Lebowitz updated the traditional teakettle, creating a gracefully curved carafe shape, relocating the whistle to the lid rather than the spout, and including a push-button mechanism that lifts the lid for easy pouring. The design was an honoree of the Housewares Design Awards in 2005.
Movie Poster for Casablanca, 1942
TM & (c) Turner Entertainment Co.
Known for capturing an entire film in a single defining image, Gold kept Bogart's and Berman's characters separate to avoid giving away the romance. According to The Hollywood Reporter, "Warner Bros. wanted more excitement, so [Gold] added the gun (which Rick used briefly at the end). Gold did all the lettering by hand using a flat-pencil technique."
Sculpture student Anthony Limauro (B.F.A. Fine Arts ’15) referenced classical forms in the contemporary table that he created as part of his senior thesis project. With a glass and walnut top supported by four bronze caryatids, which are sculpted figures that serve as supports, his design explores the contrast between the classical sensibility of the dark, sculptural table legs and the cleaner, lighter finish of the rest of the piece.
In a departure from the sculpted female caryatids found in classical architecture, Limauro created both male and female figures to serve as caryatids supporting the tabletop. Each one faces a different direction, offering a sense of movement to the piece that emphasizes his modern interpretation of the traditional.
A genomic approach to topology leads to its quantization. This type of quantum topology generates new topological structures some of which are displayed here from ongoing work. Our concept of morphological continuum leads to dynamic states of these that morph from one to another, resulting in a paradox: discrete (changes in topology) emerges from continuous (changes in geometry).
The surfaces shown here have a singularity defined by a single emanating vertex in a manner reminiscent of big-bang and black-hole morphologies in physics. These surfaces have non-Eulerian topologies in that they violate the Euler characteristic c (Greek character ‘chi’, and named after the great Swiss mathematician Leonhard Euler) that defines different topologies. For the simplest topologies, namely, polygons, c = 1-g, where g is the number of holes (genus). The eight examples shown (each in two views) are all pentagons with varying number of vertices and holes, each defining a single continuous space bound by a single smooth membrane, and having varying Euler characteristic (1 in the equation is replaced by 0, -1, -2, -3, …….). This idea extends to higher-dimensional structures.
The natural way to physically construct these is using fluids or gravity acting on morphable membranes. Generative quantum topologies lead to new ways of shaping architectural space, and their inter-morphings lead to new adaptable architectural topologies.
(computer modeling: John Gulliford and Peter Van Hage)
Mt. Airy Public Library, North Carolina, (1984)
Photo: Gordon Schenk, Jr.
An innovator in passive energy building—structures that require little energy for space heating or cooling—Mazria designed the Mt. Airy Public Library to employ solar energy and daylight sources to maintain the facility. Both the Department of Energy and the American Institute of Architects have honored the library’s design for its leadership in energy conservation.
Adjunct Associate Professor of Industrial Design Rebeccah Pailes-Friedman taught a wearable technology design studio class last fall in which Pratt students collaborated with engineering students from the University of New Hampshire (UNH) on a project for NASA’s WEAR lab.
The project involved creating clothing that astronauts on the international space station would wear. Each garment would house removable electronic swatches that would enable astronauts to run different types of experiments. Pratt students designed the garments, the swatches, and the mechanism for attaching them to the garment, while students at UNH worked on designing the functionality of the swatches.
“Pratt is the first art school that NASA has worked with on wearable technology,” says Pailes-Friedman. She noted that one of the strengths that Pratt brought to the project is that, “We’re really good at making things—at making things function.”
In April, Pailes-Friedman will take some of the students to the Johnson Space Center to present their work to NASA engineers and show the research they have done.
No Ghosts (1984), logo
GHOSTBUSTERS (c) 1984 Columbia Pictures Industries, Inc. All rights reserved. Courtesy of Columbia Pictures.
The associate producer of the 1984 blockbuster Ghostbusters, Gross also designed the No Ghosts logo. The movie ranks as number 28 on the American Film Institute’s list of America’s 100 funniest movies.
MHDEA 2017 - Emily Hertzberg + Andrew Martens,Carly Mcqueen,Professors Tulay Atak + Ostap Rudakevych
MHDEA 2016 - David Franck + Ardon Lee, Professor Dasha Khapalova
MHDEA 2018 - Daniel Infante, Professor Ajmal Aqtash
PIC 361 - Interwoven
PIC 361 - Interwoven
Textiles are an incredible medium. They bridge cultures, cross disciplines, and embody the future. This class will examine the use and application of textiles while exploring their depth and versatility. From research and historical context to craft and innovation, we will examine the use and application of textiles while making, writing, crafting and imagining.
Untitled, (2005), woodblock print on mylar
(c) Courtesy of Abrams Books
Ossian Ward, visual arts editor for Time Out London, said of street artist Swoon's ephemeral installations: "There's an appropriately fleeting weightlessness to Swoon's short-lived street prints and delicate filigree paste-ups that make their inevitable decay and ruin all the more poignant."
‘Memory of Everything at Once is Fiction’: a Workshop on Innovative Prose
For my fieldwork, I created and led a workshop on the lyrical novel out of Berl’s Poetry Shop—a poetry store and community space in DUMBO, Brooklyn. Taking as a starting point the novels of two poets—Fish in Exile (Vi Khi Nao) and Dahlia’s Iris (Leslie Scalapino)—this workshop investigated the possibilities of innovative prose and the lyric novel, moving towards questions of how these forms articulate inner experience in the social world. We approached questions these authors bring up within these works regarding the US as “occupied by ‘itself’” (Scalapino). How do these books use form to encounter and trouble borders of nationhood and citizenship? Where does language meet solitude, pain and mourning? How do these books challenge conventions of “the novel” to critique social relations and histories of violence? Spurred on by these discussion, we worked towards our own writing into the overlaps of poetry and novel. I planned on splitting sessions between discussing these two books and other texts that participants decide on as a group, and on writing and discussion on our own prose writing.
Vi Khi Nao’s novel Fish in Exile—published winter of 2017—conveys mourning as an encounter between inner being and outer perception through its morphing language, where grief links with ritual and myth. Grief becomes home and exile. Its narrative seeps slowly upward in richness of its prose. In Dahlia’s Iris, Detective Grace Abe investigates a series of murders of migrant workers—murders linked to shadowy multinational tech companies based in San Francisco. In this densely overlapping novel where autobiography, fiction and social critique of USAmerican empire entwine. The narrative begins to mirror aspects of the films Blade Runner, Invasion of the Body Snatchers, and Terminator 2, at times turning into essays about these films.
The workshop ran every Sunday, 11:30 AM–1:30 PM from April 23 to May 21 at Berl’s Poetry Shop in Brooklyn. There was no fee for the workshop, but participants needed to purchase copies of the books from the bookstore. Eight people joined the workshop, most of them were people I did not know who heard about the workshop through the bookstore. It was exciting to find ways to link the multi-generational community that exists around Berl’s Poetry Shop with some of the thinking and writing happening within the Pratt MFA in Writing. As the first workshop at Berl’s and the first workshop I have taught, it created a model that I look forward to bringing into other spaces and communities.
My fieldwork consisted of several trips between two regions of the country (the northeast and the South) to ask the question, “What does it mean to be Black and an American patriot?” I wanted to confront all of the monuments, national sites, and memorials that appear in my thesis manuscript, but ultimately visited a total of 12 historical locations. At each site, I interrogated my personal relationship to america, asking questions about what patriotism means, who can afford to be patriotic, and what is gained and/or lost in that patriotism at the intersection of Blackness. I interviewed Black communities from different regions of the country and across varying age ranges to ask them the same questions and create a discussion around historical symbols, historical erasure, and the ways in which they have (or have not) reconciled the Black experience with the american experience. In each place, I found that many had arrived at these questions just as I have. Some had not found the answers, others concluded that there was no answer, and there were those who were still grappling with any answer at all. I noted a difference in some of the attitudes toward the country, across age groups: some older age groups recognized the ills of american life, but had rested on the simple fact that things were as they have always been, and would not change. Some older groups have been bitter for a very long time. Some of the younger age groups felt a total disregard for the country, focusing their energies on creating community and rejecting the notion of a nation altogether. The bitterness of others of the younger groups seemed to be in the beginning stages of development as feelings of anger toward and rejection by this country were expressed.
Chengtao Yi (B.I.D. ’15) was selected earlier this year to design the award for Legends 2014, Pratt Institute’s annual scholarship benefit honoring icons of art and design whose works have helped shape the cultural landscape.
For the last several years, Pratt’s Department of Industrial Design has worked with the Office of Institutional Advancement on the Legends award design project. Karen Stone, adjunct associate professor of industrial design and director of design at Knoll, chose Yi to design the award based on his skills and confidence, and worked with him through every stage of the process. This included the opportunity to work with artist Edison Zapata at Urban Glass and Adam Apostolos, sculpture technician at Pratt, to create the glass and metal pieces of Yi’s distinctive design.
In this short video on the making of the award, Yi discusses his inspiration and what he learned from the project.
Video production: Marion Hammon and Peter Tannenbaum
The Yale Center for British Art, (1974)
Richard Caspole of the Yale Center for British Art
As a longtime collaborator with Louis Kahn, Meyers helped the renowned architect to fulfill his commitment to the use of natural light for illuminating the galleries of the public museum and research center, which was Kahn’s final project. In recognition of his achievements, Meyers won the National Honor Award of the American Institute of Architects for Excellence in Design in 1978, and the Yale Center for British Art won AIA’s prestigious Twenty-Five Year Award in 2005.
This course integrates materials from intersections of applied arts, philosophy, pop culture and literature. Students will examine works of art from all disciplines as well as cultural artifacts, investigate how they reflect dominant modes of thought—such as our compulsive creation of binaries, the need for cohesive narratives and chronological organization—and look at how the chosen works interrogate and subvert them. Students then create (or revise existing) works inspired by/reflecting the discussed strategies.
Beat It, (1983), video
Chris Walter/WireImage/Getty Images
Giraldi wrote and directed the video for the chart-topping hit off of Michael Jackson best-selling album, Thriller. The video won numerous awards, including two American Music Awards and seven Billboard Awards.
The Chrysler Building (1930)
Tim Graham/The Image Bank/Getty Images
"There, in one building, is all of New York's height and fantasy in a single gesture," wrote New York Times architectural critic Paul Goldberger. With its shining curvilinear surfaces, zigzag ornamentation, and tapering spire, the Chrysler Building is an unmistakable New York landmark. Goldberger featured America's most prominent example of Art Deco archtiecture and corporate power on the cover of his latest book, Why Architecture Matters.
Brooklyn-based artist and Pratt alumna Swoon (Caledonia Curry, B.F.A. ‘02) has been described by The New York Times as someone who “has inspired a lot of wonderment” (Melena Ryzik, August 6, 2014). She is widely known for distinctive prints that are wheat-pasted to abandoned buildings and other locations, as well as for large-scale, site-specific installations.
In this short video, Swoon discusses Submerged Motherlands, her installation at the Brooklyn Museum (from April 11-August 24, 2014) that addresses climate change, and the influence that her Pratt education has on her work.
Video production: Marion Hammon and Peter Tannenbaum
Birsel adapted this Japanese-manufactured bidet and toilet for the American home-improvement market. Its ergonomic design increased comfort, while a snap-on, snap-off seat allowed for easy cleaning. Birsel’s design won the Industrial Design Excellence Award in 1996.
Mark Goetz (Industrial Design, Alumnus and Faculty)
Perimeter Table for Bernhardt Design, (1998)
Courtesy Mark Goetz
Winner of the Chicago Athenaeum Good Design Award, Goetz's table was inspired by the wing of an airplane. The designer used aluminum, glass, and maple to achieve a balance between high-tech design and a natural feeling of warmth.
PIC 301-A - One: The Tempest (by William Shakespeare)
“ONE” invites students to examine in depth one work, one ensemble of works or one major project that integrates multiple disciplines and ‘languages’ of creative practice. This in-depth investigation will be concurrent with students remaking one of their earlier pieces as well as creating an entirely new project.
This section of ONE invites students to examine a monumental creative writing work: The Tempest by William Shakespeare. This is hands-on “playing” with his text to explore art making, including: sound art, spoken text, “found art,” spell casting, filmmaking, magical realism, race, gender, sexuality, ethnicity, map-making, ethno-mathematics, monsters, architecture, design, and acting. Shakespeare has it all! We will see what happens, together, when we make his art our own.
Meow Mix, (1979) television commercial)
Courtesy of Della Femina Advertising
Travisano created the singing cat commercial with his firm, Della Femina Travisano & Partners, for Ralston Purina. When Meow Mix announced plans in 2002 to bring back the ad campaign, The New York Times called the tune “one of the best known, most readily sung commercial jingles.”