parsons the new school for design GRADUATE PROGRAMS
Found objects collected in Parsons studios (material samples, tools, reference documents, process artifacts) and samples of student and faculty work. STILL FRAME (front cover, center): Faculty member Brian McGrath and Mark Watkins, from urban-interface, Manhattan Timeformations, exploded still-frame from interactive web-site created for the Skyscraper Museum, 2000. INTERIOR IMAGE (back cover, lower right): Amanda Toles and Martina Sencakova, 25 E.13th Street, digital rendering, 2008. Collage by mgmt. design.
parsons the new school for design GRADUATE PROGRAMS
Welcome to Parsons
Exhibitions and Public Programs
Programs of Study
Design and Technology
History of Decorative Arts and Design
Why Parsons The New School for Design? Parsons, a pioneer in art and design education for more than a century, is a diverse community of independent thinkers motivated by the prospect of challenging conventions and finding solutions to complex problems. Although our graduate programs offer advanced training in specialized courses of study, none of our programs exists in isolation. Our student-centered curriculum allows for both focused and interdisciplinary paths of study. Students from all backgrounds collaborate on projects, influence one anotherâ€™s work, and interact in every aspect of academic and campus life. They work both in teams and on their own to master concepts, technologies, and research methods that cut across a wide array of fields. By synthesizing theory with craft and combining art and design studies with instruction in liberal arts and business, Parsons prepares its students to shape scholarship in their fields and make art and design that matters. Our faculty of notable artists, design practitioners, critics, historians, writers, and scholars exemplifies an extraordinary breadth of vision. They challenge convention by encouraging experimentation, nurturing alternative worldviews, and joining theory with practice in sophisticated and innovative ways. Working closely with the faculty, graduate students develop technologies and refine research methodologies, making design relevant to a wide range of social, cultural, and economic systems. Even as Parsons gives students the tools to achieve professional success, the school also prepares them to think outside current paradigms. Students learn to anticipate and set trends, not follow them, and discover how design can inform and improve peopleâ€™s lives in direct and fundamental ways. Students arrive here with diverse interests, perspectives, experiences, and backgrounds; they graduate with a commitment to creatively and critically addressing the complexities of life in the 21st century. Learn more at www.newschool.edu/parsons.
PARSONS THE NEW SCHOOL FOR DESIGN
LIGHT TING G INTERIOR
HISTORY OF DEC CORATIVE ARTS C AN ND DESIGN N
FINE A R TS
PARSONS THE NEW SCHOOL FOR DESIGN
PHOTOGRAPHY DESIGN AND T TECHNOLOGY
Parsons in The New School A Long History of Radical Pedagogy
As a division of The New School, Parsons builds on the university’s legacy of progressive ideals, scholarship, and pedagogy. The New School provides the ideal learning environment for those interested in connecting art and design practice with social responsibility and a commitment to sustainability. It offers degree and nondegree programs in the social sciences, the liberal arts, management and urban policy, and the performing arts. Parsons students are encouraged to take courses in and collaborate with students from other schools within the university. Parsons’ tradition of supporting radical thinking in the art academy goes back to 1896, when painter William Merritt Chase founded the school to promote freer forms of individual expression. In 1904, Frank Alvah Parsons joined Chase, and under his leadership, the school introduced design into its curriculum. By emphasizing the democratizing potential of design and making it available on a broad scale, Parsons has had a profound impact on American life. As Parsons was becoming a revolutionary force in art and design education, another school was launched in the name of social dissent and democracy. Established in 1919, The New School was conceived as a place where intellectuals could freely exchange ideas. The next decades saw both schools become closer aligned in mission. As The New School established a reputation for addressing major cultural and political issues, Parsons became involved in urban design projects such as hospitals and public housing. In 1970, Parsons became part of The New School, which today is a university of eight likeminded schools. Some of the earliest university-level courses on race and black culture, urban studies, film history, women’s studies, and photography and the first college programs in fashion design, interior design, and advertising were offered at The New School and Parsons respectively. Our shared history has been a continuous narrative of transformation, pioneering education, and civic engagement.
Notable PArsons Alumni Peter de Sève illustrator
Steven Meisel photographer
Victoria Hagan interior designer
Paul Rand graphic designer
Edward Hopper painter
Narciso Rodriguez fashion designer
Donna Karan fashion designer
Joel Schumacher filmmaker
Barbara Kruger artist and graphic designer
Brian Tolle artist
Alex Lee product designer and president of OXO
PARSONS THE NEW SCHOOL FOR DESIGN
MANNES COLLEGE THE NEW SCHOOL FOR MUSIC
THE NEW SCHOOL
THE NEW SCHOOL FOR SOCIAL RESEARCH
PARSONS THE NEW SCHOOL FOR JAZZ AND CONTEMPORARY MUSIC
THE NEW SCHOOL FOR DRAMA
MILANO THE NEW SCHOOL FOR MANAGEMENT AND URBAN POLICY
THE NEW SCHOOL FOR GENERAL STUDIES
EUGENE LANG COLLEGE THE NEW SCHOOL FOR LIBERAL ARTS
Parsons in New York Your campus is New York City, THE world capital of art, culture, business, fashion, and intellectual INQUIRY.
A Parsons education isn’t just a series of isolated classes—it’s a fully immersive learning experience in which the city itself serves as an urban design laboratory. Our distinguished faculty is a team of accomplished artists, designers, architects, photographers, and critics that could have been assembled only in a design capital like New York. Outside the classroom, students have access to unparalleled internship opportunities and industry partnerships, which open up many possibilities for entrepreneurship and professional success. Situated in the heart of Manhattan, the Greenwich Village campus is a major cultural destination in its own right, a venue for exhibitions, performances, and lectures by some of the world’s most celebrated artists and thinkers. In addition to enjoying all the resources on campus, students have access to the galleries, showrooms, and events of New York City, the nexus of the international art and design worlds. In every respect, Parsons gives students the opportunity to excel at the center of it all. Applicants are encouraged to visit. Learn about tours, information sessions, graduate open studios, and more at www.newschool.edu/parsons/visit.
PARSONS THE NEW SCHOOL FOR DESIGN
COOPER-HEWITT, NATIONAL DESIGN MUSEUM
AMERICAN MUSEUM OF NATURAL HISTORY
THE METROPOLITAN MUSEUM OF ART
THE GUGGENHEIM MUSEUM
THE WHITNEY MUSEUM MoMA
NEW YORK CITY
THE PUBLIC THEATER THE NEW MUSEUM
TRIBECA FILM FESTIVAL
LOWER EAST SIDE
Parsons in the World Based in New York; active across the globe
At Parsons, we believe that designers have the means and a responsibility to bring about positive change in the world. Our students develop art and design solutions to meet the needs of diverse communities on the local and the global scale. They connect their creative practice with engaged citizenship, bringing social and environmental consciousness to the works they create. They work in a learning environment where cross-cultural perspectives are valued and nurtured and where awareness of economic and social systems is understood as essential in the context of globalization. Our graduate programs are infused with the progressive spirit that animates Parsons and The New School as a whole. An international outlook has always been a key ingredient of Parsons’ success. In 1920, Parsons became the first art and design school in the United States to establish a campus abroad. Today, more than 30% of our students are international—a testament to our global reputation. While benefiting from the constant influx of BEIJING
international perspectives in New York, many Parsons students expand their horizons TOKYO by conducting fieldwork abroad and by partnering with global organizations through
sponsored projects built into the curriculum. Parsons collaborates with more than 50 corporate and nonprofit organizations, such as CARE, Target, the Open Society Institute, Kiehl’s, Chanel, Fossil, and the Sierra Club. We maintain those partnerships, and attract new ones, thanks to the exceptional work of our students. Our partners benefit from fresh ideas and cutting-edge design skills; our students gain professional exposure, build their portfolios, and enjoy networking opportunities.
PARSONS THE NEW SCHOOL FOR DESIGN
STOCKHOLM VILINUS LONDON
PARIS ROME/PRATO/ FLORENCE/MILAN
ALTOS DE CHAVON GUATEMALA
A Message from the Dean This is an opportune time to study at Parsons and The New School. The world is being designed and redesigned at a dizzying pace, creating complex and rapidly changing landscapes of opportunity for artists and designers whose skills, creativity, and perseverance define them as critical thinkers and problem solvers. Designers are uniquely trained and well positioned to engage with the most challenging issues of our time, and design thinking is increasingly being recognized as a core literacy in the 21st century. The ability to creatively assess, reposition, imagine, and propose innovative designs for the world we inhabit and leave to future generations is essential for new thinking about sustainability, mobility, communication, dwelling, and cities to emerge. At Parsons, we expand the frontiers of design, addressing needs at scales ranging from the individual to communities across the globe. Whether you are interested in digital design or fashion design, the narrative arc or the visual and sensual world, the design of the everyday or the sustainable transformation of large, complex systems, at Parsons you will find a home and a challenge. Parsons’ five schools—Art, Media and Technology; Fashion; Constructed Environments; Art and Design History and Theory; and Design Strategies—are characterized by disciplinary strength and cross-disciplinary innovation. Our programs span the range of contemporary art and design practices as well as new interdisciplinary pathways, and degrees in areas like environmental studies, urban design, and media. And as part of The New School, Parsons offers a diverse and comprehensive education at the intersection of design, the liberal arts, the social sciences, performance, management, and urban policy. Every day I am inspired by Parsons’ remarkable faculty and students. Witnessing their many accomplishments constantly renews and deepens our commitment to design education and research. In the following pages, you will learn more about the school. I hope you will join us.
Joel Towers, Dean
(facing page) Dorin Levy, Migration, paper and fishing wire, Fine Art
Academic Resources Program advisors are a primary resource for information, including program requirements, academic progress, and school policies. Advisors also refer students to university facilities and services in addition to those offered by specific academic programs. Parsons and The New School offer students resources that provide optimal conditions for learning. Technology
–Students have access to more than 1,000
–At the Donghia Materials Library, students
computer workstations on campus; the
can review and check out the newest, most
print output center, which offers high-quality
color printing; and specialized labs with professional video, modeling, animation, and recording facilities. –Special classrooms support multimedia, Web design, and desktop publishing. –Free wireless Internet is available across campus. –Audiovisual equipment is available for loan. Exhibition and Studio Facilities
–The Sheila C. Johnson Design Center is a new campus center for Parsons that combines spaces for learning and public programs with galleries at the busy intersection of Fifth Avenue and 13th Street. –Students have access to extensive studio facilities and professionally staffed fabrication,
–The Gimbel Art and Design Library houses more than 50,000 new and rare books, 350 periodical titles, 70,000 slides, and 45,000 picture files, including mounted plates, slide collections, and a digital image collection with online access. –The Kellen Archive is an extensive collection of materials relating to the history of art and design, with a focus on Parsons’ role in the development of design and design education. –The New School’s Fogelman Library specializes in the social sciences and humanities. –Parsons students have access to the facilities of the Research Library Association of South Manhattan, also known as the Consortium. It consists of research libraries at The New School, New York University, Cooper Union, Cardozo Law School, the New York Academy of Art, and
model, and print shops, including metalworking,
the New-York Historical Society. The combined
jewelry, and woodworking facilities.
libraries hold more than three million volumes and 25,000 journals.
MEETING WITH NEW YORK CITY COUNCIL ON THE ENVIRONMENT Gain valuable industry experience working on sponsored projects with local companies and organizations.
FINE ART LECTURE SERIES FLYER Interact with the prominent artists and designers who are your guest lecturers and visiting critics.
INVITATION TO EXHIBITION OPENING Exhibit your work at high-profile venues.
INTERNSHIP PLACEMENT Build your resume working directly with designers and clients.
STUDENT RUN NEWSPAPER Participate in extra-curricular activities like media and journalism projects.
Student Services A professional and helpful staff is available to meet a range of needs, including health care and housing. Visit www.newschool.edu/studentservices for more information. Housing
International Student Services
The New School offers a number of housing
This school is authorized under federal law to
options for graduate students. The university
enroll non-immigrant-alien students. Interna-
housing office can provide information about
tional Student Services serves the special needs
housing on and off campus.
of international students and helps create a supportive environment for living and study-
ing, encouraging them to participate actively in
Student Health Services offers students medical
classes, extracurricular activities, and life
care, counseling and psychological services,
in New York City. Trained international education
preventive education, and a low-cost health
specialists provide support throughout the
U.S. visa application process and offer legal status advisement.
Student Development and Activities
At any given time, students at the university are
involved in a variety of activities, ranging from
The Office of Intercultural Support works with
publications to clubs to athletics to political
students of diverse backgrounds to build
activism. Many extracurricular organizations are
community at The New School. The office
sponsors events and workshops to promote intercultural awareness.
Parsons and The New School are committed to ensuring that students with special needs have full access to academic and programmatic services. Students are encouraged to meet with the Office of Student Disability Services to discuss their needs. The office also offers information on a variety of disability-related issues and on internal and external resources.
Exhibitions Parsons is a leading venue for contemporary art and design. Exhibitions relating to coursework enhance studentsâ€™ critical, theoretical, and historical understanding of art and design. Galleries are scheduled year-round with exhibitions of work by outside artists and designers, Parsons faculty, and Parsons students. Our exhibitions program supports our mission by focusing on innovation, interdisciplinary design, social responsibility, and technology. Parsons has two main street-level museum-quality exhibition spaces totaling more than 6,000 square feet: the Kellen Gallery and the Arnold and Sheila Aronson Galleries. Exhibitions may be curated by university staff and faculty, or they may be traveling shows. As a venue to showcase student work, the galleries enable students to obtain construction, installation, and presentation experience in a high-profile exhibition setting. Every spring, Parsons departments exhibit the work of their graduating students.
20 STUDENT LIFE
Lectures, Events, and Public Programs Parsons and The New School have historically been centers for innovative thinking and artistic experimentation. The tradition continues today, with prominent intellectuals, designers, artists, business leaders, and policy makers regularly visiting the campus to lecture and take part in panels and conferences. Many New York based artists welcome studio visits from our students. Other university events include regular concerts, dance performances, plays, film screenings, and literary readings. Most events are free or discounted for students. For more information, visit www.newschool.edu/eventlist.
SOME Recent guest lecturers and visiting artists Lorna Simpson artist and photographer Frank Gehry architect Kiki Smith artist Marc Jacobs fashion designer Chuck Close painter Roselee Goldberg performance art curator and critic Marilyn Minter painter Bruce Mau graphic designer Michael Graves architect and product designer Donna Karan fashion designer Robert Massin graphic artist Phoebe Washburn installation artist Fatimah Tuggar artist John Maeda graphic designer and computer scientist Ed Koren illustrator Ed Sorel illustrator Ken Johnson critic Lynne Cook curator Katha Pollitt poet and columnist for The Nation Bruce Nussbaum Businessweek editor Zach Feuer gallery owner Becky Smith gallery owner Hans-Ulrich Obrist curator Nancy Princenthal critic
22 STUDENT LIFE
SKYPE CHAT WITH A PROFESSOR IN ANOTHER COUNTRY Parsons is a global institution; our faculty and students come from all over the world and all kinds of backgrounds.
REFERENCE TEXTS FOR AN URBAN STUDIES COURSE AT THE NEW SCHOOL Choose your liberal studies electives from some of the most interesting and innovative courses offered at any university.
SEMINAR READER FROM GLOBAL ISSUES IN DESIGN Art and Design Studies courses give you the knowledge to understand your own work in a historical/ intellectual context.
TRANSCRIPT FROM SUSTAINABLE FASHION ROUNDTABLE People at Parsons connect design decisions with larger social, economic, and cultural issues, like sustainability.
Graduate Degree Programs Master of Architecture Master of Architecture/Master of Fine Arts in Lighting Design (dual degree) Master of Fine Arts in Design and Technology Master of Fine Arts in Fine Arts Master of Arts in the History of Decorative Arts and Design Master of Fine Arts in Interior Design* Master of Fine Arts in Lighting Design Master of Fine Arts in Photography
Graduate Degree Programs in Development* Master of Arts in Fashion Studies In this groundbreaking program, students will engage in the evolving field of fashion scholarship. They will explore fashion as object, image, practice, theory, and concept using an interdisciplinary approach, and develop a critical understanding of its complex global intersections with identities, histories, and cultures in the contemporary world.
Master of Fine Arts in Transdisciplinary Design Graduate students in this experimental design program will work in multidisciplinary teams to explore new models of practice that engage projects whose complexity challenges traditional disciplinary approaches.
Master of Fine Arts in Fashion Design and Society This advanced studio-based program in fashion design will encourage students to confront real-world challenges in the fashion industry while developing their capacities not only as outstanding designers, entrepreneurs, and scholars, but also as engaged global citizens.
Master of Science in Design Management This new, agile online graduate degree program will provide practicing designers with the new business development skills needed to put them ahead in competitive times. Courses cover the fundamentals of managing people, projects, and finances in the contexts of digital entrepreneurship, sustainable design, and service design.
Parsons offers graduate programs in a number of disciplines for qualified designers and artists who wish to pursue advanced studio work and research. Students enjoy the benefits of study with a renowned faculty of working professionals in a diverse learning community based in New York City. While Parsons offers specialized courses of study, the emphasis is on cross-disciplinary work: Students collaborate both with faculty and with students in other divisions of The New School, as well as high-profile companies and institutions, on projects that address real-world challenges. Parsonsâ€™ tradition of civic engagement and collaboration prepares students to become successful, socially aware practitioners and scholars in their fields and in todayâ€™s increasingly global context. In development are several dynamic interdisciplinary programs that reflect a new understanding of design as a connective practice.
* New York State approval pending.
PROGRAMS: OVERVIEW 25
The Master of Architecture program (accredited by the National
FACILITIES AND RESOURCES
Architecture Accrediting Board) trains architects to deal with critical
Students work in a large open-studio loft where they develop projects in consultation with faculty and peers. The 5,000-square-foot space is supported by wireless technology, allowing direct access to printing and plotting in the adjacent 25-station computer laboratories. A curated materials library and a staffed fabrication shop with digital and traditional equipment are located next to the studio. Use of the Fine Arts department’s nearby fabrication shops is encouraged and promotes valuable exchanges with students in other disciplines.
issues involving the built and natural environment. The rigorous curriculum applies design, history, theory, sustainability, and technology to investigate —The integration of design and material construction —The ecology of technological and natural systems —The capacity of architecture to shape social interaction in space —The relationship between space, the body, and sensory perception —The use of digital technologies and new media in design Using New York City as a laboratory, students explore contemporary architectural ideas and practices, particularly the creative role played by architects in translating the ordinary and the everyday into extraordinary works of architectural invention. Students can supplement their studies with offerings from other programs at Parsons—particularly Interior Design, Lighting Design, and Product Design—and other divisions of The New School. One of the Architecture program’s highlights is the Design Workshop, a unique “design-build” offered in the spring semester of the second year. In the Design Workshop, students learn about materiality, detail, and form and space making in relation to social practice. Over a six-month period, students explore the architectural design process by working together on a single project from concept through construction. The program’s small size (72 students) and atelier atmosphere support an intimate community. Students work closely with the faculty of 40 distinguished professional architects, historians, and critical theorists drawn from New York’s international design community. 26 ARCHITECTURE
Students interested in both architecture and lighting design
can earn a unique dual degree. The MArch/MFALD is a 142-
credit program that prepares students for extraordinary career
Every semester, the department sponsors a rich array of public events, including a series in which groups of students meet with world-class designers, typically at the site of an ongoing project. Recent guest lecturers and critics have included
opportunities in these expanding and overlapping fields. For complete curriculum, faculty, and course information, visit www.newschool.edu/parsons and go to Degree Programs: Graduate, Architecture. CURRICULUM
The Master of Architecture curriculum integrates design, theory, technology, and practice. The Design Studio, the core of the curriculum, uses New York City and its environs as a context for
Julie Bargmann D.I.R.T. Studio Petra Blaisse interior designer James Carpenter James Carpenter Design
exploring the natural and social ecologies that make up the
Lise Ann Couture and Hani Rashid Asymptote
contemporary city. The studio sequence challenges students to
Dennis Crompton Archigram
respond to the formal and cultural demands imposed by uses, site, context, structure, construction, and program. Interdisciplinary
Diller + Scofidio and Renfro architects
electives in history, theory, and technology highlight architecture’s
Blakrishna Doshi architect
pivotal role in shaping culture.
Winka Dubbledam Architectonics
First Year Design Studio I introduces fundamental architectural
Peter Eisenman Eisenman Architects
issues—form, program, site, materials, and structure—through
Ken Frampton Columbia University
projects that emphasize the inventive and conceptual dimensions
Richard Gluckman Gluckman Mayner Architects
of architectural design and research. Design Studio II addresses the role of architecture in constructing social relations by asking students to reconsider one of the most familiar architectural spaces—the home. In Representation and Spatial Reasoning, students explore techniques of architectural representation and develop the ability to think, draw, and analyze architecture
Charles Gwathmey Gwathmey Siegel & Associates Thomas Herzog Herzog + Partner Sheila Kennedy Kennedy Violich Architects
critically, using both analog and digital technologies.
Sulan Kolatan Kolatan/MacDonald Studio
Students complement their studio work with Issues and Practices
Jamie Lerner International Union of Architects
of Architecture, Modern and Postmodern Architecture, or Imagining New York. These and other elective courses are cross-listed with the MFA in Lighting Design, facilitating exchange between disciplines. Students take Construction Technology I in the fall and the environmental theory course Nature in Environment in the spring.
Bruce Mau graphic designer William McDonough McDonough Architects Guy Nordenson Engineer Enrique Norten TEN Arquitectos Lyn Rice Lyn Rice Architects
Second Year In Design Studio III, students execute designs for
Michael Sorkin architect
modestly scaled buildings in relation to their physical settings. Calling into question the traditional opposition between nature
Susan S. Szenasy Metropolis Magazine
and culture, this studio invites students to explore the complex
Rafael Viñoly architect
relationship between design, technology, and sustainability. In the
Marion Weiss and Michael Manfredi architects
second year, students also take a yearlong course on structural statics and materials.
Tod Williams and Billie Tsien architects Adam Yarinsky Architecture Research Office
In the fall, students take Theory of Architectural Form, which
introduces contemporary theories of architecture with emphasis
Architecture students take two electives from the Architecture, Interior Design, and Lighting Design curriculum to enrich their field of study.
on post-1968 developments in architectural thought and criticism. Students have three options for Design Studio IV, which they take in the spring: they can take the Gravity Studio, co-taught by an architect and an engineer; the Daylighting Studio, part of the Lighting Design curriculum; or the Design Workshop, which offers a rare opportunity to collaborate on a real project from schematic design through construction. Taken in conjunction with Construction Technology II, the Design Workshop focuses on how materials and construction shape our cultural and tactile understanding of space. Third Year In Design Studio V, a prominent practicing architect leads a thematic urban and architectural design studio related to his or her professional interests. Students also participate in Research Seminar: Cities and Details and Theory of Urban Form, which focuses on contemporary and historical urban design. In Design Studio VI, taken in the final semester, students execute an independent thesis in a supervised studio devoted to investigating a specific program and a New York City site. Each student designs a complex multifunctional urban building. Students also take Professional Practice, which prepares them for entry into the professional world. TWO STUDY OPTIONS
Accredited by the New York State Board of Regents and the National Architectural Accrediting Board (NAAB), Parsons offers two professional degree options in architecture. First Professional Degree Students with a BFA or BA degree pursue a three-year (106 credits) course of study leading to
They choose two additional electives from other Parsons or university graduate curricula.
NAAB STATEMENT In the United States, most state registration boards require a degree from an accredited professional degree program as a prerequisite for licensure. The NAAB, the sole agency authorized to accredit U.S. professional degree programs in architecture, recognizes two types of degrees: the Bachelor of Architecture and the Master of Architecture. A program may be granted a five-year, three-year, or two-year term of accreditation. Masterâ€™s degree programs may consist of a preprofessional undergraduate degree and a professional graduate degree, which, when earned sequentially, make up an accredited professional education. The preprofessional degree is not, by itself, recognized as an accredited degree.
ADMISSION INFORMATION Admission to the program is handled directly by the School of the Constructed Environments (product, lighting, architecture, and interior design). Email email@example.com for information. Applicants are encouraged to visit and to attend final reviews in mid-December and early May. Call 212.229.8955 to make arrangements.
a first professional degree. At least one college-level course in calculus, one in physics, and one in the history of architecture are prerequisites. Students without a design background are also required to take the Parsons summer intensive studio or an equivalent course elsewhere. For more information, visit www.newschool.edu/parsons and go to summer programs. Postprofessional Degree Students who already hold a BArch first professional degree or a foreign equivalent typically enroll in the one-and-a-half-year postprofessional degree program (54 credits), a flexible course of study that allows students to customdesign a program to suit their academic interests. This course of study begins in the spring and continues for three semesters, allowing students to take advantage of the Design Workshop and, if they wish, to spend a summer working in New York City between years of study.
CASE STUDY: mARGARETVILLE DESIGN WORKSHOP
For 50 years, the Margaretville Pavilion in upstate New York has been a vital community symbol and gathering place, hosting festivals and other community events. Recently, after serious flooding rendered the structure unstable, Parsons students in the Design Workshop were mobilized to design and construct a new 5,000-square-foot pavilion. The structure they built (see below) has since become an iconic centerpiece of the townâ€™s revitalization. Other recent Design Workshop projects include a convertible art space for the Lower Manhattan Cultural Council; a lobby and gallery renovation for Common Ground, a nonprofit housing and community development group; a prototype field house for the New York public school system; and Infowash, a laundromat-cuminformation center in DeLisle, Mississippi, that offers assistance to Hurricane Katrina survivors.
Leah King Student architecture
Along with her classmates in the Design Workshop at Parsons, Leah King brought the Margaretville Pavilion—a 5,000-square-foot community center with an outdoor pavilion, an enclosed kitchen, a deck, and a tower—to life. Leah explains that the “design-build” program is one of the reasons she chose to study at Parsons and is her favorite aspect of the architecture curriculum overall.
Through her coursework at Parsons, Leah was introduced to the
concept of sustainable design, which became a major component of her master’s thesis. “I explored smart materials and new technologies as a way to improve the efficiency of space, light, air, water usage, and heating in housing units. I focused on Harlem, an area undergoing transition and gentrification. There, I found a way to modify the traditional brownstone with a skin structure that allows for these physical and environmental changes while accommodating the changing social trends of the neighborhood.”
According to Leah, New York City provides the perfect setting for the
study of architecture. She says, “Classes take advantage of the diversity and significance of New York architecture. We took all kinds of field trips and walking tours; we even took a ferry tour of the Gowanus Canal, something most people never do!”
left Maiko Shimizu, 33rd St. Care House, multi-generational housing complex, architectural model
right top Gregga Kailin, MRFex, material recovery facility, Hudson River Park Pier 40, NYC, architectural model right bottom Perla Kristinsdottir, 125th St. Transit Hub, large urban public subway station, NYC, digital rendering
Danny Wong, Airport Extension, an experiment in branding an enclosure system, JFK Airport terminal 8 & 9, NYC, architectural model
left top Jessica Birnbaum, Yankee Baseball Stadium, large urban sports arena, architectural model
right Megan Hurley and Hrolfur Cela, NYU Residence Hall, faculty/student housing complex, mixed media rendering
left bottom Douglas Segulja & Ian Mueller, NYU Residence Hall, faculty/student housing complex, architectural model
William Morrish dean, School of Constructed Environments; architect; urban planner; architectural historian. Scholarly focus: sustainable urban infrastructure and an interdisciplinary approach to the design of cultural ecologies; new housing models; global urbanization and climate change. Projects: Phoenix Public Art Works program, team THINK’s proposal for rebuilding the World Trade Center, design assistance on plans for rebuilding New Orleans, and a comprehensive review of the United Nations Habitat for Human Settlements Program’s global work plan. Publications include Civilizing Terrains: Mountains, Mounds and Mesas; Building for the Arts: A Guidebook for the Planning and Design of Cultural Facilities (co-author); Planning To Stay: Learning to See the Physical Features of Your Neighborhood (co-author); Growing Urban Habitats: Seeking a New Housing Development Model (co-author); and “After the Storm: Rebuilding Cities upon Reflexive Infrastructure,” Social Research. BArch, University of California, Berkeley; MArch (Urban Design), Harvard Graduate School of Design. Joanna Merwood director of academic affairs, School of Constructed Environments. Architectural historian. Published: “Western Architecture: The Inland Architect, Race, Class and Architectural Identity,” “Chicago Is History,” “The Mechanization of Cladding: The Reliance Building and Narratives of Modern Architecture.” BArch, Victoria University of Wellington; MArch, McGill; MA and PhD, Princeton. David Leven director, MArch program; partner, Leven Betts. Awards: Architectural Record’s Design Vanguard, Architype Review, IES Lumen, four AIA NYC Awards, I.D. Annual Design Review, Architectural League of NY’s Young Architects Forum. Lectures and exhibitions: Architectural League of NY, Deutsches Architekturmuseum, Syracuse University, Center for Architecture, University of Kansas, Chicago Institute of Art. Published: Architectural Record, Young Americans, Ultimate New York Design, New Minimalist House, Dwell. BA, Colgate; MArch, Yale; coursework, Institute for Architecture and Urban Studies. Kimberly Ackert principal, Ackert Architects. Awards: Mercedes T. Bass Rome Prize in Architecture. Published: 40 Under 40, New York Times Magazine, Green Architecture USA, Interiors, Architectural Review, Architecture Australia, House & Garden. Projects: Monier Design Commission, Villa Almonte Sea Ranch, Faith Assembly Church. BArch, California Polytechnic State University. Matthew Baird principal, Matthew Baird Design. Publications: GA Houses, New York Times, New York magazine. Projects: Museum of American Folk Art (with Tod Williams Billie Tsien Architects). BA, Princeton; MArch, Columbia.
Sunil Bald partner, studioSUMO. Awards: Young Architects, ACSA, Fulbright, AIA. Published: Architecture, Architectural Record, Frame, GA Houses, Wallpaper, Domus, Oculus. Lectures and exhibitions: Project Row Houses, Houston; GA Gallery, Tokyo; Young Architects Forum at the National Building Museum, Washington, D.C.; Urban Center, New York; University of Texas, Austin; Cornell. BA, University of California at Santa Cruz; MArch, Columbia. Stella Betts partner, Leven Betts Studio. Awards: AIA Design Award (2003 and 2004), I.D. Annual Design Review, Metropolis Next Generation Prize, Architectural League Young Architects, IES Lumen Award. Published: Dwell, Architectural Record, I.D., Surface, Interior Design, House & Garden. Lectures and exhibitions: Architectural League, Center for Architecture, BAC, MacDowell Colony, Colgate University. BA, Connecticut College; MArch, Harvard. Laura Briggs partner, BriggsKnowles Architecture+Design. Projects include speculative work on the city and research into the integration of photovoltaic and interactive energy technologies into building surfaces. Published in: A+D, Metropolis, New York Times, Dwell, Dwell-TV, Domus. Lectures and exhibitions: Cornell, Columbia, RISD, University of Michigan, Kent State, International Solar Energy Society, American Solar Energy Society, Storefront for Architecture, Van Alen Institute. BFA and BArch, RISD; MArch, Columbia. Eric Bunge principal, nARCHITECTS. Awards: Architectural League Emerging Voices, Canadian Rome Prize, Architectural Record Design Vanguard, MoMA/P.S.1. Young Architects, NYFA grant. Published in: New York Times, Earth Buildings, City Limits: Young Architects 3, Metropolis, Architectural Record, L’architecture d’aujourd’hui. Exhibitions: Economy of the Earth, ArchiLab, Orléans, France; New Hotels for Global Nomads, Cooper-Hewitt, National Design Museum. BArch, McGill; MArch, Harvard. Dilip da Cunha principal, Mathur/da Cunha, a landscape, planning, and architecture firm. Research focus: landscape as a shifting, culturally layered condition. Awards: Young Architects Award. Books: Mississippi Floods: Designing a Shifting Landscape; Deccan Traverses: The Making of Bangalore’s Terrain. BArch, Bangalore University; MHousing, SPA, New Delhi; MCP, MIT; PhD, University of California, Berkeley. Natalie Fizer principal, Fizer/Forley Design. Exhibitions: Artificial Memory, a survey history of memory devices; The Democratic Monument in America 1900–2000, a traveling exhibit on the monuments and trails of the 20th-century American landscape; Opening the Oval, a timeline history of the interior of the White House. Grants: New York State Council on the Arts, NYFA. Published: Interior Design, New York Times, Paper, New York magazine. BA, Rutgers; BArch, Cooper Union; MArch, Princeton.
Carlo Frugiuele partner, Urban Office Architecture. Awards: Europan 7 First Prize, Robbins Elementary School Competition, Villafranca New School First Prize, Town Hall of Ornago First Prize. Published: Europan 7, Architectural Record, l’Arca. Lectures: NJIT, Anahuac Universidad, Europan 7. BArch, Politecnico di Milano; MDes, Columbia. Jean Gardner activist, writer, architecture, and landscape historian; consultant on sustainable design issues; founding member, Environment ’90, Earth Environmental Group. Co-author: Cinemetrics: Architecture Drawing Today. Author: Urban Wilderness: Nature in New York City. Teaching experience: Columbia, Pratt, and Cornell. BA, Smith College; MA, Columbia. James Garrison principal, Garrison Siegel Architects, a firm with an emphasis on high performance and sustainable designs. Awards: Chicago Athenaeum American Architecture Award, GSA Citation for Design Excellence, AIA/NYS Honor Award, AIA/ NYC Building Award. Published: Architecture, Architectural Record, Contract, Oculus, Real Estate Weekly. BArch, Syracuse. Douglas Gauthier principal, Gauthier Architects. Awards: MoMA Home Delivery exhibition, Architecture League Young Architects, Fulbright Scholarship, Graham Foundation grant. Published: New York Times, Wallpaper, Metropolis. MArch, Columbia. Ed Keller designer, writer, multimedia artist; co-founder, a/ Um Studio; partner, Atelier Chronotope. Projects range from residential projects to competitions, new media installations, and screenplays. Awards: National Award, Celebration of Cities, first prize for A House for Andrei Tarkovski. Published: ANY, AD, Architecture, Wired, Metropolis, Assemblage, Progressive Architecture. Lectures: Harvard, Pratt, Princeton, Columbia University GSAP. BA, Simon’s Rock; MArch, Columbia. James Koster principal, James Koster Architects. Awards: Chase Competition Development Corporation Award, NY State Preservation League Award, Kelly Grant Illuminating Engineers Society. BA, University of Pennsylvania; MArch, Princeton. David J. Lewis partner, Lewis.Tsurumaki.Lewis. Projects focus on the inventive possibilities of architecture through an examination of the conventional and overlooked. Published: Architecture, Architectural Record, Architectural Review, Frame, I.D., Interiors, Metropolis, New York Times. Awards: U.S. representation at Venice Architecture Biennale, Architectural League of New York Emerging Voices, Architectural Record vanguard. Lectures and exhibitions: SF MoMA, Van Alen Institute, UVA, Sci-Arc, University of California. BA, Carleton College; MA, Cornell; MArch, Princeton.
Harriet Markis PE partner, Dunne & Markis Consulting Structural Engineers, structural engineer on projects ranging from new construction to existing structures to restoration work on landmark buildings. Affiliations: ASCE, SeoNY. BSCE, Rensselaer Polytechnic Institute. MEng, Cornell. Jonathan Marvel principal, Rogers/Marvel Architects. Projects: Governors Island park and public space, NY Stock Exchange streetscape, urban plaza for 55 Water Street, Battery Park streetscapes, Higgins Hall at Pratt Institute, Studio Museum in Harlem. Awards: AIA NY Chapter Medal of Honor, Municipal Arts Society, Boston Society of Architects, Architectural League of NY Emerging Voices, Interiors Design Award. Published: Architectural Record, New York Times, Interior Design, Metropolis, I.D., ANY, A+U, Quaderns. BA, Dartmouth; MArch, Harvard. Michael McGough vice president, Laszlo Bodak Engineer, PC; managing director, LBE International, Ltd.; registered professional engineer in the state of New York; certified expert witness in forensic engineering. Affiliations: American Society of Mechanical Engineers; American Society of Heating, Refrigeration, and Air Conditioning Engineers; National Fire Protection Association. BSME, Columbia. Brian McGrath principal, Urban-Interface, LLC, a consulting practice with expertise in architecture, ecology, and media. Projects focus on the use of digital technologies to provide urban design models that engage local participants in flexible approaches to urban densification and revitalization. Co-author: Cinemetrics: Architectural Drawing Today. Author: Transparent Cities, Conflict in Rome and New York. BArch, Syracuse; MArch, Princeton; coursework, Institute for Architecture and Urban Studies. Luc Nadal architect and scholar. Awards: Buell Writing Prize, Barclay Bibbs Jones nomination, Lavoisier and Monbusho scholarships. Published: Les lumières de la ville, L’architecture d’aujourd’hui, Arch + Zeitschrift. Diploma, Architecte DPLG, La Villette School of Architecture, France; MPhil, PhD, Columbia. Greg Otto structural engineer; senior engineer, Buro Happold Consulting Engineers. Projects: Los Angeles Natural History Museum (Steven Holl Architects); Genzyme Headquarters, Cambridge (Behnisch, Behnisch Partners); Trettin Residence, Aspen (SHoP–Sharples Holden Pasquarelli). Kansas State University, Cooper Union, and MIT.
Mitchell B. Owen partner, Consolidated Design Studios Ltd., specializing in high-end residential and retail design. Research focus: intersection of politics and design in World War II-era California Modern architecture; the crossing of political issues with architectural design and urban history. Awards: DDI Magazineâ€™s top 50 retail firms. BS, Georgia Institute of Technology; MArch, MA Architectural History, Theory, and Criticism, Princeton. David Piscuskas partner, 1100 Architect. Awards: New York City and NYS chapters of the AIA design awards for renovation of the Little Red School House and Elizabeth Irwin High School; MoMA Design stores; Irish Hunger Memorial in Battery Park City. BA, Brown, RISD; MArch, University of California, Los Angeles. Derek Porter director, MFA Lighting Design; principal, Derek Porter Studio. Awards: Architectural Lighting magazine, International Association of Lighting Designers, Illuminating Engineering Society of North America. Affiliations: member of the American Institute of Architects, IALD, IESNA, and Light Fair International. BFA, Environmental Design, Kansas City Art Institute. Gundula Proksch principal, TAAN (transatlantic architectural network). Research emphasizes the transformation of urban landscapes. Awards: DAAD fellow, Studienstiftung fellow. Published: Werk, Bauen+Wohnen, ETH Zurich, Baunetz. Dipl. Ing. Architektin, TU Braunschweig; MArch, Cornell. Mark Rakatansky principal, Mark Rakatansky Studio. Awards: Emerging Voices, I.D., National Competition for Street Trees, 100 Annual, PRINT Digital Design, Progressive Architecture. Published: ANY, A+U, Assemblage, Camerawork, Columbia Document, Competitions, Harvard Architecture Review, Journal of Philosophy and Visual Arts. BA, University of California, Santa Cruz; MArch, University of California, Berkeley. Juergen Riehm partner, 1100 Architect. Awards: New York City and NYS chapters of the AIA design awards for renovation of the Little Red School House and Elizabeth Irwin High School; MoMA Design stores; Irish Hunger Memorial in Battery Park City. Diploma in Architecture, Fachhochschule Rheinland-Pfalz; Stadelschule, Academy of Fine Arts, Frankfurt A.M. Robert Rogers principal, Rogers/Marvel Architects. Projects: Governors Island park and public space, NY Stock Exchange streetscape, urban plaza for 55 Water Street, Battery Park streetscapes, Higgins Hall at Pratt Institute, Studio Museum in Harlem. Awards: Erie Street Plaza International Design Competition finalist, AIA National Honor Awards, Architectural League of NY Emerging Voices, Interiors Design Award. Published: Architectural Record, New York Times, Interior Design, Metropolis. BA, BArch, Rice University; MDes, Harvard.
Chris Sharples principal, SHoP (Sharples Holden Pasquarelli), a practice encompassing architecture, fine arts, structural engineering, finance, and business management. Awards: Wired Rave Award; National Design Award finalist, Cooper-Hewitt, National Design Museum; Architectural League of New York Emerging Voices; Progressive Architecture Citation; MoMA/P.S. 1 Summer Installation. Published: Versioning, Architecture, Architectural Record, New York Times, Oculus, Interior Design. BFA, Dickenson College; MArch, Columbia. William Sharples principal, SHoP (Sharples Holden Pasquarelli; see above). BAE, Pennsylvania State University; MArch, Columbia. Henry Smith-Miller partner, Smith-Miller+Hawkinson Architects. Awards: Progressive Architecture Design Award for Strategic Open Space, AIA NY Chapter Design Award, National Academy of Design award for the NY Public Library Project, Fulbright Scholar. Published: ANY, Architecture, Architectural Record, Casabella, Global Architecture, Dwell, I.D., Interiors, Interior Design, Metropolis, New York Times. Lectures and exhibitions: MoMA, SF MOMA, FRAC, Van Alen Institute, Architectural League of NY. BA, Princeton; MArch incomplete, Yale; MArch, University of Pennsylvania. Calvin Tsao partner, Tsao & McKown. Awards: Metropolitan Homeâ€™s Design 100, Interior Design Hall of Fame, Fashion Group International Star Honoree, Noyes Visiting Critic Harvard. Published: Architecture, I.D., Interior Design, New York Times, Vanity Fair. BA, University of California, Berkeley; MArch, Harvard. Timothy Ventimiglia architect, museum and exhibit designer; associate and project director, Ralph Appelbaum Associates. Awards: Society for Environmental and Graphic Design top honor, Industrial Design Excellence Award, silver winner; Communication Arts Award. Projects: University of Arizona Science Center, Grand Tetons National Park Visitor Center, Anchorage Museum of History and Art. BArch, MArch, Cornell. Perry Winston senior architect, Pratt Planning and Architectural Collaborative, working on affordable housing and community development; maker of the documentary film Bordersville, which aired on PBS; frequent contributor, Design Book Review. BA, Harvard; MArch, Rice.
DESIGN AND TECHNOLOGY
The Design and Technology program responds to the social and
FACILITIES AND RESOURCES
cultural dimensions of technological change. Students learn
Beyond computer labs and classrooms lies the greatest resource available to our students: New York City. In addition to using city streets and wireless networks as laboratories for experimentation, students take field trips to Times Square, Lower Manhattan, and Central Park to find inspiration and observe the nuances of designed living. They collaborate with urban arts organizations like Eyebeam, Creative Time, the Kitchen, and the New Museum. Students learn to see New York City as a dynamic system that shapes the way they learn, play, innovate, and explore.
firsthand what to expect in the wired 21st-century world as they explore connections between networks, interactions, games, products, and stories. This program of study examines the implications of emerging technology for both the practice and the process of design, drawing from the past and looking to the future. Students are exposed to a variety of perspectives while they develop their own points of view. They become aware of and address social and ethical issues that arise from technology’s proliferation throughout society as they work to define their own vision and practice within one or more domains. The curriculum links visual, interactive, and narrative concerns with the practices of programming and computation. Students explore the social, economic, political, cultural, environmental, historical, ergonomic, and psychological impact of design and technology. They conceive and create dynamic systems on a human scale. This broad approach is a hallmark of the program and prepares students for research and professional work in many design contexts. The program challenges students to master constantly changing technology, on the principle that people work most creatively when they have a solid understanding of the tools they are using. Students are also encouraged to develop close associations and working relationships with one another. The collaborations fostered often last long after graduation. For complete curriculum, faculty, and course information, visit newschool.edu/parsons and go to Degree Programs: Design and Technology, Graduate.
40 DESIGN AND TECHNOLOGY
The facilities at Parsons are state-ofthe-art. The Arnhold Hall Multimedia Laboratory occupies 40,000 square feet on four floors with 600 networked workstations. More than 30 servers support work ranging from traditional print output to online projects using webcasting and secure transaction technology. Specialty work—audio/ video production, MIDI, recording, and physical computing installation—takes place in the Design and Technology Lab. Portable digital still, video, and audio production equipment is available. Digital projectors, surround sound, and active whiteboards feed into equipment racks for media presentations of all kinds.
DESIGN AND TECHNOLOGY
ADVANCING THE FIELD:
Design and Technology graduates work in a wide variety of
art and design practices. They hold directing, producing, and
As part of its efforts to advance the field, the program has organized a number of important symposia. “DeathMatch in the Stacks” marked the 2005 launch of The Game Design Reader, written by Katie Salen and faculty member Eric Zimmerman. This event brought together a number of game industry luminaries: designers Warren Robinett (Atari), Greg Costikyan (Manifesto Games), and Ken Birdwell (Valve); play theorists Brian Sutton-Smith, Linda Hughes, and Gary Alan Fine; and new media producers Ze Frank and Counts Media. Previous symposia include “Excavating the Archive: New Technologies of Memory” and “Re:Play: Game Design + Game Culture.”
design positions in broadcast design and animation at MTV, Nickelodeon, Curious Pictures, and R/GA. A recent graduate in time-based media was the technical director on Shrek 2 for PDI/Dreamworks. In game design, alumni hold lead designer positions at Electronic Arts and gameLab; others have started indie game development firms, for example Large Animal Games. Design and Technology trained interaction designers can be found at AOL, Frog Design, Pentagram, and Apple. In the arts, our alumni have won awards at Ars Electronica and worked with the sponsorship of arts organizations like Eyebeam and Creative Time. Parsons graduates include professors at the University of Wisconsin, the University of Massachusetts, and Texas A&M University. THE STUDENT EXPERIENCE
The process of responding to the implications of emerging technology through design is the essence of the student experience in Design and Technology. Design serves more than a visual function: It is a means for producing culture, developing communities, organizing knowledge, creating entrepreneurial structures, and awakening social consciousness. Situated amid New York City’s vibrant art and design scene, the program encourages students to take their work to the streets and engage individuals and communities. From bicycles that create Wi-Fi hotspots to walking tours mediated through PDAs and cell phones to animations projected onto buildings, our students’ work is a living, breathing part of our city. Whether in the commercial realm, academia, or the fine arts, Parsons graduates offer not just in-depth knowledge of technology but the creativity and intellectual awareness to shape the future. Students enter the graduate program from many professional and educational backgrounds, including interactive design, architecture, fine arts, film and media studies, graphic design, new media art, computer science, and the social sciences. Their geographical roots are equally diverse: current students come from Japan, Malaysia, Brazil, Switzerland, Canada, and Iceland, as well as the United States. CURRICULUM
The MFA is a two-year, full-time, 64-credit program. Students can take a general curriculum or specialize. While the curriculum is studio based, critical thinking and the study of design process and methods are central to the program. The combination of creating, thinking, and writing is central to the Design and Technology experience. The program’s open, flexible structure, gives students
42 DESIGN AND TECHNOLOGY
Areas of Focus Through their studio work, students address cultural sensibilities in the context of technologically mediated experiences. A set of core topics frame these inquiries.
Interactivity Students explore interactivity within digital and analog settings, including games, websites, smart products, and wearable interfaces. Narrative Students explore narrative possibilities within time-based media, including animation, broadcast design, documentary film and video. Computation Students explore the expressive possibilities of code, including animation, performance, narrative, and online experiences.
a great deal of freedom in choosing areas of research to pursue.
Individual and collaborative studio projects are designed to
Academic electives focus on the theories, methodologies, and development processes required by contemporary design and technology projects. Students can choose from a set of Design and Technology electives and many other courses at Parsons and other divisions of The New School. The following is a sample of departmental electives.
demonstrate aesthetic and intellectual refinement as well as technical mastery. Students produce a master’s thesis in the second year of study, which culminates in an exhibition at the Parsons galleries. Parsons’ ongoing relationships with corporate, governmental, educational, and nonprofit organizations ensure a technically current and socially relevant working environment. Industry and institutional partners include AIGA, Apple, Atari, Cooper-Hewitt/ Smithsonian, Creative Time, Curious Pictures, Estée Lauder, Eyebeam, Fossil, gameLab, Human Rights Watch, Microsoft, MTV, NASA, the New Museum, the Open Society Institute, R/GA, Samsung, Siemens, SensAble Technologies, UNESCO, UNICEF, Vespa, and the Whitney Museum of Art. Students can take advantage of the university setting—enlisting directors or actors from The New School for Drama to work on a digital film, for example, or collaborating with creative writing students. They can take elective courses in usability, international affairs, sustainability and urban ecology, and psychology, to name a few of the possibilities. MAJOR STUDIO
Central to the program is the Major Studio, devoted to the conceptual and creative process in design, in which each student develops his or her own body of work. Major Studio: Interface In this studio, students are introduced to the process of creating work within a design and technology context. It should be seen as the interface for MFA Design and Technology’s core topics—Narrative, Computation, and Interactivity—as well as for the areas on which the program focuses—design, technology, and society.
Multi-Channel Interaction Design is about developing prototypes for integrated interactive experiences. Emphasis is on strategic thinking, user research, concept design to build and test a piece that works simultaneously in three media environments. Vision and Sound with Max/MSP/ Jitter introduces MIDI communication, interface design, installation and performance strategies, digital sound synthesis, and structure and programming of Quicktime and OpenGL. Social Fashioning and Emerging Networks examines network communications infrastructures and radical reconceptualizations of public space focusing on clothing, accessories, and handheld objects as conduits through which identity, agency, and social relation are expressed. Visual Storytelling explores not only techniques (storyboards, animatics and Board-O-Matics, comics) but also the meaning and structure underlying time-based media. Students learn how to articulate story ideas clearly in order to communicate effectively through any medium.
Major Studio: Interaction Students design “screen-based” experiences or new ways of enabling people to interact with the physical world. Major Studio: Narrative This course focuses on new narrative possibilities within time-based media, including animation, cinematic space, documentary film and video, broadcast graphics, movie titles, information broadcast, and Internet video. Major Studio: Computation Students explore the use of digital code-driven systems to create new forms of design.
DESIGN AND TECHNOLOGY 43
Collaboration Studios are courses that team students with industry
Physical Computing connects the physical and the digital, investigating physicality and interface with respect to the computer and exploring related analog and digital technology.
partners to undertake real-world projects. Many are crossdisciplinary and dedicated to applied design research areas at The New School. Past partners include Curious Pictures, the Open Society Studio, Scholastic, Human Rights Watch, Franklin Furnace, the New Museum, UNICEF, the Port Authority of New York and New Jersey, and the American Symphony Orchestra League. Media range from mobile wireless applications, games, digital film, animation, websites, CD DVDs and kiosks to experimental installations. Described below are examples of recent Collaboration Studios. Scholastic Learning Lab is sponsored by the Lab for Informal Learning, a research and ideation group at Scholastic. Students create a design brief and conceptual prototype for one of two concepts aimed at children between 6 and 12 years old: the Energy Game and Monster Quest. The Energy Game is a multiplayer, Webdelivered, turn-based strategy game that exposes elementary and middle school students to energy policy politics and science. Monster Quest is a user-generated content website for children focused on avatar creation and social networks. Internet Famous is dedicated to spreading work on the Internet, getting hits, and attracting web media attention. Custom tracking software, currently in development at the Eyebeam Openlab, is released in beta form to students. Sites like Digg, del.icio.us, Alexa, YouTube, and Technorati are mined for data to deliver a single bulk index of Internet fame. Students study successful contagious media projects to increase their chances of making work spread contagiously. Grades are awarded algorithmically on the basis of Web popularity. Jazz and Animation gives students the opportunity to work with illustrators, communication designers, and musicians to create both live and recorded animation to accompany the music of contributing jazz composers and performers. Students work with a variety of analog and digital technologies, ranging from Max MSP and Jitter to drawn cel animation and lighting and staging effects. Supernormal Futures Students work with graduate architecture students to envision future scenarios that challenge our sense of what â€œnormalâ€? will be. Extrapolating from existing technologies, students model and prototype critical responses to the present by designing scenarios of and objects from the future.
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Geek Graffiti Graffiti, street-art, guerrilla marketing, and other technology-based urban projects are explored in collaboration with the Wooster Collective, an arts group in New York. Narrative and Dynamic Systems looks closely at the mechanics of storytelling within interactive fictions, exploring connections between technology and narrative experience. Game Design is an introduction to games as formal, social, and cultural systems, emphasizing rapid prototyping and play-testing of game concepts and introducing game analysis and production.
Mike Edwards Student design and technology
“I saw the master’s thesis show at Parsons, and I was so impressed with the projects. They were really, really cool. I had to go there; I knew it was perfect for me,” says Mike Edwards. A year later, he enrolled in the Design and Technology program.
Mike’s own thesis is as impressive as the ones that inspired him to
come to Parsons. After receiving a grant from the Open Society Institute, Mike traveled to Malawi and worked as a technologist with a small health-care advocacy organization. For his thesis project, developed in collaboration with the Malawian organization Baobab Health Partnership, Mike created tools that digitally measure children’s arms to determine whether they are malnourished and store the records electronically.
Since returning from Malawi, Mike has been focusing on education. At
PETLab (Prototyping, Evaluating, Teaching and Learning Laboratory), the first public-interest game design and research laboratory for interactive media, he worked with a team to develop a game that teaches players about sustainable architecture and construction. The game has been presented to industry professionals.
For Mike, one of the best features of Parsons is “the kind of people
who come to school here. They have a diverse range of life experiences, talents, and interests, but they are all really smart people. It creates a really productive mix of thoughts and designs, which is good for ‘strange’ kinds of creativity, ranging from very technical to very artistic.” Mike has accepted an offer to teach at Parsons.
CASE STUDY: PETLAB
Design and Technology students engage the community with their explorations. Symposia, game jams, simulations, and mobile technology events hosted by the program encourage experimental learning, provide a place to prototype methods, and connect students with scholars and designers in digital media, education, and social research. The program recently announced the launch of PETLab, the first public-interest game design and research laboratory for interactive media. The sustainability game Open House (see below) was developed through PETLab and presented at the Philip Johnson Glass House. In collaboration with the nonprofit organization Games for Change, PETLab will work with Microsoftâ€™s Xbox development platform and MTVâ€™s Think.MTV.com youth-focused activist community to develop learning tools and games that explore social issues. PETLab was made possible by a $450,000 grant from the John D. and Catherine T. MacArthur Foundation.
DESIGN AND TECHNOLOGY 47
left top Leanne Wagner and Matt Bethencourt, Noha端s FoodBox, open drop boxes enabling distribution of leftover food to homeless people; locations accessible via cell phones and an online database at foodbox-ny.org. Interface Major Studio Project
48 DESIGN AND TECHNOLOGY
left bottom Travis Chan, Elizabeth Foley, Paul Imperio, Kimba Kerner, Sangmin Lee, Rami Son, Scrubby Invasion, 2D, 3D Animation and Motion Graphics. Advanced Broadcast Design Studio project
above Arava Sheleff, Heroes, tactical media docu-comic. MFA thesis Project
left Myeong Jae Lee, Chang Jeong, Noha端s Design-Cardboard Chair, DIY found cardboard and gaffer tape chair design for the homeless. Interface Major Studio Project
right Catherine Garnier, Table for Two, interactive narrative installation. MFA thesis project
DESIGN AND TECHNOLOGY 49
Design and Technology Faculty
Sven Travis dean; new media artist; experimental software developer. Founder of several commercial enterprises including The Fred Group (randomly generated textile design) and Crazy Baldhead (randomly generated bald people). Recent work: Groupmeter (with Cornell University), YACHT CLUB (with Tsinghua University in Beijing), and Embedded Control. Expertise: network design, physical computing, photography, interactive media. Interests: mobile media, data collection, interactive media, web research, machinima, Green Bay Packers. Anezka Sebek director of the graduate program; writer, director, and visual effects and computer animation producer for projects combining live action with digital effects. Projects: television, advertising, music videos, short films, documentaries, and feature films for HBO, Curious Pictures, and R/Greenberg Associates. Expertise: animation, character design, narrative, documentary. Interests: feminism, queer/environmental activism, screenwriting, time-based media, digital puppetry, motion capture, live action, sociology, urban studies, media theory, visual effects. PhD candidate in Sociology and Media Studies, The New School for Social Research. Andy Bichlbaum (Jacques Servin). Founder of the Yes Men, a group of professional troublemakers whose ultimate goal is to help design a better world—they sneak into corporate conferences to report unflattering stories. He is currently working on a feature film about the Yes Men’s latest adventures. Expertise: filmmaking, narrative, media activism, culture-jamming. Ted Byfield co-moderator of “nettime” mailing list; coeditor of README! (Autonomedia, 1999) and NKPVI (MGLC, 2001). Clients: BBC, The Kitchen, KPN, Open Society Institute, Cambridge University Press, Ford Foundation, Random House, Scribners/Macmillan. Published: Cook Report, First Monday, Frieze, Le Monde Diplomatique, Movement Research, Mute, and Stanford Humanities Review. Expertise: cybernetics, net.art, cultural history, tactical media. Interests: anomalies, archives, behavior, choreography, cryptography, DIY, ecology, economy, hacking, intellectual property, P2P, performance, policy, politics, privacy, propaganda, protocols, punk, radio, robots, satellites, systems, typography. David Carroll multimedia director at Second Thought (www.secondthought.com), an interactive boutique supplying creativity and interactive products to media clients including CNN, PBS, ESPN, AETN, AOL, and Nintendo. Expertise: interactive and game design, mobile media, object-oriented programming. Interests: informatics, prototyping, social media, alternate reality gaming, locative media, responsive interfaces, computer vision, multi-touch, democracy, data visualization, media law, open source, economics, politics, electronic music.
50 DESIGN AND TECHNOLOGY
Melanie Crean artist. Former director of production at Eyebeam, a cooperative studio that supports the creation of socially based media. Previously, she worked at the MTV Digital Television Lab and produced documentaries on the trafficking of women and the spread of HIV/AIDS along trucking routes in South Asia. Expertise: time-based media, public art, installation, documentary. Interests: conceptual art, experimental sound and video, film, animation, media theory, memory, perception, vision. BA in semiotics and film production, Brown University; MFA in computer art, School of Visual Arts. Anthony Deen design director at TPG Architecture. Previously, Deen was senior associate at Rockwell Group, VP of Design for Miller Zell, and VP of Retail Design and Brand Development for Virgin Megastores NA, where he designed the next-generation store and created Virgin’s award-winning instore interactive system. Andrea Dezso artist, award-winning graphic designer and typographer, illustrator, and writer with extensive experience working with nonprofits, cultural institutions, and businesses. Expertise: public art, illustration, artists’ books, typography. Interests: outsider and visionary art, folklore, feminism, subversive craft, personal narrative, Eastern Europe, space-race propaganda, post-Communist nostalgia, shadows, stop-action animation, puppetry, dioramas, alternative comix, visual explanations, science. Nicholas Fortugno was inducted into role-playing life at the age of five and has been an avid consumer and producer of role-playing, live-action, and game culture ever since. He recently co-founded the gaming company Rebel Monkey. Yury Gitman designer, inventor, and artist. Exhibited at the Biennale of Electronic Arts in Perth, the Isle de France in Paris, Ars Electronics in Austria, and Eyebeam in New York. By employing a network of “wireless bicycle hotspots,” he was one of the first to use the Internet from inside the NY subway. Projects with NYCWireless, the LMCC, and the Downtown Alliance to promote open Internet policy and New Media Art practice. Awards: 2003 Ars Electronica Golden Nica for Net Vision, Europe’s highest honor for electronic arts. Joshua Goldberg artist and programmer with an interest in multimedia sampling and live video performance. Goldberg’s work departs from the tradition of coherent narrative, using improvisation to create dynamic, abstract collages of the flotsam and jetsam of the media sphere. Jessica Irish inter-media artist whose work queries the relationships between technology, the built environment, and ideology. Her work has been exhibited exclusively internationally. and featured in Art Forum, Metropolis, RES, and Artweek. She was among the first digital artists to receive support from Creative Capital Foundation and the California Arts Council.
Christopher Kirwan principal of Urban Technologies. Expertise: information architecture and data visualization. BArch, BFA, Rhode Island School of Design; coursework, MIT Center for Advanced Visual Studies. Colleen Macklin digital artist, interaction designer, director of PETLab. Previously worked in New York and Southeast Asia to generate multisensory environments ranging from DJ parties to minimalist visual installations. Clients: Citibank, Credit Suisse First Boston, France Telecom, Moët, the New Museum, and Thompson/PDR. Expertise: games/ interaction, mobile media, ethnography, international affairs. Interests: activism, publics, prototyping, happenings, disruptive technologies, participatory design, programming, open source, modding and hacking, culture jamming, conceptual art, electronic music, Southeast Asia. Katherine Moriwaki artist and researcher investigating clothing and accessories as a conduit for creating network relationships in public space. Her work has appeared in IEEE Spectrum and festivals and conferences internationally. She received the 2004 Araneum Prize from the Spanish Ministry for Science and Technology and Fundación ARCO. Master’s degree from ITP at NYU; doctoral candidate at Trinity College, Dublin. Stephanie Owens artist, freelance designer, and cofounder and CCO of Oddcast. Previously Owens was the lead designer and associate creative director for Reset, where she completed works for HBO, New Line Cinema, Fine Line Cinema, October Films, Time Warner, Bad Boy Records, Interscope Records, Nine Inch Nails, Kenneth Cole Reaction, Buffalo Jeans, and Witness. Scott Paterson architect and Internet artist currently in practice as a freelance information architect and interaction designer. An active member of the Internet art community, including Rhizome.org and Mindspace.net, he has had work exhibited in Mexico City, Florence, New York, and the Banff Centre for the Arts.
Katie Salen game and interactive designer, animator, co-author of Rules of Play: Game Design Fundamentals and The Game Design Reader. Previously worked as a consultant for Microsoft, Mememe Productions, gameLab; curator of gamerelated shows with Walker Art Center, Lincoln Center, and Cinematexas. Expertise: game design, interactive design, new media art. Interests: learning, social networks, mods, pedagogy, culture, machinima, design writing, youth culture, play. Sabine Seymour founder of Moondial Inc., an international network of designers, architects, and researchers. Moondial’s research focuses on creating a pervasive user experience based on the convergence of fashion, wearable and wireless technologies, product design, and architecture, particularly in extreme sports and fashion. Marko Tandefelt interface and concept designer with a music technology and 3D/VR background. Marko visualized the new R142 subway cars in 3D for New York City’s MTA and Antennadesign and has been curator and technology advisor of F2F: New Media Art from Finland. Expertise: music, audiovisual interactive instrument design, physical computing art for public spaces. Michael Waldron environmental graphic and corporate identity designer; currently creative director of Nailgun. He joined News-Channel6, a CBS affiliate, as a graphic designer in 1995 and became the youngest art director in the history of the news company. Eric Zimmerman started his career roping friends and family into play-testing his game experiments. He has spent the last ten years in the game industry. He is the CEO and cofounder of gameLab and co-author of Rules of Play: Game Design Fundamentals (MIT Press). Before founding gameLab with Peter Lee, Eric collaborated with Word.com on the underground online hit SiSSYFiGHT 2000 (www.sissyfight.com).
Michie Pagulayan graphic designer. Expertise: interaction design, project management, advertising. MFA, Parsons; BFA, University of the Philippines. Chris Romero artist, architect, and design partner at Oscillation Digital Design Studio, an interdisciplinary design and technology company with offices in New York and San Francisco. With longtime partners Brian Kralyevich and Brian O’Driscoll, he has worked toward a new visualization of the interfaces between humans and computers.
DESIGN AND TECHNOLOGY
The Fine Arts MFA program trains students to develop their work
AWARDS AND SCHOLARSHIPS
from concept to realization and to launch careers as professional
In 2008, the prestigious Joan Mitchell Foundation awarded Parsons graduate Cecile Chong a $15,000 grant. The foundation awards 15 grants annually to MFA painters and sculptors from across the country who produce work of exceptional artistic quality. Candidates are nominated by members of the academic art community.
artists. Students explore the evolving role of the artist in todayâ€™s art world as it is transformed by the influence of popular culture, an engagement with social and environmental issues, and the development and use of new technologies. In this two-year program, students develop the formal, intellectual, and conceptual foundations of their work. Frequent individual studio visits with faculty members in the New York art community help students refine their practice and have played an important role in preparing Parsons alumni for major group shows, such as the Whitney Biennial, solo shows in galleries worldwide, and teaching positions. The Fine Arts program is aesthetically and conceptually open to all disciplines. Here the traditional wall between painting and sculpture has been broken down. While students committed to traditional studio practices in painting and sculpture develop their work in an atmosphere of rigorous formal training and intellectual engagement, the doors are open for artists interested in time-based media, performance, installation, and public art. Our interdisciplinary curriculum, faculty, and facilities provide opportunities for such exploration while exposing students to the history, theories, and philosophies that have shaped the contemporary art world. Parsons is located within walking distance of Chelsea, Soho, and midtown galleries and museums, offering students the benefit of constant and direct contact with New York Cityâ€™s unparalleled artistic community. For complete curriculum, faculty, and course information, visit newschool.edu/parsons and go to Degree Programs: Fine Arts, Graduate. 52 FINE ARTS
The Fine Arts program also receives grants and awards, which are used for scholarships. The Jacques and Natasha Gelman Trust recently awarded Fine Arts a $90,000 grant to be used for an MFA scholarship, including all tuition expenses for two years and a living stipend.
FINE ARTS 53
Case Study: PULSE and Kitchen Exhibitions
Throughout the year, Fine Arts students exhibit their work in highprofile venues. In March, an installation of work was presented at the PULSE Contemporary Art Fair at Pier 40 (see below) in New York. Working with curator Jeffrey Walkowiak, the students created a space for reading, discussion, and contemplation. The installation attracted national press attention and provided a unique opportunity to show the international art world a cross-section of the work produced by graduate students at Parsons. Graduating seniors exhibited their work at the Kitchen, a nonprofit experimental art and performance space in Chelsea. Through the innovative course Theory, Practice, and Career, MFA students played an active role in organizing that exhibition: securing the exhibition space, developing the catalog, and helping conduct marketing and promotion.
54 FINE ARTS
The master of fine arts curriculum requires 64 credits of full-time study: 52 credits of studio (Graduate Fine Arts and Graduate Seminar), and 12 credits of critical studies. Students work independently in their own studios and have weekly one-on-one conferences with the faculty. Supplemental instruction in speaking and writing is designed to improve students’ ability to discuss their work. Lectures, workshops, and studio visits with visiting artists, curators, and gallery directors enable students to reach beyond the school environs to engage the New York City art world. Graduate Fine Arts This studio course offers the experience of work-
ing in a community of faculty and peers who inspire, challenge, and support one another. Meeting for six hours a week, the course is structured around group and individual meetings with faculty members, who set rigorous standards of achievement and help the students develop cohesive expression and skills.
The Fine Arts Program’s weekly lecture series features prominent artists and critics who discuss their current practices in relationship to larger trends in contemporary culture. Students have the opportunity to learn about a wide range of artistic practices through post-lecture dialogue with the visitors.
Visiting Artists LECTURE SERIES, SPRING 2009 Sanford Biggers Eduardo Cadava Alfredo Jaar Emily Jacir Silvia Kolbowski Thomas Y. Levin Wangechi Mutu Paul Pfeiffer
Students work with five core faculty members in succession. First-
Rebecca Quaytman / Orchard
year students work with all five faculty members; second-year
students choose two faculty members and work with each one for
two five-week periods. Open sign-up periods and group critiques
occur between rotations. Each week within the rotations, one to one and a half hours of group discussion are held. Students spend the rest of the time working in studios while faculty members make one-on-one studio rounds. Student work is analyzed in cultural and historical context. In individual and group critiques, studio visits, and discussions, students and faculty strive to identify the values and ideas expressed and implied by the artwork. Students visit galleries and artists’ studios to compare their own work to a challenging and fluid contemporary art market. Visiting faculty members meet regularly with students to give continuity to critical analysis. Students design their own work processes as a means of establishing the discipline that allows for and sustains lifelong work and growth as an artist. Theory, Practice, and Career All second-year graduate students must take this course, designed to help them enter the art world as self-managing artists. This course, developed in cooperation with the New York Foundation for the Arts and funded by the Emily Tremaine Foundation, helps students developing skills that will enable them to make confident and informed career choices while continuing to make art. Graduate Seminar The first-year Graduate Seminar exposes students to significant discourses in 20th- and 21st-century art, including modernism, postmodernism, feminism, colonialism, and
FINE ARTS 55
racial representation; commodity culture, including ideas about collecting; and technology and the digital revolution. All these topics are explored in writing assignments and class discussion as well as readings, video and film viewing, and art exhibitions. The seminar work is interspersed with studio visits. In addition to short writing assignments that accompany readings, each student is responsible for a major research paper. The second-year Graduate Seminar is thesis driven. Weekly and bimonthly writing assignments break down the subjects required for the thesis into smaller elements. Drawing assignments, individual studio visits, and slide lectures on student work augment written assignments and promote class discussion. At the end of the second year, students present a body of work completed in the program and a written thesis for the Final Masterâ€™s Review. Selected artwork is exhibited in the annual MFA Thesis Exhibition during the spring semester.
RECENT AWARDS AND PRESENTATIONS BY MFA FINE ARTS STUDENTS Nina Chanel Abney solo exhibition, Kravets/Wehby Gallery Michael Caines residencies, Jentel Artist Residency Program, Bemis Center for Contemporary Arts Ben Finer film screening, Envoy Gallery Kyoung Eun Kang residency , Skowhegan Institute Jess Ramsay and Seyhan Musaoglu performance, Dutch Kills Gallery Gabe Shuldiner solo exhibition, 355 Gallery John Wanzel residency, Mildredâ€™s Lane
RECENT AWARDS AND PRESENTATIONS BY FINE ARTS FACULTY Simone Douglas solo exhibition, Artereal Gallery Leslie Hewitt fellowship, Radcliffe Institute Lenore Malen recipient, Guggenheim Fellowship and solo exhibition, Zilkha Gallery Donald Porcaro solo exhibition, Kouros Gallery Mira Schor solo exhibition, Momenta Art Gallery Ward Shelley exhibition, Pierogi Gallery Jean Shin solo exhibition, Smithsonian American Art Museum Brian Tolle exhibition, American Academy of Arts and Letters
56 FINE ARTS
Anthony Aziz Director mfa fine arts
As a graduate student in the early 1990s—a time when the Internet and other technologies were becoming available in households nationwide— Anthony Aziz decided that he “had a responsibility as an artist to make sense of what has become known as a huge paradigm shift.” Since then, Aziz has used photography, video, and sculpture to “address the impact of technology on our lives, our bodies, and our imaginations.” His work has been exhibited at prestigious venues around the world.
As director of the MFA Fine Arts program, Aziz urges his students to
question what art means today. “People have acquired a greater appreciation of and interest in visual culture, which gives it greater value. Being in a community such as the one at Parsons allows students to make sense of the essential characteristics of art. It allows them to become leaders and to push the definition of art beyond its current borders.” Aziz credits the MFA Fine Arts faculty with the ability to both nurture and challenge students, allowing them to flourish as artists, often in unexpected ways.
Michael Caines, untitled, ink, acrylic, pastel on paper, measurements unknown
FINE ARTS 59
top left Misael Nuñez, American Flag, screen printing on found materials 38 x 78 x 19.5 inches
bottom left Cynthia Hsieh, untitled, pencil on paper, 17 x 14 inches
top right Cecile Chong, Between us, encaustic on wood panel 23 x 28 inches bottom right Nicole Carlson, untitled, oil on canvas 43 x 30 inches
60 FINE ARTS
left Brandon Nastanski, untitled, mixed media installation
right Cecile Chong, Dance For Me, encaustic on wood 16â€Šxâ€Š33 inches
Fine Arts Faculty
COCO FUSCO chair. Performance and multi-media artist, writer, and curator whose work explores paradigms in culture, race, gender, social behaviors, war, and politics. Solo exhibitions: Whitney Biennial; Sydney Biennale; Johannesburg Biennial; London’s Institute of Contemporary Art; Brooklyn Academy of Music; Smithsonian Institution; London International Theatre Festival; Transmediale, Berlin; VideoBrasil, São Paulo. Author: A Field Guide for Female Interrogators, English is Broken Here: Notes on Cultural Fusion in the Americas, and The Bodies That Were Not Ours and Other Writings. MA, Stanford University; PhD, Middlesex University. Anthony Aziz director of the MFA program. Artist and photographer specializing in digital imaging, sculpture, video, and architectural installations; collaborator in the team of Aziz + Cucher. Exhibitions: New Museum of Contemporary Art; CooperHewitt National Design Museum; Venice Biennale; ICP; SF MoMA; Reina Sofia Center for Contemporary Art, Madrid; National Gallery of Berlin; National Gallery of Australia. Grants and awards: Pollock Krasner Award, NEA, NYFA. Published: New York Times, Village Voice, Art in America, ArtForum, ArtNews, FlashArt, Frieze, Parkett. MFA, San Francisco Art Institute. Jackie Brookner environmental artist and writer who collaborates with ecologists and earth scientists on water remediation and public art projects. Current projects: Dresden, Germany; West Palm Beach; San Jose, CA, Cincinnati and Toledo, OH. Solo exhibitions: Native Tongues; Of Earth and Cotton. Exhibitions: Miró Foundation, Barcelona; Pamela Auchincloss Gallery, NY. Grants and awards: NYFA, NEA, Nancy Gray Foundation for Art in the Environment, Trust for Mutual Understanding. Guest editor of Art Journal issue “Art and Ecology.” MA and ABD, Harvard. Tom Butter artist interested in the profound incompatibilities of the everyday. Butter’s sculptural practice uses seemingly disparate materials as visual metaphors for this otherwise elusive fact of life; monotypes and paintings articulate this conceptual foundation through the formal concerns of two-dimensions. Published: Artforum, Art in America, ArtNews, New York Times. Exhibitions: Jaffe-Fried & Strauss Galleries; Curt Marcus Gallery, NY; Nina Freudenheim Gallery, Buffalo. Teaching: Harvard, RISD, Yale, Tyler School of Art. Awards: NYFA grant. Collections: Albright Knox Gallery; Walker Art Center; Metropolitan Museum of Art. MFA, Washington University.
62 FINE ARTS
Glenn Goldberg painter. His process involves adding meticulous, tiny, luminous brushstrokes, which are mosaic-like in their ability to convey both microscopic beauty and an overarching, harmonious whole, to depict subjects like flowers, birds, and other wildlife. Solo exhibitions: Willard Gallery, NY; Greenberg Gallery, St. Louis; Barbara Krakow Gallery, Boston; Galerie Albrecht, Munich. Group exhibitions: Castelli, Harvard, Jeffrey Hoffeld Gallery, NY. Collections: Museum of Contemporary Art, LA; National Gallery of Art; Brooklyn Museum of Art; National Academy of Arts and Letters; Metropolitan Museum of Art. Grants and awards: NEA; Edward Albee, Guggenheim, and Margaret Hall Silva Foundations; Heilman Artist. MFA, Queens College. Nina Katchadourian artist working with video, photography, sound, installation, and language; viewing program curator at the Drawing Center. Solo exhibitions: Sara Meltzer Gallery, NY; Tang Museum, Saratoga Springs; SculptureCenter, NY; Turku Museum of Art, Finland; Catharine Clark Gallery, San Francisco; Public Art Fund, NY. Upcoming: CERCA Series, San Diego Museum of Contemporary Art. Represented by Sara Meltzer Gallery NY and Catharine Clark Gallery, BA, Brown; MFA, University of California at San Diego. Lenore Malen writer and multidisciplinary artist. She works with photography, video and audio installation, live performance, and books, creating imaginative scenarios involving historical fiction. Solo exhibitions: Apexart; Participant, Inc. Location One; Slought Foundation; Skidmore College; Cue Foundation; Art in General. Group exhibitions: France.fiction, Paris; Akademie der Kunste, Berlin; Zentrum for Medienkunst, Karlsruhe. Member: Art Critics Association. Formerly executive editor, Art Journal. Publications: The New Society for Universal Harmony, Opportunity Knocks, Magnetic Map. Featured: New York Times, Art on Paper, Art in America. MA, University of Pennsylvania. Donald Porcaro sculptor who uses industrial media— mostly concrete, metal, and paint—to create whimsical Dadaist forms. He culls ideas from disparate worlds, ranging from Bosch to Guston to Japanese Anime, playing with notions of hybrid identity through the formal investigation of colorful three dimensions. Solo exhibitions: Kouros Gallery, NY; Lowe Gallery, LA; Allyn Gallup Gallery, Sarasota. Large-scale outdoor installations: Socrates Sculpture Park, Ward’s Island, and South Beach Sculpture Garden, NY. Participated in Whitney Biennial “Peace Tower.” Grants and awards: NYFA; Distinguished Teaching Award from The New School. MFA, Columbia University.
Mira Schor painter and writer. Areas of interest include the gendered production of art history, the analysis and praxis of painting in postmodern culture, political and conceptual concerns with the materiality of expression, and the intersection of written language with the body politic. Co-editor: M/E/A/N/I/N/G: An Anthology of Artistsâ€™ Writings, Theory, and Criticism. Author: Wet: On Painting, Feminism, and Art Culture. Solo exhibitions: Edward Thorp Gallery, Armand Hammer Museum, Horodner Romley Gallery. Group exhibitions: Marianne Boesky Gallery, P.S. 1, Santa Monica Museum, Neuberger Museum, Aldrich Museum. Grants and awards: NEA, Marie Walsh Sharpe, Guggenheim, Pollock-Krasner, Rockefeller. MFA, California Institute of the Arts. JEAN SHIN sculptor and video and installation artist. Projects navigate the boundary between abstraction and representation, considering both formal issues and cultural investigations. Solo exhibitions: MoMA, NY; New Museum of Contemporary Art, NY; Smithsonian Institution; Museum of Fine Arts, Houston; Brooklyn Museum; Cincinnati Center for Contemporary Art; Galerie Eric Dupont, Paris. Grants and awards: New York Foundation for the Arts Fellowship, Pollock-Krasner Foundation Grant, Louis Comfort Tiffany Foundation Biennial Art Award. Published: New York Times, Frieze Art, Flash Art, Tema Celeste, Art in America, Artnews. BFA, MS, Pratt Institute. Brian Tolle sculptor and installation artist. Projects emphasize a formal and iconographic dialogue with history and context, drawing from the scale and experience of their surroundings, provoking a re-reading by cross-wiring reality and fiction. Architecture, site, and technology are recurring themes. Exhibitions: Whitney Biennial; Liverpool Biennial; Queens Museum of Art; SMAK Museum, Belgium. Permanent public works in NY and Seattle. Grants and awards: GSA commission, Irish American Historical Society, Louis Comfort Tiffany Foundation. BFA, Parsons; MFA, Yale.
FINE ARTS 63
HISTORY OF DECORATIVE ARTS AND DESIGN
This prestigious program is offered jointly with the Cooper-Hewitt,
tHE partnership with
National Design Museum, and leads to a Master of Arts in the
History of Decorative Arts and Design. Graduates go on to careers
The unique character of the program is defined by its physical location in the Cooper-Hewitt, National Design Museum, the only museum in the United States devoted exclusively to historical and contemporary design. Courses emphasize object-based teaching, drawing on the museum’s collections. The curriculum covers subjects ranging from connoisseurship to the social meanings of design to aesthetic theory. Students can supplement their object-based studies with courses in other Parsons graduate programs.
as historians, curators, and scholars in museums, universities, historic houses, publishing, auction houses, and galleries. The curriculum focuses on European and American decorative arts and design from the Renaissance to the present, with courses on ceramics, costume, furniture, glass, graphic design, metalwork, textiles, and works on paper. The training goes beyond connoisseurship to address a wide range of issues, including social, economic, and cultural history and critical theory. Attending graduate school in a professional setting helps students make the transition from academic training to a career. Students can work in Cooper-Hewitt’s curatorial departments and gain teaching experience through assistantships in undergraduate programs at Parsons. As the home of some of the world’s most important collections of design and decorative arts as well as a central marketplace for these works, New York is an ideal location for study in this field. Students in the program are encouraged to attend museum exhibitions and presale shows and often have opportunities to meet with museum curators, auction house specialists, and collectors of the decorative arts. The program draws its faculty from the CooperHewitt, National Design Museum and affiliated institutions in New York City, including leading scholars of art and design history and curators of some of the most important collections of decorative arts in the world. For complete curriculum, faculty, and course information, visit newschool.edu/parsons and go to Degree Programs: History of Decorative Arts and Design.
64 HISTORY OF DECORATIVE ARTS AND DESIGN
HISTORY OF DECORATIVE ARTS AND DESIGN 65
The MA in the History of Decorative Arts and Design is awarded upon completion of 48 credits and a master’s examination or thesis. The program is two to three years of full-time study or four years of parttime study. Required courses are Proseminar, Survey of Decorative Arts I and II, and an elective in either museology or art theory. Students declare major and minor areas of concentration for the MA examination at the completion of 24 credits or, with a 3.5 minimum grade point average, may petition to write a master’s thesis. CONTEMPORARY DESIGN STUDIES
A special sequence in Contemporary Design Studies is offered as part of the curriculum, exploring themes in design and visual, material, and popular culture, with a focus on the post-World War II period. Courses cover topics in environmental, industrial, graphic, fashion, and product design; the culture of consumption; design criticism, and object theory. Students are introduced to critical models of analysis integrating art, design, and decorative arts history with design theory and to other scholarly disciplines including anthropology, archaeology, cultural history, film studies, philosophy, and sociology. Emerging issues, such as sustainability and digital technology, are emphasized. The curriculum is enriched by its connection to the contemporary design exhibitions of the Cooper-Hewitt, National Design Museum. REQUIRED COURSES
Classes are held at the Cooper-Hewitt, National Design Museum unless otherwise noted.
To see full course descriptions, visit www.newschool.edu/parsons, choose History of Decorative Arts from the Areas of Study section, and then choose Courses.
SELECTED THEORY AND MUSEUM STUDIES COURSES Decorative Arts Theory offers a historiography of art theory, with special attention given to decorative arts. Historic Houses highlights the way interpretation of decorative arts displayed in a museum differs from interpretation of decorative arts in the context of a historic house museum. Museology addresses the questions: How are museums rethinking their interpretation of decorative arts? What makes a decorative arts exhibition compelling? What are some of the recent innovations in the field? Advanced Curatorial Seminar introduces students to standard practices associated with the acquisition, information management, and exhibition of objects in a museum context. Seminar on the History of Collecting surveys the history of collecting, from the private study and princely Kunst kammer to the modern museum. Colloquium on Design Criticism introduces students to the complexity of the notion of design criticism and helps them develop their own critical voice through a series of writing assignments.
Proseminar equips students with the skills required for scholarship in the history of decorative arts. Class discussions introduce
a range of methodologies and critical approaches. Exercises train
students in essential tasks such as conducting formal analyses,
Survey of Ceramics introduces the technology of ceramics and the history of Asian ceramics, German porcelain, Chinese export porcelain, French porcelain, English pottery and porcelain, and American ceramics.
writing catalog entries, and making visual presentations. This writing-intensive course stresses the mechanics of expository writing through projects that require students to conduct research. Each student selects one work from the Cooper-Hewitt collection to study throughout the semester. Survey of Decorative Arts I provides an overview of European decorative arts from the 15th through the 18th century, focusing on Italy, France, and England. Discussions address the style, function, and meaning of the decorative arts in both daily and ceremonial life. Drawing on interdisciplinary readings, the course considers objects and ornament within their cultural, political, and social contexts. As the semester progresses, students explore how the transmission of style, the migration of craftsmen, and the availability of new materials and techniques gave rise to an international vocabulary of design. 66 HISTORY OF DECORATIVE ARTS AND DESIGN
Survey of Costume: 1700–1860 analyzes dress as a form of personal expression shaped by societal conventions, artistic trends, and established notions of body and gender. Survey of Glass focuses on Western glass-making methods, production, and design, from the ancient period to the 19th century, including the major techniques and designers.
Survey of Decorative Arts II examines the decorative arts from the 19th century to the present. Sessions on the 19th century consider neoclassicism, revival styles, the Aesthetic movement, the Arts and Crafts movement, and art nouveau within the broader history of the period. Individual craftsmen, firms, and important stylemakers and commentators on the decorative arts are discussed, as is the effect of industrialization on design and objects. In the 20th and 21st centuries, the course addresses modernism and industrial design. Topics include the Wiener Werkstätte, Bauhaus, art moderne,
Survey of Jewelry showcases the way people across cultures and throughout history have chosen to adorn themselves with jewelry. Survey of Silver looks at the significant role silver has played in the decorative and fine arts since ancient times. Survey of Textiles makes full use of the Cooper-Hewitt’s extensive textile collection to introduce students to textile creation and use through history.
“Good Design,” and postmodernism. SELECTED SEMINARS: LANGUAGE REQUIREMENT
All graduate students are required to pass a proficiency exam in a
EARLY MODERN (1500–1800)
foreign language. The selection of a language must be approved
Intimate Objects: The Gift in Renaissance Europe explores gift giving in the complex social spheres of Renaissance Europe and its effects on the production, valuing, and interpretation of objects.
in advance by the program director. Exams are given and graded every term. Students can audit foreign-language courses at The New School for General Studies. INDEPENDENT STUDY
Students may independently pursue a specific interest under the supervision of a faculty member or museum curator. Students may take up to two independent studies. INTERNSHIPS
Those who want more professional and practical experience can intern at an institution or business. Students taking an internship for credit must work a minimum of 120 hours per semester and keep a log of their activities. The internship supervisor assigns projects that give the student training and hands-on experience in the area of the supervisor’s expertise. CONSORTIUM COURSES
With the permission of the program director and depending on availability, students may take graduate courses at the Bard Graduate Center, City University of New York, Columbia University, Fashion Institute of Technology, and New York University. NEW SCHOOL COURSES
Students may register for approved graduate courses in other programs at Parsons, Milano The New School for Management and Urban Policy, and other divisions of The New School. LIBRARY CONSORTIUM
In addition to the resources of the South Manhattan Research Libraries Association (see Academic Resources), graduate students in the this program have privileged evening and weekend
The Arts and Living in Britain in the Long 18th Century 1660–1820 looks at cultural and historical influences on taste and social habits during the period. Royal Furnishings of Versailles focuses on the furniture and interior design of the 17th and 18th centuries, a time when the palace at Versailles exemplified royal extravagance. French Ceramics focuses on the production of porcelain at the major French manufactories of the 18th century. The Grand Tour examines the patrons, artists, and events, such as the discovery of Herculaneum and Pompeii, that led to the grand tour’s widespread influence on the arts of England. Visualizing Revolution explores the way works of visual and material culture help to shape, reflect, and commemorate the revolutions that roiled France and the United States at the end of the 18th century. SELECTED SEMINARS: 1800–PRESENT Nineteenth-Century British and American Silver: From Craft to Industry explores the significant transformations in the style, production, and distribution of precious-metal objects in both Britain and the United States.
access to the Cooper-Hewitt Library.
HISTORY OF DECORATIVE ARTS AND DESIGN 67
SUMMER PROGRAMS IN EUROPE
The program offers two-week intensive summer courses in Berlin, London, Paris, and Rome. Led by renowned specialists in the field, the summer courses abroad concentrate on the furnishings, objects, and interiors of important public and private collections, as well as gardens and landscapes. GRADUATE STUDENT ASSEMBLY
The Graduate Student Assembly is an organization through which students can organize symposia, field trips, professional roundtables and other special events. The GSA also acts as a liaison between students and the academic program, the museum, and alumni. ANNUAL GRADUATE STUDENT SYMPOSIUM ON THE HISTORY OF DECORATIVE ARTS AND DESIGN
Held at the Cooper-Hewitt, National Design Museum, this daylong student symposium brings together scholars and students of decorative arts and design from around the world. Selected graduate students present papers. The symposium commences with a keynote address in memory of the late Catherine Hoover Voorsanger, a distinguished scholar, curator, and faculty member of the Parsons graduate program. Recent keynote speakers include Cheryl Buckley, Kenneth T. Jackson, Ivan Gaskell, and Neil Harris. TEACHING ASSISTANTSHIPS
Students can apply for a teaching assistantship in a Parsons undergraduate program. Under the supervision of a faculty member, students teach recitation sections of a lecture class in exchange for partial tuition remission. Second-year students can serve as discussion leaders for recitation sections of Survey of Decorative Arts I and II in the MFA program. Graduate teaching fellows independently teach a section of a required undergraduate course in Art and Design Studies. Teaching fellows are selected on the basis of academic distinction and receive an honorarium. MASTER’S CURATORIAL FELLOWSHIP
Master’s fellows work one day per week in a curatorial department of the Cooper-Hewitt, National Design Museum in exchange for partial tuition remission. These one-year appointments involve students in all aspects of curatorial work, gallery lectures, and exhibition research. Fellows are selected on the basis of academic distinction, and the positions are renewable for a second year, provided a minimum 3.5 grade point average is maintained.
68 HISTORY OF DECORATIVE ARTS AND DESIGN
The Design of Modern Life: Transformations of the Interior 1851– 1966 investigates the history of modern design through notions of domesticity and the architecture of the interior. Designing American Lifestyles 1876–1976 examines key American architecture and design movements that were shaped into compelling “lifestyles” by the design community as well as media figures and tastemakers. Turn-of-the-Century American Material and Visual Culture assesses late-19th- and early-20th-century American material and visual culture by examining painting, design, architecture, cartoons, photography, sculpture, and other visual and material forms. World’s Fairs: Art, Design, and the World of Tomorrow examines the history of European and American world’s fairs as a way of understanding how cultural aspirations were represented and how the exhibitions affected the culture. Graphic Design: Art Nouveau to the Present explores the history of 20th-century graphic design beginning with works from the art nouveau period and concluding with the recent digital revolution. Fashioning the Postmodern Era focuses on the postmodern era in Western fashion, considering trends of destruction and morbidity, historical reappropriation, and nostalgic revival in fashion. Design, Nature, and the Environment explores evolving ideas about design and nature with an emphasis on built form in the 20th century. Twentieth-Century American Popular Culture examines the intersection of the popular and the material in 20th-century America and asks: what is popular culture, and what does it reveal about life during the 20th century? Advertising in America analyzes advertising in relation to the evolution of American commercial life and society from the late 19th century to the present.
Laura Auricchio Faculty history of decorative arts and design
Laura Auricchio’s students view, analyze, and explore the historical significance of intriguing artifacts—wallpaper created as propaganda during the French Revolution, the lace bed curtains made for Napoleon’s first wife, Empress Josephine—as they participate in Parsons’ Decorative Arts program, located at Cooper-Hewitt, National Design Museum.
Auricchio has worked at several of the world’s most renowned
museums, including the Museum of Modern Art, the Whitney Museum, the Metropolitan Museum of Art, and the New-York Historical Society. She enthusiastically shares her experience and expertise with the students in her classes and those she advises.
When Auricchio is not teaching, she can often be found researching
and writing. She recently completed a book for the J. Paul Getty Museum titled A Woman Artist of the French Revolution: Adélaïde Labille-Guiard (1749–1803). She is now conducting research for a biography of the Marquis de Lafayette, highlighting the role of visual and material culture in shaping his starkly divergent reputations in the United States and in France.
left Octagonal mount in the style of Wedgwood. Probably France, late 19th Century. Porcelain. Cooper-Hewitt, National Design Museum, Smithsonian Institution. Gift of Eleanor and Sarah Hewitt, 1925-2-26 a/d.
right El Dorado, designed by Eugène Ehrmann, Georges Zipélius, and Joseph Fuchs. Manufactured by Zuber & Cie, 1849. Block printed on continuous paper. Cooper-Hewitt, National Design Museum, Smithsonian Institution. Gift of Dr. and Mrs. William Collis, 1975-77-10. Photo: Ken Pelka.
HISTORY OF DECORATIVE ARTS AND DESIGN
top left Card file, Rolodex Open Rotary File. Manufactured by Rolodex USA, first produced 1950. Metal, plastic, rubber, paper. Cooper-Hewitt, National Design Museum, Smithsonian Institution. Gift of Rolodex Corporation, 199614-2. Photo: Dave King.
top right Chaise, in the style of John Henry Belter. U.S.A., 1840–1850. Rosewood veneer, oak (frame), velvet upholstery. CooperHewitt, National Design Museum, Smithsonian Institution. Gift of Mrs. Edwin Gould, 1937-4-1.
72 HISTORY OF DECORATIVE ARTS AND DESIGN
lower left Extrusions, designed by Alexander Hayden Girard, 1962. Printed cotton. CooperHewitt, National Design Museum, Smithsonian Institution. Gift of Alexander H. Girard, 1969-165-123.
lower right Tsuba (sword guard), Japan, 1596–1614. Iron. Cooper-Hewitt, National Design Museum, Smithsonian Institution. Bequest of George Cameron Stone, 1936-4-42.
BrisĂŠ (folding) fan from Vienna World Exposition. Austria, 1873. Wood, printed paper. Cooper-Hewitt, National Design Museum, Smithsonian Institution. Gift of Mrs. James O. Green, 1920-10-2. Photo: Matt Flynn.
HISTORY OF DECORATIVE ARTS AND DESIGN 73
History of Decorative Arts and Design Faculty
Sarah E. Lawrence director. Areas of interest include art theory and Renaissance art. Publications : Piranesi as Designer (2007), Jacopo Strada (2007). Exhibitions: Piranesi as Designer (2007–08), Crafting a Jewish Style: The Art of Bezalel, 1906–1996 (1998–99). PhD, Columbia.
Susan Brown assistant curator of textiles, Cooper-Hewitt, National Design Museum. Specialist in textile history. Publications include contributions to Extreme Textiles: Designing for High Performance (2005), and articles in National Design Journal and Hali. MA, Fashion Institute of Technology.
Ethan Robey associate director. Specialist in American and European 19th- and 20th-century visual culture. Publications include contributions to Distinction and Identity: Bourgeois Culture in Nineteenth-Century America (forthcoming), Design Dictionary: Perspectives on Design Terminology (2008), and Philadelphia’s Cultural Landscape: The Sartain Family Legacy (2000). PhD, Columbia.
Hazel Clark chair of Art and Design Studies department, Parsons. Areas of interest include the history, theory, and culture of design, fashion, and textiles. Publications include Design Studies: A Reader (2009); Old Clothes New Looks: Second Hand Fashion (2005), and articles in Design Issues, Design, and Management Journal. Contributing editor to Design Philosophy Papers. PhD, Brighton University.
Donald Albrecht curator, Museum of the City of New York. Specialist in 20th-century American material culture. Exhibitions: National Design Triennial (2003), Russel Wright: Creating American Lifestyle (2001), On the Job: Design and the American Office (2001), Glass + Glamour: Steuben’s Modern Moment (2003). Publications include Russel Wright: Creating American Lifestyle and articles in Interiors, Architectural Digest, Architectural Record. BArch, Illinois Institute of Technology.
Marilyn Cohen specialist in popular culture. Exhibitions include Reginald Marsh’s New York (1983). Published papers: “Furnishing I Love Lucy,” “The Material Culture of Toy Story,” and “The World’s Fair in the Movie Meet Me in St. Louis.” PhD, Institute of Fine Arts.
Eric Anderson specialist in 19th-century German architecture and theory of design. Exhibitions include Garden Communities in Queens, 1909–1949 (2005). PhD, Columbia. Laura Auricchio Art and Design Studies faculty, Parsons. Areas of interest include 18th-century French women artists, gender studies and contemporary visual culture. Publications include A Woman Artist of the French Revolution: Adelaide LabilleGuiard (2008); articles in Art Journal, Eighteenth-Century Studies, and Genders; and art criticism in Art on Paper, Art Papers, and Time Out New York. PhD, Columbia. David Brody Art and Design Studies faculty, Parsons. Specialist in material culture, visual culture, and design studies. Publications include Design Studies: A Reader (2009); Visualizing Empire: Orientalism and American Imperialism in the Philippines (forthcoming), and articles in Prospects: An Annual of American Cultural Studies, Journal of Asian American Studies, American Quarterly. PhD, Boston University.
74 HISTORY OF DECORATIVE ARTS AND DESIGN
Elizabeth de Rosa director, American Friends of Attingham. Areas of interest include art nouveau and American and European art glass. Exhibitions include Tiffany: Behind the Glass (2000), and History’s Mysteries (1998). PhD, Columbia. Clive Dilnot Art and Design Studies faculty, Parsons. Areas of interest include design theory, history of art, and social philosophy. Publications include Ethics? Design? (2005) and articles in Design Issues, I.D., and Kunst & Museumjournaal. MA Leeds University. Tracy Ehrlich specialist in architecture and landscape design of early modern Italy. Publications include Landscape and Identity in Early Modern Rome: Villa Culture at Frascati in the Borghese Era (2002); Villas and Gardens In Early Modern Italy and France (2001); and articles in Die Gartenkunst, Landscape and the Journal Of Garden History. contributor to the Dumbaton Oaks Colloquium on the History of Landscape Architecture (2005). PhD, Columbia. Barry R. Harwood curator of decorative arts, Brooklyn Museum. Exhibitions include the Furniture of George Hunzinger: Invention and Innovation in Nineteenth-Century America (1997) and Tiffany Glass and Lamps at the Brooklyn Museum (1991). Publications include The Furniture of George Hunzinger (1997), and articles in The Magazine Antiques and Studies in the Decorative Arts. PhD, Princeton.
Kristin Herron director of the museum program, New York State Council on the Arts. Specialist in historic house museums. Publications include “The Modern Gothic Furniture of Pottier & Stymus” in The Magazine Antiques. MA, Winterthur Program; MFA, University of North Carolina at Greensboro. Ulrich Leben associate curator of furniture, The Rothschild Collection, Waddesdon Manor, Buckinghamshire, Great Britain. Specializes in French and German decorative arts. Publications: monograph on Bernard Molitor (1755–1833) and works on French and German decorative arts. Exhibitions: Jean Jacques Bachelier (1724–1806), Musée Lambinet, Versailles; and Charles Honoré Lannuier (1779–1816), Metropolitan Museum of Art. PhD, Universität Bonn. Sarah A. Lichtman Art and Design Studies faculty, Parsons. Areas of interest include interiors, feminist design history, and 20th-century design. Publications include Interior Design in the Twentieth Century: Europe and the USA (forthcoming), and articles in Studies in the Decorative Arts and the Journal of Design History. PhD candidate, Bard Graduate Center for Studies in the Decorative Arts. Mary Cheek Mills Curator, Corning Museum of Glass. Specialist in American glass history. Publications include “The Cooperative Venture of Union Glass Works, Kensington, Pennsylvania, 1826–42,” Journal of Glass Studies (1992). MA, Winterthur program in Early American Culture. Tessa Murdoch deputy keeper of Sculpture, Metalwork, Ceramics and Glass, Victoria and Albert Museum. Specialist in Metalwork and 17th- and 18th-century English silver. Curator of numerous exhibitions. Publications include Huguenot Goldsmiths in Northern Europe and North America (2008) and Noble Households: 18th-Century Inventories of Great English Houses (2006). PhD, University of London. Anne-Marie Quette conférencière of the Musées Nationaux de France and Musée des Arts Decoratifs in Paris. Specialist in French furniture. Publications include Le Mobilier Français: Louis XIII, Louis XIV (1996), and Le Mobilier Français: Art Nouveau 1900 (1995).
Denny Stone collections manager of European sculpture and decorative arts, Metropolitan Museum of Art. Curated numerous exhibitions including Elegant Fantasy: The Jewelry of Arline Fisch (2003). MA, Fashion Institute of Technology. Sean Sawyer architectural historian. Former executive director of the Wyckoff Farmhouse Museum. Publications include articles in the Journal of the Society of Architectural Historians and Architectural History and contributions to Architecture and Pictures from Antiquity to the Enlightenment (2002) and The Houses of Parliament: History, Art, Architecture (2000). PhD, Columbia. Deborah D. Waters deputy director of collections and exhibitions, Museum of the City of New York. Publications include Elegant Plate: Three Centuries of Precious Metals in New York City (2000), Plain and Ornamental: Delaware Furniture, 1740–1890 (1984), and contributions to Art and the Empire City (2000). PhD, University of Delaware. John Wilton-Ely professor emeritus, University of Hull. Scholar of 18th-century art, architecture, and decorative arts. Publications include Piranesi: The Complete Etchings (1994), Piranesi as Architect and Designer (1993), The Art and Mind of Giovanni Battista Piranesi (1988), and articles on Beckford, Hawksmoor, Wren. MA, Cambridge University; Courtauld Institute of Art, London University. Diane C. Wright curatorial intern, Yale University Art Gallery. Specialist in the history of glass. Publications include articles in Decorative Arts Society Newsletter. MA, Parsons/ Cooper-Hewitt, National Design Museum. Karen Zukowski former curator, Olana State Historic Site. Specialist in 19th-century American decorative and fine arts, and interior design. Publications include Creating the Artful Home: The Aesthetic Movement (2006) and contributions to Frederic Church’s Olana: Architecture and Landscape as Art (2001). PhD, City University of New York.
Kristel Smentek Mellon Curatorial Fellow, the Frick Collection. Specialist on 18th-century French art and decorative arts. Publications include Rococo Exotic: French Mounted Porcelains and the Allure of the East (2007) and contributions to À l’origine de livre d’art, Les recueils d’estampes comme entreprise éditoriale en Europe (forthcoming), and French Genre Painting in the Eighteenth Century (2007). PhD, University of Delaware.
HISTORY OF DECORATIVE ARTS AND DESIGN 75
Todayâ€™s interior designers face unprecedented challenges. They
Facilities and Resources
are expected to incorporate sustainable design practices and
Students work in an open, 5,000-squarefoot studio space across two floors in a loft building. The space is shared with graduate students in Architecture and Lighting Design, a setup that encourages dialogue across disciplines. In the studio, students are given dedicated work spaces from which wireless technology is accessible. An adjacent computer lab gives students access to software programs specific to the profession, along with large format plotters and printers. A lighting lab and staffed fabrication shop with digital and traditional equipment are also located next to the studio, and use of the nearby metal fabrication shops in the Fine Arts Department is encouraged. The Donghia Materials Library, generously donated by the late interior designer Angelo Donghia, is curated to reflect sustainable and emerging materials and is an important resource for core courses. Coursework is also supported by the research libraries consortium (see Academic Resources, page 16).
enhanced building performance into their work. They need to stay abreast of new developments in technology and materials. They must meet a variety of new client needs as a result of social change and shifts in demographics. Parsonsâ€™ new MFA in Interior Design program* is poised to meet these challenges and play a leading role in addressing the interior design issues of the 21st century. The course of study emphasizes the history and theory of interiors; technology, fabrication, and sustainability; and interior design as a social practice. The program also offers instruction on materials and related issues, including sustainable practices, fabrication processes, and digital technologies. Graduates are trained to become outstanding professionals and teachers of the next generation of practitioners. The only graduate program of its kind in the United States today, the MFA in Interior Design offers instruction of unparalleled depth. The practice of interior design intersects with architecture, product design, and engineering. The Parsons program is integrated with graduate programs in lighting design and architecture. Parsons expects this new program to receive quick accreditation from the Council of Interior Design Accreditation, which is fast becoming the benchmark by which interior design programs are recognized by educators and students and for state approvals for licensure. For more information, visit newschool.edu/parsons. *New York State approval pending
76 INTERIOR DESIGN
INTERIOR DESIGN 77
CASE STUDY: AFTER TASTE
“AfterTaste” is a yearly symposium dedicated to the critical study
of the interior. It offers an expansive view of the field, highlighting emerging areas of research, identifying allied practices that influ-
Constance Adams interior designer for NASA’s International Space Lab
ence interior design, and making public its rich and underexplored
Jay Bernstein historian and philosopher
territory. The series signals a move away from the popular image of
Petra Blaisse interior and textile designer of the Amsterdam-based firm Inside/Outside
interior design as a limited field of taste making and expands the scope of the discipline to include emerging issues. Each symposium is thematically structured to address topics relevant to the enrichment of interior design. Recent themes include “Pedagogical
Andrew Blauvelt design director and curator at Walker Art Center
Models,” “Theoretical Paradigms,” “Alternative Sites of Practice,”
James Casebere photographer
“Representing the Interior,” the “Narrative Life of Things,” and the
Beatriz Colomina historian of postwar domesticity
“Intellectual History of Taste.”
Jamie Drake Drake Design Associates Kitty Hawks Kitty Hawks Incorporated Julie Lasky editor-in-chief, I.D. magazine Emmanuelle Linard trend forecaster at Li Edelkoort Inc. Julieanna Preston co-author of Intimus: An Interior Design Theory Reader The Quay Brothers London-based film and set designers Penny Sparke director of London’s Centre for the Modern Interior Susan Szenasy chief editor of Metropolis magazine Anthony Vidler theorist and historian of the domestic realm Mark Wigley theorist of early modern interiors Susan Yelavich author of Contemporary World Interiors
78 INTERIOR DESIGN
The two-year program is a 60-credit-hour, full-time professional
Elective courses enrich the field of study by crossing the disciplines in Interior Design, Lighting Design, and Architecture. They enable students to address a range of issues and build on individual interests that typically include history and theory, digital representation and fabrication, furniture making, interior lighting, and environmentally sustainable practices.
graduate degree based on a studio-centered curriculum. Design studios provide the foundation for each semester, complemented by core subjects designed to redefine the field. Additional courses in methods of representation encourage interdisciplinary dialogue with graduate students in Lighting Design and Architecture. Two departmental electives allow for further individual choice of study. The last semester culminates in a thesis project. FIRST YEAR: FALL
Design Studio I introduces fundamental interior design issues including form, space, threshold, light, color, and scale through a series of design and analytical projects that emphasize the inventive and conceptual dimension of design. The course also contributes to the formation of a shared project-based vocabulary for interior designers by incorporating the analysis of canonical precedents into the design work. Interior Design Survey focuses on the development of interior styles as an expression of cultural, material, political, and aesthetic conditions from the 17th century to the present. It explores the evolution of interior design as a discrete field of practice and its recent emergence as an academic discipline and certified profession. Environmental Technology explores the science and technology for measuring and maintaining comfort conditions and ecological balance within buildings, with emphasis on high-performance sustainable design and systems integration. Supervised construction site visits provide case studies that demonstrate the practical application of theoretical concepts. Representation and Spatial Reasoning explores techniques of architectural representation in order to develop studentsâ€™ abilities to think, draw, and analyze architecture and interior spaces. The course is a critical exploration of the conventions of architectural drawing plans: section, elevation, 1-, 2-, and 3-point perspective, axonometry, parallel line projection, shadow projection, oblique projection, and descriptive geometry. FIRST YEAR: SPRING
Design Studio II builds upon Studio 1, adding the application and integration of materials and building systems and sustainable technologies as design parameters. Equal emphasis is placed on of macroenvironments and microenvironments within the interior and on the use of metrics in assessing the performance of projected design proposals.
INTERIOR DESIGN 79
Theory of the Interior investigates the theoretical foundations
PREPARATION FOR ADMISSION
of the practice of interior design. Themes include taste,
Admissions to the MFA in Interior Design are managed directly by the School of Constructed Environments.
comfort, fashion, lifestyle and the everyday documents. Sources used include films, television shows, shelter magazines, and advertisements as well as more traditional cultural documents. Materials and Performance explores materials and their properties, including color, reflection, finish, environmental impact, and performance. In the course, students produce full-scale detailed mock-ups using nondigital means of production. Forms of Programming addresses the factors involved in programming spaces. Contemporary models are used to explore client and user relationships, critical and analytical thinking, human behavior, research, and systems and methods of communication. SECOND YEAR: FALL
Design Studio III is a comprehensive design studio in which students creatively synthesize site and program analysis, building technologies and systems, and aesthetic and material intentions into a detailed design proposal. Fabrication and Processes develops skills for understanding, forming, and articulating a design problem and its solution, specifically in regards to the manufactured components of an architectural interior. Thesis Preparation is a research seminar in which students develop a written and graphic proposal for a capstone studio project. Each student conducts in-depth self-guided research and develops a critical and theoretically informed position on a topic issue in the field of interior design. SECOND YEAR: SPRING
Thesis Studio is the capstone studio course, in which the student conducts research in a selected aspect of the interior design field. Projects must demonstrate rigorous analytic thinking as well as coherent development and design resolution. With the consent of the respective thesis committees, students may collaborate on a project with colleagues in Architecture or Lighting Design. Professional Practice provides an overview of the legal, ethical and economic aspects of the practice of architecture and interior design. Students critique contemporary models of practice and study the role of economics, contracts, liability, licensure, and standards of practice in shaping the contemporary interior design and architectural professions.
80 INTERIOR DESIGN
Email firstname.lastname@example.org for information about applying. Applicants must have an undergraduate degree before entering the program. Persons with other than a design-based degree are encouraged to apply but may be required to take the Parsons summer program in Architecture to establish design and drawing foundations prior to starting graduate work. Visit Parsons, tour the studios, and meet the faculty and students. Arrangements for Interior Design tours can be made by calling 212.229.8955 or emailing email@example.com.
Lois Weinthal Director mfa in interior design
The director of the new MFA in Interior Design, Lois Weinthal is working with her colleagues at Parsons to shape the program. Weinthal says, “The new MFA program is exciting because it recognizes that people are doing inventive things in interiors and it relies heavily on an interdisciplinary approach. In other words, it relates other creative fields like textile design and material fabrication to interior design. We are working with the best people in the field to develop courses unlike any others.”
Approaching a subject from new and unique angles is one of the
things that Weinthal does best. In her own research, she analyzes interiors as layers, beginning with the human body and moving outward to clothing, furniture, textiles, rooms, architecture, and even streetscapes.
Weinthal says, “Beginning a new MFA program at Parsons is particu-
larly exciting because the school is home to some of the most renowned trendsetters and fashion forecasters in the world. We can tap into the experience and expertise of instructors throughout the university, which will enhance the interdisciplinary approach that the study of interior design demands.”
Closet #1, Parsons’ Kitchen (1994), designed by faculty member Allan Wexler as part of his renowned “Closet Architecture” series, serves as a bar and meeting place for public events in the department’s public gallery space.
INTERIOR DESIGN 83
top left Melanie Ide (faculty member), Ralph Abbelbaum Associates, Hall of Biodiversity, American Museum of Natural History. Photo: AMNH and Peter Mauss/Esto bottom left Alfred Zollinger (faculty member), Matter Practice, Ecotopia Installation
84 INTERIOR DESIGN
right Lois Weinthal (faculty member), Felt Plug Chair
Interior Design Faculty
William Morrish dean, School of Constructed Environments; architect; urban planner; architectural historian. Scholarly focus: sustainable urban infrastructure and an interdisciplinary approach to the design of cultural ecologies; new housing models; global urbanization and climate change. Projects: Phoenix Public Art Works program, team THINK’s proposal for rebuilding the World Trade Center, design assistance on plans for rebuilding New Orleans, and a comprehensive review of the United Nations Habitat for Human Settlements Program’s global work plan. Publications include Civilizing Terrains: Mountains, Mounds and Mesas; Building for the Arts: A Guidebook for the Planning and Design of Cultural Facilities (co-author); Planning To Stay: Learning to See the Physical Features of Your Neighborhood (co-author); Growing Urban Habitats: Seeking a New Housing Development Model (co-author); and “After the Storm: Rebuilding Cities upon Reflexive Infrastructure,” Social Research. BArch, University of California, Berkeley; MArch (Urban Design), Harvard Graduate School of Design. Joanna Merwood director of academic affairs, School of Constructed Environments. Architectural historian. Published: “Western Architecture: The Inland Architect, Race, Class and Architectural Identity,” “Chicago Is History,” “The Mechanization of Cladding: The Reliance Building and Narratives of Modern Architecture.” BArch, Victoria University of Wellington; MArch, McGill; MA and PhD, Princeton. Lois Weinthal director of Interior Design programs and co-organizer of the AfterTaste symposia and publication series. Principal of Weinthal Works, a design practice that draws relationships between architecture, interiors, clothing and objects. Awards: Graham Foundation grant, Fulbright Award, DAAD Award for residency that led to the international exhibit Berlin: A Renovation of Postcards. Curated exhibitions: Architecture Inside/Out, Center for Architecture in NY (2007). BArch and BFA, RISD; MArch, Cranbrook Academy of Art . Laura Briggs partner, BriggsKnowles Architecture+Design. Projects include speculative work on the city and research into the integration of photovoltaic and interactive energy technologies into building surfaces. Published in: A+D, Metropolis, New York Times, Dwell, Dwell-TV, Domus. Lectures and exhibitions: Cornell, Columbia, RISD, University of Michigan, Kent State, International Solar Energy Society, American Solar Energy Society, Storefront for Architecture, Van Alen Institute. BFA and BArch, RISD; MArch, Columbia. Katherine Chia architect, principal of Desai/Chia Architecture. Portfolio includes residential, retail, and commercial projects as well as commissions for furniture and product design. Awards: American Architecture award, several American Institute of Architects Design awards, Residential Architect Design award, New York magazine’s Best of New York. Exhibited: Center for Architecture, NYC; Herman Miller showrooms, NYC and LA. Published: New York Times, New York Observer, Architectural Record, Interior Design, Elle Japan, New York Magazine, Architect’s Newspaper. BA, Amherst College; MArch, MIT. Mary Delaney Penick began her design career in 1981 at Skidmore Owings and Merrill with primary responsibility for
colors, materials, and finishes for architecture and interior design projects, many of which were featured in Progressive Architecture , Interior Design, and House & Garden. In 1999, she joined Peter Marino Architect where she worked until starting her own firm, Mary Delaney Interior Design, in 2001. Her practice focuses on high end residential interiors; recent projects in New York City and Palm Beach. BFA, Pratt Institute. Melanie Ide project director, Ralph Applebaum Associates. Projects: Bishop Museum, Hawaii; strategic plan, Dallas Museum of Natural History; design competition, World Trade Center Memorial; the Clinton Presidential Library and Museum; and the American Museum of Natural History. She has designed exhibits for the New York Public Library, Whitney Museum of American Art, Japanese American National Museum. Published: Architectural Record, Business Week, Interiors, I.D., and Communication Arts. BA in Architecture, University of California at Berkeley. Ioanna Theocharopoulou architect and architectural historian. Scholarly focus: history and theory of interiors; sustainable design; urbanization in the developing world. Published: Negotiating Domesticity: Spatial Production of Gender in Modern Architecture; Paradigmata, 9th International Architectural Exhibition, Venice Biennale; Landscapes of Development: The Impact of Modernization on the Physical Environment of the Eastern Mediterranean. AA Diploma, Architectural Association, London; MSAAD, MPhil in Architecture, and PhD, Columbia. Tim Ventimiglia architect and museum and exhibit designer. Design studio director and associate, Ralph Appelbaum Associates. Awards: Industrial Designers of America award, Top Honor Award, Society of Environmental and Graphic Design. Lectures and Exhibitions: Cornell University; Haus der Architektur, Graz, Austria; Cornell Studio, Berlin. BArch and MArch, Cornell. Allan Wexler architect, designer and fine artist. Research focus: objects, buildings, and environments that blur the borders between architecture and sculpture and isolate, elevate, or monumentalize daily rituals like dining, sleeping, and bathing. Represented by the Ronald Feldman Gallery. Exhibitions: Aldrich Museum of Contemporary Art, Atlanta College of Art, SF MoMA, Contemporary Art Center. Books: Custom Built: A Twenty-Year Survey of Work; GG Portfolio Allan Wexler. BArch and BFA, RISD; MArch, Pratt Institute. Peter Wheelwright associate professor of architecture; principal, PMW Architects. Published: Progressive Architecture, Architecture, Metropolitan Home, Metropolis, New York Times, Ottagono, Architectural Record, Journal of Architectural Education, ACSA Journal. BA, Trinity College; MArch, Princeton. Alfred Zollinger co-principal, Matter Practice, an architecture and exhibition design firm. Precision machinist and fabrication specialist. Research focus: the process of making as a mode of critical inquiry. Projects: National Building Museum; Cooper-Hewitt, National Design Museum; and International Center of Photography. BArch, RISD; MArch, Cranbrook Academy of Art. INTERIOR DESIGN 85
Lighting has been an important part of design education at Parsons
A|L Light & Architecture
since the school launched the first graduate program in architec-
Design Awards Banquet
tural lighting design in the early 1970s. Today, it is the only graduate
lighting program that emphasizes design and social practice.
Graduate students from Parsons took part in a two-week design/build charrette, in which they created a table for the annual A|L Light & Architecture Design Awards Roundtable dinner. This collaboration between Architectural Lighting magazine and the Lighting Design program brought students and design professionals together.
Working in collaboration with interior design and architecture students, lighting design students learn to envision architectural space and exterior environments in light. They are trained to see light as the medium through which visual information is registered, activities are conducted, and social interactions take place. The program is distinguished by its faculty and by its emphasis on sustainable practices and the aesthetic, physiological, and psychological aspects of lighting design. The four-semester MFALD program enrolls students from all over the world. New York, home to the largest lighting design community in the world, offers students a laboratory of light, rich with examples to study and emulate. Assisted by a faculty drawn from the cityâ€™s pool of professionals, lighting students have abundant opportunities to intern and interact with leading global practitioners. Graduates go on to careers as architectural lighting designers in private practice, lighting specialists in architecture and interior design firms, theatrical and exhibition lighting specialists, and research professionals in equipment design and manufacturing enterprises. Students interested in combining graduate studies in lighting design and architecture can earn a unique dual degree: the MArch/MFALD combines the NAAB-accredited Master of Architecture with the masterâ€™s degree in Lighting Design. This 142-credit program prepares students for a wide range of career opportunities in this expanding field. For complete curriculum, faculty, and course information, visit newschool.edu/parsons and go to Degree Programs: Lighting Design. 86 LIGHTING DESIGN
Each place setting was equipped with springs that were activated when tableware was placed on top, causing the setting to light up. A graphic created from a photometric chart of T5 lamps was etched into the tableâ€™s surface.
LIGHTING DESIGN 87
FACILITIES AND RESOURCES
The two-year, full-time Master of Fine Arts in Lighting Design is
Lighting Design students work in an open studio alongside graduate architecture and interior design students. A lighting resource library and a lighting laboratory are adjacent to the studio. Students have access to all department resources, including a fabrication shop and the Donghia Materials Library and Study Center. Use of the Fine Arts metalworking shop one floor up and the nearby Resource Center is encouraged and promotes exchanges with other MFA students. The studio is equipped with wireless digital technology, and students have access to computer labs on both of the department’s floors and to the university’s nearby computer center. Participation in the department’s lecture series and exhibitions promotes interaction among students in lighting Design, architecture, and interior design.
a 64-credit curriculum. Fifty-two credits are in lighting-specific subjects, including four 6-credit Lighting Design Studios. This design studio sequence is complemented by technology courses and classes in the cultural, historical, and perceptual aspects of lighting design, including 9 elective credits. REQUIRED COURSES
The studio experience, in which students learn to envision form and space in light, is the core of the curriculum. Its goal is to integrate each student’s background with the curriculum through projects guided and evaluated by working professionals. The studios move from the theoretical expression of light through research, study, and design toward professional application in the built environment. Studio I addresses abstract projects that explore fundamental design components: light, color, form, space, plane, rhythm, balance, and texture. This study begins in two dimensions, proceeding through three dimensions to full-scale environmental study. In the context of this initial investigation of light as a design medium, students discover various means of representation, including photography, hand and computer rendering, and computer simulation in three dimensions. Studio II focuses on the massing and orientation of architectural form and fenestration to integrate daylight in interior spaces. Electric lighting is addressed as a complement to sunlight. Particular attention is given to the relationship between diurnal and nocturnal light and to qualitative aspects of habitation and functional use in social space. Studio III proceeds to the comprehensive development of architectural lighting design through projects addressing client needs, programs, technical lighting, and control requirements for specified applications. Students explore larger and more challenging architectural spaces and exterior areas with a focus on the urban. They employ a variety of techniques, including computer visualizations, physical models, and full-scale mock-ups. Designs are developed with illuminance calculations, construction documentation, and presentation drawings. Thesis Studio (Studio IV) completes the studio experience. It is supported by a thesis seminar, in which students learn research methodologies directed toward a written thesis. A range of typological projects are presented from which students can develop design research. Individual projects are fully developed in the final studio, including all associated research, documentation, drawing, and developmental models. This allows students to experience a project
88 LIGHTING DESIGN
All students are required to have a laptop computer. The department provides hardware specifications and software (updated annually). There is a university purchasing program to help students who need to purchase a laptop before beginning classes.
from start to finish, mentored by instructors and guest critics.
Students who wish can collaborate with Architecture or Interior
Electives are offered to students across disciplines in Interior Design, Lighting Design, and Architecture to enrich their field of study. Optional electives supplement historical, technical, or digital knowledge. Independent study options allow students to explore topics of particular interest. The following electives are drawn from the MFA Lighting Design program.
Design students and faculty on a final project. Principles of Light surveys topics that influence lighting design decisions, including properties of materials as they relate to light, codes, the use of catalogs, documentation, and health effects of light. This class also introduces technical and practical aspects of lighting design, including the physics of light, lamp technology, application of photometric data, optics, and calculations. Architectural History is a core course shared with graduate architecture students. Students enroll in either Modern and Postmodern Architecture or Issues and Practices of Modern Architecture, depending on their previous education. The former is a survey of movements and theories in architecture, landscape, and urban design. In the latter, students apply a case-study methodology. Light, Perception, and Culture I discusses how lighting design is influenced by the human perceptual system and the culture of the time. The need to control the quality and quantity of light has profoundly affected the organization of architecture and public space. Students develop an understanding of how human beings react to and interact within light by exploring contemporary theories of perceptual, somatic, and aesthetic responses to light. Daylight and Sustainability, a companion lecture course to Studio II, trains designers to observe, analyze, describe, manipulate, and evaluate daylight and its effect on interior spaces. Topics include solar motion and prediction methods, calculations, the interaction of day lighting with building orientation, interior finishes, window configuration, control devices, and interior and exterior shading. Students are introduced to the impact of lighting strategies on energy consumption, which is central to the practice of sustainable architecture. Critical Light: Twentieth-Century Theory explores a range of approaches and methodologies that have driven architectural and design theory from the late 19th century through the 21st century. In
Light: A Design History provides a premodern and modern survey focusing on the impact of light on peopleâ€™s lives and on their relationship to the built environment. Particular attention is given to the evolution of aesthetic, religious, philosophical, and psychological theories of light over time and within diverse cultures. Study of the development of electric lighting and its global effect on social practice, economics, leisure activity, and design serves as a basis for students to speculate on future possibilities. Landscape and Urban Light, taught by a landscape lighting designer and a landscape architect, is a survey of the history and theory of public urban and landscape space with an emphasis on the role of lighting. Issues explored include cultural landscapes, landscape perception, sustainability, and methodologies for studying urban space. Designing the Nighttime Environment is taught by an urban designer and a lighting designer. The nighttime environment is explored through film, literature, fine arts, theater, and other modes of cultural expression. In addition, mapping research into the technical constraints in urban lighting offers a broader cultural understanding of the shape of New York City as defined by light.
particular, this seminar considers the role of light as a protagonist in many influential design theories and related discourses. Luminaire and Systems Technology explores material and fabrication aspects of the equipment used in lighting interior and exterior spaces. Major topics include electrical theory and practice, codes, control systems, energy management, and ballast technology. The course also covers thermal issues, including luminaire performance, regulatory requirements, overall building performance, and systems integration.
LIGHTING DESIGN 89
Luminaire Design, a companion studio to Luminaire and Systems
Technology, explores the design of fixtures, including aesthetic
Light as Art leaves behind quantifiable applications of lighting systems and numerical calculations to investigate formal and philosophical notions of light as a medium of poetic and artistic expression. Students experiment with light sources, technologies, refractive materials, and electrical devices to explore aspects of space, scale, time, and rhythm. Studies include tabletop assemblies, exercises in drawing abstraction, evaluation of musical structures, and full-scale architectural installations.
and technical forms, as well as the influences of fabrication and mass production on both decorative and utilitarian luminaires. Full-scale model building and functional mock-ups are used for study and for presentation. Light, Perception, and Culture II covers subjective and objective responses to light, the psychological aspects of lighting design, and the impact of energy ethics on lighting decisions. Architectural photography is used to develop studentsâ€™ ability to observe light. Study of light in performance (in its theatrical and postmodern expressions) helps students understand evolving cultural perspectives and contemporary representations of identity and social practice. Professional Practice, the final lecture course of the curriculum, explores business and professional aspects of the lighting design field, including ethics, project management, business structures for design offices, legal issues, contracts, fees, codes, specifications, and construction administration protocols. PREPARATION FOR ADMISSION
Admissions to the MFA in Lighting Design are managed directly by the School of Constructed Environments. For information about applying, email firstname.lastname@example.org. All applicants must have an undergraduate or graduate degree, preferably in one of the following design-based disciplines: architecture, environmental design, interior design, engineering, product design, fine arts, or theater arts. Applicants with undergraduate degrees in other fields may be accepted conditionally with the requirement that they successfully complete the Parsons summer program in Architecture before beginning graduate courses.
90 LIGHTING DESIGN
Lighting Principles in Architecture and Interior Design introduces lighting history, lamp source technologies, luminaire optics, calculations, and design applications. Students analyze a site in New York City and propose a lighting design based on technical, programmatic, and aesthetic needs.
Glenn Fujimura Dual-Degree Student lighting design and architecture
A dual master’s degree candidate in Lighting Design and Architecture, Glenn Fujimura is particularly interested in the relationship between light and sustainable design. Derek Porter, director of the Lighting Design program, played an important role in Glenn’s decision to attend The New School. Glenn says, “Derek believes, as I do, that the best approach to lighting is as a design process that merits intellectual and aesthetic examination rather than simply as a technical field of study.”
Glenn’s design for the renovation of a library in Harlem addresses the
interplay between light and heat by including suggestions for diffusing and absorbing daylight to reduce its high energy loads. In addition to enjoying opportunities to apply what he is learning, Glenn says, he benefits from the expertise and experience of his instructors. “The staff and faculty in the Lighting Design program are amazing. You can’t beat the people. These are award-winning designers at the forefront of the industry, and yet they are deeply committed to their students.”
Although Glenn spends much of his time in the library, lab, and
studio, whenever possible he takes advantage of the free admission to the Museum of Modern Art available to all New School students.
top Phan Dung, New Image of the City: Luminous Lite, Thesis Studio
bottom left Merve Sila Karakaya, The Dual Role of Architecture and Lighting in the Creation of Fantastic Settings bottom right Tanakorn Meennuch, Reexamining Union Square, Thesis Studio
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top left Erin Devries, Daylight and Interior Space, Thesis Studio bottom left Evgenia Kremezi, Scholars Library, Studio II
94 LIGHTING DESIGN
right Megan Casey, Emerging Illuminance: Recontextualizing Light Energy Impacts in the 21st Century, Thesis Studio
Graduate students design/build project A/L Design Awards banquet table
LIGHTING DESIGN 95
Lighting Design Faculty
William Morrish dean, School of Constructed Environments; architect; urban planner; architectural historian. Scholarly focus: sustainable urban infrastructure and an interdisciplinary approach to the design of cultural ecologies; new housing models; global urbanization and climate change. Projects: Phoenix Public Art Works program, team THINK’s proposal for rebuilding the World Trade Center, design assistance on plans for rebuilding New Orleans, and a comprehensive review of the United Nations Habitat for Human Settlements Program’s global work plan. Publications include Civilizing Terrains: Mountains, Mounds and Mesas; Building for the Arts: A Guidebook for the Planning and Design of Cultural Facilities (co-author); Planning To Stay: Learning to See the Physical Features of Your Neighborhood (co-author); Growing Urban Habitats: Seeking a New Housing Development Model (co-author); and “After the Storm: Rebuilding Cities upon Reflexive Infrastructure,” Social Research. BArch, University of California, Berkeley; MArch (Urban Design), Harvard Graduate School of Design. Joanna Merwood director of academic affairs, School of Constructed Environments; architectural historian. Published: “Western Architecture: The Inland Architect, Race, Class and Architectural Identity,” “Chicago Is History,” “The Mechanization of Cladding: The Reliance Building and Narratives of Modern Architecture.” Awards: Dissertation colloquium speaker, Temple Hoyne Buell Center; Howard Crosby Butler Summer Traveling Fellowship, Princeton. BArch, Victoria University of Wellington; MArch, McGill; MA and PhD, Princeton. Derek Porter director of Lighting Design. Principal, Derek Porter Studio. Projects: lighting design for self-storage facility FLEX systems; Liberty Bridge, Greenville; Union Station, Kansas City. Awards: Architectural Lighting, International Association of Lighting Designers, IESNA. Member: AIA, IALD, IESNA, Light Fair International. BFA, Environmental Design, Kansas City Art Institute. Kimberly Ackert architect; principal, Ackert Architects. Awards: Mercedes T. Bass Rome Prize. Published: 40 Under 40, New York Times Magazine, Green Architecture USA, Interiors, Architectural Review, Architecture Australia, House & Garden. Ackert has worked for Skidmore, Owings and Merrill and Richard Meier and Partners. BArch, California Polytechnic State University. Craig A. Bernecker founder and director of the Lighting Education Institute. Former director of the Lighting program, Department of Architectural Engineering, Pennsylvania State University. Former president and board member, IESNA; board member, International Commission on Illumination; former board member, Lighting Research Institute. Published: Lighting Design+Application, Lighting Research and Technology, Journal of the Illuminating Engineering Society, IESNA Lighting Education series. Published extensively on psychological aspects of lighting. PhD in Psychology, MS in Architectural Engineering, Pennsylvania State University.
96 LIGHTING DESIGN
Jim Conti lighting designer. Awards: IESNY Lumen, Nuckolls Fund for Lighting Education, Linked by Light. Projects and clients: Steelcase, Alliance for Downtown NY, Brooks Brothers, New World Foundation, New Balance. Published: Radical Landscapes, Artforms, LD+A, Interiors, Architectural Record, Architectural Review, New York Times. Associate member, IALD, IESNA. MFA, Ohio State University. Jessica Corr founding member of Collaborative , an interdisciplinary design group. Projects and exhibits: Exquisite Cannibals, Massachusetts College of Art; Double Exposure, multimedia set design for the Alvin Ailey Dance Co.; R & D consultant for new materials, Prada; Cooper-Hewitt National Design Triennial; Ten Avant-Garde Industrial Designers Exhibition. Published: Dish, I.D., Interni, Frame, Interiors, Elle Décor, Graphis. BFA, Parsons. Jean Gardner activist, writer, architecture, and landscape historian; consultant on sustainable design issues. Founding member, Environment ’90, Earth Environmental Group. Co-author: Cinemetrics: Architecture Drawing Today. Author: Urban Wilderness: Nature in New York City. Has also taught at Columbia, Pratt, and Cornell. BA, Smith; MA, Columbia University. Stephen Horner IESNA, LC. Senior designer, Tillet Lighting Design Inc. Projects: Linked Hybrid, Beijing; Juilliard School and Alice Tully Hall renovation, NYC; Lincoln Center South Campus masterplan, NYC. Awards: Jonas Bellovin Award for Academic Achievement, Nuckolls Fund for Education. BA, Sussex University; MFA, Parsons. Nelson Jenkins LEED, LC, RA. Founder, Lumen Architecture, PLLC. Member: AIA, IESNA, and Designers Lighting Forum executive board. Teaches professional continuing education, graduate, and undergraduate courses. BFA, BArch, RISD. Pamela Kladzyk architectural historian and artist. Research focuses on the visual language of material culture, Native American contributions to contemporary design, and revivals and hybrids of sustainable housing. Published: “Native American Women Designers,” in Pat Kirkham, Women Designers in the USA, 1900–2000: Diversity and Difference. Exhibitions: New York Design Center; A.I.R. Gallery, NY. BFA, University of Michigan; MFA, Eastern Michigan University; PhD, Catholic University, Lublin. Margaret Maile architectural and lighting design historian. Scholarly focus is on the performance and promotion of modern architecture, the experience of modernity, and mass culture. Awards: Bernard and Irene Schwartz Foundation, Richard Kelly grant, Clive Wainwright thesis award, Edward Lee Cave Foundation. Publications: “Illuminating the Glass Box,” in JSAH, “The Seagram Building” in PLD; and articles in Architectural Lighting magazine. MA, PhD candidate, in Lighting Design History, Bard Graduate Center.
Caroline Razook designer, Rogers Marvel Architects. Current projects: Theory headquarters and showrooms. Member, Architectural League of New York. Published photographs: Modulus 25, Industrial Intersections, Virginia, 1999; Design Build Project, Brooklyn, 2003. Eileen Gray Thesis Prize, 2004. Instructor, Summer Intensive Studios in Architecture, Parsons, 2004. BS Arch, University of Virginia; MArch with concentration in Lighting Design, Parsons. Nathalie Rozot multidisciplinary planning and design consultant on large-scale projects in lighting design, exhibit design, architecture, landscape architecture, and urban planning. Projects: L’Observatoire International; Miami International Airport; TKOTL residential complex, Hong Kong; Bayou River revitalization, Houston. Exhibited: Paris, Rome, New York, and Osaka. Leni Schwendinger principal, Leni Schwendinger Light Projects Ltd. Clients: state and municipal agencies, architectural and engineering firms, museums, and events planners. Projects: Chroma Streams; Tide and Traffic, a site-specific integrated light installation in Glasgow; and the Coney Island Parachute Jump. Certificate, London Film School. Amy Sharp artist, producer. Projects: National Flag of Mourning, Reel President, Hope Project, Mary Ellen Strom and Ann Carlson’s Geyser Land, and International Film Seminar’s Digital Flaherty seminar. BFA, Aquinas College; MFA, School of the Museum of Fine Arts, Boston and Tufts University. Joel Siegel IES, AMA, lighting engineer; Vice President of marketing and sales, Edison Price Lighting, Inc. Has also taught at City College of New York and the Mechanical Institute of New York. Published: Lighting Design Association Journal. Holds several patents for lighting products. BS, City University of New York; BA, City College of New York. David Singer principal, Arc Light Design. Published projects: Harley-Davidson Café, NY; Zen Palate, NY; Hyatt Regency, Osaka; Bar Bat, Hong Kong. Lumen Award of Merit with Distinction for Civic Service, Central Wing School of Architecture lighting design, Pratt University (Steven Holl, architect). BA, MArch, Washington University.
Thomas Thompson IALD; principal, Thompson + Sears, LLC, architectural lighting firm with more than 600 completed projects throughout the United States, Asia, the Middle East, Europe, and South America. Projects: Samsung Roding Pavilion and historic preservation of the Hoboken train station’s main waiting room. BAE, Pennsylvania State University. Linnaea Tillett IALD; principal, Tillett Lighting Design. Specializes in security and perceptions of safety in settings that serve multiple needs and diverse users. Projects: collaborations with Olin Partnership, Maya Lin Studio, Cooper Robertson, Quennell Rothschild; award-winning public art with Kiki Smith and Lebbeus Woods. PhD, Environmental Psychology, City University of New York. Attila Uysal IALD; principal, Susan Brady Lighting Design. Projects include hospitals, airports, transportation facilities, corporate interiors, retail stores and showrooms, façade lighting, private residences, and restaurants. Recipient of the Turkish Republic Ministry of Education’s scholarship for industrial design studies in the United States. BArch, Middle East Technical University, Ankara, Turkey; MA, Industrial Design, Pratt Institute. Alexa Griffith design historian specializing in the history and theory of the modern domestic interior. Grants: Graham Foundation; NYSCA; Craft, Creativity, and Design Grant; Society for the Preservation of American Modernists. Published: Journal of Design History, Metropolitan Museum of Art’s Timeline of Art History, I.D., Dwell. BA, Smith College; MA, Bard Graduate Center for Studies in the Decorative Arts. James Yorgey LC; technical applications manager, Lutron Electronics Company. Member, IEEE; IESNA (former chairman of the Energy Management Committee); ASHRAE/IESNA Standard 90.1 Project Committee for Energy Efficient Design of New Buildings, ASHRAE/IES Standard 100P Project Committee, for Energy Conservation in Existing Buildings. BS, Pennsylvania State University.
Matthew Tanteri IALD; principal and lighting designer, Tanteri + Associates. Awards: Lumen Award for Chanel Ginza, Tokyo; IALD Lighting Design Award for Luminous Arc (with James Carpenter and Richard Kress). Projects: U.S. retail stores of Issey Miyake, Versace, Chanel. BA, Cooper Union; MFA, Parsons.
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The graduate Photography program functions as a 21st-century studio and think tank. Students are encouraged to develop their individual vision in a collaborative, interdisciplinary environment and to explore related technologies, focusing on the relationship
RECENT VISITING ARTISTS Max Becker and Andrea Robbins Slater Bradley Daniel Conogar
between concept and production. A rigorous critique process and
regular meetings with faculty, professional artists, and visiting
critics help students develop individual points of view and situate
themselves and their work within larger historical, theoretical, and
contemporary visual contexts.
The goal of the 26-month program is to educate students about the
evolving creative role of the photographer, particularly in relation
to emerging imaging technologies and new media. This curriculum
gives students a foundation in both the developing language of
photography and the technology driving it. Graduates are pre-
Jessica Craig Martin
pared to define the creative role of photography within contempo-
rary culture, whether as scholars or practicing artists.
Gary Scheider Collier Schorr
The Parsons photography program is distinguished by the diversity
of its participants and of the perspectives and styles they bring to
their work. Most applicants accepted to the program have under-
graduate or graduate degrees in photography, video, or related
media. Those with degrees in an unrelated discipline should have considerable experience working in the field. For complete curriculum, faculty, and course information, visit www.newschool.edu/parsons and go to Degree Programs: Photography, Graduate.
Lawrence Weiner Charlie White
Right Jeremy Dyer, untitled, digital fiber print
Departing from the traditional semester format, the 64-credit
History of Representation explores historical trends in pictorial representation and representational media to shed light on contemporary practices. Through readings, discussion, and research, students explore historical cultural standards that have defined fact, reality, and truth. Students examine the role of the photograph in contemporary culture and identify cultural standards in a postphotographic digital world.
program combines technical and academic studies with studio work. The program begins with an eight-week intensive summer session in residence at Parsons, the first of three. Fall and spring semesters complement the intensive summer sessions, with students engaged in independent study under the supervision of a faculty member. During the fall and spring semesters, students also fulfill course requirements, either in residence or via the latest distributed-learning technologies. Each fall and spring semester culminates in a five-day intensive residency in January and June respectively. REQUIRED COURSES
Graduate Studio: students explore personal direction under the supervision of a faculty advisor. Students meet twice a week with the advisor and attend regular critiques with their peers. The Graduate Advisory Committee assesses each student’s progress at the end of each semester. Graduate Seminar I–III uses the artistic and intellectual resources of the city to explore contemporary issues in art and photography. Some semesters focus on a specific topic. In others, students meet with visiting professionals who critique their work and introduce critical and theoretical topics for discussion and research. Students’ interactions with these visiting professionals exposes them to diverse viewpoints and provides networking opportunities. Independent Studio I–IV continues the personal studio work initiated in Graduate Studio. Students maintain regular contact with their advisor through the online Cyber-Community Conference. Each semester’s independent studio work culminates in a weeklong residency in January or June, during which group and individual critiques are conducted and the Graduate Advisory Committee assesses students’ work. Wired Studio is a skills acquisition course that introduces participants to new photographic technologies and working methods. This course explores the expanding capabilities and possibilities of image-making tools for all areas, ranging from alternative processes to the purely digital environment. Thesis and Exhibition prepares students for the thesis exhibition. Working closely with their advisors and graduate committee, students compose a written statement about their exhibits and complete an oral examination with the Graduate Advisory Committee.
Art Since Lunch: A Postmodern Debate on What Is the Next “Ism” Unlike traditional art history classes, which focus on the past, this course is aimed at predicting and shaping the future. Students critically analyze the current debate about photography and the images being produced at the dawn of the 21st century and examine the role of technology in photographic production and dissemination and the way that affects the global visual marketplace. Intellectual Property in the Digital Age explores this rapidly changing field through readings, lectures, and panel discussions. Students examine current copyright, trademark, and art laws as they relate to photography. Foucault’s Pendulum investigates aspects of contemporary photographic practice and theory. Students examine the relationship between theory and praxis and, more specifically, the way practitioners use theory in making their work. We read and discuss writings by both practitioners and theoreticians as a response to and indicator of visual theory. Emphasis is placed on applying this knowledge to individual practice within the context of contemporary art and photographic discourse.
George Pitts Chair photography
George Pitts is an award-winning photography director, painter, and essayist and a renowned teacher whose work spans the fine art, commercial, and fashion worlds. Pitts has been a Parsons faculty member since 1998 and will become chair of the Photography Department this year.
In addition to teaching at Parsons, Pitts has held a number of
prominent positions, including director of photography at Vibe magazine, where he received three National Magazine Award nominations for Best Photography. Of his work at Vibe he says, â€œIt was an important job because it brought unprecedented visibility to my contributions as a photo editor. We endeavored to bring sophisticated and authentic visual approaches to the documentation of African-American culture that would also have broad appeal for all Americans and readers throughout the world.â€?
Whether teaching, photo editing, writing, or making images, Pitts
consistently demonstrates a keen aesthetic sense and the ability to work graciously with people of all backgrounds. As the incoming chair, Pitts will uphold the high standards of the department.
top Ana da Cavalli, Untitled, c-print
Open studios take place three times a year and are an excellent opportunity for students to introduce their work to public. They provide a space for dialogue with working artists, gallerists, curators, and industry professionals from New York City, and are often accompanied by individual and group critiques with visiting artists and scholars. Students also present regular exhibitions in the student-run Three Gallery and have the opportunity to exhibit a thesis project.
Sean Simpson, American Gothic #3, pigment on canvas
top left Patti Hallock, Pool Table, digital c-print
top right Kara Healey, untitled, gelatin silver print
bottom left Jeremy Dyer, untitled, digital fiber print
bottom right Haley Samuleson, Levitation, digital c-print
George Pitts chair. Fine art photographer, painter, and writer. Former director of photography at LIFE and Vibe magazines. Writing and art: Partisan Review, Paris Review, S, Big, One World, Vibe, aRude, Juxtapose, Next Level: a critical review of Photography. Photographs: New York Times Magazine, Werk, New York Magazine, Clam, Premiere, Spin, Talk, Raygun, Paper, Nerve, Manhattan File, Voidek, Gotham, Vice, E Design, Graphis Photo Annual 2000, American Photography (Vols. 16, 18, 19) Masterminds of Mode, Nerve: The New Nude (Chronicle), and The New Erotic Photography (Taschen). James L. Ramer director of the graduate program. Photographer and installation artist. Exhibitions: David Lusk Gallery, Tennessee; Contemporary Museum, Maryland; Rupert Goldsworthy Gallery, New York; Old Dominion University, Virginia; Southern Illinois University. Collections: Assisi Foundation, Promus Corporation, Schering-Plough Inc. MFA, Memphis College of Art. Anthony Aziz artist and photographer specializing in digital imaging, sculpture, video and architectural installations; collaborator on the team of Aziz + Cucher. Exhibitions and collections: New Museum of Contemporary Art; Cooper-Hewitt, National Design Museum; Venice Biennale; ICP; SF MoMA; Reina Sofia Center for Contemporary Art; LA County Museum of Art; National Gallery of Berlin; National Gallery of Australia. Awards: Pollock Krasner Award, NEA, NYFA. Featured: New York Times, Village Voice, Art in America, ArtForum, ArtNews, FlashArt, Frieze, Parkett. MFA, San Francisco Art Institute. Martha Burgess photographer, installation and new media artist. Exhibited: Rice University Gallery, Houston; Gary Tatintsian Gallery, NY; Riva Gallery, NY; Contemporary Museum, Baltimore; PS1, NY; University of Connecticut Center for Visual Art and Culture; FotoFest, Houston. Fellowships: Guggenheim; Jerome Foundation; NYFA; Epson Corporation; Scitex Corporation; Ford Foundation; Macdowell Colony; PS1; Fannie B. Pardee Prize, Yale. Clients: Tibet House; Merrill Lynch Video Network; Skidmore Owings & Merrill Architects; NNY; Sony Audio; IBM; American Express, Eisenman Architects. MFA, Yale.
Sammy Cucher photographer specializing in digitally based images; collaborator on the team Aziz + Cucher. Exhibitions and collections: New Museum of Contemporary Art; Cooper-Hewitt, National Design Museum; Venice Biennale; Biennale de Lyon, ICP; San Francisco Museum of Modern Art; Reina Sofia Center for Contemporary Art; Los Angeles County Museum of Art; National Gallery of Berlin; National Gallery of Australia. MFA, San Francisco Art Institute. Simone Douglas artist working in photography, video and installation. Solo exhibitions: Photographers Gallery and Rebecca Hossack Gallery, London; National Art Gallery of Poland; HUG Gallery for International Photography, Amsterdam; IDG, First Draft Gallery, and 4A Gallery, Sydney. Collections and group exhibitions: Victoria and Albert Museum, London; Museum of Contemporary Art, Australian Centre for Photography, and NSW Art Gallery, Sydney; National Gallery of Victoria, Melbourne; CAFA, Beijing. BA, Sydney College of the Arts, University of Sydney; MFA and Grad. Dipl. in Professional Art Studies, University of New South Wales. Keith A. Ellenbogen photographer, videographer, and digital artist specializing in underwater marine life, nature, and the environment with emphasis on streaming media. Awards: American Society Media Photographers Best of 2007; Fulbright Fellowship. Projects and clients: Expedition New England Aquarium, Fiji, a PSA campaign about coral reefs for Philippe Cousteau; and EarthEcho International. MFA in Design and Technology, Parsons. Craig Kalpakjian fine artist. Solo exhibitions: Andrea Rosen Gallery, NY; Galerie Edward Mitterrand, Geneva; M-Projects, Paris; Robert Miller Gallery, NY. Group exhibitions: Sculpture Center, NY; Galerie Max Hetzler, Berlin; Whitney Museum, NY; SF MoMA; Delfina Gallery, London. Collections: Centre Pompidou; Metropolitan Museum of Art; New Museum of Contemporary Art; SF MoMA. Publications: Digital Art; Architecture; New York Times Magazine; Financial Times; Frieze; Village Voice; Tate, The Art Magazine; Time Out New York. BA, University of Pennsylvania.
Charles LaBelle artist investigating the intersection of place and subjectivity using a variety of media—photography, video, drawing, and sculpture—as well as action-based and site-specific works. Exhibitions: Para/Site Central, Hong Kong; Anna Kustera, Neuberger Museum, and Artist’s Space, NY; San Francisco Art Institute; Hyde Park Art Center, Chicago. Publications: Time Out Chicago, Artforum, Art Papers, Art Review, New York Times. BA, UCLA; graduate study, UCLA Film School. Miranda Lichtenstein fine artist, photographer. Solo exhibitions: UCLA Hammer Museum and Mary Goldman Gallery, LA; Whitney Museum at Philip Morris, Elizabeth Dee Gallery, and Leslie Tonkonow, NY; Gallery Min Min, Tokyo. Group exhibitions: Creative Time and New Museum of Contemporary Art, NY; Yerba Buena Center for the Arts, SF; Museum of Contemporary Art, Miami; Staedhaus Ulm, Germany. Collections: Guggenheim Museum; Hirshhorn Museum; New Museum of Contemporary Art; Madison Museum of Contemporary Art; Neuberger Museum of Art. MFA, California Institute of the Arts. Stacy Miller artist and educator with management experience in education, teacher training, museum education, and art research. Previously director of research and professional development at the College Art Association. Co-founder of the Heritage School, an alternative public arts and technology high school in NYC. Doctoral candidate, Columbia; Master of Museum Leadership, Bank Street College of Education; BFA, Massachusetts College of Art. Carlos Motta editor of artwurl.org editor; photographer and video installation artist. His work uses strategies from documentary filmmaking and sociology to engage political events and suggest alternative ways to write and read their histories. Solo exhibitions: Art in General (upcoming), LMCC and Winkleman Gallery, NY; Konsthall C, Stockholm; rum46, Denmark; Kevin Bruk Gallery, Miami; La Alianza Francesa, Colombia. Group exhibitions: Artists Space, CCS Bard Hessel Museum of Art, and El Museo, NY; Fries Museum, Holland; Palazzo delle Papesse, Italy; Musee de Elysee, Switzerland; TEOR/eTica, Costa Rica. MFA, Bard College; Whitney Independent Study.
Arthur Ou photographer, multimedia artist. Solo exhibitions: Hudson Franklin, NYC; IT Park Gallery, Taipei; Taipei Fine Arts Museum. Group exhibitions in Los Angeles, New York, Chicago, London, Vancouver, Dresden and Beijing. Publications: Blind Spot, Art on Paper, Art in America. BFA, Parsons; MFA, Yale School of Art; also studied civil engineering, University of California at Irvine. Cay Sophie Rabinowitz senior editor of Parkett. Contributing writer: Afterall, Art Papers, Boiler, Self Service. Author of catalog texts on Monica Bonvicini, Sabine Hornig, Rita McBride, Thomas Schutte. Research areas: rhetoric and aesthetics, Dada in Berlin, ethnography, propaganda. Has also taught at Emory University, and California Institute of the Arts. Christian Rattemeyer associate curator, Department of Drawings, Museum of Modern Art. Previously curator at Artists Space, communication editor for Documenta 11 in Kassel, Germany, and founder and co-director of OSMOS, an independent project space in Berlin. Regular contributor to Parkett, Texte zur Kunst, Artforum, and Art Papers. Curated Film and Architecture festivals in Berlin, Los Angeles, London, and New York. MA, Free University of Berlin; PhD (ABD), Columbia. Type A the collaboration of ADAM AMES (BA, UPenn; MFA, SVA) and ANDREW BORDWIN (BA, NYU). This team’s video, installation, photography, sculpture, and drawing deal with issues of masculinity, competition and collaboration in contemporary society. Exhibitions: Luckman Fine Art Complex, California State University; Walker Art Center, Minneapolis; Art in General, NYC; Addison Gallery of American Art, Andover; Indianapolis Museum of Art; List Visual Arts Center at MIT; Centrum Beeldende Kunst, Rotterdam; Centro de la Imagen, Mexico City; Contemporary Art Center, New Orleans; Institute of Contemporary Art, Palm Beach; and UCLA Hammer Museum, LA.
PARSONS THE NEW SCHOOL FOR DESIGN Parsons prepares students to be independent thinkers who creatively and critically address the complex human conditions of 21st century culture. We are creating a diverse learning environment for developing intelligent and reflective practices through studio-based research and critical scholarship in order to make meaningful and sustainable contributions to contemporary global societies. As a division of The New School, Parsons builds on the university’s legacy of progressive ideals, scholarship, and educational methods. Our faculty challenges convention through a setting and philosophy that encourages formal experimentation, nurtures alternative world-views, and cultivates forward-thinking leaders and creative professionals in a world increasingly influenced by art and design. The New School was founded in 1919 a “center for discussion, instruction, and counseling for mature men and women.” It is today a thriving urban university offering undergraduate and graduate degrees in the liberal arts and social sciences, design, and the performing arts. The New School is a privately supported university chartered by the Board of Regents of the State of New York. Its degree and certificate programs are approved by the state’s Division of Veterans Affairs. The New School is fully accredited by the Commission on Higher Education of the Middle States Association of Colleges and Schools. Parsons The New School for Design is also accredited by the National Association of Schools of Art and Design, and the graduate programs in architecture by the National Architectural Accrediting Board. Facts about Parsons —Founded in 1896 by New York City artist William Merritt Chase and associates. —Named in 1936 for longtime president Frank Alvah Parsons, who devoted his life to integrating visual art and industrial design. —Became a division of The New School in 1970. Located in Greenwich Village, New York City. —Current enrollments: Parsons enrolls nearly 4,000 students in its undergraduate and undergraduate degree programs. The New School as a whole enrolls nearly 10,000 matriculated students. —The Parsons faculty includes more than 125 full-time and 1,000 part-time members respectively. The majority of faculty members are working professional artists and designers.
degree programs Parsons offers the following degree programs: Bachelor of Fine Arts (BFA) in: Architectural Design, Communication Design, Design and Technology, Fashion Design, Fine Arts, Illustration, Integrated Design, Interior Design, Photography, and Product Design. (There is a five-year BA/BFA dual degree program in each of these areas of study; speak to an admission counselor about the dual degree program.) Bachelor of Business Administration (BBA) in Design and Management. Bachelor of Science (BS) in Environmental Studies. Associate in Applied Science (AAS) in: Fashion Marketing, Fashion Design, Graphic Design, and Interior Design. Master of Fine Arts (MFA) in: Design and Technology, Lighting Design, Interior Design,* Fine Arts, and Photography. Master of Architecture (MArch). Master of Arts (MA) in History of Decorative Arts and Design. Master of Architecture/Master of Fine Arts in Lighting Design (MArch/MFA). The following master’s degree programs are in development:
Master of Fine Arts (MFA) in: Fashion Design and Society,* and Transdisciplinary Design.* Master of Arts (MA) in Fashion Studies.* Master of Science (MS) in Design Management.* Other Academic Programs Parsons offers a variety of programs for non-matriculated students of all ages: Summer Intensive Studies (pre-college and college-level) in New York City and Paris; Continuing Education (certificate programs and general art and design education for adults); Parsons Pre-College Academy (certificate programs and general art and design education for young people, grades 4–12). Visit the website at www.newschool.edu/parsons for more information. * New York State approval pending.
Institutional information The New School is committed to creating and maintaining an environment of diversity and tolerance in all areas of employment, education, and access to its educational, artistic, and cultural programs and activities. The New School does not discriminate on the basis of age, race, color, sex, sexual orientation, religion, mental or physical disability, national, or ethnic origin, or citizenship, marital, or veteran status.
VISIT US, TALK TO US There is no better way to learn about Parsons and to get answers to your questions than to visit and see for yourself. The office of admission schedules various information sessions and workshops throughout the year, and Parsons representatives travel to other cities in the USA and other countries to meet prospective students and discuss our programs of study, costs and financial aid opportunities, and career directions.
The New School provides the following institutional information on the university website www.newschool.edu: Family Educational Rights and Privacy Act (FERPA); financial assistance information (federal, state, local, private, and institutional needbased and non-need-based assistance programs, Title IV, FFEL, Direct Loan deferments); institutional information (fees, refund policies, withdrawing from school, academic information, disability services for students); completion/graduation rates and transfer-out rates (graduation rate of degree-seeking students, transfer-out rates of degree-seeking students). To request copies of any of these reports, please contact the appropriate office listed on the website.
graduate open studios at parsons Visit www.newschool.edu/parsons for more information on dates and times.
STUDENT FINANCIAL SERVICES The New School provides a comprehensive program of financial aid services for graduate students, including significant institutional scholarship support based on merit and need. The New School also participates in federal and state aid programs, including the Federal Family Educational Loan programs and New York State Tuition Assistance Program (TAP). All applicants for admission should apply for financial aid if they feel they have a need for it. For information about scholarships, loans, on-campus employment, and more, visit www.newschool.edu/studentservices/financialaid. Note: The New School offers a monthly plan that allows families to spread tuition payments throughout the year. For more information on payments and payment arrangements, visit the Student Financial Services website at www.newschool.edu/studentservices/financialaid. Estimated Academic Year Expenses 2009–10 Graduate Tuition*................................................................... $36,120 University Services Fee................................................................. 200 Divisional Fee................................................................................. 80 Health Services Fee**.................................................................... 500 Health Insurance Fee**................................................................1,714 Room and Board***................................................................... 15,260 Books and Supplies***............................................................... 2,050 Personal Expenses***..................................................................1,550 Transportation............................................................................. 684 Total ....................................................................................... $58,168
Master of Architecture 25 East 13th Street, 2nd floor MFA Design and Technology 2 West 13th Street, 10th floor MFA Fine Arts 25 East 13th Street, 5th floor MFA Interior Design and Lighting Design 25 East 13th Street, 3rd floor MFA Photography 66 Fifth Avenue, 5th floor MA History of Decorative Arts and Design Cooper-Hewitt, National Design Museum 2 East 91st Street graduate portfolio days Eastern Graduate Portfolio Day Saturday, October 3, 2009, 12:00–4:00 p.m. Parsons The New School for Design New York, NY Western Graduate Portfolio Day Saturday, October 17, 2009, 12:00–4:00 p.m. San Francisco Art Institute San Francisco, CA Central Graduate Portfolio Day Sunday, November 8, 2009, 12:00–4:00 p.m. School of the Art Institute of Chicago Chicago, IL Visit www.gradportfolioday.org for more information.
* Except the graduate Photography program. **All full-time matriculated students are automatically charged a Student Health Insurance Fee and a Student Health Services Fee. Students covered by other insurance can decline these services by submitting a waiver form. ***Actual costs may vary widely for individuals.
ApplY To apply for admission to a graduate program at Parsons, go to www.newschool.edu/parsons/apply and use the online application form. Applications must be submitted online only.
Found objects collected in Parsons studios (material samples, tools, reference deadlines: February 1 documents, process artifacts) and samples student andFine faculty STILL FRAMEmust Applicants forofArchitecture, Arts,work. and Photography (front cover, center): Faculty member Brian McGrath submit a complete application packet by February 1. and Mark Watkins, from urban-interface, Manhattan Timeformations , exploded still-frame from interactive Design and Technology, Interior Design, Lighting Design, and web-site forArts the and Skyscraper Museum, 2000. on a History ofcreated Decorative Design accept applications INTERIOR IMAGE (back cover, lower right): Amanda Toles rolling basis, but applicants who wish to be considered for a and Martina Sencakova, 25 E.13th Street, digital rendering, Dean’s Scholarship must submit a complete application packet 2008. Collage by mgmt. design.
by February 1.
admission inquiries For all graduate programs, please contact Parsons The New School for Design Graduate Admissions 72 Fifth Avenue New York, NY 10011 Telephone 212.229.8989 or 877.528.3321 (toll-free in the United States) Email email@example.com INTERNATIONAL STUDENTS This school is authorized under Federal law to enroll non-immigrant alien students. Students whose native language is not English are must submit acceptable minimum scores on the TOEFL. Documentation necessary to obtain a visa to enter the United States will be provided after a student has been accepted into a degree program.
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www.facebook.com/thenewschool www.twitter.com/thenewschool The information published here represents the plans of The New School at the time of publication. The university reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees, policies, degree programs, names of programs, course offerings, academic activities, academic requirements, facilities, faculty, and administrators. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration’s rights as set forth above. Published 2009 by Parsons The New School for Design Produced by Communications and External Affairs, The New School Design: mgmt.design Photography: Portraits by Matthew Septimus; cover and section dividers by Matthew Sussman; photographs of student work by Caitlin Benedetto, Jeff Brown, John Roach.
The current Parsons graduate viewbook