Safe Zone at Virginia Tech

June is Lesbian, Gay, Bisexual, and Transgender Pride Month in the United States. It is a separate observance from Lesbian, Gay, Bisexual, and Transgender History Month which takes place in October. LGBT Pride Month (or LGBTQ+ Pride Month, or LGBTTIQQ2SA, or whatever umbrella term you are comfortable with) was created in response to the 1969 Stonewall Riots in New York City which followed a police raid on the Stonewall Inn, a gay club in Greenwich Village. It is now 49 years since the Stonewall Riots, and 59 years since the Cooper’s Donuts Riots in Los Angeles, and Pride Month has become a worldwide phenomenon celebrating the spectrum of sexualities and genders encompassed within the umbrella of LGBTQ+. But, there are still instances of bullying and violence against this community. Just last year, during Pride Month, a mass shooting happened at the Pulse nightclub in Orlando, Florida.

Given the violence against the LGBTQ+ community that prompted the creation of Pride Month – and the violence that still happens to the community today, I thought I’d write about Safe Zone at Virginia Tech in honor of Pride Month this year.

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The Safe Zone program at Virginia Tech was established in 1998 in an effort to create a more welcoming environment for members of the LGBTQ+ community. We recently finished processing the HokiePRIDE Records (RG 31/14/15) which include some early documents related to the Safe Zone program defining what or who a Safe Zone is. Listen to David Hernandez talk about the definition of a Safe Zone in his 2014 oral history from The Virginia Tech LGBTQ Oral History Collection (Ms2015-007).

An early Safe Zone Resource Manual (circa 2000), includes information about the history of the program as well as basic information about terms and symbols used by members of the LGBTQ+ community.

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Over time, the Safe Zone program has evolved. It was initially guided by the direction of members of the Lesbian, Gay, Bisexual, and Transgender Alliance (LGBTA) of Virginia Tech (later known as HokiePRIDE). Later, it fell under the direction of the Department of Student Affairs and the Multicultural Center. Most recently, it has been run through the LGBTQ+ Resource Center. Safe Zone has been a part of Virginia Tech for the last 20 years!

Society has advanced significantly regarding acceptance of the LGBTQ+ community and so has Virginia Tech. Still, educating people on campus about LGBTQ+ issues remains important and the Safe Zone program remains a vital way for members of the community to identify people who are supportive and have a basic training on issues affecting the community.

I hope you enjoyed learning a little about the Safe Zone program at Virginia Tech. If you want to see more of the materials from the HokiePRIDE records (RG 31/14/15), stop by Special Collections and have a look!

If you have materials related to the history of the Safe Zone program at Virginia Tech, HokiePRIDE, or LGBTQ+ history at Virginia Tech and are interested in donating to Special Collections, please contact us using the link at top of this page.

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The Ineffable Beauty of a Loosely Drawn Shrub: A Gallery of Olive Chadeayne’s Architectural Drawings

Among the many things to admire about Olive Chadeayne are her devotion to detail, her naturalistic sensibility, and her ability to effortlessly merge the two. Undoubtedly, the artful blend of looseness and rigidity in her renderings makes them delightfully appealing. There can be something preternatural about architectural drawings – human-made constructions floating around in space can feel a touch unearthly, even austere and uninhabitable. This is perhaps why the loosely freehanded plants, shrubs, and trees in Chadeayne’s work can appear so beautiful, even though, examined on an isolated basis, they might appear insubstantial. Their effortless inexactitude is a perfect foil to the precision of an elaborately drawn house – a softening of interrelating straightedges.

It’s wonderful to look at a drawing and be greeted by an ameboid palm, a delicate swirl of eucalyptus or pine, the diaphanous outline of an elm, or the weightless curlicue of a shrub. They lend textural complexity and balance to an image, along with other highly stylized details.

Ms1990-057, Olive Chadeayne, Folder 16
Residence for Lineaweaver, September 1940

Of course, inexactitudes and approximations abound in architectural drawings. Architects and designers see these as collaborative gestures toward a client, for whom they want to grant enough space to impose their own creative vision. The looseness can be an invitation to play and imagine – a blurring of boundaries between architect and client, between dwellings and nature’s endless bounty. Enjoy!

Merging Major Interests

Double Majors at Virginia Tech are becoming more common. Partially as a need to stand out among others, partially as a method of seeking more specific educational goals. I am a double major in English (Creative Writing and Professional Technical Writing) and Industrial and Systems Engineering (ISE). I am frequently asked how this could possibly be a good combination? Where will I ever apply both?

My answer is traditionally communication between engineers, management, and the public need to be clear and concise. Interning at Special Collections has helped me to broaden that statement by giving me the opportunity to archive Engineering Collections. I started with transcriptions and gradually worked my way up to understanding and organizing collections of multiple boxes. When I was experienced enough in archiving, I was allowed to choose the collections I wanted to archive. From this point on I witnessed firsthand example after example for the ways in which my degrees worked together. Most examples seemed to be reports and instruction manuals.

I continued to learn more about organization and private company improvement over time as I worked through collections. I was also able to work with interesting subject matter like NASA’s Wind Tunnels and the collection I am currently archiving, the Avery-Abex Metallurgical Collection. From each I learn something different. Throughout the Avery-Abex Collection, I have come to better understand manufacturing processes and plant systems by organizing the business’s internal and external papers. From this experience I was also able to develop a deeper understanding of the applications of professional writing as an engineer.

My favorite part about working on the Avery-Abex collection is that I had to develop a method of organization that would restore order to the case files. Most of the collection boxes are sporadically numbered. There will be files from 1946 -1948 in box 114, 152, and 75 for example. I had to find a way to pick and choose which boxes to chip away at and how to label them in such a way that the materials fit the company timeline. The solution was to organize by case number, one of the few details listed on each box. However, many of the files are metallurgical samples, negatives, lantern slides, and even reels of film. So I had to develop number codes for the different types of material to keep track of where materials were going and what materials had been processed. The whole experience really tested my ability to think through the given materials.

As I got further into my ISE major, I began to learn more about facilities, systems, and linear programing problems to organize everything and create a more efficient environment. I began to see this in my work at Special Collections as well. As a scholar, a student, there is a moment when you can see dots connecting. The feeling is incredible because you go from understanding theory to seeing it in application. I started to get a lot more out of the work I was doing because I was able to understand deeper connections between the systems engineering that I was studying and the workplace/warehouse type environment where the theory was applicable. The more I saw ties between my majors and my work, the more interesting each shift became. I wasn’t just dating papers, I was developing a system that will become a resource for students and researchers.

My time with Special Collections has never been dry. I will be returning in the fall to continue my work on the Avery-Abex collection. I look forward to what the future of this collection holds and everything that I will be able to learn from it.

By Kaitlyn Britt

Special Collections is opening LATE on Friday, May 10, 2018

Due to Commencement exercises on campus, Special Collections (along with the University Libraries) will be opening LATE on Friday, May, 10, 2018. We will open at 10am and close at our normal time (5pm). We will be CLOSED for a staff event on Monday, May 14, 2018, and we will resume our normal hours on Tuesday, May 15, 2018.

Student Activism at Virginia Tech

Throughout the month of May, Special Collections is displaying an exhibit on five decades of student activism at Virginia Tech. The exhibit highlights several campaigns and demonstrations from 1968 through today, including impromptu vigils for Martin Luther King Jr. and Trayvon Martin, the student occupation of Williams Hall in the wake of the Kent State shootings, anti-war marches and pro-military responses, demonstrations against racism and sexual violence, calls for the protection of natural resources in Appalachia, protests against exploitative labor conditions, LGBTQ pride rallies, and campaigns to highlight ADA violations across campus. These materials come from the University Archives and manuscript collections of Virginia Tech alumni.

Alongside these materials, we’ve chosen to highlight the work of a single student organization at Virginia Tech. The Appalachian Student Organizing Committee (or Appalachian Student Committee) operated as an official student organization of Virginia Tech in the early 1970s. The Committee aimed to raise awareness of Appalachian issues and provide support for other grassroots groups in the region. Under the leadership of student organizers David Tice and Allan Cox, the group worked throughout the region to address issues such as land use, energy policy, poverty, access to health care, labor rights, systemic racism in Appalachia, and the Vietnam War.

In May 1971, several chapter members traveled to Washington, D.C. to participate in a national civil disobedience campaign which resulted in the arrest of more than 12,000 people. The Special Collections exhibit includes memos and training materials distributed on campus to student affiliates. Additionally, visitors to Special Collections can review information about the Community Free Clinic of Blacksburg (1971-1972). This initiative was part of a national movement to establish locally responsive and accessible health care throughout the country.

To see these materials in person, visit Special Collections in Newman Library anytime during the month of May.

Together | We: Troubling the Field in 20th Century Architecture

“Taking some good advice, ‘if a woman is going to perform a man’s task, she must be more capable than a man doing the same task.’ I gave it all and have continued to do so ever since.”    —Anonymous, from Candid Reflections: Letters from Women in Architecture 1972 & 2004

Women matter. They are present and visible, and their voices are central to the way that our communities are shaped. The story of women in the field of architecture can read in a multiplicity of ways, the two most dominant narratives of 20th century practice being ones of exclusion or of triumph. Bemoaning the very real barriers to entry and the loss of talent to attrition based on social pressures is one way to understand architectural practice in the 20th century. We can also flip that narrative and observe the many ways that women overcame, inserting themselves into the conversation, demanding attention and respect, and finding methods to work within existing structures while dismantling them from the inside.

We can understand the diverse ways that women moved through the architectural world while also noticing the trends that emerge—types of work that seem prevalent in their respective careers, stories about being denied interviews, or assumptions that they would be “good with colors” or best-suited to interior design work. These anecdotal recollections, when viewed en masse, begin to tell a story about the barriers to entry and limitations often encountered in a male dominated field. Beyond that, however, we see positive patterns and systems emerge when women began to form organizations to support one another professionally, to cultivate a more active presence in the broader field, and to vocally address inequities through surveys, task forces, and sometimes by outright forcing their way into the old boys clubs of the largest professional organizations.

Spanning the bulk of the 20th century (in a field often defined by the idea of a single, star practitioner) the women, projects, and historical trends presented in the online interactive exhibition Together | We: Troubling the Field in 20th Century Architecture suggest a unity both tangible and intangible between women who held some part in changing the field. Their approaches were varied, but together with their presence, techniques, and persistence they troubled the field and changed our built environment.

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The exhibition includes materials from the International Archive of Women in Architecture, held by the Special Collections Department at Virginia Tech. Many of the featured drawings, photographs, and manuscript materials have been digitized as part of a Council on Library Resources (CLIR) Digitizing Hidden Collections grant.