Student: Fanping Zhao
Faculty: Mark Rakatansky and Lorenzo Vigotti
Student: Fanping Zhao
Faculty: Mark Rakatansky and Lorenzo Vigotti
Spring 2016 Context Studio
Student: Viktoria Usui Barbo
Instructor: Gisela Baurmann
Student: Jeffrey Gaudet
Instructor: Jason Vigneri-Beane
Student: Sayali Pawar
Faculty: Kutan Ayata
Neue Galerie, New York City, (2001)
Photo: Adam Friedberg
Regarding the renovation of the 1914 Carrere & Hastings building into the Neue Galerie, Architectural Digest noted that architect Annabelle Selldorf "transformed the interiors of this Beaux Arts mansion, imbuing them with a Modernist touch but with restraint and respect for the original decorative elements." Selldorf was recently named to the magazine's AD 100, a list of the most influential designers and architects in the world.
Chevrolet Bel Air Concept, (2002)
Paik was a part of the General Motors design team that modernized the legendary open air 1955-57 Chevys of the same name. Blending the graceful flowing lines of the iconic older models with cutting-edge advances in engine technology, the redesign ramps up the fun and excitement of the classic Chevy for the 21st century driver.
The recreational bicycle for urban dweller
Course: Intermodal Mobility (Spring 2015)
Instructor: Jonathan Thayer
Faculty: David Erdman and Natalia Echeverri
The Heisman Memorial Trophy (1935), bronze, Jeff Zelevansky/Getty Images Sport/Getty Images
Eliscu was only 23 when he designed what would become his best-known work. The trophy, which is awarded yearly to the most outstanding college football player, condenses the player's movements—side step, forward drive, and strong arm thrust—into one dynamic motion. Eliscu went on to win a National Academy Prize and the Herbert Adams Memorial Gold Medal for service to American sculpture.
Follow your senses home. Question your understanding of new and remembered stories. Study perception, recognition and creation beyond the visual. Work across media and communication from collage to performance, interview to costume, stage set to psychogeographic realities. Play games and act in plays. Remember things past, experience the present, imagine the future. Find a sense of home.
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."
Media: Mixed (Gouache, InDesign)
And the migrants kept coming, (1940-41), tempera on gesso on composition board
Digital Image (c) The Museum of Modern Art/Licensed by SCALA/Art Resource, N.Y., The Museum of Modern Art, New York, (c) 2012 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York.
Lawrence depicts the mass movement of Black Southerners to the North in this painting from his epic Migration Series, which is made up of 60 panels that were completed when the artist was 23 years old. The first work of art by an African-American to enter The Museum of Modern Art's collection, the series addresses some of the history and struggles of Black America.
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
Woven shoe from one dye cut piece
Course: Shoe Design (Studio) (Fall 2014)
Instructor: Kevini Crowley
Media: oil on primed cardboard
Exhibition: Shown in 2014 at Salon d’Automne, Paris and Carrousel du Louvre, Paris
The Modern, New York City, (2005)
PHOTO: EDWARD HUEBER
Bentel's firm drew on the principles of Bauhaus design to create the formal dining room of The Museum of Modern Art. The Modern has earned Esquire's 2005 Restaurant of the Year and a 2005 Gold Key Award for Excellence in Hospitality Design. In addition, the James Beard Foundation singled it out for Outstanding Restaurant Design in 2006.
BMW print advertisement (1975), With permission of BMW of North America
To introduce the BMW to the American marketplace, Ammirati and his partner Martin Puris created ads that stressed the German-made vehicle’s driving performance and sophisticated engineering. The ads whetted America’s appetite for luxury cars and made the BMW an aspirational purchase for young professionals. Ad Age included the campaign on their list of the Top 100 campaigns of the 20th century.
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.
Things I Know, (2010), aluminum tiles and prints
Photo: Jungyu Lee
Kang covered the entire Korean Pavilion at the 2010 Shanghai Expo with the Korean alphabet in 40,000 art panels painted in the country's traditional colors. The artist's mosaic-like installations, which are often colossal, explore community, culture, and human interrelation through the complementary lenses of personal experience and global unity. Winner of the Special Merit Award at the 1997 Venice Biennale, Kang has exhibited in museums and public spaces around the world.
Embodied Surfaces, Textures, and Membranes is a course that explores the phenomenological, experiential, and sensorial potentials of interactive environments from New Media Art to Responsive Architecture. Students will use electronic and digital media to create custom coded environments at full body scale that are novel and inventive, with the capability to sense, emote, and augment human experience.
Critic Carla Leitao
Red high fashion wedge; Materials: leather, yarn
Instructor: Kevin Crowley
Course: Shoe Design (Fall 2012)
The Waldorf Astoria Hotel, 1929-1931
Courtesy of The Waldorf Astoria Hotel
Morgan gained fluency in the "art modern" style while working in Paris. As part of the architectural firm of Schultze & Weaver, he designed several of the world's luxury hotels in the 1920s, including the Waldorf Astoria, the largest, tallest, and most opulent hotel of its time. It remains one of New York's most popular "grand hotels."
Student: Mark Ribaudo
Faculty: Olivia Vien
In a challenge presented by NASA, Pratt architecture and industrial design students were inspired to address design concerns related to space travel. For an interdisciplinary studio class led by Adjunct Assistant Professor of Architecture Michael Morris and Adjunct Associate Professor of Industrial Design Rebeccah Pailes-Friedman, the students worked on the eXploration Habitat (X-Hab) 2016 Academic Innovation Challenge “Human Centered: Designs for the Mars Transit Habitat,” a NASA project collaboration with academic institutions to develop a transit habitat, or module, for the exploration of Mars.
The students designed the habitat and built two full-scale prototypes of elements of their design. Their work was showcased at the Intrepid Sea, Air & Space Museum in Manhattan in July 2016. This short video, which was included in the museum exhibit, takes a look at the project and the design process.
Marina Burton, Breathe, 2015, Pigmented inkjet print, 16”x20”
The sculpture Black E.C. Tower belongs to a class of structures called “tensegrity,” first invented by Snelson in 1948. Tensegrity structures are composed of a network of taut tension wires enclosing an assembly of internal compression struts. Many of Snelson’s sculptures can be seen in public places and museums throughout the world. (Loan: Courtesy of Marlborough Gallery)
Courtesy of Move Collective
Rashid's bobble, a reusable 100-percent recycled BPA- and phthalate-free plastic bottle with a colorful, changeable carbon filter, has been recognized with numerous design awards, including a 2010 Good Design Award, a 2011 Red Dot Award in the product design category, and a 2011 Edison Award in the consumer packaged goods category. The bottle is guaranteed to provide 40 gallons of impurity-free water, the equivalent of 300 single-serve bottles of water. Move Collective, LLC, the creators of bobble, enlisted world-renowned industrial designer Rashid to fashion bobble's beautiful iconic shape.
Zone, (1953-19549), oil on canvas
(c) Estate of Philip Guston
With its mist of small red hatch-marks filling the painting's center, Zone was created out of hundreds of abstract fields of shimmering strokes, the massed paint pressing forward out of the picture plane. Art historian Michael Auping wrote that many in the art world see Zone as among Guston's "most ravishing paintings."
“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.
Radical cataloging seeks to give a voice to people and concepts that are difficult to access through traditional library subject searches. In this session, we will discuss problematic Library of Congress subject headings, contemporary cataloging issues, and strategies for developing non-traditional library collections where the so-called methods for radical cataloging are exercised to reflect emerging realities and truths for public and academic library users everywhere.
Urban Archaeology, Franklin Street Store, (2009)
With the opening of this leading design resource’s original showroom in 1978, Urban Archaeology—led by longtime collaborators Judith Stockman and her husband Gil Shapiro—introduced the beauty of “urban salvage” to the American home. In addition to rescuing and restoring historic architectural fixtures, Urban Archaeology’s design studio, overseen by creative director Stockman, manufactures award-winning lighting, furnishings, tiles, and mosaics.
Student: Jeremy Cembarno
Faculty: Jason Vigneri-Beane
Student: Yanzhen Qiu
Instructor: Peter Macapia
Fashion design student Sophie Andes Gascon (B.F.A. Fashion Design ’15) created a final thesis collection, which was selected to be shown in the 2015 Pratt Institute Fashion Show held on May 7.
In spring 2014, Gascon was awarded a scholarship from Cotton Incorporated. The scholarship allowed her to source materials and explore different ways of working with cotton in her collection, which was inspired by the people and landscape of her hometown of Manaus, Brazil. This short video offers a window into the processes and ideas that went into developing the collection.
Video production: Marion Hammon and Peter Tannenbaum
Student: Alireza Kabiri + Laliphan Pongpornprot +Passara Tungvijitku
Instructor: Jonas Coersmeier
America was founded on the premise that all we needed was an axe and ox. We went into the wild, felled trees, built cabins, then cleared and plow the land.
The Liquid Villa proposes that we return to the essence of survival and in another way. The Liquid Villa combines a variety of systems that produce sustainable energy, resources and jobs. It is comprised of Algaery, Broilery, Fishery, Brewery/Winery, Culinary, Greenery. The algaery is an integral part of the architecture of the pharm. All of the walls and ceilings produce algae. After a few days the algae waste is send to the Broilery for processing and drying.
It is the most important invention within the pharm complex. The Broilery flows on the surface of the solar pond. It’s caisson becomes the tank for the processing of biofuel, ethanol, and the algae cake. The solar pond is the sine qua non of the pharm complex, without it nothing works. The many functions of the pond are drying the algae, drying the grape into raisin, using the tanks to create biofuel, ethanol. Other uses are for soups, purees, jams, jells, and for many processes of the winery and brewery. The solar and polar ponds are the pillars that support the entire complex of occupiable occupation.
Small scale fishery failed because of the cost of fish food. The algae cake that we are now creating is excellent low cost fish food. Because of this we have an income producing industry. The tanks are at lower level which gives us access for draining and cleaning in the cellar below.
The Brewery and winery use the same processes that produce biofuels. The enormous amounts of grapes that are produce in the vinery which exist in the trusses create another industry for the occupants.
Without the greenery we are dependent on the city for its sewer water management facility. Because of condensation transformation the pharm creates its own climate and allows us to create plant hyacinth, fragmitti, and daphnia which in time purify human and animal waste. The soil pipes can drain directly into the greenery, where composting continumeytl occurs. A vital part of the complex is the Hivery, Wormery, and Insectrary that help to pollinate the plants and enrich the soil.
Student: Shangqing Yang + Sunah Choi+ Ludan Lai
Instructor: Kutan Ayata
Ford Motor Thunderbird, (1955)
(c) 2012 Ford Motor Company and Wieck Media Services, Inc.
Boyer was the lead designer for the original two-seater Thunderbird, the first personal luxury car to be manufactured in the United States. More than two million models of the Thunderbird have sold since its original launch.
Faculty: Mark Rakatansky and Lorenzo Vigotti
The White Roses, (Before 1922); Opaque watercolor, graphite, touches of pastel, and touches of transparent watercolor on cream, moderately thick, slightly textured wove paper mounted to wood pulp paperboard, 24 15/16 x 19 in. (63.3 x 48.3 cm).
Brooklyn Museum, Gift of Frank L. Babbott, 22.90
An accomplished watercolorist, Fisher established her reputation for still life with Japonisme-inflected works, such as The White Roses. Elected a member of the National Academy of Design in 1932, Fisher taught at Pratt Institute, her alma mater, for over 40 years.
Student: Dominic Fiallo
Faculty: Olivia Vien + Hart Marlow
Walk, Don't Walk, (1976), plaster, cement, metal, painted wood, electrical light
Photo: Sheldan C. Collins, art (c) The George and Helen Segal Foundation/Licensed by VAGA, New York, N.Y.
A preeminent Pop movement sculptor, Segal created his sculptures by wrapping subjects in plaster casts, then setting the hollow figures in everyday tableaux. In 2008, The New York Times said of Walk, Don’t Walk: “It is hard not to be shaken by the passionate honesty and existential weight of this work . . . the figures . . . know that life is full of challenges, of hardship, but they are ready to soldier on, to move forward in the world.”
X132 Hellcat motorcycle, (2011)
For the third generation Hellcat motorcycle, Jacobs, design chief of Confederate Motorcycles, created a bike that celebrates the machine’s mechanics. A departure from conventional design in which the frame cradles the engine, the Hellcat’s frame is bolted to the engine in the front and rear, making the engine itself a load-bearing structural element.
Steamboat Willie, (1928), sound engineering (c) Disney
Bill Garity designed the technology that enabled the legendary animator Walt Disney to create the first Mickey Mouse cartoon with synchronized sound, a landmark in the history of animation.
We have begun robotic fabrication of minimal surfaces (1-7). We are continuing digital and physical explorations of the wide range of such surfaces including spherical ones, toroids and linear/planar versions as in towers or horizontally spanning structures.
In an earlier experiment (8-13), the conventional brick was used to derive negatively curved units (saddles) as parts of continuously curved minimal surfaces. We were able to achieve this progressively, with the use of a CNC milled mold, starting with simpler brick vaults. The entire surface was subdivided into 4-sided saddle polygons with curved edges and a general brick-laying procedure was developed for all saddles. This used concentric rings from perimeter edges progressing to the center. Edges of saddles directed brick orientation in outermost rings, inner rings were laid “parallel” to these, and “seams” between edges were filled with customized bricks. Central regions of saddles required further customized bricks. The formalization of this procedure into a computational algorithm would be useful.
Robinson Strong (1-4), Jay Liu (5), Mari Kroin (6), Nicolle Hazard (7);
(8-13) Azhar Kotadia, Alex Catalano, Julie Son, Georgia Reyes, Jay Liu.
Torino Brushed Tea Kettle for Copco, (2005)
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.
The Glass House, New Canaan, Connecticut, (1949)
Photo: Eirik Johnson, Courtesy of The Glass House
Named a national historic landmark in 1997, The Glass House "is one of the most famous houses in the United States," according to The New York Times architecture critic Nicolai Ouroussoff. Celebrated for its innovative use of materials and seamless integration in the landscape, The Glass House remained Johnson's residence until his death in 2005.
Uomo, (1988, Fresson print)
Metzner’s enigmatic lovers became the centerpiece of Fendi’s print campaign for the launch of their first men’s perfume, Fendi Uomo. The soft, but brilliant coloring is the result of Metzner’s use of the Fresson process, a technique invented in France in 1900 and only rarely studied by American artists. The photograph was featured in Metzner’s first solo American museum exhibition at the International Center of Photography in 1991.
AIGA Detroit (1999) , lithograph
Photo: Tom Schierlitz, Courtesy of Sagmeister Studios
For a 1999 AIGA Detroit lecture, Sagmeister had his assistant carve the details of his talk into his torso, which he described as an attempt to “visualize the pain that seems to accompany most of my design projects.” The poster Sagmeister created as a result is now in the collection of the Museum of Modern Art, New York and the Design Museum, London.
Last Conversation Piece, (1994-1995), bronze, 66 1/2 x 244 3/4 x 321 1/8 in. (168.9 x 621.7 x 815.7 cm) as installed
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Museum Purchase, 1995. Photography by Lee Stalsworth.
In the final work of Muñoz’s acclaimed five-part series, expressively rendered, life-size figures placed on the grounds of the Hirschhorn Museum and Sculpture Garden appear to the viewer to be engaged in a fraught, enigmatic encounter. According to Muñoz scholar Alex Potts, “The somewhat unsettling combination of theatre and sculpture in Muñoz’s work produces a scenario where action and stasis, and presence and void, vie with one another.”
Fall 2015 Fundamentals Studio
Student: Sanghoon Seo
Instructor: Peter Macapia