Liz Kovacevic

Monumental buildings are often placed in the landscape as objects that are separated from the surrounding context. This emphasizes the importance of the building, which normally has a historic, civic, or religious value. Because of its position in the landscape, the procession to an object building is very important, normally using a pattern of reveals as one approaches the building. Another characteristic of these buildings is how they differentiate themselves from their surroundings. This can be done through many techniques such as being physically apart from the surrounding or having a distinct and unusual form.

I will be comparing three ‘object buildings’ by analyzing how they fit into their landscape, what form they take, and what importance they have in their respective societies. The first building is the National World War II Museum located in the New Orleans CBD. The new design, by Voorsanger Architects, is being built in phases to eventually hold 284,000 square feet of space. The museum is to be a national monument to honor the soldiers who fought in WWII, giving the site an implied historic significance. To make the building monumental, the form was designed to contrast the existing buildings. Also, the large canopy over the whole site increases the scale of the project and its monumentality. When driving on I-10, one has a glimpse of the buildings, beginning the approach to the museum.

The second building I will be looking at is the Edo-Tokyo Museum in Ryogoku. Similar to the National WWII Museum, the Edo-Tokyo museum is based in historic significance by housing historically significant items. The museum tells the history of Tokyo during the Edo period. The building, designed by the Japanese metabolist architect Kiyonori Kikutake, gains monumentality with its massive scale and its form that raises the body of the building 50 feet into the air. When approaching the museum from below, it is almost too massive to view the entire building. At the plaza underneath the buildings, the building changes from being an object to being a framing device of the surrounding neighborhood.

Lastly, I look at Ginkaku-ji, or the Silver Pavilion, in Kyoto. The main temple building and the surrounding landscape were planned hundreds of years before the previously discussed buildings. The elaborate wood building becomes the focus point of the temple; however, the public cannot enter the building. The structure is always seen as an object in its landscape as you

move around the garden paths that frame specific views. The path winds its way up the hillside to a view that overlooks the Silver Pavilion.

All three buildings have a distinct, object-like quality that is shown through the approach to the building, intentional or not.

Bibliography

"Architecture, Voorsanger Mathes LLC New York, NY Home." Architecture, Voorsanger Mathes LLC New York, NY Home. N.p., n.d. Web. 14 Sept. 2013.

"Edo-Tokyo Museum." Edo-Tokyo Museum. N.p., n.d. Web. 14 Sept. 2013.

Keene, Donald. Yoshimasa and the Silver Pavilion: The Creation of the Soul of Japan. New York: Columbia UP, 2003. Print.

"K.Kikutake Architects." K.Kikutake Architects. N.p., n.d. Web. 14 Sept. 2013.

"Lecture: What Was Metabolism? Reflections on the Life of Kiyonori Kikutake / Toyo Ito." ArchDaily. N.p., n.d. Web. 14 Sept. 2013.

"The National World War II Museum / Voorsanger Mathes LLC." ArchDaily. N.p., n.d. Web. 14 Sept. 2013.

Maggie Easley

Commercial Buildings in Kyoto, Tokyo, and New Orleans

Through the investigation of the Times Gallery, Prada building and Pontalba buildings, I will demonstrate how the density of a city is reflected in the design of commercial buildings. The Prada building in Tokyo by Herzog & De Meuron embodies the spectacle. The Prada building does not reference the surrounding neighborhood which is mostly low-rise mixed-use buildings. The density of Tokyo causes each building to attempt to stand out amongst the other tightly packed buildings. The Prada building has contrasts within itself with the sharp edged exterior and contoured interior. This contrasts the Times Gallery in Kyoto which stretches low against the Takase River. Kyoto is a smaller city that orients itself around the Kamo River. Since nature is a large part of the organization of the city, it is logical that it would embed itself in the design of buildings as well. Though Japan is a very dense country, the commercial buildings that I chose do not share other programmed space. New Orleans is the least dense city out of the three represented. The Pontalba Buildings in New Orleans embody the western cultures idea of commercial shopping. The mixed use aspect of the buildings are characteristic of the urban densities in Europe that were brought over by the French. The Pontalba buildings share similar characteristics with other earlier buildings in the French Quarter. The sheltered walkway is common in the French Quarter due to the extreme weather of New Orleans. The Prada building encloses a courtyard in order to provide public space in a similar way to the Pontalba buildings. This courtyard area is unique in Japan simply due to the high density of built area in the city. While the Prada store and Pontalba buildings offer public space on the street, the Times Gallery allows for public space down and away from the street. The low terrace near the river acts as a secluded hideaway that allows for a separation from the street noise and traffic. Through the exploration of the characteristics of the Prada building, Times Gallery, and the Pontalba buildings, the architectural design reflects the density of the city that the building is located.

Bibliography:

http://vc.bridgew.edu/cgi/viewcontent.cgi?article=1063&context=neaas

This abstract describes the Japanese festivals which involve floats that provide spectacle for viewers. Though this short abstract doesn't describe architecture in Japan, but it illustrates the culture of Japan. I am not sure if I could find the whole article, or if I really need to, but I think it is interesting to compare the culture of the country to the design of the buildings.

http://architectuul.com/architecture/prada-tokyo-building

The article describes Herzog and De Meuron's intentions when designing the Prada Tokyo building. The Prada building's site is in a low-rise, mixed-use neighborhood while the Prada building itself is six stories high. The description of the building includes how the sharp-edged exterior interacts with the curved interior but neglects the relationship between the building and the neighborhood, perhaps because there is none. The only reference to the surrounding environment is the way the neighborhood is reflected in the convex glass that is the skin of the building. The glass modules are also likened to display windows which are a traditional part of the shopping experience. The description provided in the article is helpful in pulling concepts and relationships from the building.

http://www.galinsky.com/buildings/pradatokyo/

This article provides a further description and insight into the design strategies of the Prada building. There is repeat information from another article that I looked at but there are a few things about site that were not mentioned before. The architects are quoted as saying that most buildings in Japan don't relate to the neighborhood or site they are located on but that the Prada building does. The

architects claim that the Prada building relates to the environment by creating an exterior courtyard with the building, which is common in Europe. The outdoor courtyard is not unique in Japan and likening it to a European condition does not support the architects' argument that it blends into a Japanese environment.

http://architecturalmoleskine.blogspot.com/2011/11/herzog-demeuron-in-tokyo-prada.html

This article compares Herzog and De Meuron's Prada building to Renzo Piano's Hermes building. The author offers an analysis of the Prada building with points and articulations that I may not have come to on my own. It is noted that the Prada building is sculpted in a way that makes the six story structure seem shorter than it actually is granted the location in a low-rise neighborhood. The author describes the Prada building as a carved emerald, as opposed to the Hermes store which is still very orthagonal.

http://architecturalmoleskine.blogspot.com/2011/11/tadao-ando-times-i-ii.html

This is the only website I have found that has drawings of the Times Gallery, which will be useful when comparing the Times with other two buildings I have chosen. The drawings are accompanied by pictures and descriptions of the site. The website details the struggles with the design and the differing ideas between the architect and the client. It is valuable to know the intent of the designer and reasoning behind decisions when comparing buildings. While buildings seem similar in design, sometimes the reason for the design differs.

http://www.famusoa.net/achin/courses/ando/interview.pdf

Though I haven't found a lot of information on the Times Gallery specifically, I may be able to extract themes discussed in this interview and apply them to the Times Gallery. The interview discusses themes in Ando's architectural design, such as nature, while also discussing how Ando handles projects and clients. Through the different topics in the interview, I will be able to make assumptions about the design and intent of the Times Gallery.

http://www.thegroundmag.com/tadao-ando-an-interview-with/

This article is similar to the other interview with Tadao Ando. Hopefully through reading the article I can connect themes and ideas from the interview with the Times Gallery.

http://www.gonola.com/2011/08/03/nola-history-the-pontalba-apartment-buildings-at-jackson-square.html

The history of the Pontalba buildings is given in the article which helps users understand why the building is the way it is today. The building is mixed use with the lower level consisting of retail shops while the upper floors are residential. The mixed use program of the Pontalba buildings contrasts with the Japanese commercials examples that will be explored. The Pontalba buildings also create shade for users by covering the walkway in front of the buildings. This is considered a European characteristic that was mimicked by the Prada Tokyo building.

http://www.frenchquarter.com/sightseeing/PontalbaBuildings.php

This website provides more backstory and history to the Pontalba buildings. The building is traced from conception to current apartment rental and storefront uses. I haven't found any internet sources with drawings of the buildings yet so that might be something I will need to dig further to find.

Jeffrey Zolan

Building-Garden Typology / Japan and New Orleans

 

After experiencing the Japanese ability to articulate and maintain a significant external space in relationship to many of their historic building I found it intriguing to make the comparison to similar conditions found in New Orleans and their historic buildings. Comparing three buildings that exhibit the unique ability to command a landscaped compound surrounding the immediate context of the built structure. Each building is of a different scale and vernacular context.

            Examining the figure ground relationship will begin the study of scale and proportion of built to green space. Then a deeper analysis of pathways and procession associated with each building connecting the structure to its environment.  Also I will look at the deeper meaning of the Japanese dry garden and see if there are any relationships that can be made to the other garden conditions. I will consider the creole plantation typology for examining the library, as it exists in a similar fashion.

            I expect to find a lot of dissimilarities of approaches and view but hopefully the analysis will lead to a surprising discovery of relatable typologies. Creole Architecture has been historically situated on large plots of land commanding an immediate garden but the space is not always fixed or contained as the Japanese do with there monastery temple typology.

            Hopefully my findings should serve as a guide to understanding two vastly different cultures approach to a similar typology. The analysis will be specific to that of Japan and New Orleans but could be replicated and re-analyzed using similar criteria for different cultures with the same building garden typology.

 

Bibliography

 

1. Nakagawara, Camelia. "The Japanese Garden for the Mind: The ‘Bliss’ of Paradise Transcended."

     Stanford Journal of East Asian Affairs os 14.2 (2004): n. pag. Print.

 

2. The Origins of Creole Architecture

Jay D. Edwards

 

Winterthur Portfolio , Vol. 29, No. 2/3 (Summer - Autumn, 1994), pp. 155-189

Published by: The University of Chicago Press on behalf of the Henry Francis du Pont Winterthur Museum, Inc.

Article Stable URL: http://www.jstor.org/stable/1181485

 

3. Douglas, Lake. Public spaces, private gardens : a history of designed landscapes in New Orleans.

     Baton Rouge: Louisiana State UP, 2011. Print.

Stuart Hurt

In the wake of twentieth-century modernism, designers are increasingly aware of the problems its precepts create.  Despite its legacy of technological and tectonic innovation,  international modernism’s short-sighted view of program, urban planning, and zoning led to many single-use districts in sprawling cities smeared across a landscape straining to support them. This “siloing” of different programmatic uses off creates a culture of design in which resources are wasted and space is squandered. In hindsight, contemporary practitioners can understand the ways in which modernist planning both over- and underutilizes the spaces it occupies. Urban planning before the twentieth century included many examples of temporal programmatic overlap—programs that might be termed mixed-use or live/work today. By comparing pre-Modernist examples of such program mixing to post- Modernist mixed-use programs, I intend to show that designers can create more utility with fewer resources and less expenditure by combining and overlapping program in future developments.

I’ll begin by examining patterns of use in a typical Creole house in New Orleans’s French Quarterand compare those to similar patterns of an archetypal machiya (町屋/町家) type in Kyoto, Japan. I will show that single buildings housed both domestic and commercial functions, accommodating both because peak activity for each function corresponded to a trough for the other. Then I will examine how architect Fumihiko Maki’s Hillside Terrace development in Daikanyama, Tokyo, Japan used similar temporal offsets to facilitate mixed-use development in the Daikanyama area without privileging one program over the other. I expect to show that mixed-use, as a successful pre- and post- Modernist program type, represents a viable and sustainable planning strategy for a increasing (and increasingly urbanizing) global population.

Prospective Bibliography

1.Chow, Phoebe. "Tokyo Evolution." Architectural Review 197, no. 1180 (06, 1995): 79. http://search.proquest.com/docview/55166032?accountid=14437.

2.Cordua, Christian Hermansen ed. Manifestoes and Transformations in the Early Modernist City. Burlington, VT: Ashgate Publishing Company, 2010.

3.Hankins, John Ethan; Steven Maklansky, and the New Orleans Museum of Art. Raised to the Trade: Creole Building Arts of New Orleans. New Orleans: New Orleans Museum of Art, 2002.

4.Jacobs, Jane. The Death and Life of Great American Cities. New York: Random House, 1961.

5.Maki, Fumihiko. Fumihiko Maki. New York: Phaidon, 2009.

6.Maki, Fumihiko, and Mark Mulligan. Nurturing Dreams: Collected Essays on Architecture and the City. Cambridge, MA: MIT Press, 2008.

7.Pollock, Naomi. “Urban Design:An Experiment : Building Tokyo.” The New York Times, January 9, 1999. http://www.nytimes.com/1999/01/09/style/09iht-maki.t.html?smid=pl-share

8.Suwa, Sachiko. “The Preservation of Kyo-machiya: A Survey of Past History, Future Plans and Current Attitudes Regarding the Unique Vernacular Architecture of Kyoto.” Masters thesis, Kyoto Notre Dame University, 2006. http://www.wachagashi.jp/kosendo/media/the_preservation_of_kyo-machiya.pdf

9.Taylor, Jennifer. The Architecture of Fumihiko Maki: Space, City, Order and Making. Boston: Birkhäuser, 2003.

10.Toledano, Roulhac. A Pattern Book of New Orleans Architecture. Gretna, LA: Penguin Publishing Company, 2010.

11.Wilson, Samuel. The Creole Faubourgs. Gretna, LA: Penguin Publishing Co., 1974.

12.Wilson, Samuel. A Guide to Architecture of New Orleans 1699-1959. New Orleans: Louisiana Landmarks Society, 1960.

13.Wilson, Samuel. A Guide to the Early Architecture of New Orleans. New Orleans: Louisiana Architects Association, 196-.

Emily Green

Circulation and sense of enclosure in Yokohama Port Terminal, Ryoanji Temple and Longue Vue House and Gardens

Understanding the spatial implications of formal enclosure helps one to understand how we circulate through spaces. The relationship between interior and exterior space can reinforce enclosure or can blur the line between what is indoors and outdoors. These two approaches can either create fluidity of space or an inflexibility of movement.  Examination of Yokohama Port Terminal, Ryoanji Temple and Longue Vue House and Gardens will be used as examples to illustrate 3 different conditions in historic cities.

Yokohama Port Terminal represents the idea of surface as enclosure and sinuous movement in circulation. Ryoanji Temple blurs the line between interior and exterior but with a more rigid, cyclical circulation. Longue Vue illustrates the rigid interior circulation of a classical revival home with vistas that create a dialogue between the interior and exterior. By analyzing and comparing each example this analysis will demonstrate the increase in flexibility of movement with the dissolution of perceived enclosure. As these examples do have different conditions—most distinctly, siting and program—there will need to be consideration of how these two elements affect public/private space, their focuses in orientation, and the differences of approach.  This examination of the relationship between enclosure and circulation will hopefully establish typologies that create an understanding which better inform design decisions.

 

Works Cited

Ferré, Albert, Tomoko Sakamoto, and Michael Kubo. The Yokohama Project: Foreign Office Architects. Barcelona: Actar, 2002. Print.

Itō, Teiji, and Sōsei Kuzunishi. Space and Illusion in the Japanese Garden. New York: Weatherhill, 1973. Print.

"Longue Vue: A Tribute to Classical Tradition in New Orleans." Southern Accents Fall 1977 1.1 (1977): n. pag. Print.

Long Vue House and Gardens. Emily Green. (handwritten notes, sketches)TDB.

"Longue Vue House and Gardens." Longue Vue House and Gardens. N.p., n.d. Web. 11 Sept. 2013.

Pollock, Naomi. "Foreign Office Architects Blurs the Line between Landscape and Building in Its Undulant Dunelike Yokohama Port Terminal." Architectural Record 190.11 (2002): 142. Print.

"Ryoanji." Ryoanji. Columbia University East Asian Languages and Cultures, n.d. Web. 10 Sept. 2013.

Ryoanji Temple. Emily Green with AHST 6333, Tulane University School of Architecture. (handwritten notes, sketches) 26 May 2013.

Yokohama Port Terminal. Emily Green with AHST 6333, Tulane University School of Architecture. (handwritten notes, sketches) 25 May 2013.

Mary Catherine Bullock

In comparison, the Yokohama ferry terminal, the Kyoto train station and the New Orleans train station do not appear to have much in common besides all being centers of transportation. The serpentine landscape of the Yokohama terminal by FOA was built in 2002. It is distinctly different from the muscular Kyoto station designed by Hiroshi Hara in 1997. In comparison to the reserved, post-modern New Orleans Union Passenger Terminal by Wogan and Bernard, Jules K. de la Vergne, and August Perez and Associates in 1949 there are different ideas in play about how a transit space should perform and all, for their time, strove to be “ultramodern”.

I propose to look at the differences and commonalities of these three buildings and analyze their connection to the cities they serve.  I am interested in the ways in which the architects ideas about transportation are manifest in the architecture they create through path, program, visibility and context.  There are distinct differences including materiality, location, type of transport, decade of construction but all of these buildings function as nodes which serve the urban environments in which they are intrinsically linked.

By comparing and contrasting three types of transportation hubs and their settings with in the city I hope to explore the nature of this building typology as it relates to the specific program, location, and the material conditions of the architecture.

Bibliography

Arata Isozaki. Japan-ness in Architecture.  Massachusetts: MIT Press. 2006.

Botond Bognar. Hiroshi Hara: The ‘Floating World’ of his Architecture. New York: Wiley-Academy.  2001.

Barrie Shelton. Learning from the Japanese City: West Meets East in Urban Design. New York: E&FN Spon. 1999.

Foreign Office Architects. The Yokohama Project: Foreign Office Architects. Barcelona: Actar. 2002.

Jun’ichirō Tanizaki. In Praise of Shadows. Trans: Thomas J. Harper, Edward G. Seidensticker.  Connecticut: Leete’s Island Books. 1977.

Kevin Nute. Place, Time and Being in Japanese Architecture. New York: Routledge. 2004.

Peter Slatin. “Origami Experience”. Architecture. Vol. 92.2, (Feb 2003): 68-69.

Lizzie Himmel

“At Hillside Terrace, long views pass through multiple spatial boundaries created by topography, stairs, roads, trees, and low walls. Several possible loops are offered for passage through the site and back to the street, and glimpses of greenery seen around the corner are just as important as fully transparent views for suggesting a path.”

Fumihiko Maki, Nurturing Dreams

 

While this project was intended to be an investigation of three urban-scale planned developments – Daitoku-ji monastery in Kyoto, Fumihiko Maki’s Hillside Terrace community in Tokyo, and one of New Orleans’ recent mixed income housing projects (for example, Harmony Oaks) – it seems that it would be more productive to compare the former two highly “successful” Japanese urban typologies with New Orleans’ own highly celebrated urban character, as opposed to its failures. Maki writes at length about the presence of “inner space” in Japanese architecture at multiple scales, and draws an opposition between this and the European predilection toward establishing the heaviest or most pivotal point at the architectural center. The discussion of inner space, and the Maki quote above, seem to suggest a strong tie with the New Orleanian (Spanish? Creole?) urban typology associated with the French Quarter.

 

By drawing a comparison between the formal qualities of these three (more or less) neighborhood-scale projects, we can discuss how placemaking is accomplished following very different approaches – Daitoku-ji conforming to a traditional axial layout modified over centuries, Hillside Terrace having a single author over the course of 25 years, and the French Quarter having no single author but conforming to a palette of historical building typologies that create dialogue through their relationships in urban space.

 

The particularities of this comparison should be teased out through a diagrammatic analysis of the three projects in both plan and section (in the case of the French Quarter, taking a small sample of the neighborhood, either a four-block square or the 9-block square encompassing Jackson Square). Modes of analysis should include depth of view, circulation/passage, physical and visual boundaries, axis/symmetry, and enclosure.

 

This comparative study will not yield any groundbreaking results, but will be instructive in finding commonalities across cultural urban forms. Maki writes in an essay on Hillside Terrace and public space, “One does not physically experience urban space by simply gazing at buildings or looking at them from above—space is experienced only through sequential movement. Like music, movement in space can be a source of elemental joy, something to which one can give oneself up entirely.” Maki writes in multiple instances of the capacity for urban design to produce “delight,” and that principle seems to have clear resonance in both the Zen monastery (on an architectural and spiritual level) and the French Quarter.

 

 

Bibliography:

 

Levine, Gregory P.A. Daitokuji: The Visual Cultures of a Zen Monastery. Seattle: University of Washington Press, 2005

 

Tiwary, Shiv Shanker. Encyclopaedia of Buddhist Art and Architecture. New Delhi: Anmol Publications Pvt. Ltd., 2008

 

Antariksa, A. “Space in Japanese Zen Buddhist Architecture.” Dimensi Teknik Arsitektur, Vol. 29, No.1. July 2001: pp. 75-84

 

Maki and Associates, eds. Fumihiko Maki, Buildings and Projects. New York: Princeton Architectural Press, 1997

 

Maki, Fumihiko. Nurturing Dreams: Collected Essays on Architecture and the City. Cambridge, Massachusetts: The MIT Press, 2008

 

Maki, Fumihiko. Fumihiko Maki. London: Phaidon Press Limited, 2009

William Nemitoff

Sectional Strategies for Public Cultural Node

When planning a cultural node for a city, it is important to understand the geography and topology of the place.  By analyzing the sectional relationship of public space to the city one can identify different readings of a city. A strategy must adapt according to existing conditions of place. These conditions include placement of the cultural node within the city, building program, surrounding programs, and topography.

The sectional relationship of a cultural node to its surrounding urban context has the potential to increase the value and success of a reading of the city. Placement (node above and outside the city, node above and within the city, node above and at the edge of the city, etc.) will affect the success of a given strategy.

The success and character of the sectional relationships will be addressed through study of the Asakusa Culture and Tourism Center in Tokyo, Kiyomizu Temple in Kyoto, and the Boardwalk to New Orleans. The analysis will take place through a series of diagrams:

Occupied node to viewed space

Relationship of building / occupied viewing space to ground

Relationship of building program to occupancy

Connection to surrounding building programs

This analysis will likely conclude that a person’s perception of a city is affected by the sectional relationship of an occupied space to the city it engages and that perception is tempered by the surrounding programmatic spaces and buildings.

While each case study is specific to it’s particular site, city, and context, this analysis can show how successful interaction public interactions can occur away from the immediate urban context through visual and experiential connection.

Bibliography:

Asakusa Culture and Tourism Center (Kengo Kuma, 2012), Tokyo, Japan

Kiyomizu Temple Kyoto, Japan

Riverwalk, New Orleans, LA

Rena Foster

FOOD MARKETS IN TOKYO, KYOTO & NEW ORLEANS

The way in which we have approached the purchase of food over the last several centuries has changed greatly.  However, there are markets across the world where the sale of some foods has been able to remain relatively the same.  Food sales have changed from increased understanding in sanitation, as well as packaging, preserving, regulations and even trade.  These changes allow food to be more readily available as well as available for greater periods of time, especially when shopping in super-markets or grocers.  Many markets have been able to remain relatively similar to their opening, by selling produce that is appropriate in open air or without amenities of electricity and running water.  Fruits and vegetables, spices, and other cooked or dried items can be sold these conditions.  Unlike the above, meat and dairy must be kept from sitting in an open air and insects to keep from spoiling or spreading disease.  I have been to farmers markets, where meat and dairy has been able to remain in a cooler on ice to allow for it to be sold in an open air setting. 

I would like to find how historic markets between Japan and New Orleans are located, approached, built and available to remain in use today.  The three sites I have chosen to focus on are: The Tsukiji Fish Market in Tokyo, the Nishiki Market in Kyoto and the French Market in New Orleans.

While reviewing these three sites, I would like to study the approach, the amenities of the site, why it was located there, what brings people to the site and how the program has changed over time to keep the building in use today.   I would also like to understand the scale of the buildings compared to when they were built, relative to construction methods and systems available. 

I hope to better understand the architecture of how we obtain food and produce.  How that has changed over time and how in the case of programs other than food, how a building or its program must change over time to remain in use.  I expect that the program will have changed over time to maintain occupancy or the building has changed to accommodate the program. 

BIBLIOGRAPHY

Bruce, Susan . “The History of New Orleans’ French Market.” [New Orleans] 1979

Fackler, Martin. "A Way of Life Moves With a Market." New York Times 17 Sept. 2013: A7(L). Business Insights: Essentials. Web. 5 Nov. 2013.

National Publishing Co. “Some telling facts of the Second District and the Famous French Market of the City of New Orleans 1912.” New Orleans, 1912

Reid, T R. “The great Tokyo fish market: Tsukiji.” National Geographic [0027-9358] yr:1995 vol:188 iss:5 pg:40

Stier, Emilie V.  “Treatise on the famous French Market of New Orleans, LA” New Orleans: French Market Corporation, 1938

Walk, Darlene M. “French Market Survey 1982” New Orleans (LA) The Data Analysis Unit, 10/1982

http://www.kyoto-nishiki.or.jp/