Spring/ Summer 2017
The Magazine of Pratt Institute
Trans form ation
6 A FORCE FOR CHANGE 24 Groundbreaking Years of Pratt Presidency 14 THE TRANSFORMERS Across Industries, Pratt Alumni Lead the Way in a Changing World Departments
2 PRACTICE A visit to the studio of artist Susan Cianciolo, Assistant Professor of Fashion Design 4 CRIT A conversation with Analia Segal, Adjunct Associate Professor of Fine Arts, and Lindsay McAleavy (B.F.A. Film ’17)
Prattfolio is published by the Division of Institutional Advancement for the alumni and friends of Pratt Institute.
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Graphic Designers Erin Cave Rory King
28 NEWS Recent updates from campus and beyond 30 NEW AND NOTEWORTHY Items in the marketplace created by Pratt alumni, faculty, and students 36 CLASS NOTES PREVIEW Updates from Pratt alumni on creative and professional endeavors 48 SKETCH Where do creative ideas begin?
Copy Editors Jaime Eisen Jean Gazis Brandhi Williamson Staff Contributors Holly Graves Marion Hammon Jolene Travis Project Management Erica Dagley Galea Katie Ford Senior Production Manager David Dupont
Photography Daniel Terna Read the magazine online at www.pratt.edu/alumni. Questions? Suggestions? The editorial staff of Prattfolio would like to hear from you. Reach us at email@example.com. For address changes and obituary notices, please contact firstname.lastname@example.org or call 718.399.4447.
In my first letter in Prattfolio, I remarked that this magazine would be “aimed at embodying the Pratt spirit.” During my time as president, having had myriad opportunities to witness the magnificent imprint Pratt alumni are making on the world, I have come to know this spirit as defined by curiosity, ingenuity, and intellectual vigor. This spirit resonates with your boldness to probe difficult questions, to identify problems and seek out solutions. This spirit shines with your brilliant command of technical skill and creative voice across a range of demanding fields, coupled with your eagerness to collaborate and work across disciplines. Over the 24 years I have been honored to serve as your president, this dazzling spirit has driven the many remarkable changes that have come to bear at Pratt. Your work has emboldened my work. It takes the active participation of many to create meaningful transformation. I am honored to have forged connections with, from day one, so many imaginative, innovative, and enthusiastic alumni, students, and faculty, as well as parents, Trustees, and friends, all of whom have helped determine the shape of Pratt’s present and reinforce its foundation for a dynamic future. With your continued involvement, the Institute has grown increasingly well equipped to nurture the talent within our gates and assure that generations of students have a place at Pratt to learn, make, and flourish. As I prepare to step down from the Pratt presidency, the Institute’s progress continues at an invigorating pace, a testament to the momentum generated by the Pratt community. In the 2016–17 academic year, we welcomed one of the largest freshman classes in Pratt history, while admissions have become more selective. Our student body increasingly reflects the diversity of our global community, and faculty, staff, and students are stepping into important roles to further equity and inclusion on campus. With a renovated Student Union and new residence hall under construction in Brooklyn, the physical place of Pratt also continues to change, setting the stage for new connections, challenging ideas, and original work. As I sign off on my final letter in these pages, I look forward to following your endeavors and accomplishments in the years to come, unceasingly inspired by all the wonderful ways you embody Pratt in the world. Thomas F. Schutte President
Letter from the President
From the studio of Susan Cianciolo, Assistant Professor of Fashion Design, Artist, Fort Greene, Brooklyn
1 Cianciolo prepares collages and watercolors for RUN RESTAURANT UNTITLED, 2017, her performative collaboration with Mike Anthony for the 2017 Whitney Biennial. The piece takes shape as a functioning Japanesestyle tearoom, a concept originated in the former Alleged Gallery in 2001 and re-created over four days in April in the Whitney’s Untitled restaurant.
2 Cianciolo changes the look of her daybed, which she has compared to an altar, every day. “It is worked on while also being a functional object, which is in tune with my process,” Cianciolo says. “I go back to this piece, like others, over and over.” The varied layers of fabric covering the daybed are tapestries-in-progress for different exhibitions this year.
3 The quilt with white lining turned down represents one crossover in Cianciolo’s multidisciplinary practice, which has spanned fashion, film, painting, and performance. “I had a clothing line called RUN [1995 to 2001], and each collection was numbered. This piece was introduced in RUN 11, with the concept of home pieces incorporated into fashion.”
4 Cianciolo’s eight-year-old daughter, Lilac, is a frequent collaborator, creating drawings and notes that appear in the collage pieces. She also made these illustrations of dresses, which Cianciolo referred to for inspiration and ideas for the garments included in the Whitney show.
5 Blurred in the foreground is a mobile, a form that has appeared in Cianciolo’s work through the years. “The materials are random”—ribbons, laces, lanyards, and other found items—“and combined with sculptures that my daughter and I have built and collected over time,” Cianciolo says. “Everything is about figuring out what can be used and reused.”
6 The patchwork table runner was created as part of Cianciolo’s RUN Home Collection, a collaboration with textile designer Kiva Motnyk, founder of Thompson Street Studio. Cianciolo and Motnyk, along with a team of artists and artisans, repurpose existing fabrics into quilts, kimonos, pillows, and other pieces for use in the home.
Analia Segal, Adjunct Associate Professor of Fine Arts
Lindsay McAleavy (B.F.A. Film ’17)
als of the film could have pushed the your role as an artist—to raise awareexperience so much further. ness, but at the same time, to tranLM: I agree. I would have loved to do scend your own experience using a more with the installation. The final poetic approach. shot, when the girl—the pilgrim—is LM: For a long time, I didn’t know how approaching the screen, in an ideal I wanted to talk about what I was seeing. I’d started by doing long world, that’s where the film would be ANALIA SEGAL: There’s an interesting contrast here between fantasy and playing, on that screen [fig. 2]. shots of never-ending series of trash the reality of the interface in our lives. AS: I’m curious about the film’s title, The bags on the sidewalk. But I had to do The girl confronting another world, Plastic Pilgrim—the choice of identimore. So I came to this idea of beauthrough a screen, brings to mind Alice fying the protagonist as a pilgrim, a tifying trash. in Wonderland. Meanwhile, there are person who journeys to a sacred place AS: I find it fascinating, your experimoments that ground me in contemfor religious reasons. ence walking around the city, lookporary reality; to use an actual com- LM: I’ve always loved the book Siddhartha ing at trash. As artists, the question puter, for example—it’s a reminder by Hermann Hesse, and a lot of the often comes up, where do we get that the objects are what they are. film’s plot is based on a similar theme, inspiration? We’re not isolated in a LINDSAY MCALEAVY: The overthe search for enlightenment, a spirilittle room—it’s everyday life that arching idea was to create a synthetic tual journey. Before I made the film, we deal with. world, with high-key colors, vinyl I’d taken a semester off and spent a lot costumes, plastic plants, fake turf. of time doing street photography, and But it was also important to address I was starting to become aware of the layers of trash in the city landscape. I reality, the experience we all share in this world. I wanted the performers, would walk outside and think, this is and the audience, to feel transported sad, what do we do about this? The but also to understand that the story ultimate solution would be to elimiwas about something more real than nate all this trash, but first we have to accept where we are and who we are, the installed environment was makaccept the plastic world we live in. ing it seem. AS: So much here is about surface, which AS: Does the typography in the opening is incredibly contemporary. One of have a religious reference? my favorite scenes has the girl putting LM: Ricardo Hernandez, a graphic deher hands over the plastic fire, trying sign major, did the opening sequence to get warmth from it [fig. 1]. and made that typography, with a LM: She’s seeking anything real from Buddhist reference. Combining the it . . . There’s also the Mylar sheet, type and the lotus imagery with facsomething that actually does create tory footage was an attempt to conFig. 3 warmth, but on a deeper level, it’s not nect Buddhism and meditation to the warm or comforting at all. production of plastic bottles, finding AS: In some films, the physical distance spirituality in this repetitive process between the projection and the viewer [fig. 3]. adds to the work. In this case, a real AS: The lens you use to deal with this subject matter could also describe physical interaction with the materi“ A theatrical film showing a girl traveling through a landscape installation in search of enlightenment in the Plastic Age.”— Lindsay McAleavy on her film The Plastic Pilgrim
A Force for Change 24 Groundbreaking Years of Pratt Presidency
President Thomas F. Schutte emanates a singular energy—a dynamism that over the past 24 years has driven an institutional renaissance.
As Pratt’s 11th president, Dr. Schutte set in motion widespread changes that redefined Pratt’s future as a leader among art and design colleges. With tireless leadership and optimism in action, he has left an indelible mark on the school, laying the groundwork for continued growth after he steps down in July 2017. Dr. Schutte first came to know Pratt when, as president of Rhode Island School of Design (RISD), he was working to establish a collective of art and design college presidents, a group that would later form the Association of Independent Colleges of Art and Design, or AICAD. Over the course of his visits to Pratt, where the presidents would occasionally hold their meetings, Dr. Schutte developed a deep tenderness for the school. The facilities were desperate for repair, enrollments declining, and financial burdens limited the Institute’s ability to thrive, but Dr. Schutte saw an opportunity for turnaround. As an institution that cultivated its students’ artistic, creative, and technical talents, Pratt needed a learning environment commensurate with the caliber of work that went on within its gates. Dr. Schutte recognized immense promise in the gifted faculty and students uniquely situated on a college campus in New York City, cloistered in brownstone Brooklyn but within arm’s reach of Manhattan’s trove of art, design, and industry. He saw Pratt as a treasure unto itself. “I thought, Pratt is in a big city. Pratt can be a big school,” Dr. Schutte said when Prattfolio interviewed him earlier this year. “Pratt had potential, with some new vision, some new energy, and some new strength and leadership. It was a very personal impression. I was just making my own observations.” From the time he assumed the presidency in 1993, Dr. Schutte’s approach has remained grounded in a personal vision, and hands-on and direct action, while also encouraging others to bring about change. “On my own, I started doing things—I got involved,” he said of the early days of his presidency. “I found that people were enthusiastic. They were pretty raring to go.” One of Dr. Schutte’s first major goals was to make Pratt the big school he had envisioned, transforming the Institute from a local commuter school into a residential college that would attract top-caliber students from across the country and around the world. “I felt that Pratt had all the makings for being a national institution,” he said. “Judy Aaron, now the Vice President of Enrollment, who had just joined Admissions, and I together determined that we were going to create a
national student body. And we did.” Today, nearly 75 percent of students come to Pratt from outside New York State. Since 1993, the total student body has nearly doubled, from 2,992 to 4,668 in 2016–17. Freshman applications climbed from 1,181 in 1993 to 8,174 for the current academic year, and selectivity has become more rigorous, with the acceptance rate going from 77 percent to 38 percent. The result was not only a larger student body, but a more inclusive one. “Because we increased the number of applications, we increased the exposure of Pratt from a global standpoint, and we also increased the diversity of the student body from a cultural standpoint.” Dr. Schutte was also instrumental in creating opportunities for access to a Pratt education, helping establish partner institutions whose students have the opportunity to transfer to the Institute in their junior year. In 1996, Pratt assisted in the founding of Delaware College of Art and Design in Wilmington, in collaboration with Corcoran College of the Arts and Design in Washington, D.C., (now the Corcoran School of the Arts and Design at the George Washington University). In 1999, the Institute formed PrattMWP College of Art and Design in Utica, New York, in partnership with Munson-Williams-Proctor Arts Institute, establishing the Pratt Brooklyn campus as a destination for students from a range of backgrounds. The capstone of Dr. Schutte’s initial plan for a residential campus came with the opening of the Stabile Hall student residence in 1999, supported by a transformational gift from class of 1940 engineering alumnus Vincent A. Stabile. In a continued effort to ensure housing for a growing student body, in 2011, Dr. Schutte led the Institute in embarking on a renovation project to convert the Townhouses on Willoughby Avenue, once housing for founder Charles Pratt’s employees and later for Institute faculty, into student residences. In 2014, Pratt purchased 100 Grand Avenue, a five-story apartment building just north of Myrtle Avenue that it had been leasing for use as a residence hall. Last November, Dr. Schutte broke ground on his final development project as president, when Pratt began construction of the Emerson Place residence hall, set to open in spring 2018. Meanwhile, to support the Institute’s academic programs and set the stage for future growth, Dr. Schutte effected comprehensive renewal of Pratt’s facilities, efforts that continued throughout his presidency. First addressing major structural
and systems challenges that had accumulated with age, Pratt went on to establish new labs, studios, classrooms, and presentation spaces as the needs of students and faculty evolved. Buildings including Memorial Hall and the Library were restored, and Higgins Hall received a new center section that brought together the architecture building’s north and south wings. The various design programs were united in the Juliana Curran Terian Design Center, prior to the School of Art and School of Design being established as distinct entities in 2014. (Last fall, in another unifying move, the graduate Fine Arts studios came together under one roof for the first time, located in the Pfizer Building a few subway stops from the Brooklyn campus, and in the heart of the arts communities of BedfordStuyvesant, Williamsburg, and Bushwick.) Just outside the gates, Pratt erected Myrtle Hall, home to the Digital Arts program, and established the adjacent Film/Video Building on Myrtle Avenue. Dr. Schutte also led the acquisition of a landmark building on 14th Street to house Pratt’s Manhattan campus, where the School of Information and the School of Continuing and Professional Studies are now headquartered. The latest facilities development came in the form of a new Student Union, set to open in spring 2017, which includes space for club meetings, gallery exhibitions, and events. Throughout Pratt’s physical transformation, alumni have played critical roles in the realization of Dr. Schutte’s vision. In addition to Stabile’s generosity, major gifts by other distinguished Pratt alumni led to improvements to Pratt’s grounds, including the creation of Newman Mall and the redesigned Engineering Quadrangle and the completion of the Juliana Curran Terian Design Center. Meanwhile, several architecture alumni have seen their work come full circle to shape their alma mater, including John F. Davies (B.Arch. ’75), the project architect for the Townhouses; Jack Esterson (B.Arch. ’75), principal of Think! Architecture and Design, who designed Myrtle Hall and the Film/Video Building; and Juan C. Matiz (B.Arch. ’94), founder of Matiz Architecture & Design, the principal architect of the renovated Student Union. The era when Dr. Schutte came to Pratt, after serving as president at RISD for nine years, following eight years as president of Philadelphia College of Art (now The University of the Arts), was a seminal time for the arts, culture, and education in the United States. Nascent movements in sustainability, environmental justice, and cultural and social inclusivity set the tone of scholarly and creative conversation on college campuses. Technological advancements paved the way for global connectivity and new media. A watershed year itself, 1993 saw the first text-and-image web browser; the first patented practical 3-D printer; and a groundbreaking, politically charged Whitney Biennial. To keep pace with scholastic and artistic progress and prepare young thinkers and creators to participate in a shifting culture, marketplace, and career landscape, Dr. Schutte laid the groundwork for Pratt’s progress. In addition to facilities enhancements, a number of centers were created, including the Design Incubator for Sustainable Innovation, the Center for Sustainable Design Strategies, the Brooklyn Fashion and Design Accelerator, the Consortium for Research and Robotics, the Spatial Analysis and Visualization Initiative, and the Center for Equity and Inclusion. Dr. Schutte also initiated and oversaw the creation of the IT division, installing Pratt’s first Vice President of Information Technology and CIO. Meanwhile, new degrees and a robust and varied liberal arts program have continued to develop. Over the past two-and-a-half decades, Pratt’s undergraduate and graduate degree offerings nearly doubled, giving rise
A Force for Change
to new programs in areas such as information experience design, performance and performance studies, placemaking, and game design. The School of Liberal Arts and Sciences, which had supported the core requirements for art and design bachelor’s degrees, launched its first degree-granting undergraduate and graduate programs, uniquely nested in an art school setting. To further diversify the educational experience of Pratt students, under Dr. Schutte’s leadership, the Institute began offering a variety of minors, ranging from art, design, and social practice to sustainability, and has begun planning for the new Integrative Courses program that will facilitate interdisciplinary explorations, launching in fall 2018. Envisioning the importance of Pratt as an anchor institution in the local community, Dr. Schutte opened the gates to forge a relationship with the Clinton Hill neighborhood surrounding campus, beginning with those who had already made an investment in the community. He organized local business owners under the shared goal of spurring economic growth and enhancing the streetscape, particularly the thoroughfare of Myrtle Avenue, for students and neighbors alike. In 1999, Dr. Schutte led the formation of the Myrtle Avenue Revitalization Project (MARP), which has been a linchpin of community-building efforts spanning commerce and culture, and he fostered collaboration between MARP and the Pratt Center for Community Development, a department of Pratt founded in 1963 to support community-based planning in New York City. “It was very hands-on,” Dr. Schutte said, referring to the process of galvanizing local leaders. “We always used the Pratt campus as a place to meet because I wanted them to know that it was a friendly place. We were here to help, and we were interested in the neighborhood.” As Dr. Schutte led efforts to create a distinguished and welcoming academic environment—changes that are immediately recognizable when stepping onto campus or into a classroom or studio—his tenure at Pratt has also been defined by his work to ensure the Institute’s continued flourishing, enacting broad fiscal reform and renewed stability. When he arrived at Pratt, a major fiscal crisis beleaguered the Institute, which had undergone years of budget shortfalls, accumulating to a significant deficit in 1993. By the end of his first year, Dr. Schutte had eliminated the deficit, and Pratt has not faced another during his presidency. Over the past 24 years, Dr. Schutte has also worked to grow the endowment, and Prattawarded scholarships and grants have climbed from $6.9 million distributed in the 1993–94 school year to $51.5 million in the current academic year. Under Dr. Schutte’s leadership, Pratt also devoted funds to provide in-house grants for faculty development, awarded for the first time in the Institute’s history in 1996. With 153 full-time and 1,173 part-time faculty members, two-and-a-half times the number employed at the beginning of his presidency, the Institute continues to attract practicing professionals and top scholars from across creative fields to teach. Among them are recipients of awards from the National Endowment for the Arts, the PEN/Faulkner Foundation, and the National Science Foundation, as well as Fulbright Scholars and Guggenheim Fellows. “Something that I am most proud of is the amazing faculty and staff here at Pratt. They have done so much for the Institute, and their impact will be felt well into the future,” said Dr. Schutte, adding, “I’ve enjoyed every minute of being Pratt’s 11th president. I plan on working hard on behalf of Pratt for years to come.”
T e h T rs
Alaa Balkhy William D. Caballero Goulda Downer Jack Esterson Shaheen and Linda Sadeghi Finn Yonkers
Across industries, Pratt alumni lead the way in a changing world.
s n a r T orm Progress needs progenitors. Times rich with technology, connectivity, and opportunity, but also uncertainty and complex problems to be solved, call for transformative vision. In fields from vehicle design
to public health, Pratt alumni have been influential in reimagining and reshaping the way we live, responding to the challenges, needs, and questions of their times.
Stills from Victor and Isolina, a documentary short film by William D. Caballero (B.F.A. Computer Graphics ’06) that uses a hybrid animation style (top), and Caballero’s webseries Gran’pa Knows Best
t s c e l e s h f n t o e r k wor
My culture and my ideals.” epictions of my —William D. Caballero
Alaa Balkhy (M.P.S. Design Management ’15), Pop Cultivator With the open global gateways of the net-connected age, the popular in pop culture takes on new meaning every day. Designer Alaa Balkhy is one of a new generation of startup founders, makers, and lifestyle influencers bringing the voice of the Saudi peninsula to the world stage, and elevating the experience of Saudi women in the process. In 2011 Balkhy launched her accessories brand, Fyunka (or bow), in her home city of Jeddah, Saudi Arabia, featuring illustrations that blend a witty style evocative of worldwide youth culture with iconic elements rooted in the Arabian peninsula. Take the “Fyunka girl,” a chic figure who appears in several of Balkhy’s designs, among an ensemble of her fellow women sporting the hijab or coolly balancing a dallah (an Arabic coffee pot) on her head. The designs, while they may seem whimsical on the surface, are intended to start a conversation, Balkhy says, to open others’ eyes to a vibrant culture that transcends national boundaries, celebrating Saudi women and offering them an original means of self-expression. “In Saudi, to make positive change, you start by small social gestures rather than abruptly trying to change things,” she says. “Fyunka touches on some social issues in a humorous way. I urge Saudi women to embrace their experience and start their own journey, despite what society has to say, if they truly believe in it.” Balkhy found her own creative voice, and her career, by happy accident. When she entered college in Saudi Arabia in the mid-2000s, graphic design was a new major in the country, and she was up for the challenge of entering uncharted territory. Through her illustrations, she created a fresh and often funny take on her own experience as a woman and a young person in the changing social landscape of Jeddah. When others responded enthusiastically to her work, she decided to make her designs accessible through products, and accessories proved a manageable first step. Among the small community of Saudi startups, Balkhy found a supportive network of fellow entrepreneurs who helped one another grow in a promising new market. As she scaled up,
she knew it was time to streamline her business practices, which brought her to Pratt’s Design Management master’s program. “Pratt, and being in New York City, helped me to be more grounded and humble,” she says. “At Pratt, I learned how to be more articulate about my work, and I learned how to work with people of different cultural backgrounds. Everyone has something to add to the table, and it’s amazing.” Balkhy recently found yet another community of colleagues who helped her deepen her mission. Last year, she joined the Wing, a recently launched women’s co-working collective with shared space located in Manhattan’s Ladies’ Mile Historic District, whose culture of encouragement and cross-industry membership opened up even more opportunities to expand the conversation Balkhy began with Fyunka. “It has inspired me to do more and create more, and it pushes me to challenge the status of women in Saudi Arabia,” she says. Now calling both Jeddah and Brooklyn home, Balkhy continues to expand Fyunka’s line—offering home goods, casual wear, and, of course, accessories—as she prepares to launch her next venture, Minaa Zine, an image-driven biannual magazine that highlights global fashion and lifestyle, reframing notions of beauty, style, and a young woman’s voice in the world.
William D. Caballero (B.F.A. Computer Graphics ’06), New American Storyteller Despite the diminutive stature of his starring cast, multimedia filmmaker William D. Caballero is working to tell, piece by piece, a big story. With a blend of eye-catching, miniaturescale visuals and first-person storytelling, Caballero’s short films are reshaping narratives surrounding people of color in America. Four-inch-tall 3-D-printed figurines act as Caballero’s principal players, standing in for a range of real-life subjects. His protagonists have included first-generation college students; members of the Dreamers Movement, Latino youth who are or were once undocumented; and even Caballero’s own grandfather, Victor Muriel, who came from Puerto Rico
Designs by Alaa Balkhy (M.P.S. Design Management â€™15) for her accessories brand, Fyunka. Photograph by Nada Hakeem, The Loft Middle East
to New York in the 1960s and brings his seasoned perspective to Caballero’s webseries Gran’pa Knows Best. Caballero’s films are voiced by the subjects themselves, including Gran’pa, who shares his earnest, authentic take on life’s questions, many submitted by viewers. Authenticity is a central element of Caballero’s practice, responding to a call for more nuanced storytelling surrounding the experience of people of color. “I consider myself a nerdy and artsy Latino intellectual, but I’ve been force-fed negative depictions of people of color through mass media,” he says, citing the need for more varied voices on both sides of the camera. “In the TV and film industry, there are simply not enough people of color working behind the scenes, which means less-than-honest portrayals of a diverse America.” With short-film series such as Dreamer Generation, which appeared on Univision, The Smallest Step, which premiered on PBS and WORLD Channel, and Gran’pa Knows Best, picked up by HBO last summer, Caballero is working to shift this trend. “With my creativity as my main weapon, my work reflects honest depictions of my culture and my ideals, eschewing stereotypes every step of the way, and humanizing my subjects to the best of my abilities.” After developing his background in digital arts at Pratt, Caballero found multimedia filmmaking to be the ideal medium to channel his creative drive and reach a broad audience, and working on the micro scale helped him shape his unique voice. “I realized early on that no one was using 3-D printed figures to tell the stories I wanted to see,” he says. “I thought I could create a niche where real people are interviewed and 3-D printed—a hybrid documentary animation.” The first figure he created, with the help of 3-D modeler Chang Kim, was his grandfather, in 40 variations modeled after reference photos of Gran’pa himself and painstakingly hand painted to achieve an array of candid expressions. (The process is documented on Caballero’s website, willcab.com.) Gran’pa gained new dimension in Caballero’s recent short film Victor and Isolina, which was selected for the 2017 Sundance Film Festival and screened as part of the Animation Spotlight. For Caballero, transforming the fabric of the national story takes more than making films. It takes making space too. His latest project is a new webseries, Storybored USA, funded by Latino Public Broadcasting and set to debut this spring on PBS, that encourages young people, specifically of the millennial generation, to create personal narratives in film and video, writing, and other creative media. “This is an effort to add their voices to the American narrative,” he says. “But on another note, sometimes in the act of creating, a transformation happens from within. You make something you never thought possible or learn something new, and that allows you to feel free.”
Goulda Downer (B.S. Nutrition and Dietetics ’84), HIV/AIDS Vanguard When nutrition scientist and public health educator Goulda Downer met with her first HIV patient in the late 1980s, the disease was deadly. Not only was malnutrition—then Downer’s primary area of expertise—contributing to mortality, but the stigma of AIDS was creating life-threatening barriers to treatment. Downer has since led the charge in
transforming HIV/AIDS care, through groundbreaking research, which unearthed links between diet and disease complications, and her efforts to reform the way providers approach patient care, especially in the communities of color hit hardest by the disease. After studying nutrition science at Pratt, with an emphasis on nutrition as preventive care, Downer went on to complete her Ph.D. at Howard University in Washington, D.C., in 1988. It was a time and place where AIDS, having reached national epidemic status and with its origins only recently discovered, dominated the conversation in the medical and political communities. With her nutritional research background, Downer focused her work on the critical need for clean and complete nutrition for patients with HIV, for whom food contamination, malabsorption, and anorexia (loss of appetite) proved real threats. In 2003 she coauthored a seminal resource for clinicians, Food and Water Safety for Persons Infected with Human Immunodeficiency Virus. The following year, as an estimated 1 million adults and children lived with HIV in North America and AIDS-related deaths were reaching their global peak, Downer returned to Howard University to lead the HIV/AIDS Consortium, an interdisciplinary group engaging in research, outreach, and other initiatives to combat the epidemic. There, her attention turned to addressing the cultural obstacles that compromised patient care. Downer led an assembly of experts from a range of ethnic backgrounds to develop an influential training model called BESAFE (or Barriers to Care, Ethics, Sensitivity of the Provider, Assessment, Facts, and Encounters). “We spoke with patients and clinicians and found that one major contributor to disparities in HIV treatment and health was a lack of cultural competency,” she says. “Beliefs about disease, health, and perceived causes of sickness stem in part from an individual’s culture, and in order to be effective, health care services need to be responsive to, and respectful of, cultural and linguistic needs.” The only model of its kind in the United States, BESAFE has been used to train more than 63,000 clinicians since its introduction in 2012. The stigma related to HIV remains an enduring challenge, but Downer has worked to change attitudes, from the exam room to the public sphere. “Stigma from health care providers is a death sentence,” she says. “Stigmatizing behavior prevents individuals from coming in for testing and, equally important, prevents them from staying in care once they have tested positive. When my research unearthed that provider stigma was a driving force behind HIV disparity in our communities, we did not ignore it.” Drawing on reports that showed Washington, D.C.’s, staggeringly high rate of HIV/AIDS compared to the national average, Downer petitioned the District’s City Council to require enhanced training for D.C. physicians, physician assistants, and nurses. Her appeal resulted in the passage of a bill that required providers in the District to complete continuing education credits in HIV/AIDS, beginning in 2014. Meanwhile, Downer’s research has served as rationale for increased community-outreach-based testing services and spurred her to propose a National Clinicians HIV/AIDS Testing and Awareness Day, now entering its 10th year. Last fall, Downer received the most recent of a number of honors for her contributions to HIV/AIDS care, which include the 2014 Congressional Black Caucus Health Brain Trust Leadership in Advocacy Award and Pratt’s own Alumni Achievement Award, when she was recognized by the Institute of Caribbean Studies for changing the way the clinical workforce serves the most vulnerable individuals and communities.
Health care services need Goulda Downer (B.S. Nutrition and Dietetics ‘84) has led the charge in transforming HIV/AIDS care.
o be responsive to
cultural and linguistic
Prattâ€™s Myrtle Hall, designed by Jack Esterson (B.Arch.â€™75), principal of Think! Architecture and Design, viewed from the campus side (top) and Myrtle Avenue
“Architecture can be
hanging people’s lives.” —Jack Esterson
Jack Esterson (B.Arch. ’75), Urban Modernizer With ever-advancing technologies equipping architects and designers to promote green living in their work, ecological solutions are at the forefront of new development. But woven in with the pursuit of sustainably sourced materials and renewable energy options is an opportunity to reflect on architecture’s social benefit, and architect Jack Esterson has made this his career. A principal of Think! Architecture and Design, Esterson has helped alter the streetscapes of New York City— even on the Pratt Brooklyn campus—with designs that harness the power of sustainable technology and speak to the needs of individuals and communities alike. Esterson studied at Pratt during a period of significant social change in the United States, “a time of political and artistic revolution, a questioning of everything,” he says. “Pratt had no singular dogma— in fact was antidogma—and instilled a pluralistic approach to creative problem-solving. This exposed me to an incredible range of philosophies and methodologies, which allowed me to form a strong personal compass of my own.” Over the years, Esterson’s true north has been not only more ecologically responsible design, but design that improves communities, often leading him to work with nonprofits and social service organizations to create environments that support a shared humanitarian mission. “My studies at Pratt dovetailed with my own worldview, instilling a desire to marry artistic pursuits with social advocacy.” Esterson’s recent project in Corona, Queens, involves a unique intersection of communities within a sustainable framework. The HANAC Corona Senior Residence, a project for New York City’s Hellenic American Neighborhood Action Committee, will be the first development of its kind in the United States to meet Passive House (PH) energy efficiency standards. Meanwhile, the 68 units for seniors will be situated atop a ground-floor preschool. “PH is a very rigorous design methodology that will ultimately contribute to the comfort and health of the senior residents while saving up to 75 percent of energy costs,” Esterson says. “And, with a preschool on the ground floor, the project will encourage an intergenerational mix.” Financed under Mayor Bill de Blasio’s Housing New
York affordable housing plan, the structure will be one of the city’s largest PH buildings and also the first affordable housing built in Corona in more than 30 years. With Pratt’s own Myrtle Hall, creating a link between the Brooklyn campus and the Clinton Hill community via the Main Street of Myrtle Avenue was a guiding principle alongside sustainability benchmarks that earned the structure LEED Gold certification. While energy harvesting, locally made and recycled materials, and conservation systems contributed to the building’s green status, Esterson incorporated aesthetic elements intended to foster a sense of neighborliness. The Myrtle Avenue facade of the building incorporates design elements, such as red brick, that echo the 19th-century architecture of Myrtle Avenue, and a glass atrium creates a visual channel from the Myrtle face of the building to the campus side—signifying access, connection, and inclusion. These projects resonate with contemporary values of conservation and minimal impact, but Esterson describes the traditional fundamentals that also ground his practice. “We have a rather old-fashioned belief that architecture can be transformative toward changing people’s lives,” he says. “Our work at Think! is based on advancing design quality toward the goal of making New York a better place. And doing so in a sustainable way is crucial if we are to protect our environment as well.”
Shaheen and Linda Sadeghi (both B.F.A. Fashion Design ’77), Retail Reinventors For Shaheen and Linda Sadeghi, two veterans of the fashion industry, the mall of the nineties was an obsolete model. A public space where young people congregated to socialize, strut, and scope out the makings of personal style, the mall was becoming less about consuming goods and more about creating culture—and the traditional format, a bastion of the mainstream, needed a makeover. In 1993, in a refurbished factory in Orange County, California, the Sadeghis established
Fly-Mode, a drone-equipped, 3-D printed autonomous car designed by Finn Yonkers (B.I.D. â€™91)
the first of a series of fresh takes on the commercial experience—and the “anti-mall” was born. Dubbed the Lab, the first anti-mall featured street-art-influenced murals, repurposed materials used for seating and decor, gallery space, a café, open areas for bands and buskers, and indie retailers that included a comics shop and an alternative music store. The space, which was followed by the Camp shopping and dining center and the SoBeCa Arts District, all in Costa Mesa, shirked suburban convention to channel the grittier, indie-driven ethos of a generation. Having become familiar with the needs and desires of a new generation of consumers through their years in fashion, the Sadeghis, who met in the Fashion Design program at Pratt, saw an opportunity in the retail space to create better experiences for young customers. “Working for leaders in the surf industry, I could see the power of the global youth culture,” says Shaheen, referring to his time as president of Quiksilver and Gotcha Sportswear. “There always seems to be a renewed energy when one looks at design through that lens. When you know too much, the lens can get cluttered with fear.” When it comes to their work transforming commercial spaces, a bit of inexperience was key. “We were blessed with not knowing the ‘rule book’ for building shopping centers—we just created places that we ourselves would inhabit with comfort, art, and music at the core,” says Linda. “Commerce followed.” The Sadeghis continue to find inspiration in the sensibilities of the young and young-at-heart, as their company, LAB Holding (LAB standing for Little American Business), has sought out ways to reshape the commons with an emphasis on the local and the authentic. “As culture evolves, we feel that the next generation of consumer has a different intellect level,” says Shaheen. “Commerce is no longer about pure consumption but rather more social and meaningful experiences.” Their latest and largest-scale project is a revamp of downtown Anaheim, California, where LAB Holding purchased several buildings last year. The sites include a former citrus-storage warehouse that LAB converted into an artisanal dining hall in 2014, along with several other sites intended for both retail and residential renovation. Projected plans include a winery and brewery, a dining development with live/work spaces for local chefs, and a district that weaves together spaces dedicated to the arts, housing, and business. With a growing body of unconventional commercial transformations built on another radical redesign—of their careers— their crossover perspective helped break new ground. “Once you master a medium—anything you have a passion for—if you move into another field, you’ll have the advantage of a fresh perspective that can be a game changer,” says Shaheen. “If you look at today’s successful people and businesses, many started in another industry. Elon Musk came from PayPal and transformed the auto industry with Tesla. Apple started as a computer hardware company but transformed the music industry with iTunes.” Linda agrees. “‘Designer’ is just a name rooted in a technique to approach a task—that task can be in any field,” she says. Shaheen adds, “Creativity is the new world order.”
Finn Yonkers (B.I.D. ’91), Auto Visionary
er’s seat continues to be a site of technological advancement—or make that the rider’s seat, with the dawn of the driverless car inching over the horizon. As technology catches up to innovators’ speculations and dreams, designer Finn Yonkers is helping to shape the future of autonomous transportation. Recognized with awards for several of his future-forward transportation concepts, last fall, Yonkers saw one of his designs come to life as the winner of concept-vehicle builder Local Motors’ Essence of Autonomy Challenge. Fly-Mode, his design for a drone-equipped, 3-D-printed, self-driving car that was realized and road-tested by electronics distributor Mouser Electronics, allows riders to launch a drone from the back of the vehicle to soar above and survey the road ahead while passengers receive live footage from its flight on screens inside the car. In contrast to the notion that autonomy means idleness, Yonkers’s intention was to increase interactivity and heighten the sensory experience for riders. With designs like Fly-Mode, Yonkers is rethinking “not just how we get around, but more important, how we use our time and, in big cities, how we use the space of a vehicle as a commodity.” Yonkers’s drive to reconsider functionality took shape at Pratt—after taking classes with William Fogler in the Industrial Design Department, Yonkers channeled his passion for sculpture into conceptual design—an approach that dovetailed with his passion for vehicles. “There is a unique emotive aspect that brought me to concept vehicles,” he says. “You can allow yourself to think beyond the confines of manufacturing and mass-market appeal. It is only now that technology is aligning with these earlier explorations.” As recent advancements in 3-D printing and the technology of connectivity have made possible the advent of drones and autonomous vehicles (or “passenger drones”), as well as rapid prototyping and direct digital manufacturing (DDM), Yonkers found that his strengths finally intersected with new opportunities in vehicle design. After primarily focusing his career on exhibition design and marketing (Yonkers is also president and creative director of Studio1011 in Providence, Rhode Island), he found a way to revisit his first love, joining the community of designers at Local Motors, a company that fabricates concept vehicles that are conceived and developed through collaboration among its community of “co-creators.” Through Local Motors challenges, he has gone on to create award-winning concepts, including a high-visibility, small-footprint security vehicle intended for navigating narrow spaces in an urban setting and an Airbus cargo drone to autonomously deliver medical supplies to inaccessible locations. As far as consumer vehicles, the next big question, as Yonkers sees it, is how to apply the opportunities for personalization made possible by DDM, and he aims to take the lead in shaping how customization meets consumers. “It will be more important to bridge the gap between what customers want and what is made available. In the frontier of autonomy, the possibilities for vehicle architecture, just like in your home, are now wide open,” he says. “However, a proper framework that supports both personalization and a design standard needs to be developed. Today’s focus is still on the technology, and I want to help redefine the customer experience in a way that embraces more than what the mainstream market defines. Of course being in the right From intelligent cruise control and rearview cameras to place at the right time to be able to contribute to these GPS navigation and crowd-sourced traffic apps, the driv- changes is paramount.”
Interiors of the Anaheim Packing House in California, developed by Shaheen and Linda Sadeghi (both B.F.A. Fashion Design ’77). Photographs by Dioraze Acuzar
n o l g e r o n s i e c r e m m “Co
bout pure consumptio —Shaheen Sadeghi
Pratt Welcomes New Executive Director of Alumni Relations Sherri Jones has been named Executive Director of Alumni Relations within the Division of Institutional Advancement. Jones has more than 25 years of experience in alumni affairs and development, most recently as Executive Director of Alumni Relations at Temple University in Philadelphia. As a member of Pratt’s institutional advancement team, Jones will be responsible for building, implementing, and managing programs and activities that will strategically engage alumni around the world in support of Pratt’s mission. One of her top priorities will be to establish regional alumni chapters. As a first step, a survey was sent in March to all alumni seeking input on events and regional chapters. As of this writing, more than 1,000 responses have been submitted. The survey will be live through May 31 on www.pratt.edu /alumni. Dubai Design Week Showcases Work by Pratt Industrial Designers The second annual Dubai Design Week, held in Dubai last October, featured designs from Pratt students and recent graduates in its Global Grad Show, the world’s largest gathering of student innovators. School of Design Dean Anita Cooney attended the show along with students Aaron Nesser (M.I.D. ’17), Lynn Linn (M.I.D. ’17), and Jonathan Roberts (M.I.D. ’17), who presented “Organicart,” a pair of prototypes for a portable cart for street fruit vendors, a result of collaboration with students from the Higher Institute of Industrial Design in Havana, Cuba. Ray Fontaine (M.I.D. ’16) presented “HearCuffs,” an ear cuff designed
to turn hearing aids into a means of selfexpression. Dawn Moses (M.I.D. ’16) presented “Nema,” a low-cost, disposable home testing device for anemia. Isis Shiffer (M.I.D. ’16) presented “The Erro Collection,” three items designed to facilitate urban commuting, including a foldable, recyclable helmet that was named International Winner of the 2016 James Dyson Award in November. Whitney Biennial Features Institute Artists The Whitney Biennial 2017 includes the work of two Pratt-affiliated artists: Assistant Professor of Fashion Design Susan Cianciolo and alumna Carrie Moyer (B.F.A. Painting ’85). The 2017 exhibition, which runs through June 11, is the first to take place in the museum’s new building in the Meatpacking District in Manhattan and will include work by 63 participants ranging from emerging to well-established individuals and collectives across a range of artistic mediums. See page 2 for a look inside Cianciolo’s studio. Pratt Presents Hosts First Annual Design Symposium Last November, Pratt held its first annual design symposium, exploring the theme “Design Is the New Currency” at the Whitney Museum of American Art. Award-winning luxury- and cosmeticspackaging designer Marc Rosen, Pratt Institute Trustee Emeritus and Professor of Packaging Design, moderated the panel discussion with multidisciplinary artist Michele Oka Doner; James Gager, Senior Vice President and Creative Director of MAC Cosmetics; interior designer Juan Montoya; and architect
and designer David Rockwell. The event was sponsored by the Marc Rosen Education Fund with additional funding by Juliana Terian, The Terian Foundation. Graduate Fine Arts Program Unites Under One Roof Last fall, the MFA program in Fine Arts moved to Brooklyn’s Pfizer Building at 630 Flushing Avenue, uniting it under one roof for the first time. The program’s newly renovated 33,000-square-foot space features 81 individual artist studios, floor-to-ceiling windows, classrooms, a split-level critique space, project rooms, a computer lab, and fabrication shops. The Pfizer location gives the MFA students easy access to the established artist communities of Williamsburg, Bedford-Stuyvesant, and Bushwick—vibrant art scenes with more than 100 galleries showing a range of emerging and established artists. The public had the chance to visit the new MFA studios during Pratt Fine Arts’ annual Open Studios last November. Gift to School of Art Will Enhance Student Learning and Faculty Development The School of Art received a $777,000 gift from the estate of Philip Dulmage of Saint Clair Shores, Michigan, which will establish an endowment in memory of his mother, Pratt alumna Elizabeth Longfellow Dulmage (B.F.A. ’27). The Elizabeth Longfellow Dulmage ’27 Fund will support the Visiting Artists Lecture Series, which exposes the nearly 1,300 students in the School of Art to a highly acclaimed group of artists, critics, and cultural theorists. The fund will also sponsor
“The new space is an incredible opportunity for the MFA program and its students to build a community that supports a diversity of art practices and ideas.” —Gerry Snyder, Dean of the School of Art
Sherri Jones has been named Executive Director of Alumni Relations.
1 Back of Town Stephen Hilger, Chair of Photography Department $29.95 In his first monograph, photographer Stephen Hilger documents the desolation and gradual disappearance of a New Orleans neighborhood marked for demolition after Hurricane Katrina. Black-and-white photographs create an essayistic chronicle of a community’s vanishing history. Published by SPQR Editions and printed in duotone ink at Grafica SI.Z in Verona, Italy, the book is available at spqreditions.com.
2 ELEMENT Poncho Jeffrey Johnson (M.Arch. ’10) $345
3 Concentric Wall Lamp Rob Zinn (B.I.D. ’96) $2,640–$3,510
4 Marlen Brogue Sarah Waxman (B.I.D. ’10) from €340 (approximately $360)
Jeffrey Johnson, cofounder and creative director of outerwear brand The Arrivals, channeled his architecture background in collaboration with design collective Snarkitecture to create the ELEMENT, a unisex poncho designed to face stormy weather with form and function. The breathable waterproof exterior unsnaps to reveal a sophisticated system of laser-cut interior pockets and other technical details. Available in black and stain-resistant white at thearrivals.com.
Constructed of overlapping plates of lacquered white metal, Rob Zinn’s Concentric lamp glows in multicolor, even when turned off, reflecting the hues of each plane’s colored backing. Winner of Interior Design’s 2016 Best of Year Award in the wall lamp category, Concentric comes in three sizes (24, 32, and 40 inches) and neon, warm, and cool color palettes. Available at marset.com.
Sarah Waxman brought footwear expertise from stints at Cole Haan and Reebok to design a gender-neutral line of shoes under the brand Matriarch. Aiming for sustainability and heirloom quality, Matriarch works with a familyrun shoe factory in Portugal to manufacture the shoes using only locally sourced vegetable-tanned leather. Boot and brogue styles are crafted with traditional leather or Vibram Gumlite outsole, pictured here, in sizes 35 to 47 EU. Available at wethematriarch.com.
Pratt School of Art faculty fellowships at theAmerican Academy in Rome, allowing Pratt faculty to spend time working in one of the world’s most culturally rich cities surrounded by the Academy’s accomplished artists, writers, designers, and scholars. Pratt Filmmakers Make Their Mark at Sundance At the 2017 Sundance Film Festival, Assistant Professor of Film/Video Eliza Hittman was named the winner of the Directing Award: U.S. Dramatic for her feature film Beach Rats. The film, written and directed by Hittman, was one of 113 feature-length films selected to screen at Sundance from more than 4,000 submissions. Victor and Isolina, a short film directed by William D. Caballero (B.F.A. Digital Arts ’06), also screened at the festival in the Animation Shorts category. It was one of 68 short films chosen from more than 9,000 submissions from around the world. Construction Management Program Receives Top Ranking Pratt has been ranked among the top schools in the country for “Best Construction Management Degree Programs: 2016–2017,” according to the Community for Accredited Online Schools, a leading provider of higher education information and resources. Among 49 four-year schools in the United States with degree-granting programs in construction manage-
ment, the survey results place Pratt among the top five for graduation rate and as the college with the lowest student-to-teacher ratio, and Pratt is 21st in the rankings. Along with the rankings, Tomi Kent Hikida, Associate Professor of Construction/Facilities Management at Pratt, is featured as an Expert Contributor in a Q&A article offering advice for potential construction management students. Pratt Receives National Science Foundation Grant for STEM Research Project The National Science Foundation (NSF), an independent federal agency that supports the advancement of fundamental science and engineering, has awarded a grant of over $938,000 to Pratt for the development of a project titled “Research and Development on Understanding STEM Identity Using Live Cultural Experiences.” The project will be directed by Assistant Professor of Math and Science Mark Rosin and will explore how audiences with little or no affinity for science, technology, engineering, and math (STEM) can become more engaged with STEM ideas. It involves collaboration of faculty at Pratt, at Oregon State University, and at Guerilla Science, an organization cofounded by Rosin that engages public audiences with science. The research resulting from this project will produce a guide for cultural institutions that want to incorporate science content
into their activities. As part of the NSF grant, a paid residency for Pratt students and faculty will also be announced. Pratt Students Participate in Lehigh University’s Mountaintop Program Selected students from a range of disciplines are taking advantage of a unique opportunity to work collaboratively to solve challenging problems through the Institute’s recent partnership, launched in 2016, with Lehigh University in Bethlehem, Pennsylvania. Lehigh’s Mountaintop Program is an innovative 8- to 10-week summer program in which students work in teams to identify and solve a variety of problems with realworld implications. Last summer, Pratt students whose disciplines range from fine arts to industrial design and interior design worked on teams investigating aging and technology, 3-D concrete printing methods and applications, urban planning and transportation, sustainable development, orthopedic shoes, and the intersection of technology and childhood development. The partnership continues through summer 2017, and Pratt students now have the option of proposing projects in addition to joining existing teams. Institute Breaks Ground on New Student Residence Hall Construction started in November for Pratt’s Emerson Place Residence Hall, which will provide first-year students
Pratt students bring an expertise in art and design to Lehigh University’s Mountaintop Program.
with additional housing options one block away from the school’s Brooklyn campus. The project is expected to be completed by the end of 2017 and ready for occupancy at the start of the spring 2018 semester. The 10-story building, located at 135 Emerson Place between Myrtle and Willoughby Avenues, is designed to blend student residential rooms with academic support and social spaces to create shared “livinglearning” experiences. Amenities will include student lounge spaces, a “Maker Space” for first-year students to work on foundation studio homework, a Pratt convenience store, and bike storage.
Poet, organizer, and speech writer Camonghne Felix presents at the Black Lives Matter Pratt Teach-In. Photograph by Mahogany L. Browne
Black Lives Matter Pratt Holds Second Annual Teach-In In February, Black Lives Matter Pratt presented a teach-in, “Shut Em Down,” on the Brooklyn campus, drawing roughly 400 event attendees from the Pratt community as well as the public. The conference aimed to bring the community together for open discussions of race and inclusion on campus and beyond. It included a full program, curated and organized by alumna Mahogany L. Browne (M.F.A. Writing ’16), of workshops, panel discussions and presentations, readings and performances, and film screenings by students, faculty, and community members. Established in 2016, Black Lives Matter Pratt is a group of faculty, staff, alumni, and students at
Pratt working together to ensure that Black Lives Matter—a national movement that values black life and recognizes the ways in which it is imperiled—is an integral part of the Institute’s campus culture. The teach-in was cosponsored by several departments and offices on campus, including the School of Liberal Arts and Sciences, Pratt Center for Community Development, Student Affairs, Communications Design, and Human Resources. Museum of the City of New York Features Maps by SAVI in Permanent Exhibition The Spatial Analysis and Visualization Initiative (SAVI) at Pratt contributed to the Museum of the City of New York’s (MCNY) first permanent exhibition, New York at Its Core, which opened last fall. SAVI, led by Director Jessie Braden, worked with MCNY curators for six months to analyze spatial data and develop stories for the Future City Lab, which is one of three galleries in the exhibition and covers the years 2000– 2050. SAVI staff member Case Wyse (M.S. Urban Environmental Systems Management ’16) and graduate assistants Adriana Beltrani (M.S. City and Regional Planning ’17), Jonathan Marable (M.S. City and Regional Planning ’17), Sarita Rupan (M.S. Sustainable Environmental Systems ’17), and Ahmad Shaibani (M.S. City and Regional Planning ’17)
SAVI developed nearly 100 maps for the Museum of the City of New York’s Future City Lab. Photograph by Jessie Braden
5 Higher T Tote Manoela Madera (B.F.A. Sculpture ’07) and Gray Edgerton (B.F.A. Drawing ’07) $65 Manoela Madera and Gray Edgerton, who collaborate on murals and other large-scale works as KiiK Create, translate their signature bold, abstract designs to a line of home goods and accessories, such as this shoulder bag–backpack hybrid. Handmade in the United States, the fully lined bag is sublimation dyed on spun polyester poplin and features an interior zip pocket and adjustable strap. Available at kiikcreate.com.
6 Oak Moss Clock Sarah Mimo (B.F.A. Communications Design ’11) from $115
7 BRD Circle Shades Ben Ross Davis (M.F.A. Communications Design ’18) from $50
8 New York/Los Angeles, Photographs 1967–2015 Lloyd Ziff (B.F.A. Graphic Arts ’67) $50 (each volume)
Sarah Mimo’s laser-cut birch wood clocks come in an array of styles that subtly mark time, with echoes of art deco and midcentury modern design. The Oak Moss Clock, measuring 22 x 22 inches, features roman numerals nested in its scalloped border. Each piece is made to order, painted with customblended stains, fitted with a quiet gearbox, and complete with gold or black hands. Available at sarahmimo.com.
Ben Ross Davis’s design for onepiece sunglasses sprung from explorations with acrylic medium in an interdisciplinary design course at Pratt. His prototypes evolved into a line of handcrafted acrylic shades inspired by emoji expressions, geometric shapes, and futuristic forms, made in a range of colors as well as an opalescent tone called Prism, which features a reflective sheen that allows wearers to see behind them. Available at shop .benrossdavis.com.
Lloyd Ziff captures the transformation of two of America’s most iconic cities in a two-volume collection encompassing more than 40 years of black-and-white and color photography. As both cities change before Ziff’s inquiring lens, his unique vision emerges, amused and ironic, finding beauty and surprise in daily life. Published by fine art and photography publisher KMW studio publishing, the books are available at lloydziffnyla.com.
“I’m drawn to the history and the traces that we leave behind that are often forgotten.” —Jean Shin (B.F.A. Painting ’94; M.S. Art History and Criticism ’96), Adjunct Professor of Fine Arts, on her installation for the new Second Avenue subway line
also worked on the project, which resulted in nearly 100 maps around five themes: Living Together, Housing a Growing City, Making a Living, Getting Around, and Living with Nature. Legends 2016 Raises $1.1 Million for Student Scholarships Pratt Institute’s Legends 2016 gala, celebrating icons of art and design whose works have helped shape the cultural landscape, raised a record $1.1 million to benefit student scholarships. The event honored sculptor Angela Conner, architect William T. Georgis, and founder and President of InterArch Shirley Hill for their contributions to the world of art, design, and architecture, with awards designed for the event by Pratt industrial design student Megan Lighty (B.I.D. ’17). The annual benefit provides vital funds for merit and need-based scholarships that help the 60 percent of Pratt students who rely on financial aid to pursue their educational and creative ambitions. Faculty Honors Visiting Assistant Professor of Photography Elizabeth Bick won the biennial Rudin Prize for Emerging Photographers, awarded by the Norton Museum of Art in West Palm Beach, Florida. Digital Arts Assistant Chair Carla Gannis received the 2016 Lumen Founders’ Prize, a global award for digital art, for her serialized augmented reality book project, The Selfie Drawings. Associate Professor of Humanities and Media Studies James Hannaham was named fiction runner-up for the 2016 Dayton Literary Peace Prize, an international award that recognizes the power of the written word to promote peace, for his novel, Delicious Foods (Little, Brown, 2015). Professor of Math and Science Ágnes Mócsy was elected a Fellow of the American Physical Society, a recognition given by peers for outstanding contributions to the field of physics. BF+DA Receives Grant from U.S. Department of Commerce The U.S. Department of Commerce awarded a $486,000 research grant to Pratt’s Brooklyn Fashion + Design Accelerator (BF+DA), a hub for ethical fashion production, to support the link between sustainability, technology, and apparel manufacturing. With the grant, the BF+DA will support six research projects over two years with a focus on the following areas: Design for Manufacturing, where research will ad-
vance production methods for embedding technologies into apparel; an Active Materials Resource center for prototyping and testing new textiles; and individual projects by New York City researchers and thesis students recruited from academic programs at Pratt. Alumna Artwork Installed on New Second Avenue Line The new 63rd Street station on the Second Avenue subway line in Manhattan features artwork by Pratt alumna and Adjunct Professor of Fine arts Jean Shin (B.F.A. Painting ’94; M.S. Art History and Criticism ’96). Shin’s Elevated, a ceramic, mosaic, and glass installation, depicts images selected from archival photographs at the New-York Historical Society and the New York Transit Museum that capture the dismantling of the Second Avenue elevated line. The reflective installation allows subway riders to see themselves in the images, fusing contemporary urban life with reminders of the city’s history. Pratt Honored with Ladislav Sutnar Prize 2016 from the University of West Bohemia In November, Provost Kirk E. Pillow traveled to Pilsen, Czech Republic, to accept the Ladislav Sutnar Prize 2016 from the University of West Bohemia on behalf of the Institute. The annual prize recognizes outstanding Czech and international artists, educators, and institutions for their contributions to the world of design, and honors the life and work of renowned CzechAmerican designer Ladislav Sutnar. Sutnar taught in Pratt’s Evening School in the late 1940s and his son Radoslav Sutnar is a graduate of the School of Architecture (B.Arch. ’55; M.Arch. ’56). Pratt was recognized in appreciation of “its efforts in development of education in the field of art and design, where it serves as a role model for similarly oriented schools, and in connection with its upcoming 130th anniversary,” which the Institute celebrates this year. Remembering Beloved Faculty and Staff Former Fine Arts Professor Clare RomanoRoss passed away on January 25 at the age of 94. Artist and printmaker Romano-Ross taught printmaking to generations of Pratt students over several decades. She joined Pratt as a parttime faculty member in the fall of 1964, became full-time in 1973, and was named Visiting Distinguished Professor Emeritus after retiring in 1991. Romano-
Ross was also one of the coordinators of the Institute’s Summer in Venice program from 1988 to 2007. Jean Simmons, Administrative Secretary in the Creative Arts Therapy Department, passed away on February 1. Simmons, who worked at the Institute for almost 30 years, served as Administrative Secretary in the Interior Design Department from 1988 to 2004 before joining the Creative Arts Therapy Department in 2005. In Memoriam Robyn Nancy Bihlmeyer (B.F.A. Printmaking ’99) Robert Christensen (Certificate, Interior Design ’51) Alec Elmquist (First-Year Critical and Visual Studies) Angela Mercurio Forenza (Integrative Studies Program) George Hoehne (B.I.D. ’57) Dina Knapp (Graphic Art & Design) Dominick R. Padalino (Mechanical Engineering ’51) Stanley Sludikoff (B.Arch. ’57) Robert Weber (Certificate, Illustration ’48) Jerrold Zwirn (M.L.I.S. ’76)
For more on these stories and the latest updates from Pratt, visit www.pratt.edu/news.
Class Notes Preview We want to know what you’re up to, and so do your fellow Pratt alumni—so Class Notes is coming back to Prattfolio. Here we offer a sneak preview selected from our digital announcements, which can be found at www.pratt.edu/alumni/class-notes. Visit us online or see page 43 for submission information.
lishing, 2016). Challenging the way we approach sustainable design and the human interface, it encourages building designs that are sensitive to people, program, and habitat and provides a methodology for conceiving architectural design that responds to such a matrix. One hundred twenty photographs and drawings by Caplan illustrate the text. For those interested in practicing sustainable and human-friendly design, the book offers a new perspective, a dose of reality, and a path forward. For information, visit buildings-are-for-people.com. Available on Amazon at amzn.to/1MqedSf.
David-Georges Renaud (M.P.S. Design Management ’14) developed a new emoji app, Lingoji, launched in fall 2016. The app contains country-specific catalogs of emojis, which can be added to the keyboard of a phone or tablet, representing common expressions used by locals in each featured country. Renaud, a Caribbean native, and his team released the app with emojis reflecting cultural symbols and phrases specific to four Caribbean countries, and the team plans to expand to other countries, crowdsourcing local artists to contribute to new emoji catalogs. The Vicky Chan (B.Arch. ’08) and his mobile app is available on both iTunes team of volunteers had their community and Google Play. outreach project, Architecture for Children, selected for the American Lauren Williams (B.F.A. Interior Institute of Architects (AIA) 2017 Design ’12), founder of boutique interior Emerging Professionals Exhibit, recogdesign firm Lauren Jayne Designs, was nizing rising architects whose work named one of “Seven Interior Designers promotes “equity, access, ecology, and to Watch in Kings County” by Commercial sustainability” (AIA Headquarters, Observer. She was recognized for her Washington, D.C., through early May). residential designs, including interiors Alumni volunteers include David for Myrtle at 531 Myrtle Avenue, a new Benham (B.F.A. Communications multifamily building by Greystone Design ’14), Taylor Carter (B.Arch. ’16), Development adjacent to Pratt’s Da Ye Kwon (B.F.A. Interior Design ’16), Brooklyn campus. “As a Pratt alumna, Belle Tang (B.Arch. ’09), and Peter this project hit home for me,” Williams Vanhage (B.Arch. ’08). Based in New said. “We have completed interiors in York City and Hong Kong, Architecture Aspen, Miami, and New York City, but for Children engages young people in this was the first opportunity in Brooklyn. math and science activities, experiI love Clinton Hill’s youthful vibe.” ments, and model building, emphasizing sustainability.
librarians on successful collaboration with faculty in one-shot instruction sessions, then explores future trends in library instruction that can be applied to today’s sessions. The one-shot library instruction session remains a fixture in academic library instruction. At the same time, academic librarians are searching for ways to improve and maximize the effectiveness of this type of session. Available at store.elsevier.com. Douglas Davis (M.S. Communications Design ’00) published Creative Strateg y and the Business of Design (HOW Books, 2016), teaching left-brain business skills to right-brain creative thinkers. The book focuses on the words behind the pictures, i.e., the strategy behind the execution. Written for working designers or recent grads who want to differentiate themselves by becoming more strategic, this book teaches how to approach creative work with the perspective of a business or marketing manager in mind. Davis implores designers to “think how they think to do what we do.” Available at Barnes & Noble, Amazon, and mydesignshop.com.
David Jelinek (M.S. Art and Design Education ’06) and James Stillwaggon published Filmed School: Desire, Transgression and the Filmic Fantasy of Pedagogy (Routledge, 2016). Using the relational concept of transference, the book explores the contradictory images of teachers as selfless heroes, on one hand, and 2000s Sarah Cisse (M.I.L.S. ’05) published as society’s failures, on the other. The Fortuitous Teacher: A Guide to Tracing the success and failure of trans Bill Caplan, Associate AIA (M.Arch. Successful One-Shot Library Instruction ference through a variety of school films, ’09) published Buildings Are for People: (Chandos Publishing) in March 2016. chapters demonstrate its power in preHuman Ecological Design (Libri Pub- The book provides practical tips from senting the teaching image in its divided
Interior of Myrtle, a new residential building in Brooklyn, by Lauren Williams (B.F.A. Interior Design ’12). Photograph by Travis Mark Photography
A session of the Architecture for Children project launched by Vicky Chan (B.Arch.’08) with the help of fellow Pratt alumni volunteers. Photograph by Kevin Truong (B.F.A. Photography ’13)
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Beth Newell (B.F.A. Communications Design ’07). Image courtesy of HarperOne, a division of HarperCollins Publishers
nature: both the pure object of educa- comedy site out there.” Publishers Weekly tional desires, and the ever-looming threat says, “the writers behind the hilarious of perverse pleasure in transgression. satirical website Reductress skewer the most ridiculous tropes and clichés of Michelle Maguire (M.S.L.I.S. ’04) millennial-era feminism.” The book also had her artist’s book, Salami Dreamin’, features several of Newell’s illustrations. included in the permanent collections For more information, visit howtowinat of the Rochester Institute of Technology feminism.com or reductress.com. (Wallace Library); University of California, Irvine (Special Collections); Jacqueline Schmidt (M.P.S. Art School of the Art Institute of Chicago Therapy ’06), fine artist, best-selling (Joan Flasch Collection); and University stationery designer, art therapist, and of Utah (Marriott Library). Maguire, who founder of Brooklyn-based Screech works as the Visual Resources Curator Owl Design, published two new adult in the History of Art Department at The coloring activity books with Hachette Ohio State University and freelances as last November. Dream Dresses and a photographer and prop stylist, collab- Birds on Bikes feature illustrations orated with Floodwall Press to hand- hand drawn by Schmidt in a style that print the book using photolithography, “blends the urban and natural, the real silkscreen, and letterpress techniques. and fantastic, and the familiar with the Images of the process and finished book mysterious.” For more information can be viewed on Maguire’s website, and an inside look at the books, visit myohmyoh.com. screechowldesign.com. Beth Newell (B.F.A. Communications Design ’07), cofounder of the satirical online women’s magazine Reductress, published the humor book How to Win at Feminism: The Definitive Guide to Having It All—And Then Some! (HarperOne) in October 2016. The book is written in the tone of Reductress, which Wired calls “the most brutally truthful
Alex Smith (B.F.A. Writing for Performance, Publication, and the Media ’03) recently published the horror novella Hive (Muzzleland Press, 2016). A clinical psychologist in private practice in Washington, D.C., Smith writes daily and is currently working on a novel and collection of stories that will be published in 2017.
Jacqueline Schmidt (M.P.S. Art Therapy ’06)
Jeff Starr (B.F.A. Film/Video ’02) had his short film, This Is a Ball, accepted into three 2016 film festivals: Blue Plum Animation Festival, the Utah Arts Festival Fear No Film series, and the Saint Cloud Film Festival. The film explores the subject of bullying through the story of a ball that is afraid to bounce and must overcome mocking by squares and triangles. Starr has lectured on the film at Lethbridge College in Alberta, Canada, and it has also been featured by the online school Animation Mentor. For more information on the film, visit thisisaball.com. Adrian Volz (B.F.A. Communications Design ’11) recently joined landscape architecture firm Hargreaves Associates in New York City as a graphic design/ marketing assistant. Camille Wainer (B.F.A. Communications Design ’02), in collaboration with the Lemur Conservation foundation, directed and created MadagaSCARS, a poignant five-minute flash animation that captures the urgent environmental and social issues that threaten the future of wildlife and humans on the island of Madagascar. MadagaSCARS has recently screened at SXSW: Films for the Forest, the Dublin Animation Film
Festival, Poland’s Ekofilm Festival, the and linguistic literary style of the original World Lemur Festival, and the Wildlife text while providing more accurate and Conservation Film Festival. coherent translations as well as analysis of texts from three tablets of the epic. Jason M. Wells (M.S.L.I.S. ’07) has been named Vice President of Children’s Mark Anthony Lacy (B.F.A. PhotoMarketing and Publicity at Simon & graphy ’93) published a book, Retro Schuster in New York. Before taking this Glamour: Photography of Mark Anthony role, he worked for 14 years at ABRAMS, Lacy (Schiffer Publishing, 2017), that the first company in the United States to features his authentically detailed vinspecialize in publishing art and illus- tage tableaux recalling the pinup photogtrated books, where he led marketing raphy of the ’50s and ’60s. Lacy is an and publicity for children’s titles and internationally published photographer executed campaigns for some of the whose work over the past 20 years has best-selling books in the industry, includ- ranged from live concert photography ing the number one best-selling series, for various music magazines to fashion Diary of a Wimpy Kid, by Jeff Kinney. and commercial assignments. Retro Glamour is available on Amazon.com and at www.schifferbooks.com/retro-glamour 1990s -photography-of-mark-anthony-lacy -6153.html. Saad D. Abulhab (M.S.L.I.S. ’91) recently published The Epic of Gilgamesh: Selected Readings from Its Original Early 1980s Arabic Language: Including a New Translation of the Flood Story (Blautopf Andrew Bass, Jr. (B.F.A. CommuniPublishing, 2016), which introduces the cations Design ’89), art and production earliest known literary and mythological manager for RIMS, the risk management work in the world in its original early society, was presented with four 2016 Classical Arabic. In this unique reference Azbee Awards of Excellence—National textbook for scholars and students of Gold Award, Northeast Regional Gold Arabic and Assyriology, Abulhab has Award, and two Northeast Regional resurrected the actual word soundings Silver Awards—by the American Society
Still from This Is a Ball by Jeff Starr (B.F.A. Film/Video ’02)
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Still from the animation Venice Re-Mapped by Johannes M.P. Knoops (B.Arch. ’87)
Ted Papoulas (B.F.A. ’88)
of Business Publications Editors (ASBPE) for the design of three features in Risk Management, the official publication of RIMS. ASBPE is the professional association for full-time and freelance editors, writers, art directors, and designers employed in the business, trade, and specialty press.
collateral exhibition TIME-SPACEEXISTENCE, Venice Re-Mapped was on display to the public at the European Cultural Centre-Palazzo Mora. To view an animation of the work, visit www.knoops.us.
tions bring to life author Myron Uhlberg’s autobiographical tale of a hearing son’s attempts to use sign language to interpret the sounds of 1930s Brooklyn to his deaf parents during a family outing to Coney Island’s famous amusement park.
Jim McAuliffe, AIA (B.Arch. ’83) is principal of McAuliffe + Carroll Architects LLC, which received the Rookie of the Year award for 2015 from Philadelphia’s Community Design Collaborative (CDC). The firm was recognized for taking on two projects for the CDC: an assessment of the Widener Indoor Sports Pavilion for Variety Club of Philadelphia and the Frankford Avenue Streetscape Project for the Frankford Community Development Corporation. Both projects were team efforts and can be seen on the firm’s blog at www.mcauliffecarroll.com/blog.
Annabelle Selldorf (B.Arch. ’85) and her firm, Selldorf Architects, were selected by the Frick Collection to design a major expansion and upgrade of the institution’s facilities on Fifth Avenue. Selldorf was chosen from a rigorous review of the work of 20 international architects. Frick Director Ian Wardropper told The New York Times, “[Selldorf] has a clear vision of respect for historical buildings but at the same time has a clean, elegant, modernist aesthetic that is very much about welcoming visitors today.” Selldorf ’s previous projects include the Neue Galerie in Manhattan and the Clark Art Institute in Williamstown, Massachusetts.
Wendy Klemperer (B.F.A. Sculpture ’83) had a solo show at Studio10 Gallery, 56 Bogart Street, Bushwick, Brooklyn, in March. Salvage What You Can consisted of paper silhouettes derived from Klemperer’s steel sculptures, which used materials from construction sites and scrap yards. “In the dark, under strong light, the installation creates a liminal space: no longer individual terrestrial objects, but luminous creatures casting evocatively ambiguous shapes,” states the press release. “The silhouettes are delicate remnants, but loom large, sug- Ted Papoulas (B.F.A. ’88) had his first gestive of transformation, extinction, children’s book, The Sound of All Things and the evolution of new forms.” (Peachtree Publishers, 2016), named to the Children’s Literature and Reading Johannes M.P. Knoops (B.Arch. ’87) Special Interest Group’s 2017 list of exhibited his installation Venice Re- Notable Books for a Global Society. Each Mapped, an animated voyage through year, 25 books for all levels (pre-kinderan alternative Venice, at the 15th Inter- garten through 12th grade) are chosen national Architecture Exhibition - La for reflecting diversity in the broadest Biennale di Venezia last fall. Part of the sense. Papoulas’s 22 full-page illustra-
1970s Lisa Lyman Adams (B.F.A. Fine Arts ’73) was included in the Mystic Museum of Art, Mystic, Connecticut, juried 60th Regional Show last fall. Her piece was a
Steel sculptures by Wendy Klemperer (B.F.A. Sculpture ’83)
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Lenore M. Lucey, FAIA, NCARB (B.Arch. ’70)
Detail of Sea Change by Barbara Grossman Karyo (B.S. Art Education ’63; M.F.A. ’69)
super-realistic graphite drawing on Strathmore series 500 two-ply vellum finish paper, 50 x 38 inches, titled RomeoSon to Montague. Adams is represented by the Diane Birdsall Gallery in Old Lyme, Connecticut, and is affiliated with Morgan Gaynin Artist Representatives in New York City. Her fine art can be viewed at dianebirdsallgallery.com. Richard Bettini, Associate AIA (B. Arch. ’72; M.Arch. ’73) recently retired after 15 years at West Essex Regional High School, where he established pre-architecture and pre-engineering programs. He also taught AutoDesk programs, including AutoCAD 2016, Revit, and Inventor with a 3-D printer, and robotics and code writing courses. His students won numerous awards for their submissions in national architectural and robotics competitions, including the Massachusetts Institute of Technology Zero Robotics Tournament, in which his team placed fourth in the nation for two consecutive years. Presently, he is an adjunct professor at Kean University’s Michael Graves School of Design. Sheri Lane (B.F.A. Photography ’77) was recognized as a finalist for the Cygnus Award for her novel Silent Meridian (MX Publishing, 2016), written under the pen name Elizabeth Crowens. The novel, the first in a series, was cited as “a Steampunk X-Files for the 19th century featuring Arthur Conan Doyle, H. G. Wells, Houdini, and newcomer John Patrick Scott, the time traveler professor.” Available at mxpublishing.com. Lenore M. Lucey, FAIA, NCARB (B.Arch. ’70) was inaugurated on December 8, 2016, as the 55th chancellor of the College of Fellows for the American Institute of Architects (AIA). Lucey is only the fourth woman to serve as chancellor of the College of Fellows, which promotes the purposes of the AIA and advances the architecture profession, as well as serving society. In electing her, her peers cited her leadership and outstanding contributions to the architecture profession and the AIA. She most recently served for more than 14 years as the CEO of the National Council of Architectural Registration Boards. Rosalyn Sohnen (B.F.A. Fine Art and Film ’72) has completed An American Quilt: Stitching Together Our 9/11 Memories, a short film that tells the stories of seven families who were among the many who
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lost loved ones on 9/11 and dealt with their grief by creating memorial quilt panels. The film includes interviews with Jan Seidler Ramirez, Chief Curator of the National September 11th Memorial and Museum, and Dr. Gail Saltz, a psychiatrist who explains how creating art helps in the healing process.
of the fastest-growing private companies in America, the “superheroes of the U.S. economy.”
MaryEllen Green-Dohrs (Certified Industrial Designer ’50) teaches sculpture at the Armory Art Center in West Palm Beach, Florida. She has been teaching at the Armory continuously for the Robert A. Weisberg, R.A. (B.Arch. past 21 years. ’79) was promoted to Director of Space Planning, Analysis and Management Dick Simpson (B.F.A. Advertising with the City of New York Department Design ’58) was honored by Philaof Health and Mental Hygiene, where delphia’s Grand Army Republic Museum he has worked since 1990. In his new and Library for his work to preserve and role, he will supervise staff and serve as promote American Civil War history and a New York State–registered architect, battlefields, topics on which he lectures senior project manager, and space plan- throughout the United States. Prior to ner for jobs at the Long Island City his retirement in 1991, he was a designer headquarters and at health centers and for InterContinental Hotels, where he satellite facilities throughout the five rose to the position of Vice President of boroughs. He previously was an award- Graphic Design. During his 30 years in winning architect with the URS Corp- design, he created uniforms, menus, oration, Leo Kornblath Associates, and tabletop items, signs, logos, and expendThe Ryan Group. ables for more than 150 hotels around the world.
1960s Barbara Grossman Karyo (B.S. Art Education ’63; M.F.A. ’69) and Sally Shore presented their installation titled Sea Change in the exhibition Social Fabric/Moral Fiber at Gallery West, SUNY Suffolk, Grant Campus, this spring. A whimsical seascape, Sea Change was created from detritus found washed up on Long Island’s North Shore beaches and from other environmentally unsafe discards. Claire Jeanine Satin (M.F.A. Sculpture ’69) recently had her bookwork SCUM included in the Special Collections of the University of Miami Otto Richter Library. Designed as both a bookwork and a catalog, the piece takes its name from the first letters of the collection. Satin’s work, which can be viewed at satinartworks.com, is also included in the collections of the Library of Congress, the Museum of Modern Art, the Victoria and Albert Museum, the Getty Center for the History of Art and Humanities, and the National Museum of Women in the Arts.
1950s Stuart Cohen, AIA (B.Arch. ’56) is principal of CFE Architects, a Miami Lakes, Florida, architectural firm that, for the second consecutive year, was included on Inc.com’s INC. 5000 list
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TOP OFF A SPECIAL DAY WITH PRAT T AF TER DARK PRATT INSTITUTE INVITES ALL ALUMNI TO CELEBRATE A FESTIVE DAY WITH DINNER AND DANCING SAVE THE DATE 2017 ALUMNI DAY AND 50TH REUNION SATURDAY, OCTOBER 7 PRATT INSTITUTE BROOKLYN CAMPUS
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Where do creative ideas begin?
In each issue of Prattfolio, we publish a new creative prompt along with a space to devise your response, should you choose to work with this constraint. We invite you to respond—in image or text—on social media, email, or by mail. In the issue that follows, we will feature a selection from your submissions.
How to participate:
Mail to Prattfolio Editor Pratt Institute Institutional Advancement 200 Willoughby Avenue Brooklyn, NY 11205
Post on social media using #ideasbegin and tag @prattinstitute
We had a great reaction to our first Sketch prompt, published in the Fall 2016 issue. Here we present a selection from among the submissions we received, responding to the question, What is the story of the future?
Juan C. Matiz, AIA (B.Arch. â€™94) @sketchingtolive
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About the cover As he steps down after 24 years of leadership at Pratt, President Thomas F. Schutte leaves behind a legacy of transformation.