Revival style architecture
in Louisiana, most homes were designed with
an antebellum-style, with the first being made in
North Louisiana.15 As you turn around and look
to your right, you would be facing Southwest.
The art in front of you is a representation of the
Southwest region; this painting includes nasty,
dreadful, and dangerous swamp. The swamps are
Figure 2
what Louisiana is mostly known for, but that’s
not the only thing. The art also contains the state
bird, a pelican eating a largemouth bass. The
last painting, to your left facing Southeast, is a
SECTION 3
representation of the final corner of Louisiana.
This painting isn’t just a historically painting
of Louisiana but also an economic picture of
Louisiana’s most cultural images. This painting
features the coastal lands of the state which is
where Louisiana brings in most of their state
money. The art also includes an oil rig/platform
and shrimp boat.
L’observation
When first walking into the building our first
impression is completely different from what we
thought we would get from a house/mansion.
The impression we got from the governor’s
mansion was an official and political feeling.
The governor’s mansion is filled with an abun-
dance of natural light elements. The are many
windows in the building that brings light into the
building while simultaneously connecting it to
nature. While walking through the mansion, you
are always feeling a sense of freedom because
the building doesn’t isolate you into one room
or itself. The views are guided by the different
chandeliers in each room, the biggest one being
in the center of the mansion, and minimizing
from room to room. The most admiring features
100
of the mansion is, in essence, everything. Once
walking into the Mansion everything catches the
eyes of the viewers. From the walls to carpets,
all items have a hidden meaning related to the
History of Louisiana.16 The Mansion itself is a
beautiful place to visit when learning about
Louisiana historically. It might be a mansion
for dwelling, but it truly is a museum of the
multicultural aspects of Louisiana.

SECTION 3
Figure 3

Notes

“Louisiana Governor’s Mansion.” Baton Rouge Events, Things

To Do, Restaurants, & Hotels. Accessed December 05, 2018.
https://www.visitbatonrouge.com/listing/louisiana-governors-
mansion/237/
2 Ibid
3 Ibid
4 Bobby Johnson, verbal
5 Ibid
6 Ibid
7 Ibid
8 Ibid
9 Ibid
10 Ibid
11 Ibid
12 Ibid
13 Ibid
14 Ibid
15 Ibid
16 Ibid

101
Pete Maravich Assembly Center: The Deaf Dome

Marlon Coates Jr and Dominick Green, Louisiana State University

Intentions construction in 2010.3 The original use of the

building was for Louisiana State University’s
indoor athletic teams such as Men’s and Women’s
The Louisiana State University Pete Maravich Basketball, Wrestling, Volleyball, and Gymnastics.
Assembly Center, located in south Baton Rouge
The building’s use has changed because LSU no
Louisiana is home to LSU Tigers Men and Wom-
longer has a wrestling team and the building is
en’s basketball, Gymnastics, and Volleyball. The
also used for concerts, graduations, and other
PMAC (formally known as the LSU Assembly
events.4 The PMAC was appropriated and
Center) is named after Pete Maravich, former
appreciated by the com-munity and LSU as the
LSU and NBA basketball player.1 The building is
new home for the sports teams, taking the place
located on Louisiana State University’s campus
of the John M. Parker Agricultural Center which
across from the football stadium and adjacent
is where the events have taken place prior to the
to the school’s track and field. This building was
PMAC being built.5
inten-tionally placed in location in which it sits
very comfortably because it is sports related.
Building Walk Through

SECTION 3
The arena has sociopolitical aspects in that it is
noticed on the national level because it is a part
of the NCAA and national col-lege basketball
games and other events take place within the
building. The building hosts concerts and other
event’s which society and the community to
come and attend. The building doesn’t hold
any partic-ular religious or ethical aspects. It
is a public and private place at the same time,
it’s only public when events take place, but the
student athletes have access to it for practice Fig. 1 Coates Jr, Marlon. Selfie in front of the PMAC. December
and meetings. The building is aside LSU’s other 4, 2018. Louisiana State University, Baton Rouge.
beautifully designed athletic buildings and is one
of the most interesting buildings on LSU’s campus Heading into the building from the front we see
and in the state of Louisiana. concrete ramps going in different directions that
eventually merge into the concrete second floor
outside the building. As we walk up either of
History the ramps onto the second level we are guided
around the circumference of the dome and its tall
The construction of the Pete Maravich Assembly glass windows where we can enter through many
Center began in 1969 and it was first opened glass doors located around the second floor of
January 3, 1972 in Baton Rouge, Louisi-ana. the arena (2).
The architects of the arena were Robert M.
Coleman and Part-ners.2 In 2008, Guy Hopkins
Construction of Baton Rouge along with the
designs by the firm of Tom Holden Architects or
Baton Rouge, begin construction on the 36,000
sq. ft. Basketball Practice Addition and finished

102

Fig. 2 Coates Jr, Marlon. 2 Front view of PMAC and its concrete
ramps and second floor. December 4, 2018. Louisiana State
University, Baton Rouge.
Opening one of the doors we find ourselves in
a concourse divided into four quadrants which
are: Pete Maravich Pass, The Walk of Champions,
Heroes Hall, and the Midway of Memories.6
Walking through the concourse we see pictures
and the history of LSU athletes and athletics as
we walk through each concourse as natural light
enter through the glass windows illuminating the
area along with some man made lights (3). The
views of the concourse and the circular structure
of the dome and its walls guide us along this
intended path around it. As you travel around it
its seems never ending because there is literally
no end or beginning the farther you walk away
from where you begin the closer you get back
to where you started. Inside this concourse the
walls are painted and there are pictures and
descriptions that show some of LSU’s athletic
history which makes us feel as if we are a part
of it and connected with it in some kind of way
just by being in the building. These elements are
some moments that make us stop and admire the
building.
Fig. 3 Coates Jr, Marlon. The inside of the four quadrant
concourse of the PMAC. December 4, 2018. Louisiana State
University, Baton Rouge.
As we enter one of the doors within the
concourse, we find ourselves into the center of
the arena, the huge dome space. The area is oval
like and it has many rows and seats that are all
place around the base of the arena (4).
Fig. 4 Coates Jr, Marlon. View of Arena inside the PMAC.
Decem-ber 4, 2018. Louisiana State University, Baton Rouge.
SECTION 3
The ceiling is curved and arched
beautifully. Looking around we are amazed
and fascinated as our eyes are drawn around
the enter space and also up to the center of the
ceiling where there is a large jumbo-tron. The
curvature of the ceiling is easily admirable (5).
As we sit down, our eyes are naturally attracted
to the centered of the floor where the various
events take place; mainly LSU basketball games.
We hear the footsteps as people run on the court,
we hear the sounds of the speakers as the noise
is echoed around the stadium naturally. We smell
the popcorn, the sweat from the players, the
atmosphere. We see the various accomplishments
of the LSU’s athletics which we tend to admire.
We feel the energy as the games are being played
and the various events are taking place.
103
Fig. 5 “LSU Men’s Basketball Facilities.” LSUsports.net. July 17,
2012. Accessed December 05, 2018. http://www.lsusports.net/
ViewArticle. Fig. 7 Coates Jr, Marlon. Front view of the PMAC practice
addition. December 4, 2018. Louisiana State University, Baton
We begin to feel the greatness that is the Rouge.
building, everything the build-ing represents,
and everything that took place in and around the
building. Being in the building and seeing all of
the space it is obvious that it is made for various

SECTION 3
events to take place. The building’s beauty and
unique design helps it stand out apart from LSU’s
massive Tiger Stadium and helps it become a
highlight in Louisiana’s architecture (6).

Fig. 6 Coates Jr, Marlon. View of the PMAC and Tiger Stadium
behind it. December 4, 2018. Louisiana State University, Baton
Rouge. Notes

“Pete Maravich Assembly Center, Baton Rouge.” TVtrip.

Accessed December 05, 2018. http://www.tvtrip.com/Stadium
15-info/Pete-Maravich-Assembly-Center u1KHpw.
2 Ibid.
3 “LSU Basketball Practice Facility.” LSUsports.net. February 20,
2015. Accessed December 05, 2018. http://www.lsusports.net/
ViewArticle.dbml?DB_OEM_ID=5200&ATCLID=205015500.
4 “LSU Men’s Basketball Facilities.” LSUsports.net. July 17, 2012.
Accessed December 05, 2018. http://www.lsusports.net/
ViewArticle.dbml?&DB_OEM

104
Pentagon Barracks
Patrick Kindred & Colin Tran, Louisiana State University
Intentions
In regards to the location, sociopolitical, and
ethical aspects of the Pentagon Barracks, it
becomes obvious what the intentions were.
The Pentagon Barracks sits on a piece of land
near the Mississippi River that is in the middle
of downtown Baton Rouge. Concerning the
sociopolitical aspect of the barracks, the size
of the land and formation of the buildings
suggests it to be an important landmark capable
of multiple purposes. The location of the
dormitories that form a pentagon shape suggests
an ordered way of living, which, for the political
aspect, indicates the inhabitants to be of high
status. The size of each dormitory being the
same could also indicate that in-habitants are of
equal status. The surrounding area allow the bar-
racks to maintain a sustainable living space. The
Mississippi River and surrounding trees allow the
barracks to keep a mild temperature in the warm
and humid Louisiana climate.
Fig. 1 Selfie with Pentagon Barracks
A Brief History of the Pentagon barracks
The Pentagon Barracks were built as a defensive
posi-tion in the Louisiana Territory, serving
under several flags including Spain, France,
the British Empire, and a young United States.
Through several wars and an ex-change of several
hands, the building has aided in the defense of
several countries land claims in Louisiana and
furthermore defended their beliefs and ideals.
The fort while its main purpose was to defend
surrounding territory, also defended Spain and
French Catholicism and aided in the defense of
British Anglicanism.
Construction of the barracks took place roughly
from 1819- 1825 and was designed by architect
Capt. James Gadsden1. While the barracks were
originally used as a defensive post, its function
has transitioned over time. In 1884, Louisiana
State University was granted full use of the
Barracks and repurposed them for student dorms,
before moving to the University’s current site.
SECTION 3
Now, as of 1951, the Pentagon Barracks serve as
pri-vate apartments for state legislators2 after
being turned over to the State of Louisiana from
LSU.
Walk Through of the Pentagon Barracks
The entrance to the Barracks begins with two
doors, tightly fixed into their opening, not
allowing light to seep in anywhere. Once opened,
the doorway allows light to flood into the
entrance to the Barracks. The entrance contains a
low ceiling, constricting movement and choking
the flow of people into the main courtyard.
Once through the small entrance, the barracks
open into an open-air courtyard, encased by the
four dormitories, maintaining an enclosed space
but allowing for a more spacious setting.
105
 the surrounding area and fountain accompanied
by the trees that sit close to each dormitory
brings the landscape to life. In contrast to the
dullness of the weather that Louisiana sometimes
has, the gardening and trees create a feeling of
a serene atmosphere that is complimented by a
cool breeze.

Fig. 2 Entrance of the barracks

To the right of the opening of the entrance

there are white painted doors to the various
apartments along with wooden stairs leading to
the second story balcony. Walking up the steps
to the second landing of each dormitory, the

SECTION 3
balconies’ dark stained wood contrasts with the
whitewashed columns drawing attention out-
ward into the main courtyard. The overhead view
pro-vides a sense of grandeur as you survey the
courtyard and surrounding landscape.

Fig. 3 Second story of dormitory showing balcony

The whitewashed columns that adorn each

of the dormitories give off a self-embracing
strength that seem to overpower the exterior
of the buildings due to their masculine shape.
Returning to the bottom of the stairs, to the right
is a brick path leading out into the center of the
courtyard. The path is surrounded by grass, which
thrives throughout the entirety of the courtyard,
encompassed on both sides as the red brick leads
to the central fountain of the Pentagon Bar-racks.
The vibrant colors of the gardening that adorn
Fig. 4 Barracks with Old State Capital in background
There were very few but significant moments
that made us stop and admire what was around
us. From walking through the large impos-ing
doors through the short tunnel of the entrance,
standing at the center of the courtyard where
the fountain resides, and overlooking the
surrounding area from the second story of the

106
dormitory on the balcony. The Pentagon Barracks
provided us with a local contextu-alization and a
visceral connection to the inhabitants who lived
through the long string of events that transpired
here.

Fig. 5 Brick path leading to center of courtyard

We could not help but give recognition to the

SECTION 3
hectic history of this landmark. The Pentagon
Barracks is enriched with history spanning about
two centuries back and serves as a reminder of
the influence it has had on Baton Rouge.

Notes
1. “Pentagon Barracks,” Pentagon Barracks, State of
Louisiana, accessed December 1, 2018, house.louisiana.gov/
pubinfo/VirtualTour/pentagon_barracks.htm
2. Ruth S. Lecompte, National Register of Historic
Places Inventory – Nomination Form, (Baton Rouge:
Department of the Interior National Park Service, 1973)

107
Two “Bros” and A Basilica: Sacred Heart of Jesus

Jacob Salm & Kyle Schmitt, Louisiana State University

Intentions design (originally used for government

Arriving upon the outskirts of Downtown Baton
Rouge you’ll find the unparalleled Sacred Heart
of Jesus Basilica towering over its surround-ings,
creating an ominous and powerful feeling to the
local communi-ty. The visitors are calmed upon
their entrance with soft, warm tones due to the
careful control of light and use of small spaces;
as the visi-tors step into the main sanctuary the
architectural grandeur and art-work humble the
visitor providing a truly unique experience.
buildings)5 to separate themselves from the
other religious structures of the time period. This
decision gives a very historical and original feel
of the early church to its con-gregates. Since its
completion in March of 1941 and its dedication
the following year, the Basilica has provided not
only a communal place of worship, but also a
symbol of hope and strength for the local com-
munity.
Walkthrough

When approaching the church from the North,

History

SECTION 3
you find yourself centered in a large open area
with the church posing a strong pres-ence to the
Originally established in 1924 to meet the North. The church’s front façade features a large
spiritual needs of the neigh-boring Catholic bell tow-er peaked by a bell-shaped cupola. The
community, Sacred Heart of Jesus started off as portal to the church as a whole is rather simple
a mission by an Italian priest known as Father but a large rose window and detailed molding
Dominic Blasco.1 The property, surrounding the around the front entrance draws the viewer’s eyes
National and Magnolia Cemeteries, was donated down toward the doors.
by the Timothy Duggan Family to support the
mission, providing enough land to build a small
church for congregation.2 After several years of
growth and finding financial stability, the young,
flour-ishing church was announced a parish
under the Archdiocese of New Orleans. With its
continuous growth and generosity of the local
con-gregates over the following decade, the
once small church had to expand to its existing
basilica.3
Designed during the depths of World War II
by the New Orleans native architectural firm
Bendernagel and Cazale, Sacred Heart Basilica
em-bodies elements uniquely designed for
Fig. 1 Selfie with North facing façade
the project, including V-shaped stained glass
symbolic of the famous “V for Victory” slogan.4
The archi-tect chose to use a blend of Byzantine Once you approach the doors you immediately
and Roman basilica styles. In the early formations feel small and are greeted by dark beautiful
of Christianity, the Christians used the basilica doors outlined by subtle Solomonic col-umns
on both sides. As you enter, the cacophonous

108
pandemonium of the outdoors is quickly hidden
away and you are greeted by ap-peasing glowing
tones. As you stand in the center of the narthex
you are able to gaze down the long axis of the
nave but only see a small portion of the sanctuary
due to the low ceiling.

Fig. 4 Brass pipes of organ, rose window partially visible

SECTION 3
Fig. 2 Long axis of nave as viewed from narthex

However, the stairwells on either side of the

narthex provide a contrast from the nave due to
their unique lighting. Each stairwell has two large,
purple stain glass windows. These windows in
conjunction with the dark tones from the steps
and balusters gives a deep purple hue to the
space.
Fig. 5 Rose window
After turning toward the high altar you find
yourself with a beautiful view overlooking the
entire sanctuary, but the view gives a feeling of
separation from the main body of the church and
its ceremonies.

Fig. 3 East stairwell with purple stained glass

Continuing up the stairs, you find yourself

confronted by a row of tall brass tubes for the
organ and a carefully crafted rose window. Fig. 6 View of sanctuary from balcony

109
This disassociated balcony was clearly designed
for musicians and choir, not the members of the
congregation participating in mas. Continuing
across the balcony you walk down another flight
of stairs which mirror those on the opposite side.
As you begin to enter the sanctuary you step
through a small divider featuring two intricate
stained-glass windows and two sets of Solomonic
columns.
Fig. 7 Divider composed of stained glass and wooden
Solomonic columns
After you pass between the divider you begin
to feel the small space open up into a huge
sanctuary. Once at the center of the nave, a
mag-nificent view of the entire sanctuary is now
visible.
Fig. 8 View of high altar from nave
The large stained-glass windows and repetition
of the pews, and col-umns running down the
long axis of the nave draw the viewer toward
the apse. While the nave houses a series of
architectural elements positioned specifically to
draw the viewer toward the apse, the apse itself
gives a sense of almost pushing back against
your forward movement. It does this through a
truly stunning and almost over-whelming artistic
depiction of Jesus cloaked in royal robes holding
a book that says Rex Sum Ego (I Am King). The
intense pull toward the apse in conjunction with
the dominating presence of the high altar and its
accompanying mural, give the desired humbling
effect to its visitors.
SECTION 3
Notes
1 Eggert, Mary Lee. “Our Church History.” Sacred
Heart of Jesus Baton Rouge. 2018. Accessed
December 3, 2018. http://sacredheartbr.org/
history/
2 Ibid.
3 Ibid.
4 Eggert, Mary Lee. “Architecture.” Sacred Heart of
Jesus Baton Rouge. 2018. Accessed November 14,
2018. http://sacredheartbr.org/architecture/
110
Capitol Park Museum:
A Louisiana History Time Capsule
Alexis Lafleur and Anna Holley

Introduction The capital park state museum was built in 2006,

The Capitol Park Museum is a unique structure
that houses some of the most valuable and
memorable pieces of Louisiana culture and
history. Being located in downtown Baton
Rouge, it displays city life through large windows
while taking the visitor through every historical
element behind how modern Louisiana got
where it is today. Though, the inside is only half
of the museum’s beauty. Everyone can enjoy
the interesting exterior before entering using
elevated slabs of stone for the adults to rest and
children to climb on.
the architect was Eskew + Dumez & Ripple.
1 The original use has remained intact, as an
educational facility in Louisiana state history.
The museum is an amazing embodiment of
the community’s fun atmosphere, the building
provides interactive features such as a concrete
railing for the exterior entrance, and this railing
was designed to serve as a bench as well as a
runway for the children who are visiting.

SECTION 3
Purpose of building

The purpose of the Capitol Park Museum is to

educate people about the culture and history of
Louisiana. There are two stories of the museum
separating culture from history in a unique way.
History, being the first story, is assembled in a
manner that guides the visitor as if they were
walking along a timeline of important events and
artifacts. In a way, one can define the intentions
of this museum as place-related, sociopolitical,
religious and ethical being different sections of
the museum, inside and out, apply to these.
Fig. 2 View of the entrance to the exhibits

Fig. 1 Selfie at entrance of the museum

History
Fig. 3 Entrance skylight

111
Walkthrough of building one so chooses to visit the upstairs exhibits, they
must go past the front desk to the large staircase.
The second half of the exhibits draw you in with
When you approach the building, you are
the same behavior as the first floor by created
greeted with a hangar-like structure made with
a cave-like entrance with warm-toned lighting
metal, glass and concrete. As you walk under the
as contrast. Circulation through exhibits on the
overhang, the path is framed using a elongated
second floor follow a similar pattern of entropy
concrete slab on your left. To the right, there
but as you journey through the exhibits, you see
is a long, rectangular pool. You walk into an
glimpses of the outside city through transition
open room containing only a large front desk,
areas with large windows that look out at the site
highlighted by the skylight above your head. The
that the building resides on. Upon completion
contrast from the tall, impressive windows to the
of the two main exhibits, there is an area across
small opening to the exhibits draws you into this
from the second floor exhibit exit meant for
almost cave-like room that sits the right. Natural
showcasing a wide variety of temporary exhibits.
light penetrates through the layers of glass and
Many people agree the most breathtaking exhibit
perforated metal, the main lobby and circulation
in the whole museum is the new state capitol.
areas are well lit, when entering the exhibits the
While it is not considered part of the museum, the
natural light fades behind you, as you walk into
building itself makes a perfect framed view as you
the past of Louisiana. The play with artificial light
enter and exit with panels of light drawing you to
emphasizes this as one meanders through history.

SECTION 3
gaze in its direction. It is the perfect picture of it
Each segment of the museum is lit with various
and in itself, is an exhibit to understand the whole
colors, a river like exhibit greets you first. As you
story the history tells.
move through the area to the right, you find
information on the Mississippi River, continuing
to find the wars that shaped Louisiana, While
the main room is an open floor plan the exhibits
and areas of special focus divide the area and
guide you along an abstract pathway giving you
freedom to visit specific parts of history as you
please. The positioning of each exhibit and how
they play with the large spaces ties every piece of
history together while making you have to walk
around the whole museum to understand the
story history tells. The arrangement is free flowing
though implied to travel in order, the freedom to
explore without being bound by chronology and
the nearness of different exhibits is a display of Fig. 4 View of 2nd floor exhibits of Louisiana culture
how each stage of life relates to the other. How
each facet of culture influences the next. When
you exit the exhibits on the first floor, you are Conclusion
given the option to visit the bathroom before
going upstairs to the second half of the museum. This building is very appropriate in its purpose
The bathrooms are located to the left of the front and use, it provides an exception learning
desk, hidden behind a translucent glass wall environment that is engaging to kids and adults,
with no natural light. There is a stark contrast of the architecture alone influences this by playing
bright red restroom stall doors to the cool-toned with the boundaries of what is part of history as
materials on the exterior of the restrooms. If what belongs to everyone today.

112
Fig. 5 Facade of Capitol Park Museum facing the New State
Capitol

SECTION 3

Notes

1 Louisiana State History Museum.” Projects » New Orleans

Bioinnovation Center | Eskew+Dumez+Ripple, published
2007, accessed November 28 2018 ,www.eskewdumezripple.
com/projects/louisiana-state-history-museum#

113
The Chateau on Highland
Alexis Albert and Matthew Ward, Louisiana State University
Fig. 1 Alexis and Matthew in front of the LSU French House
LSU French House and Honors College
The French House is home to Louisiana State
University’s Honors College at the heart of
campus.
The Purpose of the LSU French House
The intention behind the construction of the
French house was for it to be a prominent
building so that it could symbolize the school’s
effort to keep French culture alive in Louisiana.1
To accomplish this goal, the original architecture
firm Weiss, Dreyfous, and Seiferth designed the
building with the inspiration of a Norman French
Chateau, emphasizing the role of French heritage
in Louisiana.2
Although the project was the brainchild of the
department head of Foreign Languages James
Broussard, Governor Huey P. Long was the driving
monetary force for its construction.3 The French
House was built during the 1930s in the midst
of the Great Depression.4 Although the rest of
the country was in recession and not building
anything, LSU had a boom in the upbringing
of new buildings, and Governor Long was able
to build the French House and many other
significant LSU buildings such as the Fieldhouse
and the Tiger Stadium Dormitory.5
When the French House officially opened, it
served as the Romance Language immersion
dormitory in which only foreign language
majors and European exchange students could
inhabit because the most spoken language
here was French.6 This building served as a
haven for French speakers to cultivate their
skills, preserving the French traces of history in
Louisiana in the process.7
SECTION 3
Fig. 2 Blueprints from the original architects Weiss, Dreyfous,
and Seiferth
The History of the LSU French House
Weiss, Dreyfous, and Seiferth originally designed
The French House in 1934 from New Orleans,
however, the building underwent a five-
million-dollar renovation in 2015 lead by Tipton
architects.8 The modern renovation converted
the building’s original role as housing for romance
language speakers to hosting classes and events
for the LSU Honors College. Throughout most of
its history, the French House has served as a focal
point for cultural immersion and appreciation.
During WWII, it housed the wives of men in
service and female graduate students before
returning to the foreign language department
for its purpose.9 Although the building has
had several unique roles on the LSU campus,
114
the students and faculty have appreciated its
prominence throughout history because it
signifies in the most visually appealing way
possible how heavily French culture influenced
the fabric of Louisiana history.
Whether it’s being used by foreign language
students in the 1930s or by exceptionally talented
Honors College students in the 2000s, the French
House will always be seen as the centerpiece
of LSU’s pursuit of cultural and historical
preservation
Building Walkthrough
Upon initially viewing the façade of the French
House, we assumed that the interior of the
building would share the same French design
that the exterior reveals; however, once we
entered the building, we were immediately struck
by the feeling of modernity that the recently
renovated areas emanated.
Fig. 3 The modern renovation and original interior are shown
in contrast with the separation of this wall
Once we entered the building through the
entrance facing Highland Road, we stood in a
blindingly white room, stunned by the betrayal of
this newly designed lobby to the original French
influence. Looking left, we saw a staircase that
was so clean and crisply white that it lead us to
ponder whether we were in a French chateau or
a space station. These stairs also had clear glass
panels serving as railings, which further exhibited
the buildings slight shift away from its original
European heritage into the modern era.
Fig. 4 The futuristic design of the renovated staircase is a harsh
contrast to the outer French design of the building
The strikingly different interior lobby made us
think that the entire building would continue this
trend of modern style; however, after looking to
the right when standing in the lobby, there was
a significantly darker room that was not stained
SECTION 3
by artificial light. Upon entering this adjacent
room, we were relieved at the sight of the original
salon furnished in the traditional French style.
The dazzling, sparkling chandelier, the marble
mantlepiece, and the marble floors emanated the
sense of cultured taste and European luxury.
Fig. 5 The original French interior is prominent in the salon
This gathering place felt much warmer and
inviting than the sterile lobby. When we stood in
this room and looked back to where we entered
the building through the threshold, the schism
of design was signified by the wall dividing
the two rooms. This sudden break or change in
style is due to time’s ability of causing change
whether people accept or reject it. The design of
the original lobby may have been more visually
satisfying, but the requirements of today’s world
115
lead to an inevitable change in style.
After experiencing the grandeur of historical
French design in the salon on the main floor, we
walked through the threshold into the next room
to the right of the salon. This room resembled the
style of the space opposite of the salon; however,
in this area, one side was elevated with steps
while the other side was at the same level as the
salon and continued into a classroom, which
broke the dull symmetry that makes so many
buildings lack character. After ascending the steps
through the threshold to the right, there was an
exit down a hallway that maintained the essence
of French style, or there was a spiral staircase
which is still intact from the original construction.
We went up the steps of the old stairs, and the
sensation of being transported back in time was
enhanced in this original piece of craftsmanship
that exhibited the French-influenced craftsmen’s
attention to intricate detail. The solidity of the
staircase reminded us of the lack of modern
adjustments and put emphasis once again on the
original French design.
Once we ascended the steps to the second floor,
we walked to the left and found the restrooms
located in a hallway of a renovated area. Although
the space outside the bathroom was clean and
modern, we thought that the bathroom could
still have a classical French design; however, the
bathrooms were also renovated to match the rest
of the recently finished parts of the building. The
bathrooms were no more immersed in French
design than the rest of the second floor, so the
distinct French feel was not prominent even in
the bathrooms. The stalls lacked privacy just as
much as any other modern bathroom, especially
because of the lack of floor to ceiling stall walls.
Still on the second floor, we walked down a
hallway past a classroom enclosed by a glass wall
that contained elements of modern technology
such as a projector, a large plastic table, and
speakers – all of which exhibit the building’s
departure from traditional French style. As we
passed this room, we nearly forgot that we
were in a building constructed in the early 20th
century. The striking modernity of the precision-
cut glass panels and the LED lighting further
displays the Honors College’s desire to bring the
building into the 21st century as a place of higher
learning in the present day while still being
reminded of its French past.
SECTION 3
Fig. 6 An empty honors college classroom. 10
Notes
1  “French House Historical Timeline,” LSU Ogden Honors
College, Louisiana State University, accessed November 19,
2018, https://www.honors.lsu.edu/honors-campus/french-
house/historical-timeline.
2  “French House,”  LSU Ogden Honors College, Louisiana State
University, accessed November 19, 2018, https://www.honors.
lsu.edu/honors-campus/french-house.
3  “French House Historical Timeline,” LSU Ogden Honors
College, Louisiana State University, accessed November 19,
2018, https://www.honors.lsu.edu/honors-campus/french-
house/historical-timeline.
4  Ibid.
5  Ibid.
6  Ibid.
7  Ibid.
8  Jonathan Earle (Dean of LSU Ogden Honors College),
interviewed by Alexis Albert and Matthew Ward, French
House, October 2018.
9  “French House Historical Timeline,” LSU Ogden Honors
College, Louisiana State University, accessed November 19,
2018, https://www.honors.lsu.edu/honors-campus/french-
house/historical-timeline.
10  “Take a look inside the LSU French House after its $5M
facelift”, Tim Mueller, Greater Baton Rouge Business Report,
accessed No-vember 29, 2018, https://www.businessreport.
com/realestate/take-look-inside-lsu-french-house-5m-facelift.
116
The Old Governor’s Mansion
By Kaylie Von Kanel and George Isaac Gustin, Louisiana State University
The Louisiana Old Governor’s Mansion is a well-
known, beloved piece of Louisiana’s history. It’s
located in the heart of downtown Baton Rouge,
off Government Street. Many people who pass
by this area, by both walk-ing and driving, can
see the mansion nestled upon a manmade hill
surrounded by greenery. Its four statu-esque
white 30-foot Corinthian columns1 stand
proud on the façade, welcoming viewers into a
fascinating piece of Louisiana history.
The Mansion’s History and Huey P. Long’s
Vision for it building. Upon entering through the main
Many natives of Baton Rouge and the
surrounding areas are familiar with the build-
ing. Construction for the building began in 1929
under the supervi-sion of the governor of the
time, Huey P. Long.2 He was very involved in the
design and building process; the building is said
to have been inspired by White House’s original
design, made my Thomas Jeffer-son.3 Long is
reported to have said that he wanted to already
be famil-iar with the White House found in
Washington D.C. when he was elected president
someday in the future, so he had the White House
in Washington replicated here in Baton Rouge.
Its original use was to house residing governors
of the state. Nine Louisiana governors lived
there before a new mansion was constructed,
ending the thirty-two year run as the official
house for Louisiana governors. The Old Gover-
nor’s Mansion was turned into a historic house
museum in 1969, and it is now often visited as a
museum, as well as a place that hosts large events
such as weddings and field trips.
SECTION 3
Fig. 1 Mirror reflects and shows entrance of marble staircase
The Mansion, A Walkthrough
The Old Governor’s Mansion is a grandiose
entrance, you are greeted by an exquisite
marble staircase, a dresser-sized mirror (Figure
1), original linoleum flooring, a chandelier, and
a painted portrait of Governor Huey P. Long. The
grand staircase, linoleum flooring, walls painted
to mimic the marble of the stairs allows for the
echoing of all sounds made. This accompanied
by the general dim/low lit atmosphere caused by
the subtle glow from lamps makes the building
resonate its old, historic air, but also resonates
with the mansion’s eclectic history. The initial
view of the exquisite staircase guides visitors
upstairs, however the adjacent rooms on the
first floor are just as impressive and all have
chandeliers.
117

Fig. 2 The mirrors of the Grand Ballroom
The first floor consists of the Grand Ballroom,
which has four different shaped doors, a hidden
staircase, original wooden floors, and two huge
mirrors on opposite sides of the room (Figure 2).
The beautiful décor, grand piano and, massive
mirrors make the room feel massive as your
reflections bounces infinitely off the mirrors.
Fig. 3 Photograph depicts a mural in the Dining Hall
Connected to the ballroom is the Grand Dining
Hall fur-nished with original, creaky wooden
floors, chairs, a massive rectangu-lar dining table,
and wallpaper painted with murals of the Boston
Harbor, West Point, Niagara Falls, and the New
Jersey Palisades (Figure 3). The Dining Hall has
some portraits of the previous governors framed
by hand carved and chiseled frames made of old
cigar boxes. A large, rough, hand carved wooden
mantel rests above a fireplace bearing the cities
crest. The smell of old wood penetrates the
senses here but also allows visitors to imagine
participating in upscale dinner parties with
exquisite smells of food wafting from the kitchen.
Next to the Dining Hall is the kitchen which was
small and simplistic with origi-nal linoleum floors,
a secret staircase, and an elevator that was built
with the house (mostly original, but the motors
been replaced). Equipped with modern cooking
appliances and refrigerators, that don’t get any
actual uses beside storing food for the weddings
that are hosted here weekly because people
can’t cook in a historically pro-tected building.
Connected to the kitchen is the breakfast room,
a smaller, less grandiose dining room made
with the specific use to eat morning meals in.
Its similarly furnished to the Dining Hall, with
SECTION 3
original wooden floors, chairs, and a small circular
table.
Fig. 4 Huey P. Long’s office, hat, and other possessions
Heading to the Second Floor
Continuing upstairs and up the extravagant
circular, winding marble staircase, you are first
viewed with a small room with a balcony over-
looking the front yard and artificial hill that the
mansion sits on. This room was intended to be
a study but functioned as a small recreation
room for the family to gather at and enjoy time
together. As depicted in figure 4, the room is
currently furnished with some of Huey P. Long’s
possessions, such as his hat and desk. All upstairs
rooms are furnished with original wooden
floors. Through the hall are decorated vases, old
118
pictures, and personal belongings. Encased in
glass in the hallway is the original score for the
song “You Are My Sunshine” which was written
and composed by James Davis Houston, the 47th
governor of Louisiana.
Fig. 5 One of the upstairs bedrooms
Fig. 6 One of the two outdoor patios for summer nights
Connected to this hallway are four similar sized
rooms ded-icated to each of the governors that
had previously lived there. Each room is furnished
relatively similar with different sized beds,
portraits of that governor and family, belongings,
and mementos (Figure 5). These rooms all seem
comfy and quaint, however the house lacked air
conditioning, so they got very hot. The answer
to this on hot sum-mer nights was the roofed,
screened, outdoor patios furnished with a bed
and original wooden flooring (Figure 6). The
ceiling’s wooden foundation is left visible and
causes viewers to peer upward then outside. The
screen windows allow for a lot of natural light to
flood into the room, also rain which has left the
flooring slightly damaged and extra creaky. The
temperature is notably different from the rest
of the mansion upon entering these two patios.
One is smaller and more confined, overlooking
the city to the west. The other is much larger,
has a sitting area, and overlooks the outdoor
rose gardens in the backyard to the south. Both
patios have beds, lamps, and other small pieces of
furniture, but nothing too special due to potential
damage from the outdoors. As you exit the larger
patio that is located towards the south side, you
walk through a curved hallway and go down the
marble staircase that continues the curve and
leads to the entrance.
SECTION 3
Notes
1. “Old Louisiana Governor’s Mansion.” National Parks
Service, U.S. Department of the Interi-or, www.nps.gov/nr/
travel/louisiana/ogov.htm.
2. “Mansion History.” Preserve Louisiana, pre-serve-
louisiana.org/mansion-history/.
3. Ibid.
119
Louisiana Museum of Natural Science:
A North American Voyage
Dylan DuCarpe, Jayce Raborn, Louisiana State University
History & Context
The Louisiana Museum of Natural Science is
situated on the campus of Louisiana State
University . The museum itself is housed in
Murphy J. Foster Hall, which was completed in
1923 under the design of architect Theodore
Link, who built the building to emulate the Italian
Renaissance style 2.
Building Walk-through & Embodied
Experience
Walking up to the building, we can clearly see the
characteristics of Renaissance-style architecture:
arches, stucco façade, red-tiled roofs. Being that
the building is Italian Renaissace inspired, it does
not embody an atmosphere of Louisiana, or
North America as a whole for the matter.
Figure 1 The museum’s facade
We continue towards the building up the steps
and approach a glass door. Two columns appear
beside it, Corinthian order capitals adorn the tops.
Upon entering the structure, we find oursevelves
in a rather dark anteroom, a light from a room to
the left beckons us in.
Entering the museum, we are both greeted
with the familiar smell of a library or old antique
shop. We are surprised to find that the Museum
of Natural Science does not waste tme on
pulling visitors right in to the vibrant natural
environments of North America. To our left we
see two large taxidermal animals.
The museum stretches itself out into a hallway
SECTION 3
with little enclosed niches, or dioramas, on the
left side of the wall. We travel down this side first.
These dioramas enclose interesting reenactments
of nature, the first one we encounter is of a
woodland environment, featuring two deer. One
stares back at us, as if paralyzed with fear. The
enclosure serves as an almost literal window
into nature, something that doesn’t make the
viewer feel that he is interfering or intruding on
the naturalness of it despite its artificiality. The
artificiality of the exhibit is remedied by its ability
to make it appear as a kind of snapshot in time.
We take a closer look in. To the left of the
enclosure is the base of what appears to be a
large tree, Its likeliness causes us to reach our
heads over the rope and peer up, expecting the
tree to somehow reach high above the ceiling. It
of course does not, however, and we continue.
We continue past a few other similar enclosures
and at the end of the hallway, a much larger
diorama becomes increasingly visible. Our
interest draws us closer to it when we are
slightly startled by a hind-legged brown bear
in the corner previously hidden from sight. The
grizzly bear is joined by a massive taxidermized
polar bear. There are windows behind them,
but they are frosted and appear dark. A slight
120
luminescense is visible from the outside.This
interesting lighting arrangement makes for the
heightened eeriness and makes us both feel quite
uneasy.
Figure 2 The entrance to the museum
The space is rather narrow and crowded with
specimens, which at first makes for a quite
unnerving experience. But strolling through the
halll towards another hall of dioramas, we realize
a strange hominess to the place. Wood-paneled
interior walls are strwen with mounted heads
of North American mammals, the sounds of our
tennis shoes on the modest floor contribute to a
quaint sense of comfort.
Figure 3 Two intimidating bears tower over visitors
We continue past display cabinets featuring
amphibious and reptilian creatures of North
America, again confirming our feelings that
the place has an antique shop flavor to it, like a
strange collection of curiosities of an eccentric
collector. We arrive at the entrance of a second
hallway of exhibits, these providing more variety
than the first set. One features a coastal island
with gulls flying in to meet dozens of others on a
rocky coastal shore.
One diorama features exotic flora and fauna, that
of a tropical rainforest. Looking in, the depth of
the enclosure is obscured by a thick jungle brush,
with a rather life-like monkey looking back at us.
One can almost hear the sounds of monkeys and
other jungle animals while enjoying the display.
SECTION 3
Figure 4 A rainforest monkey looks back at visitors
We finally venture on and find ourselves at
the end of a final hallway. Gold letters on the
entrance call it the, “George H. Lowery, Jr’s Hall of
Louisiana Birds”. We walk in. The ceiling is painted
to resemble a cloudy blue sky, Sparse hidden
light only slightly illuminates the hall, while the
majority of the light is provided from inside the
display cases which line the entirety of the hall,
forcing your eyes to the spectacular specimens.
121
 SECTION 3
Figure 5 George H. Lowery Jr.’s Hall of Louisiana Birds

Hundreds of birds of all sizes line the walls of the

hallway. We walk through the rest of the corridor
and snake back through the museum and exit
back through the door. The experience is strange
as we turn our backs to the vibrant display of
nature back to the mundane lobby that we return
to. This sudden change in scenery serves as a
reminder to always keep your eyes open and
your sense of the natural world around you alive
as you continue your travels, even if it does not
jump out at you in quite the same way as brown
bears. Notes

“About LSU Museum of Natural Science”, Louisiana State

Univer-sity Museum of Natural Science, accessed on
November 23, 2018, https://www.lsu.edu/mns/about/about-
mission.php
2 “LSU Campus,” Kristine Calongne, Louisiana State University,
accessed on November 22, 2018, https://web.archive.org/
web/20080716025426/http://www.lsu.edu/highlights/041/
beauty.html

122
The Old with the New
Alexander Collier and Jonathon Lin, Paul M. Hebert Law Center
First Impressions
When first researching, we spoke to the Archivist
and Public Services Librarian of the Paul M.
Hebert Law Center, Travis H. Williams. He gave us
the blueprints of the building as well as found
some books that had information about the
history, design, and renovations of the college.
We spotted some key designs that made the
building seem extrava-gant. For instance, the
library is split into two floors, the second forms
a ring around the bottom floor and makes the
area feel more open. The only entrance to the
second floor is a large spiral staircase that sits
in the middle of the ground floor, the action of
everyone going up and down to gather books
or study makes the time being there feel less
secluded than how the Middleton Library is
designed. Another initial feature we saw was a
panoramic stained-glass panel that stretches
from wall to wall. We couldn’t find any significant
information about the artwork, other than it
was originally installed on the ground floor then
relocated to the second during the renovations1.
After research-ing and exploring what the Paul
M. Hebert Law Center holds, we learned that
the building keeps a lot of history and secrets
as it com-bines the new with the old inside its
foundation.
Figure 1 Jonathon Lin sitting by the Paul M. Hebert statue
History
In 1930 architects Weiss, Dreyfous, and Seiferth
designed the original LSU Law Center called the
Leche Hall, named after Governor Richard Leche.
The building was later changed to the Paul M.
Hebert Law Cen-ter after Gov. Leche was charged
with male corruption in the 1940s. The building g
was initially an independent law school that was
later inducted into Louisiana State University. In
the 1970s, renovations were made and an annex
was added to the back of the building, ru-mors
say that Paul M. Hebert took a court case to fund
for the renova-tions of the building. The annex
SECTION 3
added a new library, multiple auditori-ums,
classrooms, offices, and a large stained-glass
entrance that was later removed and installed on
the second floor.
Figure 2 Blueprint of the main entrance
Walk-through
As you walk down Highland Road, you can start
to see a massive Greek-like building that is the
123
Paul M. Hebert Law Center of LSU. Once you
approach the 50 feet tall structure, you can start
to see the detail in the stone and marble of the
6 Corinthian columns. Standing in front of the
building you can see the three men positioned at
panels from the floor that seamlessly blends
into the ground. To the left is the reception area
that has a large curved dark wood desk that
is noticeably darker than the floor. The rest of
the office is not for public use. The overall path
of the building guides you through new and
old sections of the space that let you find your
classes easily and eventually take you the rear of
the building that opens up to a small courtyard.
This path is very structured in that you don’t
feel as if you have a choice where you go, you
are either led directly left or right throughout
the building by corridors or led up and down by
stairs. The planning of the annex should have
accommodated the initial flow of traffic to give
students a freedom of exploration as they wander
through the building. This historic building
includes not only the past but also includes
modern technology to accommodate students.

SECTION 3
Students can learn the laws of America while
walking through the history of how the Paul M.
Figure 3 Alex Collier standing at the main entrance Hebert Law Center influenced Louisiana.

the peak of the roof’s façade. As you walk further

toward the building, there are two sets of
cement stairs that lead to the large iron and glass
entrance. Once entering the college, you enter
a foyer that meets a three-way split. The left and
right are corridors that hold classrooms on each
side, the straight leads to a green, black, tan, and
brown stairway with semi-circle and horizontal
line patterns. If you go right and make your way
down either corridor, you will enter the annex of
the building that is styled with lots of white tiling
and wooden panels. After taking the elevator to
the top floor, you enter the corridor that leads to
the dean’s offices. The corridor is dim and lined
with painted portraits of previous law school
deans. At the end of the hall is the Dean’s office
with a wooden double-door with a frosted glass
of pelicans and cypress trees in the bayou. When
entering the dean’s office, you are greeted by a
large pelican crest made of wood that almost
blends in with the triangular and diamond
pattern of the hardwood floor. There is a seating
area to your right that has an eggshell colored Figure 4 corridor leading to the Dean’s office
recessed ceiling and 3 feet high dark hardwood

124
Appendix

SECTION 3
Figure 5 spiral staircase in the library

Notes

1. W. Lee Hargrave, LSU Law: The Louisiana State

University Law School from 1906 to 1977 (Baton Rouge: LSU
Figure 6 foyer after walking through the main entrance Press, 2004)

125
The Heidelberg Hotel: Icon on the Mississippi
Brandon Herring and Larry Rase, Louisiana State University
Fig. 1 Selfie in front main entrance
Sociopolitical Role
Few buildings in Baton Rouge can claim the
amount of sociopolitical influence as the
Heidelberg Hotel, now known as the Hilton
Capitol Center, did from the late 1920s to the
mid-1930s. At the time, controversial Louisiana
governor, Huey P. Long was at the height of his
powers and his favorite place to reside while in
Baton Rouge was none other than the penthouse
of the Heidelberg hotel. Long has been described
constantly being at Heidelberg during legislative
sessions and frequently held private political
meetings at the hotel’s bar, the Hunt Room.1
There have even been several Louisiana political
events to occur with the Heidelberg at its
center. The proverbial standoff between Long
and his opponents during his impeachment
proceedings occurred mere floors away in the
hotel. The Heidelberg was even declared as
former lieutenant governor Paul Cyr’s seat of
government as he attempted to gain control
of governorship when Long became Senator,
until he was evicted from the premises after a
call to the hotel by Long.2 Long truly made the
Heidelberg his own, and in turn it became a
representation of Long himself. Though charming
and welcoming on the outside at first glance, a
closer look at its surroundings and the Heidelberg
becomes an intimidating, almost threatening
presence set above its peers, much as Long was.
The Heidelberg became a vehicle for Long as
he increasingly gained control over Louisiana,
as well as a symbol for his well-established yet
concerning power.
History
SECTION 3
Built in 1927, the Heidelberg Hotel as it was
known at the time, was designed by famed
Louisiana architect Edward F. Neild. The
Heidelberg was Neild’s contribution to the
skyscraper boom of the 1920’s, complete with the
gaudy displays of ornamentation in the lobby and
penthouse that was so popular at the time.3 The
original building was built out of a steel interior
frame and painted brick exterior façade.4 The
Heidelberg received a large amount of attention
when it was first opened as it was touted as Baton
Rouge’s finest hotel, with guest ranging from
prominent world figures such as Fidel Castro,
Jimmy Carter, and John F. Kennedy. However, its
success was short lived as the Heidelberg hotel
closed its doors in 1985, only to reopen in 2006
after a massive $70 million renovation by Hilton.5
The building was almost completely redesigned
and a huge expansion to the building was added.
Following completion of construction, the hotel
largely reads as two separate buildings, with
the original retaining its architectural detail and
charm, and the new building looking far more
bland and boring with plain white bricks and
uniform unornamented windows.
126
Walk Through
The Heidelberg Hotel is located directly in
downtown Baton Rouge in the middle of its
“arts and entertainment district”, very close to
the Mississippi River. The entrance on Lafayette
St. is covered by an awning, above which are 4
flags that immediately catch one’s eye. 5 large
windows with intricately designed arches frame
the doorway.
Fig. 2 Lobby from main entrance
Upon entering one is placed in an open
2 story room with a second-floor balcony
overlooking the lobby on the back wall. A
seating area is the main use of space for the
front room while a small bar area is directly to
the left. The warmth offered by the building hits
us and offers a very welcome respite from the
cold weather outside, instantly making us feel
very comfortable. The lobby is decorated simply,
yet elegantly and place appropriate. The main
feature is the chandelier covered in a unique cage
exterior cage, hanging in the middle of the room
that immediately draws one’s attention. Above
the bar are 6 antique maps of Louisiana and of
the Mississippi River Delta. Natural light fills the
room from the large windows on the entrance
wall. The floors are impeccably clean and made
of speckled white granite, though the entrance
is covered by a large rug. On the back wall to
the left of the main entrance is a sliding door
leading the hotel restaurant, the Kingfish Grill.
The restaurant is relatively small with only 15
to 20 tables and the floors transitioning to dark
hardwood and dimmer lighting, a sharp contrast
from the brightly lit lobby.
SECTION 3
Fig. 3 Hotel Restaurant: The Kingfish Grill
To the right of the main entrance along the wall
is the front desk opposite which are the elevators.
Adjacent to the elevators is the first public
restroom. The restaurant is also dimly lit with
patterned tile and music playing softly overhead.
Going past the front desk leads us to a hallway
that takes a sharp left, the distinct sound of our
shoes on marble floors giving way the muffled
tapping on the carpet that covers the hallway.
As we make our way down the hallway we see
two conference rooms, one much larger than the
other. The smaller one is more of a work station
127
with a long granite bar installed into the back
wall.
Fig. 4 Executive Conference Room
The larger conference room is dominated by a
large polished wood table surrounded by leather
rolling chairs.
At the end of the hallway we take a right where
we see the doorways to the private party rooms,
to which we did not have access. To the left of
those entrances is the entrance to the grand
ballroom.
Fig. 5 Grand Ballroom
Entrance into the ballroom gives way to a far
more brightly lit atmosphere than that of the
hallway. Windows line the entire back wall
allowing the entrance of natural light while
circular light features placed periodically hang
from the ceiling. The room is filled with tables
with white tablecloths. Carpet continues into the
room decorated beautifully in an abstract design,
continuing the trend from the hallway. Upon
exiting the ballroom, the hallway leads towards
a second exit. Although we were not able to see
a room, pictures on the hotel website display
their typical guest room, a room with two large
queen beds with large headboards immediately
upon entry. Directly opposite the beds is a
wooden 6 drawer dresser with a flat screen tv
perched on top. A small wooden desk sits in
the corner. The bathroom is directly to the right
of the entrance and has white tile floors, black
SECTION 3
granite countertops, and a tiled shower. Two
distinct features really stood out during our visit
to the Heidelberg. The first is the Christmas tree
standing prominently in the lobby. Beautifully
ornamented and topped by the chandelier
hanging above, one cannot help but marvel
at the dominant presence of such a beautiful
centerpiece. The second is a small alcove on the
lobby’s back wall.
Fig. 6 Lobby Christmas Tree
128
A sharp contrast to the tree’s imposing nature, the
alcove, filled with oversized leather chairs and a
television, was the most comfortable and quietly
peaceful part of the entire building. The comfort
offered by the chairs and the music playing softly
overhead allowed a moment to sit back and
appreciate the beauty and detail that the lobby
and building as whole had to offer.

Fig. 9 Hallway

SECTION 3
Fig. 7 Lobby Alcove

Fig. 10 Bathroom

Notes
1. Louisiana Office of Cultural Development Division
of Historic Preservation, Heidelberg Hotel and Hotel King
prepared for the National Register of Historic Places Database
(Baton Rouge: Louisiana Department of Culture, Recreation,
and Tourism, 1982)
2. Ibid
3. Ibid
4. Ibid
5. Ibid
Fig. 8 Hotel from outside

129
Tiger Stadium: Welcome to Death Valley
Rebecca Messonnier & Elisha Crain, Louisiana State University
Intentions
Tiger Stadium at Louisiana State University
has brought the strong community of tiger
fans together for decades. This overwhelming
structure on the outskirts campus has become
the most socially im-portant building in Baton
Rouge. Through studying this building that
we, as students, so often visit, the intentions of
this stadium have be-come clear. The stadium
originally served as dormitories for roughly 1,500
students in 19861. Since then the stadium has
expanded tre-mendously and is no longer used
for student living. Tiger Stadium is located “just
below the bluffs” so that it would not overpower
the buildings in the quadrangle on campus2.
Each fall Saturday in Bat on Rouge is now treated
as a holiday or special occasion. LSU football
games bring friends, families, and all fans from
across the state togeth-er to cheer on their
beloved tigers. The intense volume of the stadium
creates an atmosphere like no other in college
football.
History
Tiger Stadium was constructed in 1924 by the
architects Wogan and Bernard3 holding 12,000
fans. Renovations since have been done by
Trahan Architects4. 4 years later the building
was renovated to hold an additional 10,000
fans. Many reconstruction processes have been
completed since 1924 bringing the current
capacity to 102,321 fans4. Tiger Stadium is now
the ninth-largest stadium in the world by capaci-
ty, the sixth largest stadium in the NCAA, and
the third largest in the Southeastern Conference
(SEC)4. The stadium has earned the name “Death
Valley” and is regarded as one of the worst places
for an op-posing team to play5. The community
of tiger fans have created a reputation of Death
Valley being one of the loudest stadiums in the
country6. Tiger stadium still has room to expand
in years to come to continue fit all the loyal tiger
fans.
Building Walk Through
Tiger stadium stands tall and can be seen
from almost any point on campus. It is not a
fancy building, it is in turn quite simple. On
gameday, walking is the most sensible choice
of transportation to reach the stadium. As you
walk closer to the stadium you will notice there
SECTION 3
are numerous “gates” to enter through depening
on your seat in the stadium. As a student, gate
number seven is the required entrance. When
walking through the gate, the line is held up by
purse checks and ID scans.
Fig. 1 selfie with Tiger Stadium
After getting through the gate, there are huge
concrete ramps that slowly climb up to each
level of the stadium. Though visually bland, the
echos of the “geaux tigers” cheers fill the pathway,
creating an exhillirating experience. When you
finally reach the second level and leave the ramp,
you are immediately hit with the smell of hot
dogs and popcorn from the numerous concession
130
stands within the stadium.

Finally, turning away from the concessions you

can see many large openings leading back
outside. Once you emerge from the stadium, you
instantly recognize how small you are compared
to the over-whelming nature of the inside of the
stadium. All you see are rows and rows of metal
benches over concrete slabs creating 102,321
seats all pointing to the 120-yard football field
in the middle. Each end zone has “LSU” painted
in huge purple and gold letters. Your attention
is brought to the middle of the field which has
a purple and gold eye of a tiger painted on it.
Fig. 4 Inside of Tiger Stadium at halftime
Among the bleachers you see thousands of
fans dressed in their LSU gear ready to cheer on
the tigers. Tiger stadium may not be an elegant
example of Louisiana architecture, but the at-
mosphere it creates is in no way hampered by its

SECTION 3
simplicity.

Fig. 5 “Welcome to Death Valley” sign in the south end of the

stadium

Notes
“History Tiger Stadium”. Geaux Tiger Talk. Archived from the
original on October 2, 2011. Retrieved December 2, 2018.
http://www.geauxtigertalk.com/tiger-stadium/

Fig. 2 outside Tiger Stadium from the north end 2 Ruffin, Thomas F. Jackson, Jo; Hebert, Mary J., eds. Under
Stately Oaks: A Pictorial History of LSU [The New Campus].
Baton Rouge: Louisiana State University Press. p. 53. ISBN
0-8071-2682-9. Re-trieved December 2, 2018.

3 Ibid.

4 “Tiger Stadium Expansion Renderings”. The Advocate. Baton

Rouge. Archived from the original on July 15, 2014. Re-trieved
December 2, 2018.

5 “No place like home”. Rivals.com. Retrieved October 2, 2007.

6”Death Valley tops list of scary venues for opposing teams”.

Fig. 3 The walk down the hill to Tiger stadium ESPN. Retrieved December 3, 2018.

131
Tranquility of Glorification

Morgan Fontenot & Elizabeth Watkins, Louisiana State University

St. Jean Vianney Catholic Church into one mass.

St. Jean Vianney is a Catholic church located

in East Ba-ton Rouge Parish, Louisiana. Trahan
Architects of Baton Rouge brought to life this
simplicit design that was made for a big purpose.
The church replaced one that lived there
previously. On the exterior of the old building, the
glass laid on each side of the sanctuary.1 Keeping
this in mind, the new design offered the same
aspect in respects to the importance of being a
part of the natural world while worshipping. The
architects wanted to convey a sense of embrace
in the act of worship in an open space, thus

SECTION 3
bringing a closeness between the community
of the church and within individual spiritual Fig 1. The front door of St. John Vianney cast in bronze.

relationships.2
When immersing completely into the foundation,
there is a feel of exposure that comes along.
The church was built in 1999 by Trey Trahan and
Due to the open floor plan and centered alter,
Rich-ard Simmon. It was dedicated by Bishop
wandering eyes tend fall to all around the
Alfred Hughes on November 28th, 1998. The
room giving a sense of worshipping with-out
building has always been a place of worship of
privacy. The architect made a usually intimate
the catholic religion. The clients, (The Diocese
and secluded activity into one that was shared
of Baton Rouge), the community, and the laity
between any stranger of the congregation.
show love for the building in the passion and
Before one is found in the pews, a Baptismal
close-knit relationship they share for their home
Font lay in the front of the entry. The water from
of prayer. St. Jean has received multiple awards
the sugar kettle falls into a small pool, which
for its design. This gives a sense of pride and
can be heard all throughout the building during
belongingness to the atmosphere of the church.
all times of mass. It calms and sings serenity
into the church. Once sitting, the attention is
When walking up to the building, one becomes
brought to the center where the altar is found.
immersed in the large and clean cut of the
The altar is in line with the kettle and is a very thin
design. The church is constructed in an octagonal
structure. The thinness is so that the attention
shape. Although the front doors were not open
is not drawn to the furniture, but the religious
for mass, any visitor is intimidated by their scale
practice taking place. During the day, the large
in size due to the fact that each door is a thirteen-
floor to ceiling windows let the natural light
foot, bronze filled panel. Each door has objects
blare into the building; unit-ing the segregation
of religious symbols carved into the bronze by
with the world around them. During later mass,
California sculptor, Max Demoss. The magnitude
the artificial light is brought upon to mimic such
of this entrance is as if to say that the segregation
feelings. Since the sanctuary is so open, the
comes together small and individual, but molts
visitors are focused on the bold altar that is in

132
front each view. The simplicity of the building
is beautiful yet distracting due to the openness
of the entirety of it. The sounds that are created
by the architecture create a quiet, yet power-ful
space when need be. Entering the church, the
con-crete below one’s feet makes footsteps mute.
The con-crete material that surrounds the inside
and outside of the building make the important
voices echo and radiate through the air. There is
one main room in the center where the gathering
of the segregation and mass takes place. The
feeling that comes along with exploring the
building is cold but inviting at the same time. Fig 2. The main entrance outside of St. Jean Vianney.
The eupho-ria radiates through the sounds and
light of the building make one feel welcomed.
The size and scale makes one feel small in the
sense that worshippers feel in compari-son to
God. Experiencing such a scene could make a
non-religious person stop and gawk at the scale

SECTION 3
and beautiful design. The clean and precise sides
of each wall and the symmetry found in many
elements is overall pleasing. The building creates
a scene of perfection that could go hand in hand
with the impression that a worshipper has for
their God.

After the mass is over, one finds themselves

leaving the pews in orderly fashion. The Fig 3. The glass windows encasing the sanctuary where
congregation disappears behind the walls of masses are held.
cement that engulf the center room. Behind the
walls there are exiting points where the visitor
can discretely leave without taking attention
away from the glorifying practice. Opposite to
entering, the visitor feels like they have left an
overwhelmingly large place of worship to resign
to the small lives they continue out-side. The walls
swallow the individual as they make their way to
the exit and are hit with the overflowing outside
air. Overall, the architects design shows off their
intend-ed purpose or the people of the church to
come togeth-er in a peaceful and god-like place.

Fig 4. The main entrance inside of St. Jean Vianney.

133
 SECTION 3
Fig 5. Sitting within the congregation. Fig 6. The ceiling of St.
Jean Vianney.

Notes

1 St. Vianney Catholic Church.” St. Vianney Catholic Church.

Accessed November 11, 2018. https://www.stjeanvianney.
org/.
2 St. Jean Vianney | Trahan Architects | Baton Rouge.”
Trahan Architects. Accessed November 11, 2018. https://
trahanarchitects.com/work/st-jean-vianney/.

134
Stained-Glass Wonder: St. George Cathedral

James Vollers and Abigail Ricks, Louisiana State University

History of the Congregation

The St. George Catholic Church was completed

in 2017 on Siegen Lane in Baton Rouge. 1
The construction of the building began in the
spring of 2015 after the church had found the
firm they desired to take on the project, Grace
Herbert architects. 2 The building’s purpose was
to create more space for the congregation and
new comers. 3 The goal was to design a building
that resonated with the congregation and
pulled together the old tradition with the new
modern social climate. 4 The architects did this 

by incorporating the same form of architecture Fig. 1 James Vollers and Abigail Ricks

used in a previous building. 5 White stone was
used for this. History was also kept through the
addition of small circular win-dows along the
façade at an even level, similar to one of the
previous buildings that the church inhabited. 6
The congregation itself was very much in favor of
the idea of a new campus and even put forward
18 million dollars for the project, leaving only 2
million left needed for the project. 7
SECTION 3
Walking Through the Cathedral
Standing outside the front of the church, we can
see a brick façade and stone arch with colorful
stained glass (Fig. 1). As we approach the double
doors, we walk up circular, concrete steps and
find ourselves underneath the arch (Fig. 2).

Thought Behind the Design

During the early stages of construction, the

architects gathered au-thentic vintage pieces,
such as three 200-year-old bells from St. Louis. 8
St. George Catholic church has been an official
church since the 1900s but has had religious
services long before becoming an official church.
9 With this in mind, the architects wanted to
meet the desires of the faithful congregation
by including sentimental pieces and as-pects
from the previous buildings. 0 Once the idea Fig. 2 In Front of the Cathedral
was brought forth to the congregation, they
all gathered around the cause and financially
supported the project. 1 Once we open the glass door and walk through,
we enter the narthex of the cathedral. The open
space separates the outdoors from the sanctuary

135
of the cathedral. To the right of us is a hallway
leading to the restrooms. The restrooms have no
windows, but instead bright, au-tomatic lights
compensating for the lack of windows.
We walk through the hallway back into the
narthex. We begin walking towards another
glass façade leading into the sanctuary of the
cathe-dral. When we have entered, the height of
the building leads us to look upwards towards
the ceiling and we notice the beautiful wooden
framework, mixing the old traditional cross-
shaped building with a modern tone.
Fig. 3 Front of the Sanctuary
In front of us are pews and at the front of
the sanctuary, rounded wooden pews are
included to connect the pews from the
transepts to the main seating area (Fig.
3). As we begin to walk down the middle
aisle we look down and notice the mosaic
tiles and a blue line leads us to the front
of the cathedral.
Once we pass the rounded pews and
reach the front, we turn around and look
back from where we entered. The mosaic
closest to us de-picts two hands clasped
together. The blue line that led us to the
front flows towards the back from where
we entered, connecting three different
mosaics similar to this one. Eventually,
the blue line reaches back to the glass
doors we walked through to enter the
cathedral. They flow underneath a small
baptismal font that’s centered between
the two double doors on the back glass
SECTION 3
wall.
We turn around and look forward again
to the very front of the ca-thedral where
a set of circular steps lead up to the ambo
where the priest speaks, and behind that
ambo is a colorfully stained-glass fa-çade.
To the left of the ambo is a larger
baptismal font in a cruciform shape.
It’s sizeable enough to accommodate
submersion of an adult. Looking to our
left and our right we can see the two side
transepts of the ca-thedral where more
rounded pews are in rows reaching back
sixty feet.
Turning back towards the platform, we
begin to walk left, passing beside the
baptismal font. As we draw closer to the
back wall we can begin to see a wooden
door, and as we walk through the door
we reach a slim, well-lit hallway. To the
right of us is a wooden door, which we
136
open and start to walk through.

SECTION 3
Fig. 4 Glass Façade Separating the Cathedral and Chapel

As we enter into the new space, we begin to

realize that where we came from in the very
front of the sanctuary of the cathedral is actual-ly
the back of a small chapel, which appears to be
capable of seating about one hundred people.
It’s a dim space with a couple of rows of rounded
pews. At the very front of the room, a set of steps
leads up to a platform where an ambo rests. Notes
From this view, we can see the same colorful
stained-glass façade that is seen from the front 1 “St. George Catholic Church,” Father Michael Schatzle,
of the sanctu-ary of the cathedral (Fig. 4). This Grace-Hebert Architects, accessed November 21, 2018, http://
gracehebert.com/portfolio/st-george-church.
glass façade separates the two spaces. The ceiling 2 “St. George Catholic Church is set to build a new $15.2
within the chapel itself begins to curve downward million facility: See renderings,” Diana Samuels,The Times-
as we walk towards the exit in the back. Picayune, ac-cessed November 25, 2018, https://www.nola.
Once we walk through the very back door we are com/news/baton-rouge/index.ssf/2015/03/st_george_
catholic_church_bato.html.
again outside but at the back of the cathedral. 3 Ibid.
4 Blake Bruchhaus, conversation, November 11, 2018.
5 Ibid.
6 Ibid.
7 Ibid.
8 Ibid.
9 Ibid.
10 Ibid.
11 Ibid.

137
@Highland: Baton Rouge’s Breakthrough Building

Hayden Cochran, Louisiana State University

Intentions office space to be a refreshing take on an office

space locating itself in Baton Rouge while still
@Highland is Baton Rouge’s new and exciting respecting the beautiful landscape that Louisiana
center for the next generation of innovators has to offer.
to converge in a single place to indulge in
excellence.
Located alongside the Bluebonnet swamp, a
forgotten as-set of the Baton Rouge community,
the building is intentionally pre-serving the
history and integrity of the nature that digs deep
in Louisi-ana’s roots.
The building is to be the new home for General
Informat-ics, an IT solution company previously
located inside LSU’s Louisiana Business and

SECTION 3
Technology Center since 2002.

Concept

The building’s construction was completed

in 2018 and is beginning to serve at General
Informatics new home. Designed by New
Orleans based architecture firm Eskew + Dumez
+ Ripple1, which pay close attention to the
preservation of Louisiana’s customs and culture.
The building features all aspects that a thriving
business of 2018 would feature, such as intriguing
walkways, a state of the art networking system,
premium LED lighting, and introduces a new and
refreshing sprinkler system.2
The clients were seeking a relaxed environment
that they could enjoy while performing strenuous
computer work and an integrated outdoor
space to escape to on their breaks or during
their lunches. The architects created a design
to nestle the 52,000 square foot volume in
between the beautiful southern oak trees, where
many southern natives find comfort, to define
a distinguished reality from the interior to the
exterior.
The surrounding community has found the new
Figure 1: Selfie with the building
Building Walkthrough
As you enter the building from the front, you
are greeted by large, flat ceilings spanning three
stories and flooded with natural light coming
in from the front of the building, a skylight,
and even through the back of the building
creating a welcoming and majestic entrance to
this beautifully detailed interior space. You are
automatically given view towards the back of the
building to the large southern oak trees located
on the far side of the back patio area. Walking
through the space gives you a sense of ease and
enlightenment due to the natural light and the
open space of the first floor, which consists of
sitting areas, conference rooms, and office spaces
tucked away with respect to the open floor plan.

138

The freestanding stairs that take you up to the
second floor scurry you into reality, by putting
a ceiling over you ending the experience of the
high ceilings and giving you glimpses of more
conference rooms and office spaces.
The second floor, shaped like a L, is glass on
the inside, giving views to the backside of the
complex to the patio/courtyard where the
majestic southern oak trees hang out. Moving
through the second floor is still a relaxing and
comforting experience, while still keeping
you grounded in reality. The lighting here is
magnificent, with natural light from three
different points you are given the experience
of almost floating through this story of the
building. At the end of the second floor lies a
conference room/office that is accessed after
walking through a walkway entirely enclose by
class, emerging you in the beautiful view of the
natural Louisiana landscape. Once you’ve made
it to the room, the awe isn’t over yet, as the room
is covered by glass completely on three sides,
giving the room impeccable natural lighting
while the southern oaks in the courtyard keep the
evening sun out of the most exposed side.
Figure 2: Back courtyard of @Highland
The back courtyard plays as a cherry on top
for the entire experience of the building. While
situating itself behind the building and nestling
itself underneath a large and magnificent oak
tree that provides shade for the occupants
underneath where the shading provided from
the building itself cannot reach, which even
in the dreadful heat of the Louisiana summers
creates a pleasant and comfortable experience
for those occupying this area. Experiencing what
the beautiful outside patio is like and being
able to see into the building from a fresh and
new perspective due to the beautiful spacing
and distribution of glass on the outside of the
building, you are getting framed views of the
possibilities of what the company here can create
and become. Inversely, while the employees
of this company can be steadily at work while
getting wonderfully framed views of outside
at the beautifully standing oak trees and the
swampy woods that locates itself beyond the
boundaries of the complex.
SECTION 3
Figure 3: Front view of @Highland
Experiencing the building you can also grasp the
gratification of how scenic and lovely Louisiana
is, from the wonderful ecosystems and character
of our land, to the customs and cultures that are
impossible to acquire anywhere else in the world.
Future Plans
@Highland plans to build three more buildings
in this 8.3 acre plot within the next few years and
139
integrate trails in the neighboring swamps and
forests for the public to explore and enjoy the
wonderful amenities that Louisiana has to offer.3

SECTION 3
Notes
1.“Genral Informatics,” Eskew + Dumez + Ripple, accessed
November 17, 2018, http://www.eskewdumezripple.com/
projects/general-informatics.
2. “Live. Work. Play.” @Highland, accessed November 18, 2018,
https://www.athighland.com.
3. Riegel, Stephanie, “High Tech Office Park Planned for 8-acre
Site at Highland and Bluebonnet.” Greater Baton Rouge
Business Report. Accessed November 17, 2018, https://www.
businessreport.com/article/high-tech-office-park-planned-8-
acre-site-highland-bluebonnet.

140
The Pond House at Ten Oaks Farm
Jou Chuch Lee & Lizzie Granger, Louisiana State University
Fig. 1 Side View of the Pond House
Introduction
In a remote, quiet, bayou-like environment of
Hammond, Louisiana,1 Michael and Denise Holly,
from Holly and Smith Architects, designed a
beautifully crafted residential building, the Pond
House, which served as a perfect retreat from
the bustling life of cities and suburbs. The Pond
House at Ten Oaks Farm shatters the prevalent
misconception that sustainability in architecture
is expensive and inefficient. In fact, it exemplifies
the idea that architectural buildings can be
low-cost de-spite being sustainable through the
usage of green energy, advanced technology, and
local materials while respecting the landscape it
is built on.
History
The Holly architects purchased 15.5 acres of
land in 1984.2 Before any modifications were
made, the landscape was only occupied by a
dairy farm with a few oak trees.3 Denise Holly
spent approximately two decades4 designing
and remodeling the landscape to transform the
barren land into a wooded, grassy area with a
manmade pond in the center. A variety of trees
were specifically planted throughout the land
to promote the circulation of cool air during the
summer and protec-tion from harsh winds during
the winter. After significant changes were made
to the landscape, Michael Holly designed a three-
story house of 1,250 square foot5 – The Pond
House – to be situated along the edge of the
pond. With its one year construction completed
in 20156, The Pond House was a dream project for
architects: the archi-tect was both the designer
and the client. The Holly architects decided to
build this house for themselves as a place to relax
over their breaks. According to Mr. Holly, there
SECTION 3
are still plans on further modifications of the
landscape with an addition of another building
structure.
Fig. 2 Michael Holly, Sustainability Mechanics. Louisiana. In
Holly & Smith Architects. Accessed December 1, 2018. http://
www.hollyandsmith.com/portfolio/project/the-pond-house-
at-ten-oaks-farm#
Sustainability
The design for the Pond House respects the
environment of the land-scape by being a zero-
energy building. The passive mechanics of this
building, combined with solar and geothermal
141
energy sources7, allow the house to produce
more energy than it consumes. The North-South
orientation of the building allows solar panels
on top of the roof to capture sunlight optimally,
and the roof is slanted to direct rainwa-ter into
the pond. Mr. Holly claimed that all the excess
green energy produced are shared within the
community.
also lets users control the house’s energy usage
even when they are away from the house. For
example, the user can turn on and off any lights
and air conditioners wherever they want. This
makes it convenient to shut off any unneeded
energy consumption anytime, such as when the
user forgets to turn off all the lights of the house
and is far away on the road.

The majority of the materials used to build the Visiting Experience

house come from local and recyclable sources.
For example, wood used throughout the
building is derived from recycled cypress. The
facade, consisting of “light green limestone-
textured stucco, opaque tongue-and-groove
polycarbonate panels,”8 enables natural light
to shine into the building, thus decreasing the
energy consumption of electric lights during
sun-ny days. Furthermore, gigantic glass windows

SECTION 3
also support the inpour-ing of natural light. The Fig. 3 Fireplace & Seating Area
tall trees encompassing the building and the
overhanging roof structures allow the house to As the Pond House slips into our view when we
remain cool under Louisiana’s scalding climate. drive through the parkway, we are stunned by
In addition to natural cooling, the building is its surreal beauty and delicacy at first glance.
equipped with a “variable refrigerant volume The building stood out from its neighboring
system”9 that regulates the temperature farmhouses with its modern appearance.
efficiently. These design decisions decrease the Approaching the building, we are greeted by an
usage of air conditioning. To further minimize open, outdoor space on the ground floor, which
energy consumption, “spray-foam insulation, consists of a fireplace, seating area, and a kitchen.
energy star equipment, LEDs, and other energy The kitchen is “wrapped in reclaimed cypress”12
effi-cient fixtures”10 are incorporated into the that frames the view of the pond. Reclining in
Pond House. the chairs at the seating area, we relax ourselves
by enjoying the nice weather and the stunning
The Pond House is equipped with a scenery.
technologically advanced energy performance
monitoring system to record energy production
and usage.11 These monitors are programmed
to allow their information to be accessed on an
app on a smartphone. The data can be used to
observe the efficiency of energy performance
of the building. From these observations, Mr.
Holly can determine whether or not his sus-
tainable designs were effective or not. Thus, the
monitors provide feedback that may be taken Fig. 4 Holly & Smith. Elevation.
into consideration for the advancement of future
architectural energy-efficient practices. The app

142

Fig. 5 Michael Holly, Plan. Louisiana. In Holly & Smith
Architects. Accessed December 1, 2018. http://www.
hollyandsmith.com/portfolio/project/the-pond-house-at-ten-
oaks-farm#
Fig. 6 Dining Area
The entrance of the house opens up to a flight
of narrow stairs to the second floor, which
features a living room, a bathroom, a kitchen,
and a dining room. The natural light seeping in
through the glass facade brings a soft glow of
light that guides us up the stairs and into the
living room. The kitchen, placed beside the living
room, is spacious with a long kitchen island,
which is flexible in its various uses for entertain-
ment, lying at the center. A small restroom lies
inconspicuously at the side, as its door blends in
with the walls of the kitchen. Lying on the other
side of the kitchen is a dining area capable of
fitting a large group of people. This area is only
enclosed by glass, hence giving us an unre-
stricted view of the pond and landscape. The
broad view of the pond is an ideal companion
during meals, and we are naturally drawn to the
beauty of the landscape. As a result of an open
plan design, the second floor feels immensely
spacious, thus providing a welcoming atmos-
phere that makes us comfortable and at ease
once we enter the build-ing.
Once again, natural light, passing through the
large sliding glass win-dows of the bedroom,
guides us up towards the third floor, which
consists of private space – a bedroom, a balcony,
and a large bath-room. The bedroom is quite
simple, and its relatively small space cre-ates
a sense of comfort. What makes the bedroom
incredible is the large glass windows that draws
in natural light and the view of the pond. Being
attracted by the innate beauties of the river, we
walk through the sliding glass windows, which
also acts as a glass door, towards the balcony.
SECTION 3
The balcony consists of a few chairs for us to
relax in as we admire the views of the pond and
trees and bask in the warmth of the sunshine
and earthy scent of the landscape. The allur-
ing scenery from the balcony transforms the
area into one of the most relaxing areas of the
house for us. Reluctantly leaving the balcony
and walking back into the building, we walk
into the bathroom, which is separated from the
bedroom by walls that do not touch the ceiling.
Translucent polycarbonate panels function as the
walls of the bath-room, and they brightly lit up
the entire space with natural light during the day.
The lighting, combined with the spaciousness,
makes shower-ing during the days a delightful
experience.
An ongoing trend that we noticed is that the
Pond House is designed in a manner that
allows the view of the pond to be enjoyed at
all levels. Facing the pond, the facade on the
second and third floors mainly consists of glass.
By purposefully making the pond the center of
atten-tion, the building enhances our experiences
of relaxing in nature. Not only can we enjoy the
views of the pond from the building, but we can
also be directly immersed in nature by strolling
143
through the surround-ing landscape and enjoying
the beauties of wildlife. Overall, the build-ing
offers one of the most relaxing experiences with
its serene atmos-phere. The Pond House is indeed
a perfect retreat from the busy city life.

Fig. 10 Living Room

Fig. 7 View on the Other Side of the Pond

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Fig. 8 View from the Balcony

Fig. 11 Bathroom

Fig. 9 Selfie in the Bathroom on 3rd Floor

144
Notes
1Holly & Smith Architects, “The Pond House at Ten Oaks Farm,”
accessed November 26, 2018, http://www.hollyandsmith.com/
portfolio/project/the-pond-house-at-ten-oaks-farm#
2Bordelon, Pam. “With Spectacular Views of Pond, Wildlife and
Occasional Meteor Showers, Architect’s Hammond Home Truly
a Dream Retreat.” The Advocate, October 23, 2015. https://
www.theadvocate.com/baton_rouge/entertainment_life/
home_garden/article_4b28ddcc-194e-5ef6-9cde-
ef9800b0ae99.html
3Wang, Lucy. “Gorgeous Pond House is a Zero-Energy ‘Dream
House’ Retreat in Louisiana.” Inhabitat, August 20, 2015.
https://inhabitat.com/gorgeous-pond-house-is-a-zero-
energy-dream-house-retreat-in-louisiana/
4Bordelon, Pam. “With Spectacular Views of Pond, Wildlife and
Occasional Meteor Showers, Architect’s Hammond Home Truly
a Dream Retreat.” The Advocate, October 23, 2015. https://

SECTION 3
www.theadvocate.com/baton_rouge/entertainment_life/
home_garden/article_4b28ddcc-194e-5ef6-9cde-
ef9800b0ae99.html
5Holly & Smith Architects, “The Pond House at Ten Oaks Farm,”
accessed November 26, 2018, http://www.hollyandsmith.com/
portfolio/project/the-pond-house-at-ten-oaks-farm#
6Holly & Smith Architects, “The Pond House at Ten Oaks Farm,”
accessed November 26, 2018, http://www.hollyandsmith.com/
portfolio/project/the-pond-house-at-ten-oaks-farm#
7Wang, Lucy. “Gorgeous Pond House is a Zero-Energy ‘Dream
House’ Retreat in Louisiana.” Inhabitat, August 20, 2015.
https://inhabitat.com/gorgeous-pond-house-is-a-zero-
energy-dream-house-retreat-in-louisiana/
8Holly & Smith Architects, “The Pond House at Ten Oaks Farm,”
accessed November 26, 2018, http://www.hollyandsmith.com/
portfolio/project/the-pond-house-at-ten-oaks-farm#
9Wang, Lucy. “Gorgeous Pond House is a Zero-Energy ‘Dream
House’ Retreat in Louisiana.” Inhabitat, August 20, 2015.
https://inhabitat.com/gorgeous-pond-house-is-a-zero-
energy-dream-house-retreat-in-louisiana/
10Wang, Lucy. “Gorgeous Pond House is a Zero-Energy
‘Dream House’ Retreat in Louisiana.” Inhabitat, August 20,
2015. https://inhabitat.com/gorgeous-pond-house-is-a-zero-
energy-dream-house-retreat-in-louisiana/
11Wang, Lucy. “Gorgeous Pond House is a Zero-Energy
‘Dream House’ Retreat in Louisiana.” Inhabitat, August 20,
2015. https://inhabitat.com/gorgeous-pond-house-is-a-zero-
energy-dream-house-retreat-in-louisiana/
12Bordelon, Pam. “With Spectacular Views of Pond, Wildlife
and Occasional Meteor Showers, Architect’s Hammond Home
Truly a Dream Retreat.” The Advocate, October 23, 2015.
https://www.theadvocate.com/baton_rouge/entertainment_
life/home_garden/article_4b28ddcc-194e-5ef6-9cde-
ef9800b0ae99.html

145
SECTION 3

146
147
N E W O R L E A N S
149
A Phantom’s Mirage
Robby Alshakarchi & Jeffrey Alvarez, Louisiana State University
Introductory
A deceiving building disguised behind a mask.
The Marigny Opera House might seem tedious
from the outside, yet it is astonishing in the
inside. It is incredible how an architect can create
a masterpiece in a small acre of land. However,
the architect did this with the combination of
many other factors applied into architecture. This
allowed him to add extra features to the building
which ended remarkably.
History
In its origin the building was built as The Holy
Trinity Gothic Church for German Catholics of the
Faubourg Marigny. The church was built in 1847
under the designs of architect Theodore Giraud.
The Church’s original purpose was for worship by
German speaking Catholics. In 1851 the church
was destroyed by a fire and was rebuilt in 1853. In
1997 Holy Trinity Church closed its doors and in
1999 it was purchased by Morgan Higby. Today
the building goes by the name The Marigny
Opera House and it is a non - denominational
neighborhood church of the arts. The owners
have created a place in which local artists from
the community get together and enjoy art in a
piece of history. The building is now used for
different purposes such as weddings and
performing arts.
Fig 1. The yard which is connected to the building by a ramp from the
outside to the inside.
The narrow streets of New Orleans leads up to our
arrival at the Marigny Opera House which fills us
with anticipation to see and walk through it. We
approach Dauphine Street and look to our left
and there it was, a large white building that
blemishes with history. As we walk around the
corner the first thing that caught our eye was the
symmetry between the windows on the lower
right and left walls of the exterior. The building
might be deceiving from the outside due to its
lack of coloration, but it makes the first look at the
interior even more breathtaking.
SECTION 4
Fig 2. The aged building from the outside might look a bit deceiving.
We look up before entering and both of us feel
so small in comparison to the large pillars
framing the structure. Three large arches outline
the ancient doors of the Marigny Opera House.
Once walking inside the building, the entrance
gives a feeling which overwhelms us by
immediately showing the immense roof. The rays
of light beaming in from different directions
engulfs the space. The large arched windows and
the arches in the middle of the room fascinates
us because it was all symmetrical. Near the top of
the domed ceiling were smaller round colored
glass windows letting in rays of light from every
direction lighting up the entire room with
natural lighting. This was the moment where we
both stopped and admired the phenomenal
design of the building.
150
We walk to the left and there is a spiral wooden
staircase leading upwards to an interior balcony
which overlooks the entire first floor. The aged
wood creates an olfactory experience when
walking up and down the staircase. There was
nothing but silence throughout the entire
structure except for the creek of the wooden
staircase. From the front door, we walk immedi-
ately to the right and there is a cornered
bathroom which the architect purposely hides in
order for us to focus our attention straight ahead.

Fig 4. The façade of The Marigny Opera House

Fig 3. The checker patter tiles leading to the main stage.

The view of the beams of light from the ceiling

guides us down the hall through the checker
pattern tiles on the left and right of the hall which
made us want to walk up and down it. At the end
of the hall, the architect leads a path to the left
before the stage (the only other path) which
Fig 5. A look at the leading pathway on the ground going towards the
connects the building with nature, as he built a stage
ramp leading from inside to outside onto a
stunning yard which is decorated very nicely with
lights and tables. We realize that the architect
made this path intentional for the guests to enjoy
the nature outside after the long events held
inside.

Theodore applied factors such as nature into

architecture which allowed this building to be
outstanding in its area. He also combined the
religious factors and purpose of the building to
guide his design in ways where his clients feel of
awe.
Notes
Davidmitcha, Lauren. “Info • Marigny Opera House.” Marigny Opera
House, Marigny Opera House, 17 May 2018, marignyopera-
house.org/about/.

Siese, April. “The Inspiring History of the Marigny Opera House.”

Curbed New Orleans, Curbed New Orleans, 18 Nov. 2014,
nola.curbed.com/2014/11/18/10020288/the-inspiring-histo-
ry-of-the-marigny-opera-house.

151
Buckner Mansion: Mysterious Manor

Gisele Ledo & Maddison Jarveaux, Louisiana State University

Intentions
Located in the Garden District of New Orleans,
Buckner Mansion captivates its visitors with its
eerie beauty. Buckner Mansion was built in 1853
by cotton kingpin, Henry Sullivan Buckner. His
main goal of building the Buckner mansion was
to outdo an ex business partner Fredrick
Stanton’s already existing mansion, the Stanton
Hall, in Natchez, Mississippi. The architect, Lewis
E. Reynolds, designed the mansion to be in a
“Greco Roman revival”2 and the largest home
build Pre-Civil War. 5 Buckner Mansion still stands
sturdily in the heart of one of the most beautiful
locations in the city of New Orleans.

SECTION 4
Fig. 2 façade of house from street view

Fig. 1 Selfie with the house
History
Buckner Mansion has been used for many
purposes since its creation. The mansion was
originally used as a private residence by the
owner until 1923.5 Since then it has been used as
a business school, a set of a TV show, a private
residence open for tours, an attraction for
ghosthunters, and a trademark for the Garden
District. In 1923, Buckner Mansion was
transformed into the Soulé Business School. This
school of business was not only run by Col.
George Soule, but was also where he lived while
the school occupied the Buckner mansion. The
quote, “From education, as the leading cause, the
public character its color draws,” is located on the
ground, in front of the gateway and reminds
visitors of the business school’s presence.

152
The quote comes from the poem “Tirocinium” by
William Cowper. This school closed its doors in
1983.4
Current Day
Today, the home is once again used as a private
residence. Buckner Mansion was also the set of
American Horror Story’s third season, “Coven” and
now appears in their most recent season
“Apocalypse.” In this series, Buckner Mansion is
renamed “Miss Robichaux’s Academy for
Exceptional Young Ladies” a school for
developing witches. 2 Buckner Mansion is the
perfect setting for this spine-chilling television
series and owes most of its fame to the show.
Today, this home can be rented for a large fee of
twenty thousand dollars.3
Miss Josephine
Most visitors can agree that there is something
supernatural about Buckner Mansion, and many
thrill-seekers visit the home in hopes of
experiencing a ghostly interaction. When one
approaches, they are greeted with a large black
cast iron fence. The Antebellum style of the home
instills a feeling of intimidation and fear into its
visitors. Many have claimed this home is haunted
by the family’s midwife and governess, Miss
Josephine. The lingering scent of the lemon
scented cleaning supplies she used is a constant
reminder of her presence in the home. Other
accounts also claim to hear Miss Josephine
sweeping and to see her ghost on the staircase.
Some other paranormal activity includes doors
opening and closing by themselves, lights
flickering on and off randomly, and chandeliers
swaying back and forth for hours at a time. 5
Fig. 3 Quote from Soule Business School in front of gate entrance
Building Walk Through
Located on the corner of Jackson Avenue and
Coliseum Street, Buckner Mansion can be viewed
from both the front and side streets. The home is
sized at an impressive twenty thousand square
feet. When viewed one is reminded of the owner’s
wealth and extravagance. The design of the home
includes an all-white façade, with a black door,
black shutters and a mostly all white interior.
When approaching the home, one notices forty
eight fluted Corinthian and Ionic columns.1 The
home’s wooden porch with black iron railing
wrapping around the whole house stands out
from one’s view from the street. Upon entering
the foyer, a double staircase that resembles the
look of “angle wings”2 is the first element that
catches the viewer’s eye as they enter. As the
visitor walks throughout the house, they notice
the three grand ballrooms each showcasing a
lavish glass chandeliers.1 These spaces were
originally used to host parties and entertain
guests. Throughout each room in the home oil
paintings decorate the walls.2 This style of of
décor gives the house a feeling of history and
reminds visitors of proir residents and past
events. At the time this home was built, slaves
and/or caretakers would reside in the home thus
resulting in the slave quarters located at the back
of the mansion.
Fig. 4 Slave quarters of home
153
A Walk Through History
John Daniel Davis and Preston LeJeune, Louisiana State University
Introduction
The National World War II Museum in New
Orleans is a building that perfectly captures the
feelings of World War II and allows the guests to
reflect on parts of the war. The purpose of the
buildings is not only to display the numerous
artifacts from the war but also to force the guests
to reflect on the war. The sheer magnitude and
scale of the buildings allow for the guests to be
overwhelmed by information being presented.
Fig. 1 John Daniel Davis (right) and Preston LeJeune (left) stand-ing in
front of the Campaign of Courage building
The National World War II Museum was built by
an architecture firm named Voorsanger Architects
PC based out of New York, NY in collaboration
with a New Orleans based firm called Mathes
Brierre Architects. 1 The museum itself is located
at 945 Magazine Street in New Orleans and was
constructed in 2000. Despite construction on the
museum being started in 2000, there are many
plans for expansion of the museum.
The purposes of The World War II museum is to
try to educate people on the vast history of World
War II and to serve as a memorial and a constant
reminder of what happened during the war. 3 The
World War II Museum also serves as a large source
of revenue, has earned close to a quarter of a
billion dollars in 2017.
SECTION 4
Fig 2. Picture of a Road to Berlin exhibit
When faced with the task of designing a building
that serves as both a mon-ument and a museum
for one of the most important events in human
histo-ry, decisions regarding architectural design
are extremely important. While the materials used
in the construction of The National World War II
Museum are very common, they are used in a way
that shows the significance of the building.
Concrete, steel, and glass are the main materials
used on the outside and throughout the building.
154
The use of these common materials allows for the
museum-goers to focus on the exhibits and
reflect on their significance. The museum is
constantly developing and changing with new
buildings and exhibits being added frequently.

Walk Through

The building that we decided to focus on is the

Campaigns of Courage build-ing. This building
showcases the European and Pacific aspects of
World War II. This building consists of the same
elements of the rest of the museum on the
outside, but the interior of the museum changes
as you travel through the different exhibits. The
architecture and design of the different exhibits
reflect the theme of the exhibits. When walking
through the building you get over-whelmed with
emotions. There are two different exhibits in this
building, the “Road to Tokyo” and “Road to Berlin”.
As soon as you enter the building, you are faced
with a choice, to continue to the European
theatre or the Pacific theatre. This choice allows
Fig. 3 Picture of a Road to Tokyo exhibit
the museum-goer the freedom to choose how to
spend their time. By choosing the path to the
European theatre, you are im-mersed in a new In the “Road to Tokyo” the light is the first thing
world. This exhibit is comprised of physical you notice. There is no natural light in the whole
exhibits, multime-dia, and artificial lighting. The building, the exhibit only had artificial light. As
design of European theatre changes as you walk you can see in the pictures, the exhibit’s lighting
through the different exhibits. For example, in the makes it feel like it is night time in a jungle. You
“Battle of the Bulge” exhibit, the ground and trees are guided along a path with artifacts and
are covered with “snow”. This design aspect not pictures on both sides of you. Bird Chirps in the
only educates the museum-goer on the “Road to Tokyo” really added a feeling of a jungle
environment of the battle but also makes them that the exhibit was trying to accomplish. The
feel like they are in a different environment. The exhibit felt like one big room because there were
European theatre exhibit guides you through the no doors. There was just one big path leading
museum by forcing you to take a path. The path is you through the exhibit with the walls covered in
surrounded on the sides by artifacts and artifacts. We were in awe while walking through
structures that contribute to the overall “feeling” the building from all the artifacts that were still
of the exhibit. While walking through the exhibit, intact and the genius design of the building. The
you frequently stop and look at the artifacts that building really was amazing and exhibit made it
belonged to actual people. These artifacts leave feel like we were in a different place. The shire
the museum-goer in awe and perfectly show the size of the buildings made me stop and look at
reality of the war and the people that were them. There were at least 6 buildings in the
involved in it. entire museum and each one was massive, the
picture does not do justice to the size.

155
Notes SECTION 4
1 “About Us .” The National WWII Museum | New Orleans, The Na-tional
World War II Museum, 21 Jan. 2004, www.nationalww2muse-
um.org/about-us.

2 “The National World War II Museum / Voorsanger Mathes LLC.”

ArchDaily, 21 Feb. 2012,
www.archdaily.com/209361/the-national-world-war-ii-museum-voorsa
nger-architects.

3 “2017 Annual Report.” The Nation World War II Museum , 2018,

www.nationalww2museum.org/sites/default/files/2018-01/annu-
al-report-2017-resize.pdf.

156
Saint Patrick’s Church:
A Sanctuary for the Forgotten
Lyndsey Post and Rachel Hewitt, Louisiana State University

Intentions Hurricane Betsy in 1955 and the lack of

parishioners living nearby caused many living in
The Saint Patrick’s Catholic Church, named after the area to propose the closing of the church for
Patrick the patron saint of Ireland, located in good.2 However, the Rev. John Reynolds of 35
modern day New Orleans’ business district years established a multi-million dollar, 12 year
provides a prestigious, grandiose religious plan to bring a new wave of Catholics to the
sanctuary for Catholic worshipers.2 Originally, the church.2
church was built to relieve suffering Irish Catholics
in the 1840s, who found the French speaking
masses at the St. Louis Cathedral oppressing.1
Retreating from discrimination the Irish built the
cathedral on the outskirts of the original city for
peaceful congregation among a common
fellowship. Aside from Gallier hall, the Saint
Patrick’s church is the only building in Lafayette
square that has the originality of when it was first
built.1 In 1974 the church was acknowledge as a
Gothic Revival style of architecture and
established as a National Historic Landmark.2

History
Completed in February of 1840, the Saint Patrick’s
Catholic Parish was first established in 1833 as just
a temporary wooden structure.1 The
construction of the church started around the
original structure, but as the building progressed Fig. 1. Picture with the Saint Patrick’s Church
the former was deconstructed.2 The Irish
Catholics hired architects, Charles and James Walk Through of the Building
Dankin, to design the plan for the Gothic style
church.1 However, there were various foundation Upon first viewing, we see the church with its
struggles, in the swampy area, causing the walls towering height and timeless look captivating
to settle. Therefore, another architect, James onlookers (2). The grand tower is what first
Gallier, was hired for collaboration solving the catches our eye with its noble stance, peeking
foundation problem without taking down the out from above the neighboring buildings, the
one hundred and eighty-five feet tall walls of the church is the main attraction of the street. The
church.1 The church remains after one hundred church’s symmetric and simple design provides a
and seventy-five years despite various hurricane view that is pleasing to the eye, but not
attacks.2 n the 1960s, as the business district of overwhelming. The entry with vaulted arches
New Orleans thrived with office spaces and large coming to a stained glass window create a
corporations replacing homes in the area, the feeling of sanctuary, inviting guests to enter.
church fell into a crisis as the population
relocated to the suburbs.2

157

Fig. 2. The front of the Saint Patrick’s Church
Upon walking up the concrete stairs we enter the
foyer and are captivated by another wooden
grand door enclosing those from entering the
church further. Still shocked, by the wooden door
detailed with stained glass, and a semicircle full
of color, our eyes follow the arches of the walls to
the centerpoint of the ceiling. The light is dim
and soothing, to provide, as what we can see to
the left of the room a mini vigil section for times
when the main church is not accessible for
people to pray for their deceased loved ones. As
well as to the right, in the corner, is the Holy
Mother Mary standing over a bowl of holy water,
protecting for the execution of Catholic tradition.
Fig. 3. The foyer of the church
Once stepping inside the church itself, with our
shoes squeaking on the freshly waxed marble
floor, our eyes are met with murals towering over
the alter (4). The combination of the murals and
the windows, that bring in light from both sides
of the building, creates a highly brightened room,
contrary to the foyer. The stained glass dome
hovering above the alter produces light
illuminating the communion table.
SECTION 4
Fig. 4. The inside of the church where services are held
Flanking the sides of the pews flying buttresses
fluctuates the separation of the ground floor and
the balconies. The columns of the church
intercept the pews, without completely
destroying their stance, abling the church with a
solid support, and fluid circuality, so we can walk
without bothering others during service (5). As
we take our seats to the left, we see another vigil
center, with more candles, and to the right a
confession booth, wooden and enclosed in a
curtain for private ceremonies. As the recording
of the mass plays, our eyes venture to the vaulted
ceilings, with linings that fan out then draw into
the columns directing our eyes down the aisle
and to the altar. The white coloration of the walls
and columns highlight the detail of the paintings,
and golden embedment throughout the church.
Before leaving we ask the usher to see the
church’s bathroom. Very kindly he guides us
quietly, trying not to disturb those in mass to a
side door, just past the confession booth,
outside, and proceeds to give us directions to the
toilet. Walking to the toilet we see a side of the
church hidden from the street with a statue and a
seating area (6).
158
Fig. 5. The ceiling and columns of the church

Following the brick path, another building

tethering off the main establishment houses a
bathroom and a meeting room, with an AA
meeting in progress. The bathroom is a private
room, almost hidden from the rest of the church. Fig. 7. The bathroom of the church
Upon leaving the church through the outside
area, an opened iron gate was waiting for us. We
spot the ramp that leads to the side door (8). We
take immediate notice of the seclusion of the
leaving the church through the outside area, an
opened iron gate was waiting for us. We spot the
ramp that leads to the side door (8). We take
immediate notice of the seclusion of the We are
surprised about the amount of hidden space the
church has. Overall, the church has a simple, yet
captivating, exterior that leads into an opulent
interior.

Fig. 8. Ramp and stairs leading to the side of the church

Fig. 6. An extension of the church

159
 SECTION 4
Fig. 10. Ceiling of the church where services are held

Notes

1 Schneider, Frank L. “History – St Patrick's Church.” St Patricks Church,

St. Patrick's Church, 2018, oldstpat-rick.wpengine.com/history/.

2 Scott, Mike. “The Emerald Aisle: In 1840, St. Patrick's Church Be-came
an Answer to Irish New Orleans' Prayers.” NOLA.com, NO-LA.com, 17
Mar. 2017,
www.nola.com/300/2017/03/st_patricks_church_new_orleans_history
_03172017.html

160
Entre la rue Sainte Ann et la rue Saint Pierre
Madeline Laperouse and Catey Riddick, Louisiana State University
Intentions Behind to Building
“In this first little church were baptized the
children of the colonists and the children of
the slaves. Here were married the lowly and the
highborn”1.In the exuberant and historical French
Quarter of New Orleans lies the stunning St. Louis
King of France Cathedral. It reigns over the
banks of the Mississippi river, the cobblestone
streets, and the famous Jackson Square. It has
been the heart of New Orleans for more than
three hundred years and opens its doors to each
diverse economic class. Not only is it a place of
worship for Roman Catholics, but it is also a
cemetery and a museum. It is arguably the most
famous building in the state of Louisiana which
cradles the bones of some of the most famous
Louisiana citizens from voodoo queens to pious
saints2. It houses the extremely large and active
Archdiocese of New Orleans and is the palace of
the Archbishop3. This remarkable building with
dove white exterior, rainbow stained glass
windows, and evergreen courtyard has been
visited by millions of people, popes, royalty, and
its six thousand parish members4.
History of St. Louis Cathedral
The Cathedral was named after St. King Louis IX of
France and was not al-ways a cathedral but once
was once a small church built in the perfect place
to grow5. The construction of the first church
ended in the year of 1718 with Adrien De Pauger
as the head Architect. Over the years, fires,
hurricanes, and water damage have caused the
need to fix and rebuild the church6. Roughly 70
years after its original build, The Great Fire of 1788
broke out in a neighboring house and burned
much of the city to the ground, including the
small church7. It was rebuilt a year later and
continued to grow.
In 1793, the St. Louis Church has deemed a
Cathedral, making those in charge of the church
want to make improvements to the new
cathedral8. St. Louis Cathedral has grown
throughout the seventeenth and eighteenth
centuries, having new additions such as the bell
and large clock on the front of the cathe-dral and
the new stained glass windows added after the
bombing of 19099. From the beginning, the
community has loved the cathedral, even when it
was just a small church. They have grown to make
it into an icon for New Orleans; one that little
forget.
Fig. 1 Selfie in front of St. Louis Cathedral in New Orleans, Louisiana
Walk-though Experience
When you first arrive in front of the Cathedral, the
ornate dove white exterior plays beautifully with
the charcoal gray shingled roof making the
building impossible to miss. The extremely large
clock over the old wooden doors is surrounded by
its small crosses that invite you in. Once you open
the main door you enter the small lobby. A large
sign welcomes you saying, “No Re-stroom,” as well
as a petite religious, gift shop. After walking
through the door, which is also the exit door
connecting the small lobby to the main nave, you
walk into such a grandiose world of colors and
nobility.
161
The room is truly built for a king. It is such a
visually stunning place it causes you to remain
respectful and quiet as you are embraced in its
beauty. While an-cient monks sing Gregorian
chants through the speakers, you cannot help but
gaze at the painted ceiling. These paintings are
what most visitors see when they first walk in, in
turn causing them to completely crane their neck
back to stare at the painted sky. The paintings
depict stories of Jesus, the history of St Louis,
angels, religious figures, and every Archbishop of
the diocese of New Orleans. The three layers of
windows give the space an enlightened glow. The
uppermost windows closest to the ceiling are
small yellow stained glass that cast a warm hue
on the ceiling, allowing for the delicate, gold
paint to shine from up above.
This church is a place that you will never forget
once you visit it. It sits amongst some of the most
beautiful historical architecture ever. It truly is a
slice of heav-en on this earth. The best part about
it is you feel welcomed when you are there
because it is not too grandiose to belittle you as a
person. You feel as if you belong there and it is
there for you to enjoy. It is amazing that about
three hundred years ago people sat and
worshiped there. It still remains a place for every
social class. Just do not forget to grab your
beignets on the way out.

The middle windows are a vibrant floral stained

SECTION 4
glass. The first-floor windows are stained glass
that shows the life of St. Louis King of France. The
checkered marble black and white floor and dark
wooden pews draw the visitor to the velvet
covered altar. The room guides you away with Fig. 3 Photograph of flags hanging from the 2nd floor balcony.
your back to the outside world towards the altar
where Catholics believe Jesus kept. The ornate
altar has golden Corinthian columns that
surround the tabernacle that hold the Eucharist.
The altar is a structure by itself that sits angelically
between the rest of the structure. The rest of the
structure is split in a two-story which each level
exposed. The second story with gold ionic
columns decorates the room with flags of
countries that owned New Orleans,
archdioceseflags, and state flags. They are leveled
with building. Fig. 4 View of the front exterior of St. Louis Cathedral.

Notes
1 "Our History." Cathedral-Basilica of Saint Louis King of France. 2018.
Accessed October 26, 2018. http://www.stlouiscathedral.org/.
2 Ibid.
3 Ibid.
4 Ibid.
5 Ibid.
6 Ibid.
7 Ibid.
8 Ibid.
Fig. 2 Photograph of the ceiling of St. Louis Cathedral when looking up.
9 Ibid.

162
The House on the Lake

Marie French and Shane Brotherton, Louisiana State University

Intentions

The house on the lake is located in Metairie

Louisiana, on a plot of land next to Lake
Pontchartrain. The home was constructed under
the intentions of provid-ing a shelter for a young
family of five. The couple desired a modern home
with clean lines but also a suitable place to raise
their children in. They wanted to provide them
with a modern lifestyle as well as a modern
perspective of things.
Fig. 2 Photo of exterior façade.

Building Walk Through

The home is located within a neighborhood

cul-de-sac. The modern gray and wood exterior
sticks out amongst the traditional white homes
surrounding it. When approaching the home it
seems to grow in stature, seeing that it is three
stories tall (Figure 2). A gradual slope, from the
driveway, takes you up to a low rise stair leading
up to the front door. The door is a large 10-foot
pivot door, opening up to a large auditorium-like
Fig. 1 Selfie in front of the House on the Lake. room that continues to the second floor (Figure
3).
History
The modern house was recently completed in
September 2017. This house was designed by
architect Charles Neyrey for the Dorsey family.1
The idea of their new home was inspired by the
Malibu hills, complemented with clean lines, and
livable conditions for a young family. 2 The house
was split in two, allowing for the public areas to
remain toward the back and private areas to the
side of the home.3 The original idea and concept
of the home was com-pleted, with few Fig. 3 Front entrance view.

alterations at request of the family. The clients

The open room consists of an open plan kitchen
love and enjoy their home. Those that have
and living room (Figure 10). From the door
visited, such as family and friends, are blown
looking directly ahead, you see an open tread
away. The home has a certain wow factor,
stair, next to large glass wine cellar (Figure 3).
surprising all that visit it.

163
The wine cellar was inspired by the owner’s love
for California’s wines and now houses their
growing collection4 (Figure 8). A black fireplace is
centered along the back glass wall which is a
major source of natural light. The large glass walls
frame the levee. Each wall tucks behind the
fireplace allowing for easy access from the public
area to the backyard consisting of a pool, putting
green, and outdoor kitchen/ dining area (Figure
3). From the putting green, a large stair-case leads
to the top of the house, the third floor (Figure 5).
Fig. 4 Floating wired staircase.
On the third floor one, after conquering the
stairs, a penthouse vibe is given off with a
quarter glass facade and balcony. Inward looking
from the balcony, is a living room and a bar area,
topped with a cracking glass countertop.
Spotlights contribute to the natural light above
the interior stairway, as well as the large
bathroom (Figure 9). The third-floor bathroom is
a mixture of tile and concrete. Hidden behind the
bar is a spare room, now being used as a gym.
Going down the interior floating staircase give a
person the feeling of almost flying, being able to
see the absence of a material. The staircase is
lined with vertical steel wire to enclose it ( Figure
4). When looking beyond the wire gives the
house a picturesque view with a great use of
perception and layering. The second-floor
consists of an open hallway leading to the
bedrooms. From the master bedroom, interior
windows overlook the 1st-floor public area.
Fig. 5 Exterior staircase to the third floor.
The master bedroom is sleek grey and white
room complete with a master balcony, closet, and
bathroom. The master bathroom consists of his
and her showers and vanities and is well lit with a
singular skylight (Figure 6). The mas-ter bedroom,
contains a glass door that connect to a private
SECTION 4
balcony overlook-ing the backyard. The kid’s
room has a personalized wall, including polka
dots, dinosaurs, and their favorite colors. Along
with a personalized wall, each room has a small
bathroom connecting to it. Heading back down
to the first floor from the bottom of the stairs
light peaks from above the white kitch-en with
horizontal square windows (Figure 10). The
kitchen itself is a large kitchen complete with a
coffee maker, large island, and white automated
cabinets. The kitchen is a combination of white
and gray tones (Figure 7). The white cabinets
have a glossy look to them and can be opened
and closed with the touch of a button. Everything
in the house is automated ranging from the
cabinet to electric window shades, as well as the
televisions. Everything in the home is accessible
from an app, allowing for the user to control
temperature, and lights at the touch of a hand.
Another automated aspect of the house is an
elevator that allows for easy access to each floor.
164
Fig. 6 Master Bedroom Fig. 9 Third floor living room and bar.

Fig.7 Kitchen complete with large island and white cabinets.

Notes

1 Nichole Dorsey, Interviewed by Marie French, The Dorsey’s Home,

November 2018.
2 Ibid
3Ibid
4Ibid
Fig. 8 Wine cellar with growing wine collection.

165
Experiencias en la Noches
Natalie Angelette & Courtney Spahn, Louisiana State University
Intenciones de la Exposición
The Criaturas de la Noche building in the
Audubon Zoo was designed by the Torre Design
Consortium.1 It showcases Mayan culture and
history by taking the visitor on a journey through
an archeological dig site, creating an authentic
and educational experience of wandering
through an abandoned ruin.2 The Criaturas de
la Noche building acquired its name from the
Spanish words meaning “creatures of the night,”
tying in with the rest of the Jaguar Jungle’s
Mayan setting; however, it is more commonly
referred to as the Nocturnal House.3 Although
the collaborators recognize that the experience
may make some uncomfortable, they hope that
the unique environment of a zoo setting will help
people to look past their fears and see that there
is much to learn.4
Fig. 1 Selfie in front of the Criaturas de la Noches building
Historia de la Casa de Noche
Created twenty years after the completion of
Jaguar Jungle, the Noc-turnal House was made
open to the public on March 23, 2018.2 The zoo’s
intention was to create a space where people
could be educated about nocturnal animals,
while also letting them see the creatures first
hand and not just from the sidewalk into a cage.3
They wanted to actually immerse people in the
animal’s habitat in a way that was natu-ral for
both them and the animal, almost like they just
so happened to stumble upon them in a jungle
or ruin. Now, most parents use the space to allow
SECTION 4
their children some freedom in an enclosed place
where they don’t have to worry about them
running off.
La Aventura Nocturna
Traveling through the secret entrance of Jaguar
Jungle, you emerge from a path of trees opening
to your first view of the Nocturnal House. An
external restroom building and a series of
wooden columns, painted with various colors
alluding to a simplified version of totem poles
that are all connected with stringed lights, frame
the building and give an overall festive feel of
Mayan culture. Walking through the columns,
you are brought to the main entrance of the
Nocturnal House and enter a covered area
beneath a gabled roof. To your left is a metal
entrance door, and upon opening it, you find
yourself in a small square shaped room with
another door to your right. This space is secluded
through a two-door as natural light is gently
filtered out while the door slowly closes. During
this process, a unique experience is created for
the visitors as it foreshadows what is to come. The
filtration of light also allows your eyes to adjust
166
to the new environment, giving the building the
power to control your visual experience. When
you open the second door, you are met with a
darker environment vaguely lit with blue lights
from above. As you step in, your full auditory
Fig. 2 View of the first main pathway
attention is focused on the sound of chirping
that seems to come from all around you,
uninterrupted by the sound of footsteps due
to the absorption of sound into carpeted floor.
Immediately to your right are artifacts that are
easily overlooked due to the lack of light, and to
your left is a flat wall that appears to be painted
wooden paneling. Taking a few more steps
forward, the shadows of fluttering bats fading in
and out of darkness draw your attention to the
right. Looking forward, your eyes are drawn to
the end of the hallway by the contrasting yellow
and blue lights (2). As you move towards the
lights, you are suddenly interrupted by a voice on
your right. Upon discovery, you see the projection
of a moving stone face embedded in an
illuminated yellow stone facade that dares you to
push its buttons. With this in mind, you notice the
buttons placed a few feet beneath it that would
have not captured your attention otherwise as an
adult. However, it is closer to eye level for a child,
making this interaction directed more towards
children. As the buttons are pushed, the sound of
grinding stone is followed by the projected face
informing you about different bat facts in both
English and Spanish. Shifting your attention to
the back wall, you are able to see a new
Fig. 3 The Armadillo and Night Monkey exhibit 3
exhibit that continues beyond your view to the
right, pulling you around the corner. Continuing
your exploration, you are presented with the
Screaming Hairy Armadillo and Nancy Ma’s Night
Monkey exhibit (3). This habitat encourages you
to lean through loosely spaced wooden panels
only to be confronted a glass barrier. Placed on
one of the wooden panels is an interactive touch
screen that allows for further education about the
animals. Following the panels forward, another
blue light catches your eye as you are met with
another opportunity to turn and are now facing
a wall of solid wooden slabs. Within this wall are
several openings of varying heights and sizes that
have seemingly been worn away to reveal the
exhibit behind, providing different experiences
for visitors of a wide range of ages and heights.
On one of the larger exhibits, a glare on the glass
reflects the light of a screen on the opposite wall
(4). Turning towards the screen, your eye is drawn
along the right wall to the Seba short-tailed bat
Fig. 4 View of the second main pathway
167
exhibit, which you can now see in clearer detail as
your eyes have almost fully adjusted. 3 Lit by the
soft fiery light coming from the several lanterns
hanging in the bat exhibit, the center of the entire
building is the glass enclosure housing the two
hundred bats. Allowing the swift movement
of wings and mesmerizing flying creatures to
guide you forward, you find yourself at the final
exhibit. A second enclosure similar to the one
that housed the monkey and armadillo runs
perpendicular to the bat exhibit (5). As you

Fig. 7 Façade view including columns and restrooms

SECTION 4
Fig. 5 Ring Tailed Cat and Prehensile Tailed Porcupine exhibit 3

make one final left turn, you reach the exit door
that leads to another small room identical to
the first room upon entering the building. After
completely exiting the building, you are surprised
by the sudden daylight outside, and you realize
that your journey has unfortunately come to an
end.

Fig. 8 View of artifacts across from the Armadillo and Night

Monkey exhibit

Fig. 6 Second selfie in front of the Criaturas de la Noches

building

168
Notes

1 “Audubon,” Torre Design Consortium, Ltd., accessed

November 10, 2018, http://www.t-dcl.com/projects/zoos-and-
aquaria/audubon.
2 “Making a Maya-themed scene for a top zoo exhibit,”
Solomon Group, Solomon Group Ventures, LLC, accessed
November 14, 2018, http://www.solomongroup.com/work/
view/jaguar_jungle_exhibit.
3 “Jaguar Jungle Expansion Featuring Nocturnal “Bat House’’
Opens Friday,” Audubon Nature Institute, accessed November
14, 2018, https://newsroom.audubonnatureinstitute.org/
jaguar-jungle-expansion-featuring--nocturnal-bat-house-
opens-friday/.
4 “Meet Audubon Zoo’s newest residents: 200 bats and a herd
of alpaca,” Jennifer Larino, NOLA media, accessed November
13, 2018, https://www.nola.com/pets/index.ssf/2018/03/
bat_house_audubon_zoo_open.html.

169
The Cabildo: An Important Piece of Louisiana History

Clay Moody and Michael Monistere, Louisiana State University

History cannons being lit up by the gas lanterns hanging

The original Cabildo was burned down in 1788 in
the great fire of New Orleans.1 The Cabildo as we
know it today was built in 1795 and is in Jackson
Square to the left of the St. Louis Cathedral.1
It was designed by Gilberto Guillemard and
financed by Don Andres Almonster Y. Rojas for the
Spanish government.3 The building was used by
the Spanish government from 1795 to 1799.3 The
Cabildo was the site of the Louisiana Purchase in
1803.1 After the Louisiana Purchase, the Cabildo
was used as the City Hall of New Orleans.1 In
1853 the Louisiana Supreme Court moved from
above.
We enter the Cabildo from a door on the right
side of the building. When we get inside, we leave
the commotion behind us, and find ourselves at
the ticket booth in a small gray room. The floors
are made of cold dark slate contrasting with
the walls and ceiling. The room is lit by the big
windows in the front of the room by the door.
Walking pass the booth to the back-left corner of
the room, we enter a dark long narrow corridor
with a short ceiling. The corridor has bath-rooms
and water fountains on the right and takes us to
the center of the building on the left.

SECTION 4
the Presbytere to the Cabildo.2 The Cabildo
was turned into the Louisiana State Museum in
1911.3 The Cabildo was liked by its clients.2 In
2012, justices of the Louisiana Supreme Court
returned the Cabildo to hear arguments in a civil
and criminal case.3 Today the Cabildo is used to
educate the public on Louisiana history.2

Walk Through

Our journey starts off on Chartres Street in front

of the Ca-bildo. The Cabildo is on the corner of
the block with the St. Louis Ca-thedral to the right
of it, and Jackson Square in front of it. There is a
lot of commotion going in that small area. We see
many people moving back and forth performing
jazz music, selling their art, and taking pic-tures of
the wonderful surroundings.

We looked up to the façade and see nine arches

on the bottom floor and nine arched windows
on the second floor that perfectly copy the first
floor. We see four ionic columns that hold up a
tympanum which depicts an eagle with a shield,
two wheels, and a mound of cannon balls. We Fig. 1 The both of us at The Cabildo
then walked up the front entrance to see two

170
The corridor opens to the foyer with a grand
staircase, and the original entrance (3 and 4). The
old entrance is a massive arched doorway which
is gated with ornate iron work (8). The floor is a
light red brick and the walls are white. The ceiling
and the grand staircase are both wooden. The
room is bright with light from the windows on
the front of the building and the other rooms
connecting to it.
To the right, a small arched door opens to the
only room on the first floor. The long rectangular
room runs down the left side of the building.
The first thing we notice is how it the opens and
gives us an airy feeling, it’s not as gloomy as it
was to get into the building and through the dark
corridor. As we walk around, we can notice that
the room is split down the middle by 5 arches. On
the back wall are five windows framed perfectly
with the arches in the middle of the space. Fire
places are on either side of two arches which
seems to bring the room together.
Back in the foyer, this time we move to the left of
the big gated entrance. There is a little archway
that leads to a very small room with another
bathroom and a water fountain. There is one
door, besides the bathroom’s, which is across
rom the doorway. It is a locked wooden door that
leads back to the ticket booth.
We enter the foyer once more to see
the grand staircase that is placed at the center of
this historic structure (4). Moving up the stained
hardwood stairs, we follow the wood railing that
curves up following the path of the staircase.
Looking up we see the roof above on the third
floor were exposed wood beams hold up the
roof. On our way up the stairs, there is a faint
wood smell.
The second floor has three doorways, the one
on the left was closed for a new installation, one
large arch way in the middle where light pours in
and covers the staircase, and a smaller doorway
to the right which goes into a darker room (5 and
7).
The room on the right is rectangular, narrow,
and painted a dark hue of blue creating an even
smaller atmosphere (7). There is an ornate crown
molding on the ceiling. There are no windows,
how-ever there are paintings depicting the civil
war on every wall. In the back corner there is a
door were faint light shows. Moving to the back
of the room is the doorway to the next room on
the left.
This is a large white room. It is a lot like the room
directly be-low it. It has a white fireplace on the
left wall as you enter. The ceiling has an ornate
crown molding which seamless adds more
beauty to the room. To the left there is a big door
which leads to the last room.
The last room runs along the front of the entire
building. It is an open gallery that has windows
along three of the walls that lights the whole
room (2 and 6). The windows look down to the
front of the Cabildo where we can see all the
commotion from the jazz band out-side. Between
each window is a flag that Louisiana has flown
since the state was born. We both thought the
second-floor gallery was the most enjoyable
space in the building. The next floor was blocked
off. The last small parts of the building are either
blocked off or closed for renovation, which ends
our walk through the of building.
Conclusion
The Cabildo is a very historic Louisiana building.
It is the site of many historic events. The entire
building is filled with artifacts from throughout
Louisiana history. The purpose of the building is
to teach Louisiana residents about their history
and heritage. As we walked through the building,
we could feel the history. The building is calm
as people walked through it, which contrast the
hectic commotion going on outside. The building
is lit up mostly by windows, not by lights. The
entire building smells like a mix of the wooden
171
ceilings and concrete floors. It has an old Spanish
design that building do not have anymore. The
Cabildo is an amazing piece of Louisiana History
that is still alive today.

SECTION 4
Fig. 4 The Staircase
Fig. 2 The Gallery

Fig. 3 The Foyer Fig. 5 The Doorway to The Gallery

172
Fig. 6 The Dark Blue Room
Fig. 8 The Original Entrance
Notes
“The Cabildo.” Louisiana State Museum, 20 Nov. 2018, louisi-
anastatemuseum.org/museum/cabildo.
2 “The Cabildo LouisianaStateMuseum.org.” NewOrlean-
sOnline.com, www.neworleansonline.com/directory/location.
php?locationID=1252.
3 Wegmann, Mary Ann, and University of New Orleans
History Department. “The Cabildo: Home of the Louisiana
Supreme Court, 1853-1910 - Stop 5 of 11 in the 200 Years of
Louisiana Supreme Court History Tour.” New Orleans Historical,
neworleanshistori-cal.org/items/show/629.
173
The Old Ursuline Convent Museum:
Stepping Into Survival
Tiffany Perdomo & Lari Grieff, Louisiana State University
Introduction
The Old Ursuline convent museum stands as the
oldest building in both New Orleans and the
Mississippi River valley. It holds with it a long
history of New Orleans, specifically Catholicism in
New Orleans.
Initial Intention
The Ursuline convent was originally intended
to serve as a place for religion, education,
and shelter. The original intent for the use of
this building came from 1727, when the nuns
of Ursuline Convent in Normandy came to
New Orleans to found a convent, manage an
orphanage, and work to educate young girls.
The structure has since had an enormous impact
on the place and people around it. Because this
structure served as a place of Catholic religion
and as a way to care for young girls, it is easy to
assume that the convent became an important
influence within the community. The convent is
still influential today. It now serves as a museum
and gives the public a brief insight into the
history of the roots of Catholicism in New Orleans.
History Behind the Oldest Building In the
Mississippi Valley
The convent was constructed in 1745 and
designed by French archi-tect, Ignace François
Broutin. The building came to be appropriated
for the clients and community because it had to
include different aspects in order to fit in with
the community. The building provided a school,
a place of residence for the archbishop, a central
office, and a meeting place for the Louisiana
Legislature. After the nuns left, they donated the
property to the bishop and archbishop of New
Orleans. St. Mary’s Catholic church then came
to serve as a place of worship for the bishop
and archbishop. What makes this building
stand out most as a place of survival is the fact
that it withstood perhaps the worst fire in the
french quarter, in 1788. “You may say that it is a
miracle the convent did not burn,” states writer
for WGNO, Mark Deane. According to this article,
and, archivist, Emilie Leumas the fire consumed
80% of the city but “The sisters put a statue in the
window, which is Our Lady of Prompt Succor. And
the winds changed.”
SECTION 4
Fig. 1 LSU students, Lari and Tiffany, take a selfie in front of the
church of the museum.
Building Walk Through
As we approached the museum from Chartres St.,
what first caught our attention was the exterior
of the door of St. Mary’s church (Figures 1 and 2).
The two grey doors and gold crosses stood out
most in the white exterior of the entire structure.
The gold seemed to serve im-portance as it
highlighted different aspects of the exteri-or
and drew our eyes up towards the frame of the
doorway and to a circular structure- which we
could not distinguish as a window. As our eyes
were drawn back down, we noticed under this
circular detail were two angels who held a golden
174
cup. Underneath this detail and directly above
the doors, read in all capital letters,“HIC DOMUS
DEI EST PORTA COELI”
Fig.2 Exterior door of St. Mary’s Catholic Church
To enter the museum, we passed this exterior of
the church, and entered a small roofed structure,
which housed the gift shop. Upon entering this
small building, we turned left to purchase the
tickets and then were escorted to a white gate.
We passed through this gate as it was then closed
behind us, and found ourselves at the front of
a garden of shrubs. From where we stood, there
was a direct path to the entrance of the convent,
but we noticed that paths extended into different
directions- all while maintaining a geometrical
symmetry. As we approached the center of the
garden, it felt as if we had been transported
into a completely different area. This museum
stood in an urban area almost directly next to
the Mississippi River, but if we hadn’t looked
up or listened to the surrounding festivities we
probably wouldn’t have even noticed the area
in which we really were. To have such a green
garden in an area surrounded by concrete and
dirty pavement seemed almost taboo. We stood
to observe the stained glass windows of the
church to the left, the little building with the
white gate behind us, and the building ahead,
which we were about to enter. As we continued
towards the main entrance(Figure 3), it became
overwhelming as we wondered what was to
come. Looking up at the large building gave off
a sense of intimidation. We noticed the many
windows that were closed with old, grey shutters,
the two flags that hung over the balcony which
gave shelter to the entrance, and the cross at the
center and top of the building. This was clearly a
building that held importance in different forms.
We could already recognize how religion, politics,
and the simple survival of the building through
the years itself all played an important role in
the history and relevancy of this building to New
Orleans.
Fig. 3 Front of main building/ main entrance
Once we entered, the atmosphere changed.
There was a wedding reception being set up,
therefore, this changed our perception of the
structure a bit compared to if we had visited
175
another day when there was no event. We were
still aware that we were in a building that held
history of the Catholic presence in New Orleans,
but it then became more than a museum. Seeing
the wedding decorations and people rushing
to perfect every detail brought more life to this
building. Because of this, it became a little easier
to see how this history that has withstood so
much has been adapted to modern times and is
still appreciated.
A Walk Through History
After entering the building, we noticed the way
the light poured in from the doors we entered
from and the identical doors directly across. To
the left of the entry doors was a central staircase,
which brought attention to a painting of one man
posing in a red and black uniform (Figure 4). This
central staircase had dark brown wooden steps
and a black, rusted metal railing. This railing was
far from modern perfection. Even from where
we stood we could see all the bumps, dips, and
twists along the entire railing. We weren’t allowed
to walk up the staircase, but stood long enough
to observe the imperfections. The old age of
the staircase was heard through the creaks as a
worker slowly walked up it to carefully place an
arangement of flowers.
Fig. 4 Central Staircase as it’s decorated for an upcoming
wedding
Underneath the staircase, we noticed an open
white door with a gold cross. We could see a
light coming from within, but for some reason
decided to leave this spot for last. Walking away
from this area and towards the other side of the
room we were led into a corridor with a shorter
ceiling.The hallway led us to rooms with different
historical artifacts on display. The first room to
the left appeared to be an office with one desk
straight across the entrance and two bookshelves
on either side. Instead of of entering through
a door, we entered through an open, black
gate. The wooden supports of the ceiling were
exposed. Coming out of this room and back into
the corridor, we noticed that on the opposing
wall was a history of immigrants in New Orleans,
dating back to the French in 1718. This wall was
titled the “Hall of Immigrants.” It ranged from
French to African, German, Spanish, Haitian, Irish,
SECTION 4
Italian, Chinese and many others. This display of
immigrants’ presence in New Orleans became
divided by a door way leading into a large room
that housed several different displays. In this
room were two fireplaces. One on each side of
the room. Again, we noticed the visible brown,
wooden support beams of the ceiling. This room
transformed our perception of where we were
and what time of day it was, because no light
shined through the few windows of the room. All
we could see from these windows was black, and
the room had to be lit from artificial light. We then
realized that we were behind the closed shutters
we’d seen earlier.
After exiting the large room, we came into
contact with another, brighter room. This room
felt more child-like as a cartoon tree was painted
on a wall that stood across another fireplace.
Above this fireplace was a television that
repeatedly played a video that gave some history
behind the building. As we walked into different
rooms, an eerie feeling grew stonger. Perhaps it’s
because the only source of natural light was at
the other end of the hall. We came into contact
with the end of this hallway. A large, grey/ blue
door stood shut next to another but more
176
modern staircase. This wooden staircase was
also inaccessible, but had white supports for the
dark brown railing unlike the other, older, metal
railing. This staircase looked more like a staircase
in a home. Turning our heads in the opposite
direction, we entered what seemed like a dining
room. It was brightly lit, but stuck to the closed-
off windows. In the center was a round table
and four chairs in front of the fireplace. Picture
frames of different events in the city hung almost
invisibley from string.This room gave off a feeling
of humour as it was strange to see this room at
the end of such a religious and historical hall.
Perhaps it was because of that that it was both
comfortable and uncomfortable to stand in.
Upon exiting, we went back down the same
corridor, passing up the men and women’s
bathrooms to the right and across the “Hall of
Immigrants.” We came back out into the natural
light and small flood of people. We turned
right and walked out to where the party would
take place. Here, it seemed as if the history was
sort of removed from the area to make way for
celebration. We tried to walk around and make
sense of what seemed like housing, but found
it difficult to focus on anything other than
decorations. There was a prominent house that
stood in front of the yard where guests would
sit in the evening. It was large and had a balcony
across the front of the second floor. We assumed
it’s where the archbishop claimed residence many
years ago.
St. Mary’s Catholic Church
The most fascinating part of the entire museum
was unintentionally saved for last. We reentered
the building the same way we had exited and
guided ourselves to the door under the central
staircase. We entered a white hall of different
flags, coat of arms, and pieces that would be a
part of a Catholic ceremony. Straight ahead were
black gates with a green and gold figure at the
center. This was the entrance to the church, and
just from what we could see we knew it’d be
something beautiful. To enter the church, we had
to go down a small ramp which may have helped
the overall initial experience of entering this
large church. Once we entered, we immediately
felt inferior, perhaps even a bit intimidated. The
vaulted ceiling stood high and it felt as if our
hearts sank as we entered and gazed up at the
massive structure. The gold highlights were more
prominent than ever in the church. The altar
was the most beautiful part within the church,
as it shined brighterthan anything else. Light
bounced off the gold, and the altar stood out
from its different shades of blue background. In
front of the altar were two small, golden gates
that stood front and center before the long
aisles in between long,dark brown pews with a
cross and number identifying each one. As we
walked from the altar to the back of the room, our
footsteps were echoed in the large and empty
space. We were the only ones in the church,
therefore, we felt small and our experience within
the church was magnified. As we walked down
this aisle, we noticed the several stained glass
windows on each side. The stained-glass windows
alone couldn’t offer enough light to the church.
Yellow- light chandeliers hung low throughout
the church leading up to one central chandelier
above a brown balcony where an organ stood
on display. To access this balcony there was a
small, white, spiral staircase with gold fleur de lis
in the right corner of the room. It stood across
from a private area for confessions. In between
this confessional area and the staircase stood a
plain brown, wooden door. This was clearly the
other side of the large, outstanding door we had
first come across. Because we had seen so many
beautiful gold highlights and religious symbols,
we became underwhelemed by the interior of
this door. Although, it matched well with the
balcony above, the walls of the confessional,
and the pews of the church. As we turned back
around to exit, we took in for one last time the
beauty of the church (Figure 5). We slowly walked
as we gazed up at the high, painted ceiling. We
turned right and noticed a small light fixture
above the ramp we were about to set foot on
and under a window that seemed to give view
177
from an office into the church. Lastly, we walked
into the white hallway and turned right to exit
the main doors we’d entered from. Before going
through the white gates, once again, we looked
back at the historical building and felt priviledged
to have been able to take a look into the roots of
Catholicism in New Orleans.

Fig.6 View of white gates, within garden, before exiting

museum

SECTION 4
Fig. 7 Exterior of door of church

Fig. 5 View of church from interior of main door

Additional Resources and Photos

Emilie Leumas, PhD, “The Old Ursuline Convent: A New

Orleans Museum,” YouTube video, 1:27, posted by “GoNola,”
March 28, 2017, accessed December 4, 2018, https://youtu.
be/6kK9mVTPZCA
Emilie Gagnet Leumas, “ Old Ursuline Convent Museum,”
YouTube, 2:32, posted by “Smart Media, LLC,” posted May Fig. 8 Interior of church facing main door and balcony
1,2017, accessed December 4, 2018, https://youtu.be/Yw4-_
LGKsTY

178
Fig. 9 Stained glass windows along the right wall of the church

Notes
Fig. 10 Outside house at center of a reception set-up
“Old Ursuline Convent Museum,” The Old Ursuline Convent
Mu-seum, accessed December 4, 2018, https://www.
oldursulineconventmuseum.com/#church .
2 Ibid.
3 Ibid.
4 “Ursuline Convent,” Hilary Irvin, 64 Parishes, Louisiana
Endow-ment for the Humanities, published June 17,2011,
accessed De-cember 4,2018, https://64parishes.org/entry/
ursuline-convent-2 .
5 “Old Ursuline Convent Museum,” The Old Ursuline Convent
Mu-seum, accessed December 4, 2018, https://www.
oldursulineconventmuseum.com/#church .
6 “Ursuline Convent,” Hilary Irvin, 64 Parishes, Louisiana
Endow-ment for the Humanities, published June 17,2011,
accessed De-cember 4,2018, https://64parishes.org/entry/
ursuline-convent-2 .
7 “Old Ursuline Convent Museum,” The Old Ursuline Convent
Museum, accessed December 4, 2018, https://www.
oldursulineconventmuseum.com/#church .
8 “Old Ursuline Convent keeping the French Quarter French,”
Mark Deane, Old Ursuline Convent keeping the French
Quarter French, WGNO, published January 15, 2018, accessed
December 4, 2018, https://wgno.com/2018/01/15/old-
ursuline-convent-keeping-the-french-quarter-french/ .
9 “Results for hic domus dei est et porta coeli translation from
Latin to English,” My Memory Translated.net, updated August
30, 2018, accessed December 4, 2018, https://mymemory.
translated.net/en/Latin/English/hic-domus-dei-est-et-porta-
coeli .

179
Oak Alley Plantation: An Evolution of a “Sugarland”

Junqi Liu & Jingchao Sun, Louisiana State University

Intentions & History to the Oak Alley Foundation when she died in
1972, which opened them to the public.
We have gone to visit a very famous plantation in This is a big plantation. After entering the
Louisiana state, which is the Oak Alley Plantation. entrance, go straight to the first crossing. On your
It was a well-known example of showing old right hand, there are Sugar Kettle and slavery at
lifestyle, and it has been about 180 years since Oak Alley Exhibit. On your left hand, there is a
it was built. The style of the main house is Greek “Big House ”Exhibit, which is a living place of the
Revival. The architect of this plantation is Joseph previous owners. As we go into the big house.
Pilié who was born in 1789. This plantation was
built when he was 48 years old. Actually, the “real”
plantation was built by plenty of enslaved labors.
The slave was common at that time, and their
master, Jacques and Celina Roman, was also the
first owner. The original use of this land was to

SECTION 4
grow sugarcane, and it belongs to Valcour Aime,
who was Jacques’s brother. Then Jacques tried his
best to borrow as much money as he could to buy
this land from his brother. He even sold the slaves
to earn money. What he wanted to do most is to
build the plantation. He blended Greek Revival
style and American style together. He mostly Fig. 1 The front of the “Big House”
uses the “big house” to talk business with other
businessmen. After about 10 years, Jacques died, Building Walk Through
and his son took the place of his status becoming
the owner of the plantation.
We entered through the front door. First, we
looked up, there was a beautiful chandelier
After the American Civil War, the slave system
there. Then we saw a stair next to a corridor. We
has been abolished. Also, they can afford the
followed the guide, we entered the right room
cost of repairing the plantation. That means the
first the room was a living room, we can smell a
golden period of Jacques’s family was over as
great odor like woods but not strong, we were
well. After that till 1925, Andrew Stewart bought
not sure if that was the odor of the house or
this plantation as a gift to give his wife Josephine.
odor of some fre-quency that the staffs put in
They let the commissioned architect Richard Koch
the house. A sofa and a few chairs were put there
to supervise extensive restoration and modernize
around a small table and they were all in front of
the house. They have also used this land as a farm
a fireplace. We could see this was the place where
at first. Then they began to grow sugarcane as
the old owners’ family having their time, there
it used to do. Finally, Andrew died and his wife
was no TV so back then, so they just sat there talk
owns the plantation. She painted her favorite
with each other or reading books. On the wall
color orchid to the wall. She also made it a rose
there were some portraits, the portraits are about
garden. The Stewarts were the last owner, and
Josephine Stewart gives the house and grounds the old owner and his wife.

180

Fig. 2 The Living Room
Then we went to a room on the left. It was a
dining room a huge and long table was there and
surrounded by chairs. Lights in the room were
provided by electric candles. This was a very good
example of rich people’s dining room back then.
Tables were huge and have many extra places for
guest.
Fig. 3 The back view of the “Big House”
Then we went to the second floor. The stair was
narrow, and we can hear it creaking after steps
on it. The first room we entered on the 2nd floor
was bright, big windows were there nature lights
entered freely. The room was empty and has
severed boxes with some antique. Then we saw
the bedrooms. We were not allowed to enter the
bedroom, but we could still see from the outside,
the bedrooms were narrow, they had big beds
and tables near it. And one of the bedrooms also
has a cabinet with a mirror, that must be the place
where women used to make up. The bedrooms
were dark, lights were provided by electric
candles.
Fig. 4 The far view of the “Big House”
We can hear the sound of the air conditioner
keeps buzzing while we walk to the balcony. The
balcony really made me stop there for a long
time, it was very beautiful to see the oaks outside,
and to look around.
The Oak Alley’s big house saves as much as
possible old things in, but it still has a lot of recent
rebuild in it like the air conditioner. It is great
that the house was saved completely and the
trees were all there even the owner before they
never think oak is the important thing. Owner
of the Oak Alley was a focus on the sugar canes
which makes them great profits. And today they
become a great place for visitors. And not just a
house there to see but also has people with the
knowledge of the history there to tell visitors the
story about it. Which is great, all visitors could
enjoy the time, they could know how life was for
the rich people before and know even rich people
could suffer and had a hard time.
181
 SECTION 4
Notes

Butler, David L., Perry L. Carter, and Owen J. Dwyer.

“Imagining plantations: Slavery, dominant narratives, and
the foreign born.” Southeastern Geographer 48, no. 3 (2008):
288-302.
2 Hanna, Stephen P. “Placing the enslaved at Oak Alley
Plantation: narratives, spatial contexts, and the limits of
surrogation.” Journal of Heritage Tourism 11, no. 3 (2016):
219-234.
3 Ubbelohde, M. Susan. “Oak Alley: The heavy mass plantation
house.” In Proceedings: Eleventh National Passive Conference,
pp. 358-363. 1986.

182
Mercedes Benz Superdome:
A Symbol of New Orleans
Sophie Treadaway & Lauren Wall, Louisiana State University
Indentions
The Mercedes Benz Superdome is a major
symbol of New Orleans. It was originally
conceived as an idea to help secure the deal of
the Saints coming to New Orleans, but was also
designed to be used for other events 4. The Saints
are a team part of the National Football League.
For the Saints to come to New Orleans, the
structure had to be an enclosed structure to host
all weather situations Ibid. The Mercedes Benz
Superdome, known to locals as The Superdome,
was not just built for the Saints, it was also built to
help the local economy 5. The area where it was
built, was not immensely populated at the time
of construction 1. The Superdome attracted many
businesses and people to the area around it Ibid.
Fig1. Selfie with the Superdome
History
The Superdome was completed on August 3rd,
1975 3. The dome was anticipated to be finished
for the 1972 season, but was delayed and ended
up costing much more than anticipated 6. It sits
on 52 acres of land and was designed by Curtis
and Davis Architects Ibid. The Su-perdome hosts
many other college football games, in-cluding
national championships 2. It also hosts other
sporting events like gymnastics, wrestling, and
basket-ball1 . The Superdome is also an attractive
venue for artist to perform their music to grand
audiences 2. Another use for the dome, was not
one that was planned. The Super-dome hosted
many people during Katrina 1. The place that
people normally went to cheer on their favorite
team, turned into a shelter Ibid. The Superdome
was al-ready appreciated by the people of
New Orleans as a place for entertainment, but
now it was appreciated in a different way. The
Superdome gave people a home when they lost
theirs, which made the city of New Orleans ap-
preciate the structure immensely 1.
Fig.2 The field in the Superdome
183
The Experience
Standing outside of the Mercedes Benz
Superdome is breathtaking. The dome stands
taller and bigger than anything around it,
drawing your eyes right towards it. The futuristic
design is unlike anything around, making it stand
out. The bright golden material of the dome
repre-sents the Saints as their team colors are
black and gold. At night, the dome is lit up in
various colors reflect-ing off the shiny gold. The
colors of course include black and gold, and other
bright colors depending on if it is a holiday. The
huge dome roof draws your eyes even high-er,
making you realize the size of the structure. As
you walk up, one of the many staircases, your eyes
are drawn to the lit-up sign saying, “Mercedes
Benz Superdome”. As you walk under the sign,
you are led to the doors that wrap around the
eyes are drawn upwards, looking around and
following the circle of seats facing you. If you
make your way out at the bottom it leads you to
the secluded areas. This area is much smaller and
quieter. The hall-ways are filled with equipment
and contain big hallways for vehicles to drive
through. The locker rooms for the teams are also
included in this area. The feeling is much homier,
and the sound is quiet. There is carpet, tables, and
leather chairs, all black and gold colors. This area
gives a place for the players to relax from the loud
sounds and distractions in the stadium. As you
leave the locker room you, follow the secluded
path to the door. You then find yourself outside
the Superdome again, looking up in awe at the
enormous structure .

SECTION 4
stadium. When you walk in, the sights, sounds,
and smells lead you different ways. The smell of
food leads you to the concession stand, which
wraps around the whole stadium. The bathrooms
stand by the concession stands, designed just
like any other boring restroom. Within the white
painted walls stand multiple bathroom stalls,
sinks, hands dryers and paper towels. If you
follow the cheer of the crowd, you will find your
way to your seat. As you walk into the main area,
you are overwhelmed with immense sounds
and sights. You can view the whole inside of the
stadium from one spot. The seats fill the stadium
surrounding the field. As you look around, your
eyes are drawn to many lights. There is a massive Fig.3 The roof on the inside of the Superdome
video board dangling above the field, that pro-
jects important actions happening throughout
the room. The lights at the top draw your eyes
to the ginormous dome roof, reminding you of
the size. They also project the light onto the field
which draws your attention there. As the people
fill the seats the sound fills the room. The dome
roof amplifies the sound of the fans cheering
on the Saints or the opposing team. If you make
your way down to the field and look around the
view changes. You are now surrounded by the
seats and are no longer look-ing down. Your Fig.4 A view of the whole Superdome

184
Notes

1 Lewis, Ted. “Designed to Be ‘Greatest Building in the History

of Mankind’ Superdome Still Amazes Even on 40th Birthday.”
The Advocate, The Advocate, 3 Aug. 2015, www.theadvocate.
com/new_orleans/news/article_74788757-460b-5cf7-839e-
2756407941f3.html. Accessed 30 Nov. 2018.
2 “The Mercedes-Benz Superdome Www.mbsuperdome.
com.” NewOrleansOnline.com. Accessed December 05, 2018.
https://www.neworleansonline.com/directory/location.
php?locationID=1291.
3 Mercedes-Benz. “Historical Timeline.” Mercedes-Benz
Superdome. Accessed December 05, 2018. http://www.
mbsuperdome.com/about-us/event-highlights.
4 “The Superdome: From Dream to Reality.” 64 Parishes.
Novem-ber 05, 2018. Accessed December 05, 2018.
https://64parishes.org/the-superdome-from-dream-to-reality.
5 Harris, Terrance. “As Superdome Turns 40 Monday, City’s
Iconic Structure Remains Vibrant, Poised for Future.” NOLA.
com. August 03, 2015. Accessed December 05, 2018. https://
www.nola.com/saints/index.ssf/2015/08/superdome_future.
html#incart_m-rpt-1.
6 Harris, Terrance. “Some Facts about the Superdome You
May Not Have Known.” NOLA.com. August 03, 2015. Accessed
De-cember 05, 2018. https://www.nola.com/saints/index.
ssf/2015/08/superdome_facts.html.

185
The Immaculate Conception Cathedral:
Risen from Ashes
Richard San Miguel, Louisiana State University
Intentions
The Cathedral of the Immaculate Conception is
a church that I have been going to since I was an
infant. It is a place of community and worship for
Catholics and Christians of Calcasieu Parish. They
go to the chuch to worship their God and practice
their faith. They pray, sing, and acknoledge issues
in the community, giving their opinion on it and
how a Catholic should feel about it. They also
have fundraisers for the poor and occasionally the
church. However, The Diocese has its own mission
statement expressing its own intentions which
goes as the following.
Mission Statement
The Diocese has its own mission statement
expressing its intentions.
“The Diocese of Lake Charles embraces fully
the mission of the Roman Catholic Church
to preach the Gospel of Jesus Christ and the
teachings of the Church in Southwest Louisiana
by entering into the Mystery of the Life, Death,
and Resurrection of Christ in the sacramental
nature of the Catholic Church and with particular
emphasis on the call to holiness, service to the
poor and marginalized, the education of young
people, the promotion of natural marriage and
the family, fostering a respect for human life at
all stages, responding to the needs of victims of
violence and abuse, and witnessing faithfully to
the Truth of Jesus Christ in local society and daily
life.” 1
History
The Cathedral of the Immaculate Conception’s
construction was made in the aftermath of the
great fire of 1910 that destroyed about seven
blocks of the city of Lake Charles.2 The Church
was commissioned by Monsignor Hubert Cramers
who had been the pastor at the time. Monsignor
Cramers had gone to the City of New Orleans to
Figure 1. Selfie in front of the South East Entrance
SECTION 4
obtain the assistance of an Architect firm known
as Favrot and Livaudais.3 They were tasked to
create a new church, a new covenant and a new
all-girls school for the children.4 The all-girls
school building was demolished soon after it
was built due to a serious termite infestation. The
building’s construction started in January of 1913
and were finished by December 1913.5 It was
then consecrated on the feast of the immaculate
conceptions which happened to be December
8th, 1927 6. The Church uses a lot of Romanesque
type of décor and is made mostly out of red
brick. This was probably in case of any other
fires that could break out into the city again. As
for Monsignor Cramers, he served for roughly
thirty-three years to the church and received
the blessing of the current Bishop, Bishop Jules
Jeanmard, and the Lake Charles city council, to be
buried beneath the church 7. So he may always
be with his beloved church he watched built
from the ashes. The Cathedral of the Immaculate
Conception is still visited and used to this day.
There are renovations going on currently within
the building that take away from the church’s
beauty. But nonetheless, people are always eager
to worship in a house of God.
186
Building Walkthrough evangelist surrounding mother Mary. The statues
are arranged from St. Matthew, St. Mark, Mary, St.
The Cathedral of the Immaculate Conception is Luke, and St. John. (6) When standing at the front
made of red brick and is built with a Romanesque of the sanctuary there are other alters, one to
style. There are three entrances, the main the left and right. The one to the left pays tribute
entrance being the one to the southeast (1). to the Sacred Heart of Jesus and the alter to the
Outside near a small courtyard where people can right pays tribute St. Joseph. They are supposed
be seen talking after the mass, there is a small to be out of the way, so they do not take away
set of white chalky stairs. Up the steps are two from the main altar. That is supposed to be our
large wooden doors that lead to the Narthex. The focus.
Narthex is a closed off area that separates the
outside world from the inside of the church. This
helps the church create the essential privacy that
is supposed to come with a Mass. After passing
another set of large wooden doors one is greeted
with a long aisle found between several rows of
pews. (2)

When there is no sermon the church has a deadly

silence to it. After your first step, all you hear
the clicking noise of your heel to toe hitting
the floor echoing all across the building. As you Figure 2. Main aisle leading to the Alters
walk down the aisle you can see many rows of
pews. In separate aisles that divide more pews,
there are Byzantine columns holding the up the
ceiling. Along the walls of the church, there are
beautiful intricate stain glass windows that depict
the Stations of the cross. The blue glass provides
a background that manages to capture your
eye especially when the sun shines through it.
The first station starts on the side of the church
that has the altar of St. Joseph near the front of
it (3). The stain glass windows make their way to Figure 3. The St Joseph Alter next to the first station of the
the entrance of the Nave and to the altar of the cross.
Sacred Heart of Jesus. (4)

Finally, at the end of this long middle aisle is

what is known as the Sanctuary, which literally
translates to “Holy Place”. The Sanctuary holds
all the different alters. The newest alter stands at
the front of the sanctuary. (5) It is a flat surface
covered with a white cloth that is where the
priest, deacon, or bishop gives the church service.
Behind the newer alter is the older alter which
is meant to depict the last supper. Just above Figure 4. The Sacred Heart of Jesus to the Right of the Main
that alter are five statues depicting the four- Alter

187
Figure 5. The Sanctuary that holds the Alter

SECTION 4
Figure 6. Statues of the Four Evangelist (St. Matthew, St. Mark,
Mary, St. Luke and St. John)

Notes
National Register of Historical Places - MINNESOTA (MN),
Anoka County. Accessed November 26, 2018. https://
nationalregisterofhistoricplaces.com/la/calcasieu/state.html
2 The Diocese of Lake Charles, THE CATHEDRAL OF THE
IMMACULATE CONCEPTION, DIOCESE OF LAKE CHARLES: AN
ARCHITECTURAL AND ART HISTORY, pg. 27
3 Ibid
4 Ibid
5 Ibid
6 Ibid,
7 Ibid, pg. 28

188
Benson Tower: Symbol of the Late Tom Benson
and Louisiana Culture
Parker Nelson and Joshua Lukinovich, Louisiana State University

Intentions

Understanding the true intentions of the location,

ethical and sociopolitical values of the Benson
Tower gives visitors a beautiful connection with
the New Orleans culture. The Benson Tower
stands tall and adjacent to the Mercedes-Benz
Superdome, in the heart of the New Orleans
city. The Mercedes-Benz Superdome is home
to the New Orleans Saints professional football
team. Tom Benson, the late owner and renovator
of the Benson Tower, also owned the Saints
football team. The location of the Benson Tower
resembles the city’s pride and dedication to the
New Orleans Saints.
The Benson Tower, formally known as Dominion
Tower, is a 26-story high skyscraper. 2 Up until
one of the worst natural disasters the United Fig. 2 Damage to the Benson Tower after Hurricane Katrina
States has ever seen, the Dominion Tower was
used as an important office building in the New Renovation
Orleans area. In 2005, Hurricane Katrina struck the
city of New Orleans and many surrounding areas. Until 2009, the property remained vacant, when
Hurricane Katrina overwhelmed the people of Tom Benson purchased the building in hopes
New Orleans as much of the city suffered severe to renovate the Mercedes-Benz Superdome
flooding. The Dominion Tower did not flood but surrounding area. 1 Tom Benson’s love for the city
sustained significant wind damage. The previous and dedication to help rebuild influenced the
owner decided to vacate the skyscraper in ethical intentions of putting the building in-use
attempt to refurbish in the future. 1 again.

After the repairs and improvements, the newly

Fig. 1 The Benson Tower next to the Mercedes-Benz
Superdome
named Benson Tower, became the first high-rise
in New Orleans to earn certification through
Leadership in Energy and Environmental Design
(LEED). 2 The LEED certification identifies high
performance in sustainable site development,
water savings, energy efficiency, materials
and inside environmental quality. 2 The LEED
certification is one of many factors of the
sociopolitical role that played in renovating the
building.

189
History
The Dominion Tower was built in 1989 and
designed by the architectural company Hellmuth
Obata and Kassabaum. 3 The 26-story tower
added a stunning new landmark to the city of
New Orleans. Before the devastating Hurricane
Katrina hit, most of the Dominion Tower was
used for tenants and offices for local and regional
companies. The rest of the building was occupied
by an upscale shopping center and food court. 1
The Dominion tower was a proudful momentous
building until Hurricane Katrina broke the city of
New Orleans in August of 2005.
Ochsner Health System, Fox affiliate WVUE
newscast station and many office tenants. 4 (8)
The Benson Tower sits in the central part of New
Orleans surrounded by the prideful New Orleans
citizens. The significant skyscraper resembles the
hardships citizens faced and the adversity of the
New Orleans Saints to become World Champions.
The Benson Tower embraces the passion and
drive the late Tom Benson possessed to keep the
city thriving.

SECTION 4
Benson Tower Goes Green

When Tom Benson purchased the skyscraper in

2009, he took a chance on the city and dedicated
his effort to rebuild. Benson selected Woodward
Design Group to renovate the fragmented tower.
4 Woodward Design Group structured a new roof,
HVAC systems and renovations to the interior
offices. 4 The newly designed structure earned a
LEED certification with the effort of Woodward
Design Group. The utility costs of constructing
a “green” building with a LEED certification is
half of the costs of a non-LEED building. 2 The

New Orleans tower that once stood as figure of
the overwhelming storm is now admired as an
Fig. 3 Statue of Tom Benson holding the Superbowl XLIV
example of the influential future. trophy next to the Benson Tower

Thriving City

The New Orleans Saints football team won the

Superbowl Championship in 2010 and the city
was more alive than ever. The newly modified
skyscraper was but back into commerce in 2011.
1 The Louisiana city was beginning to flourish
again through the devotion of Tom Benson.
Today, the Benson Tower accommodates an Fig. 4 Selfie with the Benson Tower

190

Walkthrough of the tower
As you approach the entrance to Benson Tower
your gaze widens in an attempt to take in the
huge glass revolving doors with its surrounding
double doors and windows. The interior and
exterior of the building are constructed of large
slabs of pale salmon colored stones and glass.
First Impressions
Upon entering the building, you immediately
notice the tall ceilings which is the same for the
first floor as it is for the second. An escalator
which is centered with the entrance of the
building draws you up to the second floor. As
you ascend on the escalator reaching the second
floor, you are immediately met by three large
glass windows to your right which frame views of
the Superdome. (5) These windows which appear
to be nearly 20 feet in height pour in natural light.
Since these are the only windows on the second
floor, the views that they provided demand your
attention.
The sounds of high heels and dress shoes can
be heard pattering against the stone floors
and echoing off the walls. Directly in front of
you as you step off the escalator you will see
the buildings second floor cafe where groups
of doctors and nurses can be heard gently
conversing over a fresh bagel or a cup of orange
juice.
Fig. 5 Selfie with Benson Tower
Highlighting Moments
Just to the right of the cafe a brightly lit hallway
lures you in. This hallway which leads to the
buildings parking ramp is completely enclosed
in glass, allowing for the sun to illuminate every
square inch of the room. Large Fleur-de-lis (The
New Orleans Saints Logo) are printed on the
hallways firm rubber floors. (7) A sense of joy and
excitement seems to overwhelm you as you walk
through the sun-kissed room. Upon exiting the
door, at the end of the hallway you will be in full
view of the sun and can step back to get some
nice views of the building.
Fig. 6 Inside Benson tower with windows showcasing the
Superdome
As you re-enter the building through the hallway,
your attention is drawn left to the escalator from
which you came. Surrounding the escalator
is a balcony that looks down on the first-floor
foyer. As you stand by the railing and see the
tile flooring below, you are mesmerized by its
geometric patterns and shapes. Along with the
Fleur-de-lis hallway, this is one of the moments
that makes you stop and admire what you are
experiencing. Standing at the balcony you then
realize that not only the floors have geometric
patterns, but they are all around you, from the
multi-colored stone walls, to the ceilings, and
even the windows. The Benson Tower displays
novelty and order in a harmonious union as
the skyscraper stands proud in the city of New
Orleans.
191
 SECTION 4
Fig. 7 Walkway leading out to the Mercedes-Benz Superdome

Notes
1 “Benson Tower”, Corporate Reality, Corporate Reality, November
28, 2018 http://bensontowernola.com/main.
1 “Benson Tower”, Corporate Reality, Corporate Reality,
November 28, 2018 http://bensontowernola.com/main.
cfm?pg=coverview&pgnum=1&sid=introduction&pid=aboutprop
p 1-2.

2 Ian McNulty, “Benson Tower Goes Green”, New Orleans Magazine,

no. October 2012, accessed December 1, 2018. http://www.
myneworleans.com/New-Orleans-Magazine/October-2012/
Benson-Tower-Goes-Green/

3 “Benson Tower”, Emporis, Emporis, December 3, 2018 https://

www.emporis.com/buildings/122865/benson-tower-new-orleans-
la-usa 1

4 “Benson Tower”, Woodward Design+Build, Woodward Design

and Build, November 30, 2018 http://www.woodwarddesignbuild.
com/?/projects/benson-tower/

192
Gayle and Tom Benson Science and Technology
Complex: Pointing to the Truth
Victoria Cheung and Brooke Loupe, Louisiana State University
Intentions
The Gayle and Tom Benson Science and
Technology Complex was built to further the
education of Dominican students and enhance
their daily routine in the school (2). The building
was created as part of the STREAM™ initiative,
which is an acronym for science, technology,
religion, engineering, arts, and math.1 St. Mary’s
Dominican is an all-girls Catholic high school, so
STREAM™ is meant to increase women’s role in
the STEM field.2
Fig. 1 Selfie with the Technology Complex
History
The Technology Complex was built during
the school years of 2014 to 2016, an era of
construction that was foreign to students and
faculty alike. Designed by Blitch Knevel Architects
and paid for by Tom and Gayle Benson and other
benefactors, the building was destined to be
innovative and modern in comparison to the rest
of campus.3 The intended purpose of the project
was to expand the science depart-ment and
integrate more technology into the curriculum.
The entire science department of the school was
moved into the second floor of the building and
provided with new classrooms and equipment.4
Students also now have access to collaborative
study rooms located on the first floor as well as
independent study spaces spread through-out
the first and second floors. Aside from education,
the inclusion of religion is evident throughout the
building in the form of a chapel on the first floor
and religious artwork.5 Students have access to
this chapel all throughout the school day, where
they can go to reflect or pray in a quiet space.
Fig. 2 Front view of the Technology Complex and Veritas Tower
Building Walk Through
As alumnae of the Class of 2018 at St. Mary’s
Dominican High School, we have witnessed the
creation of the Technology Complex from start
to finish. Being familiar with the building, we
will now walk through the building from the
perspective of a student.
The first thing the student encounters when
entering the Technology Complex is the Veritas
shield, which is the symbol of the school, im-
printed on the floor. Veritas means “truth”: truth in
education, truth in religion, and truth in lifestyle.
The high ceiling of the entrance draws the eye
up and brings attention to the openness of the
atrium, provid-ing a glimpse of the study space
bordering the second floor (6). To the immediate
193
left is the Erminia Wadsworth Technology Center,
a com-fortable environment for students to study
and collaborate in their free time (7). The students
have access to both the open tables or private
rooms that line the walls and double as a practice
presentation space. The lights overhead create
an imaginary path for the students, leading them
from one end of the room to the other. The walls
are almost completely replaced by windows that
space. Leaving the chapel, the stairs seemingly
float as they are illuminated from behind (4). The
glass wall continues to provide light as the stairs
guide the students onto the second floor. After
ascending the staircase, the student is drawn into
the open foyer. The first thing seen on the second
floor is Disputatio, a room designed for open
debate and discussion between students (10).

SECTION 4
Fig. 3 The Peace Garden with its winding path throughout the
courtyard

filter in natural light and allow for an open

thinking space. Walking straight from the
entrance of the Technology Center, the student
finds a set of doors to exit the building and enter
into the Peace Garden (3). The geometrically-
Fig. 4 Staircase to the second floor
shaped landscape creates a zig-zag path from one
end of the garden to the other. Looking up from
Looking to-wards the study space, a cascading
the garden, the hollowed out space above frames
array of lights fills the upper area of the atrium.
the sky, blocking out the rest of the world (8).
Behind the lights, a wall of windows allows for
Upon re-entering the building, an elevator waits
natural light to enter the quiet study space. To the
directly across the door in order to accommodate
right, the hallway of the second floor is lined with
for injured students and faculty. Turning to the
floor-to-ceiling windows overlooking the Peace
right, the student faces a set of thick, wooden
Garden, giving the students a glimpse of nature
doors of the chapel previously hidden by the bare
in the midst of a hectic school day, and provides
white walls that enclose the building. The middle
a view of the sky. Across from the windows are
of the chapel is home to a tabernacle (9). The
several of the brand new science laboratory
sculptural design and height of the tabernacle
classrooms. The roll-ing desks inside are meant
brings attention to the link be-tween heaven and
to adapt to the flexible nature of the room where
earth in this space. The stained glass mural across
the arrangement of the students are not confined
from the doors casts multicolored light into
to a strict classroom order (5). The lab tables
the room, enhancing the sacred feeling of the

194
bordering the walls of the room allow for the
formal teaching environment to flow and coexist
with the hands on learning experience. At the
end of the hallway lies the Holy Family Foyer (11).
It is named so for the mural of the Holy Family
adorning the adjacent wall. Students can relax in
the sofas lining the perimeter of the space. From
there, the Technology Complex merges with the
original school building, St. Mary’s Hall, to allow
students to flow seamlessly between the old and
the new.

Fig.6 St. Albert the Great Atrium

Fig. 5 Rolling chairs and lab spaces in one of the sci-ence

classrooms

The overall design of the Technology Complex

improves the learning environment of the
Dominican students through a focus on open Fig. 7 Entrance to the Technology Center
space illuminated by natural light throughout for
a peaceful atmosphere.

Fig.8 View of the sky and building from the Peace Garden

195
Fig. 9 The chapel housing the tabernacle

SECTION 4
Fig. 10 Disputatio and the open study area located on the
second floor

Notes

“A New Vision,” St. Mary’s Dominican High School, accessed

November 13, 2018, https://www.stmarysdominican.org/
stream/a-new-vision/.
2 Ibid.
3 “St. Mary’s Dominican High School Gayle and Tom Benson
Fig. 11 The open area of the Holy Family Foyer
Sci-ence and Technology Complex,” Blitch Knevel Architects,
accessed November 13, 2018, http://blitchknevel.com/
portfolio/gayle-and-tom-benson-science-and-technology-
complex/.
4 Ibid.
5 Ibid.

196
The National World War II Museum: Bombs Away

Mandisa Ndhlukula and Devin Alston, Louisiana State University

The World War II Museum
Intentions
The World War II Museum was built to educate the
masses on the US experience in the war. Along
with educating the public, it also doubles as a
memorial for the war.1 Located at 945 Magazine
St in downtown New Orleans, Louisiana, the
museum brought in 706,664 visitors in 2017.2
New Orleans played an important role in World
War 2 as it was home of the “Higgins” boat which
carried US soldiers to shore in every amphibious
attack during the war, thus making it the perfect
city to place the museum.3
Through this massive window, is the view of the
beautiful New Orleans skyline. The bottom floor
is completely open, allowing for free and easy
movement. To the right of us was a display of
veteran portraits by local artists. Next to this are
the restrooms. The walls here are a warm wood,
bringing in warmth which is absent in the rest of
building. A big screen with interactive portals is
positioned in the middle. To the left of it is a small,
free-standing gift shop, and to the left of that is
a submarine type atmosphere. The use of steel
and bolts, dim lighting and a colder air creates an
underwater sort of atmos-phere.

History

The architects, Voorsanger Architects PC,

intended for the building to create an interactive
and interpretive experience for the visitors
through a series of pavilions.4 Initially opened
in 2000 as the D-Day Museum where it focused
on the invasion of Normandy, the museum was
eventually declared the US’s World War II Museum
in 2003.5 The museum was designed and built in
phases. Our focus, The U.S. Free-dom Pavilion –
Land, Sea and Air, was officially opened in 2013
and is the biggest building on the campus.6
Public reception of the museum has been
excellent and it is considered the #2 museum in Fig. 1 Picture on the first floor of the museum
the USA and in the world.7
We immediately took the elevator to the fourth
floor, deciding to experience the museum from
Walkthrough the top coming down. Exiting on to the fourth
floor, we come to see that it is just a bridge; one
Sitting right off of the interstate, our section
end leading to the elevator, the other to the
of the museum begins at a small stair front,
staircase. Small, circular lights on the concrete
leading to large and beautiful glass doors. When
ground lead us across the bridge. To the sides of
you enter the building the back wall is a ceiling
the bridge are the tops of two gigantic Boeing
high window, allowing for a lot of natural light.
airplanes. Looking up, the ceiling is bare, giving us

197
a view of all the steel, silver, metallic piping and
wiring. The paneling of the bridge is a transparent
glass, creating a slightly uneasy feeling, but with
the help of the natural lighting coming through
the massive glass wall, we feel as though we are
actually in the air flying with the planes.
Fig. 2 Arriving onto the fourth floor from the elevator
Coming down on to the third floor we are met
with yet another bridge-like floor with glass
paneling, but this time we view the planes from
just underneath. We very significantly feel the
change in altitude and this causes us to feel more
stable than before as we walk across the bridge.
The planes, suspended by wire in the air, actually
seem like they are freely floating and unlike on
the fourth floor where we felt a part of them, we
feel inferior. The glass wall still allows for a lot of
natu-ral light to come in and this opens up the
space. The lights on the floor lead us across the
bridge, where we pass directly underneath a
plane wing and finally take the stairs down to the
second floor.
Fig. 3 View of Boeing plane from the third floor
Landing onto the second floor, we are met
with a new type of floor plan; not a bridge or
a completely open mass. The floor takes up
about a quarter of the entire buildings length
and the contrast between the openness of the
upper floors and this one leave us feeling sort
of claustrophobic. This floor is also in a part of
the building where there is no glass wall, so it
is significantly darker, increasing the feeling
of claus-trophobia. The paneling on this floor
changes too. Instead of glass, an opaque steel
material is used making us feel further entrapped.
From here we have a more human view of the
planes above us.
SECTION 4
Fig. 4 View of the second floor
The inside of the building’s main material is steel,
glass and concrete. Considering the focus of this
building is the planes, this complements the idea
greatly – industrial, tough and cold. There is no
room for comfort in the building, just like there
wasn’t room for comfort for those who fought in
the war. The building allows us to feel the uneasi-
ness of flying in the air and then the intensity and
fear felt on the ground.
198
Fig. 5 Large Boeing airplane and exposed ceiling as seen on
the fourth floor
Fig. 8 First floor. To the left is the free standing gift shop. Above
is the second floor, hidden behind steel panelling

Fig. 6 The third floor

Fig. 9 Stairs on the first floor

Fig. 7 Exposed ceiling

Fig. 10 Building entrance

199
Notes

SECTION 4
“About Us.” The National WWII Museum | New
Orleans. Ac-cessed December 04, 2018. https://www.
nationalww2museum.org/about-us.
2 “The National WWII Museum Sets Visitation Records.”
The Na-tional WWII Museum | New Orleans. January
03, 2018. Accessed December 04, 2018. https://www.
nationalww2museum.org/media/press-releases/national-
wwii-museum-sets-visitation-records.
3 “Frequently Asked Questions.” The National WWII Museum
| New Orleans. Accessed December 04, 2018. https://www.
nationalww2museum.org/about-us/frequently-asked-
questions.
4 “The National World War II Museum.” Voorsanger Architects.
Accessed December 04, 2018. http://www.voorsanger.com/
recent_projects/3.
5 Times-Picayune, The. “2000: National World War II Museum
Opens in New Orleans.” NOLA.com. January 12, 2012. Accessed
December 04, 2018. https://www.nola.com/175years/index.
ssf/2012/01/2000_national_world_war_ii_mus.html
6 “Let Freedom Ring: A Growing National WWII Museum
Opens Newest Building.” The National WWII Museum | New
Orleans. January 13, 2013. Accessed December 04, 2018.
https://www.nationalww2museum.org/media/press-releases/
let-freedom-ring-growing-national-wwii-museum-opens-
newest-building.
7 “The National WWII Museum Named No. 2 Museum in the
World, No. 2 in the United States in 2017 TripAdvisor Travelers’
Choice Awards.” The National WWII Museum | New Orleans.
Sep-tember 18, 2017. Accessed December 04, 2018. https://
www.nationalww2museum.org/media/press-releases/
national-wwii-museum-named-no-2-museum-world-no-2-
united-states-2017.

200
Impressions of an Impressionist
Diana Rodriguez & Karli Smith, Louisiana State University
Home Sweet Home
Welcome to the Degas House, home to the well-
known French Im-pressionist Edgar Degas. In
the autumn of 1872, during the recon-struction
period of the south, he arrived at the Musson-
Degas family home, a few minutes away from the
French Quarter.1 Here Degas created some of
his least famous paintings, yet was able to show
ex-amples of how his work transformed into the
well-known impression-ist style we recognize
today. The Degas House served as the setting
for most of his paintings during his time in New
Orleans. He was able to portray events that took
place in the home while furthering his artistic
abilities. Scenes like singing lessons or a busy day
in the cotton office were a few of his insights to a
time period we can now only wish to experience.
This process that helped him find his artistic
identity al-lowed the house to be much more
than a house, but a physical em-bodiment of
human emotion and personal transformation.
Split Purpose
The building is located in the Esplanade Ridge,
an upscale neighbor-hood located in the New
Orleans Garden District. It was built in 1852 by
the original home owner, Benjamin Rodriguez.2
The Musson-Degas family rented the home for
almost a decade while aiming to make a wealth
in the cotton industry. On the other hand, it was
used as an escape for Degas from the problems
he faced physically and mentally. The large
house was originally one piece and took up 6
blocks.3 Ten-sion among the family resulted in
the home being abandoned. It is ironic how when
the family split even the house later went to
embody this. The house was divided in the 1920’s
into individual lots, three in total. The separate
dwellings were then rented out to make a profit.
In the 80s, descendants of the artist made the two
buildings left standing into a bed & breakfast as
well as a museum.4 It also serves to host events
like weddings. The Knot, recognized the Edgar
Degas House as one of the most prominent
wedding venues in the New Orleans area.5 Brides
and Grooms describe this as one of New Orleans
treasure and the house embodies romance
within its walls. It’s very much appreci-ated by
surrounding communities.
Fig 1. Karli & Diana Standing outside of the Degas House
Walkthrough
Walking into the first house, there is an ominous
sense of high class. Tall ceilings that echo each
footstep allow visitors to indulge in the space
of superiority. This museum portion of the
establishment reveals a timeline along the wall
of Edgar Degas’s lifespan as a painter, sculptor,
and photographer. Along a thin line of waste high
molding, his life is explained through photos,
quotes, and excerpts of articles detailing his life.
One of his personal quotes reads, “Daylight is too
easy. What I want is difficult - the atmosphere
of lamps or moonlight,” and another says “In a
single brush stroke we painters can say more
than a writer in a whole volume.” Both of these
201
quotes show how much thought Degas put into
his work. While exploring the buildings there
were very few visitors, giving the impression
of emptiness in a home that was once so full.
The Masson-Degas family was commonly
overcrowded with too many people squished into
a single room. While the house itself has been
restored and renovated, there are many original
details that have been kept to give insight to
what the building would have looked like when
Degas was present. The walls are painted the
same colors that they were in his time there and
some original furniture is displayed, looking too
delicate to touch, again emphasizing the delicacy
of the lifestyle Degas endured here. Every
Fig 2. Painting of the Original Degas House, prior to divi-sion
corridor and turn reflects the best interpretation
of what the artist must have saw. The elegance
of the home during a not so elegant time period
changed something in him as a person and a

SECTION 4
painter. After viewing a short documentary about
Degas’s life, we walked from the first dwelling to
the other half of the original home - the bed and
breakfast. The bed and breakfast portion of the
place continues the emotions felt in the museum
as it is a mere reflection of the first building. A
narrow staircase lines the left side on a hallway
opposite to three separate rooms. The first room
on the right encompasses the original living
room. Golden walls display replicas of some of
Fig 3. Photograph of what the division of the house looks
Degas’s paintings, one of which was actually today
done in that very room titled The Rehearsal. The
second room holds a large dining table much Fig 4. The interior of the first house main focused on the
like what would have been there long ago, along staircase
with more replicated paintings. In the back area
of the dwelling sits the usable kitchen and smaller
dining room that is used by guests of the bed and Notes
breakfast. Due to his poor eyesight, the majority
of Degas’s work was done indoors, telling stories The History of Degas. 1999 https://www.nola.com/speced/
of how his family lived day to day. Those that stay degas/history.html Accessed 1 Nov. 2018
in this hotel are able to have a taste of just that. 2 The Degas House Story. 2018 https://www.degashouse.com/
en-us/museum?page_id=2647206 Accessed 1 Nov. 2018
3 Degas: In New Orleans, A Creole Sojourn Documentary,
Directed by David M. Jones, New Orleans: Degas House 1998
4 Joanie Oliver, interviewed by Diana Rodriguez and Karli
Smith, Degas House, November 5, 2018
5 “Degas House Museum”, Jaynell Jeanfreau and Sharon
Parker, The Knot, Carley Roney and David Liu, Accessed 1 Dec.
2018 https://www.theknot.com/marketplace/degas-house-
museum-new-orleans-la-258186

202