Prattfolio Spring 2008 "Waste Not Want Not Issue"
Pratt serves as a model of ecological stewardship in many ways. Pratt’s new building at 536 Myrtle Avenue is expected to receive LEED-Gold certification. Our academic director of sustainability is making ecological literacy an integral part of the Pratt curriculum, and our Information Technology Division is using technology to reduce paper waste. Pratt’s annual Green Week offers an overview of the efforts that have already been made by the Pratt community to green the campus and their professions. The weeklong series of events—gallery exhibitions, competitions, talks, films, and hands-on activities—inspire students and faculty to achieve new levels of creativity in solving the problems that face us. Pratt will continue to encourage sustainable practice at every level of the Institute and by our students, faculty, staff, and community. That change is sure to radiate out as our students and professionals interact with the world around us.
SPring 2008 ThE MagaZiNE oF PRaTT iNSTiTuTE Waste Not Want Not Sustainable Art: Trash Transformed | Getting in on the Ground Floor of Green Building: The Eco-Savvy Way | Green Roofs: Planting the Seeds for Healthier Cities Sustainability Q & A In Focus The four white electric cars driven by Pratt Security and Facilities Management personnel are models of clean, quiet, efficient transportation. Their use reduces carbon emissions and improves air quality-- key goals of sustainability. Referred to as GEMs (Global Electric Motorcars), the cars take an hour to charge fully, drive at a maximum speed of 35 mph, and can travel up to 30 miles before recharging. RENE PEREZ PRaTT people COnTEnTS F E aTuR ES : 12 Sustainable art: Trash Transformed Spurred by environmental concerns, artists are turning garbage into art works, producing some unusual results. 18 Getting in on the Ground Floor of Green Architect and environmental researcher Ed Mazria sets his sights on architecture education. His aim: to foster a new breed of ecologically conscious designer. 20 Building: The Eco-Savvy Way Prattfolio shines the spotlight on eco-friendly design with a look at two recent building projects, including Pratt's proposed new building at 524 Myrtle Avenue. 26 30 Green Roofs: Planting the Seeds for Healthier Cities How Pratt faculty and staff members are using green roofs to keep New York City cooler and cleaner--and why they are sharing their lessons with the city's youth. Sustainability Q & a Faculty, staff, and alumni of Pratt weigh in on some of the most pressing ecological issues today. DE Pa R T ME n T S : about the Cover Installation artist Steven Siegel, M.F.A., Sculpture/Drawing, '78, created Nest--a sculptural statement about societal attitudes toward trash--in the forest at the Montalvo Arts Center, Saratoga, California, in 2005. He pushed huge metal spikes through 1,000 pounds of discarded newspaper, which he placed between trees that form an external armature. The 7' x 7' x 7' work will eventually decompose, but the environmental issues it raises will not disappear as easily. For more information on Siegel, see page 16. 2 Mailbox 3 President's Letter 4 First Thoughts Debera Johnson, academic director of sustainability at Pratt, on the role of designers in a sustainable future 6 Pratt People Alumna and eco-organizer Lori Gibbs; faculty member and developer Carlton A. Brown; faculty member and environmental scientist Richard Leigh; artist and alumna Eve Mosher; graduate student and academic sustainability project manager Jaime Lynn Stein; LEED architect and television host Lauren Gropper 34 new and noteworthy 40 Ryerson Walk Pratt ranks high on national design survey, designer Carmen Marc Valvo to be named Pratt Fashion Icon, and more news from around the Institute 46 Literary Corner English and Humanities Chair Ira Livingston asks: Is sustainability another form of apocalypticism? 48 Supporting Pratt 51 alumni news 53 alumni Stories 54 Pratt Exhibitions 56 Special Events 57 Class notes 63 Obituaries 64 Then and now 3 p r att folio Mailbox aRT anD THE BODY FaLL 2007 The redesigned Prattfolio is terrific! The format makes for a much easier read. I loved the up-to-the minute articles. Pratt's attitude and energy have really pumped up since the late '40's. However, I wouldn't exchange anything in the world for those two exciting (and very tough at times) years spent at Pratt. A variety of interesting jobs in the fashion area resulted. I mentioned Pratt and it was "open sesame." Catherine Withers Aker Certificate, Costume Design, '48 attempt to keep the movement of the day going (not to drop into the ordinary but to stay in the rare air of art as best I could). I sometimes wonder what my experiences would have been like had I lived there in Brooklyn instead of having this nightly commute, but the benefit was that I stayed very much with myself, my own thinking, and because I was on the train versus having access to paint, I kept trying to transform the visual into the verbal and every night spent an hour or so with words, often in my case, those replete with colors, as though a kind of virtual painting were taking place. Alexandra Kittle Sellon B.f.A., Graphic Arts and illustration, '61 ThE MagaZiNE oF PRaTT iNSTiTuTE SPRInG 2008 Prattfolio is published by the Office of Public Relations and Communications in the Division of Development for the alumni and friends of Pratt Institute. �2008 Pratt Institute Pratt Institute 200 Willoughby Avenue, Brooklyn, NY 11205 www.pratt.edu Vice President for Development Patricia Pelehach Executive Director of Public Relations and Communications Mara McGinnis Art Director Jess Morphew Managing Editor Elizabeth Randolph Senior Designer Caitlyn Phillips Assistant Editor Adrienne Gyongy Senior Production Manager Sung-Hee Son Photo Manager Diana Pau Editorial Assistant Amy Aronoff Contributors Chantel Foretich Tess Schutte Michael Hambouz Ashley Berger Mimi Zeiger Debera Johnson Photography Chantel Foretich Bob Handelman Diana Pau Ren� Perez Kevin Wick Several people--faculty and students-- read the article "Basic Training" in the last issue and commented on how well researched it was. They also commented on the strength of writing and the beautiful illustrations. We learned a whole lot about the history of figuredrawing in general, especially as it relates to Pratt's traditions. Great job. Jenny lee pratt Adjunct professor, fine Arts I was very impressed with the magazine. I hadn't realized there were so many interesting things coming out of Pratt these days. I plan to show the issues to some of my colleagues. I'm now a professor in a large art and design department. The magazine and the content are stellar! Ben pratt M.i.D., industrial Design, '92 The fall issue brought back memories. I can still see and hear anatomy professor Khosrov Ajootian. In one anatomy class he raised a scapula, turned it slowly, held it up to a light, faced the class, and said "Ain't nature grand?" Those words have stayed with me for all these years. What a teacher! What a great man! I was a disappointed, however, at the lack of "traditional" drawing, painting, sculpture, and design in the last issue of Prattfolio. The trend seems to be in the direction of abstract and nonobjective representation. George V. Kelvin Certificate, illustration, '51 email@example.com I was pleasantly surprised at the quality and content of the magazine, since I vaguely recalled a magazine published at Pratt during my years (1999-2003), which spoke mainly to potential donors, with zero appeal to students. The fall issue of Prattfolio was inspiring, conjuring up sometimes forgotten feelings of pride in having spent four years in such a nurturing environment. Carolina paula B.f.A., illustration, '03 I was very pleased to receive the last issue of Prattfolio. I was particularly enthused when I saw the subject, "Art and the Body." In reading about the history of anatomy classes at Pratt, I was certain I would see the name Khosrov Ajootian, who had been dean of the School of Art and Design and the anatomy professor from way before I started at Pratt, until he died. Khosrov-- his nickname was Papa Koo--was an amazing man, a brilliant, nationally known anatomist, and inspiring teacher who had a wicked sense of humor and a very loving disposition. How could you have left him out? Ann l. Dubois fine Arts, '59 Editor's Note: As these reminiscences indicate, many revered Khosrov Ajootian, former dean and professor in the School of Art and Design at Pratt Institute. Thank you for reminding our readers of his important place in Pratt's history. Cert n o. XXX-XXX-000 I loved the photo of the early days at Pratt that appeared in a recent Prattfolio. As a commuting student (1957-1961), I rode the Long Island Railroad home at night with notebook in hand. I would 4 p ratt folio This issue of Prattfolio is printed on Forests Stewardship Council (FSC)certified paper that includes a minimum of 10 percent post-consumer fiber. Please send letters for Mailbox to firstname.lastname@example.org or mail to Mara McGinnis, Executive Director, Office of PR and Communications, Pratt Institute, 200 Willoughby Avenue, Brooklyn, NY 11205. preSiDent'S PEOPLE prAtt LETTER KEViN WiCK President Thomas F. Schutte, left, speaks to photography major Kate Rothermel and digital arts major Jarl Midelfort in his office about Pratt's proposed new green building at 524 Myrtle avenue. I n a press conference held in Pratt's Rose Garden last spring, New York City Mayor Michael Bloomberg announced the participation of Pratt and several other New York City�area colleges and universities in his 30/10 Challenge, which encourages a 30 percent reduction in carbon emissions by the city's buildings within 10 years. Pratt's verdant campus seemed a perfect site for the mayor's plea for a "greener" city. College administrators are rightfully concerned about the impact of their physical plants on the environment. I recently joined the Leadership Circle of the President's Climate Commitment, a group of more than 500 college and university presidents who have pledged to reduce campus emissions. Moreover, they understand that as centers of learning we must educate our students about the challenges faced by our society and provide them with the knowledge and skills to solve complex problems on multiple fronts. Pratt serves as a model of ecological stewardship in many ways. Our sustainability coordinator for facilities and operations is leading the effort to green our campuses, and Pratt's new building at 524 Myrtle Avenue is expected to receive LEED-Gold certification. Our academic director of sustainability is making ecological literacy an integral part of the Pratt curriculum, and our Information Technology Division is using technology to reduce paper waste. Pratt's second annual Green Week, held in March, offered an overview of the efforts that have already been made by the Pratt community to green the campus and their professions. The weeklong series of events--gallery exhibitions, competitions, talks, films, and hands-on activities--inspired students and faculty to achieve new levels of creativity in solving the problems that face us. Pratt will continue to encourage sustainable practice at every level of the Institute and by our students, faculty, staff, and community. That change is sure to radiate out as our students and professionals interact with the world around us. Sincerely, Thomas F. Schutte, President 5 FIRST thouGhtS Design: A Green-CollAr Job By Debera Johnson y colleague Mary McBride, chair of Pratt's Design Management program and my sustainability guru, came up with the phrase "greencollar job" one afternoon when we were putting our heads together and looking at the opportunity to create a new sustainability sector for creative professionals "Design is a green-collar job," she told me. How right she is. At Pratt where students come to learn--from the experts--how to design products, clothing, publications, advertisements, buildings, interiors, and information systems, it is particularly important for us to examine the impact we in our professions all have on our environment. Each of us plays a vital role in reducing our consumption, but perhaps no one more than our architects and designers, artists and archivists, urban planners and writers. We make the future attractive, desirable, pleasurable, convenient, and functional. We inspire, provoke, and revolutionize. We change the systems, processes, and protocols. Never before has it been so relevant to be a creative professional. We have real problems to address. The built environment--the communities and buildings we occupy--produces nearly half of all the greenhouse gases and consumes almost 48 percent of the energy that humans use. Another 20 percent is produced by transportation, 18 percent by livestock. The disastrous hurricane that leveled parts of New Orleans and the Gulf Coast of Mississippi has been linked to global warming. Habitats for arctic species like the polar bear are shrinking fast. Here at Pratt, we have recently installed tanks to handle the water flooding our basements because of the changing storm patterns. 6 p ratt folio M Look no further than the images on this spread to see that the world has become a wasteful, global culture. These images and others composed by photographer Chris Jordon point to the enormous amount of garbage generated by humans. These particular images illustrate the two million plastic beverage containers used--and discarded--in the U.S. every five minutes. This refuse clogs our landfills and waterways. The North Pacific subtropical gyre, a natural vortex in a remote area of the Pacific Ocean, has pulled the world's floating garbage into a mass the size of Texas. If we choose, the intent of our work can be to change the world. Recently Pratt organized a two-day conference as part of a nationwide teach-in called "Focus the Nation." We reached into the pool of faculty and brought together architects, designers, urban planners, writers, scientists, and civic leaders. We also pulled in Pratt's administrative leaders and invited local civic leaders and city representatives to come together and focus on finding solutions that would turn our hopes into action. Pratt alumnus Ed Mazria (B.Arch., '63) and founder of the environmental research and advocacy group Architecture 2030, which organized the national teach-in, has said, "To successfully impact global warming and world resource depletion, it is imperative that ecological literacy become a central tenet of design education. Yet today, the interdependent relationship between ecology and design is virtually absent in many professional curricula. To meet the immediate and future challenges facing our professions, a major transformation of the academic design community must begin today." My position as academic director of sustainability for Pratt DiaNa Pau DEBERa JOHnSOn is Pratt's academic director of sustainability. In this role, she leads Pratt's academic sustainability initiatives and supports Pratt's faculty in identifying and solving environmental problems in order to place the Institute at the academic forefront among colleges of art, design, and architecture for its sustainability efforts. Johnson also serves as director of the Pratt Design Incubator for Sustainable Innovation. Former chairperson of Pratt's Department of Industrial Design, she has taught industrial design at Pratt Institute for nearly 20 years. Johnson received a bachelor's degree in industrial design from Pratt in 1986. TERESiTa JESSER firSt THOuGHTS As the world becomes more complex, unordered, and chaotic, it will look to designers to find solutions. Institute was created to ensure that ecological literacy becomes an integral part of a Pratt education. In September 2007, Pratt was awarded a 3-year, $475,000 grant from the U.S. government's Fund to Improve PostSecondary Education (FIPSE). We were the only institution to receive a grant to "green" its academic programs and only three percent of the applicants received funding. This grant will provide the resources to find new ways of educating future architects, artists, industrial designers, urban planners, and other design professionals so they have the skills and sensibilities to creatively and successfully meet the immediate challenge of global warming. This prestigious grant will focus Pratt on the following three initiatives: ensuring that every student understands sustainability in relation to their chosen profession; the creation of a "living laboratory" that integrates "greening" our campus along with "greening" our academic programs; and the creation of a Center for Sustainable Design and Research that provides a place for faculty, students, and outside partners to collaborate on projects that range from the practical to the provocative. Pratt is well positioned to take on these challenges. The Institute offers more than 70 courses that address the issue of environmental sustainability. We have expert faculty, a committed administration, and the facilities with which to experiment and innovate. But it is no longer enough to bring sustainability into temporary focus through stand-alone courses or special events. Pratt's approach will harness our resources to systematically educate design students about the ecological impacts of their professional choices and their creative opportunities for designing our future. In the words of my friend Richard Farson, a leading psychologist and founding dean of the School of Design at the California Institute of the Arts: "Design remains the most powerful determinant of human behavior and achievement." As the world becomes more complex, unordered, and chaotic, it will look to designers to find solutions. Creative thinkers who can envision strategies for change, build experiences, manage projects, and provoke people to act will be an essential component to countering the most dramatic challenge with which we have ever been faced. The stories that follow represent only a fraction of what our amazing Pratt community is doing to help change the world. I'm guessing that it will inspire you to become an active advocate for change, if you are not already. Whatever role you play--as an artist, educator, manager, designer, planner, parent, or child--I hope you will support Pratt in its efforts to educate our new leaders. P Chris Jordan's Plastic Bottles, 2007, is part of the photographic series Running the Numbers: An American Self Portrait, which exposes the country's waste and mass consumption. The image, top, represents the two million plastic beverage bottles americans discard every five minutes; the images, middle and bottom, are closer and closer zooms. 7 CouRTESy oF ChRiS JoRDaN PhoTogRaPhiC aRTS (ChRiSJoRDaN.CoM) PRaTT people Lori Gibbs B.Arch., Architecture, '07 program Director, urban Studio Brooklyn (uSBK); Junior Architect and Member, Marketing team, rafael Vi�oly Architecture photographed at habana outpost, an eco-eatery in fort Greene, Brooklyn What's that tank behind you? What challenges do you face when designing small, sustainable architectural projects in an urban setting? This tank was the first project that USBK did during our summer 2006 workshop. We've actually built two water reclamation systems at Habana Outpost. This one collects rainwater from Habana Outpost's solar panel awning and uses it to water their outdoor garden. The second, constructed during the summer 2007 workshop, is much more complex. It uses rainwater to flush Outpost's toilets. That system is unique because it conserves drinking water and reclaims rainwater at the same time. Rainwater is not a resource conventionally used in New York City; usually storm water drains directly into the sewer system. Do you see these projects as didactic tools? REN� PEREZ Small sustainable projects such as these tend to fall through the cracks of zoning and code regulations due to their unconventional nature--not many people flush their toilets with rainwater. What inspired you to start USBK? Yes. The main focus of USBK's summer workshops is to teach. We bring architecture students from various New York City schools--including Pratt--together with practicing professionals, clients, and community members and give them the opportunity to build a full-scale project within the local community. Students get to explore the human and social needs that architecture has the power to address. These are typically not experiences they have while studying architecture at the college level. It teaches the public something, too. Restaurant patrons have shown a lot of curiosity about the projects, which expose the operational guts of the building to them in an interesting and visually pleasing way while they sip their mojitos. 8 p r att folio It was a reaction to a panel discussion I attended at Pratt during my third year in architecture school. The discussion was centered on the Rural Studio program in Auburn, Ala. The humanity and magnitude of the Studio's work was very inspiring because it uses the art and innovation of architecture to directly serve communities in need. Three months later I met Sean and started working with him as an intern. He was just starting Habana Outpost, and I asked if he would be interested in starting a program similar to the Rural Studio, but in New York City. He was receptive, supportive, and enthusiastic about the idea. Barring any obstacles, what would be your fantasy green project? I'd love to design the entire roofscape of New York City as a giant interconnected labyrinth of green, vegetated parks, and social spaces in the sky. I think New York could benefit from that in so many ways. Little of what I think of as the "piazza life" found in Rome exists here. Actually, you can find a quasiprivatized American version of it at Habana Outpost. prAtt PEOPLE Carlton a. Brown Visiting instructor, Architecture founding partner and Chief operating officer, full Spectrum nY llC; Member, Mayor Bloomberg's Sustainability Advisory Board photographed at the Kalahari, a green building in harlem, new York tell me about the building behind you. The Kalahari, which Full Spectrum developed, is a "green" building, but our ambition is much more robust than that. We often overlook the importance of health and human diversity in sustainability, but our objective is to create a sustainable community, not just a green building. We improved indoor air quality and focused on reducing energy consumption, which will provide residents with economic benefits. We have also included indoor exercise facilities. This is important given that obesity and its associated diseases are the primary killers in the African American community. The independent film center there will focus on film by and about people of color. Sustainable communities are those in which people have the opportunity to speak with authenticity in their own voices. Has it been difficult to bring green developments to areas that have struggled with economic divestiture? Ten or 15 years ago when we first began to focus on developing sustainable mixed-income communities, most of the financial institutions and public agencies were not there yet, so the going was particularly difficult. Now that we have had a few successes, we have earned the confidence of our partners in government, private financial institutions, NGOs, and the general public. What perspectives do you bring to the Mayor's Sustainability advisory Board? I speak most clearly for those people and communities who have often been left out of the discourse. I grew up in a community left out in Mississippi. I live in a community left out in central Brooklyn--Bed-Stuy--and my office is in an outsider community--Harlem. So, from every angle, I have some basic understanding of what the issues are in these communities. On the other hand, I have been engaged in some aspect of architecture, real estate, construction, and development in the mainstream market since I finished college in 1973. What projects are on the horizon? REN� PEREZ One of the most interesting projects is downtown Brooklyn's BAM Cultural District development, a residential tower with 187 units, a 40,000-seat dance theater, and street-level retail. Since 2002, I've been working with members of the Concerned Citizens Coalition--the Pratt Area Community Council, Pratt Center for Community Development, Brown Memorial Baptist Church, Emmanuel Baptist Church, and community residents--to help ensure that the development will be green and affordable, that there will be a place for Brooklyn-based arts groups, and that it will provide economic opportunities for community residents and the small, local retail businesses that are being priced out of the Fulton Street corridor. 9 PRaTT people Visiting Associate professor, Math and Science Senior engineer, Community environmental Center (CeC) photographed at Solar1, an environmental education center in Manhattan What's the Community Environmental Center (CEC)? Richard Leigh It's a not-for-profit energy efficiency services provider that was set up in 1993 to help affordable housing in New York City use less fuel and electricity under the federal weatherization program. We also work in several programs sponsored by New York State Energy Research and Development Authority and other funding agents providing technical analysis and Leadership in Energy and Environmental Design (LEED) consulting. In the last few years we have established the Build It Green recycling center in Astoria and Solar 1, an environmental education center in Stuyvesant Cove Park in Manhattan. tell me about CEC's proposed building, Solar 2, purported to be the first net-zero building in the city. By "net-zero," we mean that Solar 2 will have a lot of photovoltaic cells on the roof that will generate a maximum of about 100 kilowatts. This will produce more power than we need when the sun is bright, and none at night. So the goal is to feed the excess back to Con Ed when available, buy from them when we need it, and have the amount we feed back be equal to or exceed what we buy from them--that's "net-zero." We'll get there by keeping all our loads--heating, cooling, lighting, computers, and so on--as small as possible. The key component will be a ground-source heat pump for heating and cooling. We have a preliminary analysis that says net-zero is possible. We're doing a more detailed assessment now. Solar 2 will be used to extend Solar 1's environmental education activities. It will have classrooms, a lecture hall, and educational exhibits, including solar hot water collectors and a model apartment. What drew you to this line of work? I was in graduate school studying physics when the first oil crisis occurred and got interested in energy issues immediately. It was so clear that people weren't being reasonable. They were assuming our energy use could just grow and grow forever. So after doing "pure" physics as a post-doc, I was offered a job at Brookhaven Laboratory doing national energy planning. I've been involved with energy issues ever since. What steps have you taken to "green" your own life? We've got a lot of compact fluorescent bulbs, we buy Energy Star appliances, and our next car will be a hybrid, but it's very hard to have an impact acting as an individual. What we really need is strong building codes and carbon taxes or other largescale economic structures to force the big players--industry, real estate developers, and governments--to implement meaningful change, and we need this in a hurry. REN� PEREZ 10 p rat t folio REN� PEREZ prAtt PEOPLE Eve Mosher What are you doing? M.f.A., Sculpture, '05 Artist and environmental Activist photographed in the financial district of Manhattan. What was the strangest reaction to your project? I'm marking the 10-feet-above-sea-level line, indicating areas that would experience frequent flooding due to climate change. Last summer, I marked 70 miles around the coast of Brooklyn and Lower Manhattan as part of a public project called "HighWaterLine." I also passed out action packets with steps individuals can take to combat climate change. I wanted to provide a very local understanding of climate change and to give people an opportunity to have a real two-way conversation about the topic--not just be lectured at. What data did you use to map the high water line? hoSE CEDENo One woman thought the line was ugly and wanted to know when it would go away. What was the most encouraging reaction? I really loved some of the kids. Most of a certain age had studied a little climate change in school, so they were interested in talking about what the flood zones really meant. For the younger ones, it was often the first time they had even heard of climate change, but I hope the project will stick in their minds so when they do study it in school they will remember the experience they had with me. What would happen to your neighborhood if the sea level rose 10 feet? I used a U.S. Geologic Survey topographic map to trace the 10foot line and then transferred it to Google satellite maps, but the original idea for the line came from a report, published by the NASA Goddard Institute for Space Studies that examined the effects of climate change on New York City. Did you encounter any skeptics? Two. They believed in climate change but didn't believe that it was caused by human actions. Since I'm not a scientist, I didn't believe that it was my duty to argue the science with them--it's out in the public realm for everyone to read. What we did agree on was the need for energy independence and that the tips I provided in the action packet were good steps towards that goal. I live in Clinton Hill--which, as its name implies, is on a hill, above the 10-foot line--but because so many of the city services are along the coast, those of us farther inland would be affected as well. We would lose power, our trash wouldn't get picked up, and the trains would stop running. Even if I had a car I wouldn't be able to leave the island--most of the tunnels and bridges would be affected. 11 PRaTT people Jaime Lynn Stein environmental Management Systems, '08 project Manager, pratt's office of the Academic Director of Sustainability; Webmaster, Sustainable pratt photographed in higgins hall on the Brooklyn Campus What did you study as an undergraduate? I majored in biology and minored in chemistry, but in keeping with my love for the interdisciplinary, I minored in sculpture as well. After graduating I joined the Peace Corps and was stationed in Burkina Faso, West Africa, where I did community outreach and HIV education. After the Peace Corps, I took a position doing biomedical research. I saw a lot of tuberculosis (TB) infection in Burkina, so I joined a lab doing TB and influenza studies. What made you choose the Environmental Management Systems (EMS) program? Pratt's Graduate Center for Planning and the Environment has a wonderful reputation as an institution that values community and social justice. I came to Pratt because of this reputation. I struggled with sticking to the program in the beginning, but after meeting Eva Hanhardt and seeing the vast network of environmental professionals she brought to EMS through its mini-courses, I knew the program would provide me with the most opportunities. Eva also introduced me to Sustainable Pratt. Has the program offered chances to do work outside of pratt? As a part of my coursework I worked for the Mayor's Office of Long Term Planning and Sustainability--home of PlaNYC--as an intern. The internship really allowed me to expand my network among city agencies. I started to learn about all of the sustainability initiatives going on throughout the city and began to know enough about the issues and agencies to form partnerships and connections and to actually begin implementation of some projects. I love developing the strategy for implementation. I love uniting various stakeholders and disciplines in a common goal. It was fascinating for me to learn how the rubber meets the road when it comes to implementation. On what kinds of projects have you worked as project manager in the sustainability office? The core of my work as project manager is to help a team of fantastic Pratt faculty come up with a strategy to integrate sustainability into the curriculum. We have mapped the current state of sustainability on campus, where initiatives are already being implemented and where we can create interdisciplinary creative clusters of faculty and students to improve integration. It's exciting and challenging to engage and excite people in this process. alaN KlEiN 12 p rat t folio prAtt PEOPLE Lauren Gropper photographed on location in toronto, Canada M.S., environmental planning and Design, '04 tell me about your new show on the Discovery Channel. CouRTESy oF lauREN gRoPPER It's called Planet Green and it's a one-hour green lifestyle show that will air this summer. The show revolves around making living green an attainable and inspiring life choice. We want to inspire a conscientious, hip approach to making the shift to a sustainable, eco-friendly day-to-day life. It'll be headquartered at a demolished 1920s Los Angeles house, which we'll "green" throughout the season. With the help of our co-hosts, episodes will also explore other cutting-edge homes, businesses, schools, and people greening over their environments. The final segment will be a very social and communal "breaking of bread" with the group from that week. How did you become involved with the project? Have you ever gone to the annual "green" pre-Oscar party held in Los angeles? Yes. This was the first year I attended the Global Green preOscar party. It was great. People were talking a lot about biodiesel. You co-hosted the first season of the show Green Force on HGtV. What was your most memorable episode and why? The most memorable for me was the show on Nelly's House--a women's shelter. We met incredible women in the shelter and the staff was so welcoming and warm. When we left I felt as if we really made a lasting difference for the shelter. Your work takes you from LEED consulting to tV host. Do you prefer one to the other? The show is presented by Adrian Grenier. Most people know him from HBO's show Entourage, but I've worked with him on several of his green initiatives. He introduced me to his producing partner, Peter Glatzer, and they brought me in to work on their show, which had just been sold to Discovery. Grenier has been described as an "eco-sexy" celebrity. What has been the impact of people like Grenier and you? I actually enjoy the consulting aspect more. Television hosting is just an added bonus! They complement each other in many ways. You're Canadian and practice in Canada and the U.S. How would you compare the state of green practices in the two countries? I don't know if I would put myself in the same company as Adrian, but I think it's wonderful that there are fresh and very cool individuals like him who have become the "face of green" for the younger generation. Right now, the private sector in both countries is leading the green movement. I'm eager to see what the public sector is going to do to take the next step. 13 "Stop and smell the garbage" reads a sign in the New York City subways, but for many this simple act of appreciation is not enough. In this extraordinarily wealthy city, where the lack of alleys leaves rubbish bags and bins openly exposed on the sidewalks, collecting trash offers unusual possibilities. By adrienne Gyongy 14 p rat t folio Steven Siegel, Grass,Paper, Glass, 2006, grass, sod, soakerhose, 8' x 8' x 8'. location: grounds for Sculpture, hamilton, N.J. TRaSH 15 SuSTaInaBLE aRT: CouRTEST oF ThE aRTiST DiaNa Pau arbage can be inspirational: Tiffany Threadgould (M.I.D., Industrial Arts, '02) furnished her apartment with castoffs found on the streets. During her early years in New York, while working as a researcher for a media company, the Michigan native would frequently "mongo," the slang term used by the city's Department of Sanitation both for the act of unofficially collecting garbage and for the redeemed garbage itself. "The sidewalks were a treasure trove of recycled materials," Threadgould recalls. "This led me back to art school at Pratt where I wanted to refine my design skills of turning trash into treasure for the masses." Her master's thesis, "Trash Nouveau: Reincarnating Garbage into Useable Products," explored the idea of reusing found materials and reincarnating them back into products. Working from her design studio in Brooklyn, Tiffany today runs RePlayGround, a design firm that sells things made out of garbage. New York is renowned for the quantity and quality of its trash. A 2007 New York Times article by Steven Kurutz reports on the "freegans" movement, defining it as "the growing subculture of scavengers who live off the affluent society's waste as a way of distancing themselves from what they see as out-ofcontrol consumerism." Artists have long understood the economics of foraging for things when they lacked the money for materials; even today they cruise the streets in quest of discarded furniture and other memorabilia, often in the same pickup trucks employed for delivering their work to galleries. Whether they use their street finds to furnish lofts or Tiffany Threadgould, Dawn, 2001, lamp of recycled mini-blinds found in garbage, 7"x 12" incorporate them into their p r at t folio G CouRTESy oF ThE aRTiST Wendy Kemplerer work, artists as trash pickers continue a tradition that harks back to the practice of using secondhand materials to make collages and manipulate found objects. By reclaiming refuse and creatively recycling it, artists employ a strategy of sustainability. "There is practicality and frugality in art that deploys large quantities of stuff that people have abandoned," wrote SUNY Professor Patricia C. Phillips in Sculpture magazine in October 2003. Consider the sheer simplicity of Marcel Duchamp's "ready-made" Fountain (1917), a urinal displayed as art, or Pablo Picasso's inventive Bull's Head (1943) consisting of a bicycle seat and handlebars. The debris of modern life has inspired new vehicles of artistic expression among many notable artists, among them Juan Gris, Georges Braque, Kurt Schwitters, and Joseph Cornell--all of whom have explored the expressive range of other people's junk. "Since the 1920s," writes Victor Margolin in Beyond Green: Toward a Sustainable Art (2005), "making art out of previously used materials has been one of the significant strands of modernism, although until recent years it has not been framed by a discourse of ecology or sustainability." Such major figures as Robert Rauschenberg made works of art from the trash of urban civilization. John Chamberlain made large metal sculptures from cast-off automobile parts, and Louise Nevelson's hefty wood structures are filled with found objects. Her 16 CouRTESy oF ThE aRTiST CouRTESy oF ThE aRTiST Wendy Kemplerer, Lions at the Gate, 2001, steel, epoxy. lion l: 78" x 100" x 59", lion ll: 108" x 120" x 75" Michael Malpass, Newtonian Sphere III, 1989, 28" diameter, bronze, brass, copper, and silver � MiChaEl MalPaSS. CouRTESy oF iNTERNaTioNal aRTS & aRTiSTS. influence is felt in the work of Pratt alumna and adjunct professor Jean Shin (B.F.A. '94; M.S., Art History, '96), who gives new form to cast-off items like worn shoes, broken umbrellas, and old eyeglasses. Placed in her site-specific installations, the objects reveal an underlying beauty independent of their former function. The scrap is given importance because it becomes part of the whole and visually interlocks with the adjoining shapes. Artistic recycling The works of modernist masters make sense as "sustainable art," though the term itself did not come into use until 1987. Whatever else the artist's intention, the medium still delivers a message, and recycling contributes to a sustainable environment. Artists can take credit for being among the first--the avant-garde--to launch the recycling movement, albeit in the gritty precincts of the art world. The late American scrap-metal sculptor Michael Malpass (B.F.A., Art Education, '69; M.F.A., Sculpture, '73; M.S. Education, '77), a New York native, was associated with Pratt for more than 20 years, both as a student and teacher. He created beautiful objects out of junked metal, which he scavenged from the debris of the city. "I recycle, but also elevate," he stated. "The scrap is given importance because it becomes part of the whole and visually interlocks with the adjoining shape. It is, in a small way, revitalization." During his artistic career, Malpass created more than 300 spherical sculptures made from found industrial objects, using a band saw and blacksmithing techniques. The Pratt Sculpture Park features his welded-steel work Sachaquea (1981), in which found objects interconnect and flow over the curves of the sphere, creating harmonious surface detail and subtle illusions of motion. To create his spherical sculptures, Malpass rummaged through junkyards for metal objects and scraps. Referring to Malpass as "a poet of postindustrial nostalgia," the renowned journalist Pete Hamill wrote about his sculpture in Tools as Art (Abrams, 1995): "Even the most accomplished welder must wonder about the way they were made, the perfection of the spheres, the seamless interlocking of the abandoned tools, scraps of metal, and other discards of the collapsing New York industrial base that Malpass collected and made into art." Malpass completed this process by giving his sculptures a polished, painted, or wire-brushed finish. The Pratt Sculpture Park is also the site of Lions at the Gate (2001), a commissioned work by Wendy Klemperer (B.F.A., Painting, '83). It was inspired by the twin lions rampant on the citadel at Mycenae, Greece (1250 BC), the sculptor explained, and was originally intended for the courtyard behind Pratt's Main Building, though it now stands on the lawn before a group of hedges. Klemperer's work was realized through the use of scrap metal curves taken from the construction site of the Brooklyn-Queens Expressway, where she found most of the shapes already bent into the piles of rebar; her process was largely to select and cut, then tack weld the preexisting curves into sculptural forms. "Bent and twisted, such pieces contain energy and a potential new life," says Klemperer. "These steel creatures, formed from the debris of industry and development, celebrate the natural world." Through artistic recycling the metal outlines become animal-like metaphors for dramatic movement, as Klemperer's lunging lions rise against the open-air setting. A light covering of marine epoxy increases the work's visibility and contributes to the bonelike quality of the skeletal forms. 17 Steven Siegel, Freight and Barrel, 2004, crushed plastic soda bottles, rubber, hose, wire. Freight 10' x 10' x 10', Barrel 15' x 15' x 22'. Three River arts Festival, Pittsburgh, Pa. CouRTESy oF ThE aRTiST environmental Concerns "Environmental issues have been addressed in works of art since at least the 1970s," observes Victor Margolin in Beyond Green: Towards a Sustainable Art (2005), "Artists who call attention to social or environmental problems sometimes garner more notice and public interest than the people who are engaged directly with such problems." Israeli-born Richard Lowenberg studied Environmental Design and Film at Pratt from 1964 through 1968. His pioneering multimedia work, The Secret Life of Plants (1976), used biofeedback sensors to record Imagination is an artist's greatest asset. It can produce bold visions of what a sustainable future might be like. muscular and neurological signals from people and vegetation and transformed them into musical performances. The project involved a collaboration with dancers, designers, and technicians working with some of the early digital video synthesizers to show the complex interrelationships between living beings and technological systems. "My creative interests and works have always been `ecological,' with a dedicated focus on better understanding the ecology of our complex, dynamic `information environment,'" Lowenberg explained recently. His current creative efforts are to motivate deployment of an example setting, communities'-owned fiber optic broadband network throughout New Mexico. 18 p rat t folio Society conceals what happens to goods after they are used, so consumers are unaware of the landfills that result from their garbage. But the artist can dramatically rivet public attention to the issue of reusing industrial and other waste products. The 1980s and 1990s saw the emergence of artists who specifically emphasized environmental concerns. Steven Siegel (M.F.A., Sculpture/Drawing, '78) makes massive public trash sculptures that address the wastefulness of consumer culture. Set in huge landscapes, his large-scale outdoor works are constructed of many pieces of the same thing-- recycled newspapers, plastic bottles, aluminum cans, shredded rubber--that he layers and stacks into densely striated forms, a reflection of his interest in geology. Siegel's vast accumulations of barely used materials build upon the rich tradition of using garbage and found objects to create art. His site-specific installations, usually built with local assistance, make a contrast between unspoiled nature and societal waste, both echoing their natural setting and intruding upon it. His work Scale (2002), for example, used 20,000 lbs. of newspaper and stood 17' high with an internal wooden armature. Constructed in the rural settings of university campuses, parks, private lands, and museum grounds, Siegel's public works express his engagement with environmental ideas. Artfully crafted from the humble materials of daily life, Siegel's sculptures remind the viewer that progress comes with a price. Like the "freegans," he is critical of the capitalist ethic of overproduction and speedy disposal, so he creates works that decompose over time or can be dismantled and recycled again. and embrace a human narrative that would otherwise be lost in plain view." The results appear as horizontally striated landscapes that are freestanding sculptures. Held together by water and compression, Labor Byproduct #5 (2007) is composed of a week's worth of sawdust from four different woodshops on the Pratt campus. Labor Byproduct #8 (2007) is made of a single shop's daylong sawdust production. Sustainability realized Professor Cathey Billian (M.F.A., Fine Arts, Steven Siegel, To See Jennie Smile, 2006, paper, 24' x 12' x 10'. North Carolina Museum of art, Raleigh, N.C. Rainy Lehrman (M.F.A., Sculpture, '08) is also is taking on the challenge of transforming leftovers into art. She finds hunks of wood and, with very little treatment, makes them over into art objects. Recently, she has moved away from the craft of furniture to make art with the by-products of production and consumption. Sawdust is a material in plentiful supply in Pratt's woodworking studios, but often overlooked because of its granular form. Using this workshop waste as a sculptural medium, Lehrman packs layers of sawdust and water into a wooden mold that is removed when the work is completed. "By repurposing this wasted material and reconstituting it into a stratalike form," she says, "a physical time line begins to emerge. The layering of the sawdust creates a geographic narrative, allowing the audience to interpret time in an immediate way 1 2 '78) has been teaching at the Institute for 27 years and is an active member of Sustainable Pratt. In her Foundation class, Billian assigned her students the project, "Illumination Recycled," which entailed emptying the cafeteria's recycling bins and reusing the plastic forks to create functional hanging lamps. "The exercise, " Billian explains, "serves as a handy reminder of the availability of materials all around us, waiting to be translated, but embodying an ever fascinating history via their prior life." Another lighting fixture was devised out of bobby pins found in a student's room. Billian encourages students to take on the challenge of transforming "leftovers"--industrial by-products, trash, and recyclables--into art. "Imagination is an artist's greatest asset," writes Margolin in Beyond Green. "It can produce bold visions of what a sustainable future might be like." When the New Museum of Contemporary Art in New York reopened in December 2007, it displayed assemblage sculpture by 30 artists, all made with the materials of everyday life. Titled "Unmonumental: The Object in the 21st Century," the exhibition is augmented by "Collage: The Unmonumental Picture," which introduces the two-dimensional designs of 11 more artists who work with salvaged materials to communicate the tenor of our times. The collages on the walls surrounded the sculptures on the floor, endorsing conservationist values as surely as if their creators had chained themselves to trees. P 3 CouRTESy oF ThE aRTiST CouRTESy oF ThE aRTiST 1 3 Rainy Lehrman 2 Rainy Lehrman, Labor Byproduct, #5, 2007, sawdust, water, 15"x 13"x 36" Rainy Lehrman, Labor Byproduct, #6 (detail), 2007, sawdust, water, 15" x 13" x 36" CouRTESy oF ThE aRTiST DiaNa Pau 19 GETTING IN ON THE GROUND FLOOR OF GREEn BY ELIZaBEtH raNDOLpH Architect Ed Mazria has gone to great lengths to get his "No C oal" message across to architecture and design students across the country. Is anybody listening? You bet. in a sustainable future, green advocate and Pratt alumnus Ed Mazria (B. Arch, '63) is targeting architecture students before they graduate, heading them off at the pass before they begin to design energysucking buildings. He's after their instructors, too. It's a clever strategy. According to the AIA, three-quarters of the built environment in the U.S. will be either new or renovated by 2035. A good number of those buildings will be designed or redesigned by those who are now attending schools of architecture. Mazria knows that these students will be key players in the fight to stem climate change and he has long argued that ecological literacy must become a central tenet of design education. As Pratt Institute's 2007 Presidential Lecturer, Mazria brought this message to the students and faculty of his alma mater on November 29, 2007. "It's up to us to change the way we teach, to get ecological issues into the curriculum," he told Pratt educators during his lecture. "Architecture programs need to catch up with the demand for green architects." Calling the threat of global warming "the greatest challenge facing humankind today," Mazria delivered sobering statistics on the rapid rise in the earth's temperature since 2000. a body painting about reducing He showed striking scientific projections our carbon footprint earned illustrating the effect that a mere one- to twoMiles Courtney (art Direction, meter rise in sea level would have on coastal '08) a prize in architecture 2030's Reverberate competition. regions of the U.S.--some seaside towns would almost disappear--but said the results of unchecked climate change could mean an even greater rise of four to seven meters. To bring home the catastrophic nature of such a scenario, he 20 p rat t folio T o raise awareness of the architect's role reminded the audience that 53 percent of the U.S. population now lives in coastal cities and towns and that people are still migrating to the coast every day. Mazria is a seasoned presenter. Just when his audience is beginning to fear, not so much for the well- being of the polar bears, but for their own safety and the safety of their progeny, Mazria knows it is time to emphasize the positive, to tell us what can be done. This portion of Mazria's speech is essential to rally that part in all of us that constantly hears the warnings about climate change, sees the evidence in powerful storms and strange weather patterns, but feels powerless to stop what we secretly fear is nature's plan. Mazria reassured the audience, "Global warming is preventable if we are well on our way toward global greenhouse gas emissions reductions within seven years." According to UN estimates, after that time catastrophic climate change will become irreversible. The first and most effective action to reduce global carbon dioxide (CO2) emissions, Mazria said, is to declare a moratorium on the use of coal-fired energy plants worldwide. According to Mazria, coal is the only fossil fuel plentiful enough to push the planet to 450 parts per million of atmospheric CO2, a level that could trigger irreversible glacial melt and sea-level rise. Second, Mazria said, we must dramatically reduce the energy consumption of buildings, which currently consume 76 percent of the electricity generated by U.S. power plants. The architect urged Pratt's students and instructors to adopt the 2030 Challenge issued by the nonprofit organization, Architecture 2030, which Mazria founded in 2002. The 2030 Challenge offers benchmarks for reducing the energy used to construct and operate buildings, calling for KEiTh PRiCE CouRTESy aRChiTECTuRE 2030 Ed Mazria sets an example for those competing in architecture 2030's Reverberate competition, which asked students to communicate the "No Coal" message through face- and body-paints. the building sector to reduce emissions by 50 percent of regional averages in existing buildings and by an additional 10 percent every five years, so that by 2030 all new construction will be carbon neutral. As important as events like Pratt's President's Lecture Series are in reaching interested and receptive audiences, Mazria acknowledges that the urgency to address climate change will require getting the message out to colleges much more quickly. To reach an even greater number of students and faculty members, Architecture 2030 implemented a bold new strategy to increase ecological literacy among the next generation of designers. In early 2007, it issued "The 2010 Imperative," which calls for accredited architecture, design, planning, and engineering schools to add an ecological requirement to all design studio problems so that each student understands how his or her designs impact the environment. Mazria expects this to cause a "snowball effect." When students are presented with these design problems, he reasons, they will be required to conduct research to find new strategies and technologies that lessen the ecological impact of products and structures. The students will bring this information back to their classmates and instructors; thus, every presentation will have the potential to teach. Webcasting is another means that Mazria has employed to communicate his message to educators and students. By using a medium that is comfortable and familiar to those in academia, he is able to reach large audiences at colleges and universities across the nation and the world--all at once. The most recent Webcast organized by Architecture 2030 was "Face IT," part of a nationwide teach-in on global warming solutions that took place on January 30 and 31. Pratt's students and faculty members participated in the two-day event that included Architecture 2030 and Metropolis magazine's Reverberate competition, which urged students to use body paints and video to communicate the "No Coal" message. It's up to us to change the way we teach, to get ecological issues into the curriculum. Like most compelling presenters, Mazria tailors his message to each specific audience. To the students ready to take on tomorrow's design challenges, he seems to be saying: Your professions, indeed your planet, need you more than ever. "When we design something, we set up its emissions pattern for the next 50 years, or however long a building or community stands," the architect has said. Clearly, Mazria wants future architects, engineers, and designers to get it right the first time. If he has any say in the matter--which, of course, he does--they most certainly will. P 21 Building: Eco-Savvy Way By Mimi Zeiger KENNETh M. WyNER The 22 p rat t folio Green is mainstream. Al Gore drives a Prius; farmers markets serve up locally grown, organic produce; and big box retailers like WalMart and Target are topping their stores with living "green roofs" for energy efficiency and to control storm water runoff. The New York Times recently reported that hundreds of mayors, representing cities and suburbs across the nation, have signed the United States Conference of Mayors Climate Protection Agreement, a pledge to meet Kyoto standards for carbon emissions by 2012. Here in New York City, Mayor Bloomberg is challenging Last December in The New York Times, Michael Pollan, University of California-Berkeley professor New Yorkers to reduce global and author of the book In Defense of Food: An Eater's Manifesto, wrote, "The word `sustainability' has warming emissions by 30 pergotten such a workout lately that the whole concept is in danger of floating away on a sea of inoffencent by 2030. With all these siveness. Everybody, it seems, is for it whatever it means." Pollan goes on to discuss industrial ecologically good works agriculture, but his sentiment could apply just as well to architecture. As green building becomes under way, what does it mean commonplace, does it risk floating away on a sea of sustainably harvested bamboo flooring? for a building to be green? "You see a lot of companies using it as a marketing gimmick, but I don't see that as universal," says architect Robert Wilkoff, B.Arch., '75. When he attended Pratt in the 1970s, the environmental movement was just gaining momentum: He celebrated the first Earth Day while a student. A consciousness of sustainable strategies such as wind power, solar power, and passive solar was budding. But while he remained committed to green design over the next couple of decades, he saw support for these techniques fade, mostly due to lack of governmental incentives for their development. Today's understanding of global warming, especially among his daughter Kate's generation, encourages Wilkoff. (She will enter Pratt in the fall of 2008.) "What we do in the environment can have serious ramifications, but subtle changes and awareness can have a huge impact," he explains. KENNETh M. WyNER Opposite page, alumnus and architect Robert Wilkoff used passive solar energy and careful siting to make the Chung residence energy efficient and economical. Above, the FSC-certified maple-and-wheatboard cabinets used in the Chung's kitchen cost less than nonsustainable wood counterparts. 23 24 KENNETh M. WyNER p rat t folio Wilkoff's Washington DC�based firm, Archaeon, Inc., specializes in designing and renovating custom homes, and creating green commercial architecture. Wilkoff works in sustainable practices every chance he can, even if it is just making sure a building is well insulated or swapping out incandescent lightbulbs for compact fluorescent alternatives. "None of it is real rocket science, but there are dividends: health to the earth, health to the environment, and you save money on energy costs." Wilkoff recently designed a contemporary green residence in a forested area of McLean, Va., for clients Beth and Luke Chung. As a conservation policy consultant, Beth was determined to use green products, but the say, has been the most energy-saving aspect couple also wanted an economical home. of their new home. They are also pleased Their challenge was to spend no more than that Wilkoff's careful siting meant that the 5 percent above what it would cost to build home would have little impact on the natural environment. a conventional residence. Wilkoff sited the home on a natural slope to take advantage of cool breezes and the sun's warming rays. Large, sometimes floor-to-ceiling, windows--a key part of the architect's plan--allowed his clients to utilize natural light, which filters into the residence from almost every angle. The architect also super-insulated the building envelope, wrapping the exterior in environmentally friendly, man-made "stone" siding and trim that look like natural finishes. Wilkoff 's passive solar energy and cooling strategy, the Chungs What we do in the environment can have serious ramifications, but subtle changes and awareness can have a huge impact, Wilkoff and the Chungs engaged in an exhaustive search for sustainable and green products, including Belizean ip� wood for the deck of the house; kitchen cabinets made from Forest Stewardship Council (FSC)�certified woods that actually cost less than conventional cabinets; wall-to-wall carpets of 100 percent post-consumer recycled content; broadloom carpets made from thousands of recycled soda bottles; Energy-Star kitchen and bathroom appliances and fixtures; well-planned, dimmable lighting, including LEDs, compact fluorescents and other low-energy bulbs that allowed the Chungs to create "layers of light"; and programmable shades that allow the home owners to change light and temperature levels even when they are not at home. For its efforts in designing the home, Wilkoff's firm won a National Monument Award for superior home design. The house also received a Best in Show nomination from the National Association of Home Builders for its environmental features. 524 Myrtle Avenue , Pratt Institute's new academic and administrative building, scheduled to open in 2009, is sure to pitch the college further into the green discourse. Designed by Studio A/WASA, where Pratt alumnus Jack Esterson, B.Arch., '75, is principal, the 120,000square-foot mixed-use building will house student services, The Pratt Center for Community Development, the Institute's Office of Development, a digital arts research facility, the Department of Digital Arts, and graduate fine arts studios. A large glass atrium will provide a social space that will connect the various offices. When completed, the building will be not only a forward-thinking structure representing the Institute's commitment to responsible building, it will be a textbook of those practices. The design team is aiming for a LEED Gold rating. The Leadership in Energy and Environmental Design (LEED) Green Building Rating SystemTM certification is the most widely accepted standard and is set by the U.S. Green Building Council; LEED Gold is the second-highest designation. KENNETh M. WyNER Opposite page and above, the Chungs used eco-smart furniture and d�cor throughout their home, including upholstery with reclaimed or natural fibers and a variety of low-energy lighting. 25 Sun orientation is an important element in the design of 524 Myrtle Avenue. Each fa�ade responds differently to the sun. The building is sited lengthwise along Myrtle Avenue. That means that the 230-footlong fa�ades face north to the street, with retail shops on the ground floor. Since no direct sunlight hits the north fa�ade, it is considered the cool side. In the winter it will be prone to heat loss, but in the summer will require less air-conditioning. A brick fa�ade and small windows provide thermal mass to regulate temperature. In contrast, the south fa�ade of the building, which faces Pratt's main campus, will get full sun exposure, so the architects designed a glass curtain wall system integrated with louvered shades. When sun angles are low in the winter, light can penetrate deep into the building. In the summer, the louvers will cut the glare and provide muchneeded shade. This kind of sensitivity to the site helps the building's overall energy efficiency, since it lessens demand on the heating and cooling, conserving resources. a: 50-kilowatt photovoltaic array B: green roof: extensive green roof with some areas of intensity, native plants C: North-facing wall designed for thermal performance, reflected daylight, and views; high insulation values. D: Structural steel and concrete; high in recycled content. E: interior Finishes: nonpolluting, nonoutgassing, and lowodor F: high-efficiency mechanical equipment with variable speed motors, and integrated control systems. G: Exterior sunshading devices, which admit winter sunlight, while blocking summer sun H: high-performance, low-e glass I: ultra-low-flow plumbing fixtures, and dual-flush toilets. J: Rainwater cistern for irrigation of green roof and site landscaping. K: Vestibule with walk-off mat L: Separate exhausts for brush cleaning, spray booths, and other areas with high potential for poor air quality M: Daylight penetration deep into core of building, high ceilings, and interior glazing, which reduce daytime lighting energy. n: light-colored pavement and shade trees, which mitigate the urban heat island effect O: groundwater recharge and best management practices for retention of stormwater P: Extensive site landscaping with native plant species requiring little or no irrigation. Q: Storage and collection of recyclables R: high-efficiency condensing boiler S: Shower and changing room for bicycle commuters T: White roof G reen Features 524 Myrtle Avenue 524 Myrtle Avenue's green features can be divided into three categories: site and water management, energy, and materials. A green roof falls into the first category. The plantings will regulate roof temperature and slow storm water runoff. Native landscaping around the building is designed to retain water and to recharge it back into the ground. The energy category includes such features as efficient mechanical equipment, plenty of natural day lighting, and a 50-kilowatt photovoltaic solar array on the roof. These solar roof panels will generate enough electricity to power 10 houses. The materials specified, such as building steel, have a high-recycled content. Interior finishes are also recycled or sustainably harvested woods, or, as in the case of cork, rapidly renewable. Additionally, all materials, including paint and carpet, are chosen because they do not "off-gas," or release chemicals into the air through evaporation. 524 Myr tle is uncompromisingly modernist, green, and integrated into the community. Going beyond the details, Esterson sees the seamless integration of sustainability into 524 Myrtle Avenue's design as reflective of the building's overall link to the local community. The two different fa�ades help to unite the campus to Clinton Hill. A glass atrium runs all the way through the structure--a portal between the two sides. "In the past, Pratt was seen as a fortress," says Esterson, who's lived in the neighborhood for 37 years. "We didn't want to create another wall. The new design is uncompromisingly modernist, green, and integrated into the community." P Pratt's new building at 524 Myrtle avenue is expected to be completed in 2009. The institute aims to obtain lEED gold certification for the building from the u.S. green Building Council. 26 p r at t folio Green Building from the inside out for pratt graduate industrial design alumnae erika hansen, '04, and erika Doering, '93, green building is wholly tied to healthy, sustainable living. the two serve as interior designers for the health house, a collaborative project that will transform a decrepit and toxic building into two green, three-bedroom townhouses. putting their pratt industrial design education to good use, hansen and Doering are dedicated to searching out new materials and techniques. they work directly with local manufacturers, pushing companies to design products to meet environmentally conscious criteria. "We both drive our designs from hands-on experience. We like to get our hands dirty. We like talking to manufacturers," explains Doering. the duo worked closely with Green Depot, a company dedicated to sustainable building products, to develop a scheme that pushed the envelope of ecological technologies, but also maintained a truly livable home. "interior designers don't always realize the key role they play in driving the greenness of a project. having the whole project team on board has made our green efforts a lot more interesting and effective," says hansen. in green interior design, the origin of materials is key. for the health house, the designers specified fSC-certified wood flooring--the forest Stewardship Council identifies lumber resources with good sustainable practices. they also used Marmoleum�, a linoleum-type flooring that is free from toxins, and cork, which is a quickly renewable resource. tiles in the kitchen and bathroom are either locally manufactured or have a highrecycled material content. Conservation was part of the scheme, too. hansen and Doering employed elements like electronic-sensor faucets to reduce water waste. the designers acknowledge that they are a bit unusual for residential use, but hope that green products of this kind will challenge people to truly embrace green thinking. "people still want the colonial home; most people are not seeking a green lifestyle," hansen continues. "it is our job to make it desirable." hansen and Doering teamed up with developers r & e Brooklyn and architect tony Daniels to work on the project. re-using the brick shell of the existing structure in a dense urban neighborhood near public transportation is just one of the sustainable approaches illustrated by the homes. efficient use of space is another. the townhouses are small, but the rooms receive lots of natural light and have elements that connect residents to the outside. in order to make the most of the space, the designers created built-in furniture. in addition, each house features sustainable and energyefficient elements such as solar panels that produce electricity and hot water; radiant heat floors; recycled, salvaged, and sustainably harvested materials; and terraces and sunshades to control summer heat. When completed, the model building is expected to be leeDcertified under the Green Building rating System's residential program. it will also be the first building in new York City to be certified by the American lung Association's (AlA) health house program. Criteria for the AlA program include high-efficiency air filtration systems and low VoC (volatile organic compound) paint, carpet, and other interior finishes that do not give off toxic chemicals over their life spans. P For the health house kitchen, designers Doering and hansen chose Marmoleum� floor tiles made with 100% natural ingredients, water- and energy-saving appliances, and recycled-content countertops. The bedroom will feature reclaimed wood trim, zero-VoC paint, and energy-efficient lighting. Energy-saving lED under-cabinet lighting, low-VoC finishes, and Forest Stewardship Council (FSC)-certified flooring will be used in the living room/kitchen. 27 a rendering of the adlai Stevenson high School's proposed green roof, in the Bronx, to be built by a consortium of partners including Pratt faculty members Paul Mankiewicz and Ned Kaufman G Reen R o oF S: PLanTInG THE SEEDS FOR HEaLTHIER CITIES BY ELIzaBETH RanDOLPH Pratt faculty and staff members are using green roofs to keep New York City cooler and cleaner, imparting important lessons to the city's youth in the process. 28 p rat t folio CouRTSEy RaFaEl Vi�oly aRChiTECTS Storm water runoff is considered one of the greatest ecological hazards facing urban areas. A dearth of open land and vegetation in cities means there are fewer places for rainwater to be absorbed; consequently, it drains into sewers, which then overflow, polluting waterways. Green roofs have been heralded as one infrastructure solution by large municipalities like New York City, which recently passed legislation requiring the development of a citywide Sustainable Storm Water Management Plan. The "urban heat island effect" is a phenomenon in which the temperature in urban areas like New York City can be 1 to 10 degrees warmer than in surrounding suburban or rural areas. William Riley, a construction manager for Pratt Center for Community Development, explains that this occurs because the predominately flat roofs of city buildings absorb and radiate heat back into the environment. Heat from the rooftops as well as waste heat from air conditioners and industry activity gets trapped in urban canyons, contributing to record-high temperatures that put undue strain on urban residents and energy systems used to keep them cool. Vegetative coverings have been shown to reduce the ambient temperature of roofs. According to the Environmental Protection Agency, on hot summer days, the surface temperature of a vegetated rooftop can be cooler than the air temperature, whereas the surface of a traditional rooftop can be up to 90�F warmer. a PROBLEM anD a SOLuTIOn So with a multitude of advantages, why doesn't A s New York's architects and engineers search for ways to reduce energy usage and pollution, green roofs are becoming increasingly popular. The constructions address environmental maladies facing urban areas while, in many cases, offering educational opportunities for New York City's schoolchildren. As a result, green roofs are making the city cooler and less polluted and contributing to a higher level of environmental consciousness among the nation's youth. The rise in popularity of vegetative, or green, roofs is due, in part, to the growing awareness of environmental hazards faced in urban areas--in particular, the rise in temperature in these areas due to the "urban heat island effect" and the pollution caused by storm water runoff. Pratt itself will use a green roof on its proposed LEED Gold building at 524 Myrtle Avenue to both insulate the roof and to capture storm water. every city building have a green roof? Riley, who has been involved in energy conservation projects since the early 1970s and has built and tested the effectiveness of green roofs as part of his work with the Pratt Center for Community Development says, "The additional square foot cost associated with green roofs make this option less attractive to building owners, who instead choose more cost-effective Green roofs are contributing to a higher level of environmental consciouness among the nation's youth. alternatives as roofing insulation and light/heat reflective paints. Green roofs won't truly flourish, Riley predicts, until municipal governments offer tax rebates or other incentives to encourage vegetative roof projects. 29 The environment teaches students that a roof doesn't have to be a black desert. One of the main technical impediments to creating green roofs, however, is the heavy weight of the soil used to plant them, but advances in the growing media used to support green roofs are making this less of an issue. One giant step has been GaiaSoilTM for Green Roofs, an alternative soil created by Paul Mankiewicz, visiting associate professor in Pratt's Environmental Management Systems program and executive director of the Gaia Institute. The ultra-lightweight and ecofriendly soil is made of nontoxic, recycled, expanded polystyrene foam coated with organic pectin and mixed with high-quality finished compost. The patented product is nearly 50 percent lighter than any other green roof growing medium, yet it retains 200 percent of its weight in water, easily capturing the majority of storm water it encounters. In addition, GaiaSoil emulates and enhances the essential properties of high-quality, natural soil to support all kinds of vegetation, from shrubs to sedums to wildflowers. FROM GROWInG TO LEaRnInG Several of Gaia's green roof projects are generating data to help quantify the ecological and economic benefits of rooftop gardens. At the same time, the projects are being used to engage K-12 students in learning a variety of topics including math, biology, and other sciences. One such endeavor was the first green roof in the Bronx--a 3,500-square-foot structure completed in June 2005 atop the St. Simon Stock Elementary School in the Fordham section. The Gaia Institute, along with the school's faculty and students and the Green Apple Corps of the New York City Department of Parks and Recreation, constructed a native plant community and urban vegetable roof garden, using Gaia Soil. Precision monitoring equipment--including a rain gauge, heat sensors, and temperature and humidity meters--was installed to help document the roof's performance. St. Simon Stock students have not only had an ongoing role in planting and harvesting a variety of fruits and vegetables--they also have played a role in data collection and analysis. In addition to classroom instruction, they receive lessons from volunteers of the Green Apple Corps as well as occasional demonstrations by Mankiewicz himself. "The students love going up to the roof," Mankiewicz says. Some love growing things and others just love the greenness of it. The environment teaches students that a roof doesn't have to be a black desert, that there is the possibility to encounter life." The biologist himself was surprised find that the habitat had become a stopover for monarch butterflies, which float by every five minutes in migratory season, along with snowbirds, which normally avoid urban environments. The small, self-sustaining ecosystem contributes to the feeling of being "out in nature," one that is hard to come by in the asphalt jungle. "One student actually said it reminded her of her homeland in the Dominican Republic," recalls Mankiewicz. A similar green roof project is taking shape in the Soundview section of the Bronx. Gaia Institute is part of a public-private consortium is working to provide Adlai Stevenson High School, once considered a failing school, with a new state-of-the-art green roof featuring designated learning areas. Though the consortium is awaiting final approval on funding before proceeding with the installation, Stevenson's students already have worked with designers at consortium partner Rafael Vi�oly Architects' (RVA) to help visualize design solutions during several charrettes, and students and teachers are gearing up to help with the installation of the growing medium and plants. COuRTEST RaFaEL VI�OLY aRCHITECTS The Stevenson roof, as it stands today, before improvements a rendering of the proposed new Stevenson roof 30 p rat t folio Paul Mankiewicz explains the alternative growing medium gaiaSoilTM to visitors of the St. Simon Stock roof. WHaT THE "ExPERTS" LEaRn Ned Kaufman , an adjunct associate professor of grad- uate architecture at Pratt, who heads the Architectural Training and Research program at RVA, says the learning goes both ways. RVA's trainees have worked on the project since its inception, helping teachers and administrators in the school to develop a curriculum to be used in conjunction with the roof. "It's been interesting for our architects to work with engineers, biologists, and developers at the Salvadori Center to conceive of a green roof design--not merely as a form of roof covering, but also a suite of outdoor classrooms," Kaufman reports. At over 20,000 square-feet, the Stevenson green roof promises to be the largest fully instrumented vegetative roof in the United States. After the installation, RVA's 2005�2006 Fellow Joseph Hagerman, now an official at the Federation of American Scientists in Washington, D.C., will test his innovative green roof design, which incorporates Foamglas�, an industrial insulation material produced by Pittsburgh Corning--the company will donate its product in order to investigate its effectiveness for such uses. Officials at Gaia Institute and RVA, and other members of the consortium hope that the Stevenson roof will serve as a model for greening the city's inventory of school buildings as they enhance educational opportunities for architecture trainees and primary school students alike. The research on this and other green roof projects will inform the work of scientists and designers as they seek to improve urban environments around the globe. P a visitor enjoys the St. Simon Stock Elementary School's rooftop garden. DanIEL SIMOn MaRY BuRGE Ripe, juicy tomatoes planted by students at St. Simon Stock 31 DanIEL SIMOn lauren Alpert lauren alpert has served as project coordinator, New york Public interest group (NyPiRg), Pratt institute Chapter, since graduating from the State university of New york at New Paltz in 2006. Q: how does nYpirG work and what are its biggest challenges when it's trying to influence policy makers? A: nYpirG's Board of Directors, which is made up entirely of students from across the state, chooses the issues we take on, and the students who work with our campus chapters put in a lot of hours to make our programs work. these students, paired with the expertise of nYpirG's issue staff, allow nYpirG to make a difference by running multiyear campaigns that do not end with finals. this has led to huge victories for clean air such as new York's participation in the regional Greenhouse Gas initiative to reduce industrial pollution. nYpirG is often up against great odds. As a public interest group we are always working to improve the quality of air and water, and to expand the use of mass transit. unfortunately, these are issues that are often opposed by well-financed corporations that have the ear of policy makers. our support is from the grassroots work of students and members of our communities, who pound the pavement to fight for change across new York State. A great example of this is our efforts to pass the Bigger Better Bottle Bill, which aims to