LSU’s Doctor of Design in Cultural Preservation serves a market of interdisciplinary professionals by building on the strengths of faculty across the university, integrating expertise to address contemporary issues in four areas of specialization. The 60-credit-hour program encompasses six semesters of study and 45 hours of course offerings specific to the curriculum and its advanced nature, mostly devoted to individual, supervised research, requiring students to work one-on-one with faculty.
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Watch 2023 Ceremony Livestream
The LSU College of Art & Design 2023 spring diploma ceremony is on Friday, May 19 at 4:30 p.m. in the Maddox Field House. Watch the ceremony livestream.
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The LSU College of Art & Design held the Class of 2023 Honors Ceremony on May 17, 2023, recognizing the academic achievements of graduating students. Honorees: University Medal Recipients Clara ClarkJoshua CrawfordDonna Le Dean’s…
Read Full StoryBrisson Named a 2023 Getty/ACLS Fellow for Kreyòl Architectures Book
Irene Brisson, assistant professor of architecture, is a 2023 recipient of the Getty/the American Council of Learned Societies (ACLS) Postdoctoral Fellowships in the History of Art for their book Kreyòl Architectures: Design in Dialogue…
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Doctor of Design Featured Student

Nasrin Iravani
“Incorporating technology and art impacts more than just the fabricated objects, leading to novel creative practices.”
DDes 2023 Nasrin's Story

Nasrin Iravani
DDes 2023
Nasrin Iravani is a 2023 graduate of the Doctor of Design program, specializing in the area Fabricative Cultures: Materials & Technology. Originally from Iran, Nasrin received her master of arts in handicrafts (design and production) from the Art University of Tehran, and her MFA in studio art/ceramics from the University of Alabama.
The focus of her Doctor of Design thesis is to document the design and fabrication practices with the possibility of incorporation of robotic fabrication and art history data in order to create ceramic-oriented projects.
“My research is all about computational design and Persian ceramics collaboration,” she said. “While giving attention to the historical and cultural identity of digital design, my research attempts to showcase how computer-aided technology and robotics have been used to make digital art and crafts.”
The goal is to help heritage art works to stay alive and preserved in modern world, she said. “I am analyzing historical Persian ceramics and their unique features and creating a bridge between tradition and modernity in forms, medium and fabrication processes.”
She has used a series of digital technology, robotics and engineering procedures to create her work. For example, she uses Rhinoceros 3D, a computer-aided design application, and one of its plugins, named Grasshopper, to model virtual objects, create different parametric models, and robotic algorithms.
Digital technology and tools such as 3D printers and robots create new fabrication process and ceramic projects in her own style. She uses digital techniques and applications to create the desired fabrication process while considering historical background and traditional values.
Today’s technology expands the boundaries of ceramic art and design in unimaginable ways. “Massive technological advancements have created new options for designers and craftspeople,” she said.
“Very imaginative and sophisticated ceramic sculptures may be manufactured excellently thanks to growing technology and digital fabrication techniques, and convey the beauty of ceramic items as much as possible. Using technology opens up a world of possibilities for connecting people across sectors and professions.”