James Madison University - Bluestone Schoolmaam Yearbook (Harrisonburg, VA)

Page 317 text:

facuttyprofile |- Spelling out his last name with students, School of Art and Art History pro- fessor Bill Tate leads his Design Drafting class in an exploration of creativity across the stage of Latimer- Shaeffer Theatre in Duke Hall. An architect, Tate taught interior design and industrial design classes as well as art history. ■ Photo by Carlton Wolfe He used the words meaning, culture and symbol when talking about the subject he taught. It is the voice of the people, and understanding it is vital to society, said professor William Tate. His riddle was difficult to decipher, but walking to classes most students noticed it. Whether outdoors or inside, no one could escape it. If you were on the Quad, it was mosdy composed of bluestone, sturdy white columns and large, arched windows, creating the university look. It is, of course, architecture, what was built to make the spaces in which we lived. Architecttire involved the creative process that Tate described as both fascinating and holy. To tap into the process students did not need to be geniuses according to Tate. Creativity could be cultivated, and it took perseverance, risk and plunging into the unknown, he said. Studying architecture involved studying culture. Tate saw an illness in our efficiency culture that was affecting our souls when he looked at the way Americans built their world aroimd them. To illustrate his point, he quoted Winston Churchill: First we shape our spaces, then they shape us. Tate ' s rich history with architecture included getting his master ' s from the Uni- versity of Virginia, working with small design firms in Charlotte, N.C., and Williams- burg, Va., and apprenticing and teaching at Lafayette University in Louisiana before remrning to his native state of Virginia to teach. Perhaps his most intriguing experience was working with architect Ricardo Legorreta in Mexico City. Legorreta was one of the worlds best, said Tate. Legorreta brought what Tate referred to as the poetic element into the hotels, corporations and resorts he designed. Tate, at the university since 1993, taught and practiced architecmre. He described teaching interior architecture and design as not a course in learning how to arrange furniture, but rather learning how to make space that affirms what one is doing. Furthermore, Tate spent five weeks in Vienna with about 20 students every other summer. These trips provided some of his most memorable times with students. In Vienna he foimd the essence of his ideas were alive, and that his students, rediscover what a street can be. Americans don ' t know what a street is. Vienna was where he, cultivated a sense of being by sitting in monastic chapels and Viennese cafes. He referred to Vienna as a cafe culture where one can learn to waste time. The attunement to detail in Viennese work and con- versations with architects there, combined with all their experiences, made it diffi- cult to return to the States. Students created a book of writings, illustrations and photos after each trip. Along with teaching, Tate owned his own firm in Staunton, Va., named de nada. It was a small firm that was not specialized but rather networked and collaborated as the projects demanded. He recently worked on a theater and design competitions. While his practice kept his creativity from rusting, teaching was an experience of discovery that Tate shared with his smdents. Beyond discovery he hoped to ignite their interest in architecture. The passion must be passed on to the next genetarion, he said. ■ Tite described his inKrior design and architEctuie classes not as a course in learning how to arrange furniture, but rather, learning how to make space that affirms what one is doing. Annid drafting tables, tracing paper and Rapido- graph pens, professor Bill Tate encourages his stu- dents to take risks with their art. Despite any initial trouble with Tate ' s more abstract way of teaching, students soon welcomed his challenges, forcing them to grow in their creativity and skills. ■ Photo by Carlton Wolfe Classes ■ Freshmen 13 3

Page 316 text:

mm canavan - emenheiser Kelly A. Canavan Colin M. Carpenter Brian C. Carr Seth J. Casana Melissa A. Castagna JonathunJ. Catapano Shannon R. Caulfield Lisa M. Cecchini Adricnne M. Cecil Stephen M. Cembrinski Wendy R. Chambliss Courtney K. Chandler Nathan S. Charles Scott Chong Jessica H. Clark Steven M. Clark Amanada M. Clanor David E. Ciementson Ashlc) ' C. Clevenger Henry B. Clower Jacqueline M. Coates Margaret A. Collier Justin J. Conard Keturah E. Corell Amanda N. Costley Lisa M. Gotten DarcyJ. Cox Amy L. Crabtree Carolyn J. Crawford Karen L. Crenshaw Jeffrey M. Cretz Dalesha D. Criner Erin E. Croke Michael L. Cronlund Allison L. Culbreth Sarah A. Cunningham Kimberly M. Dacey Brooke C. Dail Heather D. Dale Ashley M. Dameron Thomas B. Dameron Rebecca H. Daner Alyson J. Daniels Jennifer E. Davis Maria C. Dec Courtney S. Delk Lisa A. DeNoia Bunty K. Dharamsi Lynette M. Diaz Nanc ' A. Dicke Bethany J. Diehl Melanie A. Dionne Shannon K. Doherty Tara A. Dooley Margaret P. Doran Elizabeth S. Dougherty C. Michael Dove Jared M. Doyle Lisa M. Dryden Michelle L. DuBow)- Lynn M. Duesterhaus Michelle M. Dugent Curtis M. Dyer Kai P. Eason Laura K. East Jessica A. Easton Erika L. Eaton Lauren M. Eaton Joshua S. Edmonds Katie E. Elliott Amber M. Ellis Stewart E. Emenheiser 312 i Classes ■ Profile: William Tate

Page 318 text:

urecclimbingwall Focusing on her next grip, senior Brenda Sutherland attempts to conquer UREC ' s climbing wall. The 30-foot wall was one of Virginia ' s largest indoor walls. ■ Photo by Laura Creecy Working with his partner, senior Jamie Mackie works his way up the climbing wall. The partners were re- sponsible for taking turns belaying each other on the wall. ■ Photo by Kirstin Reid movm up on UREC instructor Emily Barrett, a sophomore, makes sure junior John Thomas is equipped for the climb up the climbing wall in the UREC atrium as junior Jason DiCarlo looks on. The indoor wall was an ideal place to practice the techniques used on real moun- tains. ■ Photo by Kirstin Reid a: A girl struggled to cling to the ru ed, slippery surface beneath her, as her feet dangled in mid-air. A quick glance down revealed far-away faces eyeing her expec- tantly. The girl was determined to succeed. Don ' t fall down! yelled a voice from the safety of the second floor. A new climber was on her way to the top, despite the distractions of her lellow students working out upstairs. While often gazing up at the picturesque mountains that enclose the Shenandoah Valley, few students had the opportunity to learn the skills involved in scaling a mountain. UREC ' s climbing school, a relatively recent addition to the center ' s adventure program, was taught by knowledgeable and experienced student rock climbers. Divided into approximately 22 sessions, the program cost $8 and included class- room and indoor wall instruction. Potential climbers required a partner to belay them, or monitor their safety harness and cord. However, first-time climbers had the option of requesting an instructor to serve as their partner during a first climb. Climbers who had already taken a wall competency test, which covered the basics of repelling and climbing, or the boulder competency test, which covered safe ground climbing technique, could reserve blocks of time for climbing at any time. Both competency tests had written and demonstration sections. The program also had three skill levels, ranging from beginner to experienced. All levels had the opportimity to learn new techniques or refine their skills in Advanced Technique Clinics through- out the semester. For the climber who had mastered the indoor wall, UREC also offered outdoor trips where students could encounter the real thing. Junior Jason DiCarlo, a climbing school student, had already been outdoor climbing in Colorado and Virginia, but wanted to continue his pursuit of the chal- lenge in an indoor venue. The UREC wall and climbing program offer some of the best indoor climbing. Where else can you safely climb a realistic 30-foot cliff any time of the year and with a limited climbing background? said DiCarlo. Another fellow UREC climber, senior Jamie Mackie, had more personal reasons for attending the climbing school. I did it because I ' m scared of heights. I thought it might help me overcome my fear, knowing that even if I fall, I ' m safe, said Mackie. DiCarlo had specific goals in mind for his life after the program. My amigos and I plan on climbing every week so that we can tackle some mammoth mountains out west. No matter what their intention, the UREC climbing program ' s only requirement was a desire to climb. Any student, with any skill or fitness level, was welcome to try their hand at the wall. ■ 314 I Classes ■ UREC Climbing Wall