Pratt

Institute
Graduate
Bulletin
2012–2013
Visit Pratt

All prospective students are encouraged

to visit Pratt. Here’s how:

Guided Tours of Brooklyn Campus Web Office of Admissions

Guided campus tours are scheduled
Monday and Friday at 10 a m ,
12 p m , and 2 p m and Tuesday through
Thursday at 10 a m and 2 p m .
Schedule a tour online at www.pratt.edu/
admissions/visiting_pratt
Questions? Call us at 718-636-3514
or 800-331-0834 or email us at
visit@pratt.edu.
Manhattan Campus
Visit Pratt online at The Office of Admissions is open
www.pratt.edu/admissions. weekdays from 9 am to 5 pm from
September through May and from 9 a m
Follow us on Twitter at to 4 pm during June, July, and August.
twitter.com/prattadmissions.
Pratt Institute
Contact the Office of Admissions Office of Graduate Admissions
at 718-636-3514 or 800-331-0834 Myrtle Hall, 2nd Floor
for more information. 200 Willoughby Avenue
Brooklyn, NY 11205
te l: 718-636-3514 or 800-331-0834
fax: 718-399-4242

Please contact your department

to schedule a visit.

Produced by the Pratt Institute Office
of Communications.
© 2012 Pratt Institute.
Interior Photography:
Photography: © Bob Handelman;
© Bob Handelman;
additional photography by Josh Gerritsen,
Armando Rafael, Diana Pau, René Perez,
and William Brinson, or provided by
the departments and individual artists.
Unless otherwise indicated, all images of art, design,
and architecture are of work created by students while
studying at Pratt.
This publication has been edited for accuracy
at the time of publication. Information contained
herein is subject to change.
Printed by Conceptual Litho Reproductions.
Page i : Memorial Hall
Page ii : Left: Pratt Sculpture Park; Right: Students sketch
in the Sculpture Park
Page iii : Left: Outside of the Pratt Brooklyn Library;
Right: Pratt’s Brooklyn campus
Page iv : The back of the Pratt Brooklyn Library
Contents

1 About Pratt Institute
7 The History of Pratt
19 s c ho o l of a rc h i t ec t u re
23 Graduate Architecture and
Urban Design
25 Architecture
37 Urban Design
47 Programs for Sustainable
Planning and Development
51 City and Regional Planning
57 Urban Environmental
Systems Management
63 Facilities Management
69 Historic Preservation
75 s ch ool of art and de s ign
77 Art and Design Education
83 Arts and Cultural Management
87 Communications/Package Design
101 Creative Arts Therapy
102 Art Therapy
102 Dance/Movement Therapy
107 Design Management
111 Digital Arts
123 Fine Arts
137 History of Art and Design
145 Industrial Design
157 Interior Design
171 s ch ool of inf or mation
and library s cie nce
173 Library and Information Science
209 Academic Degrees Overview
229 Course Listings
281 Admissions Requirements
291 Financial Aid
307 Tuition and Fees
313 Registration
331 Student Affairs
343 Libraries
347 Board of Trustees
349 Administration
351 Academic Calendar
357 How to Get to Pratt
361 Index

187 s ch ool of libe ral arts

and s cie nce s
189 Media Studies
193 Classes in the Liberal Arts
About Pratt Institute

Founded in 1887, Pratt’s main campus Pratt’s Manhattan campus offers

is located on a 25-acre beautifully graduate degrees in communications
landscaped enclosed campus in Brooklyn, design, package design, facilities
New York Pratt provides students with an management, arts and cultural
outstanding professional education and a management, design management,
traditional residential college experience and library and information science.
within the exciting creative environment In addition, Pratt offers an associate’s
of one of the top art schools in the U.S. degree in graphic design, illustration,
Pratt’s contemporary sculpture garden on and digital design and interactive media
campus, ranked among the top 20 in the for transfer students or students with
country, is a popular draw for visitors and four-year degrees who are not looking
provides students with the extraordinary for a graduate degree, but want intensive
opportunity to live with an ever changing training in these fields.
display of contemporary sculpture. The
main campus in Brooklyn offers graduate
degrees in fine art, art therapy, dance
therapy, architecture (first-professional
and M.S. post-professional degrees),
urban design (post professional degree),
historic preservation, art and design
education (teacher preparation), history
of art and design, industrial design,
interior design, digital arts, city and
regional planning, urban environmental
systems management, and media studies.

Left: View of Pratt’s Brooklyn campus

2
Pratt Institute, ranked
among the top design
schools by Businessweek,
is one of the leading art,
design, and architecture
schools in the United States.
Why Pratt?
ou tstanding
p rof e s s ional faculty
Pratt’s faculty includes award-
winning artists, architects, designers,
and writers—primarily practicing
professionals who ensure that what is
taught is current and that the standards in
the classroom reflect professional practice.
Students are frequently connected
to internships and eventually to jobs
through their professors.
ext e ns ive car e e r as s istance
Six months from graduation, 84 percent
of Pratt’s graduates are employed, and
94 percent of those are employed in their
field. An outstanding career services
office provides students with assistance in
choosing a major, finding an internship
or job, and continues to work with
alumni throughout their lives. Students
can receive help with developing their
portfolios and resumés and more. Most of
the services are online for easy access. The
office works with employers nationally
and globally so that Pratt students from
around the world can find assistance.
w ide var iety of
h igh ly-ranke d progra ms
Pratt’s undergraduate and graduate
programs are consistently highly ranked,
and include the number-one ranked
graduate interior design program in the
United States by U.S. News & World Report
Best Graduate Schools. Pratt was ranked
the top design school in the country by
Global Language Monitor and the top
design school in New York City this year.
program rankings
Rankings 2012
DesignIntelligence ranked Pratt’s
undergraduate and graduate interior
design programs third in the nation.
Pratt’s industrial design undergraduate
and graduate programs ranked ninth and
seventh respectively. Pratt’s under­
graduate architecture program ranked
10th nationally. The graduate archi­
tecture program was ranked among the
top 10 in the world by ArchiFund.org.
Rankings 2011
Pratt was ranked among the top design
schools by Businessweek. Pratt was ranked
first nationally among all schools of art
and design by Global Language Monitor
in a survey that measures “electronic
buzz” about schools. Pratt’s Sculpture Park
was ranked among the top 10 campus art
collections by Public Art Review.

The rankings of individual programs
by either U.S. News or DesignIntelligence
are shown at the right.
Graphic Design and Fashion Design
were ranked among the top 10 programs
in the country by College Crunch, an
online college resource.
Graduate Design Management was
ranked among the top design schools by
Businessweek.
two be au tif u l c a m p u s es
Pratt’s beautiful 25-acre main campus in
Brooklyn, New York, with its combination
of historic and contemporary buildings,
offers students a green tree-lined space
with a contemporary sculpture park
acclaimed as one of the top campus art
collections in the country; an athletic
center; fine arts facilities for printmaking,
metals, sculpture, ceramics, jewelry; and
residence halls and dining on campus.
The main campus with five residence
halls including a graduate residence hall,
is located in a residential neighborhood
just 25 minutes from the art and literary
capital of the world, Manhattan. Twenty-
five beautifully landscaped acres of
brick roadways, seating areas, historic
buildings, and outstanding facilities
offer students plenty of “green space”
in which to work, relax, and spend time
with friends. The combination of a green
campus and a location minutes from
Manhattan makes Pratt an ideal choice.
Pratt’s Manhattan campus is located
at 144 West 14th Street, between Sixth and
Seventh Avenues in a renovated historic
building near Chelsea. It houses the
associate degree programs, undergraduate
construction management, and graduate
programs in facilities management,
library and information science, historic
preservation, communications/package
design, design management, and arts
and cultural management. Parking is
available on the street and in garages in
the area.
3
Number 1
Graduate Interior Design
(U.S. News & World Report Best
Graduate Schools, 2013)
Number 1
Graduate Interior Design
(DesignIntelligence, 2011)
Number 2
Undergraduate Interior Design
(DesignIntelligence, 2011)
Number 3
Undergraduate Fashion (Fashionista)
Number 4
Undergraduate Industrial Design
(DesignIntelligence, 2011)
Number 4
Graduate Industrial Design
(U.S. News & World Report Best
Graduate Schools, 2010)
Number 7
Graduate Industrial Design
(DesignIntelligence, 2011)
Number 9
Graduate Communications Design
(U.S. News & World Report Best
Graduate Schools, 2010)
Number 9
Undergraduate Architecture
(DesignIntelligence, 2011)
Number 15
Graduate Fine Arts (U.S. News & World
Report Best Graduate Schools, 2010)
4

way s to get to k n ow p ratt The first art teacher at Pratt was a pupil of Cézanne; the second
Request information at www.pratt.edu/ was a student of Matisse. More than 100 years later, the legacy
request, and we’ll send you our catalog as well
as information about events, deadlines, and
of masters working with students not only persists at Pratt but
programs based on your interests. grows stronger.
Twitter @prattadmissions

Facebook us at
The masters of today are people who Why do so many prestigious
Pratt Institute-Admissions
take time off from their “nine-to-five” professionals choose to teach at Pratt?
Email us at admissions@pratt.edu
jobs of designing the buildings and cities For some, it’s the passion for teaching
Call us at 718-636-3514 in which we live, creating the award- itself. For others, it’s the ability to
or 1-800-331-0834
winning advertisements that influence use Pratt as a laboratory to test their
Visit us at www.pratt.edu/visit us, and building the information systems latest concepts. And for others, it’s
We welcome your interest in Pratt Institute that are an indispensable part of our lives to water the soil that helped them grow
and encourage you to visit and ask questions, to pass on knowledge and expertise to the into the leaders in their fields. After
show us your work, and find out why Pratt
generation that will shape the essential all, many of these individuals are Pratt
is the first choice for so many students. Visit us
art and design of tomorrow. These graduates themselves.
by scheduling an appointment online at
www.pratt.edu/visit. contemporary masters are teaching at
Pratt today.
Pratt Institute
Office of Admissions
Myrtle Hall, 2nd floor
200 Willoughby Avenue
Brooklyn, NY 11205

c o n tac t u s

Phone: 718-636-3514 or 800-331-0834

Fax: 718-399-4242
Email: admissions@pratt.edu

Right: The Bruce M. Newman ’53 Clock, designed

Right:
and The Bruce
donated M. Newman
by alumnus Clock,
Bruce designed(B.F.A.
M. Newman and donated
by alumnus
Interior Bruce
Design ’53)M. Newman (B.F.A. Interior Design ’53)
5

The History of Pratt
Behind Pratt’s success is a philosophy of
education developed more than 120 years
ago by its founder, Charles Pratt, who
revolutionized education by challenging
the traditional concept of education as a
purely intellectual exercise. He created
a school where applied knowledge was
emphasized and specific skills were
taught to meet the needs of a growing
industrial economy.
Pratt has been a pioneer in education
since its inception. In 1888, the Institute
began its women’s department, which
offered programs in home management,
dressmaking, and millinery. Considered
revolutionary at the time, these courses
were among the first to prepare women
to be professionals in our society. In
1938, Pratt expanded its curriculum
and granted its first four-year bachelor’s
degree. It was the first art and design
school in the United States to require
a foundation year for all art students,
Left: Charles Pratt, founder and first president of Pratt
Institute, created a revolutionary approach to education
that remains relevant today. Photo: Courtesy of the
Pratt Institute Archives
7
giving them a broad overview of the
various artistic disciplines before they
specialize. The first graduate program
in librarianship was added in 1940.
Pratt was also one of the first schools to
incorporate the new computer graphics
technology into a degree program,
the computer graphics and interactive
media major. Pratt was one of the first
schools to recognize design as a serious
discipline and the importance of urban
planning and historic preservation.
Using its immediate environment as a
vital source of education through Pratt’s
Center for Community Development,
formerly PICCED, Pratt has been in the
forefront of strengthening education
while strengthening communities. Today,
Pratt offers students a choice of over 20
graduate programs from which to choose
in its three schools of architecture,
art and design, and information and
library science.

Pratt Today
Pratt’s mission is to educate artists and
creative professionals to be responsible
contributors to society. Pratt seeks to
instill in all graduates aesthetic judgment,
professional knowledge, collaborative
skills, and technical expertise. With a
firm grounding in the liberal arts and
sciences, a Pratt education blends theory
with creative application in preparing
graduates to become leaders in their
professions. Pratt enrolls a diverse group
of highly talented and dedicated
students, challenging them to achieve
their full potential.
More than 100 years after the
founding of Pratt Institute, Charles
Pratt’s mission is still reflected in the
quality of the students the Institute
attracts, the work and achievements
of its alumni, and the exceptionally
high caliber of its faculty. This
level of excellence has earned Pratt
an international reputation as a
first-rate school.
The student body is composed of
4,722 undergraduate and graduate
students—28 percent men and 72 percent
women. Eighty-two percent are full-time.
Twenty-five percent are international.
Not surprisingly, hundreds of Pratt
alumni who first became acquainted
with the neighborhood in their student
days have stayed to settle in Clinton Hill.
Left: Students leaving Myrtle Hall, Pratt’s newest building,
which opened in 2010.
9
Attracted by its elegant 19th-century
homes, its close proximity to Manhattan,
its ethnically diverse population, and
its reasonable cost, they have joined a
cadre of other young urbanites who have
purchased and renovated the Victorian
homes that mark the area. Clinton Hill is
now one of New York’s premier renovated
Victorian neighborhoods, with historic
landmark status and a place on the
National Register of Historic Places.
In part because of Pratt, the
neighborhood boasts an extraordinary
number of creative artists, architects,
designers, illustrators, and sculptors
among its inhabitants. Says one, “In
the diversity of the people and the
architecture there is an electricity and
creativity that is hard to describe,
but which, for me, since my days at Pratt,
has represented the urban experience
at its best.”
10
The first art teacher at Pratt
was a pupil of Cézanne;
the second was a student
of Matisse. More than
100 years later, the legacy
of masters working with
students not only persists at
Pratt but grows stronger.
The masters of today are people who take time
off from their “nine-to-five” jobs of designing the
buildings and cities in which we live, creating the
award-winning advertisements that influence
us, and building the information systems that
are an indispensable part of our lives to pass
on knowledge and expertise to the generation
that will shape the essential art and design of
tomorrow. These contemporary masters are
teaching at Pratt today.
Why do so many prestigious professionals
choose to teach at Pratt? For some, it’s the
passion for teaching itself. For others, it’s the
ability to use Pratt as a laboratory to test their
latest concepts. And for others, it’s to water the
soil that helped them grow into the leaders in
their fields. After all, many of these individuals are
Pratt graduates themselves.
A Renowned Faculty
Much of Pratt’s strength derives from its
faculty. Most have chosen to practice their
profession while they teach. The faculty
is drawn from the ranks of the world’s
art, design, architectural, educational,
and business communities. Architecture
professors design buildings; art and design
professors paint, sculpt, and design ads,
interiors, cars, furniture, and lighting.
You see their work all around you.
These faculty members bring to the
classroom the same high standards upheld
in their professional work. With different
views, methods, and perspectives, they
all share a common desire to develop
each student’s potential and creativity to
the fullest—to turn out competent and
creative professionals who will shape the
world to come.
The result is an exhilarating
learning experience for our students.
Pratt’s faculty members have received
more than 18 Tiffany, Fulbright, and
Guggenheim awards as well as other
prestigious professional awards. This
allows Pratt’s young talents to observe
and learn from its world-renowned
faculty on an individual and personal
basis. The faculty offer students special
assistance in coursework, studio work, and
special projects, and provide important
connections when students are ready for
employment or internships.
State-of-the-Art
Computer Facilities
Pratt has established computer labs with
the most current equipment available.
Computer labs include computer
workstations, color scanners, color and
black-and-white printers and plotters,
digital and analog output centers;
digital photography; video and sound
bays; multimedia video projection with
DVD; CD-ROM burners; and multiple
servers. All workstations feature the latest
software, including Quark, Photoshop,
Illustrator, AutoCAD, ProEngineer,
and Premiere.The computer labs are
networked and most feature full Inter-net
connectivity. Pratt continually upgrades
lab equipment as industry standards
change and processing speeds increase.
Exhibitions
Gallery space, both on campus and at
Pratt Manhattan, is extensive, showing
the work of students, alumni, faculty,
staff, and other well-known artists,
architects, and designers throughout
the academic year. The Institute’s main
galleries are the Pratt Manhattan Gallery
at Pratt’s Manhattan campus and the
Rubelle and Norman Schafler Gallery
in the Chemistry Building on Pratt’s
Brooklyn campus. In addition, solo and
group shows are held on the main campus
in the President’s Office Gallery.

The Library
The Pratt Institute Library is a historical
landmark built in 1896 with interiors
by the Tiffany Glass and Decorating
Company. An outstanding architectural
feature of the Brooklyn campus, the
Library also maintains a small branch
at Pratt Manhattan. Patrons can access
the Internet, bibliographic indexes,
full-text databases, and multimedia
CD-ROM titles from workstations at both
facilities. These workstations have the
latest software and plug-in applications,
which allow the use of VRML files
and streaming audio and video. Internet
documents may be displayed in many
languages and character sets, including
Korean, Chinese, Japanese, Cyrillic,
and Greek.
The Library has approximately
200,000 volumes and a super-ior art,
design, and architecture collection.
Library holdings include excellent slide
and circulating picture collections, and
a Multimedia Center housing nearly
3,000 film and video titles. Students can
use their ID cards to gain easy access to
numerous public and college libraries
near the Pratt campuses.
An Illustrious Alumni Body
Pratt has approximately 26,000
active alumni, whose achievements
are a testament to the soundness
of the Institute’s educational philosophy.
Pratt alumni have designed well-known,
award-winning furniture, clothing,
buildings, commercials, household
items, and automobiles. Their work has
been exhibited in major museums
and galleries.
William Boyer, designer of the classic
Thunderbird automobile
Tomie dePaola, writer and illustrator
of classic children’s books, including
Strega Nona
Jules Feiffer, cartoonist and playwright
Harvey Fierstein, actor and playwright,
Torch Song Trilogy
Steve Frankfurt, advertising innovator;
chairman of Frankfurt Balkind;
named to the Art Directors Hall
of Fame
Bob Giraldi, director of the Michael
Jackson Pepsi-Cola commercial
Michael Gross, executive producer of
Ghostbusters
Bruce Hannah, furniture designer
for Knoll; named Designer of the
Decade in 1990
Eva Hesse, minimalist sculptor
and painter
11
Malcolm Holzman, architect for the
Virginia Museum of Art and Rizzoli
Bookstore in New York
Steve Horn, photographer, graphic
designer, and creative director for
TV commercials
Betsey Johnson, fashion designer
Ellsworth Kelly, contemporary painter
Ed Koren, cartoonist for The New Yorker
magazine
Naomi Leff, international interior
designer; designed Ralph Lauren
flagship headquarters
George Lois, designer, advertising leader,
and chairman of Lois USA New York
Robert Mapplethorpe, photographer
Peter Max, artist; widely known for
his pop art and psychedelic images
of the sixties
Leon Moed, principal, Moed de Armas
Architects, New York; formerly,
project partner, Skidmore, Owings
and Merrill
Norman Norell, fashion designer
Charles Pollock, a leading force in chair
design for more than 40 years
Paul Rand, designer, author; set
worldwide graphic standards;
designed IBM, ABC, Westinghouse,
and NeXT corporate identities
12
Robert Redford, actor and director
Michael Santoro, designer of 1995
Chrysler Cirrus and Dodge Stratus
David Sarnoff, CEO and president of
RCA Corporation
Tony Schwartz, creator of the award-
winning Alka-Seltzer commercial
Robert Siegel, partner, Gwathmey Siegel,
architects for the Guggenheim
addition; elected to College of Fellows
Harry Simmons, principal, Simmons
Architects, Brooklyn; formerly
associate architect on the AT&T
building in New York City with
Philip Johnson
Pat Steir, contemporary painter
and printmaker
Tucker Viemeister, designer of
aviator sunglasses
Max Weber, modernist painter
Robert Wilson, painter, sculptor,
author, designer, and director of
nearly 100 theater, opera, dance,
film, and video compositions
Partnerships with in the New York metropolitan area. The
museum is a pioneer in the installation of
Major New York City period rooms, which range from a 17th-
Cultural Institutions century Brooklyn Dutch church house
to a 20th-century art deco library. There
To encourage Pratt students to take are cutting-edge exhibitions and “First
advantage of the cultural resources of Saturday” events every month.
The Brooklyn Academy of Music,
Brooklyn and Manhattan, the Institute
has created a number of partnerships popularly known as BAM, is in the van-
with cultural institutions in the area. By guard of theater offerings. In the opera
presenting a valid Pratt ID, students can house you can see productions ranging
visit some of these institutions free of from performance art, modern dance, and
charge or at significantly reduced fees. 21st-century operas and symphonies to
In immediate proximity to the campus stylized productions of Shakespeare and
other classical plays. BAM’s movie theater
is the scenic Brooklyn Botanic Garden.
features foreign films, documentaries, and
It contains the Japanese Hill-and-Pond
Garden, one of the most impressive Japa- boutique films. Pratt students can attend
special productions and discussions with
nese gardens outside Japan. It captures
nature in miniature: trees and shrubs, artists at discounted rates. They also have
carefully dwarfed and shaped by cloud the opportunity to work on collabora-
pruning, are surrounded by hills, a pond, tive projects with some of the companies
appearing at BAM.
and forest-size trees. The Steinhart Con-
A short subway ride to Manhattan
servatory, which is surrounded by the Lily
Pool Terrace, features some 5,000 bushes delivers you to the Museum of Modern
of 1,200 varieties of Cranford Roses in Art, which houses a world-class collection
of modern art. You can see works by Pablo
season. Each month, magnificent expres-
Picasso, Thomas Hart Benton, Jack-
sions of nature may be found
son Pollock, Helen Frankenthaler, and
on the grounds.
The Brooklyn Museum of Art, another Georgia O’Keeffe, and the photographs of
nearby cultural institution, has an impres- Ansel Adams and Alfred Stieglitz.
sive permanent collection of Egyptian, In Manhattan, you’ll want to also visit
classical, and ancient Middle Eastern art. the Museum of Arts and Design, another
The Egyptian art collection is one of the of Pratt’s partners. It contains an impres-
world’s finest. The painting and sculp- sive collection of contemporary, national,
ture collection includes European and and international craftsmanship.
American works from the 14th century
to the present. The museum’s Asian art Right: The Juliana Curran Terian Design Center, named
winner of the 2010 Brooklyn Building Award by the Brooklyn
collection, though modest in size, is one Chamber of Commerce, and home of Pratt’s programs
of the more diverse and comprehensive in interior, fashion, industrial, and communications design.
14
Study Abroad Programs
Pratt’s Study Abroad programs combine
the Institute’s academic excellence with
firsthand exposure to some of the most
vibrant European centers in art, design,
and architecture.Studying abroad offers
a unique opportunity to sharpen your
skills, increase your knowledge, and earn
academic credits. A blend of intensive
site-specific study, studio work, lectures,
and field trips provides a complete theory-
and-practice experience in the discipline
of your choice.
Whether you choose to explore the
classic monuments of ancient Rome;
study with cutting-edge Scandinavian
design professionals at the Danish
Institute for Study Abroad in Copen­
hagen; immerse yourself in high
Renaissance art in Lucca; journey across
time periods in Venice; take six credits
in Florentine art and culture at SACI in
Florence; go on a study tour of design
from Barcelona to Paris; or visit London,
Milan, and Paris for their haute couture
expertise, your creative abilities and
inspiration will be significantly enhanced.
To receive credit for study abroad courses,
Pratt students obtain prior approval from
their department heads. Degree students
from other institutions obtain approval
from their home institution in order to
transfer credit. For more information on
individual programs, contact the Center
for Continuing and Professional Studies at
718-636-3453, email at prostudy@pratt.
edu, or visit our website at www.pratt.edu.
g ra duate arch ite ctur e
i n t ur key
Students visit and study urban conditions,
historical monuments, and archaeological
sites in Istanbul and surrounding regions.
This course provides firsthand experience
analyzing architecture, cultural forces,
and site conditions through architectural
investigations. The course focuses on
international experience within the lens
of two significant factors of the 21st-
century metropolis: (rapid) change and
heterogeneity in Istanbul. Students consult
existing ecological, urban, and historic
data in order to evaluate and represent
information from the unique architectural
perspective.This class will track systemic
change and heterogeneity from past to
present in order to understand the shifting
heterogeneity that defines Istanbul and
the surrounding region. Path methodology
techniques will be utilized to study topics
including water quality, aquatic life, water
edge/coastline configuration, waterfront
programming/land-use, waterfront
architecture, waterfront “practices of
everyday life,” land-cover, and urban
form. Individual patches will contain
information stretching across these
topics and will expose relational qualities
between them and allow for potential
projections for the future.
f lor e nce s umme r prog ra m
w ith th e s aci s ch ool o f a rt
Now in its ninth year, Florence 2012 will
inspire and enlighten students with its
six-credit program (two 3-credit courses)
in partnership with SACI: 1) Florentine
Art and Culture: Museum and Library
Resources and Documentation;
2) Cultural Heritage Conservation.
london e -publis h ing summer
s ch ool and blooms bu ry
c onf e r e nce w ith uc l-di s
Students have the opportunity to work
at the UK’s most prestigious and highly-
rated school for information science—
University College London, Department
of Information Studies (UCL-DIS)—and
to study under UCL’s world-renowned
faculty, culminating with attendance at
the exciting Bloomsbury Conference.
arch ite ctur e in rome
The School of Architecture offers two
advanced programs for students to study
architecture in Rome: a spring semester-
long program for fourth-year students
combining architecture and Italian
culture studies and a summer month-long
(June) program for graduate students.
The encounter with the city, a place
foreign and yet familiar, profound and
contradictory, is intended to stimulate a
reconsideration of design priorities. The
investigation of the remains of antiquity
and Rome’s specific artifacts and urban

structures can offer a unique lesson: the
interaction of physical cause and cultural
effect on the built environment, and
its cumulative presence through time.
Special field trips to the northern and
southern regions expand on the depth and
range of the historical sites and subjects
during the semester.
The faculty is composed of a select
group of historians, archaeologists,
artists, architects, and educators presently
residing in Rome. They, together with a
visiting New York critic or critics, oversee
the design studios. The spring program
offers 18 credits, of which 10 are required
in studio design, urban studies, and
freehand drawing. Five additional credits
are in Renaissance, Baroque, and modern
art and architectural history, and three
credits are in Italian language, culture, and
film. The summer program, which takes
place in June, offers three graduate credits.
arc hite c tu r e a n d d esi g n
in c o pe n hag en
A beautiful, vibrant, hospitable city,
Copenhagen is Europe’s best-kept
secret. Enjoy contact with cutting-
edge Scandinavian design, and
study within curricula that combine
challenging interdisciplinary studio
work with investigation and analysis
of contemporary society, politics, and
environment. The seven-week programs
offer nine graduate or undergraduate
credits and are taught in English by
masters in the fields of architecture,
furniture design, textiles, ceramics,
15
glass, and interior design from the Royal pratt in tus cany
Academy, University of Copenhagen,
For six weeks in June and July, Pratt
and Danish Design School. Seven-week
Institute offers painting, drawing, art
programs, all of which run concurrently
education, and photography courses
from early July to mid-August, include
in the great Tuscan cities of Lucca and
wonderful study tours to Sweden,
Florence. This program is designed to
Finland, and Western Denmark.
allow students to broaden their education
through firsthand exposure to traditional
fa s h ion de s ign in e urope : and contemporary Italian culture. Studio
london, par is, and milan courses in painting and drawing are held
in the beautiful private studios within
The Fashion in Europe program takes
the walled city of Lucca. Students are
students to Europe’s fashion centers—
able to develop work independently as
London, Paris, and Milan. Students get a
well as participate in class critiques. Art
thorough overview of the fashion industry
education is in collaboration with Lucca
in these key European cities. Through
students. Photography is taught in state-
on-site visits to famous couture designers’
of-the-art facilities in nearby Florence.
ateliers, ready-to-wear houses, couture
Field trips during the program include
fabric mills, accessory houses, couture
the medieval city of Bologna, the Pietra
beading houses, and fashion institutions,
Santa marble yards and bronze casting
students become familiar with how
foundries, and the Gori Foundation of
fashion is created in these countries. City
Contemporary Sculpture.
tours provide students with a greater
cultural understanding. Prospective
fashion visits include the following: in pratt in ve nice
London, Vivienne Westwood, Alexander
In the evocative city of Venice, students
McQueen, Julien McDonald, Hussein
may take courses in Printmaking/
Chalayan, Matthew Williamson, and
Drawing, Painting, the Art History of
Antonio Berardi; in Paris, Jean Charles
Venice, and the Materials and Techniques
Castelbajac, Lanvin, Christian Dior,
of Venetian art. Pratt’s program is
Thierry Mugler, Jeremy Scott, Givenchy,
conducted in collaboration with the
Hermès, and Lesage; in Milan, Dolce and
Università Internazionale dell’Arte at
Gabbana, Missoni, Bybios Gianfranco
the Villa Heriott, Venice, and the Scuola
Ferre, and Ratti Fabrics.
Internazionale di Grafica. With its rich
artistic history and visual appeal, Venice
provides inspiration for this multifaceted
program. Drawing, printmaking, and
painting courses involve studio and on-site
16
work, lectures, critiques, instruction, and
field trips.\The art history classes are held
at various sites and alternate with lectures
that provide a historical context for the
visits. Graduate students may register for
Materials and Techniques of Venetian
Art, in which students visit restoration
laboratories and learn about master
techniques from conservation experts.
“Pratt was teaching
sustainability before the
word was invented.”
—S e ba st i a n Lou A m b rog i o,
B. Arch. ’76, Vice President,
Global Engineering, Pfizer Inc.
Sustainability
Pratt Institute is taking a leadership
role in sustainability for schools of art,
design, and architecture nationwide.
At this critical moment, when our
environment and ways of life are at
risk, we have a responsibility to ensure
that each of our graduates has a deep
awareness of ecology, environmental
issues, and social justice. Regardless of
discipline, our graduates must be able
to integrate best sustainable practices
into their professional lives. Within each
program, Pratt students are offered an
opportunity to learn to think in new ways
about the relationship of designer to
product, architect to built environment,
and artist to creative expression. Students
throughout the Institute are encouraged
to move outside of their majors, across
disciplines, to work together in intensive
studios that focus on environmental
issues. These studios are structured,
collaborative experiences that focus
on one of the most critical issue of our
time—the protection of our planet from
the effects of global warming.
At the same time that Pratt’s students
are challenged to develop the skills and
sensibilities to creatively and successfully
meet the challenges they will face as
they enter their professional lives, we ask
them to consider “greening” their own
lifestyle. Peer-to-peer student groups help
students choose healthier, more earth
friendly products, maximizing the use of
materials and recycling to reduce waste
and conserving energy. This program
helps move our campus closer to our goal
to be carbon neutral.
Each year our campus is working to
reduce our carbon footprint, “greening”
our dorms, facilities, and classrooms and
creating on ongoing, living laboratory
from which our students can observe,
participate, and experiment. Pratt’s
approach harnesses our extensive
resources to a diverse and vibrant pool of
talent in a world city that has taken the
lead in sustainability. At Pratt, we educate
design students about the ecological
impacts of their profession. The Pratt
experience cultivates and refines clarity
of purpose in each of our students and
asks them to use their creative talent to
design a sustainable future.
Pratt has been recognized by The
Princeton Review and the USGBC as one
of the 311 “Green Colleges” and has made
the following institutional commitments:
▶▶ PlaNYC: mayoral challenge to
reduce our greenhouse gases by 30
percent by 2017.
▶▶ ACUPCC: American College and
University President’s Climate
Commitment
▶▶ I n 2010 Pratt founded PALS,
Partnership for Academic
Leadership on Sustainability, which
has 33 member schools.
See http://pratt.edu/pals.
▶▶ 2010 Imperative: to ensure that
ecological literacy becomes a central
tenet of design education

c e n te r fo r s u sta i na b l e
d e s ig n stu d i es a n d
r e s e arc h ( c s d s ): ed u c at i on,
e x p lo ratio n, en t er p ri s e
CSDS is an active and collaborative
resource for sustainable design at Pratt’s
Brooklyn campus. It provides educational
resources for our faculty and students who
are interested in integrating ecological
design best practices into their works.
CSDS offers access to a sustainable
materials library, research methods, and
case studies of sustainable design projects
and products.Our “Interns for Change”
learn to research, write, and document by
producing videos, information graphics,
and lectures on sustainable design
concepts that are published on the CSDS
website giving our students access to the
critical edge of environmental design.
The CSDS website offers a comprehensive
virtual tour of sustainability initiatives at
Pratt. See http://csds.pratt.edu.
p ratt d e s ig n i n c u bator f or
s u stainab le i n n ovat i on
The Pratt Design Incubator for
Sustainable Innovation is a vibrant and
energetic group of creative professionals
working to link sustainability to
enterprise. It provides a place for
designers, artists, and architects to
actively participate in world-changing
projects and become a part of a growing
network of people who share a common
belief—that economic sustainability
must also account for our world’s
environmental and social well-being.
The Incubator provides ambitious
students and Pratt alumni with a
stimulating place to launch businesses.
It provides office space, planning
support, and access to shop facilities.
Its open office plan stimulates communi­
cation, support, and collabo­ration. The
Incubator works with for-profit and
non-profit entities to integrate sustainable
strategies into real world projects. See
http://incubator.pratt.edu.
17
ac cr e ditation stat ement
Pratt Institute is a coeducational undergraduate and
graduate institution chartered and empowered to
confer academic degrees by the State of New York. The
certificates and degrees conferred are registered by
the New York State Department of Education. Pratt is
accredited by the Commission on Higher Education
of the Middle States Association of Colleges and Schools,
3624 Market Street, Philadelphia, PA 19104, 215-662-5606.
The Commission on Higher Education is an institutional
accrediting agency recognized by the U.S. Secretary
of Education and the Commission on Recognition of
Postsecondary Accreditation.
Programs in art and design are accredited by the National
Association of Schools of Art and Design (NASAD).
The School of Architecture’s Bachelor of Architecture
program is accredited by the National Architectural
Accrediting Board. (For more information on NAAB
accreditation, refer to the School of Architecture section.
Pratt is a charter member of and accredited by the
National Association of Schools of Art and Design.
The B.F.A. in Interior Design is accredited by the Council
for Interior Design Accreditation (formerly FIDER).
The Master in Library and Information Science program
is accredited by the Committee on Accreditation of the
American Library Association.
The Master in Art Therapy is approved by the Education
Approval Board of the American Art Therapy Association,
Inc., and as such meets the education standards of the
art therapy profession. The Graduate Dance/Movement
Therapy program has been approved by the American
Dance Therapy Association.
Programs offered by Art and Design Education and the M.S.
for Library Media Specialists (LMS) offered by the School
of Information and Library Science are accredited by RATE.
The BFA offered by the Interior Design department is
accredited by the Council for Interior Design Accreditation
(formerly FIDER).
 19

School of Architecture de an
Thomas Hanrahan

as s istants to the dea n

Kurt Everhart
Pamela Gill

dir e ctor of product i o n la bs

Mark Parsons

of f ice
Studies in the School of Architecture gather from the arts, Higgins Hall North, 1st Floor

sciences, and liberal arts to produce works of value that are Tel: 718-399-4304 | Fax: 718-399-4315
arch-dean@pratt.edu
sensitive to the realities of life in the cultures of the world. www.pratt.edu/arch

Graduates are imbued with strong ethics and an understanding

of architects’ ability to improve the quality of life.
As a result, they know how to build, what
to build for whom, and how to enhance
the surrounding environment, in the city
or country, in a public works project or a
private home.
The Graduate Architecture and
Urban Design programs offer three
graduate degrees—one professional and
two post-professional.
The first-professional Master of
Architecture (M. Arch.) degree is an
84-credit, three-year professional degree
program for students holding a four-
year undergraduate degree in any field.
This program prepares students to take
the architectural licensing exam and to
become practicing architects. Students
may also receive advanced standing for
pursuing further graduate studies.
Left: Erik Thorson
The post-professional Master of arch ite ctur e
Science in Architecture (M.S. Arch.) is
a 36-credit, three-semester (summer, ur ban de s ign
fall, spring) program for those who hold
an accredited five-year Bachelor’s of programs f or s usta i na ble
Architecture or the equivalent. A thesis is planning and dev elo pment
completed in the final semester.
The post-professional Master of
city and r e giona l pla nni ng
Architecture and Urban Design is a
33-credit, three-semester (summer,
fall, spring) program for those who ur ban e nvironmenta l
hold an accredited five-year Bachelor’s s y ste ms management
of Architecture or the equivalent. A
culmination project is completed in the facilitie s manag ement
final semester.
Students in the M.S. Arch. and the h istor ic pr e s e rvat i o n
Urban Design programs are encouraged
to develop specialized areas of research.
20
The School of Architecture is
dedicated to maintaining the connection
between design theory and practice and
to extending the range of knowledge
necessary to fully understand the built
environment. The diversity of programs
within the school, and the accessibility
of other programs within the Institute,
enables students to pursue a wide range
of interests within the field. Architecture
students may take electives in fine arts,
illustration, computer graphics, industrial
design, furniture design, interior design,
and photography, as well as electives in
advanced architectural theory, design,
technology, and management.
The school’s location in New York City
allows students immediate and frequent
access to the city’s resources. The graduate
programs also have excellent internal
resources: a strong faculty, good facilities,
and a developing research network that
connects the department and its students
to serious national and international
work in the field. This network brings
distinguished visitors to speak to
graduate students in a research forum;
invites visiting faculty to teach studios,
workshops, and seminars; and forges
extensive and thoughtful connections
with international cities and throughout
the United States.The opportunity to
learn from peers is also an exciting part of
the educational experience at Pratt. Post-
professional degree students come from a
wide range of architectural practice, and
first-professional degree students come
from diverse fields of undergraduate
study. The student body includes many
international students, each of whom
brings a different perspective to the study
of architecture. The school encourages
transfer students to apply and will
evaluate credits from other colleges,
universities, or community colleges.
The School of Architecture
demonstrates daily that learning does not
occur solely within the classroom. This
is reflected in the annual undergraduate
and graduate lecture series, which brings
some of the most influential architects
in the world to campus; the Center
for Experimental Structures; exhibits
by students and faculty that fill three
galleries on a regular basis; and the study
abroad programs in Italy and France. The
school publication, InProcess, documents
student work throughout the year.
Pratt’s Center for Community
Development, formerly PICCED, one
of the oldest community advocacy and
technical assistance organizations in the
United States, gives students additional
opportunities to work on real-life projects.
Students are further exposed to the
professional world through optional
internship programs that place them
in outstanding New York architectural
firms, public agencies, and nonprofit
design institutions, giving them firsthand
work experience as well as credit toward
their professional degrees.
The School of Architecture’s mission
is to educate the future leaders of the
design disciplines in the professional
fields of architecture, urban design, city
and regional planning, construction
and facilities management, and historic
preservation. This effort builds upon a
strong context of professional education
within an art and design institute
that stresses the relationship between
intellectual development and creative
activity. The school provides a broad
cultural and intellectual base in the
liberal arts and sciences while providing
the specialized knowledge unique to
individual disciplines. The importance of
lifelong learning is emphasized through
studio-based curricula and research-
oriented thesis programs.
 s c h o o l o f a rc h i t e c t u r e 21

hig he st p rof es s i ona l sta n da r d s The NAAB grants candidacy status admis s ion r e quir e ment s
to new programs that have developed
In the United States, most state Please refer to the Admissions section.
viable plans for achieving initial
registration boards require a degree
accreditation. Candidacy status indicates
from an accredited professional degree
that a program should be accredited stude nt wor k
program as a prerequisite for licensure.
within six years of achieving candidacy,
The National Architectural Accrediting The School of Architecture reserves
if its plan is properly implemented.
Board (NAAB), which is the sole agency the right to temporarily retain during
The School of Architecture offers
authorized to accredit U.S. professional the academic year, for exhibition and
graduate degrees in accredited and
degree programs in architecture, classroom purposes, representative work
nonaccredited programs. The M. Arch.
recognizes two types of degrees: the of any student enrolled in its programs.
first professional degree program is a
Bachelor of Architecture and the Master
three-year professional program. The
of Architecture. A program may be
program is accredited by NAAB in 2010.
granted a five-year, three-year, or two-
The M.S. Arch. and Urban Design
year term of accreditation, depending
programs are post-professional and offer
on its degree of conformance with
a three-semester Master’s degree in
established educational standards.
Master’s degree programs may consist
Architecture and Urban Design.Post- “In 1980, Pratt was wonderful
professional programs in the United in many of the same ways
of a pre-professional undergraduate
States are not accredited by the NAAB.
degree and a post-professional graduate
Pratt’s Graduate Planning Program is it is wonderful now. The
degree, which, when earned sequentially,
constitute an accredited professional
accredited by the Planning Accreditation professors I had talked about
Board and offers a two-year Master of
education. The pre-professional degree is
Science degree in City and Regional
the values in architecture:
not, by itself, recognized as an accredited the importance of space,
Planning. The Facilities Management
degree, however.
program is non-accredited and offers a proportion, and light. And
two-year Master of Science degree in
Facilities Management. those are values that I hold
dearly to this day.”
—A nnabe lle S elldo rf,
B. A rch . ’85,
Founding principal,
Selldorf Architects
 23

Graduate Architecture
and Urban Design

The mission of the Graduate Architecture and Urban Design seminars. Faculty and students in both
programs come from national and inter-
(GAUD) programs is twofold. For the first-professional degree national backgrounds.
program, students develop expertise to engage and lead A developing research area within
complex architectural projects in the professional practice GAUD is the Network for Emerging
Architectural Research (NEAR), which
of architecture through the exploration and development of connects the department to national
substantive methods of design and inquiry across the discipline. and international work. Commensurate
with the complexities of the 21st cen-
For the post-professional programs both in architecture and in tury, NEAR expands beyond traditional
urban design, the mission is to expand a student’s established limitations of academic research, and
professional education into new forms of thinking, types of establishes a space for experimentation
and development in academia, industries,
practices, and areas of expertise. In all cases, each program and public institutions.
promotes a student’s lifelong relationship with his or her field. The Graduate Architecture programs
at Pratt Institute’s School of Architec-
Students in GAUD are immersed in an are engaged in the design of contempo- ture contribute to the progressive design
exploratory design-studio culture. The rary experimental architectural projects environment for advanced architectural
three distinct degrees within the two and the integration of academically rigor- research located in New York City. The
programs—Architecture and Urban ous seminar courses in history and theory, school’s New York City location provides
Design—share coursework, students, computer media, and technology. immediate and frequent access to the
faculty, and events, thus allowing each The Graduate Architecture programs city’s extensive range of creative oppor-
program to draw upon the other’s perspec- have a diverse faculty of distinguished tunities. The international study abroad
tives and expertise. This mix supports the educators and practicing architects, programs extend the investigation of the
ability to integrate diverse theoretical and excellent facilities, and trans-disciplinary city to Rome and Istanbul with concen-
technical knowledge in speculative design connections with the well-known art and trated seminars looking at both cities and
work while emphasizing critical think- design departments of Pratt Institute. their unique contributions to architecture
ing/critical making. Students and faculty Distinguished visitors present their work and urbanity.
Left: Hannibal Newson, Mina Rafiee, Wei Xin, Michelle
to graduate students on a regular basis
Fowler, Paulina Hospod in research forums, guest studios, and
 25

Architecture

Architecture is a cultural act. Both the first-professional ch air

William MacDonald
and post-professional programs seek to formulate a
contemporary approach to architecture that is “ecological” as s istant ch air
Philip Parker
in the sense that it provides collective exchanges that
are both trans-disciplinary and trans-categorical. This program c oor di nato rs
ecological approach encourages feedback, theoretical studies, Alexandra Barker,
Master of Architecture
and exposure to myriad other categories and disciplines Jason Vigneri-Beane,
that are newly emerging in contemporary culture. It Master of Science, Architecture

also helps students develop relationships with industry, Maria Sieira,

Architecture History/Theory
manufacturing, and political agencies. This approach seeks Radhi Majmudhar, Technology
to intensify hetero­geneous interests and agencies. In Christopher Whitelaw, Media

addition, the programs see architectural innovations in both

as s istants to the cha i r
theory and practice of architecture and the interconnected Erin Murphy
phenomena out of which the discipline emerges. Erika Schroeder

of f ice
Tel: 718-399-4314 | Fax: 718-399-4379
gaud@pratt.edu
www.pratt.edu/academics/architecture

Left: Left: Andri Klausen, Jeffrey Johnson; Right Top: Andri

Klausen, Jeffrey Johnson; Right Middle Top: Jonathan
Alexander, Nick Tran; Right Middle Bottom: Jonathan
Alexander, Nick Tran; Right Bottom: Jonathan Alexander,
Nick Tran
26

The Graduate Architecture program m a ste r of s cie nce, arch ite ctur e
offers two degrees: Master of Architecture (post-prof e s s ional)
(M. Arch.) (first-professional), and
The 36-credit, three-semester (summer,
Master of Science (M.S.) in architecture
fall, spring) post-professional program
(post-professional).
aims to expand a student’s previously
established professional education into
m aste r o f a rc h i t ec t u re new forms of thinking and practice.
( fir st- p ro fes s i ona l ) Open to students holding a five-year (B.
Arch.) or equivalent (M. Arch.) degree
The Master of Architecture, a first-
in architecture, the program helps
professional degree, is a NAAB accredited
students develop a lifelong relationship
84-credit, three-year program that
to their specific interests in architecture.
maintains a mission to train students as
All students are exposed to relevant
leaders in the professional practice of
issues through rigorous history and
architecture with substantive methods
theory electives, lectures by prominent
of design and inquiry. The program is
scholars, computer-technology courses
intended for students holding a four-year
emphasizing critical thinking, and studios
undergraduate, non-professional degree in
requiring integration of theoretical and
any field. This program aims to establish a
technical knowledge. The program begins
student’s professional education with new
with an intensive summer semester
forms of thinking and practice and to help
concentrating in design, digital media,
students develop a lifelong relationship to
and theory. The second semester’s
their respective fields.
advanced option studios are integrated
Core design studios and seminars
with those taken by the master of
in history and theory, computer media,
architecture (first-professional) students.
and building technologies in the first
The culmination of the program is a
three semesters prepare students for the
thesis project on a student-developed
comprehensive architecture project in the
specialized area of research.
fourth semester. This combined design
and integrated building-systems course
integrates all related disciplines into the
single project. The final two semesters
are dedicated to advanced-option studios
and seminars where students can explore
a range of options within all four areas of
the curriculum.

Right: Nima Farzaneh

s c h o o l o f a rc h i t e c t u r e 27
Page 28: Top Row: Anna Bocella; Middle Row: Left, Middle: Andrew
Sutton; Right: Sean Madigan; Bottom Row: Left, Middle: Philip Jenkin;
Right: Victoria Maceira

Top Row: Left: Antonis Charalambous; Top Row: Middle: Ryan Griffin;
Top Row: Right: Sidika Merchant; Middle Row: Left, Middle, Right:
Michele Zanella; Bottom Row: Left: Reynolds Diaz Jr., Chris Dorey;
Bottom Row: Middle: Nima Farzaneh
30
Architecture Faculty
Vito Acconci
Adj u n ct Ass o ci at e P rof essor
B.A., College of the Holy Cross; M.F.A.,Writers’ Workshop,
University of Iowa; his design and architecture come
from another direction: a background first in writing
and then in art. By the late ’80s his work had crossed
over, and he formed Acconci Studio, whose operations
come from computer thinking and mathematical and
biological models. Acconci Studio treats architecture
as an occasion for activity and making spaces fluid,
changeable, and portable. The Studio is currently
working on a three-story building in Milan, a bridge-
system and park near Delft, and an amphitheater
in Stavanger, and has other projects in Toronto and
Indianapolis.
Nick Agneta, AIA
V i si t i n g Ass i sta nt P rof essor
B. Arch., Cooper Union; R.A., New York State; member,
Queens Chapter American Institute of Architects;
architect and construction manager in the NYC
metropolitan area; awards and honors: Suffolk County
9/11 Memorial Competition, First Place; Alabama
School of Fine Arts Competition, Second Place;
achieved licensure with New York State in 1986; has
taught at New York University and New York Institute
of Technology and is the technical director for Nelligan
White Architects in New York, N.Y.; currently teaches
professional practice and is IDP coordinator at Pratt.
Alisa Andrasek
Visitin g Ass istan t Profess or
M.S., Advanced Architectural Design, Columbia
University; University of Zagreb; director of BIOTHING
and an experimental practitioner of architecture and
computation; BIOTHING’s work is in the permanent
collection of the Centre Pompidou in Paris and
FRAC Collection in Orleans; awards: Metropolis Next
Generation Award, 2005, and FEIDAD Award, 2004;
recent exhibitions include “Transitory Objects TB-A21”
in Vienna, “Elles” at the Centre Pompidou in Paris,
a maze at FRAC Orleans, “Synathroisis” in Athens;
“Scripted by Purpose” in Philadelphia, Seroussi pavilion
in Paris, “Ars Mathematica” in Paris, the 2003 Prague
Biennale, the 2004 Sydney Biennial, Architectural
Biennial Beijing 2004, 2006, and 2008, and the New
Museum, N.Y., among others.
Philip Anzalone
Visitin g Ass istan t Profess or
M. Arch., Columbia University; B.P.S. Architecture, SUNY
Buffalo; director of the Building Technologies Sequence
and director of the Avery Digital Fabrication Laboratory,
Graduate School of Architecture, Columbia University;
registered architect with experience as a curtain wall
consultant for R. A. Heintges & Associates and an
architectural designer with Greg Lynn Form; currently
a partner of aa64; published in ArchitectureWeek,
ACADIA, ACSA, and the International Journal of
Architectural Computing..
Carlos Arnaiz
Adjun ct Ass ociate Profess or
B.A., Philosophy, Williams College; M. Arch., Harvard
University; an associate partner at Stan Allen Architect;
previously worked for Office dA in Cambridge, Field
Operations and Bumpzoid Architects in New York, and
as a founding principal for RUF studio in New York. His
experience at these offices has ranged from high-level
strategic planning for cities around the world to project
design and construction documentation on commercial
and residential projects. At Field Operations, he
served as project manager and lead designer on the
transformation of a 650-acre plot of land in the middle
of San Juan, Puerto Rico, into the island’s largest
and most important Botanical Garden. He led the
development of all aspects of the project including the
creation of an expanded river corridor along one of
San Juan’s principal waterways. His academic research
has focused on the ongoing relationship between
ornament and structure in design. While at Harvard,
he collaborated with Peter Rowe on a number of
research projects investigating innovative solutions in
the planning and management of contemporary urban
regions. He has served on juries at various institutions
in the U.S.A. including Harvard, Princeton, and the
University of Pennsylvania, where he taught advanced
studios in the Landscape Architecture Program from
2002 to 2004.
Kutan Ayata
Adjun ct Ass istan t Profess or
M. Arch., Princeton; B.F.A., Architecture, Massachusetts
College of Art, Boston; partner/co-director of
Young & Ayata, a practice dedicated to both building

commissions and experimental research and setting
out to explore novel formal and organizational
possibilities in architecture and urbanism. Previously,
Kutan worked at Reiser + Umemoto, where he was the
lead project architect for the O-14 Tower in Dubai and
performed as a senior designer in a number of projects
and competition entries; awards: Suzanne Kolarik
Underwood Thesis Prize.
Alexandra Barker
Adj u n ct Ass i sta nt P ro f essor; Coo rdinator,
M . Arch i t ect u r e
B.A., Harvard University; M. Arch., Harvard University;
has coordinated the MARCH program since 2001;
grants: (with Catherine Ingraham) NCARB grant to
create a seminar integrating practice and the academy;
(with Nico Kienzl) FIPSE/CSDS grant to integrate
sustainable practices into the GAUD curriculum; is
a principal of Barker Freeman Design Office, a New
York practice employing material research, fabrication
technologies, and system design as generative tools in
the development of multivalent spatial solutions.
Stéphanie Bayard
Adj u n ct Ass i sta nt P ro f essor
M.S., Advanced Architectural Design, Columbia
University; Dipl. Arch Paris La Villette; teaches design
studio and urban design seminars; previously taught
at Ohio State and Rensselaer Polytechnic Institute;
founded aa64 with Phillip Anzalone, as an experimental
practice focusing on design, digital fabrication, and
material construction in the United States and Europe;
their work has been published and exhibited at the AIA
NY Center for Architecture.
Karen Brandt
V i si t i n g I n st ru c to r
B. Arch., University of California, Berkeley; M. Arch.,
Harvard University; registered architect and senior
associate at R.A. Heintges & Associates, a firm
specializing in custom building envelope and curtain
wall design.
Meta Brunzema
Adj un ct Ass istan t Profess or ; Coor d in ator ,
M .S., Architectur e an d Ur ban Des ign
M. Arch., Columbia University; principal of Meta
Brunzema Architect P.C., an award-winning
architecture and urban design practice that addresses
contemporary spatial, environmental, and socio-
political challenges in innovative ways; the firm
specializes in carbon-neutral design; current projects
include “Park Avenue Market Mile” in N.Y.C. and “River
Pool” in Beacon, N.Y. Brunzema is a LEED(R) accredited
professional.
Theo Calvin
Visitin g In structor
B.A., Art History, Rice University; B.Arch., Rice University;
M.S. Advanced Architectural Design, Columbia
University; interdisciplinary designer and teacher
focused on the use of computation as a design medium;
earlier in his career created work for Venturi Scott
Brown and Assoc, Gensler, Wired Magazine, Verizon
Wireless, and others; currently a principal designer for
Frog Design in New York.
Robert Cervellione
Visitin g In structor
B. Arch., Architecture, Roger Williams University;
M. Arch., Architecture, Pratt Institute; principal of
CERVER Design Studio, a multidisciplinary practice
utilizing leading edge methodologies with advanced
computational systems; actively involved in research
that is focused on the advancement of digital
fabrication and computational geometry; has worked
for influential architects and designers creating work
of the highest quality that garners international
recognition; has also taught at SCI-Arc in Los Angeles
and the University of Michigan.
Steven Chang, AIA
Adj un ct Ass istan t Profess or
B. Arch., University of California, Berkeley; Eisner Prize in
Architecture; a senior associate at Polshek Partnership
Architects, who has worked as a senior designer/
project architect on numerous cultural and institutional
projects, including the New York Botanical Garden and
the Brooklyn Museum; also has worked in construction
as a carpenter and traveled extensively while working at
architecture offices in Portugal, Germany, and Korea.
s c h o o l o f a rc h i t e c t u r e 31
Cristobal Correa
Adjun ct Ass istan t Profess or
B.S.C.E., Universidad de Chile; M.S.C.E., Massachusetts
Institute of Technology; associate principal, Buro
Happold, New York office; joined Buro Happold in 1998
and now manages teams in the structural engineering
division, dealing with, among other things, tension
structures, long-span structures, and façades; notable
projects include the Crystal Bridges Museum of
American Art in Bentonville, Arkansas; the Arena das
Dunas in Natal, Brazil; and the Roppongi Canopies in
Roppongi, Japan; serves as a member of the board of
the Structural Engineers Association of New York.
Theo David
Profess or
B. Arch., Pratt Institute; M. Arch., Yale University;
practicing architect in New York City and Nicosia,
Cyprus; studied under Paul Rudolph at Yale; tenured
professor, former faculty president, and chair of
graduate architecture; has been awarded the 2009
Cyprus Architects Association Prize in Architecture, the
2001 Cyprus State Architecture Award, the New York
City Bard Honor Award, NYSAIA Design Award, and
was nominated for the Mies van der Rohe Award; his
work as an architect/educator has been exhibited and
published worldwide.
Manuel DeLanda
Adjun ct Profess or
B.F.A., School of Visual Arts; has authored five
philosophy books: War in the Age of Intelligent
Machines (1991), A Thousand Years of Nonlinear History
(1997), Intensive Science and Virtual Philosophy (2002),
A New Philosophy of Society (2006), and Philosophy,
Emergence, and Simulation (2009); also teaches at
the University of Pennsylvania, SCI-Arc in Los Angeles,
and holds the Gilles Deleuze chair at the European
Graduate School in Switzerland.
Hernan Diaz Alonso
Adjun ct Ass istan t Profess or
M.S., Advanced Architectural Design, Columbia
University; Universidad Nacional de Rosario, Argentina;
considered one of the most influential voices in his
generation, he has been a studio design and visual
arts professor at SCI-Arc, Columbia University, and at
Universität für angewandte Kunst Wien; principal and
32
founder of Xefirotarch Architecture, an award-winning
design office in architecture, product, and digital motion
based in Los Angeles.
Deborah Gans
Ass o ci at e P ro f e ssor
B.A., Harvard University; M. Arch., Princeton University;
design work has been published and exhibited at IFA
Paris, RIBA London, the Guggenheim Museum, and the
Venice Biennial; currently engaged in a community-
based project in New Orleans funded initially by HUD
and in a master plan for The Graham School, Hastings-
on-Hudson, New York; publications include The Le
Corbusier Guide, now in its third edition; The Organic
Approach; and, most recently, Extreme Sites: Greening
the Brownfield.
James Garrison
Adj u n ct Ass o ci at e P rof essor
B. Arch., Syracuse University; principal, Garrison
Architects.
Erik Ghenoiu
V i si t i n g Ass i sta nt P rof essor
B.A. Geography (cultural), Clark University, M.A. History
of Art and Architecture, Harvard University;
M.S. Geography (urban), University of Wisconsin
Madison; Ph.D. Architecture, Landscape Architecture,
and Urban Planning, Harvard University; works on
architecture, design, and urban planning of the 19th
and 20th centuries, with particular focus on Germany
and the United States; has taught at Pratt, Parsons,
and the University of Wisconsin–Madison; has served
as a fellow of several research institutes on both sides
of the Atlantic and is currently involved in founding a
new institute in Berlin; currently a co-editor and faculty
coordinator for GAUD’s Tarp publication.
Jose Gonzales
V i si t i n g Ass i sta nt P rof essor
M.S. Advanced Architectural Design, Columbia
University; cofounder and principal, SOFTlab, a
design studio.
Matthew Herman
Visitin g Ass istan t Profess or
B. Arch., Syracuse University; M. Arch., University
of Pennsylvania; has been an architect with Burro
Happold, among other firms.
Alicia Imperiale
Visitin g Ass istan t Profess or
B. Arch., Pratt Institute; M. Arch., Ph.D. candidate,
Princeton; M.F.A., CUNY Hunter College; work focuses on
the impact of digital technologies on art, architecture,
representation, and fabrication; publications include
Flatness: Surface Tension in Digital Architecture
(Birkhauser, 2000), “SKIN: Surface, Substance and
Design,” “Smooth Bodies,” “Fluid Alliances: Architecture,
Politics and Fetish Post 9/11,” and “Seminal Space:
Getting under the Digital Skin,” in RE: SKIN, (MIT Press,
2006); co-curator of the exhibit “Clip, Stamp, Fold: The
Architecture of Little Magazines, 196X-197X.”
Catherine Ingraham
Adj un ct Profess or
B.A., St. John’s College; M.A., Ph.D., Johns Hopkins
University; chair of Graduate Architecture, Pratt
Institute, 1999–2005; editor, Assemblage, 1991–98
and (with Marco Diani) of Restructuring Architectural
Theory; author, Architecture, Animal, Human;
Architecture and the Burdens of Linearity; and over 50
published articles on architectural theory and history;
recipient of New York State Council on the Arts grant,
Canadian Center for Architecture research fellowship,
Graham Foundation grants, NEA grant, SOM research
fellowship, Chicago, and four MacDowell Colony
residencies; winner, Museum of Women’s History design
competition; has given invited lectures, seminars,
and symposia at over 60 national and international
universities.
Hina Jamelle
Visitin g Ass istan t Profess or
B.A., Denison University; M.Arch., University of Michigan;
co-director and a principal architect at Contemporary
Architecture Practice with Ali Rahim.
Mitchell Joachim
Ass ociate Profess or
B.P.S., SUNY, Buffalo; M. Arch., Columbia University;
M.A.U.D., Harvard University; Ph.D., Massachusetts
Institute of Technology; a leader in ecological design
and urbanism and a co-founder of Terreform ONE
and Terrefuge; also an associate professor at NYU and
previously was the Frank Gehry Chair at University
of Toronto; previously served on faculty at Columbia,
Syracuse, Washington, and Parsons; formerly an
architect at Gehry Partners, and Pei Cobb Freed;
recipient of fellowships at TED2010, Moshe Safdie
Assoc., and Martin Society for Sustainability at MIT;
winner of the History Channel and Infiniti Excellence
Award for City of the Future, and Time Magazine Best
Invention of 2007, Compacted Car w/ MIT Smart
Cities; his project, Fab Tree Hab, has been exhibited at
MoMA and widely published; he was chosen by Wired
magazine for “The 2008 Smart List: 15 People the Next
President Should Listen To”; Rolling Stone magazine
honored him in “The 100 People Who Are Changing
America”; in 2009 he was interviewed on the Colbert
Report; and Popular Science magazine has featured his
work as a visionary for “The Future of the Environment”
in 2010.
Robert Kearns
Vis itin g Ass istan t Profess or
B.A.E., Penn State University; M. A. E., Penn State
University; educational background emphasized
integration of building engineering disciplines with
architectural design and sustainability; has worked
in construction in Singapore and Germany; joined
Buro Happold’s New York office in 2003 as a graduate
engineer and is currently an associate; his work with
Buro Happold has explored various areas of building
power systems, energy-efficient lighting design, and
alternative energies; experience with international
projects and architects has familiarized him with a vast
array of innovative design and construction practices.
Karel Klein
Adjun ct Ass ociate Profess or
B.S. Civil Engineering, B.S. Architecture, University
of Illinois at Urbana-Champaign; M.Arch., Columbia
University; co-director of Ruy Klein; investigating
craft, precision, and the evolution of design expertise
in the digital age, she continues to foreground the

persistence of the designer in contemporary culture;
publications include GA Houses, New York Times
Magazine, and Architectural Record; registered
architect in New York State.
Carisima Koenig
V i si t i n g I n st ru c to r
B.A., Drake University; M. Arch., Iowa State University;
senior associate and LEED-accredited professional
practicing architecture at EYP Architects & Engineers;
specializes in the renovation of modernist icons; her
research interests include the evolving relationships
between architecture, urbanism, and security from
modernism to contemporary practices; her work also
addresses gender, diversity, and politics in architecture.
Mehmet Ferda Kolatan
V i si t i n g Ass i sta nt P rof essor
M.S. Advanced Architectural Design, Columbia
University; Arch. Dipl. (with distinction), RWTH
Aachen; founded SU11 architecture+design with Erich
Schoenenberger as an experimental architecture
practice in New York City; firm has since received
national and international acclaim and has been
published widely; awards include Lucille Smyser
Lowenfish Memorial Prize and the Honor Award for
Excellence in Design, Columbia University.
Sulan Kolatan
Adj u n ct P ro f e ss o r
Diploma, Technische Hochschule Aachen Universitat;
M.S., Architecture and Building Design, Columbia
University; founded KOL/MAC Studio along with
William MacDonald, in New York City in 1988. Kolatan
and MacDonald have taught architecture as visiting
professors at Barnard College, Ohio State University,
the University of Pennsylvania, Parsons School of
Design, University of Virginia, The Institute of Advanced
Architectural Studies in Basel, Switzerland, and Venice,
Italy, and Columbia University. The Kolatan/Mac Donald
Studio primarily works with strangely shaped structures,
of housing and apartment blocks. Dubbed “Vertical
Urbanism,” the apartment structures are divided into
pods that structurally conform to the addition and
removal of other pods.
Craig Konyk
Adj un ct Ass istan t Profess or
B. Arch., Catholic University; M. Arch., University of
Virginia; principal, Konyk Architecture.
David Christopher Kroner
Visitin g Ass istan t Profess or
B.S., Architecture Design, University of Virginia; M. Arch.,
Columbia; senior designer at Dean/Wolf Architects
in New York City; teaches courses in a digital design
sequence, focusing on fundamental and advanced
techniques in modeling, simulation, visualization,
analysis, scripting, and fabrication; has taught at
Columbia University GSAPP, the City College of New
York, the University of Virginia, and at the National
Building Museum in Washington, D.C.
Sameer Kumar
Adj un ct Ass istan t Profess or
B. Arch., CEPT, Ahmedabad; M. Arch., University of
Pennsylvania; LEED-accredited professional; currently
at KPF Associates, working on projects in Hong Kong,
China, and India; previously worked for Heintges
as building envelope consultant with Studio Daniel
Libeskind, Santiago Calatrava, Polshek Partnership,
and other New York practices; worked for FTL Design
Engineering Studio and specialized in long-span,
lightweight, and deployable structures; is a visiting critic
at Columbia and Parsons.
Franklin Lee
Visitin g In structor
Dipl. and R.I.B.A Part 2, Architectural Association,
London; M.S. Advanced Architectural Design, Columbia;
principal and cofounder, SUBdV in London with Anne
Save de Beaurecueil.
Thomas Leeser
Adj un ct Ass ociate Profess or
Dipl. Ing. Architect; founder and principal, Leeser
Architecture, an internationally acclaimed studio,
known as a pioneer in design that specializes
in the inclusion of new media and digital technologies
in architecture.
s c h o o l o f a rc h i t e c t u r e 33
Teresa Llorente
Adjun ct Ass istan t Profess or
B.E., Cooper Union; M.S., Columbia University; licensed
professional engineer in New York State.
Carla Leitao
Adjun ct Ass istan t Profess or
M.S. Advanced Architectural Design, Columbia
University; Architecture School of Lisbon;
architect (licensed in Europe), designer, and writer;
co-founder, AUM Studio (architecture and multimedia)
and Umasideia (architecture and engineering) in
Lisbon; projects include “Visibility” (UIA Celebration of
Cities competition, 2003, Lisbon, Portugal); “Suture,”
a multimedia installation; MAK Vertical Garden
(competition by invitation, 2006); awards include the
Akademie Schloss Solitude Fellowship, 2005.
John Lobell
Profess or
B. Arch., M. Arch., University of Pennsylvania; interests
include architecture, cultural theory, consciousness,
Buddhism, information theory, and generative
genomics; recipient of several grants, including one
from the Graham Foundation; author of numerous
articles and several books, including Between Silence
and Light: Spirit in the Architecture of Louis I. Kahn
(Shambhala, 2008); consults on metal fabrication with
Milgo/Bufkin; director of research, Timeship.
Peter Macapia
Adjun ct Ass istan t Profess or
B.F.A., Rhode Island School of Design; M.T.S., Harvard
University; M.A., Columbia University; M.Phil., Columbia
University; Ph.D., Columbia University; his design
focuses on problems of computation, mathematics,
the geometry and topology of matter/energy relations,
and problems of urban density; publications include
Log, Monitor, Spread, and The Cambridge Journal
of Architecture; recipient of grants for research in
sustainability and design from Columbia University and
Pratt Institute; has taught and lectured internationally
in New York (Columbia and Pratt), Los Angeles
(SCI-Arc), Paris (ESA, Malaquais), Mexico City (UNAM),
and Tokyo (TUS).
34
William Mac Donald
C h a i r o f G r a duat e Arc hit ec t ure and
U r b a n D e si g n
M.Sc. Architecture and Urban Design, Columbia
University; B. Arch., Syracuse University; attended the
Architectural Association in London; director, KOL/
MAC, LLC, Architecture + Design, co-founded with
Sulan Kolatan; has taught as professor, distinguished
visiting professor, or visiting chair at the University
of Virginia (as acting chair); Columbia University;
the University of Pennsylvania; Southern California
Institute for Architecture; The Ohio State University;
City University of New York; University of California,
Berkley; and Pratt Institute; academic and professional
honors and awards include the “40 under 40” award,
Progressive Architecture awards, AIA design awards;
represented the U.S. in the U.S. national pavilion and
for the international segment of the International
Architecture Bienniale in Venice; via KOL/MAC,
has collaborated with various leading companies,
including DuPont, AI Implant of Biotech Industries,
Alias, Merck Chemicals, Autodesk, C-TEK, ARUP AGU,
DitlevFilms, Inc.; exhibited at MoMA, SFMoMA, Cooper-
Hewitt National Design Museum, Centre Georges
Pompidou, Barbican Art Gallery, Architekturmuseum,
Mori Contemporary Art Museum, 1st International
Architecture Biennial in Beijing, VITRA, Yale University,
and the FRAC; publications include The New York Times;
The Washington Post, CNN, Phaidon Press, Rizzoli, GA
Houses, AD Magazine, Architectural Digest, ACTAR,
Domus, Lotus International, Architectural Record; co-
author, Lubricuous Architectures with Kari Andersen;
a comprehensive monograph titled KOL/MAC WORK
BOOK is currently in preparation for publication.
Radhi Majmuder
V i si t i n g Ass i sta nt P rof essor
B.A., Economics, Columbia University; M.S., Civil
Engineering, Columbia University; M.B.A., Global
Executive, London Business School; vice president of
an internationally recognized and innovative structural
engineering firm in charge of U.S. and Caribbean
operations from its office in New York; licensed
professional engineer with over 18 years of experience;
has worked for various design consultancies that
specialize in the design of buildings, bridges, marine
and coastal works, and industrial and environmental
structures; has directed many projects from the
conceptual planning and proposal stages through the
entire design, engineering, and construction cycle,
including staffing and facilities startup.
Rosalinda Malibiran
Adj un ct Ass ociate Profess or
B. Arch. Design, University of Florida; M. Arch., Columbia
University; a visual effects artist working for Blue Sky
Studios, who has worked on feature films such as Rio,
IceAge: Dawn of the Dinosaurs, Horton Hears a Who,
IceAge: The MeltDown, and Robots.
Elliott Maltby
Adj un ct Ass ociate Profess or
B.A., Philosophy, Kenyon College; Master of Landscape
Architecture, University of California-Berkeley;
interests include how art and design contribute to the
success of the urban experiment; current
research focuses on temporal and situational spatiality;
partner, thread collective, a multidisciplinary design
firm that explores the seams between building, art, and
landscape; a broadly defined notion of sustainability,
existing site characteristics, and sensory experience
further inform the firm’s design process; has worked for
five years with Mary Miss, one of the most influential
artists in the public realm.
Benjamin Martinson
Visitin g In structor
Bachelor of Music, University of Colorado, Boulder; M.
Arch., Pratt Institute; worked for the New York office of
Buro Happold as an intern; spent two years working for
KOL/MAC, LLC, a digital design practice based in New
York and Istanbul; currently is working on starting his
own design firm with small projects in Portland, Oregon,
and Boulder, Colorado.
Brian McGrath
Adj un ct Ass ociate Profess or
M. Arch., Princeton University; B. Arch., Syracuse
University; founding member, PathArchitecture, an
interdisciplinary studio working on projects at various
scales in built and media environments; his work has
been exhibited widely and his book, Transparent Cities
(Sites/Lumen, 1994), has been reformatted into an
interactive CD-ROM.
Signe Nielsen
Adjun ct Profess or
B.A., Smith College; B.S.L.A., City College School of
Architecture; B.S., Pratt Institute; fellow, American
Society of Landscape Architects; principal, Mathews
Nielsen Landscape Architects PC since 1979; vice
president, N.Y.C. Public Design Commission; recipient
of more than two dozen national design awards;
co-author of three books—High Performance
Infrastructure Guidelines; Cool and Green Roof; and
Sustainable Site Design—and author of Sky Gardens.
Gregory Okshteyn, Assoc. AIA
Adjun ct Ass istan t Profess or
B. Arch., Pratt Institute; M.S. Advanced Architectural
Design; GSAP Columbia University; founder and
president, Studios GO, Inc., a tight-knit group of young,
highly trained designers and architects who place
innovative fabrication techniques in the service of
contemporary design processes with close attention to
function and social interaction; awards include VM+SD
2007 “Renovation of the Year” and 2000 Grand Prize:
U.S.A. Institute’s International Design Competition:
Brooklyn Heights Promenade, N.Y.
Philip Parker
Ass istan t Ch air of Gr ad uate A rch itectu r e
an d Ur ban Des ign , Adjun ct A ssociate
Profess or
B. Design in Architecture, University of Florida; M. Arch.,
Yale University; principal, Phillip Parker Architects, a
practice that spans scales from furniture and building
components to urban parks; his projects on program,
matter, city, and texts have been exhibited, published,
and reside in the permanent collection of the San
Francisco Museum of Modern Art; he has lectured on
architecture and media and taught design studios and
media theory practice at a number of schools, including
Columbia University GSAPP, as coordinator of
core visual studies; Princeton University; The Ohio
State University; and RISD.
Chris Perry
Adjun ct Ass istan t Profess or
B.A., Philosophy, Colgate University; M. Arch., Columbia
University.

Florencia Pita
V i si t i n g Facu lt y
Dipl. Arch., Universidad Nacional de Rosario-Argentina;
M.S. Advanced Architectural Design, Columbia
University.
David Ruy
Ass o ci at e P ro f e ssor
B.A., St. John’s College; M. Arch., Columbia University;
director, Ruy Klein, an award-winning design office
in New York City; firm’s work has been extensively
published and exhibited and the firm is recognized
as one of the leading speculative practices in
architecture today; Ruy has previously held positions at
Columbia, Princeton, and was the director of research
of The Nonlinear Systems Organization (NSO), a
transdisciplinary research organization, at the University
of Pennsylvania; his research examines design topics at
the intersection of architecture, nature, and technology;
the work of his practice has recently been exhibited at
The Museum of Modern Art, the Rhode Island School of
Design, and at Artists Space, New York City.
Richard Scherr
D i r ecto r , Faci l i ties P lanning
B. Arch., Cornell University; M.S. Architecture, Columbia
University; published in the Journal of Architectural
Education; Architectural Record; Progressive
Architecture; Journal of the American Planning
Association; Competitions; Places Magazine; Space;
Octagon Architecture; Indian Architect and Builder; and
Asian Thought and Society; author of The Grid: Form
and Process in Architectural Design; finalist, Oklahoma
City Bombing Memorial Competition; Eidlitz Traveling
Fellowship; registered architect in New York and Texas.
Erich Schonenberger
V i si t i n g I n st ru c to r
B. Environ. Design, Technical School of Novia Scotia;
M.S. Advanced Architecture and Design, Columbia
University; co-founded (with Ferda Kolatan) su11
architecture+design in New York City in 1999; received
the Swiss National Culture Award for Art and Design
and the ICFF Editors Award for Best New Designer;
2006 finalist for the prestigious Chernikhov Price; 2007
chosen finalist for the MoMA/PS1 YAP competition.
Paul Segal
Adj un ct Profess or
B.A., Princeton University; M.F.A., Princeton University;
founding partner of the internationally published
firm, Paul Segal Associates Architects, LLP, who were
recipients of 17 AIA Awards for Design Excellence;
past president of the AIA/NYC and of the Center for
Architecture Foundation; author of the textbook,
Professional Practice: A Guide to Turning Designs into
Buildings (W.W. Norton, 2006); also an adjunct professor
and director of practice at Columbia’s Graduate School
of Architecture; holds an NCARB certificate and is a
licensed architect in seven states.
Benjamin Shepherd
Adj un ct Ass ociate Profess or
B.S.C., Environmental Science, Northland College;
M.A., Environmental Management, Yale School of
Forestry; LEED-accredited professional and planning
practice leader at international environmental design
consultant firm Atelier Ten, with extensive experience
with urban ecology, renewable energy systems, and
green development assessments; has managed
the development of sustainability guidelines for a
wide range of master plans on a multitude of sectors
including commercial, university, government, and
transportation; he also teaches core courses on
environmental design and building services at Yale
School of Architecture..
Daniel Sherer
Adj un ct Ass istan t Profess or
B.A. Renaissance Studies, Yale University; Ph.D. History
of Art and Architecture, Harvard University;
historian and critic whose research delves into Italian
Renaissance and Baroque architecture from 1400 to
1750; urban history from Antiquity to the Baroque;
modernist receptions of the classical tradition; and
historiography, theory, and criticism of architecture
(with emphases on Tafuri, the School of Venice, and
Colin Rowe); has taught at the Columbia Graduate
School of Architecture, Planning, and Preservation;
the Harvard GSD, University of Toronto, and the Rice
University School of Architecture, among others.
s c h o o l o f a rc h i t e c t u r e 35
Maria Sieira
Adjun ct In structor
B.A., Yale University; M. Arch., University of Pennsylvania;
coordinates the GAUD Housing Studio: Live, Work, Play
and the History/Theory sequence; teaches architecture
design studios that focus on green urban projects as
well as seminars on film and on installation art; founded
Xoguete Architecture in 2007; registered architect in
New York; has worked on the Cidade da Cultura in
Santiago de Compostela, Spain, while at Eisenman
Architects in New York and on the Philadelphia Airport
while at DPK&A in Philadelphia.
Henry Smith-Miller
Adjun ct Profess or
B.A., Princeton University; M. Arch, University of
Pennsylvania; former Fulbright scholar in architecture
in Rome, Italy; received the Brunner Award and the
New York Chapter Gold Medal for Excellence in
Design with his partner, Laurie Hawkinson; significant
projects include the Corning Museum of Glass and the
North Carolina Museum of Art Outdoor Cinema and
Amphitheater and Master Plan; recently completed
projects include the Land Ports of Entry at Champlain
and Massena, New York, and a mid-rise, multi-unit
condominium complex in Manhattan; currently the
design architect for the new River Building for the
Hospital for Special Surgery and the Bond Hotel tower,
both in New York City.
Roland Snooks
Adjun ct Ass istan t Profess or
B. Arch., RMIT University; B. App.Sci.Environ.Design,
University of Canberra; M.S. Advanced Architecture
and Design, Columbia University; a design director of
Kokkugia, he has previously directed design studios
and seminars at UCLA, SCI-Arc, Pratt Institute, RMIT
University, and the Victorian College of the Arts; his
current teaching and research interests focus on
emergent design processes involving genetic and
agent-based techniques; his ongoing design research
into emergent design processes has developed
behavioral animation techniques for the generation of
architectural form; design experience includes working
in the offices of Reiser + Umemoto; Kovac Architecture;
Minifie Nixon; and Ashton Raggatt McDougall.
36
Michael Szivos
V i si t i n g Ass i sta nt P rof essor
B. Arch., Louisiana State University; M.S. Advanced
Architectural Design, Columbia University;
curator of the GAUD Exihibtion; founder (in 2004) of
SOFTlab, a new media and digital design practice
specializing in the intersection of video, space,
interactivity, and branding through digital media and
emerging production; SOFTlab designed and produced
the portfolio website for the GAUD; SOFTlab has
participated in many group exhibitions and produced
digital video and interactive media for MoMA, The
Metropolitan Museum of Art, Van Alen institute, and
The New York Times, as well as work for various artists,
architects, and designers; recipient of the Honor Award
for Excellence and Award in Visual Studies at Columbia
University.
Jeffrey Taras
V i si t i n g I n st ru c to r
B.A., M.A., University of Michigan Ann Arbor; M. Arch.,
Columbia University; currently a partner at both
Associated Fabrication and 4-pli Design in Brooklyn,
New York; professional focus has been on bridging the
gap between design and digital fabrication.
Meredith TenHoor
Adj u n ct Ass i sta nt P ro f essor
B.A., Brown University; M.A., Princeton University;
research focuses on the architecture and urbanism
of consumption; currently writing a history of food,
architecture, and biopolitics in postwar Paris; other
recent projects include Street Value, a book about
planning and politics on Fulton Street Mall in Brooklyn;
an essay on architecture and agriculture (in Above
the Pavement the Farm); and a Downtown Brooklyn-
themed exhibition and lecture series at Brooklyn’s
Metropolitan Exchange.
Maria Ludovica Tramontin
Adj un ct Ass istan t Profess or
B.S., Civil Engineering, University of Cagliari, (Italy);
M.S., Columbia University GSAPP; Ph.D., University of
Cagliari (Italy); registered engineer in Italy; in 2004,
cofounded ASPX, an architectural research practice
based in Italy/UK; the firm’s work has received several
awards, most recently (First Prize) in a competition for
a 600,000-square-foot General Hospital with a project
that engages the latest trends in renewable energy
sources; while at NOX she worked on built projects:
Son-O-house, an interactive artwork in The Nether­
lands, and Maison Folie, a cultural center in Lille.
Nanako Umemoto
Adj un ct Profess or
B.A., Osaka University of Art, Japan; B. Arch., Cooper
Union; a principal and co-founder of Reiser + Umemoto,
an internationally recognized multidisciplinary design
firm, which has built projects at a wide range of scales:
from furniture design, to residential and commercial
structures, up to the scale of landscape, urban design,
and infrastructure; she has previously taught at various
schools in the U.S. and Asia, including Columbia
University, the University of Pennsylvania, Hong Kong
University, Kyoto University, and the Cooper Union; and
she has lectured at various educational and cultural
institutions throughout the United States, Europe, and
Asia.
Jason Vigneri-Beane
Adj un ct Ass istan t Profess or ; Coor d in ator ,
M .S., Architectur e
B.P.S. Arch., SUNY at Buffalo; M. Arch., Iowa State
University; coordinator, M.S. Architecture; media co-
coordinator, M. Architecture; coordinator, Graduate
Architecture in Rome Program; founder and principal,
Split Studio; LEED-accredited professional, who has
lectured, taught, exhibited, published in the United
States, Europe, and Asia.
Aaron White
Vis itin g In structor
M.S. Arch., Pratt Institute; B. Arch., M. Arch., University
of Idaho; lives and works in New York City; recipient
of the Stanley Katz Award for design excellence while
at Pratt; a co-founder of Out-fo Design (outfodesign.
com), whose work centers on issues of speculative
fabrication, new forms of urbanism, material
intelligence, and information systems.
John Christopher Whitelaw
Vis itin g In structor
B.S., Georgia Institute of Technology; M. Arch., Columbia
University; co-coordinator of digital media; director of
research and development at Evans & Paul, a global
leader in the production of custom architectural
interiors; he has lectured and taught in the United States
and Europe; his work seeks to accelerate the bridging
between computation and construction; while at Evans
& Paul, he has constructed a number of high profile
projects for a list of architects, including DS+R, Herzog 7
de Meuron, Richard Meier, Asymptote, and KOL/MAC.
Shundana Yusaf
Adjun ct Ass istan t Profess or
S.M. Arch.S., MIT; B. Arch., National College of Arts
Lahore.

Urban Design
Urban design is a continually evolving
field. The expansion and contraction of
cities, the increasingly intricate systems
of economic exchange, along with intense
environmental change suggest that
new forms of innovative environmental
analysis and information-sensitive design
are necessary. New synthetic strate-
gies for urban and industrial ecologies
related to the capacities of rural produc-
tion are studied in detail. The program
engages students across multiple forms
of expertise with the most thoughtful
and innovative work in new computer
mapping and visualization technologies,
theoretical debates, historical precedents,
transdisciplinary approaches, and specula-
tive methodologies that are brought to
questions of contemporary cities in design
studios and seminars.
m aste r o f s c i en c e a rc h i t ec t u re
an d u r ban d esi g n
Students enrolled in the Urban Design
program graduate with a master of science ronmental design where environmental
degree in architecture and urban design.
The program is 33-credits and three
semesters (summer, fall, spring). It is open flows of production and resources).
37
to students holding a five-year (B. Arch.) or
equivalent (M. Arch.) degree in architec- ch air
ture. The program begins in the summer William MacDonald
semester with an intensive curriculum
focused on concepts, theory, and repre- as s istant ch air
sentational/generative practices of urban Philip Parker
design, and continues with design studio
and seminar courses toward a culminating c oor dinator
project in the third semester. Meta Brunzema
The program is run as a series of
advanced design/research studios and sem- as s istants to the cha i r
inars that attempt to contend, in new ways, Erin Murphy
Erika Schroeder
with the complex issues of contemporary
urban environments. These issues include:
desires to promote notions of co-generative of f ice
Tel: 718-399-4314 | Fax: 718-399-4379
environments that lead the potential for
gaud@pratt.edu
non-linear and highly sensitive system www.gaud.pratt.edu
feedback; the need to address multiplicity
of scales and diverse populations; the for-
mulation of connections between diverse
institutions and agencies; the analysis and
invention of forms of representation and
repositories of information (mapping,
database) that act as genuine resources for
decision-making. Urban design is envi- Page 38: Andri Klausen
Page 39: Top, Center, Bottom: Andri Klausen
is considered at scales that range between Page 40: Top Left: Dhara Patel; Top Right: Bhava Mody;
micro (street curb cuts) and macro (global Bottom: Ninad Garware
Page 41: Carlos David Gonzalez

Urban Design Faculty
Vito Acconci
Adj u n ct Ass o ci at e P rof essor
B.A., College of the Holy Cross; M.F.A.,Writers’ Workshop,
University of Iowa; his design and architecture come
from another direction: a background first in writing
and then in art. By the late ’80s his work had crossed
over, and he formed Acconci Studio, whose operations
come from computer thinking and mathematical and
biological models. Acconci Studio treats architecture
as an occasion for activity and making spaces fluid,
changeable, and portable. The Studio is currently
working on a three-story building in Milan, a bridge-
system and park near Delft, and an amphitheater
in Stavanger, and has other projects in Toronto and
Indianapolis.
Carlos Arnaiz
Adj u n ct Ass o ci at e P rof essor
B.A., Philosophy, Williams College; M. Arch., Harvard
University; an associate partner at Stan Allen Architect;
previously worked for Office dA in Cambridge, Field
Operations and Bumpzoid Architects in New York, and
as a founding principal for RUF studio in New York. His
experience at these offices has ranged from high-level
strategic planning for cities around the world to project
design and construction documentation on commercial
and residential projects. At Field Operations, he
served as project manager and lead designer on the
transformation of a 650-acre plot of land in the middle
of San Juan, Puerto Rico, into the island’s largest
and most important Botanical Garden. He led the
development of all aspects of the project including the
creation of an expanded river corridor along one of
Left: Carlos Gonzalez Uribe
San Juan’s principal waterways. His academic research
has focused on the ongoing relationship between
ornament and structure in design. While at Harvard,
he collaborated with Peter Rowe on a number of
research projects investigating innovative solutions in
the planning and management of contemporary urban
regions. He has served on juries at various institutions
in the U.S.A. including Harvard, Princeton, and the
University of Pennsylvania, where he taught advanced
studios in the Landscape Architecture Program from
2002 to 2004.
Stéphanie Bayard
Adj un ct Ass istan t Profess or
M.S., Advanced Architectural Design, Columbia
University; Dipl. Arch Paris La Villette; teaches design
studio and urban design seminars; previously taught
at Ohio State and Rensselaer Polytechnic Institute;
founded aa64 with Phillip Anzalone, as an experimental
practice focusing on design, digital fabrication, and
material construction in the United States and Europe;
their work has been published and exhibited at the AIA
NY Center for Architecture.
Meta Brunzema
Adj un ct Ass istan t Profess or ; Coor d in ator ,
M .S., Architectur e an d Ur ban Des ign
M. Arch., Columbia University; principal of Meta
Brunzema Architect P.C., an award-winning
architecture and urban design practice that addresses
contemporary spatial, environmental, and socio-
political challenges in innovative ways; the firm
specializes in carbon-neutral design; current projects
include “Park Avenue Market Mile” in N.Y.C. and “River
Pool” in Beacon, N.Y. Brunzema is a LEED(R) accredited
professional.
43
Jose Gonzales
Vis itin g Ass istan t Profess or
M.S. Advanced Architectural Design, Columbia
University; cofounder and principal, SOFTlab, a design
studio.
Mitchell Joachim
Ass ociate Profess or
B.P.S., SUNY, Buffalo; M. Arch., Columbia University;
M.A.U.D., Harvard University; Ph.D., Massachusetts
Institute of Technology; a leader in ecological design
and urbanism and a co-founder of Terreform ONE
and Terrefuge; also an associate professor at NYU and
previously was the Frank Gehry Chair at University
of Toronto; previously served on faculty at Columbia,
Syracuse, Washington, and Parsons; formerly an
architect at Gehry Partners, and Pei Cobb Freed;
recipient of fellowships at TED2010, Moshe Safdie
Assoc., and Martin Society for Sustainability at MIT;
winner of the History Channel and Infiniti Excellence
Award for City of the Future, and Time Magazine Best
Invention of 2007, Compacted Car w/ MIT Smart
Cities; his project, Fab Tree Hab, has been exhibited at
MoMA and widely published; he was chosen by Wired
magazine for “The 2008 Smart List: 15 People the Next
President Should Listen To”; Rolling Stone magazine
honored him in “The 100 People Who Are Changing
America”; in 2009 he was interviewed on the Colbert
Report; and Popular Science magazine has featured his
work as a visionary for “The Future of the Environment”
in 2010.
44
Mehmet Ferda Kolatan
V i si t i n g Ass i sta nt P rof essor
M.S. Advanced Architectural Design, Columbia
University; Arch. Dipl. (with distinction), RWTH
Aachen; founded SU11 architecture+design with Erich
Schoenenberger as an experimental architecture
practice in New York City; firm has since received
national and international acclaim and has been
published widely; awards include Lucille Smyser
Lowenfish Memorial Prize and the Honor Award for
Excellence in Design, Columbia University.
Sulan Kolatan
Adj u n ct P ro f e ss o r
Diploma, Technische Hochschule Aachen Universitat;
M.S., Architecture and Building Design, Columbia
University; founded KOL/MAC Studio along with
William MacDonald, in New York City in 1988. Kolatan
and MacDonald have taught architecture as visiting
professors at Barnard College, Ohio State University,
the University of Pennsylvania, Parsons School of
Design, University of Virginia, The Institute of Advanced
Architectural Studies in Basel, Switzerland, and Venice,
Italy, and Columbia University. The Kolatan/Mac Donald
Studio primarily works with strangely shaped structures,
of housing and apartment blocks. Dubbed “Vertical
Urbanism,” the apartment structures are divided into
pods that structurally conform to the addition and
removal of other pods.
Carla Leitao
Adj u n ct Ass i sta nt P ro f essor
M.S. Advanced Architectural Design, Columbia
University; Architecture School of Lisbon; architect
(licensed in Europe), designer, and writer; co-founder,
AUM Studio (architecture and multimedia) and
Umasideia (architecture and engineering) in Lisbon;
projects include “Visibility” (UIA Celebration of
Cities competition, 2003, Lisbon, Portugal);”Suture,”
a multimedia installation; MAK Vertical Garden
(competition by invitation, 2006); awards include the
Akademie Schloss Solitude Fellowship, 2005.
William Mac Donald
Chair of Gr ad uate Architectur e
and Ur ban Des ign
M.Sc. Architecture and Urban Design, Columbia
University; B. Arch., Syracuse University; attended the
Architectural Association in London; director, KOL/
MAC, LLC, Architecture + Design, co-founded with Sulan
Kolatan; has taught as professor, distinguished visiting
professor, or visiting chair at the University of Virginia
(as acting chair); Columbia University; the University
of Pennsylvania; Southern California Institute for
Architecture; The Ohio State University; City Univer-
sity of New York; University of California, Berkley; and
Pratt Institute; academic and professional honors and
awards include the “40 under 40” award, Progressive
Architecture awards, AIA design awards; represented the
U.S. in the U.S. national pavilion and for the international
segment of the International Architecture Bienniale
in Venice; via KOL/MAC, has collaborated with various
leading companies, including DuPont, AI Implant of
Biotech Industries, Alias, Merck Chemicals, Autodesk,
C-TEK, ARUP AGU, DitlevFilms, Inc.; exhibited at MoMA,
SFMoMA, Cooper-Hewitt National Design Museum,
Centre Georges Pompidou, Barbican Art Gallery, Archi-
tekturmuseum, Mori Contemporary Art Museum, 1st
International Architecture Biennial in Beijing, VITRA, Yale
University, and the FRAC; publications include The New
York Times; The Washington Post, CNN, Phaidon Press,
Rizzoli, GA Houses, AD Magazine, Architectural Digest,
ACTAR, Domus, Lotus International, Architectural Record;
co-author, Lubricuous Architectures with Kari Andersen;
a comprehensive monograph titled KOL/MAC WORK
BOOK is currently in preparation for publication.
Elliott Maltby
Adj un ct Ass ociate Profess or
B.A., Philosophy, Kenyon College; Master of Landscape
Architecture, University of California-Berkeley;
interests include how art and design contribute to the
success of the urban experiment; current
research focuses on temporal and situational spatiality;
partner, thread collective, a multidisciplinary design
firm that explores the seams between building, art, and
landscape; a broadly defined notion of sustainability,
existing site characteristics, and sensory experience
further inform the firm’s design process; has worked for
five years with Mary Miss, one of the most influential
artists in the public realm.
Signe Nielsen
Adjun ct Profess or
B.A., Smith College; B.S.L.A., City College School of
Architecture; B.S., Pratt Institute; fellow, American
Society of Landscape Architects; principal, Mathews
Nielsen Landscape Architects PC since 1979; vice
president, N.Y.C. Public Design Commission; recipient
of more than two dozen national design awards;
co-author of three books—High Performance
Infrastructure Guidelines; Cool and Green Roof; and
Sustainable Site Design—and author of Sky Gardens.
Philip Parker
Ass istan t Ch air of Gr ad uate
Architectur e an d Ur ban Des ign,
Adjun ct Ass ociate Profess o r
B. Design in Architecture, University of Florida; M. Arch.,
Yale University; principal, Phillip Parker Architects, a
practice that spans scales from furniture and building
components to urban parks; his projects on program,
matter, city, and texts have been exhibited, published,
and reside in the permanent collection of the San
Francisco Museum of Modern Art; he has lectured on
architecture and media and taught design studios and
media theory practice at a number of schools, including
Columbia University GSAPP, as coordinator of
core visual studies; Princeton University; The Ohio
State University; and RISD.
David Ruy
Ass ociate Profess or
B.A., St. John’s College; M. Arch., Columbia University;
director, Ruy Klein, an award-winning design office
in New York City; firm’s work has been extensively
published and exhibited and the firm is recognized
as one of the leading speculative practices in
architecture today; Ruy has previously held positions at
Columbia, Princeton, and was the director of research
of The Nonlinear Systems Organization (NSO), a
transdisciplinary research organization, at the University
of Pennsylvania; his research examines design topics at
the intersection of architecture, nature, and technology;
the work of his practice has recently been exhibited at
The Museum of Modern Art, the Rhode Island School of
Design, and at Artists Space.
 s c h o o l o f a rc h i t e c t u r e 45

Erich Schonenberger
V i si t i n g I n st ru c to r
B. Environ. Design, Technical School of Novia Scotia;
M.S. Advanced Architecture and Design, Columbia
University; co-founded (with Ferda Kolatan) su11
architecture+design in New York City in 1999; received
the Swiss National Culture Award for Art and Design
and the ICFF Editors Award for Best New Designer;
2006 finalist for the prestigious Chernikhov Price; 2007
chosen finalist for the MoMA/PS1 YAP competition.

Nanako Umemoto
Adj u n ct P ro f e ss o r
B.A., Osaka University of Art, Japan; B. Arch., Cooper
Union; a principal and co-founder of Reiser + Umemoto,
an internationally recognized multidisciplinary design
firm, which has built projects at a wide range of scales:
from furniture design, to residential and commercial
“I have occasion to pass
structures, up to the scale of landscape, urban design, through the Pratt campus
and infrastructure; she has previously taught at various
schools in the U.S. and Asia, including Columbia Univer- from time to time and I am
sity, the University of Pennsylvania, Hong Kong University,
Kyoto University, and the Cooper Union; and she has delighted at newly discovered
lectured at various educational and cultural institutions
throughout the United States, Europe, and Asia.
spaces, buildings, and art
installations.”
—Patr icia S wa nn,
M .S. A rch / P la nni ng ’79,
Senior program officer,
New York Community Trust
 47

Programs for
Sustainable Planning
and Development City and Regional Planning

ch air
John Shapiro
johnshapiro@pratt.edu

as s istant to the cha i r

Lacey Tauber
718-399-4340
Programs for Sustainable Planning and Development (PSPD) ltauber@pratt.edu

is an alliance of four programs with a shared value placed

on urban sustainability—defined by the “triple bottom line” Urban Environmental Systems Management
of environment, equity, and economy. c oor dinator
Jaime Stein
718-399-4323
The four graduate Master of Science PSPD also offers linkages to the jstein9@pratt.edu
programs are: undergraduate Construction Management
program, with the opportunity to focus
▶▶ City and Regional Planning Facilities Management
on real estate development; Brooklyn Law
▶▶ Urban Environmental School, with the opportunity for a joint
Systems Management ch air
master’s/Juris Doctor; and to the Pratt Harriet Markis, PE
▶▶ Facilities Management Center for Community Development, 212-647-7524
with the opportunity to combine study hmarkis@pratt.edu
▶▶ Historic Preservation
and advocacy.
Each of the four graduate programs The primary mission of the PSPD is to as s istant to the cha i r
Philip Ramus
maintains its independence, degree, provide a professionally oriented education 212-647-7524
and depth of study. Yet with the advice to a student body with diverse cultural, fm@pratt.edu
of coordinators and department chairs, educational, and professional backgrounds.
students can move between the four The PSPD welcomes applicants with
programs, with the further option undergraduate degrees in a wide range of Historic Preservation
to follow set tracks for specialized or disciplines. In the application process, the
ch air
multifaceted studies. Studios bring PSPD values creativity, civic engagement, John Shapiro
together students from all four graduate and depth of experience, in addition to johnshapiro@pratt.edu
programs for interdisciplinary teamwork. intellectual capacity.

Left: New York City is the PSPD’s laboratory for cross-

disciplinary study and internships.
48
e n v iro n m e nta l su sta i na b i l i ty
The Urban Environmental Systems
Management program is entirely
devoted to urban environmental policy
and systems. “Green development” and
LEED courses augment the Facilities
Management program curriculum.
The Historic Preservation program is
already “greened,” as the most sustain­
able action is to preserve and reuse.
u r ban is m
In this century as in the last, the major
human force on our planet is migration
to metropolitan areas, while the major
challenge of the present and future is
addressing global warming. Prior city
planning values of aesthetics (as per the
City Beautiful movement of the late 19th
century) and new technology (as per the
City Efficient movement of the mid-20th
century) must now be augmented with
a new City Sustainable movement. The
PSPD is especially committed to realizing
this paradigm on the community as well
as the citywide basis.
s o c ial e q u ity a n d
e c o n o m ic v i a b i l i ty
True sustainability considers factors such
as social justice and financial realities.
Advocacy and participatory planning are
core principles, further propelled by the
Livable Cities and the Environmental
Justice movements. Sustainability is
not just a new set of technologies and
standards; it is also a value system.
p rof e s s ionalis m and
i n t e r ns h ips
Relevant employment and internships
are an important component of the
PSPD’s educational approach. Students
entering with work in a relevant
field may earn credits through work
experience/portfolio credit. Unpaid
and paid internships are available.
The resulting variety of professional
experiences enriches seminar discussions
and studio teamwork, provides students
with a wealth of contacts in the field,
and strengthens their job qualifications.
i m pact
Through internships, partnerships,
studios, demonstrations of professional
competence, and directed research,
students have ample opportunity to
work on real-world and real-time issues.
Successes are illustrated in this catalog
and in the PSPD newsletter. (Check the
websites for each program.) New York’s
history, diversity, and international
character offer a rich training ground for
planners, preservationists, developers,
and sustainability practitioners.
Students graduate equipped with
the technical know-how, collaborative
skills, and critical thinking necessary
to pursue professional careers and plan
for environmental and social justice in
urban places. Alumni play leading roles
in a broad spectrum of jobs in the public,
private, and non-profit sectors.
PSPD courses are offered in the
evenings, except for the Historic
Preservation program’s courses, which
are concentrated on two weekdays
and evenings. This scheduling affords
students maximum flexibility to work
or intern, and affords the PSPD the
ability to tap as faculty the region’s
most accomplished professionals. These
include the founders of community
organizations, executives in development
firms, New York City commissioners,
political leaders, and more.
The PSPD strengthens the research
credentials and sustainability values of
the School of Architecture and Pratt
Institute. In 2009–2010, for instance,
the PSPD was engaged to participate
in the 2035 Economic Sustainability
Master Plan for Long Island, New
York. The PSPD frequently organizes
lectures and conferences on urban
issues. Recent examples are “Affirming
Green: Emerging Trends in Ecological
Design,” and “Art in the Contested City:
A Conference Exploring the Role of the
Arts in Contemporary Struggles Over
Urban Space.” One PSPD professor was
co-curator of the U.S. exhibit at the 2008
Venice Architecture Biennale, “Into the
Open: Positioning Practice.”
th e pratt ce nte r
The PSPD collaborates closely with
the Pratt Center for Community
Development (www.prattcenter.
net)—one of the nation’s foremost
university-based research and technical
assistance organizations in the service of
disadvantaged communities. A number

of courses relate to Pratt Center projects,
many students intern at the Pratt Center,
Pratt Center senior staff teach in the
PSPD, and other faculty work closely with
the Pratt Center on research and advocacy
efforts. Pratt Center’s services include:
▶▶ Visioning to identify community
needs and workable strategies.
▶▶ Testimony and events to
inform groups and officials
about community challenges
and opportunities.
▶▶ Research, recommendations for
action, and advocacy to advance
community plans.
▶▶ Neighborhood to regional
coalitions to advance specific
policy recommendations.
The PSPD also enjoys a relationship
with the New York Industrial Retention
Network (NYIRN) and with Project for
Public Spaces (PPS). NYIRN is the city’s
leading advocate and technical assistance
provider for industry, and a national
leader in studying and advocating
green construction and industry. PPS
is the nation’s leading proponent of
placemaking, traffic calming, public
markets, and more, with projects all
around the world. PSPD students have
ample opportunity to intern with NYIRN
and PPS, and work on their projects.
Other internship placements include the
New York City Economic Development
Corporation and other city agencies,
the Landmarks Conservancy and other
civic organizations, NYC Environmental
s c h o o l o f a rc h i t e c t u r e 49
Justice Alliance and other environmental Planning and Juris Doctor (J.D.). By
groups, and community-based taking full advantage of the PSPD’s
organizations throughout New York City. alliance of programs, all PSPD students
can further specialize in community
development, environmental policy,
su stainable pratt
preservation, or real estate. Students
The PSPD is one of the founding can also participate in Brooklyn Law’s
members of Sustainable Pratt Community Development Clinic, which
(www.sustainablepratt.org), an represents community development
interdisciplinary committee of students, corporations, cultural institutions, and
faculty, and staff. Sustainable Pratt affordable housing providers that serve
facilitates awareness, communication, underrepresented communities.
and cross-departmental interaction The joint degrees can be earned in
about environmental sustainability. four to five years of full-time study—less
time and cost than if the two degrees
were pursued independently. Students
g lobal practice
must apply and be accepted to both
The PSPD is responding to the challenges schools independently. Unlike the PSPD,
of the “global village” with courses Brooklyn Law does not admit students in
that run partly or entirely abroad. These spring, and prospective law students must
courses are as much about students take the LSAT. The joint degree can be
learning global innovations and practices pursued simultaneously or sequentially so
as about providing opportunities for long as 15+ credits of the Pratt master’s
students to study in foreign places. For degree are completed after matriculation
example, Pratt students have traveled to at Brooklyn Law.
Brazil to consider innovative approaches
to affordable housing; with European Contact:
students studied the revitalization of Julie Sculli
former industrial districts in the Czech Academic Services Coordinator
Republic, Germany, and Brooklyn; Brooklyn Law School
and with Indian students fleshed out julie.sculli@brooklaw.edu
the community details of a regional 718-780-0626
sustainability plan for Goa. www.brooklaw.edu/academic/joint/
jointprogramsphp#mscity
j oi nt de gr e e in law
Pratt Institute and Brooklyn Law School
sponsor a program leading to the degrees
of Master of Science in City and Regional

City and Regional Planning
Since its inception 50 years ago, the City and Regional
Planning program has remained true to its emphasis
on an education that stresses practice over theory,
participatory planning over top-down policy making,
and advocacy over technocracy.
To promote specialized or interdiscipli­
nary study, half of the credits are in
elective seminars and studios. While by
no means required, each student can focus
on one of four particular professional
specializations, each of which has its own
faculty advisor:
▶▶ Community development and
advocacy
▶▶ Environmental planning and policy
▶▶ Preservation planning and livable
cities
▶▶ Physical planning and urbanism
Further, it is possible to pursue a Master
of Science degree from Pratt jointly
with a Juris Doctor degree from Brooklyn
Law School.
Left: Student plan for retaining industry while addressing
climate change in Brooklyn.
51
ch air
John Shapiro
johnshapiro@pratt.edu
as s istant to the cha i r
Lacey Tauber
ltauber@pratt.edu
i n t e r ns h ips of f ice
Tel: 718-399-4340
Most students have had or in the course www.pratt.edu/pspd
of study will gain work experience in
the field so that students learn from each
other as well as from faculty. Virtually
every student is assured an opportunity
for an internship.
st udio cultur e
All of the planning studios are
interdisciplinary, drawing students
from the other PSPD programs: Urban
Environmental Systems Management,
Facilities Management, and Historic
Preservation. The studios tackle
real planning challenges, usually in
connection with a project of the Pratt
Center for Community Development or
another advocacy organization.

c o m m u n ity d evelop m en t
s pe c ial izati on
Students focus on asset-based approaches
to strengthening healthy places and
revitalizing distressed ones. They
learn how to regulate land use with
neighborhood quality of life in mind;
how to develop affordable housing; how
to strengthen businesses and retain jobs;
and how to enhance urban environments
through design and amenities. Students
are urged to conduct directed research
or take an internship in connection with
civic and community-based organizations
in all five boroughs.
phy s ic al p la n n i n g
s pe c ial izati on
Students develop an understanding of the
interplay among physical, social, cultural,
and economic considerations in creating
viable physical development patterns for
diverse neighborhoods and contexts. The
emphasis is on experience of place and
programming, more than on pure design.
Leading practitioners from the region
serve as Urban Design Fellows—resource
people for all of the program’s studios.
Students are also able to take fifth year
Undergraduate Architecture seminars,
providing a wealth of electives.
Left: International courses and studios run in
Copenhagen, Sao Paolo, Tokyo, and India.
s c h o o l o f a rc h i t e c t u r e 53
en vironme ntal planning and “green” development. The PSPD
spe cialization alliance of programs provides a wealth
of elective options for these students.
Students learn how to promote the
(Also refer to the later description of the
preservation and development of
Facilities Management program, as well
sustainable communities; address the
as the Urban Environmental Systems
urban problems of air, water, noise,
Management program.)
and brownfields; test the impact
of infrastructure projects and develop­
ment; and promote the principles j oint de gr e e in law
of environmental justice. The PSPD
Pratt Institute and Brooklyn Law School
alliance of programs provides a wealth
sponsor a program leading to the degrees
of elective options for these students.
of Master of Science in City and Regional
(Also refer to the later description
Planning and Juris Doctor (J.D.). By
of the Urban Environmental Systems
taking full advantage of the PSPD’s
Management program.)
alliance of programs, all PSPD students
can further specialize in community
p r e s e rvation planning development, environmental policy,
spe cialization preservation, or real estate. (Refer to the
earlier PSPD section for more details.)
Students learn to integrate historic
preservation in the wider context of
urbanism, real estate development,
and sustainability. The PSPD alliance
of programs provides a wealth of “I use a lot of the concepts
elective options for these students. The of design, construction,
Preservation Planning concentration
is recognized by the National Council and development I learned
for Preservation Education. (Also refer at Pratt, to work with
to the later description of the Historic
Preservation program.)
architects and developers.”
—M itch e ll S ilv er,
B.A rch . ’87,
facilitie s manage me nt
spe cialization Raleigh, North Carolina,
Chief Planning and Economic
Students learn how to assume executive Development Officer;
leadership responsibilities in the President, American
management of real estate, all manner of Planning Association
facilities, apartment buildings, projects,
54
City and Regional Planning Faculty
Moshe Adler
V i si t i n g Ass o ci at e P rof essor
Ph.D., University of California, Los Angeles.
Caron Atlas
V i si t i n g Ass i sta nt P rof essor
M.A., University of Chicago; B.A., University of Chicago;
Art and Social Change Consultant, Pratt Center for
Community Development.
Eve Baron
P h . D , V i s i t i n g Assoc iat e P rof essor
Ph.D., Rutgers University; M.S., Ohio State University;
B.A., Ohio State University senior planning fellow, Pratt
Center for Community Development; former director,
Municipal Art Society Planning Center.
Eddie Bautista
V i si t i n g Ass i sta nt P rof essor
M.S.C.R.P., Pratt Institute; executive director, New York
City Environmental Justice Alliance.
Jessica Braden
V i si t i n g Ass i sta nt P rof essor
M.A. Geography and Planning, University of Toledo;
B.A., University of Toledo; GIS analyst/environmental
planner, Pratt Center for Community Development.
David Burney
V i si t i n g Ass i sta nt P rof essor
M. S., University of London; Dip. Arch., Heriot Watt
University, Edinburgh; Dip. Arch., Kingston University,
London; commissioner, NYC Department of Design
and Construction.
Joan Byron
Visitin g Ass istan t Profess or
B.Arch., Pratt Institute; senior Fellow, Pratt Center for
Community Development.
Carter Craft
Visitin g Ass istan t Profess or
M.U.P., New York University; Co-founder, Metropolitan
Waterfront Alliance; managing member, Outside
New York.
Mike Flynn
Visitin g Ass istan t Profess or
University of Vermont; M.S.C.R.P, Pratt Institute; director
of capital planning, NYC Department of Transportation.
Adam Friedman
Visitin g Ass istan t Profess or
B.A, Haverford College; J. D., Benjamin Cardozo
School of Law; Certificate in Strategic Planning In
Non-Profit Management, Harvard Business
School; director, Pratt Center for Community
Development; founding executive director, New
York Industrial Retention Network.
Michael Haggerty
Visitin g Ass istan t Profess or
M.U.P., Harvard University; B.A., Bard College.
Daniel Hernandez
Visitin g Ass istan t Profess or
M.Arch., University of California; B.S. California State
University; director of planning practice, Jonathan
Rose Companies.
George Jacquemart, P.E.
Vis itin g Ass istan t Profess or
M.S.U.P., Stanford University; principal, BFJ Planning.
Frank Lang, R.A.
Vis itin g Ass istan t Profess or
M.Arch., University of Pennsylvania; B.Arch., Columbia
University; housing director, St. Nick’s Alliance.
Matthew Lister
Vis itin g Ass istan t Profess or
Project manager, Jonathan Rose Companies.
Elliott Maltby
Adjun ct Ass ociate Profess or
M.L.A., University of California, Berkeley; B.A., Kenyon
College; principal, Thread Collective.
Jonathan Martin, Ph.D
Ass ociate Profess or
Ph.D., Cornell University; M.R.P., Cornell University;
B.S.D., Arizona State University; Buckhurst, Fish and
Jacquemart, Planning Consultants.
William Menking
Profess or
Doctoral Candidate, The Graduate School of the City
University of New York; M.S.C.R.P., Pratt Institute; M.S.,
University College, London; B.A., University of California,
Berkeley; editor in chief, The Architect’s Newspaper.

Mercedes Narciso
Adj u n ct Ass o ci at e P rof essor
M.S.C.R.P, Pratt Institute; B.A., Simon Bolivar
University; formerly senior planner, Pratt Center
for Community Development.
Signe Nielsen
Adj u n ct P ro f e ss o r
B.L.Arch., City College of New York; B.A., Smith College;
B.S., Pratt Institute; principal, Mathews Nielsen
Landscape Architecture.
Larisa Ortiz Pu-Folkes
V i si t i n g Ass i sta nt P rof essor
M.C.P., Massachusetts Institute of Technology; B.A.,
Wesleyan University; director of retail attraction, NYC
Dept. of Small Business Services.
Juan Camilo Osorio
V i si t i n g Ass i sta nt P rof essor
M.S., University of Massachusetts; B.Arch., Universidad
Nacional de Columbia; senior GIS analyst/planner,
Municipal Art Society Planning Center.
Stuart Pertz
V i si t i n g Ass i sta nt P rof essor
M.Arch., Princeton University; B.Arch., Princeton
University; Ecole des Beaux Arts, Fontainebleu,
France; former member, New York City Planning
Commission; founding chair, Pratt Institute
Graduate Urban Design Program.
Steven Romalewski
V i si t i n g Ass i sta nt P rof essor
M.S., Columbia University; director, CUNY Mapping
Service, Center for Urban Research at The Graduate
Center/CUNY.
Alison Schneider
V i si t i n g Ass i sta nt P rof essor
M.S.C.R.P., Pratt Institute; B.Env.D., University of Colorado;
Private Sector Integration Plan Manager, Regional
Catastrophic Planning Team.
John Shapiro, AICP
Associate Profess or
Chair, Graduate Center for Planning and the
Environment M.S.C.R.P., Pratt Institute; B.A., Clark
University; formerly principal, Phillips Preiss Shapiro
Associates, Planning Consultants.
Ronald Shiffman, FAICP,
FAIA
P ro fess or
M.S.C.R.P., Pratt Institute; B.S.Arch., Pratt Institute;
founder, Pratt Center for Community Development.
Toby Snyder
Visitin g Ass istan t Profess or
M. Arch., Rhode Island School of Design; Certificate,
Urban Design, University of Pennsylvania; M.S.C.R.P.,
University of Pennsylvania; B.Arch., Clark University;
urban designer, FX Fowle Architects.
Samara Swanston
Visitin g Ass istan t Profess or
J.D., St. John’s University; counsel to the Environmental
Protection Committee, NYC City Council.
Petra Todorovich
Visitin g Ass istan t Profess or
M.S.C.R.P., Rutgers University; B.A., Vassar College;
director of America 2050, Regional Plan Association.
Meenakshi Varandani
Visitin g Ass istan t Profess or
M.S. Pratt Institute; B.Arch., School of Planning
and Architecture, New Delhi, India; assistant
vice president, Planning Division, NYC Economic
Development Corporation.
Meg Walker
Visitin g Ass istan t Profess or
M.Arch., Columbia University; B.A., Wesleyan University;
vice president, Project for Public Spaces.
s c h o o l o f a rc h i t e c t u r e 55
Joseph Weisbord
Vis itin g Ass istan t Profess or
M.S.C.R.P., Pratt Institute; B.A., Oberlin College;
lead director, Homelessness Initiatives, Fannie
Mae Corporation.
Andrew Wiley-Schwartz
Vis itin g Ass istan t Profess or
B.A., Hampshire College; assistant commissioner,
NYC Department of Transportation.
Daniel Steinberg
Vis itin g Ass istan t Profess or
Doctoral Candidate, Urban Planning, Columbia
University; B.A., University of Chicago.
Edward Perry Winston, R.A.
Vis itin g Ass istan t Profess or
M.A., Harvard University; M.Arch., Rice University; B.A.,
Princeton University; senior architect, MAP Architects.
Ayse Yonder, Ph.D
Profess or
Ph.D., University of California, Berkeley; M.C.P., University
of Pennsylvania; Diploma for Architecture, Istanbul
Technical University.
Arthur Zabarkes
Vis itin g Ass istan t Profess or
PhD Candidate in Economics (abd), New York University;
M.S., Columbia Uinversity; B Arch Pennsylvania State;
Former Dean, New York Institute of Real Estate.
Catherine Zidar
Vis itin g Ass istan t Profess or
M.S.C.R.P., Pratt Institute; B.S., University of Colorado,
Boulder; executive director, Newtown Creek Alliance.
Andrew Zitcer
Vis itin g Ass istan t Profess or
Doctoral Candidate, Planning & Public Policy, Rutgers
University; M.C.P., University of Pennsylvania; B.A.,
University of Pennsylvania.
 57

Urban Environmental
Systems Management

The Master of Science in Urban Environmental Systems c oor dinator

Jaime Stein
Management (M.S. UESM) is one of the nation’s most inno­va­ 718-399-4323

tive, interdisciplinary, systems-based sustainability programs. jstein9@pratt.edu

as s istant to the cha i r

The Master of Science in Urban t h e ur ban e nvironme ntal Lacey Tauber

s y ste ms manage me nt program 718-399-4340

Environmental Systems Management
ltauber@pratt.edu
is designed to meet today’s increasing i s unique in its c ombination
demand for environmental professionals. of s cie nce, de s ign, and policy. www.pratt.edu/esm
Students learn the interdisciplinary
By uniting a foundation of theoretical
skills needed to assess contemporary
and technical core courses with
environmental issues; catalyze innovative
innovative mini-courses, the program
environmental problem solving; uphold
offers a uniquely comprehensive
environmental and social justice; and
curriculum that fosters exposure to
engage diverse stakeholders in designing
cutting-edge practicing professionals. The
and developing sustainable plans,
program encourages students to closely
policies, and communities. Graduates are
examine the relationships between the
prepared to take on a range of roles as
environment, policy, and public health. It
policy analysts, sustainability consultants,
examines the true cost of environmental
low-impact developers, researchers,
remediation and social benefit.
and advocates, collaborating with
environmental scientists, policymakers,
and communities.

Left: Student work on Summer 2011 Green Infrastructure

Design and Build course

the u r ban en vi ron m en ta l
s y ste m s m anag em en t p rog ra m
is u n iq u e in i t s em ph a si s
o n the u r ba n en vi ron m en t.
As integral members of the Programs
for Sustainable Planning and
Development, students are exposed to
land use, transportation, preservation,
development, and economic planning
strategies. Through this exploration,
students understand the complexities
of the urban context and can analyze
global, federal, state, and local policies
accordingly. Students learn the skills
needed to build and preserve sustainable
urban communities.
The Urban Environmental Systems
Management program welcomes students
with a variety of undergraduate degrees,
recognizing that sustainability is most
effective when integrating a number
of disciplines. Students entering the
program with relevant professional
experience, or with a Bachelor of
Architecture or a B.S./B.E. in civil
engineering or environmental science
degree may receive up to 10 credits of
advanced standing.
d iv e r s ity
Students learn from each other as well
as from faculty. Most students have had
(or in the course of study will gain)
work experience in the environmental
or related fields—as architects,
Left: Segments from final student presentations focused
on sustainability indicators and energy systems.
s c h o o l o f a rc h i t e c t u r e 59
engineers, community organizers, car e e r
and entrepreneurs. As the degree is
By bringing cutting-edge New York
particularly rewarding for those seeking
City sustainability practitioners into
professional development, many students
the classroom, students have access to
have existing professional experience.
an invaluable network as they enter the
professional world.
i n t e r ns h ips The Urban Environmental Systems
Management program is integrated with
Virtually every student is assured
other PSPD programs, with the option
an internship with an organization,
for extended study beyond the 40-credit
agency, or professional practice. In the
Master of Science in UESM, as follows:
past, interns have been placed with the
Courses in the City and Regional
Mayor’s Office of Long Term Planning
Planning program expose students to
and Sustainability, Metropolitan
land use, transportation, and economic
Waterfront Alliance, New York Industrial
development planning strategies. Joint
Retention Network, and Pratt’s Center for
studios deal with sustainability plans
Sustainable Design Studies. Internship
for development sites, neighborhoods,
examples include modeling energy
and businesses.
efficiency efforts in Bedford-Stuyvesant
Courses in the Facilities Management
with the Pratt Center for Community
program allow for a focus on green
Development; working with local
development and property management
businesses to develop sustainability plans;
practices.
and working on LEED-certified projects.
Courses in the Historic Preservation
(Refer to the earlier section on the PSPD
program allow for a focus on livability
for details.)
and the recognition that often the “least
carbon footprint” approach is to preserve
d es ign + build and reuse.
The PSPD enjoys a partnership with
Working alongside professionals, and
the Brooklyn Law School, which creates
using New York City as a laboratory,
opportunities for further study.
students learn a sustainability concept
and its implementation. Design +
Build electives have ranged from urban
agriculture to green roof projects to
sustainable gardens.
60
Urban Environmental
Systems Management Faculty
Chelsea Albucher
Adj u n ct Ass o ci at e P rof essor
M.S., Tufts University; B.A., the New School for Social
Research; sustainability planner, Vita Nouva..
Alec Appelbaum
V i si t i n g Ass i sta nt P rof essor
M.B.A., Yale University; B.A. English, Yale University;
green economy correspondent, The Faster Times.
Jen Becker
V i si t i n g a ss i sta nt prof essor
M.S.C.K.P., Pratt Institute; B.A. University of
Wisconsin Madison.
Chris Benedict, R.A.
V i si t i n g I n st ru c to r
B.Arch., Cooper Union; principal, Architecture and
Energy Limited.
Michael Bobker
V i si t i n g Ass i sta nt P rof essor
M.S. Energy, New York Institute of Technology;
director, Building Performance Lab, CUNY Institute
for Urban Systems.
Carlton Brown
V i si t i n g I n st ru c to r
B.Arch., Princeton University; C.O.O, Full Spectrum.
Damon Chaky, Ph.D
Ass i sta n t P ro f e ssor, Depart ment
o f M at h e mat i cs and Sc ienc e
Ph.D., Rensselaer Polytechnic Institute.
Carter Craft
Visitin g Ass istan t Profess or
M.U.P., New York University; co-founder, Metropolitan
Waterfront Alliance; managing member, Outside
New York.
Stephanie Feldman
Visitin g Ass istan t Profess or
M.S., New Jersey Institute of Technology,
Waste Management.
Adam Freed
Visitin g Ass istan t Profess or
M.U.P., New York University; B.A., Haverford College;
Deputy Director, NYC Mayor’s Office of Long Term
Planning and Sustainability.
Adam Friedman
Visitin g Ass istan t Profess or
B.A, Haverford College; J. D., Benjamin Cardozo School
of Law; Certificate in Strategic Planning In Non-Profit
Management, Harvard Business School; executive
director, Pratt Center for Community Development;
founding executive director, New York Industrial
Retention Network.
Ben Gibberd
Visitin g Ass istan t Profess or
M.A., Edinburgh University; author: New York Waters:
Profiles from the Edge (Globe Pequot Press, 2007),
and The Little Black Book of New York (Peter Pauper
Press, 2006).
Henry Gifford
Vis itin g In structor
Director of mechanical system design, Architecture
and Energy Limited.
Tom Jost
Vis itin g Ass istan t Profess or
M.U.D. Urban Design, Pratt Institute;
B.A. Economics, Lehigh University; senior
urban strategist, Parson Brinckerhoff.
Gavin Kearney
Vis itin g Ass istin g Profess or
J.D., University of Minnesota; B.A., Lawrence
University; director, Environmental Justice program,
New York Lawyers for the Public Interest.
Katie Kendall
Vis itin g Ass istin g Profess or
L.L.M., Vermont Law School; J.D., Brooklyn Law
School; B.A. Wittenberg University; general counsel,
Mayor’s Office of Environmental Coordination for
the City of New York.
Aaron Koch
Vis itin g Ass istan t Profess or
M.S.C.P., University of Pennsylvania; B.S. Arch., University
of Minnesota-Twin Cities; policy advisor, NYC Mayor’s
Office of Long-Term Planning and Sustainability.
Elliott Maltby
Adjun ct Ass ociate Profess or
M.L.A., University of California, Berkeley; B.A., Kenyon
College; principal, Thread Collective.
 s c h o o l o f a rc h i t e c t u r e 61

Paul Mankiewicz, Ph.D Ira Stern

V i si t i n g Ass o ci at e P rof essor Visitin g Ass istan t Profess or
Ph.D., City University of New York; founding director, M.S.C.R.P., Pratt Institute; regional manager, Bureau
Gaia Institute. of Water Supply for the New York City Department
of Environmental Protection.
Amy Anderson Nagy
V i si t i n g Ass i sta nt P rof essor Gelvin Stevenson, Ph.D
M.S.C.R.P., Pratt Institute; B.A., University of Visitin g Ass ociate Profess or “Pratt opened my mind
Colorado; project manager, New York Industrial Ph.D. Economics, Washington University; B.A., Carleton
Retention Network. College; director, Clear Skies Solar.
to other ways of thinking
about how people
Gita Nandan Samara Swanston
V i si t i n g Ass i sta nt P rof essor Visitin g Ass istan t Profess or participate in their
M.Arch., University of California, Berkeley; J.D., St. John’s University; counsel to the Environmental
principal, Thread Collective. Protection Committee, NYC City Council.
environment. I learned to
ask ‘How do you see
Joseph Ofungwu, Ph.D Catherine Zidar
V i si t i n g Ass i sta nt P rof essor Visitin g Ass istan t Profess or a much larger picture
Ph.D. Civil/Environmental Engineering, NJIT; M.S.C.R.P., Pratt Institute ; B.S., University of Colorado,
M.S. Civil Engineering, N.J.I.T.; B.S. Civil Engineering, Boulder; Executive Director, Newtown Creek Alliance. of the park in relation to the
N.J.I.T.; principal engineer, Louis Berger Group.
community?’”
Jeffrey Perlman
V i si t i n g Ass i sta nt P rof essor —Tuppe r Th oma s,
B.S. Applied Physics, Yale University; president M.S. A rch / Pla nni ng ’79,
and founder, Bright Power. Former administrator,
Prospect Park
David Seiter
V i si t i n g Ass i sta nt P rof essor
M.L.A. Landscape Architecture, University
of Pennsylvania; B.A. Art History, Vassar College;
principal, Future Green Studio.

Ronald Shiffman, FAICP, FAIA

P ro f e ss o r
M.S.C.R.P., Pratt Institute; B.S. Arch., Pratt Institute.

Jaime Stein
Co o r di n ato r , U rban Environmental
Syst e m s M a n ag e ment
M.S., Pratt Institute; B.S., Millersville University.

Facilities Management
The Master of Science program in Facilities Management
prepares graduates as professionals and problem solvers
to assume executive responsibilities in the management
of facilities.
Facilities management executive responsi­
bilities include assurance of a quality
environment, cost-effective capital and
operating investments, and the manage­
ment of facilities and equipment as assets.
Pratt’s Facilities Management Program
teaches innovative approaches to emerging
technologies, sustainable practices, and
ethical values, which distinguish Pratt’s
Facilities Management alumni as they
lead the field’s efforts to advance the
quality of the built environment.
s pe c ial ad m i ss i on r equ i r em en t s
Undergraduate degrees in business,
architecture, construction management,
and engineering fields are preferred
for admission. Applicants receiving a
bachelor’s degree in other fields are also
Left: Building Information Modeling class
63
ch air
Harriet Markis, P.E.
hmarks@pratt.edu
as s istant to the cha i r
Philip Ramus
cm@pratt.edu
eligible but may be required to take non-
credit courses in technical subjects prior
to registering for required courses. of f ice
Tel: 212-647-7524 | Fax: 212-367-2497
Applicants must submit a statement www.pratt.edu/arch/fm
of purpose in essay format to support the
application for advanced studies. The
essay should indicate an interest in or
an awareness of issues addressed in the
Facilities Management program.
Interviews are recommended and
may be scheduled by contacting the
department at fm@pratt.edu. Students
are eligible for graduate assistantships
and tuition scholarships upon acceptance
into the program.
Facilities management has emerged as
a new area of expertise as communities,
corporations, and institutions systemati­ Page 64: Student working in facilities at Madison
cally plan for growth and change. Square Garden
The Executive Facilities Management Page 65: Top Left: Students at an International Facilities
Management conference in Kufstein, Austria; Top Right:
function consists of a distinct set of Pratt Manhattan Library; Bottom Left: Pratt Manhattan;
responsibilities. These include: Bottom Right: Student trip to Washington, D.C.
66
▶▶ Strategic planning
▶▶ Financial forecasting and budgeting
▶▶ Real estate acquisition and disposal
▶▶ Architectural and engineering
planning and design
▶▶ Construction management,
maintenance, and operations
management
▶▶ The integration of new
technologies into existing and
planned facilities
Managing these areas of responsibility
requires the merging of business skills and
technical expertise. With this paradigm
in mind, graduates of the Facilities
Management Program will be able to:
▶▶ Understand the planning, construc­ The faculty consists of professionals
tion, and operations framework in
which facilities are managed at local, in the public and private sectors as well as
regional, national, and inter­national in the various areas of specialization. This
levels; and act as liaison between
the owner and professional service
agents on building teams.
▶▶ Synthesize interdisciplinary
efforts and act across traditional
administrative, planning,
and operational boundaries to
organize, coordinate, and
control diverse facilities and
manage­ment activities.
▶▶ Perceive design requirements,
their impact on quality of life and
environmental issues, and their
value in the engineering of facilities. Electives can be taken in PSPD
▶▶ Analyze facilities needs and develop programs to provide depth as to a
planning initiatives and effective
implementation strategies that are
responsive to specific current and
projected facilities issues.
▶▶ Manage the process of facility
development to complete projects
on schedule and within budget, to a
specified standard of quality.
▶▶ Direct and lead the specialists,
consultants, and in-house staff, as
well as outsourcing organizations
that perform specific aspects of the
facilities management function.
▶▶ Coordinate development activities
with ongoing operations to
minimize disruptions and maintain
the continuity of facilities functions
and economic viability.
actively engaged in facilities management
combination of actively practicing faculty law
and students working in the field brings
a dynamic vitality to Pratt’s Facilities
Management program.
Part of Programs for Sustainable
Planning and Development (PSPD),
Pratt’s Facilities Management Program
is unique in its opportunity for enriched
study, potentially leading to careers in real
estate development, as well as expertise in
sustainability and preservation.
su stainability
variety of sustainability practices:
LEED certification, green roofs, energy
conservation, alternative energy sources,
construction innovation, and more.
planning and de ve lo pment
Further real estate development expertise
can be garnered through a combination
of construction management, facilities
management, and other PSPD electives
dealing with zoning, public approvals,
market studies, adaptive reuse, real
estate law, environmental law, historic
preservation compliance, and more.
pr e s e rvation
Electives can be taken in PSPD
programs to provide extra knowledge of
architectural history, adaptive reuse, and
landmark approvals.
The PSPD enjoys further linkages
with Brooklyn Law School that create
additional study and degree opportunities.
wor k and r e s e arch
The Facilities Management courses
are offered in the evening at the Pratt
Manhattan Center, affording students the
maximum flexibility to combine work,
study, and research.
Refer to the earlier PSPD section for
more information on these opportunities.

Facilities Management Faculty
Lennart Andersson
V i si t i n g Ass i sta nt P rof essor
M. Arch., Savannah College of Art and Design; M.B. Engr.,
Wasa Gymnasium, Stockholm, Sweden; associate, The
LiRo Group, New York, NY.
Matthias Ebinger
V i si t i n g Ass i sta nt P rof essor
M.S. Construction Management, New York University;
LEED; Dpil.Ing.FH, Konstanz University of Applied
Science; development cooperation and consulting,
German Foundation for International Development;
public administration, University of South Africa; PMP,
American Project Management Institute.
William Henry
V i si t i n g Ass i sta nt P rof essor
B.Arch., New York University; Advanced Information
Systems Institute Training, Massachusetts Institute
of Technology; president and CEO of Millennium
II Consulting Group, Inc. which he founded in
1997; 30 years prior experience in the information
technologies (IT) industry; managing principal of
HENREY Consultants, Inc., an IT services firm he co-
founded in 1994; employed at Bristol-Myers Squibb
Company 1987–1994; appointed director of corporate
telecommunications in 1989.
Stephen LoGrasso
V i si t i n g Ass i sta nt P rof essor
B.S., New York Institute of Technology; 25 years
experience in facility and construction management;
has provided services for various clients including
Goldman Sachs, CitiGroup, McGraw-Hill, and Hertz.
Harriet Markis
Chair , Adjun ct Ass ociate Profess or
B.S. Rensselaer Polytechnic Institute; M.Eng., Cornell
University; member of IFMA, ASCE, ACI, SECB, and
SEONY; partner at Dunne & Markis Consulting Structural
Engineers, PLLC since 1990; 30 years experience as
a structural designer in a variety of projects; licensed
to practice structural engineering in the states of
New York, New Jersey, Connecticut, Delaware, New
Hampshire, and Rhode Island.
Mary Matthews
P ro fess or
B.A., Concentration in Sociology and Education
Management, Emmanuel College; M.S. Social
Work, Boston College; M.B.A. Candidate, NYU Stern
School of Business; consistent career advancement
specializing in safety, training, government compliance,
environmental issues, and insurance programs in the
construction management and facilities management
industries in the public and private sector; professor
and former chair in the Construction Management and
Facilities Management departments at Pratt Institute.
Gerald F. McGowan
Visitin g Ass ociate Profess or
M.B.A., Management, New York University; ALM Media,
Inc., director, Real Estate and Purchasing; professional
affiliations: IFMA, CoreNet.
67
Martin McManus
Vis itin g Ass istan t Profess or
B.B.A., Accounting, Pace University; CPA; financial princi­
pal and registered representative with NASDl member
of the NYS Society of CPAs; American Institute of CPAs.
Gita Nandan
Vis itin g Ass istan t Profess or
M. Arch., University of California, Berkeley; principal,
Thread Collective.
Russell Olson
Vis itin g Ass istan t Profess or
B.Arch., M.S. Urban Environmental Systems, Pratt
Institute; awarded IFMA 2002 Educator of the Year
Award; president and CEO of R.O.I. Consulting Group;
specializes in the technology aspects associated
with design, construction, and facilities management;
responsible for providing staff, as well as business
and technology consulting for numerous Fortune
500 companies.
John Osborn
Vis itin g Ass ociate Profess or
B.A., Political Science and Economics, SUNY-New
Paltz; J.D., University of South Carolina Law Center;
John Osborn, P.C. Attorneys and Counselors at Law;
practice areas include environmental law, construction
law, surety law, healthcare law, commercial litigation,
hospitality law, and professional liability defense;
author and frequent speaker on construction and
environmental law, risk management, and dispute
resolution; 2000 Member of the Year, Greater New York
Construction User Council.
68

Edward Re
Adj u n ct Ass o ci at e P rof essor
A.A.S., Construction Technology, NYC Technical
College; B.S. Construction Management, M.S. Facilities
Management, Pratt Institute; AIA; certified professional
constructor; certified real estate appraiser (NAREA);
certified environmental inspector (EAA); certified
occupational safety and health director; knighted,
Government of Italy-Legions of Merit; qualified
continuing education instructor, State of New
York Department of State/Division of Licensing for
Architecture and Real Estate Appraising; arbitrator,
American Arbitration Association (AAA).

Carol Reznikoff
Adj u n ct Ass o ci at e P rof essor
B.A., History of Art, Boston University; B.Arch., M.S.
Facilities Management, Pratt Institute Construction
and Facilities Management Department; senior level
construction and facilities manager with worldwide
experience in education, government, commercial,
non-profit, and preservation projects; licensed architect;
sustainability educator.

Marjorie St. Ellin

V i si t i n g Ass i sta nt P rof essor Brooklyn brownstones

B.S. Construction Management, Pratt Institute; LEED-AP;

assistant project manager, Turner Construction Co.

Mira Tsymuk
V i si t i n g Ass i sta nt P rof essor
B.S. Economics and Computer Science, University
of Business Management, Moscow, Russia; M.B.A.,
University of Economics and Finance, Moscow, Russia;
M.A. Economics, CUNY Hunter; member, American
Economic Association and International Institute of
Public Finance.

Historic Preservation
Part of the School of Architecture,
Histo­ric Preservation at Pratt is a two-year
44-credit program leading to a Master
of Science in Historic Preservation.
The Historic Preservation (HP)
program prepares students for leadership
in a continuously changing preservation
context. With a broad grasp of cultural
heritage issues, law, policy, and practice
coupled with documentation, evalua-
tion, communication, and interpretative
skills, the program’s scholars are prepared
with the essential practical and profes-
sional tools of the field. Case studies and
interaction with community leaders and
practitioners insure an integrative, inter-
disciplinary, and inclusive approach. The
New York City environment, its urban
context, and an accomplished faculty sup-
port the goal of excellence and national
recognition in the field.
Courses such as history, documentation
and interpretation, adaptive re-use, archi-
tecture, preservation planning, policy, and
heritage impart the broad range of skills
practitioners need today to practice in
this field. Students are encouraged to
analyze preservation policies and methods
within a broader historical and social
69
context, a critical approach that enables ch air
graduates to practice at the highest John Shapiro
johnshapiro@pratt.edu
professional level. Internships give stu-
dents real-world experience.
The program also seeks to foster a as s istant to the cha i r
Lacey Tauber
critical approach to the field. Historic
718-399-4340
Preservation is in the midst of many ltauber@pratt.edu
changes as the profession grapples with
the integration of environmental, sus-
tainability, and livability issues. An urban
focus, using New York City as a laboratory,
allows students to interact not just with
preservation professionals but also with
the residents and community groups of
historic neighborhoods, experiencing as
students the world they will work in.
The faculty is drawn from preser­
vation professionals who bring the real
world of preservation practice—that of
the architect, the designer, the historian,
the private sector, the government,
and the nonprofits—into the classroom.
Students intern at the New York City
Landmarks Preservation Commission,
at preservation organizations, and in
architects’ offices, working at the cutting
edge of our field. Internships range from
community organizations at one end to
the World Monuments Fund at the other.
70
Study abroad is available. Last year,
classes ran in Rome, Copenhagen, Brazil,
and India.
The Historic Preservation program
is located on Pratt’s 25-acre Brooklyn
campus, which is on the National
Register of Historic Places, and which
boasts several buildings officially
designated as New York City or New
York State landmarks.
The program is open to applicants with
an undergraduate degree in any academic
discipline or area of study from an accred-
ited institution. Admissions requirements
include all college transcripts, three letters
of recommendation, and a statement of
purpose describing why you want to study
historic preservation at Pratt. No portfo-
lio is required and we do not require the
GRE. An in-person or telephone interview
is strongly recommended.
Life After Pratt
HP graduates have found jobs in all areas
of historic preservation. They work at
local preservation and community orga-
nizations and at the National Park Service
and the World Monuments Fund. They
work in architectural and planning offices
and house museums. They run state-
wide preservation organizations. Some
have even come back to teach at Pratt. A
number of current students, recent grad-
uates, and other alumni have said they
Adaptive reuse plan designed by students for a vacant will speak with prospective students. If
hospital you are interested, their email addresses
will be made available to you.
What we’re looking for in an application
is two-fold:
1. that you can handle the level of
graduate work at Pratt successfully;
and
2. that Pratt is the right place for you.
GPA is important, of course, as is the rigor
of your prior college-level education, but
we also look at what interests you have as
shown by extracurricular activities, hob-
bies, and jobs. The statement of purpose
is very important. It gives us an example
of how you organize your thoughts and
how well you can express them in writing.
In your statement, please tell us why you
want a degree in historic preservation
and why you want to come to Pratt. We
want to be sure that the students we select
are those who can best benefit from our
unique focus and who will bring original Right: East Village studio workshop students considered
insights into our field. street life, retailing, and culture.

Historic Preservation Faculty
Lisa Ackerman
V i si t i n g Ass i sta nt P rof essor
M.B.A., New York University; M.S., Pratt Institute; B.A.,
Middlebury College; C.O.O., World Monuments Fund.
Eric Allison, Ph.D., AICP
Adj u n ct Ass o ci at e P rof essor
Ph.D., Columbia University; M. Phil., Columbia University;
M.S., Pratt Institute; B.A., Shimer College; chair, National
Council for Preservation Education; author of Historic
Preservation and the Livable City (Wiley, 2011).
Carol Clark
V i si t i n g Ass o ci at e P rof essor
M.S., Columbia University; B.A., University of Michigan;
assistant commissioner, N.Y.C. Department of Housing
Preservation and Development.
Pat Fisher-Olsen
V i si t i n g Ass i sta nt P rof essor
M.S., Pratt Institute; B.A., Thomas Edison State College;
coordinator, Historic Preservation Certificate Program,
Bucks County Community College.
Bill Higgins
V i si t i n g Ass i sta nt P rof essor
M.S., Columbia University; B.A., Boston College;
partner, Higgins & Quasebarth Historic
Preservation Consultants.
Left: Documentation research for the Brooklyn Navy Yard
studio workshop
Jeanne Houck, Ph.D.
Visitin g Ass istan t profess or
Ph.D., New York University; founder, History Works.
Anne Hrychuk, Ph.D.
Visitin g Ass istan t profess or
B.A., University of Alberta; M.A., New York University; Ph.
D., New York University.
Ned Kaufman, Ph.D.
Adj un ct Profess or
Ph.D., Yale University; heritage conservation consultant;
formerly director of preservation, Municipal Art Society;
author: Place, Race, and Story: Essays on the Past and
Future of Historic Preservation (Routledge, 2009).
Jon Meyers
Visitin g Ass istan t Profess or
M.B.A., Columbia University; B.A. Dartmouth College;
vice president and director of real estate, Governor’s
Island Preservation and Education Corporation.
Norman Mintz
Visitin g Ass ociate Profess or
M.S., Columbia University; B.A. Industrial Design, Pratt
Institute; design director, 34th St. Partnership; founder,
New York Main Street Alliance.
Christopher Neville
Visitin g Ass istan t Profess or
M.S., Columbia University; B.A., Amherst College; project
director, Lower East Side Tenement Museum.
73
Theodore Prudon, Ph.D, FAIA
Adjun ct Profess or
Ph.D., Columbia University; M.A., Columbia University;
M.S., Columbia University; M.S., University of Delft, the
Netherlands; partner, Prudon & Partners, LLP; president,
DOCOMOMO U.S.; author: Preservation of Modern
Architecture (Wiley, 2008).
Lacey Tauber
Vis itin g Ass istan t Profess or
M.S., Pratt Institute; B. Journalism, University of Texas,
Austin; assistant to the chair, Pratt Institute Graduate
Center for Planning and the Environment.
Vicki Weiner
Adjun ct Ass ociate Profess or
M.S., Columbia University; B.A., Drew University;
director of planning and preservation, Pratt Center
for Community Development.
Kevin Wolfe
Vis itin g Ass istan t Profess or
M. Arch., Columbia University; M.A., Clark University;
B.L.A., City College of New York; B. A., Holy Cross
College; principal, Kevin Wolfe Architect.
 75

School of Art and Design

The School of Art and Design art and de s ign e ducation acting de an
Leighton Pierce
is home to the most compre­
arts and cultural
hen­sive professional art and manage me nt administrative a ssi sta nt
design education available. to th e de an
Katherine Morris
c ommunications /
Two major objectives guide every package de s ign
department. The first is an emphasis as s istant to the dea n
Donna Gorsline
on professional skills development. The digital arts
school’s students gain the techniques,
skills, methodology, and vocabulary acting as s istant dea n fo r
cr e ative arts th e rapy acade mic af fairs
required for success as productive artists,
Sheila Pepe
designers, and scholars.
de s ign manage me nt
The second objective—imperative so
that the professional expertise is not dir e ctor of f ina nce a nd
simply technical training—is develop- f ine arts administration
Daisy Rivera
ment of the critical judgment and
historical perspective needed to become a h istory of art and de s ign
problem solver. Art and design history, of f ice
Main Building, 4th Floor
melded with studies in the liberal arts and industr ial de s ign
Tel: 718-636-3619 | Fax: 718-636-3410
sciences, provides the context for stimulat-
ing intellectual and creative inquiry. inte r ior de s ign
Gifted students from across the United
States and the world collaborate and learn
at Pratt, weaving creative energy and
opportunity into an unmatched educa-
tional experience.

Left: Gyeong Ko Eun

76

The faculty consists of professional

artists, designers, critics, historians,
and practitioners, including numerous
recipients of prestigious awards such as the
Tiffany, Fulbright, and Guggenheim fel-
lowships. The faculty’s works, projects, and
publications are recognized and respected
around the world.
In addition to the outstanding curricula
and faculty, the School of Art and Design
offers a wide range of degree offerings,
supported by exceptional technical and
studio resources. Pratt’s distinguished
professional programs in architecture also
enrich School of Art and Design programs.
Perhaps best of all, the school’s disci-
plines are taught in the broader cultural
context of New York City, which provides
inspiration and an opportunity to learn
from the multitude of artists and designers
who abound in this creative capital.
The mission of the School of Art and
Design is to educate those who will make
and shape our built environment, our
aesthetic surroundings, and our collective
future. The School of Art and Design is a
diverse collection of disciplines, dedicated
to the primacy of studio practice and the
transformative power of creativity. We
educate leaders in the creative professions
to identify, understand, shape, and benefit
from the challenges of a rapidly changing
world. Our courses are designed to develop
critical thinking skills, deepen under-
standing, enable practice, and empower
visionary action to transform. The School
of Art and Design is dedicated to develop-
ing creative leadership in a world that
requires it Sasha O’Malley
 77

Art and Design Education

In 1994, Pratt inaugurated the Master of Science in Art and ch air

Amir Parsa
Design Education, drawing students from the worlds of
art, design, and architecture. The curriculum expands upon as s istant to the cha i r
Jessica Masters
the philosophy and practices of our continuing undergraduate 718-636-3681
and post-baccalaureate programs and was one of the first in
the country to include design education. We endeavor to be art and de s ign educat i o n
of f ice
progressive and dynamic and at the forefront of our field while Tel: 718-636-3637 | Fax: 718-230-6817

providing a stimulating, challenging, and supportive environ­ adeinfo@pratt.edu

www.pratt.edu/ad/ade
ment for our students, faculty, and staff. Our students are
passionate teachers and learners engaged in creative individual c oor dinator ,
youth programs
and community practice as artists, educators, and researchers. Tara Kopp
Tel: 718-636-3654

The earliest incarnation of the current
Department of Art and Design Education
was in the late 19th century, when Pratt
Institute opened its doors in Brooklyn,
New York. Opportunities to combine
theory and practice have been an integral
part of the program ever since. Now, as
then, teaching is viewed as a creative
process with studio work enhancing and
complementing instruction rather than
competing with it.
In 1897, art classes for children were
offered in cast drawing; sketching in youth programs o ffi ce
Tel: 718-636-3654 | Fax: 718-230-6876
outline, color, light, and shade; and www.pratt.edu/youth
freehand perspective. This was to be the
genesis of a unique student teaching
experience and resource for the commu-
nity. Beginning in 1902, the Saturday
classes were used as a vehicle for art teacher
training. The Saturday Art School became
a laboratory where learning how to teach
and researching issues of pedagogy are

modeled upon artistic practice. Students
test ideas, develop a personal teaching
style, and explore research questions
through participation and observation.
The seminars following the Saturday
classes are forums for reflection upon both
unfinished and completed projects.
Students thus get opportunities to work
collaboratively with their peers, commu-
nity members and professionals in the
field, while they learn to develop lessons
and construct environ­ments that promote
critical inquiry and creative practice.
The department’s conception of art
has broadened considerably from those
first classes in the 19th century. A range of
art practices are presented and explored,
from traditional forms to contemporary
multidisciplinary works. Masterworks
from various cultures and from across the
globe, as well as creations of self-taught
artists and outsiders, are integrated into
the curriculum.
Our approach to art and design educa-
tion is distinguished by a willingness to
look to other disciplines for inspiration. In
recent years, we have drawn upon the work
of artists, educators, and scholars in the
fields of literature, folklore, philosophy,
and anthropology. Narrative and autobiog-
raphy, play and performance, meaning and
memory are threads that play an important
role in our classroom conversations and
research. We ask our students to go beyond
textbook vocabulary and style. Their plans,
Left: Top: Elementary school student drawing a still life
in Pratt’s Saturday Art School; Bottom: High school
students on a Pratt after-school program at Brooklyn
design firm Nightwood’s furniture and textile studio.
essays, and research papers are developed
from their own stories and personal knowl-
edge using, whenever appropriate, the
language of the poet. Reflective practitio-
ners, they are prepared to work effectively
in diverse cultural contexts and to apply
interdisciplinary perspectives in a variety
of educational settings.
Through a combination of individual
study, observation, and reflection, along
with collaborative and interactive experi­
ences, students learn how to arti­cu­late the
inexpressible, imagine the invisible, and
convey a sense of the aesthetic in their art
classrooms as well as in their own lives and
in the community at large. The study of art
and design education leads us back to our
own creativity.
The Program’s Structure
m.s. in art and design
education with initial teacher
certification (fall)
Brooklyn campus—a 38-credit-hour
degree. Applicants must have completed
a four-year undergraduate program with
a minimum of 25 credit hours in the
appropriate technical courses in studio art
and the history of art from a regionally
accredited institution of higher education
or one that is approved by the New York
State Department of Education. As an
alternative, they can apply for the qualify-
ing program or take undergraduate courses
before applying to the degree program. A
course in child and adolescent psychology
s c h o o l o f a rt a n d d e s i g n 79
and credits in a foreign language are also
required as pre- or co-requisites. Appli-
cants must submit a portfolio of 15 or more
images including observational drawings
along with other media in color copies or
digital format—teaching projects may also
be included. An in-person (along with class
visit) or telephone interview should be
arranged by the applicant. A TOEFL score
of 600 (250 or 100 Internet) is required for
international students.
m.s. in art and design education
professional certification (fall)
Brooklyn campus—a 34-credit-hour
degree. Applicants must have received their
Initial Certification as a Teacher of Visual
Arts and taught full-time for three years.
Applicants must submit a portfolio of 15
or more images including observational
drawings along with other media in color
copies or digital format—teaching projects
may also be included. An in-person (along
with class visit) or telephone interview
should be arranged by the applicant.
advanced certificate in art and
design education (fall)
Brooklyn campus. This 23-credit-hour pro-
gram is open to individuals with an M.F.A.
degree, or those currently enrolled in the
M.F.A. program at Pratt. For those appli-
cants already holding an M.F.A. degree,
the program may be completed in two
semesters, and the application require-
ments are the same as those listed for the
M.S. in Art and Design Education.
80
Art and Design Education Faculty
Lisa Baumwell
V i si t i n g Ass o ci at e P rof essor
B.S. Union College (Psychology); M.A. New York
University (Counseling and Guidance); Ph.D. New York
University (Developmental Psychology); Researcher.
Lisa Capone
Adj u n ct I n st ru c tor
M.F.A. Sculpture Pratt Institute; B.F.A. and B.A.
Marymount College, New York and Chelsea School
of London, England.
Mary Elmer-Dewitt
Adj u n ct Ass i sta nt P ro f essor
B.A., New York University; M.S., Pratt Institute;
Teaching artist with Studio in a School, grades K-5,
and photographer.
Shari Fischberg (Lederman)
Adj u n ct I n st ru c tor
B.F.A. The School of The Museum of Fine Arts Boston/
Tufts University; M.F.A. Queens College; Education
Consultant; Curator.
Dahn Hiuni
V i si t i n g P ro f e ss o r
B.F.A., University of Manitoba; M.F.A., Ph.D., Penn State
University. He is a multi-media, multidisciplinary artist,
whose work spans the fields of visual art, performance
art, theater, film and video, and scholarly writing. His
solo work has been presented at P.S. 122, Franklin
Furnace, Artists’ Space, Metro Pictures, Leslie-Lohman,
Thread Waxing Space, the Cleveland Performance Art
Festival, the Delaware Center for Contemporary Art, the
Art Gallery of Ontario, the Lancaster Museum of Art,
and is part of the permanent collection of the Walker
Art Center. He has taught studio art, art education, and
art history courses at Hofstra, SUNY Old Westbury, FIT,
Bucknell and Kutztown universities, and at the National
Theatre School of Canada. He has also worked as a
museum educator at The Metropolitan Museum of Art
and The Museum of Modern Art.
Tonya Leslie
Visitin g In structor
B.A, University of New York, New Paltz College; M.A.,
New York University; Ph.D. candidate at New York
University and a research fellow at the Metropolitan
Center for Urban Education. Her research interests
include urban education and literacy. She has worked
in all levels of children’s publishing and educational
program development and has been a member of
organizations such as Scholastic Inc., Girl Scouts of the
USA, Sesame Workshop, and the Schomburg Center for
Research and Black Culture. She is also the author of
several children’s books including True You: Sometimes I
feel Ugly and Other Truths About Growing Up, available
online through Dove’s Campaign for Real Beauty.
Heather Lewis
Associate Profess or
Ph.D., New York University; her research explores
the intersection between the history of urban
social movements and urban policy and politics in
housing, education, social welfare and the arts. Her
dissertation, “Protest, Place and Pedagogy: New
York City’s Community Control Movement and its
Aftermath, 1966–1996” is a study of the Northern civil
rights movement and its aftermath through a study of
the community control movement in New York City’s
disenfranchised communities. She is currently working
on a book based on her dissertation.
Josh Millis
Vis itin g In structor
B.F.A., Art History Minor, Tyler School of Art; M.F.A.,
The School of Art Institute of Chicago; has exhibited
in New York City and Europe; currently a teaching
artist for the Queens Museum of Art and the Studio-in-
a-School Association
Amir Parsa
Chair
B.A., Princeton University; M. Phil (PhD./abd), Columbia
University; author of 13 literary books in English,
French, Persian, and Spanish including Erre, Divan,
and Drive-by Cannibalism in the Baroque Tradition;
leader and presenter at education conferences
nationally and internationally, most recently in Brazil,
Spain, Norway, and India; conceptual, performative,
and exhibitory works have appeared in group and solo
shows including at curated venues and events such
as the Dumbo Arts Festival, the Persian Arts Festival,
the Baroquissimo Festival in Mexico, and the Paris en
toutes lettres festival in France; former director of the
Alzheimer’s Project in The Museum of Modern Art’s
(MoMA) Department of Education; co-author of Meet
Me: Making Art Accessible to People with Dementia
(MoMA, 2009), formerly visiting associate professor
in Pratt Institute’s Department of Critical and Visual
Studies (2009–2011).
 s c h o o l o f a rt a n d d e s i g n 81

Theodora Skipitares
Ass o ci at e P ro f e ssor
M.F.A., New York University; A multi-media artist, whose
work has been exhibited and performed throughout
Europe, Asia, and South America, she has received
grants from the NEA, NYFA, UNIMA, and the Guggenheim
and Rockefeller Foundations, among others. Her play
Defenders of the Code was named one of the 10 Best
Plays by The New York Times. A Harlot’s Progress was
the winner of an American Theater Wing Design Award
for the 1999 Season. Two years ago, she was winner of
the Helen Merrill Award for Distinguished Playwriting.
Her production Iphigenia won two New York Innovative
Theater Awards last year. She travels frequently to India
to develop new projects and taught in the Pratt in South
Africa Program during the summer of 2008.

Amy Brook Snider

P ro f e ss o r
B.A., Queens College, City University of New; M.S.,
University of Wisconsin Madison; Ph.D., New York
University; chair, 1981–2010. Dr. Snider also works as
a consultant in arts education. Her approach to the
profession is exemplified by the range of her interests—
story telling, children’s picture books, self-taught
artists, and the integration of design in art education,
are but a few. She has lectured in the United States,
Canada, and Great Britain; designed educational
programs; published articles, conducted workshops,
curated exhibitions, organized panels and conferences,
collaborated with an architectural firm, and served on
the Board of a Charter School.

Aileen Wilson
Ass o ci at e P ro f e ssor
M.A., Chelsea School of Art, London; Ed.M. doctoral
student, Art/Art Education, Teacher’s College, Columbia
University, New York; she was accepted as a Fulbright
Specialist roster candidate 2010–2015. Recent projects
include Building Space with Words, a multimedia,
interactive installation with Anne-Laure Fayard, March
2009, NYU-Poly; conference presentations include From
Studio to Classroom: A Studio Class for Pre-Service
Teachers, NAEA, 2010; and a collaborative curatorial
project, “Neo-Nomads: What Travels With You?” at BRIC
Rotunda Gallery, January–February, 2011.

Pratt’s Saturday Art School classes

 83

Arts and Cultural Management

The mission of the Arts and Cultural Management (ACM) ch air

Mary McBride, Ph.D.
graduate program is to build on Pratt Institute’s international
reputation for developing creative leaders. Our program’s mission program dir e cto r
Christopher Shrum
is to develop leaders able to use their creativity strategically to
foster creative expression, build creative community and shape a of f ice
commerce of ideas and images in an increasingly challenged and Tel: 212-647-7560
acm@pratt.edu
mediated world. ACM prepares participants to lead and manage www.pratt.edu/ad/acm

in a changing cultural landscape that includes new challenges,

new media, and new forms of cultural expression. Based in
experiential learning, the program creates a collaborative
learning community that sharpens critical thinking, deepens
reflective practice, and develops strategic leadership skills.

The program encourages participants to
consider their role in society and their
respective communities as cultural arbi-
ters and educators. This approach yields
arts and cultural leaders who are equipped
with the necessary theoretical, analytical,
and practical skills to respond creatively
to the changing cultural, economic, and
social environments in which they work.
These goals are accomplished by:
Left: Students make site visits to the city’s cultural
institutions.
▶▶ Stretching each participant’s
ability to deal with a wide range of
critical artistic, institutional, and
business problems in practical and
theoretical terms.
▶▶ Increasing the individual’s ability to
manage complex, cross-disciplinary,
and competing problems and
tensions that are inherent in arts
and cultural business environments.
▶▶ Utilizing technology and new
media to advance strategic goals.
▶▶ Providing practical skills for
negotiating organizational and
artistic conflicts.
▶▶ Broadening outlooks on the social,
economic, and political climate
and the role of arts and cultural
institutions in society.
▶▶ Sharpening personal capacities
for understanding and solving
organizational and human relations
problems.
84
▶▶ Developing communications skills
for the effective exchange of ideas
and information.
▶▶ Sharpening the individual’s
capacities to anticipate and
effectively manage change fueled by
external forces.
▶▶ Developing the leadership
capabilities of each participant.
▶▶ Sharing the ideas and experiences
of a diverse group of promising arts
and cultural managers.
Classes are offered on alternating week-
ends in Manhattan to accommodate
working professionals and those who may
wish to pursue full-time internships. By
expanding the coursework to include
nonprofit management practices, public
policy, and other contemporary issues, the
ACMP stresses the importance of sim­
ultaneously developing business acumen
and a sense of social responsibility.
The Program’s Structure
The Arts and Cultural Management
Program (ACMP) is a two-year program.
Students are required to take 42 credits
to complete the program and receive a
Master of Professional Studies (M.P.S.)
in Arts and Cultural Management. The
program has five required semesters—
fall, spring, summer, fall, spring. The
ACM program prepares participants for
a rapidly shifting cultural, economic, and
social environment and political context.
It provides the skills necessary to lead
and manage in a changing world and an
increasingly challenged ecosystem.
The ACM program provides
participants with the opportunity to:
▶▶ Join a creative learning
community of professionals with
diverse expertise
▶▶ Develop a strategic skill set
that bridges public, profit, and
nonprofit sectors
▶▶ Explore the role of art, culture, and
meaning making in shaping equity,
economy, and ecology of place
▶▶ Create and expand professional
networks worldwide
Examine trends and global
▶▶
challenges
▶▶ Use technology to advance
dialogue and engagement
Refine communication,
▶▶
collaboration, and conflict
management skills
▶▶ Lead the development of
thriving cultures
Coursework is concentrated in these
sessions and moves at a fast pace.
Class attendance is critical, since each
alternating weekend of classes is one-
tenth of the entire course. There are no
electives. As their “capstone” experience,
students have the opportunity to take
one of three experience-based learning
options—internship, Team Pratt
(three students are retained by an arts/
cultural organization to address a specific
management problem), or case study
development. Each option is divided into
Thesis Part I (2 credits), taken in the fall
semester of the second year, and Thesis
Part II (2 credits), taken in the spring of
the second year. Students are required
to complete the 42 credit hours of the
program to graduate.
e ntrance r e quir e ment s
Applicants should demonstrate
substantial experience in a related
field or activity—social community
engagement involving the arts. The
required statement of purpose should
reflect the applicant’s personal vision
of how this program fits in with his/
her personal and professional goals,
including how the applicant hopes to
use the skills he/she acquires in this
program. The statement should be no
more than 500 words or two pages. In
some cases volunteer experience will be
an acceptable demonstration of interest
in the field. An interview (in person, by
phone, or by email) with the program
director is required for admission. A
minimum 3.0 undergraduate cumulative
index is required. For international
students, a minimum Test of English as a
Foreign Language (TOEFL) score of 600
is required.

Arts and Cultural Management Faculty
Catherine Ashcraft
V i si t i n g Ass i sta nt P rof essor
Catherine Cacho-Leary
V i si t i n g Ass i sta nt P rof essor
B.A., Dance, The George Washington University;
M.B.A., Public Administration, Keller Graduate
School of Management; Cacho-Leary worked in
the Finance Department at Dia Art Foundation and
served as financial and administrative consultant
for QIIQ Productions, a literacy-based youth theater
organization. She also worked as a budget analyst at
Brooklyn Academy of Music and was instrumental in
restructuring and advancing the internal operations
of the Finance Department. After earning her
undergraduate degree in dance, she studied at The
Alvin Ailey American Dance Center. She is the founder
of Community Arts Works, an arts management
company that provides arts management services
and brings a broader understanding of business to
emerging performing arts organizations.
Ada Ciniglio
V i si t i n g Ass i sta nt P rof essor
M.S., Education, SUNY-New Paltz; Ciniglio was the
founder and Executive Director of High 5 Tickets to the
Arts, a non-profit organization providing performance
tickets to high school students for $5.
Richard Green
P ro fess or
Former director of new products and joint ventures,
Citibank-Diners Club; consultant specializing in
developing organizational change strategies and the
improvement of internal team processes.
Jeffrey Klein
Visitin g Ass istan t Profess or
Klein gives workshops for Volunteer Lawyers
for the Arts.
Susan Schear
Visitin g Ass istan t Profess or
Schear is the founder and president of ArtIsIn,
L.L.C. ArtIsIn focuses on business development,
management, facilitation, consulting and coaching
services to arts and cultural organizations.
Vida Schreibman
Visitin g Ass ociate Profess or
M.A., Visual Arts Administration , New York University;
Schreibman is the director of Cultural Destinations,
NYC. She is a specialist in customized art tours,
adult art education programs, and advisory services
for corporate, philanthropic, academic and
alumni organizations.
85
Christopher Shrum
Vis itin g Ass istan t Profess or
M.A., Public Administration, New York University;
Shrum is the Director of Community Services for
Eastern Maine Development Corporation in Bangor,
Maine. His background includes community economic
development, healthcare, tourism, and the arts. He
served as a fellow at the National Endowment for
the Arts in policy, planning, and research focusing his
attention on public participation patterns in the arts.
Denise Tahara
Vis itin g Ass istan t Profess or
Ph.D., Operations Management, New York University;
Tahara is an independent consultant working with
not-for-profit organizations in a variety of industries to
improve the quality, efficiency and effectiveness of their
service delivery systems.
 87

Communications/Package Design

Pratt Institute’s Graduate Communications/Package Design ch air

Jeff Bellantoni
department has been educating graphic and package designers
for over 40 years. We currently offer a 60-credit Master of Fine as s istant ch air
Michelle Hinebrook
Arts (M.F.A.) degree and a 48-credit Master of Science (M.S.)
degree in Communications Design or Package Design. The as s istant to the cha i r
Graduate Communications Design program is ranked in the Anna Revchoun

top 12 of over 200 graduate design programs in the nation, as of f ice

reported in U.S. News & World Report rankings.
The department is located in Manhattan
at 144 West 14th Street., between Sixth
and Seventh avenues, and our student
studios are four blocks north on West
18th Street. The department’s faculty
includes highly regarded, award-
winning professional designers, authors,
marketing, and media specialists.
The faculty members are important
professional contacts for the students—
several have written pivotal design books
and articles, and many have been honored
with design awards from prestigious arts
and design organizations.
Left: Daniel Wiggins
Tel: 212-647-7573 | Fax: 212-367-2481
des@pratt.edu
www. prattgradcomd.com
Our location in one of Manhattan’s
most creative areas provides a wealth of
opportunities available nowhere else.
With access to world-famous design firms,
the students talk to and, through the
department’s internship opportunities and
professional faculty, have the opportunity
to work with some of the best designers.
As a result, many students secure industry
positions even before their graduation.
A diverse body of students—over
20 countries are represented—come to
Pratt to further their careers in the design
industry, to begin a journey towards
becoming a design educator, or to alter
a career course. Our graduate programs
88

provide students the opportunity to in Communications Design (print and A significant proportion of the work
develop and refine their design process, digital media, artifacts, information, will be self-directed and independent,
environments, and systems). The
design voice, and creative skills leading to with collaborative and community-
professional competence and leadership. components of the M.F.A. program based projects as well. Studios will
include an emphasis on studio practice, consist of group discussions, critiques,
research and scholarship, design teaching student presentations, individual faculty
M.F.A. in methodologies, and academic studies meetings, and visits with guest designers.
of visual media such as history, theory, Seminars are offered as a forum
Communications Design critical analysis, aesthetics, and related for critical analysis and discussions of
humanities and social sciences. theoretical, historical, and contemporary
Design plays a central and formative role The M.F.A. program is intended for issues in communications design. Design
in shaping communities, technology, highly motivated individuals who hold an Writing will focus on core writing skills
and business. Never have designers been undergraduate degree in graphic design or and effective methods for researching,
expected to cultivate such a diverse set related design fields such as industrial or analyzing, evaluating, and chronicling
of skills and knowledge. The M.F.A. interior design, architecture, fine arts, or design issues. A Teaching Practicum is
in Communications Design prepares media arts. Exceptional individuals from available for those who desire to enter
individuals to pursue design with passion disparate disciplines may be admitted post-secondary teaching.
and cultural relevance. In our distinctive provisionally and required to take design M.F.A. candidates in Communications
program, we explore design as a means foundation courses. A residency of two Design will be required to present a thesis
for communicating meaningful messages, academic years attending full time is and final body of work demonstrating
organizing information, and creating required (one or two additional semesters professional competence, which must
compelling experiences. for provisional admits). be approved by a three-faculty thesis
We believe the most intriguing There are seven M.F.A. Studios— committee and the department chair in
and successful designers are cultural courses that investigate current order to be eligible for degree conferral.
innovators who use media to inform, practice and the future direction of The department will support students in
persuade, and entertain. Our graduates communications design. Courses frequent opportunities to present their
develop a voice as authors engaged in emphasize research, critical thinking, work both publicly and in circumstances
seeking and solving problems within and design strategy, coupled with that develop connections with the
cross-disciplinary environments. We entrepreneurship and an iterative design communication design profession.
approach design as an agent of change— process. Students are encouraged to
a strategy for transforming behaviors of synthesize theory with practice. These
individuals in desirable and sustainable are intense studios taught by resident
ways. The program provides a framework and visiting faculty, sharing a common
for both professional practice and foundation with the other studios
academic careers. offered in a given semester. Students are
A 60-credit program administered encouraged to search for connections
over two years leads to a Master of Fine and relationships between the studio
Arts terminal degree; the program projects and the thesis, with an emphasis
emphasizes full-time studio practice on discovering his/her own design voice. Right: Vivi Weng
90
M.S. Communications Design/
M.S. Package Design
The M.S. in Communications Design
and the M.S. in Package Design
educate students from diverse
cultural, professional, and educational
backgrounds in creative discipline,
technical skills, collaborative abilities,
academic knowledge, and managerial
competence. While focusing on creative
problem solving, the curriculum is
pragmatic and industry-oriented. The
comprehensive thesis demonstrates
professional competence and
includes extensive research, project
formulation and production, and process
documentation. Graduates of these
programs enter the professional world
with an outstanding body of work,
prepared to become innovative leaders
in the fields of graphic, package, and
digital design.
The curriculum was initially
structured around the future needs
of the packaging industry in 1966.
It was expanded in 1972 to include
Communications Design. From its
inception, the department has provided
students with the skills to use the most
effective media to express ideas, but the
focus has always been on creative problem
solving. Students are provided the
opportunity to develop a design voice and
refine their design process and creative
skills, leading to professional competence
and leadership.
Students accepted into the programs
for M.S. Communications Design and
M.S. Package Design hold undergraduate
degrees in graphic design or related
design fields such as industrial or interior
design, architecture, fine arts, or media
arts. We welcome students from non-
design fields as well, such as business,
liberal arts, and the sciences. Students
may attend full or part time.
Areas of study in the M.S. programs
include:
▶▶ M.S. in Communications Design,
which focuses on all aspects of
transforming information and
ideas into visual forms. Coursework for applicants whose undergraduate
embraces the wide range of verbal
and visual language systems.
Design projects relate to extensive
communications applications
involving various aspects of society. design experience, however, the
Representative solutions utilize
graphic design, corporate identity,
publications design, computer
graphics, and typography.
M.S. in Communications Design
▶▶
(Digital Design Emphasis), which
offers communications design
students the option of an emphasis
in digital design, combining graphic two semesters, gives students the
design and time-based media. This opportunity to develop an extensive,
emphasis requires a significant
level of conceptual and technical
competence in order to meet the
demands of courses that utilize
digital technologies.
▶▶ M.S. in Package Design, which
offers a broadly based curriculum
centered on the decision-making
process for package development
for products, features courses in
package design, brand development,
visual communications, digital
technology, marketing, and
structural packaging.
A minimum of 48 credits, which can be
completed within two to three years of
study, is required for each of the M.S.
degree programs. A qualifying program
of up to an additional six credits of
prerequisite classes may be required
backgrounds do not meet all entrance
standards but whose applications
indicate a strong aptitude for graduate
study. For students with substantial
program—with courses ranging from
visual communications to marketing
and electronic media—challenges their
creativity to its fullest potential.
The final stage of the curriculum is
the thesis, which provides knowledge
of the problem-solving process through
directed research and, over the succeeding
innovative project. Work on the thesis
is done under the direction of a major
discipline faculty advisor.
Right: Natalie Sims
s c h o o l o f a rt a n d d e s i g n 91
“Amazing! When I was at
Pratt in ’64, the school was
around the age I am now. It’s
still a role model for vitality,
creativity, engagement,
longevity…I’d like to emulate
my alma mater when I’m
125.”
—Edwar d Ko ren, M. S. Art
Education ’65
Cartoonist, The New Yorker
Left: Lauren Manning, Woojin Lee

Page 92: Top: So Young Jung; Bottom: Left, Right: Li Liu

Page 93: Left, Right: Chantal Fischzang


Communications/Package Design Faculty
Howard Allen
V ISITING INSTRUCTOR
M.P.S., Pratt Institute; B.F.A. University of Illinois, Chicago;
independent consultant focused on the intricate details
of design within the world of branding; clients include
Bed-Stuy Campaign Against Hunger, JP Morgan, Bridge
Culture: International Festival of Music Storytelling and
Dance, Brooklyn Office of Travel and Tourism, Imagine:
NY Schools, and Higher Heights for America;
he has also served as a senior design manager and
client manager for PricewaterhouseCoopers, where
he helped help establish a strong culture of design and
strategic thinking among his creative peers; currently,
he is developing an investment methodology which will
enable investors to understand how design influences
the quantitative value of a corporation.
Jeff Bellantoni
C h a i r , G r a duat e Co mmunic at io ns Desig n,
Ass o ci at e P ro f e sso r
B.F.A., University of Tennessee at Chattanooga; M.F.A.,
Virginia Commonwealth University; co-author and
designer of three internationally published titles on
Typography and Media: Type in Motion; Moving Type,
Designing for Time and Space, and Motion Design;
has written on graphic design for How magazine and
various other design publications; design work has
been recognized by Print magazine, the AIGA (50
Books/50 Covers), and Connecticut Art Director’s Club;
has previously taught at University of Connecticut, VCU,
Mercy College, and The Wanganui School of Design,
New Zealand.
Chava Ben-Amos
P ro fess or
B.A., Bezalel Art Academy in Jerusalem, Israel; served
two years in the Israeli Army, then returned to school
and began her design career upon graduation; won
several awards, including one for a Holocaust memorial
postage stamp and moved to the U.S. in 1964, produced
posters for Broadway productions; served as art director
at several prestigious New York design firms before
founding her own studio.
Barry Berger
Visitin g ass ociate Profess or
B.I.D., Pratt Institute; founder, owner, and creative
director of Barry David Berger + Associates, Inc.,
established in 1977, specializing in merchandizing
packaging, product design, graphic design, and
commercial interiors; Fulbright Grant recipient, member
of AIGA, IDSA, and APDF; had previously taught at Pratt
for many years before taking a sabbatical.
Warren Bernard
Adj un ct Ass istan t Profess or
B.A., Hampton University; M.S., Pratt Institute; currently
freelances with Dwight Johnson Design while
maintaining his established clients; has worked with
Time Magazine and Vibe; several start-up magazines
have solicited his help in development; has designed
book covers for labels, such as BET Books and Simon &
Schuster Inc.; creates corporate identities inclusive of
Abyssinian Development Corporation; has written for
the AIGA’s Journal of Graphic Design; honored by Pratt
as a Distinguished Student.
95
Jennifer Bernstein
Vis itin g Ass ociate Profess or
B.A., Brown University; M.F.A., Yale; has worked for the
New York firms Wechsler & Partners and Balsmeyer &
Everett Inc.; while senior designer at Balsmeyer Everett,
originated the concepts and design for title sequences
for such feature films as Fargo, Girl 6, The First Wives
Club, and Waiting To Exhale; in 1998, established her own
New York–based firm Level Design Group to focus on
design for print and motion; clients include The New York
Foundation for the Arts, Deutsche Bank, P.O.V. on PBS,
The Nature Conservancy, and MetLife; film work has been
featured at The Sundance Film Festival, “New Directors,
New Films” at MoMA, The New York International
Documentary Film Festival, and on PBS; work has been
published in The New York Times, Type In Motion, I.D.
Magazine, and in Zed, The Virginia Commonwealth
University Design Journal; work has won Best of
Category in the I.D. Magazine Design Annual, and a 2008
Create Award; has been on the faculty at UArts since
2000, and has also taught at NYU and SVA.
Jean Brennan
Adjun ct Ass ociate Profess o r
B.A., University of California, Santa Cruz; B.F.A., M.S.,
Pratt Institute; upon graduation from the Graduate
Communications Design program went to work as a
broadcast designer at Lee Hunt Associates, working
with clients such as PBS, Oxygen, and Arte; continued
with the LHA team after they were acquired by Razorfish
in late 1999; in 2002, became the Nick Jr. Art Director,
where she worked on in-house graphics for the 2–5 age
programming of Nickelodeon; currently freelances as
an art director in broadcast, online, and print projects.
96
Tom Delaney
V i si t i n g I n st ru c to r
Senior Design with Muts&Joy&, Design and Identity
Consultants; has extensive experience in the packaging
design industry, including Senior Creative Director
at EastWest Creative, Design Director at Deskey
Associates, and designer for Charles Biondo Design
Associates and ESPRIT de Corps.
Antonio Dispigna
P ro f e ss o r
B.F.A., M.S., Pratt Institute; designer at Bonder and
Carnase; Lubalin Smith and Carnase; in 1973, opened
Artissimo, Inc.; in 1978 joined Herb Lubalin Associates
as vice president and partner; in 1980 opened Tony
Di Spigna, Inc.; has designed numerous typefaces,
most notably Serif Gothic and exclusive typefaces for
PBS Channel WNET 13, The Coca Cola Co., and The
Louis Dreyfus Corp.; in 2007, became co-founder and
design director of THINSTROKE, INC., a complete
service design firm.
Thomas Dolle
Adj u n ct P ro f e ss o r, CCE
B.F.A., Rhode Island School of Design; principal, Tom
Dolle Design, a strategic design, marketing, and
branding firm in New York; clients have included
Citibank, Dun & Bradstreet, ESPN, Charles Schwab,
Northern Trust, RH Donnelly, Verizon, Reed Elsevier,
and Time Warner; Tom Dolle Design is now focusing on
branding, communications, and packaging for retail,
arts, and non-profit organizations; recent projects
include the Getty Trust, Doe Fund, Baruch College,
Foundation Center, and National Urban Fellows.
Ned Drew
V i si t i n g P ro f e ss o r
B.F.A., M.F.A., Virginia Commonwealth University;
founding partner and creative director of the New
York–based design firm, BRED and co-editor of Design
Education in Progress: Process and Methodology,
Volumes 1, 2 and 3, an academic book series dedicated
to the study of design pedagogy; in 2005, co-authored
BY ITS COVER: Modern American Book Cover Design;
work has appeared in Graphic Design Referenced,
Typographic Design: Form and Communication,
Graphic Design Solutions and “USDesign 1975–2000”
among others; work has been recognized by the AIGA,
the Type Directors Club, The Art Directors Club, and the
American Association of Museums; work has appeared
in Graphis, Print, How, and Creativity magazines; as
a professor at Rutgers University-Newark, heads the
graphic design program and teaches design and the
history of design and is the director of The Design
Consortium, a student/teacher run design studio that
focuses on non-profit, community-based projects.
Dennis Dugan
Visitin g Profess or
B.S., Creighton University; Ph.D., Brown University; has
extensive experience in economic analysis, market
assessments, and business and intellectual property
valuations; is currently president of Management
and Economic Strategy Analysis, Inc. and senior VP
of Intellectual Capital Growth, Inc.; has served as chair
of the Department of Economics at the University
of Notre Dame, and has been an Economic Policy
Fellow at The Brookings Institution; has performed
research and taught graduate and undergraduate
courses in economics at Georgetown, American, and
Polytechnic Universities.
David Frisco
Adj un ct Ass ociate Profess or
B.A., University of Illinois at Chicago; M.F.A., Yale
University; co-director of Design Corps, a studio course
that encourages the relationship between design
practice and design education, where Communications
Design students provide pro-bono design work for non-
profit organizations; in his independent studio practice,
has completed work for a variety of clients in the art,
architectural, cultural, and non-profit sectors including
Pratt Institute, Pace/MacGill Gallery, The College Art
Association, Yale School of Architecture, TASC: The
After-School Corporation, and the films Lumo, Fully
Awake: Black Mountain College, The Situation, Chop
Shop, and Man Push Cart.
Kevin Gatta
P ro fess or
B.A., Rhode Island College; M.S., Pratt Institute;
Pietrasanta Italian Studies Program, Providence
College; design director, Gatta Design & Co., specializing
in corporate communications, identity, and branding;
design experience: the Pushpin Group, 1981–88;
David Pocknell’s Company (Pushpin UK), 1984; Herb
Lubalin Associates, 1979–81; author of Foundations of
Graphic Design TE (Davis Publications, 1994); co-author
of Foundations of Graphic Design, Communicating
Through Graphic Design (Davis Publications, 1990,
2009); Distinguished Teacher Award, 1997.
Bob Gill
Adjun ct Ass ociate Profess or
Started Fletcher/Forbes/Gill, a design office in 1962
(now known as Pentagram); in 1967 designed the cover
of Wonderwall, the Beatles’ first record; in 1968, the
Stedelijk Museum in Amsterdam gave him a one-man
show and Lund Humphries published his portfolio;
selected to the New York Art Directors Hall of Fame; has
authored a number of books, including What Colour
is your World?, A Balloon for Blunderbuss, Forget All
the Rules You Ever Learned About Graphic Design,
Unspecial Effects for Graphic Designers, and Graphic
Design as a Second Language.
J. Roger Guilfoyle
Adjun ct Profess or , CCE
B.A., Creighton University; has appeared on design
and packaging panels in the U.S., Mexico, and Japan;
has lectured before small and large design groups,
including Carnegie-Mellon and Cooper Hewitt National
Design Museum; has worked under grants from the
NEA, the NEH, and the New York State Council on
the Arts; his work has appeared in newspapers and
magazines, including ID, Interiors, and USAir; has been
on the Pratt faculty since 1968.
J. Graham Hanson
Adjun ct Ass ociate Profess or
B.F.A., Iowa State University; Graham Hanson, previously
with Vignelli Associates, is principal of Graham Hanson
Design, an internationally recognized multidisciplinary
design agency active in all areas of strategic design.
The firm collaborates with a diverse group of corporate
clients and cultural institutions on a wide variety of
integrated design projects. Long-time corporate clients
include Saks Fifth Avenue, American Express, Dun
and Bradstreet and Macklowe Properties, a New York
real estate developer. The firm works on a number
of exhibition projects for museums and cultural
organizations in the United States and abroad.

William Hilson
Adj u n ct P ro f e ss o r, CCE
Originally trained in architecture, but turned to
graphic design and illustration for professional focus;
introduced desktop publishing to some of the largest
ad agencies in NYC; as creative director to the HiFi
Color Project, helped introduce the new HiFi Color
printing techniques; was first to design and print using
an experimental 7-colorant process, the first to use
Pantone´s Hexachrome™ in a commercial application,
and also the first designer to print using frequency-
modulated (“stochastic”) screening systems.
Michelle Hinebrook
Ass i sta n t C h a i r , Adj unc t assistant pro f essor
B.F.A., College for Creative Studies; M.F.A., Cranbrook
Academy of Art; has exhibited nationally in galleries
and museums in New York, Washington D.C., Detroit,
San Francisco, Chicago, and abroad in Copenhagen,
Denmark; maintains a studio at XØ Projects Inc.,
Brooklyn; currently teaches and lectures at various
institutions around the U.S.
DK Holland
V i si t i n g P ro f e ss o r
Degree from Parsons the New School for Design;
author/editor of numerous books on design; author/
editor of “Design Issues” column in Communication
Arts since 1990; partner in several design practices,
most recently in Pushpin Studio from 1995–2001; TED
Conference member since 1995; AIGA member since
1989; Graphic Artists Guild Professional Practices Award
1998; extended biography at dkholland.com.
Peter Kaplan
V i si t i n g Ass i sta nt P rof essor
B.S., University of Delaware; M.F.A., California Institute
of the Arts; has served as designer for the CalArts
office of public affairs; design director for Olgivy/Brand
Integration Group; senior designer at Comedy Central;
and designer at Ruder-Finn Design; was selected as a
ADC Young Gun in 2006 and his design work has been
recognized by the Type Director’s Club and Broadcast
Design Awards; has taught at CalArts, Otis College of
Art, and Pratt.
Jeong Hoon Kim
Visitin g Ass istan t Profess or
B.F.A., Seoul National University; M.F.A., Rhode Island
School of Design; Sheridan Teaching Certificate,
Brown University; established Why Not Smile, an
independent graphic design workshop, focusing on
design for art, architecture, and cultural clients across
various media; awarded by AIGA 50 Books 50 Covers,
AIGA BoNE, TDC Typographic Excellence, and national
“Next Generation Design Leader” from the Ministry
of Knowledge Economy, South Korea; participated in
exhibitions in New York, London, Lausanne, and Seoul;
previously worked at the Museum of Modern Art,
Practise, Samsung Design Membership, Crosspoint,
and Imagedrome.
Kimberly Kiser
Visitin g In structor
B.A. Journalism, University of Texas at Austin; M.S.,
Communication Design, Pratt Institute; Vice President,
Global Creative Director, Morgan Stanley
Thomas Klinkowstein
Adj un ct Profess or , CCE
M.S., Syracuse University; Tom Klinkowstein is President
and Creative Director of Media A, LLC, an internationally
recognized design and consulting group with clients
such as CondéNast, IBM and NASA. He has spoken
to over 100 business, political and academic groups.
Klinkowstein previously was a professor in the graphic
design department at the West Brabant Art and Design
College in the Netherlands. His work has been shown
in art centers, museums and galleries throughout the
world, including the Centre Pompidou in Paris and the
Venice Biennale in Italy.
Gusty Lange
Adj un ct Profess or , CCE
B.F.A., Denison University; M.S., M.P.S., Pratt Institute; has
had several professions which have come together in
her teaching in the Graduate Communications Design
Department since 1985; her psychology background
as an art therapist and design background as a
graphic designer have unified her teaching of Visual
Perception (focusing on perception, creative process,
and archetypal symbolism in design and creativity
development), as well as advising thesis students to
develop their own vision and critical thinking.
s c h o o l o f a rt a n d d e s i g n 97
Eunsun Lee
Adjun ct Ass ociate Profess or
B.F.A., School of Visual Arts; M.S., Pratt Institute; in 2004,
founded CMYK+WHITE, Inc., a multidisciplinary studio
focusing on design solutions for interiors, fashion,
print, and motion graphics; long-time corporate clients
include Estée Lauder, Reader’s Digest Association, Inc.,
Hearst Magazines, Condé Nast, Hollywood Life, Fairchild
Fashion Group and Meredith; previously worked as a
senior art director at Glamour magazine, where her
team directed photo shoots and developed the visual
style of the magazine.
Alex Liebergesell
Ass ociate Profess or
B.F.A., Kent State University; M.F.A., Yale University;
principal, QNA Design, New York, providing web,
brand, and communications solutions for corporate
and institutional clients; previously held teaching
appointments in graphic design at University of Akron
and State University of New York, Purchase.
Ali Madad
Vis itin g Ass ociate Profess or
B.F.A., Rochester Institute of Technology; M.F.A.,
Cranbrook Academy of Art; designer, writer, educator,
hierophant, and principal in New York– and Los
Angeles–based SCTY, a multi-disciplinary art and
design practice dedicated to the manifestation of
creative disruptions; his work focuses on both the
theoretical and public role design plays within culture
and public space; has served as design director at 19
Entertainment and Rockwell Group and senior designer
for Ogilvy & Mather; has taught at Cooper Union,
Queens College, and Pratt.
Sandie Maxa
Vis itin g Ass istan t Profess or
M.F.A., Virginia Commonwealth University; B.S.,
University of Wisconsin Madison. Principal of Q
Collective; previous design positions: Words at Work
in Minneapolis and Concept Group in Saint Paul,
M.N. Design awards from How, Design Taxi, Graphic
Design:usa, AIGA, and International Association of
Webmasters and Designers. Has taught at Parsons
The New School for Design, Rutgers University, Mercy
College, VCU, and College of Visual Arts-MN.
98
Brenda McManus
a dj u n ct Ass i sta nt P ro f essor
B.A., Rutgers University; M.S., Pratt Institute; founding
partner and creative director of the design firm BRED;
previously design manager for Prudential Retirement,
senior designer for Skouras Design, and designer for
Leibowitz Communications, Inc.; has been recognized
by Print, Graphis and How magazines and the Art
Directors Club, the Type Directors Club, the University
and College Designers Association, the Museum
Publications Design Competition, and the Creativity
Design Competition; work has been included
in the TDC46 Awards Exhibition, Summit AIGA/NY
Exhibition, the 37th ADCNJ Awards Show, the UCDA
Conference Exhibition and the American Association
of Museum Design Exhibition; has also taught at
Rutgers University and F.I.T.
Scott Menchin
Adj u n ct Ass o ci at e P rof essor
Pratt Institute; Arts Students League; as art director
worked for How Magazine and Seven Days; as
illustrator worked for Intel, Sun Microsytems, Toyota,
Time, Newsweek, Esquire, Wired, GQ, Fast Company,
Bloomberg, Saveur, Rolling Stone, The New York Times,
The Washington Post and The Boston Globe; work has
appeared in American Illustration, Print Magazine, The
Society of Illustrators and The Society of Publication
Designers; his first illustrated children’s book, Taking
a Bath With the Dog and Other Things That Make Me
Happy, won the Christopher Award and was voted “A
Best Book of the Year” by The Bank Street College.
Kelli Miller
V i si t i n g Ass i sta nt P rof essor
B.F.A., College For Creative Studies; M.F.A., Cranbrook
Academy of Art; independent art director and designer
working in motion, digital media, and print design; work
has run the gamut of independent print publications to
start-up websites to network branding; has worked on
projects for Nickelodeon, Sundance Channel, Disney,
TV Guide Network, PBS, Coke, Wrigley, Reuters, IFC, and
MTV; as design director for Interbrand, has worked
as art director for Thornberg and Forester and as
art director at College for Creative Studies; artwork
has been shown, performed, and screened
internationally; has taught undergraduate classes at
Pratt and College for Creative Studies; has lectured
at Cooper Union, SVA, Portland State University, SUNY
Purchase, Maryland Institute College of Arts, and
College for Creative Studies.
Katya Moorman
Visitin g Ass istan t Profess or
B.A., SUNY Purchase; M.F.A., Cranbrook Academy of Art;
co-founder and principal partner of Studio2k, a design
and video studio that blurs the boundaries between
art and design, materiality, and the ephemeral nature
of technology; published and received awards from
both Output06 design annual and I.D. Magazine; widely
shown at PS122 and Williamsburg Art Nexus in New
York City, as well as in Detroit, Durham, Toronto, and the
Sarai New Media Center in India.
Ann Morris
Visitin g Ass istan t Profess or
B.A., M.A., Hunter College of CUNY; creative director,
design: Ann Morris; worked for 16 years in corporate
America as creative director of TV Guide’s Advertising
and Marketing Department; her own graphic design
business has included a variety of clients: The New York
Philharmonic at Lincoln Center, The Museum of the City
of New York, Columbia University, The New York City
Opera, Elizabeth Arden, The Alan Guttmacher Institute,
Dunhill Tailors, The Learning Annex, Dino Di Laurentiis
Productions, and Stanley H. Kaplan Educational Centers.
Katherine Muth
Visitin g Ass istan t Profess or
B.A., Michigan State University; M.Des., Carnegie
Mellon University; M.F.A., New School University;
senior interaction designer for marthastewart.com,
New York City; began her career in newspaper/
newsweekly design and has formerly held positions in
content strategy, interaction design, and information
architecture at NYC agencies Addison, Siegel + Gale,
and Carpenter Group. Clients include Smith Barney,
Merrill Lynch, Lehman Brothers, and MetLife. Muth has
taught communication design fundamentals and basic
typography at Carnegie Mellon.
Gala Narezo
Visitin g Ass istan t Profess or
B.A., Yale University; B.F.A., Art Center College of Design;
is a photographer, art director, NGO representative,
and co-founder of What Moves You?, a company that
creates platforms for social issues through design, story,
and art; has exhibited work internationally and recently
had a book of photographs published in Mexico City,
titled Locales, Portraits of the Colonia Roma; has
been an NGO representative with the United Nations
for Designmatters, locating opportunities for design
students to collaborate on a UN issue, building bridges
to connect the world of design and social impact.
Nancy Nowacek
Vis itin g Ass ociate Profess or
B.F.A., University of Michigan; M.F.A., California College
of Art; M.F.A., Virginia Commonwealth University;
worked for Bruce Mau Design in Toronto for several
years before serving as the art director and a
contributing writer at Metropolis magazine from
2003–2008; creative consultant work has included
Harter Furniture, Institute of Play, and IDEO; has written
for a number of publications including Education of
an E-Designer, edited by Steven Heller; has received
several design awards, including the Barclay-Simpson
award for excellence, Print magazine regional design
award, AIGA 100, and ADC Young Guns; has been a
guest critic at Parsons, NYU/ITP, UT-Austin, and CCA,
and was a faculty member in the M.F.A. Design and
Technology Program at Parsons from 2001–2004.
Eric O’Toole
Adjun ct Ass istan t Profess or
B.I.D., Pratt Institute; Principal, Exhibit A Design Group.
Eric oversees all aspects of design and development
work produced by his design firm for a broad array
of cultural institutions and National Parks across the
country. His firm is the recipient of several awards
for design excellence from professional design and
museum organizations for his exhibition design work.
Peter Jay Pultorak
Vis itin g In structor
B.A., University of Notre Dame; corporate consultant
and creative director with over 15 years of experience
leading and inspiring creative individuals and teams;
as a photographer and designer has worked for
Architectural Digest, Vogue, Spin, The New Yorker,
Newsweek, and Time Magazine.

Alan Rapp
V ISITING ASSISTANT P ROFESSOR
M.F.A. Design Criticism, School of Visual Arts; B.A.
English, Loyola Marymount University; editor, writer,
and book developer, he is a former senior editor at
Chronicle Books, San Francisco, where he acquired
and developed dozens of titles in the art, architecture,
design, and photography lists; former managing editor
of the New City Reader, whose office operated on
the gallery floor of the New Museum in fall 2010, and
former U.S. editor of DomusWeb International in 2011;
has taught at Parsons the New School of Design and
leads a graduate thesis seminar at RISD; currently, he
operates a visual book consultancy and packager,
ARstudio, where he works with authors, visual artists,
photographers, and designers to develop visual book
projects and bring them to publication.
Marc Rosen
V i si t i n g Ass o ci at e P rof essor
B.F.A., Carnegie Mellon University; M.S., Pratt Institute;
president, Marc Rosen Associates.
Mark Sanders
V i si t i n g Ass i sta nt P rof essor
B.S., Clemson University; M.F.A., Virginia Commonwealth
University; has taught at Parsons The New School
for Design, and Rutgers University; principal of Q
Collective; design awards from International Design,
How Magazine, AIGA, and International Association of
Webmasters and Designers; work has been published
by The New York Times, HOW magazine, Harper Collins,
and Pepin Press.
Ashish Shah
V i si t i n g I n st ru c to r
M.S., Pratt Institute; B.F.A., M.S., University-Baroda,
India; multimedia art director for Burnett Group, NYC;
previously worked in India as a partner/creative director
for Third Eye Advertising, senior graphic designer for
Solution One, and visualizer for Adroit Advertising
and Marketing; awards include Neenah Paperworks
Letterhead Competition, Gold Award, HOW International
Design Award, Gujarat State Lalit Kala Award for
Photography; professional affiliation with Usability
Professionals’ Association, New York City Chapter.
s c h o o l o f a rt a n d d e s i g n 99
Christie Shin of Typotopia; designer and activist for Class Action, a
Visitin g ass istan t profess or design collective; previously a senior art director for
B.F.A., M.S., Pratt Institute; clients include Hearst Context, Strong Cohen Design, and Concerned Citizens
Corporation, Kaplan Inc., Sony BMG Music for Humanity.
Entertainment; has previously taught at Fashion
Institute of Technology and Hofstra University. Alisa Zamir
Profess or
Ryan Waller B.A., Central School of Arts and Crafts—London; B.F.A.,
Adj un ct Ass istan t Profess or M.S., Pratt Institute; Since, 1981, Alisa Zamir has been the
B.F.A., Rhode Island School of Design; M.F.A., Yale; Executive Vice President and Design Director at Taylor
joined Pratt after returning from a research fellowship and Ives, Inc. Having worked as a design professional in
in Switzerland on a Fulbright Award, Ecole cantonale Israel, London and America, she has over four decades
d’art de Lausanne, and Federal Office of Culture, Bern; of experience as a designer of annual reports, corporate
received the Mark Whistler Memorial Prize at Yale; literature and corporate identity programs. She
a Design Distinction Award from I.D. Magazine; an graduated from the Central School of Arts and Crafts
ADC Young Guns Award; and was recognized by Print in London and earned her post-graduate degree from
magazine’s “20 Under 30”—the 20 best artists and Pratt Insititute, where she has been a professor in the
designers under the age of 30, selected each year; Graduate Design Department since 1971.
clients have included The New York Times, Bloomberg,
Virgin Records, Yale School of Art, Hunter-Gatherer—
NYC & Co., Mother NY—Condé Nast, Art Director’s
Club, Nike, MTV, Damiani; has taught at Pratt and held
workshops at CalArts, RISD, and Yale. “Studying at Pratt
Pirco Wolfframm exposed me to teachers
Adj un ct Ass istan t Profess or
M.F.A., California Institute of the Arts; Diploma in Visual
and professionals who
Communication, Hochschule für Gestaltung, Offenbach
(Germany); has gathered varied experiences to become
taught me a lot more
a versatile “designist”; has lived and worked in Frankfurt, than I realized at the
London, New York, and Bangkok; her list of clients
ranges from corporate juggernauts to niche cultures; time. Graduate students
while her passion and expertise lie in brand and identity
development, Wolfframm has applied her research-
at Pratt were required to
based methodology across all media to projects from write quite a bit, and that
small scale to complex in scope; she is the recipient of
a Faculty Development Grant and her work as well as developed my writing
her writings about design have been published and
exhibited internationally.
abilities.”
Edvin Yegir —I s aac Ke r low,
Visitin g Ass ociate Profess or M.S. Communicat i o ns
B.A., Connecticut State University; M.F.A., Yale University;
De s ign ’83,
associate professor of graphic design at the University
of Connecticut and art director of the Design Center
Artist in residence, Earth
Studio there; has been a guest critic at Yale and RISD; Observatory of Singapore
work has been recognized by AGI, AIGA, ID, Graphis,
Print, and Communication Arts; currently principal

Creative Arts Therapy
Established in 1970, Pratt’s Graduate Department of Creative
Arts Therapy is one of the oldest graduate creative arts therapy
training programs in the country.
Pratt offers a Master of Professional
Studies in Art Therapy and Creativity
Development, a Master of Professional
Studies in Art Therapy with Special
Needs Children, and a Master of Science
in Dance/Movement Therapy. Students
learn creative arts therapy skills as applied
to a wide variety of patient populations,
including psychiatric inpatient and
outpatient, substance abuse, geriatric,
special education, therapeutic nurseries,
after-school programs, families, medical
rehabilitation, Child Life, eating
disorders, AIDS, the homeless, and
traumatized populations, as well as work
in prevention and wellness. At the end
of their training, students are prepared
for entry work in a broad continuum of
settings, ranging from institutions to
creative work outside institutions.
Our students develop personal artistry
Left: Dance Therapy class
101
ch air
Julie Miller
administrative secreta ry
Jean Simmons
through the integration of imagery
and metaphor, which frames, grounds, of f ice
Tel: 718-636-3428 | Fax: 718-636-3597
and facilitates a flow of communication
adt@pratt.edu
between the therapist and his or her www.pratt.edu/ad/ather
patients. Our goal is to help students to be
able to use a complex and open theoretical
framework that makes it possible for
them to respond to a multitude of
clinical situations, utilizing themselves
in the most creative ways possible
while being grounded in developmental
and diagnostic skills, as well as group
and individual dynamics. Each student
is encouraged to develop his or
her own unique style, informed by an
experiential process.
Our philosophy comes from the
inherent nature of art therapy and
dance/movement therapy as experiential
therapies. Therefore, experiential
learning and a process orientation are
the cornerstones of our curriculum, and
theory and skills are taught experientially.
102
The department maintains an
environment that supports and maintains
the students’ involvement in that
process. Accordingly, we are committed
to maintaining small class sizes, to
enhancing communication between
students and faculty, and to encouraging
discussion of the learning process itself.
One of the strongest elements of our
program is the synthesis of the theoretical
and the practical. Our program combines
practicum/internship assignments
with coursework from beginning to
end, providing graduates with a firm
grounding in the actual practice of art
and dance/movement therapy upon
graduation. Students attend two
days of practicum/internship weekly.
They complete two practicums/
internships, one each year. They
receive weekly on-site supervision, as
well as weekly supervision by a Pratt
supervisor. Supervision at Pratt consists
of group and individual supervision.
A coordinator assists students in finding
a clinical placement.
There is richness to be gained from
including both art therapy and dance/
movement therapy students in the
department. Students can learn about
the nature of creative arts therapy in
general and the particular strengths and
limitations of their chosen modality. A
majority of the courses are discipline
specific, although many of the classes
are taken with art and dance therapists
combined. Graduates receive discrete
degrees, in either art or dance therapy.
Knowledge of research skills and
professional writing skills are developed
through completion of a thesis. Students
are given the option of a range of
research methods, including quantitative
and qualitative. The latter may include
a case study, a project implemented in
the community, or descriptive methods
investigating the experience of a
phenomenon or therapeutic process.
The American Art Therapy
Association has approved both art
therapy degrees. The Dance Therapy
program is approved by the American
Dance Therapy Association. All
programs are licensure-qualifying
and graduates automatically satisfy
educational requirements for licensure
in New York State. For those considering
a career in art or dance therapy or who
want a basic introduction, we offer
the Spring Institute, which is a three-
day set of courses in various areas of
creative arts therapy.
The Creative Arts Therapy program
offers its degrees in two formats. The
Academic Year format offers classes in a
traditional manner, with classes in fall
and spring semesters, for 15 weeks each
semester. The Spring/Summer Intensive
format is an innovative educational model
based on an adult learning model. The
program is designed for those students
who do not live near an established
program or are not able to relocate to New
York City for coursework. The program
is also suitable for those students already
in New York City who have to maintain
their employment.
The Program’s Structure
m.p.s. in art th e rapy a nd
cr e ativity de ve lopment a nd m. s.
in dance / move me nt t hera py
These programs provide a synthesis of
creative, aesthetic, and psychotherapeutic
theory. Courses offer a thorough theoretical
framework that is then translated into
personal and practical application through
an experiential process. Artwork and/or
movement is done in every course and is
used to learn therapeutic skills. Students
focus on a wide variety of populations
and are required to work with a different
population for each of the two years
of internship/practicum. Both programs
are for students who want a broad
body of skills, balanced with a strong
theoretical framework.
m.p.s. in art th e rapy wi t h
s pe cial ne e ds ch ildren
The program is intended to train art
therapists who want to work with special
education populations, not as art teachers.
The degree does not qualify students for
a teaching license. Classes are the same as
for other art therapy students. The main
differences are:
▶▶ In both years of the practicum
experience students must work with
special education populations.
▶▶ Distinct readings are given in
some classes.
▶▶ Papers and case presentations center
on a special education population.

ad m is s io n r equ i rem en t s
( fo r al l d e g r ees )
A bachelor’s degree is required for
admission. For the Art Therapy program,
a degree in art or psychology is preferred.
For the Dance Therapy program, a degree
in dance or psychology is preferred. The
following prerequisites are required for
all programs: 12 credits in psychology
(to include coursework in general,
developmental, and abnormal psychology
and theories of personality).
For the Art Therapy program only:
18 credits in studio art (to include
coursework in drawing, painting, and 3-D consecutive years.
to include ceramics).
For the Dance/Movement Therapy
program only: coursework in anatomy/
kinesiology; extensive experience in at
least two idioms of dance, one of which
must be modern dance; and experience
in mind/ body modalities, such as
meditation, yoga, body therapy, etc.
All prerequisite courses may be taken on
an undergraduate level but must be taken
from an accredited institution to receive
academic credit. Studio classes will be
accepted for movement experience. For
the Art Therapy program, students may
start classes with half of the psychology
and half of the studio art credits but must experience. Two years of practicum/
complete all prerequisites before the start internship are done from September
of the second year. For the Dance Therapy through May following the first
program, students may start classes with
half of the psychology credits, but all
other prerequisites must be completed
s c h o o l o f a rt a n d d e s i g n 103
before starting the program. Psychology keep Spring/Summer Intensive students
credits must be completed before the start consistently in touch with Pratt faculty.
of the second year. Housing is available on campus when
Students in the academic year format courses are being held in New York.
are admitted for the fall semester only. Courses in New Hampshire take place
Students in the spring/summer intensive in Lincoln, in the White Mountains.
format are admitted for the spring Students rent resort condominiums, at
semester only. reasonable prices, for the duration of
their stay. The Spring/Summer Intensive
format is offered to both art and dance/
ac a de mic y e ar f or mat
movement therapy students.
The cycle of classes in New York is as
follows: Students take a number of
courses and practicum/internship
from September through May for two
s p ring/ s umme r inte ns ive
f ormat
The cycle of classes is as follows: Students
take one class (7–9 days) in mid-March in
New York. During the last week of June,
they take another class (7–9 days), also in
New York. During the first three weeks
of July, students take courses (over three
weeks) in New Hampshire.
Students complete reading
assignments before classes and then
complete their papers before the
following November, giving them a
chance to integrate class experience
with readings and practicum/internship
and second year of summer classes.
Supervision is completed through weekly
phone, video, and online contacts that
104
Creative Arts Therapy Faculty
Josephine Abbenante
Adj u n ct Ass i sta nt P ro f essor
B.A. Rice University; M.A. University of Louisville; has
taught and practiced art therapy for the past 25 years;
added the practice of sandplay to her work 10 years
ago; has presented nationally and internationally on
topics including archetypal art therapy, transition,
art therapy with deaf culture, art therapy and feminist
theory, sandplay and art therapy, work across
cultures, and the language of aesthetics and metaphor.
ATR-BC, LPAT.
Claudia Bader
V i si t i n g I n st ru c to r
M.P.S., Pratt Institute, ATR-BC, NCPsyA, licensed creative
arts therapist, licensed psychoanalyst; executive
director emerita, Institute for Expressive Analysis (
2002–2008); board member 1993–2002, IEA; courses:
Art Diagnosis, Symbolism in Art Therapy, Alchemy,
Symbolism and Creativity, Dream Analysis, Mandala;
MARI certification, Projective Drawing Institute
Certification; private practice, Manhattan.
Donna Bassin
V i si t i n g Ass o ci at e P rof essor
M.P.S. Art Therapy, Pratt Institute, Ph.D. Clinical
Psychology, The Union Institute and University; art
therapist, licensed clinical psychologist, and I.P.A
certified psychoanalyst; member and faculty at IPTAR,
and has a full-time private practice in New York
City; author of published books, book reviews, and
journal articles in the areas of gender, motherhood,
mourning, and memorials; has exhibited her fine art
photography in museums and galleries, and screened
her latest full-length documentary, Leave No Soldier,
at many professional conferences and international
film festivals. She is a board member of Psychoanalysis
for Social Responsibility, and a vocal advocate for
increased community support for the care of our
returning soldiers.
Beate Becker
Adj un ct Ass ociate Profess or
B.A., Smith College; M.A., Columbia University
(Teacher’s College); M.S., Hunter College; certified
psychoanalyst, New York Center for Psychoanalytic
Training; certified movement analyst, Laban/Bartenieff
Institute for Movement Studies; advanced training in
Somatic Experiencing. Private practice, Manhattan
and Westchester; staff, Institute for Contemporary
Psychoanalysis; co-editor, American Journal of
Dance Therapy; presenter at national professional
conferences; published in American Journal of Dance
Therapy, American Dance Teacher, and A Moving
Journal; former choreographer, performer lighting
designer. ADTR, CMA, LCAT, LP, LMHC.
Joachim Boenig
Adj un ct Ass istan t Profess or
Corinna Brown
Visitin g In structor
B.A.; M.A., State University of New York at Albany; M.S.,
Hunter College City University of New York; Certified
Alcoholism Counselor; Certificate in Neo-Reichian
Psychotherapy; current vice president and former
editor of the New York State Chapter of the American
Dance Therapy Association newsletter; ADTA Research
Subcommittee; experience in addictions, adults with
multiple sclerosis, adult inpatient and outpatient
psychiatry, geriatrics and men with AIDS/HIV; private
practice; ADTR, CASAC, LCAT.
Kimberly Bush
Adjun ct Ass istan t Profess or
B.A., Sarah Lawrence Coll; M.F.A., Parsons the New
School of Design; Adv. Cert., Pratt Institute; Adv.
Cert., Westchester Institute for Psychoanalysis and
Psychotherapy; has been working creatively with
children, teachers, and parents for over 20 years. She
is a visual artist, a NYS licensed Creative Arts Therapist,
and Certified Child Life Specialist. In addition, she is
completing her training as psychoanalytic candidate at
the Westchester Institute for Training in Psychotherapy
and Psychoanalysis.
Barbara Cooper
Adjun ct Ass ociate Profess or
M.P.S. Creative Arts Therapy, Pratt Institute; has taught
in the program for the past 20 years; co-founder and
co-director of SuperKids, a therapeutic program for
children and teens with social skills challenges and
disabilities; co-author of two workbooks for children
and teens with Asperger’s Syndrome; executive
consultant for www.socialskillscentral.com, and travels
throughout the country training teachers and therapists
who work with students on the autism spectrum in
using the creative arts to help these students process
their experience and learn the skills that will help them
become independent and successful in their lives.
ATR-BC, LMHC.

Carol Cox
V i si t i n g Ass i sta nt P rof essor
Jean Davis
Adj u n ct Ass o ci at e P rof essor
M.P.S., Pratt Institute; private practice; former director,
Transitional Living Community-Brooklyn Bureau of
Community Service; former clinical director, Greenwich
Village Youth Council; postgraduate training in group
therapy, environmental psychology, and gestalt therapy;
published in Art Therapy: Journal of the American Art
Therapy Association and The Arts in Psychotherapy;
A.T.R.-BC, LCAT.
Christina Devereaux
V i si t i n g Ass i sta nt P rof essor
B.A., Kent State University; M.A., University of California
Los Angeles; Ph.D. Candidate, Santa Barbara Graduate
Institute; Board of Directors, chair of Public Relations,
and Newsletter editor, American Dance Therapy
Association newsletter; past president, Southern
California Chapter, ADTA; former Executive Board
member, California Coalition for Counseling Licensure;
experience in trauma, domestic violence, attachment
in child development, family work and prenatal and
perinatal psychology; ADTR, NCC, LCAT LMHC.
Alison Gigl-George
Adj u n ct Ass i sta nt P ro f essor
Blair Glaser
V i si t i n g I n st ru c to r
Stephanie Gorski
V i si t i n g I n st ru c to r
M.P.S., Pratt Institute; B.A., State University College at
Geneseo; 2003-present;Faculty, The School of Visual
Arts, M.P.S. Art Therapy Department 1993-present;
Clinical Coordinator. New York Foundling Hospital
1992-Present; Private Practice, New York, New York:
Individual art psychotherapy for children, adolescents
and adults as well as supervision for art therapists and
social workers.
Valerie Hubbs
Visitin g In structor
B.A., Hofstra University; M.S., Hunter College, City
University of New York; certified group psychotherapist;
founder/director, Psychiatric Rehabilitation Therapy-
North General Hospital; approval committee, American
Dance Therapy Association; administrative, clinical,
consulting, supervisory, and teaching experience in
multiple psychiatric facilities; ADTR, NCC, LCAT, LMHC.
Kell Julliard
Visitin g In structor
M.A. Expressive Therapy, University of Louisville;
assistant vice president, Lutheran Medical Center,
with responsibility for clinical research, the
Institutional Review Board, and quality monitoring
in medical student education; he mentors residents
from many departments in all phases of conducting
research; has worked as an art psychotherapist
in the area of chemical dependency, and has published
a monograph and research studies in that field;
formerly, director of communications and publications,
Christine M. Kleinert Institute for Hand and Micro
Surgery, Louisville, Kentucky.
Melissa Klay
Adj un ct In structor
B.A., Stephens College; M.P.S., Pratt Institute; Ph.D.,
Pacifica Graduate Institute; has worked with children,
adolescents, and adults in inpatient and outpatient
settings. Between 1998 and 2001 she attended the
Institute for Expressive Analysis and participated in
a number of courses in play therapy and sandplay
therapy. Currently, has a private practice and works with
adolescents at St. Luke’s Hospital Center.
Judith Luongo
Adj un ct Ass ociate Profess or
Jennifer Mauro
Visitin g In structor
M.P.S., Pratt Institute; B.F.A./Art Therapy Certification,
School of Visual Arts; creator and former director of art
therapy and wellness services at CASES, an alternative
to incarceration for youth; former clinical director
for Rita Project, a creative arts therapy program for
suicide survivors, received post-graduate training in
s c h o o l o f a rt a n d d e s i g n 105
psychotherapy and hypnosis from New York Milton
H. Erickson Society for Psychotherapy and Hypnosis
and has presented on use of art therapy for various
populations in New York, Oregon, Michigan, and
Ireland; in private practice in Manhattan since 2002,
she provides ATR supervision and specializes in the
treatment of anxiety and mood disorders, addiction,
eating disorders, trauma, grief/loss, and identity
development. ATR-BC, LCAT.
Barbara McLeod
Vis itin g In structor
B.A., University of Southern Mississippi; M.P.S., Pratt
Institute; Ph.D. candidate, Adelphi University; New
York State-licensed creative arts therapist; has worked
as an art therapist with children, adolescents, and
adults in inpatient psychiatry and currently works with
incarcerated females using verbal psychotherapy;
present research focuses on the interplay of
gender-role, interpersonal functioning, and healthy
dependency through a process-based method that
measures and compares conscious attitudes and
unconscious needs. LCAT.
Julie Miller
chair
M.A./M.S., Hunter College Dance Therapy Master’s
Program and the Hunter School of Social Work;
maintains a private practice in dance/movement
and verbal psychotherapy and is co-director of the
New York Center for the Study of Authentic Movement.
LCSW, LCAT, BC-DMT.
Elizabeth (Lisa) Myers
Vis itin g In structor
M.P.S., Pratt Institute; B.A., University of Cincinnati;
New York-licensed creative arts therapist and a
Vermont-licensed mental health counselor; 25 years
experience working with children, youth and families
as an art therapist and program administrator; thesis
was published in the Pratt Art Therapy Review;
had published article in the American Art Therapy
association newsletter (winter 2011); was a 2011
Vermont Studio Center fellowship recipient; has a
private practice in Burlington, Vermont, and is also a
practicing artist. ATR-BC, LCAT, LMHC.
106
Madeline Rugh
V i si t i n g Ass o ci at e P rof essor
M.A., University of Michigan Ann Arbor; B.F.A.,
Columbus College of Art and Design; Ph.D., University
of Oklahoma; specializing in providing healing art
experiences to disabled children and older adults and
developing programming at the interface of art, ecology
and spirituality; uses the arts to serve as the container
and primary vehicle for expressing synthesized
knowledge and for addressing the health and healing
needs of the individual or group.
Dina Schapiro
Adj u n ct I n st ru c tor
Jean Seibel
V i si t i n g I n st ru c to r
Linda Siegel
D i r ecto r o f G r a duat e Art Therap y P rog ram;
Ass i sta n t P ro f e sso r
Certificate in Child and Adolescent Psychotherapy,
Brooklyn Institute for Psychotherapy and Psycho­
analysis; Certificate in Parent Infant Psychotherapy,
Ani Bergaman Parent Infant Training Program in Parent
Infant Psy; previous director of Art and Creative Therapy
Program at New Directions, out-patient substance
abuse program; co-founder, Park Slope Counseling
Center since 1990; exhibiting artist.
Laurel Thompson
P ro f e ss o r
M.P.S., Pratt Institute; Ph.D., Union Institute & University;
board member, American Dance Therapy Association,
chair of Education, Research & Practice; Education
Committee, American Art Therapy Association; board
member, USA Body Psychotherapy Association;
editorial board for Arts in Psychotherapy, Art Therapy:
The American Journal of Art Therapy, and Body,
Movement and Psychotherapy; numerous publications
and extensive presentations; credentialed in dance
movement and art therapy, focusing trainer; private
practice specializing in eating disorders, dissociative
disorders, and trauma.
Jennifer Frank Tantia Robert Wolf
Visitin g In structor Vis itin g Ass istan t Profess or
M.S., Pratt Institute; Ph.D. candidate, The Chicago
School for Professional Psychology; advanced training Eva Teirstein Young
in somatic experiencing; past PR chair, New York Vis itin g In structor
Coalition of Creative Arts Therapies; past program M.F.A., School of the Art Institute of Chicago; M.P.S.
director, New York State Chapter, ADTA; current Creative Arts Therapy, Pratt Institute; graduate, The
research committee, United States Body Association William Alanson White Institute’s Child and Adolescent
for Body Psychotherapy; published in the U.S.A. Body Psychoanalytic Psychotherapy program; has worked
Psychotherapy Journal and several ADTA national and with children, adolescents, and families at the
state chapter newsletters; national and international New York Foundling Hospital and Bellevue Hospital;
conference presenter; private practice: leading creative arts therapy consultant to the Young
authentic movement groups and specializing in trauma Dancemakers Company and has a private practice
and somatic disorders; areas of research interest: in NYC; ATR-BC, LCAT.
embodied epistemology and dance/movement therapy
and somatic psychology pedagogy.
Susan Tortora
Visitin g Ass istan t Profess or
Elissa White
Visitin g Ass istan t Profess or
Charter member and past president of American
Dance Therapy Association (ADTA) and other board
positions since l964. Former co-editor and editorial
board member of the American Journal of Dance
Therapy. Co-founder of the Dance Therapy Program at
Hunter College, CUNY; author, articles on dance therapy
and Lab analysis, extensive teaching and presenter of
Marian Chace theory and practice; ADTR, CMA, LCAT.
Joan Wittig
Director of Gr ad uate Dan ce/Movemen t
Ther ap y Progr am ; Ass ociate Profess or
B.S., University of Wisconsin-Madison; M.S., Hunter
College, City University of New; ADTR, LCAT. Wittig
worked for New York City Health and Hospitals
Corporation for 16 years, including seven years as
director of the Creative Arts Therapy Department
at Woodhull Medical and Mental Health Center.
She teaches and presents widely, serves on the
Approval Committee for the American Dance Therapy
Association, is a member of the New York State Board
for Mental Health Professionals, and has a private
practice in Manhattan.
 107

Design Management

Design education imparts many things, but it does not ch air

Mary McBride, Ph.D.
typically provide training in the leadership, team building,
strategy, finance, marketing, and operations skills necessary to of f ice
Tel: 212-647-7538
effectively lead a design department or to run a design business. dm@pratt.edu
Similarly, M.B.A.s who are selected to lead design functions www.pratt.edu/ad/dm

often lack the design experience necessary to guide design

decisions or to lead creative people.

The Design Management Program (DMP) The program’s academic calendar

was created to bridge the disci­plines of
design and business management. The
two-year program provides an executive
education more focused than an M.B.A.
on the special needs of design leaders
managing design firms or managing
design teams in creative industries.
Design Management classes are
designed for working professionals
and delivered by working professionals
from the worlds of business and
design. Participants come from a variety
of disciplines, including industrial
design, interior design, graphic design,
fashion design, communication and
information design, interactive media
design, and architecture.
is modeled after successful executive
E.M.B.A. programs. Its schedule of
alternating weekends (Saturdays and
Sundays) allows participants to carry their
full job responsibilities while they study.
The program provides designers with
the opportunity to:
▶▶ Join a learning community of
professionals with diverse design
backgrounds.
▶▶ Develop a strong skill set in the
discipline of business and the
management of design.
▶▶ Explore emerging trends and draw
from new ideas converging across
design disciplines.
108
 s c h o o l o f a rt a n d d e s i g n 109

▶▶ Learn to identify and manage criti- The Program’s Structure admis s ions r e quir e ment s
cal business challenges strategically.
Design Management program
▶▶ Practice using Triple Bottom Line The Design Management Program applicants should ideally have an
by Design (TBLD) to create strate-
(DMP) curriculum is designed to develop undergraduate degree in one of the
gic and sustainable advantage and design disciplines and a minimum of
strategic management skills in five areas
social innovation.
related to design management: operations three years’ professional experience prior
▶▶ Analyze key global social, economic, management; financial management; to admission. All applicants must follow
environmental, technological, and marketing management; organization the standard rules for admission to a
political challenges. and human resource management; graduate program at Pratt and meet those
▶▶ Meet the challenge of managing in and management of innovation and requirements. See www.pratt.edu/apply.
team-based organizations. change. Courses are relevant and offer
▶▶ Develop leadership capabilities. active learning experiences that provide
participants with an integrated focus
▶▶ Refine communication, negotiation, on the role of design in the creation and
and conflict management skills. management of strategic and sustainable
▶▶ Learn techniques for leading and advantage and social innovation.
managing innovation. Offered at Pratt’s West 14th Street
▶▶ Use technology to aid design in campus in Manhattan, classes meet every
creating advantage. other weekend for two full days
or twelve hours. In addition, students
▶▶ Sharpen skills in operations and
attend for a full week at the beginning
project management, finance, and
and middle of the program. An
budgeting.
integrative experience at the end of the
▶▶ Apply strategic thinking to market- two-year period provides the opportunity
ing, new product development, and for several brief, intensive courses,
brand management. including behavioral simulation and
▶▶ Create and extend professional negotiating modules. These weeks
networks worldwide. establish and maintain relationships
among students in each class, which
Graduates are prepared for leadership
many participants in executive programs
roles in strategic design and strategic
consider especially valuable. Students are
management. They are able to use design
required to complete 42 credit hours in
to create sustainable strategic advantage
order to receive the accredited academic
and social innovation and to shape the
degree Master of Professional Studies
way business is designed worldwide.
(M.P.S.) in Design Management.

Left: Left Top, Bottom: Catalyst design management

magazine; Right Top, Center, and Bottom: Design Futures
collaboration with EDC and Source4Style
110
Design Management Faculty
Laurence DeGaetano
Adj u n ct Ass i sta nt P ro f essor
M.B.A., New York University; Financial Officer, Met Life
Financial Services; member, American Institute of
Certified Public Accountants.
Roger Dunbar
V i si t i n g P ro f e ss o r
Ph.D., Cornell University; Professor of Management,
New York University, Stern School of Business
Administration.
Scott Fiaschetti
V i si t i n g Ass o ci at e P rof essor
Larry Gibbs
V i si t i n g Ass i sta nt P rof essor
Richard Green
P ro fess or
Former director of new products and joint ventures,
Citibank-Diners Club; consultant specializing in
developing organizational change strategies and the
improvement of internal team processes.
Mary McBride
P ro fess or an d Chair of Des ign Man agemen t
Ph.D., New York University; Partner, Strategies for
Planned Change, an international consulting group
specializing in creating excellence by design; visiting
professor international universities including Esade,
Spain; Koc University, Turkey; ISG, France; European
University, Russia; former director, Management
Decision Lab, Stern School of Business, New York
University.
Jacqueline McCormack
Adj un ct Ass ociate Profess or
M.P.S., Pratt Institute; Chief of Staff to New York
State Banking Commisioner; former Director of
Communications and Employee Engagement, TD
Waterhouse.
James Murray
Vis itin g Ass istan t Profess or
M.P.S., Pratt Institute; Design Director, Bed, Bath and
Beyond
Jo Ann Stonier
Vis itin g Ass istan t Profess or
J.D., St. John’s University; privacy consultant specializing
in developing privacy strategies for organizations;
former chief privacy officer, American Express Company.
Marvin Waldman
Vis itin g Ass istan t Profess or
M.B.A., Baruch College; President, The Shadow Group,
an advertising group specializing in strategy for not-for-
profit companies.

Digital Arts
Imagine you’re an artist who knows how to use every piece of
hardware and software in the world…now what?
Students in the Graduate Digital Arts
program at Pratt are immediately engaged
in the creation of artwork utilizing digital
technologies. These artists come together
to study interactive arts, digital anima-
tion and motion arts, and digital imaging.
Within a context of new media, students
use critical thinking, creative problem solv-
ing, technical facility, and conceptual skills
to develop a sophisticated body of work.
Studio practice is essential for
students of interactive art and imaging.
Students working in these areas of
study are provided with studio space
for the completion of their theses. This
intensive course of study is augmented
by internships, special topics courses, and
lectures and critiques by visiting artists.
Students create work with the guidance
of a faculty of professional practicing
artists and scholars, who serve as models
in the pursuit of artistic excellence.
Digital art students become part of the
thriving New York art scene, establishing
a professional network and taking
111
ch air
Peter Patchen
as s istant ch air
advantage of exhibition opportunities Carla Gannis
that exist nowhere else in the country.
Graduates become leading contributors to lab manage r s
the digital arts with a commitment to the Igor Molochevski
Greg Blazer
cultural enrichment of their world.
of f ice
The Program’s Structure Tel: 718-636-3411 | Fax: 718-399-4494
dda@pratt.edu
http://dda.pratt.edu
Students are able to follow one of three
tracks: interactive arts, digital animation
and motion arts, and digital imaging.
This 60-credit, full-time program is to be
completed in two calendar years. Students
complete required coursework in their
primary area of emphasis and one year
of work on a thesis, which culminates in
a thesis paper, exhibition, or screening of
the completed work. Additional degree
requirements include completing six
credits of extra-departmental studio elec-
tives, one course in art history, and one
course in liberal studies.
 s c h o o l o f a rt a n d d e s i g n 113

in te rac tiv e a rt s Admissions Requirements Facilities Imaging C e nte r

9 digital studios The Digital Arts Imaging

Students use computer-human interac-
▶▶

▶▶ Imaging center Center has class-

tion to convey meaning in the form of Applicants should have a degree or related equipment and
▶▶ Audio room
physical installations, interactive objects,considerable background in the digital ▶▶ Gallery/test space other services available
and online artworks. This includes the arts and should submit a strong visual ▶▶ Graduate studios only to registered
combination of video, animation, text, (by concentration) Digital Arts students.
portfolio demonstrating a conceptual Services include:
audio, and imagery in an interactive envi- and aesthetic focus. A ­ pplicants whose Ad d ition al Wide format
ronment. Recommended electives include
▶▶

first language is not English must Res ources 2-D printing

courses in history of new media, sculpture, achieve a minimum score of 550 on the ▶▶ 3-D printing (ABS)
▶▶ B/W laser printers
creating exhibitions, prototyping, pro- Test of English as a Foreign Language ▶▶ 3-D printer (ABS)
▶▶ 3-D scanning
gramming, interactive installation, online (TOEFL). In addition to the TOEFL ▶▶ 3-D scanner
▶▶ Flatbed and
slide scanning
media, robotics and physical computing, requirement, all enrolling students ▶▶ Color laser and
electronic music, and sound. inkjet printers
whose first language is not English will Equipme nt for
▶▶ DVD and CD-ROM
be tested for English Proficiency unless duplicator ch eck ou t inclu de s:

digital animation and motion arts they have a TOEFL score of 600. Pending ▶▶ Flatbed scanners ▶▶ HD digital
video cameras
the outcome of this test, individuals ▶▶ Slide scanner
Students create evocative narrative and RAID file storage ▶▶ Digital still cameras
may be assigned to ESL courses. For
▶▶

nonnarrative films and installations using and transfer system ▶▶ Portable lighting kits
more information, contact the Office of Plasma screen Digital audio recorders
2-D and 3-D digital animation tech-
▶▶ ▶▶

Admissions at admissions@pratt.edu or ▶▶ Render farm ▶▶ Headphones

niques, live action, and motion graphics.
the department chair at 718-636-3411. ▶▶ Laser cutter ▶▶ Microphones
Recommended electives include history
Digital Arts Graduate Assistantships ▶▶ 11' × 12' portable
of animation, film criticism, traditional Softwar e green screen
are available beginning in the first
animation, character design and rigging, ▶▶ 35 mm projector
semester of attendance. Positions ▶▶ Adobe Photoshop
lighting and rendering, audio and video, ▶▶ Portable video
range from assisting faculty research to ▶▶ Adobe Illustrator
projection screens
compositing and special effects, and ▶▶ Adobe InDesign
creative or technical support. Graduate ▶▶ Video tripods with
advanced digital animation techniques. ▶▶ Adobe After Effects three-way fluid head
Assistantships are awarded based on ▶▶ Apple Aperture ▶▶ Wacom tablets
individual skills or degree goals and are ▶▶ AutoDesk Maya ▶▶ Installation computers
d ig ital im ag i n g available throughout the Digital Arts ▶▶ Apple Final Cut Pro ▶▶ Digital projectors
M.F.A. degree program. ▶▶ Apple Logic (normal and
This area of study employs digital and wide throw)
▶▶ Adobe Dreamweaver
traditional processes in the creation of ▶▶ Adobe Flash
▶▶ DVD players
and recorders
large-format digital prints, installations, ▶▶ Adobe Director ▶▶ Wide array of tutorials
artist books, and other tactile media. It ▶▶ Max/Msp/Jitter
and much more.
addresses critical issues and techniques in ▶▶ Mental Ray
the development, printing, and presenta- ▶▶ Processing

tion of digitally based art. Recommended Left: Lorena Kraus ▶▶ Quicktime Pro
Syflex
electives include critical history of pho-
▶▶
Pages 114–115: Michelle Muzyka

tography, etching, silkscreen, lithography, Pages 116–117: Nick Pedersen and much more

and digital photography. Pages 118–119: Kanokphan Hoontrakool

120
Digital Arts Faculty
Doug Barrett
V i si t i n g I n st ru c to r
M.F.A., California Institute of the Arts, Ph.D., SUNY-
Buffalo; work considers sound, performance, and
technology as critical components of the digital arts;
Barrett ‘s artworks, music, and writing have been
exhibited, performed, and published throughout North
America and Europe: Incubator Arts Project (New York),
Diapason Gallery (New York), the Wulf (Los Angeles),
Theater Perdu (Amsterdam), Universität der Künste
Berlin, Université de Paris-Est Marne-La-Vallée, Phoebe
Zeitgeist Teatro (Milan), University of Huddersfield
(UK), Sonic Arts Research Centre (Belfast, UK) and
Neutral Ground (Canada); his writing is published in the
interdisciplinary literary journal Mosaic (U of Manitoba)
and Contemporary Music Review (Edinburgh); Barrett
received a research grant to Berlin from DAAD (German
Academic Exchange Service) in 2009.
Rick Barry
P ro f e ss o r
M.F.A., Pratt Institute; president, Desktop Design
Studio; past president of the Graphic Artists Guild of
New York; Board of Directors, NYC ACM SIGGRAPH;
chair SIGGRAPH 2003 courses program; chair NYC
MetroCAF 2005; ACM SIGGRAPH director for education
2006–2009; founding member of ACM SIGGRAPH
Digital Arts Committee; chair, Digital Arts at Pratt
Institute,1995–2000; interim chair, 2004–2006.
Thomas Bonè
V i si t i n g Ass i sta nt P rof essor
Professional digital and traditional animator
and cartoonist with over 14 years of professional
work experience in varied works from film,
television, illustrations, web, advertising and
merchandising productions.
Liubomir Borissov
Associate Profess or
Ph.D., Physics, Columbia University; M.P.S, Interactive
Telecommunications, New York University; B.S.,
Mathematics and Physics, California Institute of
Technology; Global Vilar Fellow, Tisch School of the Arts,
NYU; exhibitions: New Interfaces for Musical Expression
conference, Japan, 2004; Canada 2005; Lincoln Center
Summer Festival, NYC; the Kennedy Center, Washington,
D.C. Borissov has taught at Harvestworks, Parsons
School of Design and the Columbia University Graduate
School of Architecture, Planning and Preservation.
Svjetlana Bukvich-Nichols
Visitin g Ass ociate Profess or
M.F.A., Rensselaer Polytechnic Institute; B.F.A. Sarajevo
University’s Music Academy; film and multimedia
theater composer, producer; recipient of the Soros and
ASCAPLUS Awards; exhibitions: The Tribeca Film Festival,
Anthology Film Archives, and AMC Theaters in New
York City; SABCTV Art Works, South Africa; Louisiana
Museum of Modern Art in Copenhagen; International
Festival Mosaics ’97, London; Sarajevo Winter Festival
’98; Immedia ’98, University of Michigan; Museum
of Science, Boston; Institute on the Arts and Civic
Dialogue, Harvard University.
Aharon Charnov
Visitin g In structor
B.A., University of Pennsylvania, M.F.A., Rochester
Institute of Technology; has worked as a Digital Artist
at The Jim Henson Company, Pixel Liberation Front,
Animatus Studios, Callaway & Kirk, Homer; projects
include Paranormal Activity (iPod game), Bob the
Builder, Sid the Science Kid (3 seasons), The Incredible
Hulk, and Terminator Salvation.
120
Elliot Cowan
Vis itin g In structor
B.A. Visual Communication, Independent College of
Art and Design; Post-graduate degree, Animation,
The Victorian College of the Arts; international writer,
director, animator and illustrator who has completed
work for diverse clients such as Sesame Street, Viacom,
Elizabeth Arden, and Scholastic; has worked in almost
every facet of media production including an 11-year
stint producing commercials and work on animated
feature films; his award-winning short film series The
Stressful Adventures of Boxhead and Roundhead is
currently in production as an independent animated
feature; and his pen and ink drawings have been
exhibited many times.
Edward Darino
Adjun ct Ass istan t Profess or
Ph.D., UEU on New Technologies; M.F.A., Tisch School of
Art, New York University; designer, on-air identification
for Manhattan Cable, HBO, Calliope, USA Networks,
Con Edison, USA Olympics, Snoopy and Superman
specials; editor, director, and special effects supervisor
for Hollywood Stars, Grand Entertainment, Disney
Entertainment, Discovery, Galavision, and many
others. Darino’s Special Effects Library is used in 62
countries worldwide.
Marianna Ellenberg
Vis itin g In structor
M.A., Slade School of Art; B.A.,Wesleyan University;
2009 LMCC Swing Space residency; exhibitions: The
N.Y. Underground Film Festival, 2007, The Collectif
Jeune Cinéma, 2003, LA Freewaves, 2006; forthcoming
exhibitions: “The Pleasures Seekers,” Chashama Gallery,
NYC, 2009, “Hysteria,” UC Long Beach, 2008.

Carla Gannis
V i si t i n g I n st ru c to r
M.F.A., Boston University; B.F.A., University of North
Carolina at Greensboro; Carla Gannis is the recipient of
several awards, including a 2005 New York Foundation
for the Arts Grant in Computer Arts, an Emerge 7
Fellowship from the Aljira Art Center, and a Chashama
AREA Visual Arts Studio Award in NYC. She has
exhibited in solo and group exhibitions both nationally
and internationally. Features on Gannis’s work have
appeared in Res Magazine and Collezioni Edge, and her
work has been reviewed in The New York Times, The
LA Times, The Miami Herald, The Daily News and The
Village Voice.
Kay Hines
V i si t i n g I n st ru c to r
B.A., Art History, Barnard College; Cine Golden Eagle
Award, editor of “9/11: Response and Recovery”
for Signet Productions and Bovis Lend Lease, 2003;
Greenwald Foundation Grant, 1995; New York
Foundation for the Arts Grant, 1992, 1985; National
Endowment for the Arts Creative Artist Fellowship
Grant, 1981; videographer and internationally exhibited
media installation artist; co-owner/founder of Dekart
Video, est. 1981.
Stephen Jackett
V i si t i n g I n st ru c to r
B.A., Dartmouth College; M.F.A., School of Visual Arts;
works include award-winning commercial animation
for J. J. Sedelmaier Productions, with clients such as
the Oxygen and Discovery channels, Saturday Night
Live, Chef Boyardee, the Ad Council, and the Chicago
Tribune; additional work includes animated Web
advertisements for ESPN360.com for W/M Animation
and an anti-smoking 3-D animated film for the C.
Everett Koop Institute (1998–1999); Web-based projects
include 3-D animated e-cards for online greeting card
brand MyFunCards and various popular Facebook
applications, such as the FlowerShop, My Own
Superhero, and Smiley Creator.
Yael Kanarek
V i si t i n g I n st ru c to r
B.A., SUNY; M.F.A. Rensselaer Polytechnic Institute;
practices in various media; selected for the Whitney
Biennial 2002, Kanarek was awarded the Rockefeller
2005 New Media Fellowship to create the third
chapter of “Object of Desire”; recipient of the Jerome
Foundation Media Arts grant, the New York Foundation
for the Arts 2001 Fellowship award and the Alternative
Museum Digital Commission 2000; formerly, an artist-
in-residence at Harvestworks collaborating on the CD
Bit by Bit, Cell by Cell released by Innova Recordings
in 2005; in 2002 she completed the second chapter
of “Destruction & Mending” commissioned by the San
Francisco Museum of Modern Art; launched “Portal,” an
interactive net.dance commissioned by Turbulence.org,
and was R&D resident at Eyebeam in 2003; represented
by Bitforms Gallery in New York.
Everett Kane
Visitin g Ass ociate Profess or
B.A., Princeton University, B.F.A.; M.F.A., Art Center
College of Design; artist, 3D animator, creative director
of SuperSoft Design; educational advisor to Location
One, a Manhattan-based non-profit focused on
the intersection of technology and the arts; 3D designer,
Molecular Biology Department, California Institute
of Technology.
Lara Kohl
Adj un ct Ass istan t Profess or
M.A., Performance Studies, New York University; M.F.A.
Time Based Arts, The School of the Art Institute of
Chicago; B.A., Barnard College, Columbia University;
residencies: EdLab digital artist in residence, Teacher’s
College, Columbia University, 2008; Banff Centre for
the Arts, Banff, Canada, 2008, 2000; Queen Street
Digital Studios, Belfast, Northern Ireland, 2008; selected
exhibitions: P.S.1 Contemporary Art Center, Queens,
NY; Artists Space, NYC; Triple Candie, NYC; Exit Art, NYC;
Lehmann Maupin Gallery, NYC; Alona Kagan Gallery,
NYC; Black and White Gallery, Brooklyn, NY, Jack
the Pelican Presents, Brooklyn, NY; Repetti Gallery,
Brooklyn, NY.
Linda Lauro-Lazin
Adj un ct Ass ociate Profess or
Lauro-Lazin is an artist, curator, lecturer and educator.
She has been exhibiting her artwork for more than
30 years in the U.S. and Europe. Her foundation is in
painting and photography. Her work has been included
in the book Art in the Digital Age (Thames and Hudson,
2006). Lauro-Lazin was awarded the Fulbright Lecturing
and Research Award in 1998–1999 in Macedonia. She
has lectured at the Tokyo Museum of Contemporary
s c h o o l o f a rt a n d d e s i g n 121
Photography and the Fakultet za Likovni Umetnosti.
Her curated exhibitions include “Digital Visions”
(1995) at the Muroff Kottler Art Gallery at SUNY Ulster,
Stone Ridge as well as “Threading Time” (2005) and
“Computer Animation Festival Concept Artwork” (2005)
at SIGGRAPH 2005 in Los Angeles. She co-curated a
series of international, multi-site live performances on
the Access Grid (2005).
David Mattingly
Vis itin g In structor
B.F.A., Colorado State University; M.F.A. Art Center;
headed the Matte Department at Walt Disney Studios
where he worked on “The Black Hole,” “Tron,” “Dick
Tracy,” Stephen King’s “The Stand,” and “I, Robot” for
Weta Digital in New Zealand; has produced over 500
covers for most major publishers of science fiction
and fantasy, including Baen, Bantam, DAW, Del
Rey, Dell, Marvel, Omni, Playboy, Signet, and Tor; for
Scholastic Inc., he painted 54 covers for K.A. Applegate’s
Animorphs series, along with the last five covers for
the Everworld series; illustrated the popular Honor
Harrington series for author David Weber; painted
the latest repackaging of Edgar Rice Burroughs’
“Pellucidar” books for Ballantine Books; two-time
winner of Magazine and Booksellers Best Cover of the
Year award, and winner of the Association of Science
Fiction Artists Chesley award; other clients include
Michael Jackson, Lucasfilm, Universal Studios, Totco Oil,
Galloob Toys, R/Greenberg Associates, Click 3X, and
Spontaneous Combustion; author of The Digital Matte
Painting Handbook (Sybex, 2011) the first guide to
digital matte painting.
Peter Mackey
Profess or
B.A., Syracuse University; M.F.A., University of Southern
California; Prof. Mackey has nearly 40 years of
experience writing and directing award winning films,
videos, multi-image, and interactive programs and
installations for companies such as GE, Apple, and
Simon and Schuster Interactive. He has taught and
lectured in South Korea and Turkey, writes speculative
fiction, and enjoys pushing the limits of three-
dimensional interactivity, player-mediated generative
art, and artist-friendly microelectronics.
122
Top, Bottom Left: Zach Hyer; Bottom Right: Zach Hyer
receiving 2011 Student Academy Award for Animation
Michael J. O’Rourke
Profess or
M.F.A., University of Pennsylvania; Ed.M., Harvard
University; artist, author, educator; selected exhibitions
include: Kennedy Center for the Arts, Washington, D.C.;
Musée d’Art Moderne, Paris; Isetan Museum, Tokyo;
Laumont Editions, NYC; Hong Gah Museum, Taipei; Uma
Gallery, NYC.
Peter Patchen
Chair
M.F.A., University of Oregon; Peter Frank Patchen is a
digital artist exhibiting and lecturing nationally and
internationally. He grew up in Colorado where the
natural environment had a profound influence on his
perception of the relationships that exist between
nature, humanity, culture and technology. In 1993, he
founded the Cyber Arts (now New Media) program
at the University of Toledo. Recent work includes
interactive artworks, prints, web-based art, and mixed
media pieces.
Mira Scharf
Vis itin g In structor
B.S., University of California, San Diego; M.F.A University
of California, Los Angeles; animated for television
programming including Dilbert, Queer Duck, Assy
McGee, Wonder Pets, Sesame Street shorts and Pinky
Dinky Doo; also animated many webisodes for General
Mills, Postopia, and PBS Kids, and animated computer
games for Dreamworks Interactive, Knowledge
Adventure, and others; illustrated 25 educational
workbooks for U.R.J. Press and has written copy for
computer games and created story and graphic content
for computer game play as well; her cartoons have
appeared in Harvard Business Review, Reader’s Digest,
Funny Times, and Narrative magazine.
Claudia Tait
Ass ociate Profess or
M.F.A., University of Maryland Baltimore County;
B.F.A., Ringling School of Art and Design; Claudia Herbst
is a digital artist and media theorist whose works
explore the meaning of technology in the construction
of gender. Her critical inquiries focus on the social,
political, and economic role of computer programming
and contextualize technology’s languages as a
form of writing and literacy. Herbst joined the Pratt
community in 1999.
 123

Fine Arts

The primary goal of the M.F.A. program is to provide for the ch air
Deborah Bright
advanced education of artists. To this end, we emphasize the
development of students as individual thinkers and assist in the as s istant to the cha i r
Nat Meade
mastery of craft and professional preparation.
administrative a ssi sta nt
Mastery is accomplished through a graduate research institution as the artist Lisa Banke-Humann

personal, historical understanding of explores the complexity of individual

one’s art and through a conceptual, artistic achievement. te ch nicians
technical control of that art. Professional The structure of graduate study, then, Adam Apostolos
Rainy Lehrman
preparation involves an introduction allows for maximum independence of
Alexia Cohen
to the realities of the art world, a study and time of growth as well as for Zena Pesta
comprehension of the art of others the emergence of new emphases. It also Sarah Shebaro
developed through the seminars and capitalizes on the diversity of student Christopher Verstegen
internship of the graduate program, interests and abilities. As teachers in
and the development of a capacity for an institution that must allow for the of f ice
articulate criticism. individual, non-institutional aims of Tel: 718-636-3634
Because the creative process the artist, the members of the faculty do fa@pratt.edu

not transmit dogmatic opinions peculiar www.pratt.edu/ad/fineart

is characterized by a number of
contradictory functions, idealistic and to either the school or the art world,
materialistic, analytic and synthetic, but instead instigate investigation and
intuitive and intellectual, any effective stimulation through communication
educational treatment of creativity on with the student.
the graduate level must be open and
flexible. The formal, directed study of
undergraduate education yields to the
relatively independent procedures of the Pages 124–125: Left: Emily Brady; Right: Cory Sellers
126
Fine Arts Studio Program
p ratt m .f.a. i n f i n e a rt s, rom e
The Graduate Fine Arts Program in
Rome is a five-week program offering
an interdisciplinary curriculum that
utilizes the platform of the “City as
Studio.” The courses are interrelated,
fostering collaboration, critical thinking,
and a studio practice that is contextually
responsive. The intention is to challenge
the artist to leave the familiar and at
times predictive confines of the studio
and to work directly within the open
environment of the city of Rome—to
engage simultaneously with the historical
and the contemporary, to question
through the active encounter of a
different culture one’s place within the
global art community, and within this
context to initiate an account of one’s own
professional ambitions.
The Program’s Structure
The Master of Fine Arts program at
Pratt Institute offers the following major
areas of emphasis: painting/drawing,
printmaking, sculpture, photography,
and new forms (nontraditional
investigations). Students complete two
semesters of coursework in their major
area of emphasis and one year of work
on a Master of Fine Arts thesis in their
major area, including a written thesis
statement and a solo exhibition in the
graduate galleries. Degree requirements
include 27 studio elective credits, nine
credits in art criticism/history, and six
credits in the liberal arts. The 27 elective
credits may be used for a wide variety
of interdisciplinary, studio, or technics
courses across the Institute. A minimum
of 60 credits and two years of study are
required for the Master of Fine Arts
degree. The time and number of credits
may not be reduced but may be extended.
All work for the degree must be completed
within seven calendar years after initial
registration as a graduate student.
m . f.a./ post-bac calaur e ate
(c e rtif icate in art and
d esign e ducation)
M.F.A./Post-baccalaureate (Certificate
in Art and Design Education) is designed
for M.F.A. students desiring eligibility
for a Pre-K–12 teaching certificate.
Students take 20 credits in Art and Design
Education. With one additional studio
elective credit, students can qualify
for their provisional New York State
Certification to teach Fine Arts, Pre-K–12,
a certification that is reciprocated in more
than 35 states. For specific courses, see
the Art and Design Education section of
this Bulletin.
m . s./ m.f.a. in f ine arts
Students will complete the normal
requirements for the M.F.A. with an art
history minor (15 credits of HA, HD
courses), plus 15 additional credits of
art history, including the distribution
requirements and required courses
specified for the master’s degree in art
history. Students must be accepted by
both departments and complete a total of
75 credits.
art and de s ign e ducat i o n
advance d ce rtif icate
( fall and s pr ing)
This 23-credit-hour program is open
to individuals with an M.F.A. degree,
or those currently enrolled in the
M.F.A program at Pratt. For those
applicants already holding an M.F.A
degree, the program may be completed
in two semesters, and the application
requirements are the same as those listed
for the M.S. in Art and Design Education.
admis s ions r e quir e ment s
Applicants should have an undergraduate
degree in fine arts and should be able
to submit a strong digital portfolio in
the major area of concentration. See
admissions section for details or www.
pratt.edu/admiss/apply. Applicants
whose first language is not English must
achieve a score of 550 on the Test of
English as a Foreign Language (TOEFL).
In addition to the TOEFL requirement,
all enrolling students whose first
language is not English will be tested for
English Proficiency. Pending the outcome
of this test, individuals may be assigned
to ESL courses. For more information,
contact the Office of Admissions at
718-636-3514, 800-331-0834, or the
department chair at 718-636-3602.
Right: Chelsea Mason

Fine Arts Faculty
David Alban
V i si t i n g Ass i sta nt P rof essor
B.F.A., Kansas City Art Inst; M.F.A., Cranbrook Academy
of Art.
Adam Apostolos
S cu l pt u r e T ech n ic ian, Visit ing Inst ruc to r
Michael Brennan
Adj u n ct I n st ru c tor
M.F.A., Pratt Institute; B.A., University of Florida; Exhibited
with minusspace, Thatcher Projects, Lucas Schoormans,
Anthony Meier Fine Arts, Yoshii Gallery, etc. Exhibited
internationally in Brussels, Paris, Shanghai, Sydney, etc.
Group exhibitions include PS1/MoMA, Vassar College,
St. Peter’s College, etc. Written extensively for The
Brooklyn Rail, ArtNet, and numerous catalog essays.
Reviewed in Art in America, The New York Times, The
Philadelphia Inquirer, etc. Collected in the National
Gallery of Art, Baltimore Museum of Art, San Jose
Museum of Art, American Express, General Dynamics,
etc. Also teach at Hunter College and have taught at
Cooper Union.
Mona Brody
V i si t i n g Ass i sta nt P rof essor
B.F.A., Moore College of Art and Design,; M.S.,
Massachusstts College of Art; M.F.A., Vermont
College Norwich.
Richard Budelis
Ass o ci at e P ro f e ssor
Left: Left: Ryan Turley; Right: Becky Borowicz
James Costanzo
Adj un ct Ass ociate Profess or
M.A., University of Iowa; M.F.A., University of Iowa.
Grayson Cox
Visitin g Ass istan t Profess or
M.F.A., Columbia University; B.F.A., Indiana University;
exhibitions include “Exquisite Corpse Project,” Gasser
Grunert Gallery, N.Y.; “Short-term Deviation,” The
Elizabeth Foundation for the Arts, N.Y.; “One and
Three Quarters of an Inch,” curated by Peter Clough,
St. Cecilia’s Parish Art Space, Brooklyn, N.Y.; “Entropy
Symphony,” performance with Zefrey Thorwell, Whitney
Museum, N.Y.; “B-Sides” 6–8 Months Project Space,
N.Y.; grants and residencies include Rema Hort Mann
Foundation Nominee; Catwalk Artist Residency, Catskill,
N.Y.; Montrose Initiative for the Arts, Artist Residency
program; The Daisy Soros Prize for Fine Arts, awarded by
The American Austrian Foundation to study in Salzburg,
Austria; work held in the collections of Fisher Landau
Center for Art; John Friedman, Easton Capital, N.Y.; Serra
Sabuncuoglu, N.Y.
Kelly Driscoll
Assistan t Profess or
M.F.A., City College, NY; Coordinator-Pratt in Tuscany;
M.F.A. City College. Exhibitions: Kristen Frederickson
Gallery, NY; IPCNY, NY; PS 1-Greater New York, NY; Mark
Wooley Gallery, Portland, Oregon, D.A.P., NY, Kaohsiung
Museum of Fine Art, Taiwan. Artists Books: Masnavi,
Jalaluddin Mohammad Rumi, Published by Vincent
FitzGerald and Co., NY; The Story of the Eye, Georges
Bataille, The Institute for Cultural Inquiry, CA.
131
Allen Frame
Adjun ct Ass ociate Profess or
Linda Francis
Adjun ct Profess or
M.A., Hunter College, City University of New; Selected
One Person Exhibitions: Hal Bromm Gallery, Gallerie
Gislain Mollet-Vieville, PS 1, Damon Brandt Gallery,
Gallerie Per Sten, Wm. Paterson U., Nicholas Davies
Gallery, Univ of Alabama College of Arts and
Sciences, Catherdral of St John the Divine, Minus
Space. Selected Group Exhibitions: Aldrich Museum,
Studio La Citta,Moore Col of Art, Stadische Gallerie
Im Lenbachhaus, Kunsthalle Basel, List Gallery MIT,
Nordjyllands Kunstmuseum, The Kitchen, Louisiana
Museet, Leubsdorf Art Gallery Hunter College, Rogalund
Kunstmuseum, Sydney Non Objective, Vassar College,
Academy of Arts and Letters Invitational.
Joseph Fyfe
Vis itin g Ass istan t Profess or
B.F.A., University of the Arts; selected solo exhibitions:
JG Contemporary, NYC; Ryllega Gallery, Hanoi, Vietnam;
Cynthia Broan Gallery, NYC; selected group exhibitions:
“Intersections,” Meyer School of Art; “Paint/Not Paint,”
Paul Sharpe Contemporary Art, NYC; “Carton Rouge,”
Atelier Tampon-Ramier, Paris; selected awards: Gug-
genheim Fellowship; McDowell Fellowship; Adolph and
Esther Gottlieb Award; Pollock-Krasner Award; Fulbright
Award; selected publications: Art, das Kunstmagazin; Art
in America, Joe Fyfe at Nicholas Davies.
Page 128: Benjamin Howell
Page 129: Ryan Turley
132
Jonathan Goodman
Adj u n ct Ass o ci at e P ro fe ss o r
Eric Heist
V i si t i n g Ass i sta nt P rof essor
B.F.A., University of Delaware; M.F.A., Hunter College;
selected exhibitions: participant at rental, “Office Party,”
NYC; “Unfathom,” Max Protech, NYC; “Interfaith Center,”
“Travel Agents,” and other solo exhibitions at Schroeder
Romero, NYC ; grants: NYFA, Fellowship; Sally and Don
Lucas Artists Program at the Montalvo Arts Center;
founder and director of Momenta Art, Brooklyn.
Licio Isolani
P ro f e ss o r
Prospective Sul Design (Musee Des Arts Decoratifs
de Montreal); The New York Waterfront Marine Park
(The Municipal Art Society, NY);I Am An Art Work
(Guggenheim Museum/Whitney Museum/Metropolitan
Museum/M.O.M.A.. NY); Transference (Nassau County
Museum Ground, Rosyln, Long Island, NY); Geometric
Art (Trenton Museum, Trenton, NJ);Light-Motion
and Sound (Hudson River Museum, Yonkers, NY); One
Man Show (sculpture) (The New School for Social
Research, NY).
Shirley Kaneda
Ass o ci at e P ro f e ssor
B.F.A., Parsons the New School of Design; has exhibited
widely both in the US and in Europe. Her most recent
solo shows include Danese Gallery, NYC,2007, Bernard
Jacobson Gallery, London UK (2006), Galerie Jean-Luc
and Takako Richards, Paris, France, (2005), Feigen
Contemporary, NYC, (2003), Galerie Schuster and
Scheurerman, Berlin and Frankfort, Germany (2002).
Her work has been featured in many publications such
as Art in America, ARTnews, Contemporary, The New
York Times, Time Out among others.
Catherine Lecleire
Adj u n ct Ass i sta nt
Professor B.A., Ursinus College; B.F.A., University of the
Arts; M.F.A., University of Southern California; selected
solo and group exhibitions at Montclair Art Museum,
Hunterdon Museum of Art, William Paterson Univeristy,
College of New Jersey, University of Wisconsin,
Dana Library, Center for Contemporary Printmaking,
University of the Arts Wongwang University, College of
Fine Arts Shanghai, Printmaking Council of New Jersey,
Nathan Cummings Foundation, Mills College, Lawson
Gallery, Kala Institute; collections: Hunderton Museum,
William Paterson University, Lafayette College, College
of New Jersey, Center for Contemporary Printmaking,
Kala Institute; publication: Water-Based Ink: A Screen
Printing Manual for Studio and Classroom.
Jenny Lee
Adj un ct Profess or
Jenny Lee has exhibited extensively in galleries, arts
organizations and museums. In fall 2002, she had a
retrospective at the Hoboken (NJ) Historical Museum,
sponsored by the NJ State Council for the Arts and the
NJ Council for the Humanities, National Endowment
for the Humanities. In 2001, her work was featured in
the first-ever historical survey of 20th century welded
sculpture, at the Neuberger Museum. Her work is
in public venues such as the Brooklyn Museum,
the Newark Museum and the Neuberger Museum
of Art. Private collections include DeMenil and
Borgenicht-Brandt.
Frank Lind
P ro fess or
B.A., Georgetown University; M.F.A., Pratt Institute;
selected solo exhibitions: “Recent Paintings,” 2010,
Gallery 210, Brooklyn, N.Y.; “Ocean Paintings from Long
Island,” Henry Gregg Gallery, DUMBO, New York, 2010;
selected group exhibitions: “The New Hudson River
School,” Riverstone Arts, Haverstraw, N.Y.; “Mermaids,”
Sideshow Gallery, Williamsburg, N.Y.
Naohisa Matsumoto
Sc ulptur e Tech n ician , V i s i t i n g I n st ru c tor
J. Martin Mazorra
Visitin g Ass istan t Profess or
B.F.A., West Virginia Univ; M.F.A, American University,
DC; Martin Mazorra of New York, is co-founder of
Cannonball Press. Martin is currently the Coordinator
of Printmaking at Parson’s School of Design in New
York City where he teaches lithography, woodcut, and
letterpress printmaking. He is the mastermind behind
the cross-institutional print exchange “Swaptropolis.”
Dennis McNett
Adjun ct Ass istan t Profess or
M.F.A., Pratt Institute. Dennis McNett was born in 1972
and grew up in Virginia Beach, VA. He moved to New
York in 2001 and has lived there since. He has been
carving the hell out of surly block prints for over 16
years. All of his encouragement as a young kid came
from his blind grandfather, who told him over and
over again that his drawings were good. Like a billion
other teenaged kids, later influences came from the
raw high-energy images pouring out of the ’80s punk
rock and skateboard scene. McNett has been fortunate
enough to have designed board graphics for Anti-Hero
skateboards and collaborate with Cannonball Press.
He works from his Brooklyn studio that overlooks the
smoggy Brooklyn Queens Expressway. He has also
taught at Parsons, Rutgers, Lower Eastside Print shop
and worked as a master printer at Brand X editions for
over four years.
Nat Meade
Ass istan t Ch air of Fin e Arts
M.F.A., Pratt Institute; B.F.A., University of Oregon;
Skowhegan School of Painting and Sculpture; solo
exhibitions include “Falsetto” and “Guys are Dolls,”
Froelick Gallery, Portland Ore.; group exhibitions include
“Aqua,” Aqua Hotel, Miami, Fla.; “12 Painters in 12
Hours,” Rogue Space, N.Y.; “View Points,” Aljira, A Center
for Contemporary Art, Newark, N.J.; “Group Show,”
Perogi Gallery, Brooklyn, N.Y., among others; included
in the Artist Registry of Perogi Gallery, Brooklyn, N.Y.;
published in American Artists, Fine Arts Connoisseur,
Portrait of Portland.
Jennifer Melby
Vis itin g Ass istan t Profess or
Ann Messner
Adjun ct Profess or
B.F.A., Pratt Institute; Her work investigates the inherent
contradictions between notions of private life/space
and public/civic experience. Her work is both social
and political in intention. She is a recipient numerous
fellowships including: the NEA, 3 NYFA Awards,
Henry Moore International Fellowship, Guggenheim
Fellowship, Anonymous Was a Woman Award, and a
Gottlieb Foundation Fellowship. She was a fellow at
Radcliffe Institute, Harvard University 2000; Princeton

University Council on the Humanities 2001. She has
taught at MIT’s Visual Arts Program, Hunter College,
Bennington College, Maryland Institute of Art.
John Monti
P ro f e ss o r
M.F.A., Pratt Institute; B.S., Portland State University;
solo exhibitions include: “Synthetic Pleasures,” Bentley
Projects, Phoenix, Ariz.; “Fancy” and “Rondo,” Elizabeth
Harris Gallery, N.Y.C.; “Amatory Bodies,” Sarah Moody
Gallery of Art, University of Alabama, Tuscaloosa, and
many group exhibitions; public art projects include
“Fancy for Boston”; “Changing Places,” Metro Tech
Center Brooklyn, N.Y.; Neuberger Museum of Art;
Museum of Art, Munson-Williams-Proctor Institute
of Art; recipient of a Joan Mitchell Foundation Grant,
The Louis Comfort Tiffany Foundation Grant, and New
York Foundation for the Arts Fellowship Grant; work is
included in the collections of American Telephone &
Telegraph; the Arkansas Arts Center, The Eli and Edythe
Broad Foundation, the Brooklyn Museum, the Castellini
Art Museum of Niagara University, and the Chase
Manhattan Bank, among others.
Donna Moran
p ro f e ss o r
B.A., CW Post Campus LIU; M.F.A., Pratt Institute;
Donna Moran is a printmaker and painter whose work
has been exhibited nationally and internationally
including solo exhibitions in Australia, Spain and Peru.
Her work is represented in many group exhibitions
and collections. Donna has been Chair of the Fine
Arts Department since 2000 and teaches graduate
printmaking classes including silkscreen and the 1st
year M.F.A. Printmaking Seminar.
Robert Morgan
Adj u n ct P ro f e ss o r
B.F.A., University of the Redlands; Ed.M., Northeastern
University; M.F.A., University of Massachusetts; Ph.D.,
New York University; Art critic, writer, curator, artist;
books include Art Into Ideas; Between Modernism and
Conceptual Art; The End of the Art World; Gary Hill;
Bruce Nauman and Clement Greenberg. Curator of
the exhibitions: “Komar and Melimid: A Retrospective”,
“Women on the Verge”, and “Clear Intentions”; co-
curator of the Lodz Biennial; recipient of the 1999
Arcale Award in art criticism, Salamanca, Spain.
Cyrilla Mozenter
Adj un ct Profess or
M.F.A., Pratt Institute; B.F.A., Pratt Institute; has exhibited
at The Aldrich Contemporary Art Museum, The Drawing
Center, Brooklyn Academy of Music, and Neuberger
Museum of Art. She has been artist-in-residence at
Dieu Donn’e Papermill, the Kohler Arts Center, and
Instituto Municipal de Arte e Cultura-Rioarte, Rio de
Janeiro. She has received grants from NYFA and The
Fifth Floor Foundation. Her work is in the collections of
the Arkansas Arts Center, Birmingham Museum of Art,
Brooklyn Museum of Art, Hood Museum of Art, Walker
Art Center, and Yale University Art Gallery.
Dominique Nahas
Visitin g Ass istan t Profess or
Ross Neher
Adj un ct Profess or
Thirwell Nolen
Adj un ct Ass istan t Profess or
Matt Nolen is a studio artist who trained as a painter
and architect. His current body of work is comprised
of sculptural objects and architectural installations in
clay and other materials. His work has been exhibited
internationally and can be found in numerous private
and public collections including: The Cooper-Hewitt
National Design Museum (Smithsonian), NYC; The
Newark Museum, NJ; The Everson Museum of Art, NY;
The Houston Museum of Fine Arts, TX; and the De Young
Museum, San Francisco, CA. Other awards include: NYFA
Fellowship and NEA Fellowship (1995).
Catherine Redmond
Adj un ct Ass ociate Profess or
B.A., Harpur College, SUNY Binghamton; 1969–1974 ,
Art Students League of NY; Adjunct Associate Professor
Selected solo and group exhibitions at David Findlay
Jr., N.Y.; M B Modern, N.Y.; Albright Knox Art Gallery,
Buffalo; Butler Institute of American Art; Babcock
Galleries, N.Y.; Cleveland Museum of Art; Jerry Soloman
Gallery, Los Angeles; Jan Cicero Gallery, Chicago, IL.;
collections include: Art Students League of N.Y., Butler
Museum of American Art, Citibank of N.Y., Cleveland
Clinic Foundation, Dreyfus Corporation, Luther College
Museum, Progressive Corporate Collection, and
Reading Public Museum.
s c h o o l o f a rt a n d d e s i g n 133
Howard Rosenthal
Vis itin g Ass ociate Profess or
B.F.A., Rhode Island School of Design; M.F.A.,
Pratt Institute.
Miriam Schaer
Vis itin g Ass istan t Profess or
B.F.A., Philadelphia College of the Arts; B.F.A., School of
Visual Arts; Miriam Schaer is a multimedia book artist.
She has exhibited steadily and extensively in solo and
group exhibitions in the US and internationally, and her
work has been mentioned in a long list of articles and
reviews. She is a recipient of a NYFA Artists Fellowship
and her work has been included in the Mary H. Dana
Women Artists Series at Douglass Library, the oldest
and longest-running exhibition series dedicated to
showcasing women artists in the United States.
Linda Schrank
Adjun ct Profess or
B.A., Mt Holyoke College; M.A., New York University;
Exhibited: Rosenberg + Kaufman Fine Art, New York,
NY; Peccolo Gallery, Livorno, Italy, Kidder Smith Gallery,
Boston, MA; A.I.R. Gallery, New York, NY; Brooklyn
Museum; Etruscan Museum, Cortona, Italy; Ceramic
Museum, Monte San Savino, Italy; New York Studio
School; International Print Center, New York, NY Awards:
Residence fellowships: Yaddo; Sanskriti Foundation,
New Delhi, India; Fundacion Valparaiso, Almeria, Spain;
Virginia Center for the Creative Arts; Visiting artist
fellowships: Brandywine Graphic Workshop; Visiting
Artist, Ditta Grazia, Deruta, Italy; Cuts + Burns Artist
Residency, Outpost Video Productions, Brooklyn, NY.
Carla Shapiro
Vis itin g Ass istan t Profess or
Elise Siegel
Vis itin g Ass istan t Profess or
Robbin Silverberg
Adjun ct Ass istan t Profess or
B.A., Princeton University; Robbin Ami Silverberg’s
artwork is divided between solo and collaborative artist
books and large paper installations. She is founding
director of Dobbin Mill / Dobbin Books in Brooklyn.
Dobbin Mill is a hand-papermaking studio and teaching
facility, one of three in NYC. Dobbin Books is

a collaborative artist book studio, which publishes
small edition artist books by Silverberg, in collaboration
with international writers and artists. Silverberg has
both exhibited and taught extensively both in the US
and internationally. Her artwork is found in numerous
public collections.
Joseph Smith
P ro f e ss o r
B.F.A., Pratt Institute (Dean’s Medal); 1965,1966: Drwg,
Wagner Coll. 1969–1971: Ptg Workshop, Art Alliance
of Cent. PA 1975: Visualization Wrkshp. Wainwright
Center, Rye, NY 1984: ptg., Richmond Coll., London
1987–91: ptg and drwg, ATI, Stocton State Coll. NJ
1990: Art Inst. of Chicago, Oxbow, MI 1992, 1998: Ptg:
M.S. Art Colony 2000. 2001: U.of Rio Grande, grad.
Childrens Bk Illus., Visualization, Drwg. 1962-present:
Pratt—Undergrad: ptg, drwg, fig. drwg, fig. sculpt., Illus.
and Symbolic Imagery, Sr. Ind. Proj. Grad: Drwg Sem.,
M.F.A. Thesis Ptg. 2007: Walter Gropius Master Artist,
Huntington Mus. of Art. WV.
Judith Solodkin
V i si t i n g Ass o ci at e P rof essor
B.A., Brooklyn College; M.F.A., Columbia University;
Master Printer, Tamarind Institute; president, SOLO
Impression, Inc., N.Y.; solo exhibitions: “Cartouche
Lithographs,” Razor Gallery; “Roots of Creativity,”
Rutgers University; group exhibitions: “Women Artist’s
Series,” Rutger’s University.
Mickalene Thomas
V i si t i n g Ass o ci at e P rof essor
M.F.A., Yale University; B.F.A., Pratt Institute; solo
exhibitions include “Put A Little Sugar in my Bowl,”
Susanne Vielmetter Los Angeles Projects, Calif.;
“Something You Can Feel,” La Conservera Contemporary
Art Space, Murcia, Spain; “She Come UnDone!,”
Lehmann Maupin Gallery, N.Y.; “Girlfriends, Lovers,
Still Lifes and Landscaped,” Rhona Hoffman Gallery,
N.Y.; “What’s Love Got To Do With It?,” Bloom Projects,
Santa Barbara Contemporary Arts Forum, Calif.; special
projects include Le Dejeuner Sur l’Herbs: Les Trois
Femmes Noirs, The Modern Window at The Museum
of Modern Art, N.Y. and P.S.1 MoMA, Long Island City,
N.Y.; selected group exhibitions include “Searching for
Left: Seung Hun Lee
s c h o o l o f a rt a n d d e s i g n 135
the Heart of Black Identity: Art and the Contemporary
African American Experience,” Kentucky Museum of Art
and Craft, Louisville, Ky; recipient of the Joan Mitchell
Foundation Grant, the Rem Hort Mann Foundation
Grant; represented in the public collections of 21c
Museum, Louisville, Ky.; Akron Art Museum; The Art
Institute of Chicago; Brooklyn Museum, Guggenheim
Museum, International Center of Photography; The “At Pratt I had some great
Museum of Modern Art, N.Y., and the Museum of Fine
Arts, Boston among others; residencies include the painting professors
Versailles Foundation Munn Artists Program at Giverny,
France; Studio Museum in Harlem, N.Y; Vermont Studio
looking at my paintings
Center, Vt.; and the Yale-Norfolk Summer School of in unusual ways.”
Music and Art, Norfolk, Conn.
Christopher White —Joh n Robs h aw, M.F.A. ’92,
Adj un ct Ass istan t Profess or Owner, John Robshaw Textiles
B.A., Harvard University; Kit White, Adjunct Assistant
Professor, Painting: Harvard University, A.B. Fine Arts.
Numerous solo gallery and museum exhibitions. Works
in major public collections: Guggenheim Museum,
Johnson Art Museum, others. Tiffany Award for Painting, “I can’t overemphasize the
Nominee, National Artists Award, Visiting Artist,
importance of New York
American Academy in Rome. Criticism published in
national arts journals. Instructor/Lecturer, Metropolitan
Museum of Art. Represented by Andre Zarre Gallery,
as the center of the art and
New York. design world; studying in
Robert Zakarian New York at Pratt was a
P ro fess or
very special experience.”
—John Pai, B.I.D. ’62, M.F.A. ’64,
Internationally renowned
sculptor and former Pratt faculty

History of Art and Design
Pratt Institute is an exceptional place to study the history of art
and design. Our landmarked campus attracts leading artists,
designers, historians, and theorists and is only minutes from the
studios, galleries, private collections, libraries, and museums
that make New York a premier center of art and design.
The faculty is composed of distinguished
scholars and mentors who focus on the
intellectual and professional growth of
our students. Their expertise, dedication,
and original thinking can be seen in
the broad range of courses, academic
and professional opportunities, and
most importantly, in the quality of our
students’ work.
Explore our degree options and you
will find students studying 17th-century
frescos in Venice, 20th-century product
design at first-rate auction houses, and
21st-century performance art at the
Guggenheim Museum. Students come
from a wide range of backgrounds, and
leave with knowledge, experience, and a
Left: Class trip to The Metropolitan Museum of Art, New York
137
ch air
Dorothea Dietrich, Ph.D.
as s istant ch air
Gayle Rodda Kurtz, Ph.D.
as s istant to the cha i r
Jill Song
professional network that will inform and
support their careers for many years. of f ice
Every graduate student’s program Tel: 718-636-3598
ha@pratt.edu
includes “behind-the-scenes”
experiences, not only at exhibitions and
museums but also in the Institute itself.
Connections with other departments in
all areas of fine arts and design—interior,
industrial, communication, and fashion—
offer a unique platform for an interaction
between practitioners and theoreticians.
Our students witness the making of art
and design first hand, which adds a real-
life perspective to their scholarly studies.
A Pratt graduate student is surrounded
and inundated in an aesthetic and
intellectual swirl like no other. Pratt’s
faculty is distinguished in training and
experience, with an impressive array of
degrees and professional credentials.
138
The History of Art and Design
department offers exciting lectures and
seminars on a wide range of approaches,
from connoisseurship to the most
recent theoretical approaches. Frequent
excursions and internships result from
our extensive working relationship with
the city’s museums, galleries, and cultural
organizations and are a crucial part of
the curriculum.
Graduate Degrees
The department of the history of art and
design offers the M.S. degree, requiring
36 credits as described below and a thesis.
In addition, a Certificate of Museum
Studies can be earned in conjunction with
this M.S. degree.
Two dual degree programs are
available: History of Art and Design with
Fine Arts, leading to M.S/M.F.A. degrees;
and History of Art and Design with
Library and Information Science, leading
to M.S/M.S degrees.
advan c e d c ert i f i c at e i n m u s eu m
stu d ie s
The Certificate in Museum Studies
complements the M.S. degree in the
History of Art and Design Department
by offering both a solid base in art and
design history and practical, in-depth
experience in the museum world. History
of Art and Design courses are augmented
by Pratt’s School of Information and
Library Science, Department of Art pratt in ve nice
and Design Education, and the Arts and
Pratt in Venice is a six-week summer
Cultural Management program. Many
program that takes place in June and
members of our faculty are museum
July. Art History of Venice (HA590I, 3
professionals who bring their expertise
credits) and Materials and Techniques
and experience to the classroom. The
of Venetian Art (HA600I, 3 credits) are
Certificate is intended to give graduates
offered together with Painting (Art 590I,
an “edge” for those who seek museum
2–3 credits) and Printmaking/ Drawing
and gallery employment. The Certificate
(Art 591I, 2–3 credits). Graduate and
is available to graduate students enrolled
undergraduate students enroll for six to
in the History of Art and Design master’s
eight credits. We collaborate with the
program as well those in the dual
Università Internazionale dell’Arte and
programs with the Department of Fine
the Scuola Internazionale di Grafica
Arts and the School of Information and
in Venice. Group visits to Padua and
Library Science and is only awarded upon
Bassano/Maser are included. The
completion of those master’s degrees.
program fosters interaction between
Some of the courses for the Certificate
art history and the studio arts through
may be taken within the credits required
group events, faculty/student discussions,
for the M.S. degree.
visiting lecturers, and just by being
there together. Participants experience
m at e r ials, te ch nique s, and the visual riches of Venice and have
c ons e rvation the opportunity to conduct research in
extraordinary museums and libraries.
Art’s historical concern with materials
and techniques exists naturally in
connection with programs in the practice
of art. This is an emphasis in all our
courses, but it takes specific form in our
required Materials, Techniques, and
Conservation course. In addition, issues
related to conservation problems in
Venetian art history are explored with
the help of local experts on site in our
Venice program.
Right: Students at Pratt in Venice at the Gallerie dell’
Accademia in summer 2011

History of Art and Design Faculty
Agnes Berecz
V i si t i n g Ass i sta nt P rof essor
Ph.D. , Université Paris I, Panthéon-Sorbonne, 2006;
teaches modern and contemporary art history at Pratt
and the Department of Graduate Studies of the Fashion
Institute of Technology and at The Museum of Modern
Art; New York correspondent of the Budapest-based
art monthly, Müértö, currently writing a book about the
cultural politics of painting in postwar France; published
in Art in America, Artmargins, Praesens, Treca, and
European and U.S. exhibitions catalogs.
Sam Bryan
Adj u n ct P ro f e ss o r
B.A., Dartmouth College; M.A., Howard University; DA,
Carnegie-Mellon; Sam Bryan is a filmmaker and film
archivist. He has taught courses in film history and
production at Brooklyn College, Fordham University
and at Pratt since 1983. Since 1960 he has filmed for
the International Film Foundation in Africa and South
America. His films have been shown at the American
Film Festival, at the Museum of Modern Art and the
Metropolitan Museum of Art. He’s a past president of
the New York Film Council and continues as executive
director of the International Film Foundation.
Edward DeCarbo
Adj u n ct Ass o ci at e P rof essor
Bachelor of Science in Foreign Service, Georgetown
University; M.A., University of Chicago; M.A., Ph.D.,
Indiana University; Ed DeCarbo has earned 2 degrees
in international relations and 2 others in anthropology
and African studies. His field research is in West Africa
with a focus on aesthetics, the place and practice of the
arts in everyday life.
Left: Class trip to The Museum of Modern Art, New York
Eva Diaz
Assistan t Profess or
B.A., University of California, Berkeley; M.A., and Ph.D.,
Princeton University; Eva Diaz is a Curator for Art in
General and has served as faculty for the Whitney
Museum Independent Study Program, Parsons New
School for Design, and Sarah Lawrence College. In
addition, she is a freelance critic of contemporary and
modern art for publications such as Art in America,
Time Out New York, and Modern Painters.
Mary Edwards
Adj un ct Profess or
B.S., M.A., Ph.D., Columbia University; M.L.S., Columbia
University; Mary Edwards grew up in Oklahoma and lives
in Manhattan. She studied at the Art Students League and
Columbia University. She received a Columbia University
Kress Fellowship for 1982–83; a National Endowment for
the Humanities Travel-to-Collections Grant for 1988; a
Gladys Krieble Delmas Grant for 2000; and travel grants
from Columbia University, Pratt Institute, and the School
of Visual Arts. She has been a fellow at the Virginia
Center for the Creative Arts, the Ragdale Foundation, the
Cummington Community of the Arts, the Mary Anderson
Center, and the Hambidge Center.
Diana Gisolfi
P ro fess or
B.A., Manhattanville; M.A., Harvard; Ph.D., Yale, University
of Chicago; Gisolfi’s research and teaching focus is
on Italian Renaissance art, art historical methodology,
the context of the Catholic reform in Italy, and art by
women. She has published particularly on sixteenth
century Venetian and Veneto art, including that of
Veronese, Tintoretto, and Zelotti. Her current work
looks at materials and techniques of such artists in
relation to workshop practice. She lectures in national
141
and international venues and has reviewed books and
exhibitions. Gisolfi chaired the art history department
and is director of the Pratt in Venice Program.
Dimitri Hazzikostas
Ass istan t Profess or
B.A., Athens University, Greece; M.A., Ph.D., Columbia
University; Dimitri Hazzikostas is an art historian and
archaeologist. A member of the Hellenic Archaeological
Society, he participated in excavations at Ancient
Corinth, Troezen and Lechaion. His areas of special
interest include Greek, Roman, and early Medieval art,
iconography and interpretation. He is a Whiting Fellow
and received the Sears Distinguished Professor Award.
He is a contributor to the Encyclopedia of Comparative
Iconography. As a member of the Pratt Academic
Senate since its inception, he chaired the Senate’s
Programs and Policies Committee. Prof. Hazzikostas
also teaches in the Pratt-in-Venice program.
Frima Fox Hofrichter
Profess or
Ph.D., Rutgers University; M.A., Hunter College; B.A.,
Brooklyn College; As a specialist in Art of the Early
Modern period, issues of gender and class have informed
Hofrichter’s writings and teaching. She is the author of a
monograph on Judith Leyster, numerous articles and has
curated several exhibitions. Besides graduate courses
in Dutch still-life painting and Vermeer, Hofrichter also
teaches undergraduate Survey. She is a co-author of the
major text, Janson’s History of Art: The Western Tradition.
Hofrichter is a member of the College Art Association’s
Committee on Women in the Arts.
142
Vivien Knussi
Adj u n ct Ass i sta nt P ro f essor
B.A., Tufts Univeristy; M.A., Tufts University; Ph.D.,
Columbia University. Upon moving to New York City
from Boston in 1986, Knussi lectured at the Museum of
Modern Art focusing on photography. She also worked
for six years as curator and head of acquisitions for the
Dreyfus Mellon Fund. Since completing her Ph.D. she
has begun writing a textbook on photography.
Gayle Rodda Kurtz
Ass i sta n t C h a i r of History /Art and Desig n
B.A., Stanford University; M.A., Hunter College, CUNY;
Ph.D., The Graduate Center—CUNY; Concentration in
European Art of the 18th and 19th Centuries. From 1995
to the present—Contractual Lecturer at The Metro-
politan Museum of Art with a focus on the African Art
Galleries.
Marilyn Kushner
Visitin g Profess or
B.A.; M.A., University of Wisconsin Milwaukee; Ph.D.,
Northwestern Univ; Marilyn Kushner is Curator and
Head, Department of Prints, Photographs and Archi-
tectural Collections at the New-York Historical Society
(2006-Present). Previously she was Department Chair,
Prints, Drawings, and Photographs and Curator of Prints
and Drawings at the Brooklyn Museum (1994–2006).
She has also served as Curator of Collections at the
Montclair Art Museum, New Jersey, and Research Asso-
ciate at the Whitney Museum of American Art. Kushner
has published and lectured extensively on works on
paper and has served on juries and guest curated
exhibitions nationwide.
Students at a private showing in the Print Study Room of
The Metropolitan Museum of Art, New York
Michele LiCalsi
Vis itin g Ass ociate Profess or
M.A., New York University, Institute of Fine Arts, Cer-
tificate in Art Conservation; B.A., New York University;
Michele LiCalsi studied art at the New York Academy of
Art, the Art Students’ League, and the National Acad-
emy of Design. She has been teaching drawing, color
and composition at the National Academy of Design
from 1994 to the present. She taught fresco painting at
the Conservation Center, Institute of Fine Arts, New York
University from 1993 to 2005. She has also worked in art
conservation at the Brooklyn Museum and The Metro-
politan Museum of Art. She has worked as a conservator
on sites in Florence, Rome, Parma, and Sardis.

Marsha Morton
P ro f e ss o r
Ph.D. Institute of Fine Arts, New York University; M.A.,
University of Chicago Marsha Morton’s primary area of
research is 19th-century German art, with published
articles on interdisciplinary topics in Neoclassicism,
Romanticism, Biedermeier, Impressionism, and
Symbolism. She is currently finishing a book on the
printmaker Max Klinger that explores his art within
the context of Darwinism, anthropology, psychology,
and the grotesque. Morton’s books include The Arts
Entwined: Music and Painting in the Nineteenth
Century (Garland, 2000) and Pratt and Its Gallery: The
Arts and Crafts Years (1998). She has served as the
secretary of HGCEA (Historians of German and Central
European Art) since 2005.
Joyce Polistena
Adj u n ct Ass o ci at e P rof essor
Ph.D., M.Phil., CUNY; TESOL, Columbia University; Joyce
C. Polistena has published articles in Religion and the
Arts, The Van Gogh Museum Journal, Italian Americans
and the Arts and Culture. Dr. Polistena has presented
several papers at The College Art Association, also The
Museum of Biblical Art, The North East Popular Culture
Association, and many scholarly venues. Her current
work is focused on Eugéne Delacroix, and Nineteenth-
Century European and American Art. She has been
a member of the faculty at Pratt Institute since 1997,
where she teaches a variety of courses in 19th–20th-
Century Art.
Katarina Posch
Act i n g C h a i r , Asso c iat e P rof essor
M.A., University of Applied Arts, Vienna, Austria; Ph.D.,
National University of Fine Arts and Music, Tokyo,
Japan; publications: Design: Isamu Noguchi and Isamu
Kenmochi (Noguchi Museum, New York, 2007); “About
Creativity” (Querdenker Magazin 2007, European Forum
Alpbach 2007, the University of Applied Sciences,
Salzburg, 2007); Isamu Noguchi–Sculptural Design
(Vitra Design Museum, Germany, 2001); curatorial work
for the Pompidou Center in Paris, the Vitra Design
Museum in Germany, and the Noguchi Museum in NYC.
Vanessa Rocco
Adj un ct Ass istan t Profess or
Ph.D., The Graduate Center, CUNY; B.A., School of
International Service at American University; Vanessa
Rocco is Assistant Curator of the International Center
for Photography (ICP) She has organized several
exhibitions and publications at ICP, including Expanding
Vision: Laszlo Moholy-Nagy’s Experiments of the
1920s (2004), Rise of the Picture Press: Photographic
Reportage in Illustrated Magazines, 1918–39 (2002),
and Modernist Photography from the Daniel Cowin
Collection (2005). Her reviews and articles about
photography have also appeared in SF Camerawork
and Afterimage, among other places. Her most
recent publication is The New Woman International,
Representations in Photography and Film from the
1870s through the 1960s, co-edited with Elizabeth Otto
(Ann Arbor: UMP, 2011).
Ann Schoenfeld
Adj un ct Ass istan t Profess or
B.A., University of California, Berkeley; M.A., University
of Chicago; Ph.D., City University of New York, Graduate
Center; recipient of CUNY Dissertation Fellowship, Pratt
Institute Faculty Development Fund grant; lecturer,
SUNY, Purchase; nominator, Joan Mitchell Foundation
for Painting and Sculpture; curator, “Get Close,”
Marymount Manhattan College gallery; published in
Arts Magazine, I.D., Eye.
Dorothy Shepard
Adj un ct Profess or
Ph.D., Bryn Mawr College; B.A., Sweet Briar College;
M.A., Southern Methodist University; Specialist in
Medieval Art, especially Romanesque manuscripts;
author of Introducing the Lambeth Bible (2007); AAUW
American Fellowship; Haakon Traveling Fellowship;
invited lectures include College Art Association (1998),
Medieval Academy (2000); Symposia on the History
of the Bible (1995–2000), International Congress of
Medieval Studies, Frick Symposium (1987).
s c h o o l o f a rt a n d d e s i g n 143
Jack Toolin
Vis itin g Ass istan t Profess or
B.F.A., Ohio University; M.F.A. San Jose State University;
an artist working in new media, digital imaging,
and performance, who also teaches at Polytechnic
Institute at NYU and lectures at Rhode Island School
of Design and University of California at Berkeley; his
work considers contemporary life in light of changing
political, economic, and technological landscape.
Borhua Wang
Adjun ct Ass istan t Profess or
B.A., National Taiwan University, Taipei, Taiwan, ROC;
M.A., University of Kansas, Lawrence; Ph.D., Columbia
University, NYC. Specializes in Chinese painting and
calligraphy, in particular of the Song dynasty. Other
areas of research: Contemporary Chinese Art, Buddhist
Art of Southeast Asia, and Western art theory. Curator of
Contemporary Korean Art, Abstract Chinese Art, Taipei
Fine Art Museum. Presented “Pan Yuliang’s Life and Art:
Alienation to Freedom of Expression,” CAA, 2001.
Steven Zucker
Vis itin g Ass ociate Profess or
B.A., Bard College; M.A., Hunter College, City University
of New York; Ph.D., The Graduate Center, City University
of New York. Specialist in 20th Century Art and Theory;
co-founder and executive editor, Smarthistory.org;
Selected publications: “Confrontations with Radical
Evil: The Ambiguity of Myth and the Inadequacy of
Representation,” Art History, “The Slide Library: A
Posthumous Assessment in the Service of Our Digital
Future,” Teaching Art History with Technology: Case
Studies; Selected Awards: Samuel H. Kress Foundation
grants, 2009 Webby Award for Education, SUNY
Chancellor’s Award for Excellence in Teaching; Selected
Papers: CAA, AAM, ICOM, “Museums and the Web,”
Associazione Nazionale Insegnanti di Storia dell’Arte.

Industrial Design
Ultimately, design is about human beings, individually and
collectively, supplying propulsion to idealistic, aesthetic, and
practical ideas, and the passion of creating, understanding,
and sharing the work we do.
Pratt’s Master’s program in Industrial
Design (ID), consistently ranked in the
top 10 in the U.S. by U.S. News and World
Report and DesignIntelligence, is open to
candidates holding bachelor’s degrees in
any area, including science, humanities,
engineering, business, architecture, fine
arts, design, and liberal arts—with or
without design experience. The result
is a student body that represents a wide
range of educational backgrounds. This
rich tapestry of influences—coupled with
grounding in traditional design skills,
conceptualization, research, and design
processes—prepares our graduates to
become leaders who question, explore,
and expand the relevance and excitement
of this discipline.
Our students are a select group who
understand that creativity is a serious
Left: Dana Oxiles
145
ch air
Steve Diskin, Ph.D.
as s istant ch air
Scott Lundberg
business. They come to Pratt ready to as s istant to the cha i r
Audrey Lapiner
work hard, to prepare themselves for a
field where the designer must be able to
provide innovative professional design te ch nical c oordi nato r
John Medley
solutions. They become leaders and
entrepreneurs in industrial design as they
confront the impact of technology and s h op te ch nicians
Gary Hou
innovation, and explore the relationship
Brendan Mullins
of design ethics and sustainable strategies Seth Weiner
within contemporary culture. Julia Wheeler
The faculty is composed of practicing Melissa Skluzacek
design professionals whose areas of
expertise include furniture, lighting, of f ice
architecture, exhibition, products, Tel: 718-636-3631 | Fax: 718-636-3553
graphics, tabletop, video, automotive, id@pratt.edu
medical equipment, packaging, and www.pratt.edu/ad/id
surface design. While each faculty
member within the program has his or
her particular path, there is a growing
understanding that, in the design
profession, disciplines often cross lines.
The faculty’s diversity, combined with
146
that of the student body, creates a vibrant
community of visual researchers
re-defining the role of industrial design
in society.
At Pratt, Industrial Design students
and faculty share a common goal: to
encourage individual growth to its highest
potential. The many courses offered at
Pratt enable students to fully develop
their interests and talents. Students
choose core studio courses—focusing on
product, furniture, strategy, exhibition,
and tabletop design—to develop a clear
understanding of aesthetics, creating
objects and experiences of enduring
value and meaning that embody respect
and sensitivity for people and their
environment. Our mission is to teach
aesthetic value through abstraction and
form development as well as pragmatism,
focusing on the principles of accessibility,
responsibility, and creativity.
Design projects and problems—
including those that focus on social
responsibility, universal accessibility,
marketing, production, cultural heritage,
and aesthetic content—represent the
varied texture of Pratt’s New York City
location. Pratt also maintains strong ties
to industry through corporate-supported
programs. Fortune 500 companies are
regular sponsors of Pratt ID competitions
and studios, offering subjects from
re-thinking the user experience to
business strategy, bringing essential
industry knowledge into the classroom.
Internships in design consultancies and
corporate offices are encouraged, and
have proved to be valuable learning design curricula for developing nations
experiences that cannot be duplicated in a to the impact of emerging philosophies,
purely academic setting. materials, and technologies on world
cultures.
Students register for six credits of
The Program’s Structure thesis over one year, which culminates in
a formal presentation and exhibition of
work accomplished.
A minimum of 48 credits of study is All work for the degree must
required for a Master of Industrial be completed within seven calendar
Design degree. An additional 11 credits years after initial registration as a
and enrollment beyond four semesters is graduate student.
required for applicants who do not have a
background in industrial design.
The Industrial Design program’s
first year provides a specified curriculum
of required courses, while later study is
a blend of structured courses, elective
study in areas of specialized interest,
core studio courses, and design research,
culminating in a master’s thesis. The
thesis provides the greatest possible
freedom and opportunity for pursuit of
a selected topic and is done under the
direction of a faculty advisor. Thesis
candidates are expected to demonstrate
the full range of design skills, including
drawing, rendering, computer modeling,
3-D modeling, color, and design
methodology, as well as historical and
contemporary issues, participating in
the critical dialogue of designed objects
and environments in their final projects.
Topics have ranged from social and
environmental responsibility to urban Right: Cappellini Showroom exhibition of Furniture Studio
living; form, structure, and aesthetic designs by grad students of Professor Mark Goetz
development and mathematics to Page 148: Top: Mahtab Pedrami; Bottom: David Hsu
biochemistry and bio-mimicry; from Page 149: Chris Richard

Industrial Design Faculty
Harvey Bernstein
Adj u n ct P ro f e ss o r, CCE
B.F.A., M.S., Pratt Institute; design consultant whose
practice spans the disciplines of interior, industrial,
graphic, exhibit, and retail design; clients include
JCPenney, Sony, Hallmark, Knoll, Chase, Calvin Klein,
Speedo; recipient of numerous design awards: Gold
and Silver Awards from IDSA and ID Magazine for
product design, as well as awards for lighting design,
retail, office, exhibit, and graphic design; exhibited
at MoMA, Cooper Hewitt National Design Museum,
and more; published in Architectural Record, Domus,
Abitare, International Design, ID, NY Times, Forbes,
Journal, Business Week, Metropolis, and the Design
Encyclopedia of MoMA.
Frederick Blumlein
Adj u n ct P ro f e ss o r, CCE
Design career has included work with organizations
such as Bell Laboratories and George Nelson
Associates; in 1983 established Blumlein Associates,
Inc. (BAI), a design firm that specializes in exhibition,
graphic, interior and theatrical projects and since 1985
has been a major exhibition design consultant for Sony
Electronics, Inc.; BAI’s work has appeared at MoMA,
MIT, Lincoln Center, Indiana University, Disney’s EPCOT
Center, Cirque Du Soleil, Universal Studios, and the
U.S.S. Nautilus Submarine Museum; member of Pratt’s
ID department since 1976.
Left: Wyman Mastin
Meri Bourgard-Rohrs
Adj un ct Profess or , CCE
A.A., Suffolk Community College; B.A., Hunter College;
M.F.A., Painting, Pratt Institute; teacher at Pratt Institute
since 1985; faculty member in the Fashion Design,
Industrial Design, Interior Design, and Architecture
departments; worked as a graphic designer and
illustrator for a variety of publications; studied and
worked in a variety of media with such artists as
Charles Reid, Jean Dobie, Louise Giles, Daniel Greene,
Barbara Necchis, Jim Jensen, Frank Mason, Frank Webb,
Lawrence Goldsmith, and Nathan Goldstein; featured
in The New York Times, Arts & Antiques and more; has
exhibited her work in galleries around the North East as
well as Europe.
Gina Caspi
Visitin g Profess or
B.A., Graphic Design, Hofstra University; M.I.D., Pratt
Institute; Caspi has been a professor in both Foundation
3-D and Graduate Industrial Design since 1986; was the
first recipient of the Rowena Reed Kostellow Award,
given for excellence in teaching three-dimensional
design; participated in the Premio Internazionale di
Scultura Gioia Lazzerini in Pietrasanta, Italy, where she
was awarded a prize for her bronze and ruby sculpture,
Torre di San Francesco.
Gihyun Cho
Adj un ct Profess or
M.I.D., Syracuse University; industrial design educator,
professional, and writer; has held the position of
chief industrial designer at Bell Labs and Lucent
Technologies and has served as a design consultant
for Goldstar, Samsung America, Ken Carter, Loveland
151
Toy, and the Kohl Group; during his time at Bell Labs he
was awarded the AT Excellence Award, Distinguished
Member of Technical Staff, Quality Award, and the
Golden Thread Award; Cho has been a visiting professor
and lecturer at Korea National University of Art, Pratt
Institute, CIDA in Taiwan, and The New School; holds
seven design patents.
Kevin Crowley
Vis itin g Ass istan t Profess or
B.I.D., Pratt Institute; Lowell Technical Institute, polymer
chemistry; has 40 years experience in the design and
manufacturing of deep-sea diving equipment, high-
level radiation suits, proximity and approach fire suits as
well as chemical protective clothing; is also a lifelong
shoe designer having designed both performance and
fashion shoes for such companies as Converse, FILA,
Wilson, Prince, and Keds in the U.S. and Geox and Block
in Europe.
Lucia De Respinis
Adjun ct Profess or , CCE
B.I.D., Pratt Institute; academic appointments adjunct
professor, 1995-present; selected awards, recognition,
and published works, Metropolis magazine, Vitra Design
Book Cold War Confrontations, Women Designers in
the USA 1900–2000, ID Magazine Annual Review, Pratt
Manhattan and Schafler Gallery, “20 Women in Design”;
Rowena Reed Kostellow Award (2007) for excellence
in teaching; “Three Dimensional Design,” Vitra Museum
exhibition on George Nelson Office; Women Designers
in the USA Exhibition, “High Style: Twentieth Century
American Designers in the USA”; and “High Style:
Twentieth Century American Design,” Whitney Museum
Exhibition (aluminum clock).
152
Steve Diskin
Chair
B.A. Visual Studies, Harvard College; M. Arch., Harvard
University; Ph.D., Ecole Polytechnique Fédérale
de Lausanne; began his professional career with
the architecture firm of Kenzo Tange in Tokyo, the
establishment of his studio in Los Angeles, and
the design of the HELIX clock, which is now in the
permanent collection of the Cooper-Hewitt National
Design Museum; was a professor of advanced product
design and founder of the grad ID program at Art
Center College of Design in Pasadena; visiting professor
at the University of Ljubljana (2002–2010); and visiting
professor at the Academy of Art, Architecture, and
Design in Prague (2004–2005); has taught and lectured
at a number of institutions, notably in Switzerland,
Germany, France, Norway, Denmark, Estonia, Poland,
Cyprus, Israel, and Turkey.
Peter Erickson
V i si t i n g I n st ru c to r
A professional prop builder who lives in New York City,
Erickson works out of a garage workspace in Brooklyn;
is a professional maker of all sorts; freelance work
includes the fabrication of custom furniture and props
for advertising. He teaches model-making processes
at Pratt.
Assaf Eshet
V i si t i n g Ass i sta nt P rof essor
B.A., Vital-Tel Aviv Center for Design Studies, Israel; Eshet
strives for innovative designs that create a balance
between the playful and the functional; his creations
are led by his detailed-oriented, whimsical curiosity that
allows him to push the boundaries of mediums; projects
range from toy design to conceptual art; opened Assaf
Eshet Design Studio in 2000, specializing in toy design
and inventions for leading toy manufacturers such
as Fisher Price and Hasbro; many of his designs are
patented and have won numerous prizes, while being
enjoyed by children worldwide; lead a notable toy
workshop held in Anji, China, in 2000 to research and
create eco-friendly toys made of bamboo.
Stephen Faletti
Visitin g In structor
B.I.D., Pratt Institute; B.E., Mechanical, University
of Maryland; a creative problem solver who draws
on what could be construed as a freakishly wide
knowledge base to address design challenges in their
actual contexts; deep understanding of functional
and manufacturing systems is coupled with a strong
sensitivity toward social, cultural, psychological,
and philosophical factors and a profound appreciation
of formal and aesthetic characteristics; has worked
for Estee Lauder, the Nokia Theatre, NY Designs, and
Edge Orthotics.
Patrick Fenton
Visitin g In structor
B.A., Visual Communications, UCLA; M.F.A. Design,
Stanford University; partner at Swayspace, a design
studio that tackles a diverse array of design projects for
a wide variety of clients, collaborating with technology
companies, non-profit organizations, hospitals, fashion
designers, musicians, professors, artists, and publishers;
portfolio includes design logos, marketing collateral,
websites, user interfaces, books, CD cases, software
packaging, tradeshow booths, and building signage.
Colin Gentle
Visitin g Ass istan t Profess or
B. Eng., University of Connecticut; has worked with
firms like SolidWorks Corporation, Martha Stewart
Living Omnimedia, CADD Edge Inc., SA Baxter
Architectural Hardware, and Hutzler Manufacturing;
comprehensive background in 3-D CAD modeling
technology, rendering expertise, and mechanical
processes; serves as ProductSpark’s lead designer,
where he is instrumental in developing new product
lines, and providing SolidWorks 3-D CAD consulting
services; work has been published in a variety of
publications, including Array Magazine, House
Beautiful, Dwell, Interior Design, Forbes Life and CNBC;
Certified SolidWorks Professional and a Certified
SolidWorks Instructor.
Mark Goetz
Adjun ct Profess or
B.I.D., Pratt Institute; design faculty since 1993.
Goetz has taught Sophomore ID Studio, and has taught
the Graduate Furniture Design Studio since 1997.
He has organized several exhibitions of student work
at the International Contemporary Furniture Fair,
Cologne Furniture Fair, as well as industry-sponsored
projects with companies such as Herman Miller and
Wilsonart. Goetz is also the owner of TZ Design,
an industrial design firm founded in 1988, which
specializes in furniture for the retail, hospitality, and
contract furniture industry.
Bruce Hannah
Profess or
B.I.D., Pratt Institute; his Hannah Desk System for
Knoll named Design of the Decade by IDSA (1990);
named first designer in residence at the Cooper-
Hewitt, National Design Museum (1992); awarded
the Bronze Apple by IDSA for conference, Universal
Design (1993); authored Access by Design with George
Covington (John Wiley and Sons, 1996); received
National Design Education Award from the IDSA (1998);
Federal Design Achievement Award for exhibition
“Unlimited By Design” (2000) named one of 12 most
influential exhibitions by Metropolis magazine (2006);
authored Becoming a Product Designer (John Wiley
and Sons, 2004).
Ben Hopson
Vis itin g In structor
B.A. Sculpture, Wesleyan University; M.I.D., Pratt Institute;
a designer, artist and educator working in Brooklyn,
N.Y., Hopson is the creator of the discipline of kinetic
design, which involves the aesthetic design of physical
movement by incorporating elements of industrial
design, kinetic sculpture, engineering, interaction
design, and puppetry, the field allows designers to
animate products and spaces in new ways; has worked
with clients on projects ranging from kitchen gadgets to
luggage, from concept cars to lighting; work has been
featured in I.D. Magazine, on boingboing.net, wired.com,
core77.com, designboom.com, and joshspear.com.

Kate Hixon
Adj u n ct Ass o ci at e P rof essor
Design principal of Hixon Design Consultants, Hixon
teaches 3-D design fundamentals and studio classes
at Pratt. Her consultancy specializes in architectural
branding, environmental design, exhibit and event
design, editorial design and graphic design, and has
had a diverse body of clients, including Pfizer, FAO
Schwarz, Eziba, Ernest & Young, GT Interactive, and the
United Nations.
Jay Levy
V i si t i n g Ass i sta nt P rof essor
B.Arch., Pratt Institute; M.Arch., Columbia University;
Levy began his professional career working for 12 years
under two men influential in twentieth century art and
design: the New York architect, Charles Gwathmey,
and the esteemed Japanese sculptor, Isamu Noguchi.
In 1996 Jay Levy Architects was established. The firm
specializes in residential design and has been widely
published. Other personal pursuits include painting,
sculpture, and as an educator at Pratt Institute, the
study of abstract visual relationships.
Mark Lim
Adj u n ct P ro f e ss o r, CCE
B.F.A., Seoul National University; M.F.A., Pratt Institute;
Jong S. Lim (a.k.a. Mark Lim); “Glomar Explorer” ship
project; First Place Award, Orange County Engineering
Council, (1977/1978); engineering specialist at Holmes
and Narver Inc.; manager of industrial design research
and development and author of design patents (U.S.
and Europe) at the Conair Corporation; has exhibited at
Gallery Korea, and Hyundai Art Gallery.
Scott Lundberg
a ss i sta n t ch a i r ; Adj unc t assoc iat e P rof essor
B.S., B. Arch., North Dakota State University; M.I.D.,
Pratt Institute; a designer and educator who teaches
industrial design at Pratt Institute and exhibit design
at the Fashion Institute of Technology, he recently
became IDSA section vice chair for communicative
environments; designed the Gossner College
Campanile in Bihar Ranchi, India; a shower shelf based
on DARPA technology for Shelfworks; and a display-
driven, wine-finding experience for Bottlerocket Wine &
Spirit that got an A+ from Zagat.
Michael McMahon
Visitin g Ass istan t Profess or
B.I.D., Pratt Institute; computer animator in New York
City for over 20 years, whose projects have included
numerous 3-D animations for broadcast television,
as well as animated simulations of products and
prototypes for industry; has taught computer animation
to undergraduate and continuing education students
at New York University, and also helped to establish the
Computer-Aided Industrial Design program at Pratt
Institute in the early 1990s; currently on staff as an
animator for the ABC/ESPN television network.
Steven Mercurio
Visitin g Ass ociate Profess or
B.E., M.E. Mechanical Engineering, S.U.N.Y Stonybrook;
worked for the New York City Transit Authority as a
mechanical engineer and later moved into several
positions within CADD Edge, Inc., a New York company
focused on design services, rapid prototyping, software,
training, and seminars for design and engineering
solutions; while at CADD Edge, Inc. was active in
projects on a one-on-one basis, as well as being
involved in full team environments to assist within
large design firms; has taught modeling software, its
applications and manufacturing processes since 2001,
and is known at Pratt for his expertise on SolidWorks; his
teaching mission is to directly couple the relationship
between the manufacturing process and industrial
design through a comprehensive understanding of
SolidWorks; by leveraging his many relationships with
design firms throughout the Northeast, he is able to
convey how design decisions, good and bad, will impact
the final, real-world application.
Frank Millero
Visitin g Ass istan t Profess or
B.S. Molecular Cell Biology, University of California
at Berkeley; M.I.D., Pratt Institute; has worked at the
Exploratorium museum in San Francisco (1991–2001)
where he developed numerous biology-based exhibits
and programs, similar to the way his graduate thesis
explored ways of connecting people to the natural
world; has taught courses on color and ecological
design since 2004; now a practicing designer currently
focusing on tableware and table linens.
s c h o o l o f a rt a n d d e s i g n 153
Katrin Mueller-Russo
Ass ociate Profess or
Dipl Des, Industrial Design, Hochschule für Bildende
Künste Hamburg, Germany; has practiced with
Hoberman Associates as a design director, working
on the Hoberman Sphere toy line, on educational
applications; and as a consultant collaborating on
foldable products for a major children‘s product
manufacturer; in 1997, she founded Specific Objects
Inc., an interdisciplinary, sustainability oriented design
practice in New York; her work as been exhibited
internationally and her awards include the Ideas
Competition Design Plus at the Frankfurt International
Fair Ambiente for her hearing aid design; with her
partner, she was chosen as a finalist for the Newark
Visitors Center competition in 2009.
Judith Nylen
Vis itin g Ass istan t Profess or
M.L.S., Pratt Institute; M.F.A. Painting and Printmaking,
Pratt Institute; B.A., Scripps College; has taught Portfolio
and Professional Practices since 2005; has more
than 30 years experience reviewing Industrial Design
portfolios in her capacity as Director of Career Services,
in which she has helped launch and track the successful
careers of hundreds of students and alumni; exhibiting
photographer and printmaker who has worked in the
field of educational exhibition design.
Shigeru Natsume
Vis itin g Ass ociate Profess or
B.F.A., Space Design, Aichi Prefecture University of Fine
Arts, (Aichi Prefecture, Japan); B.F.A., Environmental
Design, Parsons School of Design; M.F.A., 3-D Design,
Cranbrook Academy of Art; Natsume is vice president
and director of design/research and vice president of
ECCO Design in New York City; prior to joining ECCO
Design, he worked for frogdesign and served clients
such as Nike, Timex, Ford, and Coca-Cola; General Mills
sponsored one of his most recent classes, and currently
he is involved with another program sponsored by
Colgate Palmolive.
154
Rebeccah Pailes-Friedman
Adj u n ct Ass o ci at e P rof essor
B.F.A. Fashion Design, Pratt Institute; M.I.D., Pratt
Institute; Computer Graphics and Graphic Design,
School of Visual Arts; Millinery Design, Fashion Institute
of Technology; experience as design director of Starter
for Nike; Champion Athletic Apparel; C-9 by Champion
for Target; Fila U.S.A.; accessories designer for Liz
Claiborne, art director, Everlast, BUM Equipment, and
Nautica kids; freelance product, graphic, and interior
designer; has taught fashion and industrial design at
Pratt since 1998.
Jeanne Pfordresher
a dj u n ct Ass i sta nt P ro f essor
B.F.A., Industrial Design, B.F.A., Sculpture, Cleveland
Institute of Art; experienced in teaching product
studios in the undergraduate, graduate, and design
research classes; a founding partner of Hybrid
Product Design and Development, her projects
have included housewares, consumer electronics,
personal care, medical devices, and sustainable
transportation systems.
Russell Robertson
Adj u n ct P ro f e ss o r
B.F.A., Cleveland Institute of Art and Design; his focus
incorporates a comprehensive balance of academic
theory and professional practice; has worked on
corporate design staffs in Korea and The Netherlands
for Samsung, LG Electronics, and Philips Electronics,
and for design consultancies such as Brook Stevens
Design, Insight PD LLC, ECCO Design, and 4Sight;
participates and designs within a wide range of product
segments: POP displays, exhibits, recreational
sports equipment, medical equipment, agricultural
equipment, housewares, personal care products,
structural packaging, and home audio/video
equipment; a founding partner of Hybrid Product
Design + Dev. Inc., which develops innovative product
solutions and meaningful experiences for global
consumer culture; from 2002–2004, he served as chair
of the IDSA/NYC chapter and director of the design
magazine POPSICLE, which highlighted the NYC design
scene and schools; has built curriculum and taught at
Pratt for more than 10 years: Sophomore and Junior
Design Studio, Experimental Transportation, Drawing
for Design, Portfolio and Professional Practice, and
Internship courses; infuses strategic design process
with the student’s unique vision, resulting in clear and
direct presentations.
Andrew Schloss
Adj un ct Ass ociate Profess or
B.A., Biology, University of Oregon; M.S., Biomechanics
and Human Movement Studies, University of Oregon;
M.I.D., Industrial Design, Pratt Institute; has a diverse
professional background that includes corporate and
retail identity and branding, the design of retail and
other branded interiors, consumer product design,
furniture and lighting design, and packaging and
graphics. Schloss’s design experience includes over
200 retail specialty stores, concept shops, showrooms,
and exhibits, and includes work for CBS Television, Sony
Pictures, Spike TV, Lego, Starwood Hotels and Resorts,
Penhaligon’s Perfumers, Aarohi Diamonds, and many
more. His product work includes design for such clients
as Artemide, George Kovacs, Zelco, Hands On Toys,
Disney, and ABC School Supply.
Arthur Sempliner
Adj un ct Profess or , CCE
B.S. Industrial Design, University of Michigan, Ann Arbor;
M.B.A. Marketing, University of Michigan, Ann Arbor; has
taught the Production Methods classes in the Industrial
Design department for more than 15 years; varied
work experiences early on in his career include being
a designer at Dorwin Teague and later rising to the
position of vice president; president of Construciones
Sempliner in Spain for three years, before founding
Chelsea Design Associates in New York; relationship
with the Pratt Institute began in 1969 when he was
the assistant to Professor Gerald Gulotta, a visual
literacy instructor; in 1995 developed and taught two
Production Methods courses for the Industrial Design
department; is recognized for his vast knowledge and
experience in all areas of design and manufacturing;
holds over 35 US patents; winner of won several awards
including first prize at the Popai Show for his Vacuum
Coffee Dispensing System; has worked on a large
variety of projects in several different fields, including
architecture, packaging design, exhibit design, point of
purchase, and industrial design.
Martin Skalski
Profess or
B.A., University of Toledo; M.I.D., Pratt Institute; teaches
transportation design, color theory, three-dimensional
design, and drawing; director of Pratt Transportation
Design Program; received grants from the NEA, Ford,
General Motors, Honda, Mitsubishi, Subaru, and
Daimler Chrysler; directed design projects for Northrup
Grumman, BASF/Mearl, Black and Decker, NASA, NEC,
Corning, Nissan, Ford, and GM.
Jordan Steckel
Adjun ct Profess or , CCE
Music and Art High School; Cooper Union; B.F.A. Yale
University; two Guggenheim Fellowships (1959–1960);
design and fabrication of exhibitions, displays,
prototypes for Tiffanys, Bonwitt Teller, IBM, Lever Bros.,
Revlon, Henry Dreyfuss; commissioned cast bronze
entranceway doors for the Statue of Liberty; various
sculpted medals and awards; sculptures for hotels,
restaurants, banks, ships, churches, synagogues, private
residences; taught design at SVA (1963–1970); presently
teaches 3-D design in Pratt Foundation Department
(since 1984); also 3-D design, drawing, and moldmaking
in the Industrial Design Department (since 1992).
Irvin Tepper
Adjun ct Profess or , CCE
M.F.A., University of Washington; B.F.A., Kansas City
Art Institute; Tepper’s works are in many museum
collections around the world including the Victoria and
Albert Museum, London; Museum of Contemporary Art,
Kunstmuseum, Bern, Switzerland; and the Los Angeles
County Museum of Art. Tepper’s work is the subject of
a book, titled When Cups Speak: Life with the Cup—A
Twenty-Five Year Survey (Silver Gate, 2002).
Jonathan Thayer
Ass ociate Profess or
B.I.D., Pratt Institute; in his professional design work, he
has developed projects in lighting, furniture, and house
wares but remains focused in the field of structural
packaging, where he has been awarded nine U.S. utility
patents for technology developed on behalf of the New
Venture Packaging Department of the Estee Lauder
Corporation, where he has held a position for well over
a decade and is the recipient of international awards

for innovation in cosmetic packaging; in his capacity
as full time professor, he has taught a range of classes
including Drafting and Prototypes, Production Methods,
3-D Abstraction, Solidworks, and Sophomore, Junior,
and Senior Studio; named one of the country’s most
admired educators by DesignIntelligence magazine
(2006); has stewarded numerous industry projects
at Pratt and is currently developing collaborative
internship opportunities between corporations and the
ID department.
William Jeffrey Tolbert
Adj u n ct Ass o ci at e P rof essor
B.S. Biology, Millsaps College; B.F.A., Museum Art
School; M.F.A., Yale University; a visual artist living in
Brooklyn, N.Y. who has taught at Marylhurst College,
Yale University, Parsons The New School for Design,
Pratt Institute, and The Cooper Union; from 1993–2000,
he was the president and owner of ArtPanel Inc.,
which manufactured high-quality wood supports for
fine artists; since 2006, has been project manager
for the Way2Go tandem car project; a revolutionary,
lightweight fuel-efficient vehicle for the transportation
industry; has exhibited his work in New York and across
the country; in 2010, worked with Philip Riley at Skink
Ink Editions to create a portfolio of Giclée prints, which
were featured in a group exhibition at Skink Ink Editions.
Ignacio Urbina Polo
Ass o ci at e P ro f e ssor
M.S. Product Engineering, Universidad Federal de Santa
Catarina, Brazil; Venezuelan industrial designer with
over 20 years of experience specializing in the field of
bionics: he has worked on consumer products, street
furniture, signage systems, exhibition design, and
visual communication systems for many companies,
manufacturers, institutions and government agencies;
in the late 1980s worked at the prestigious Brazilian
Laboratory of Industrial Design on Florianopolis Island
where he had the opportunity to work in many different
and diverse product design projects, as well as support
his passion of surfing the waves; in 1999, while living in
Caracas, he co-founded Metaplug, a multidisciplinary
design firm and workshop; worked as an industrial
designer in the foundation of La Estancia Art Center in
Venezuela and the Andean Amazon Pavilion at the
s c h o o l o f a rt a n d d e s i g n 155
Aichi World Expo 2005 in Japan; former associate Joel Wennerstrom
professor and director of Prodiseño, School of Visual Adjun ct Ass ociate Profess or
Communication and Design in Caracas, where he B.I.D., Kent State University; M.I.D., Pratt Institute; an
was involved in academic projects and research in industrial designer with 20 years experience designing
minimal structures, consumer products, interface and consumer and industrial products in both the corporate
information design, and thesis projects; co-publisher and consulting environments; currently specializing
of Objetual, a website focusing on design issues in in baby strollers and other juvenile products; besides
Venezuela, he has published design articles in both being an industrial designer and educator, he is a
national newspapers and specialized magazines; dedicated musician and woodworker.
participates in projects and activities as advisor member
of the Ibero-American Design Biennial in Madrid.
Henry Yoo
Adjun ct Profess or , CCE
Tanya Van Cott B.B.A., University of Wisconsin, Madison; M.I.D., Pratt
Visitin g Ass istan t Profess or Institute; Yoo has worked for BMW, Boeing, Chrysler,
B. Arch., Pratt Institute; M.I.D., Pratt Institute; an award- Pepsi, Proctor and Gamble, General Mills, Gucci,
winning architect and industrial designer, who received Herman Miller, McNeil Associates, Philip-Morris,
both degrees from Pratt Institute, she has dedicated her Samsung, Timex, Victoria’s Secret, Warner Brothers, YSL,
career to interdisciplinary design, seeking out projects and Zegna.
that span her interests in psychology, theory, structure,
color, detail, materiality, and especially whimsy, to
create unique design solutions; established her own
architecture and design practice after working as a
project architect with Pentagram Design, NYC; recently
completed her first work of fiction, a novel written for
every man and especially every woman, called Woman
Be Cool; writing and performing the spoken word
“Pratt truly enabled me to be
publicly has led to a renewed interest in teaching, where ready for roles in the many
all her fascinations and training come together.
areas of the design business
Rebecca Welz
Adj un ct Profess or , CCE in which I have worked.”
Boston Museum School; B.A., Empire State College;
Welz is a sculptor represented by June Kelly Gallery in —S c ott Avidon, M.I.D. ’96,
New York and galleries on the west coast; recipient of Designer, Steuben Glass;
Pollock Krasner and ED Foundation grants; recipient
Seguso Viro, Murano, Italy
of a fellowship at Urban Glass; founder of Association
of Women Industrial Designers (AWID), mounting first
exhibition of product design by women in the U.S.,
“Goddess in the Details”; published book on exhibition.
 157

Interior Design

Interior Design at Pratt provides the ultimate learning ch air

Anita Cooney
environment—New York City, an internationally recognized
center of interior design—and a challenging course of study as s istant ch air
Karin Tehve
for students preparing themselves for a career in an expanding,
dynamic field. as s istant to the cha i r
Aston Gibson

The graduate Interior Design program
was ranked first in the country by
both U.S. News and World Report and
DesignIntelligence in 2012. Students
are drawn from all parts of the world
and, by way of the Qualifying Program,
from a variety of disciplines, which
creates an intellectually and aesthetically
stimulating ambience in the studios.
These students are a select group who
understand that creativity is a serious
business. They come to Pratt to work
hard and prepare to enter a profession in
which the designer must be multifaceted
and able to provide innovative design
solutions. Many come to the program for
career change, so classroom interchange
is enhanced by the diversity of students’
Left: Nora Mattingly
interests. For instance, the designer who
comes from a background in economics of f ice
has a very different approach from Tel: 718-636-3630 | Fax: 718-399-4440
int@pratt.edu
one coming from dance, and each has
www.pratt.edu/ad/int
something to learn from the other.
Our faculty members are practicing
professionals who bring real-world design
experience into play in their classroom
teaching. Their varied backgrounds and
expertise allow students to explore many
avenues of design.
Building upon its reputation as one of
the top graduate programs in the country,
the graduate Interior Design program
seeks to expand its leadership role, setting
standards for critical thought, exemplary
expression, professional aptitude, and
responsible action in transforming the
human environment. The curriculum
brings the rigor as well as broad and deep
158
thinking of architectural study to focus
on the scale, use, and materiality of the
interior, connecting interior design to
larger issues of inhabitation, cities, and
society. The program instills values in its
students, not as mere competencies but
as opportunities for critical engagement
in the contemporary world. In support
of this transformative responsibility, the
program fosters an inquisitive dialogue
among its faculty and students, and open
exchange with the world of designers,
producers, and users of the built
environment. We are equally committed
to the application of current technology
to the educational experience and the
support of analysis and research that
contributes to the body of the knowledge
in the discipline.
The Program’s Structure
Like its undergraduate counterpart,
the graduate Interior Design program
at Pratt is an architecturally oriented
program with emphasis on spatial design
rather than surface embellishment. All
aspects of space—scale, proportion,
configuration, and light sources, as well
as textures, materials, and colors—are
studied in relation to their effect on the
human spirit. Students are encouraged
to take advantage of the many course
offerings at Pratt, enabling them
to fully develop their interests and
talents. Electives may be chosen from
any department in the Institute, so an
enormous menu of courses is available for
the pursuit of individual interests.
The program is full time. Many
students find internships, either for credit
or independently, generally pursued
during the summer breaks. It is not
recommended that any student work for
the first semester of the program.
For most students, the program
culminates in a thesis project. The thesis
provides the greatest possible freedom
and opportunity for pursuit of a selected
topic. Work is done under the direction
of thesis advisors and is completed
within one year. The Exhibition
Design Intensive is an alternative to the
traditional thesis track and offers students
a one-year immersion in exhibit design in
the final year.
Applicants with an undergraduate
degree in interior design, architecture,
or other closely related design fields
may be eligible for the 48-credit two-
year graduate program. An application
portfolio is required. A two-semester
Qualifying Program of an additional 20
credits is required for applicants whose
undergraduate backgrounds are unrelated
to interior design or architecture but
whose applications indicate a strong
aptitude for graduate study. These
students complete 68 credits in three
years. It should be noted that while
applicants to the Qualifying Program
are not required to submit a portfolio, we
do encourage applicants with academic
or professional experience to submit a
portfolio of work from other disciplines
such as fine arts, fashion, industrial
design, or communications design.
To support our commitment to
technological excellence, personal
laptop computers are required for all
graduate students. For more information,
please refer to http://www.pratt.edu/
academics/academic_resources/
technology_resources/laptop/interior/.
maste r of s cie nce in
inte r ior de s ign
The mission of the Master of Science in
Interior Design program is to educate
talented and motivated students from
diverse cultural, professional, and
educational backgrounds in the discipline
and profession of interior design. Our
educational community encourages
philosophical exploration, ethical and
environmental responsibility, aesthetic
expression, and practical application.
We provide students with a challenging
environment and course of study that
encourages creative innovation.
Right: Top Column: Nora Mattingly; Center Column,
Bottom Column: Rachel Rosenberg
Page 160: James Cull

Top, Center: Felix Diaz; Bottom: Thom Forsyth

“Pratt was an amazing, amazing

experience in my life. We
had top faculty that inspired us.
I use the foundation that I
received at Pratt, but I take it in
many different directions.”
—Samue l B ote ro,
B.F.A . I nte r ior D esi g n ’68
Renowned interior designer; principal,
Samuel Botero Associates, Inc.

“I’ve been told I’m good at

creating luxurious spaces and
creating comfort in a very elegant
way. The Color course I took
at Pratt gave me the tools to
develop finished palettes for all
my professional projects.”
—Jas mine Lam,
M .S. I nte r ior Desi g n ’98
Principal, Jasmine Lam,
Interior Design + Architecture

Interior Design Faculty
Doreen Adengo
V i si t i n g Ass i sta nt P rof essor
B.S., Catholic University; M. Arch., Yale University; RA;
project architect, Gruzen Samton Architects, currently
working on the design and construction of affordable
housing, educational, and government projects; one
of her projects recently won a design excellence
award from the U.S. General Services Administration;
previously worked for Robert A.M. Stern Architects of
New York City, Adjaye Associates of London, and Ellerbe
Becket of Washington, D.C.
Eric Ansel
V i si t i n g Ass i sta nt P rof essor
B.F.A., Rhode Island School of Design; M.F.A., School
of the Art Institute of Chicago; M. Arch., Pratt Institute;
has worked as an architect at Cooper Robertson and
Partners and at Selldorf Architects; as project architect,
recently completed a two-year renovation of a historic
two-family building in lower Manhattan; his paintings
have been exhibited in New York and Atlanta.
Tarek Ashkar
V i si t i n g Ass i sta nt P rof essor
B.A., University of California, Berkeley; M. Arch., Harvard
University; principal, Tarek Ashkar Studio.
Harvey Bernstein
Adj u n ct P ro f e ss o r
B.F.A., M.S., Pratt Institute; consultant on interior,
industrial, graphic, exhibit, and retail design; clients
include JC Penney, Sony, Hallmark, Knoll, Chase, Calvin
Left: Derek Hsu
Klein, American Crafts Museum, Speedo, Warnaco, and
Franklin Mint; past chair, N.Y. Industrial Design Society
of America (IDSA); awards include gold/ silver IDSA
(product), Lumen, (lighting), Interior Magazine (retail,
office, exhibit), AIGA (graphics), Roscoe, (furniture),
and I.D. Magazine; exhibited at MoMA, Cooper-Hewitt
National Design Museum, Gallery 91, AIGA, ADC,
and ICSID.
Meri Bourgard
Adj un ct Profess or , CCE
A.A., Suffolk Community College; B.A.,Hunter College;
M.F.A., Pratt Institute; Vermont Council on the Arts
Grant recipient; work included in public and private
collections nationwide and in Europe.
Jennifer Broutin
Visitin g Ass ociate Profess or
B. Arch., University of Miami; M.S.A.A.D, Columbia
University; LEED AP; partner, Fluxxlab; designer with
professional experience in architecture, exhibition
design, and architectural publication, who has worked
with such diverse groups as The Metropolitan Museum
of Art, Eyebeam Art & Technology Center, Arquitectonica
International, and Volume Magazine; recipient of
the Spark Design Award, the SARA New Architectural
Product Award, and the Well-Tech Technology Prize;
has been featured on the show Invention Nation and
The G Word, both on the Discovery Science Channel, in
addition to short documentaries for GOOD Magazine
and Eyebeam Art and Technology Center, where
she was an artist in residence; recipient of grants for
the research and exhibition of her work awarded by
New York University, City University of New York, and
01SJ Biennale.
163
Mary Burke
Adjun ct Ass ociate Profess or
B.A., Fordham University; M.S. Columbia University; B.
Arch., City College School of Architecture; RA; directs
Burke Design & Architecture PLLC in a broad range
of architecturally based residential, hospitality, and
commercial projects; registered architect who has
practiced in the field of interior design and architecture
for over 35 years; previously held leadership roles in
prominent architecture firms including Cetra Ruddy,
Gruzen Samton LLP, HOK, Swanke Hayden Connell,
and Tihany International; led KPF Interior Architects’
Singapore office, designing major interior spaces for
the headquarters of United Overseas Bank, designed by
Kenzo Tange; then set up her own Singapore practice,
Burke Design, providing interior architecture services
throughout Asia and Australia; serves as vice president
for design excellence of the AIA New York Chapter,
after a five-year stint as the chair of the chapter’s
Interiors Committee; former board member of the
New York Chapter of IIDA, and is the 2012 chair of the
Advisory Group for the Interior Architecture Knowledge
Community of the AIA; serves annually as a juror in
the Best of NeoCon competition in Chicago, and is a
frequent contributor to design publications.
Mateo Antonio de Cardenas
Vis itin g Ass istan t Profess or
B. Arch., Cooper Union; M. Arch., Architectural
Association.
164
Ike Cheung
V i si t i n g Ass i sta nt P rof essor
B.Arch., Pratt Institute; LEED AP; formerly senior
designer and design director at HOK and TPG
Architecture respectively; currently at Haworth as a
senior workplace design strategist collaborating with
clients to integrate their business needs, workplace
knowledge, and applied design to deliver knowledge-
based interior architecture workplace solutions; recent
projects include Penguin Publishing Headquarters
in New York City, Mullen Advertising Headquarters
in Boston, and Marchon Eyewear Headquarters in
Long Island; has been featured in publications such as
The New York Times, Contract magazine, Interior
Design magazine, Real Estate Weekly, OfficeInsight
and IIDA Newsletter.
Melissa Cicetti
V i si t i n g Ass i sta nt P rof essor
B.A., M. Arch., University of Pennsylvania; RA; principal,
studio Cicetti architect pc; noteworthy projects include
the Reece Murphy Residence in Cutchogue, N.Y., various
projects for Richard and Clara Weyergraf Serra, and the
Brant Foundation Art Study Center in Greenwich, Conn.
(in conjunction with Gluckman Mayner Architects),
where she was a project manager; former lead architect
on all retail projects for fashion designer Helmut Lang,
many of which won multiple awards; also a successful
photographer/ artist, whose book Marking the Land 1
(University of New Mexico Press, 2005) is a photographic
essay exploring the interaction between land forms
in the Southwest and the human-made interventions
upon them; photographic works have been exhibited
internationally, including at Ryerson University in
Toronto and Go Fish Gallery in New York City.
James Conti
Adj u n ct Ass o ci at e P rof essor
B.F.A., Youngstown State University; M.F.A., Ohio State
University; principal, Jim Conti Lightworks; clients
include the N.Y.C. Department of Transportation, Battery
Park Conservancy, Alliance for Downtown New York, and
Great Park in Orange County, California; awards include
the IES Lumen Award, Glowing Topiary Garden, IALD, IES,
AIA award for Bronx Charter School for the Arts.
Anita Cooney
Chair
B.A., Brown University; B. Arch., Pratt Institute;
LEED AP; principal , acoo design, llc. whose work
includes residential and commercial interiors and
restaurant design; previously, co-founder of AC2, a
multidisciplinary design studio, whose notable works
included commercial and residential interiors as well as
product design; regular participant of and serves on the
board of the educational organization DesignInquiry,
a transdisciplinary educational organization devoted
to researching design issues in intensive team-based
gatherings; her work has been published in Interior
Design and I.D. as well as in several design annuals.
Carol Crawford
Adj un ct Ass istan t Profess or
M.S., Pratt Institute; N.Y. Certified Interior Designer;
professional member ASID, IIDA, USGBC; since 1997,
Carol Crawford Environments, Inc., has combined
sustainable interior design with fine art for residential,
commercial and healthcare clients; her creative work
in mixed media construction, photography, lithography
and drawing has been shown in solo and group
exhibitions in the U.S., Canada, Europe, and Japan.
Wendy Cronk
Visitin g Ass istan t Profess or
B.A., Washington University; M. Arch., Harvard University,
RA; the work of Wendy Cronk Architect includes new
construction, interior design, custom furniture design,
and graphic design; her award-winning graphic design
work was published in HOW magazine and Two-Color
Graphics, and her design for a lighting fixture made
out of a re-used industrial object was featured in the
exhibition “Artists Create Light”; previously worked
predominantly in the offices of Tsao & McKown and
Toshiko Mori Architect; her design contributions were
most notably recognized in A+U for the Taghkanic
Residence for Toshiko Mori Architect.
Ron Eng
Visitin g Ass istan t Profess or
B.S.A.D., M. Arch., Massachusetts Institute of Technology;
RA; director of design at Formactiv: Architecture.Design.
Technology. P.C. since 1999, completing projects at
scales ranging from retail boutiques, galleries, and
townhouses to large mixed-use and institutional
projects primarily in the New York City area, though
other sites have ranged from the Hollywood Hills to
the Bund in Shanghai; prior to founding Formactiv, he
worked in the offices of Rafael Vinoly Architects, Davis,
Brody, Bond and Greenberg-Farrow Architects.
Philip Farrell
Adjun ct Profess or
B.F.A., M.S., Pratt Institute; in practice since 1978 with
Farrell Design Associates, a firm that offers a broad
range of professional services in both residential and
commercial design; major organizations that have
commissioned his firm include Citibank, Warner/
Amex Communications, MCTV, Intelligent Office
Franchise, Air France, Sony, Revlon, and AT&T; illustrated
or contributed to a number of books, including
Construction Materials For Interior Design (Watson-
Guptill, 1989), Commonsense Design (Charles Scribner),
Interiors For The Handicapped Pantheon Press, Putting
It All Together (Charles Scribner), and Space Planning
Basics (John Wiley and Sons, 1992).
David C. Foley
Vis itin g Profess or
B.A., University of Pittsburgh; M.A., University of Illinois,
Chicago; M. Arch., University of Norte Dame; RA;
registered architect with expertise in the luxury retail
and residential markets, whose studio, UR Design, also
provides urban design services for urban and rural
communities.
Antonio Furgiuele
Adjun ct Ass istan t Profess or
B. Arch., Syracuse University; has been teaching at
Pratt’s School of Architecture and Department of
Interior Design since 2006; has also taught at The City
College School of Architecture as well as Parsons
The New School for Design; founded the O/S Group,
a collaborative design practice based in Brooklyn,
in 2007.
Pavlina Gantcheva
Vis itin g Ass istan t Profess or
B. Civil Eng., University of Architecture and Civil
Engineering, Sofia, Bulgaria; B. Arch., Pratt Institute;
M.S., Columbia University.

Jennifer Hanlin
Adj u n ct Ass o ci at
At e P rof essor
B.A., Princeton University; M. Arch., Harvard University;
Technical University, Berlin; principal, Cooper Hanlin,
her own interiors’ practice started in 2003, which is
known for its emphasis on a collaborative relationship
with clients; has designed residential, office, retail,
and gallery projects as well as custom furnishings;
previously developed her interior design skills at
Gabellini Sheppard Associates, N.Y., where she
earned the 2002 best of competition award from the
International Interior Design Association (IIDA) for her
work as project architect for the Jil Sander, London
flagship store; currently collaborating with Cooper
Joseph Studios on retail and residential design as their
interior design principal.
John Heida
V i si t i n g Ass i stA
sta nt
n t P rof
ro f essor
B.S., University of Montana; B. Arch., California College
of the Arts.
Moira Henry
V i si t i n g Ass i stA
sta nt
n t P rof
ro f essor
B.S., University of Illinois, Urbana-Champaign; M. Arch.,
Southern California Institute of Architecture.
Claudia Hernandez
V i si t i n g
Visiting Assistant
Ass i stAProfessor
n t P ro f essor
B. Arch., California State Polytechnical; M.S., Columbia
University in the City of New York; Plain Space Inc.,
Architecture and Design.
Stephen Horner
V i si t i n g Ass i stA
sta nt
n t P rof
ro f essor
B.A.,University of Sussex, England; M.A., Parsons School
for Design; principal, MediumBase Design and a
founding member of the lighting think tank, phoscope
which promotes ecophotal systems for 21st-century
nightscapes, and advances critical photostudies
as well as the conventions of lighting practice and
education; has also worked for Tillett Lighting Design
and L’Observatoire International where he worked on
award-winning projects such as The Highline and Alice
Tully Hall and the Juilliard School at Lincoln Center.
Aki Ishida
Visitin g Profess or
B.A., University of Minnesota; M.S., Columbia
University; RA; LEED AP; founder, Aki Ishida Architect
PLLC, a research-based design practice; previously,
associate for over four years at James Carpenter
Design Associates, a studio focused on artistic and
technical use of glass; has also worked at Rafael Vinoly
Architects and at I.M. Pei Architect; also teaches design
studios at Rhode Island School of Design and has
taught at Parsons New School of Design and Konkuk
University in Seoul, Korea; through these schools, she
has successfully run collaborative design projects
in partnership with corporations and non-profit
organizations, including Memorial Sloan-Kettering
Cancer Center, 93 Nevins Street, Starwood Hotels, and
The 4th Bin; her research has been supported by the
Graduate Kinne Travelling Fellowship from Columbia
University, Stewardson Keefe LeBrun Travel Grant from
the American Institute of Architects New York Chapter,
and a fellowship from The MacDowell Colony.
Eric Kachelhofer
Visitin g Ass istAn
istan t Profess or
A commercial artist since 1977, with more than
15 years experience in the computer graphics field,
he has worked in advertising, publishing, and in the
comic industry.
Sheryl Kasak
Visitin g Ass ociAte
ociate Profess or
B.F.A., B. Arch., Rhode Island School of Design; M.S.,
Columbia University; founder, Interim Design, an
architecture and interior design practice based upon
her undergraduate thesis “An Interim Architecture,”
which addressed the 15 Year War in Lebanon and the
proceeding redevelopment of the center of Beirut; her
practice focuses on the communication of information
through spatial design and the notion that we are
all living in an interim state, one which is constantly
evolving and reacting to our surroundings and our lives;
has worked for I.M. Pei and Rafael Vigñoly; represents
Atelier Christian de Portzamparc in New York for U.S.
projects; held the winning entry for the international
theoretical competition Unbuilt Architecture with her
Lightning House design in 1994 and has been published
several times in Abstract, The Columbia University
annual design publication.
s c h o o l o f a rt a n d d e s i g n 165
Margaret Kirk
Vis itin g in
In structor
B. Arch., Syracuse University; M. Arch., Pratt Institute;
studied in Florence and travelled throughout Italy; has
worked for numerous architecture firms in Minneapolis
and New York since 1998 and currently works with
Khanna Schultz in Brooklyn, N.Y., on projects in New
York City and Maharashtra, India; has also volunteered
in community design workshops and participated in
numerous research projects and competitions.
Komal Kehar
Vis itin g Ass istAn
istan t Profess or
B.A., Concordia University; M. Arch., Parsons School of
Design; project manager, SPaN LLC, New York, N.Y.
Vanessa Keith
Vis itin g Ass istAn
istan t Profess or
B.A., Columbia University; M. Arch., University of
Pennsylvania; principal, Studio TekaDesign.
Margaret Kirk
Vis itin g Ass istAn
istan t Profess or
B.Arch., M. Arch., Syracuse; B.Arch., M. Arch., Pratt
Institute. Ms. Kirk holds a has worked for numerous
architecture firms in Minneapolis and New York
since 1998 and currently works with Khanna Schultz
in Brooklyn, NY on projects in New York City and
Maharashtra, India. In the past, she has volunteered
in community design workshops as well in research
projects and competitions.
Eugene Kwak
Vis itin g Ass istAn
istan t Profess or
B. Arch., Carnegie Mellon University; M.S., Columbia
University; LEED AP; educator, architect, and an urban
designer who works for Dattner Architects, focusing
on technology-based green and sustainable public
work including New Housing New York Legacy Project;
his entry for the Reinventing Grand Army Plaza
Competition was selected as one of the top 30 ideas
to be included in a public exhibition, and his entry for
Intersections: The Grand Concourse Beyond 100 also
earned an Honorable Mention.
166
Annie Kwon
V i si t i n g Ass i sta nt P rof essor
B. Arch., Rhode Island School of Design; M.S., Columbia
University; principal, Serge Studio.
Scott Larrabee
V i si t i n g Ass i sta nt P rof essor
Jason Livingston
V i si t i n g Ass i sta nt P rof essor
B.A., University of Miami; M.F.A., New York University;
LC; IES; IALD; principal, Studio T+L, LLC and an
accomplished lighting designer in architecture and
theatre with over 20 years of experience; projects
range from offices and libraries to historic buildings
and unique installations; his work has been profiled in
Lighting Design + Application and Lighting & Sound
America; awards include a Lumen Citation and an
International Illumination Design Award; he was a 2010
finalist in the ESTA Rock Our World Awards.
Jennifer Logun
V i si t i n g Ass i sta nt P rof essor
B.A., Gettysburg College; M. Arch., University of Florida.
Kimberly Loken
V i si t i n g Ass i sta nt P rof essor
B.S., The Catholic University; M. Arch., University of
Texas at Austin; RA; associate, Beyer Blinder Belle
Architects & Planners, involved the all phases of
project development with a particular emphasis on
historic preservation and urban revitalization; projects
of note include: a new museum in Antwerp, Belgium,
focused on European emigration to North America;
design and supervision of two lobby retrofits and
new custom bronze artwork which won a SARA/
NY Award; a feasibility study for 9th Street Station
for the Port Authority of New York and New Jersey;
the development of PATH Stations Design Guideline,
Empire State Building Restoration, and a new 16-unit
condominium in Tribeca; previous architectural work
has included the design of a new animal hospital in an
existing building in Austin, Texas; has also worked as
an art director for independent feature films, including
Splice of Life, A Yeti In The City, Holidays With Heather,
and Samuel Demango.
Cam Lorendo
Adj un ct Ass ociate Profess or
B.A., Parsons the New School for Design; design
career as a carpenter and a contractor, which has
proven invaluable in providing a working knowledge
of methods and materials to his practice; principal
work has been in the furniture industry where he has
had extensive experience with Knoll, Herman Miller,
Steelcase, Vecta, and DesignTex for whom he has
worked nationally designing office systems display,
showrooms, market events, new product introductions,
and trade shows; commercial practice covers a broad
spectrum of projects including office interiors, trading
firms, advertising agencies, and restaurants; residential
work has spanned the gamut from apartments to
single-family homes in numerous locations throughout
the United States.
William Mangold
Adj un ct Ass istan t Profess or
B.F.A., B. Arch., Rhode Island School of Design; M.
Phil., Ph.D., CUNY Graduate Center (in process); has
taught at Pratt since 2007, and is also an adjunct at
Hunter College and Moore College of Art; as a Ph.D.
candidate in the Environmental Psychology program
at CUNY Graduate Center his research looks at the
role institutions play in architectural production and
utopian visions for transforming the social and spatial
environment; he has had various papers accepted for
publication and is currently preparing an edited volume
bringing together key readings related to space and
place; as a designer, he has worked on a number of
renovation and adaptive reuse projects, including the
ongoing renovation of an 1872 row house where he
lives with his family.
T. Camille Martin
Visitin g Ass istan t Profess or
M.A., Washington University; B.A., Miami University;
principal, TCM Studio, Brooklyn, N.Y.
Anthony Mekel
Adj un ct Ass istan t Profess or
B.Arch., Pratt Institute; professional career has focused
on corporate interior design with an expertise in the
application of digital design tools for the process; has
worked as a senior designer and project manager at
Mancini-Duffy, The Phillips Group, and most recently
at HOK.
Francine Monaco
Adjun ct Ass ociate Profess or
B.Arch., University of Cincinnati; RA; registered architect
in New York, Pennsylvania and New Jersey, whose work
includes projects in the United States and Europe; more
than 25 years experience in architecture as well as
interior design; her early work as a project architect for
a highly respected architectural firm designing homes
and apartments was followed in 1989 by a position as
project architect for the in-house design department
of the Guggenheim Museum; as a member of the
museum’s planning team her focus was in orchestrating
several design projects of the museum’s expansion
in New York City; she designed and supervised the
creation of administrative office space within newly
excavated space at the original Frank Lloyd Wright
museum building; over the years, she has pursued
a mixture of residential and non-residential work;
her increasing focus on the intersection between
architecture and interior design led her to establish
D’Aquino Monaco in 1997 with Carl D’Aquino; she was
inducted into the Interior Design Hall of Fame in 2007.
Julie Moskovitz
Vis itin g Ass istan t Profess or
B.A., University of Michigan Ann Arbor; M. Arch.,
University of Pennsylvania; LEED AP; her Brooklyn-
based practice concentrates on modern, clean
spaces incorporating eco-friendly technology and
materials; Fabrica718 works with community-based
groups, nonprofits, and others to create innovative
programming and spaces for their projects; she
currently is working on several actors’ residences in
N.Y.C.; work published in Wired, New York magazine, and
Topos; her collaborative project for artist studios and a
residence won a 2006 NYC Green Building Competition
award; in 2005, her office won a Kalil Fellowship for
Smart Design from Parsons and in 2006, she was named
a finalist in the Williamsburg Waterfront State Park
Competition; in 2007, she traveled to South America to
study courtyards and outdoor spaces through the AIA
Stewardson Keefe Lebrun Travel Grant.
Stephen Mullins
Vis itin g Ass istan t Profess or
B.Arch., The Cooper Union; M.A., Architectural
Association; principal, Metre Design, Inc.; senior project
manager, D’Aquino Monaco, New York, N.Y.

Robert Nassar
V i si t i n g Ass i sta nt P rof essor
B.F.A., Syracuse University; principal, Robert Nassar
Design, New York, N.Y.
Joseph E. Nocella
V i si t i n g Ass i sta nt P rof essor
B.S., University of Missouri; M. Arch, The
University of Kansas; RA, AIA, LEED AP; practicing
architect, focusing on BIM technologies, since 1996;
previously worked for architectural firms SOM, HOK,
NBBJ, and FXFowle.
Tetsu Ohara
V i si t i n g Ass i sta nt P rof essor
B. Arch., University of California, Berkeley; Certificate
of Architecture, Harvard University; principal designer,
SpatialDesignStudio, Inc. in N.Y.C.; has engaged in
design projects in both the East and West ranging
from product design, exhibition design, interior design,
to architectural services; recently published project
includes Japan Brand “Unfolding” exhibition with
Japanese Ministry of Trade at Felissimo Design House
in Manhattan.
Brian Osborn
V i si t i n g Ass i sta nt P rof essor
B.L.A., California Polytechnic State University; M.
Arch., Pratt Institute; founder of BOTH Landscape and
Architecture, Inc. located in New York City; also teaches
landscape architecture at Rutgers University.
Jon Otis
P ro f e ss o r
B.A., Moravian College; M.S., University of
Massachusetts; principal, OlA – Object Agency, a
multidisciplinary design studio and design strategy
agency, whose work ranges from interior architecture
and design, exhibition design, branding and visual
communications, product design and consulting; clients
have included Tandus Flooring, George Nakashima
Woodworker, Scotts Inc., Vitra Design Museum, Corning
Glass, Contract Design, Tuva Looms, and World Moto
Cross; recipient of Fulbright and Lusk fellowships to
Italy; named Most Admired Educator in Interior Design
in DesignIntelligence in 2009.
Andrew Pettit
Adj un ct Ass ociate Profess or
B. Arch., Pratt Institute; RA; principal, Andrew L. Pettit,
Architect; firm’s work encompasses many residential
and renewal projects from single family homes and
brownstone restorations to multi-family dwelling
complexes; projects completed or in process include
renovated lofts, commercial offices, and custom
residences as well as industrial adaptive re-use projects
and restaurants, a night-club, and other hotel and
hospitality lifestyle designs, commercial retail outlets,
and high end design fashion shops; clients include
several corporate groups from General Electric Plastics
Division to a major international publishing firm,
an international insurance company, a private legal
firm, and a specialty paper goods manufacturer;
restored Memorial Hall on Pratt’s Brooklyn campus
with Philip Farrell.
Salvatore Raffone
Visitin g Ass istan t Profess or
B.S., Northeastern University; M. Arch., Harvard
University; RA; associate, Skidmore, Owings & Merrill,
where he began in 2000; projects include Terminal 4
at JFK International Airport, Seven World Trade Center,
John Jay College of Criminal Justice, Lotte Super Tower
(Seoul), and Mt. Sinai Center for Science and Medicine;
focus has been on bringing technical clarity to the
design process on complex projects; previously worked
for various firms in the Boston area, including Chan
Krieger and Associates, Office dA, and Machado Silvetti.
Woodson Rainey
Visitin g Ass istan t Profess or
B.F.A., B. Arch., University of Utah.
Denise Ramzy
Visitin g Ass istan t Profess or
B.A., Williams College; M.S. RED, Columbia University;
M.I.D., University of the Arts, LEED AP; designer whose
work bridges multiple disciplines within the built
environment; after working in architecture and real
estate development, she recently established Field
Dimension, a research-based practice focused on
sustainable urban redevelopment; also teaches at New
York University and Parsons The New School for Design;
a LEED AP BD+C, she serves as a volunteer for the U.S.
Green Building Council, advising on their educational
s c h o o l o f a rt a n d d e s i g n 167
and research initiatives; also curates Design Diversions,
a series of design-related tours and events in and
around New York City.
Christian Rietzke
Vis itin g Ass istan t Profess or
Diplom-Ingenieur, University of Applied Sciences,
Münster, Germany; M. Arch., Pratt Institute; project
manager, McKay Architecture/Design; has designed
several single family residences located in the area
of New Paltz, N.Y., informed by the principles of
sustainability and has managed the construction of
several full building conversions in Lower Manhattan
and Newark, New Jersey; has worked for a variety of
firms in Germany, Sweden, and Spain on large scale
hotels, shopping centers, and industrial complexes; work
has been published in Domus and ICON Magazine.
Gustav Rohrs
Profess or
B. Arch., M.I.T.; worked in the offices of Werner Both,
BDA, Essen, Germany; later served for extended periods
as project architect in the offices of Edward Larrabee
Barnes and then, Richard R. Moger; in the mid-1970s,
set up his own cabinet shop while teaching architecture
and design part-time at Parsons, Orange County
Community College, and NYIT; in 1979 began teaching
at Pratt Institute and in 1986 was appointed chair of
the Interior Design department, a position he held until
1997, at which point he joined the full-time faculty.
Edward Russell
Adjun ct Ass istan t Profess or
B.A., Wichita State University; M.F.A., Parsons the New
School for Design; president, Lighting Workshop, Inc.;
LEED, IES.
Mary-Jo Schlachter
Vis itin g Ass istan t Profess or
B.S., M. Arch., University of Pennsylvania; RA; USGBC
committee member; co-founder, d3, an organization
committed to advancing innovative positions in art,
architecture, and design by providing a collaborative
environment for artists, architects, designers, and
students from throughout New York City though
a program of exhibitions, events, competitions,
and publications; prior to independent practice as
MJIT Studio, she worked extensively in affordable
168
housing and high-end residential design in various
New York architectural firms including Beth Cooper
Lawrence, Raffaella Bortoluzzi, and Bruno Kearney; her
architectural and installation work has been exhibited in
Philadelphia, New York, and Savannah.
Deborah Schneiderman
Ass o ci at e P ro f e ssor
B.S., Cornell University; M. Arch., SCI-Arch; RA; LEED
AP; principal, deSc design/research; projects include
residential design, exhibition design such as the Empire
State Building audio tour and kiosk, and collaborative
work with the artists Kristin Jones and Andrew Ginzel
on Polarities at the Kansas City International Airport
and Metronome at Union Square in New York City;
previously taught at Parsons New School for Design
and Arizona State University; author of the upcoming
books Inside Prefab (Princeton Architectural Press,
2012) and Integrating Sustainability in Design
Education (with Jacques Giard in 2013); articles have
appeared in Interiors: Design, Architecture and
Culture; Design Principles and Practices: An
International Journal; Home Cultures: The Journal
of Architecture Design and Domestic Space;
and International Journal of Environmental, Cultural,
Economic and Social Sustainability.
Hazel Siegel
V i si t i n g Ass i sta nt P rof essor
B.F.A., Skidmore College; M.F.A., Hunter College, City
University of New; Atelier Hazel Siegel Ltd.
Andrew Simons
V i si t i n g Ass i sta nt P rof essor
B.F.A., Carnegie Mellon University; partner,
Emphasis Design.
Steve Smith
Adj u n ct Ass o ci at e P rof essor
B.S., Pratt Institute.
Joanna Sohn
V i si t i n g Ass i sta nt P rof essor
B.A., Smith College; M.S., Pratt Institute; senior
architectural designer, Shamir Sham Design.
Jina Y. Son
Visitin g Ass ociate Profess or
B.S., University of Cincinnati; Meshinc, New York, N.Y.; RA.
Elizabeth Stoel
Visitin g Ass ociate Profess or
B.A., Princeton University; M.A., Harvard University;
LEED AP; writer and designer based in Brooklyn, N.Y.;
currently works at Rogers Marvel Architects and also
pursues her own independent projects and research;
work focuses on creating performative, project-
specific, and sustainable relationships between
interior and exterior, and ranges in type and scale from
interiors to landscapes and public art; contributor to
ArchitectureBoston magazine and is a project editor
at PRAXIS Journal of Writing and Building; selected
as a semi-finalist in the National Ideas Competition
for the Washington Monument Grounds in February
2011; her proposal for a National Flood Park on the
site showcases a proactive response to the issue of
increased flooding from global warming on a national
stage, in the heart of Washington, D.C.
Sarah Strauss
Visitin g Ass ociate Profess or
B.A., Duke University; M. Arch., Yale University; founder,
Bigprototype (2004), a practice that operates at
the intersection of design and building, harnessing
interests in making, testing, research, and play, with
offices in Brooklyn, N.Y. and Rincon, Puerto Rico;
also founded LittlePrototype, a furniture and product
design company located in Brooklyn, and Collider, an
installation art project with Lia Halloran that travels
between New York City and Los Angeles.
Brent Stringfellow
Visitin g Ass istan t Profess or
B. Arch., University of Pennsylvania; M. Arch., Harvard
University; RA; LEED AP; project architect, Ennead
Architects, New York City.
Keena Suh
Adj un ct Ass ociate Profess or
B.A., University of Illinois, Urbana-Champaign; M. Arch.,
Columbia University; RA; architect, Reddymade Design,
New York City; professional experience includes a broad
range of architecture and interior projects including
affordable housing, high-end residential projects, retail,
and hospitality designs.
Myonggi Sul
Profess or
B.A., Valparaiso University; M.S., Pratt Institute; interior
designer in New York City for over 20 years; principal,
Myonggi Sul Design, which provides interior design
services to corporations, high end residences, and
major architectural firms; previous appointments
include director of interior design at Marcel Breuer
Associates, and work as an associate at GN Associates/
Carol Groh and Associates, where her creative skills and
leadership were instrumental in the firm’s recognition
as the 1988 Designer of the Year by Interiors magazine;
has taught at both Hongik University and Gunguk
University in Seoul, Korea, as a visiting professor.
Yutaka Takiura
Vis itin g Ass ociate Profess or
B. Eng., Waseda University; M. Arch., University of
Pennsylvania; M. Arch., Illinois Institute of Technology;
RA; architect based in New York City and focusing on
interior architecture projects; professional experience
includes working with prestigious designers of such as
Marcel Breuer and becoming known as a specialist in
modern design of the 20th century.
Madeleine Taylor
Vis itin g Ass istan t Profess or
B.F.A., B. Arch., Rhode Island School of Design;
M.S., Columbia University; RA; principal, boutique
architecture and interior design studios MMTNYC,
New York City and MMTSLC, Salt Lake City; has
served as director of operations at Ace Gallery in
New York City, and worked as a designer at Skidmore,
Owings & Merrill, LLP.
Karin Tehve
Ass istan t Ch air , Adjun ct Ass ociate Profe ssor
B.Arch., Pennsylvania State University; M. Arch., Harvard
University RA; architect and founder, KT3Dllc. (2001),
a small interdisciplinary practice pursuing projects
in architecture, interiors, multimedia design and site-
specific art; awards include a 2009 Building Brooklyn
Award and a 2009 Lumen Citation and Regional Award
(with Linnaea Tillett) for This Way, a permanent light
installation under the Brooklyn Bridge; recent projects

include a test-kitchen for Every Day with Rachael
Ray magazine and collaboration with Linnaea Tillett
Lighting Design on a permanent light installation in
Winnipeg, Manitoba.
Jack Travis
Adj u n ct Ass i sta nt P ro f essor
B. Arch., Arizona State University; M. Arch., University
of Illinois, Urbana-Champaign; RA; since establishing
his namesake design studio in 1985, has completed
proposals or has been involved in over 100 projects of
varying scope and size; to date, the firm has completed
several residential interiors projects for such notable
clients as Spike Lee, Wesley Snipes, and John Saunders
of ABC sports; commercial and/or retail interiors clients
have included Giorgio Armani, Cashmere Cashmere,
and the Sbarro family of the famed pizza parlors; Travis
encourages investigation into Black history where
appropriate and includes forms, motifs, materials,
and colors that reflect this heritage in his work;
interests have broadened in recent years to include
design issues not only concerning cultural content
but sustainability in environmental design as well as
alternative educational practices that seek to insure the
entrance of more students of color into the profession;
editor, African American Architects: In Current
Practice, (Princeton Architectural Press, 1991) the first
publication to profile the work of black architects in the
United States; in 2004, he received his Fellowship in the
AIA, and in 2006 was inducted into the Council of Elders
of the National Organization of Minority Architects
(NOMA), the highest honor that each organization
bestows upon its individual members.
Becky Vas
V i si t i n g Ass i sta nt P rof essor
B.A., Amherst College; M. Arch., Harvard University;
RA, LEED AP; has worked for a number of offices on a
large variety of projects including residential, office,
and commercial work for Studio-ST Architect, Alex
Scott Porter Design, Macrae-Gibson Architects, and
Leroy Street Studio; recipient, while teaching at Boston
Architectural College, of a 2003 Edco Grant to create
and teach a workshop and seminar on the history and
design of wallpaper in the context of smart building
skins, digital printing, and installation art.
s c h o o l o f a rt a n d d e s i g n 169
Timothy Ventimiglia management and hands-on fabrication—which have
Visitin g Ass istan t Profess or provided him the opportunity to work closely with a
B. Arch., M. Arch., Cornell University; as a senior designer range of clients and collaborators; currently seeks to
at Ralph Appelbaum, Associates Inc., has directed and integrate traditional craft-based production methods
collaborated with architects, planners, and consultants with advanced digital fabrication to produce projects
for exhibitions and museums such as the Smithsonian and experiences that are conceptually rich, rigorously
Arctic Studies Center in Anchorage, Alaska; SC Johnson: designed, and efficiently constructed.
Fortaleza Hall in Racine, Wisconsin; Chemical Heritage
Foundation Museum in Philadelphia; Grand Teton Michael Zuckerman
National Park Visitor Center in Jackson Hole, Wyoming; Adjun ct Ass ociate Profess or
the Lepidoptera Galleries of the Florida Museum of B.S., B. Arch., City College of New York; RA, LEED AP;
Natural History in Gainesville, Florida; Corning Museum principal, G.V.Z. Architects; recent work includes projects
of Glass Innovation Center; and the Intel Museum in for Saint Ann’s School, Enterprise Lighting Sales, Arcus
Santa Clara, California; master planning for parks and Foundation, Harlem United, The Bellhouse, as well as
memorials includes the Federal Hall National Memorial many residential clients; prior work included designing
in New York; the Pennsylvania Academy of Natural lobbies for residential co-ops and retail stores and
Sciences in Philadelphia; the Los Angeles State Historic collaborating on restaurants, residences, and offices
Park; the University of Arizona Science Center in Tucson; with Judith Stockman and Associates, The George
and the Utah Museum of Natural History in Salt Lake Office, and Richard Bloch Architect; has designed
City; has also spoken extensively on the design of custom light fixtures and furniture during the course
museums in various venues. of various projects; formerly, project architect, project
manager, and senior designer with the firm of Jack L.
William Watson Gordon Architects (1974–1983), responsible for many
Visitin g Ass istan t Profess or projects of varying scope and complexity including
B.A., Princeton University; M. Arch., University of Texas building renovations and new construction.
at Austin; principal, Castro Watson, whose work
includes residential and design build projects as well as
winning entries to design competitions; Speak Up for
Small Farms, Stored Potential Competition, in Omaha,
Nebraska, was the winning entry in 2010.
Henry Weintraub
Visitin g Ass istan t Profess or
B.A., University of Michigan in Ann Arbor; M. Arch.,
Harvard University; professional work has included
residential, town house renovations to rooftop
additions, to office and gallery renovations for
offices such as Ennead, Spivak Architects, and Daniel
Rowen Architects.
Corey Yurkovich
Visitin g Ass istan t Profess or
B. Arch., Kent State University; M.S., Harvard University;
a New York-based designer working at the intersection
of architecture, exhibition design, product and furniture
development, and brand environments; has a wide
variety of design and production experiences—from
initial creative strategy through to construction
 171

School of Information and Library Science

a r e al e d u c at i on f or t h e
d ig ital wo r l d
In our global society, library and
information science is at the heart of
human culture and communication. Now,
more than ever, the world relies on skilled
professionals to design and organize
information in a way that connects people
with one another, as well as with ideas
and meaning.
Pratt’s School of Information and
Library Science (SILS) prepares students
a g lobal e ducation
i n manh attan
SILS’s graduates emerge uniquely
prepared for the many new and changing
opportunities available to information
professionals across a wide range of
environments, including libraries,
archives, and museums, as well as the
technology, law, and health information
sectors. In fact, by the fall of 2011, 90
percent of recent graduates were working
in professional positions they had
de an
Tula Gianinni, Ph.D., m.l.s., m.m.
infosils@pratt.edu
as s istant to the dea n fo r
administrative serv i ces
Vinette P. Thomas, m.s.l.i.s.
vthomas@pratt.edu
as s istants to the dea n fo r
acade mic progra ms
Quinn Lai, M.A., M.S.L.I.S.
qlai@pratt.edu

to harness the latest digital technology to obtained within a year of graduation.

design a more usable and understandable SILS’s programs not only teach theory administrative a ssi sta nt
world. At the same time, SILS also and research but also offer students an Katie Merlie, b.a.

prepares students to be leaders in the unparalleled chance for an immersive mmerlie@pratt.edu

field of library and information science
by imbuing them with the values
of the profession and teaching them to
uphold and advocate for intellectual
freedom, equal access to information, and
lifelong learning.
Left: SILS Performance Showcase
hands-on experience. SILS is the only
school of library science headquartered in lms c oor dinato r
Manhattan; the world capital of art and Jessica Lee Hochman, Ph.D.
jhochman@pratt.edu
culture is its extended campus. Through
interdisciplinary programs, partnerships,
and internships with New York’s great of f ice
Tel: 212-647-7682 | Fax: 212-367-2492
cultural institutions such as the Brooklyn
infosils@pratt.edu
Museum, Metropolitan Museum of Art, www.pratt.edu/sils
Brooklyn Library, and New York Public
Library, students find internships and
other work-study opportunities that can
172

be found nowhere else. Students also

have the unique opportunity to learn with
leaders in their fields who are working
in the libraries of many of New York’s
cultural institutions. Finally, SILS’s
international summer programs in
Florence and London make the promise
of a global education a reality
for students.

stu dy in g l ib ra ry sc i en c e at a
s c ho o l o f art a n d d esi g n
The history of SILS dates back to 1890,
just three years after the founding of
Pratt Institute itself. SILS takes pride
in being the oldest library school in the
United States and in having our program
continuously accredited by the American
Library Association since 1923, when
accreditation was first introduced. Since
its founding, Pratt has been a leading
school of design, art, and architecture,
and SILS complements this mission.
By being part of Pratt, SILS brings
innovation and creativity to information
and library science while drawing
on Pratt’s many academic offerings
in the arts to offer unique programs
blending the arts with library and
information science.

A student in the stacks of the Pratt Brooklyn Library

 173

Library and Information Science

a c r e ativ e a n d s i l s facilitie s ar e de s igne d de an

v ib ran t c o mm u n i ty
SILS attracts students from top
universities who come to study with
leading practitioners and researchers.
SILS’s full-time faculty members are
leaders in information research and
teaching pedagogy, creating engaging
learning environments. Part-time
faculty members are leaders in practice,
holding key positions as leaders in the
professional information field. Students
can participate in a wide variety of
student organizations to enhance the SILS
experience. Among the organizations they
f or te ach ing and le ar ning
Pratt’s cultural informatics, digital media,
and digital humanities labs support
teaching and learning activities using
the latest computer equipment, as well
as information design and Web software.
Our cutting-edge seminar/lab classrooms
are designed for participatory hands-on
learning experiences.
w h at make s s ils your f ir st
c h oice f or a library and
i n f or mation s cie nce e ducation?
Tula Gianinni, Ph.D., m.l.s., m.m.
infosils@pratt.edu
as s istant to the dea n fo r
administrative serv i ces
Vinette P. Thomas, m.s.l.i.s.
vthomas@pratt.edu
as s istant to the dea n fo r
acade mic progra ms
Quinn Lai, M.A., M.S.L.I.S.
qlai@pratt.edu
administrative a ssi sta nt
Kate Merlie, b.a.

can join is the SILS Student Association mmerlie@pratt.edu

(SILSSA), as well as a student chapter
of the American Library Association.
They may also join student chapters of
the Special Libraries Association and
American Society for Information Science
and Technology.
▶▶ An outstanding job-placement rate
as a result of strong relationships lms c oor dinato r
with the profession Jessica Lee Hochman, Ph.D.
jhochman@pratt.edu
▶▶ Partnerships with major cultural
institutions giving students chances
for experiential learning, including of f ice
at the New York Public Library, Tel: 212-647-7682 | Fax: 212-367-2492
infosils@pratt.edu
the Brooklyn Public Library,
www.pratt.edu/sils
the Brooklyn Museum, and The
Metropolitan Museum of Art
1 74
▶▶ The chance to earn advanced
certificates in archives and in
museum libraries within the
M.S.L.I.S. degree
▶▶ The opportunity to take courses
within overarching program
concepts: Cultural Informatics,
WISE (World Information,
Society and Environments), LEO
(Literacy Education and Outreach)
for Library Media Specialist,
and Children and Young Adult
Librarianship.
▶▶ International summer partnership
programs in Florence with
Studio Art Centers International
and in London with University
College London
▶▶ The opportunity to earn dual
degrees, including a master of
science in art history, a master of fine
arts in digital arts, and law degrees
with Brooklyn Law School
▶▶ Small classes averaging 15 students
▶▶ Convenient class meeting
times at 3:30 pm and 6:30 pm to
accommodate working students
▶▶ Student advisement and mentoring
by full-time faculty
The Master of Science th e c or e cur r iculum
in Library and Information All students must take the four-course
Science (M.S.L.I.S.) core curriculum that prepares them for
more advanced courses and to pursue
focused areas of study.
st ructur e and r e quir e me nts
Required courses:
The structure of the program supports
LIS-651 Information Professions
student learning and career goals and is
built around overarching areas of study LIS-652 Information Services and
that are at once interdisciplinary and Sources
converging. These are expressed through
LIS-653 Knowledge Organization
areas of concentration, advanced certifi­
LIS-654 Information Technologies
cates, and dual degree programs that offer
students a rich array of choices and the Prior to enrolling in LIS-654 Information
opportunity to take a creative approach to Technologies, students should possess
planning one’s courses and career path. baseline technical skills and be able to use
Through a wide variety of courses, the Microsoft Office Suite, including Excel,
curriculum represents the information Access, and PowerPoint, and various
continuum in all media and formats, Internet technologies.
including creation, storage and retrieval,
communication, description and
access, selection, acquisition, organization, stude nt le ar ning assessment /
preservation, dissemination, use, outc ome s and e -port fo li o wi t h
and management. as s e s s me nt program
Beginning in fall 2012, entering students
c our s e and cr e dit r e quir e me nts will be required to create an e-portfolio
and participate in SILS’s e-portfolio
Students must complete 36 credit assessment program. Working with their
hours with a B average and meet other faculty advisors, students will select
prescribed requirements of the Institute. five of their assignments that best
Students entering with a master’s degree demonstrate mastery of the five goals
complete 30 credits. All SILS courses are and student-learning objectives for the
3 credits. The degree includes four core M.S.L.I.S. degree program. Students
courses (12 credits) and eight elective must demonstrate that they can do the
courses (24 credits). Students must following: carry out and apply research;
complete degree requirements within communicate effectively and create
four years from the date of registering for and convey content; use information
the first course. technology and digital tools effectively;

apply concepts related to use and users
of information and user needs and
perspectives; and perform within the
framework of professional practice.
E-Portfolios at Pratt run on the Mahara
platform, open source software, and are
supported by the Office of Educational
Technology and the Technology Advisory
subcommittee on Teaching and Learning.
We invite you to visit the e-portfolio
website at http://eportfolio.pratt.edu/.
c u r r e n t p ratt st u d en t s
Some students enroll directly from their
undergraduate studies; others decide to
change careers after having established
themselves in other professions such as
law or teaching. Among our entering
students, about 30 percent hold subject
masters and 4–5 Ph.D.s and some J.D.s.
p rog ram th em es : d es i g n
yo u r d e gr ee p rog ra m to m eet
yo u r in te r e st s a n d n eed s
Cultural Informatics: Information
Studies at the Intersection of
Culture, Digital Technology, and
Information Science
Traditional library services in arts and
humanities have been transformed
through their convergence with
technology. Pratt’s program reflects the
field’s new directions and global reach,
as represented in an array of courses
with studies in academic, research, and
museum libraries; archives and special
s c h o o l o f i n f o r m at i o n a n d l i b r a ry s c i e n c e
collections; fine and performing arts;
digital libraries; digital collections;
exhibitions and catalogs; image databases;
Web design; and preservation and
conservation.
WISE (World Information,
Society and Environments)
This area brings together information
studies in business, government, law,
policy and politics, and health in the
context of our diverse global digital
world. Importantly, the study of each
area is served by several specialized
courses although we recommend
combining these to broaden contexts
and connections to work effectively
in today’s interdisciplinary and
networked environment.
Courses include:
Information Architecture
Usability of Digital Information
Information Visualization
Digital Humanities
Management of Digital Content
Projects in Digital Archives
Digital Preservation and Digitization
Human Information Behavior
Cultural Heritage Access
and Description
Metadata, Description, and Access
People-centered Methods and Design
Academic Libraries and Scholarly
Communication
1 75
Information Policy
Social Media
Digital Information: Economics
and Management
Conservation Lab at Brooklyn
College Archives
Social Media
Strategic Leadership
Human Computer Interaction
Literacy and Learning in the
Digital Age
Data Management and Assessment
Moving Image and Sound Archives
Archives Appraisal, Acquisition,
and Use
LEO (Literacy, Education, and Outreach)
From public and school libraries to
museums, this area of study is supported
by our programs in Library Media
Specialist and Children and Young
Adult Librarianship.
M.S.L.I.S. with Library
Media Specialist Program (LMS)
The program meets the needs of students
who wish to become school librarians.
Our LMS program, accredited by the New
York State Regents, leads to New York
State teacher certification. This 32-credit
track, part of the 36-credit M.S.L.I.S.
degree, prepares students for rewarding
careers as school librarians. Students
holding an M.S.L.I.S. degree may
176
complete the LMS track with the SILS
Advanced Certificate in LMS. See below
Certificate Programs for details.
Children and Young Adult Librarianship
Students pursuing this program area find
rewarding positions in public libraries
and in museum education and outreach
programs. Students in this program take
advantage of SILS’s strong partnerships
with the New York and Brooklyn
Public Libraries and the New York City
public schools.
d e gr e e r e q u i r em en t s f or
m .s.l .i.s. wit h l i b ra ry m ed i a
s pe c ial ist (l m s ) p rog ra m
le ad in g to n ew york stat e
te ac he r c e rt i f i c at i on
LMS is one of Pratt’s two education
programs, the other being Art and
Design Education. To give students a
richer experience through collaboration
and interdisciplinary approaches, these
programs work together to meet program
and certification requirements in the
field of education so that students in
both programs can complete all of their
education coursework at Pratt. Students
in the Library Media Specialist program
track work with children and young
adults in school libraries. Completion
of this program leads to New York State
teacher certification in the area of LMS.
Students wishing to enter the LMS
program must apply and be formally
accepted as an LMS student. The New
York State requisite—a background
in liberal arts and sciences—will be
evaluated prior to admission. Admission
to the program is based on the evaluation
of the student’s admissions folder
and may include an interview and a
review of GRE or other test scores. To
comply with New York State Education
Department (NYSED) requirements for
certification, students must complete the
following coursework:
▶▶ Pedagogical core in education
(six credits of coursework,
ED-608 Roots of Urban Education
and ED-610 Child and Adolescent
Development, in the Department
of Art and Design)
▶▶Two noncredit seminars: child abuse coursework to meet individual
recognition, and school violence
prevention and intervention
▶▶The four core, required
courses for the M.S. in Library
and Information Science
▶▶Two electives
Recommended courses:
LIS-648 School Media Centers
LIS-676 Literature and Literacy for
Children
LIS-677 Literature and Literacy for
Young Adults
LIS-680 Instructional Technologies
LIS-690 Student Teaching: 1–6
LIS-692 Student Teaching: 7–12
Core LIS and LMS track courses require
a total of 100 clock hours of field
observation. LIS-690 and LIS-692 each
require 20 full days (for a total of 40 days)
of student teaching in three NYSED
administered tests. Elective courses
for LMS and Children/Young Adult
Librarianship: Tween Media and Literacy,
Genre Drama, Graphic Novel, Storytelling,
and Instructional Technology. See www.
pratt.edu/apply for more information on
admissions requirements.
program f ocus ar e as
In consultation with faculty advisers,
students generally focus their elective
career goals in the field of library
and information science. Within this
framework, we have developed areas
of emphasis based on the strengths of
our curriculum and faculty as well as
disciplinary and collaborative connections
with the Institute. These areas are
described below.
Knowledge Organization
and Cultural Heritage
Growing out of traditional studies of
cataloging and classification, database
design, storage, and retrieval, this area
has emerged as one central to the latest
developments in Internet and Web-based
information studies.
It prepares students for careers in
online services, digital collections and
libraries, Web libraries, and information
systems and networks.

Recommended electives:
LIS-608 Human Information Behavior
LIS-630 Research Methods
LIS-662 Advanced Cataloging
LIS-663 Metadata, Description and
Access
LIS-670 Cultural Heritage Description
and Access
Information Design and Interaction
Recommended electives:
LIS-643 Information Architecture and
Interaction Design
LIS-682 People-centered Research
and Design
LIS-697 Social Media
LIS-681 Usability of
Digital
Information
LIS-608 Human Information Behavior
LIS-693 Digital Libraries
LIS-697 Human Computer Interaction
Preservation/ Conservation
Choose from four courses:
LIS-632 Preservation and Conservation
LIS-697 Conservation Lab, Brooklyn
College Archives
LIS-670 Cultural Heritage
Conservation, Florence,
SACI School
LIS-697 Digital Preservation
and Digitization
s c h o o l o f i n f o r m at i o n a n d l i b r a ry s c i e n c e
Reference and Information Literacy
Providing user services and sources
in both real and virtual information
environments, including user education
and research, public programs, and user
studies. The LEO and WISE programs
support this focus.
Business/Corporate Information
Business information specialists work in
a variety of settings, including corporate
libraries and information centers,
consulting firms, academic business
libraries, foundations, and cultural
institutions. Within corporations, they
may function as knowledge managers,
providers of information services to
clients, and instructors and assistants in
company research, including competitive
intelligence, online database searching,
and information analysis and presentation.
Recommended electives:
LIS-616 Business, Economics, and
Statistical Sources
LIS-613 Government Information
Sources
LIS-627 Online Databases: Business
LIS-611 Information Policy
LIS-619 International Information
Sources
LIS-630 Research Methods
LIS-669 Management of
Electronic Records
1 77
Law Librarianship
Given the rapid growth of information
services over the Internet and Web, as
well as global contexts, information
policy and law have become a new
and demanding area of focus for legal
research, adding to the field’s scope and
influence. Law schools, law firms, court
system libraries, and corporations are
typical places of work for law librarians.
For recommended electives for this
concentration, see the section under
dual-degree programs with Brooklyn
Law School.
Health Information
The expanding role of technology in the
provision of health sciences and medical
information offers students new and
challenging opportunities. Librarians in
this field work in a wide range of settings,
from medical schools and academic
libraries to pharmaceutical firms and
hospitals. The program permits students
to take Pratt courses on site at Cornell
Medical Library, where they study the
latest theories and practices in the field.
Recommended electives:
LIS-614 Health Information
LIS-624 Medical Informatics
LIS-685 Medical Librarianship
LIS-697 Contemporary Issues
in Health Information
178
Dual-degree Programs
m .s.l .i.s. an d m . s. i n t h eory,
c r itic is m , a n d h i story of a rt,
d e s ig n, an d a rc h i t ec t u re
This program is especially designed for
students who wish to pursue careers
in art-related fields—where art,
information, and technology converge.
Students will be prepared to work in
any number of settings from academic
libraries and museums, to galleries and
auction houses, as well as other cultural
settings. The program requires 30 credits
at SILS and 30 credits in history of art, for
a total of 60 credits. Students must apply
to and be accepted as matriculated in
both programs. Application may be made
initially to the dual-degree program, or
to one of the two programs, with later
application to the other, provided that the
student has not yet graduated from the
first program entered.
m .s.l .i.s. an d m . f. a . i n
d ig ital arts (d i g i ta l a rt s
an d in fo r m at i on )
This three-year, 75-credit dual-degree
prepares students to work at the intersec-
tion of digital arts and information. It
offers students the opportunity to develop
high-level knowledge and skills in using
digital tools creatively across media in
such emerging areas as virtual informa-
tion and learning environments for a wide Similarly, nine of the 86 credits required
range of information settings. for the J.D. may be taken at Pratt.
l i b rary and inf or mation
sc i e nce and law ( two
d ua l-de gr e e programs w ith
b rookly n law s ch ool)
M.S.L.I.S. and J.D.: 104 credits; M.S.L.I.S.
and L.L.M. (Law Master’s) in Information
Law and Society: 45 credits
In affiliation with Brooklyn Law School,
this program prepares students for careers
in law librarianship and related fields.
Today’s employers often give preference
to law librarians holding a J.D. as well
an M.S.L.I.S. The joint degree requires
completion of 86 credits for the law
degree and 36 credits for the M.S.L.I.S
degree; nine of the 36 LIS credits can be
taken at Brooklyn Law School, subject to
the approval of the dean of SILS. Students
wishing to pursue the M.S.L.I.S./L.L.M.
must already hold a J.D.
Recommended courses:
Accounting for Lawyers
Administrative Law
American Legal History
Comparative Law
Copyright Law
Information Privacy
Intellectual Property: Protection of
Digital Information
International and Foreign Law
Research
Recommended courses:
LIS-613 Government Information
Sources
LIS-616 Business, Economics and
Statistical Sources
LIS-617 Legal Research Methods and
Law Literature
LIS-619 International Information
Sources
LIS-626 Online Databases: Law
LIS-627 Online Databases: Business
LIS-684 Law Librarianship:
Contemporary Issues
This dual degree can be completed in
three to four years of full-time study,
or four to five years of part-time study,
including summers. To enter the
program, a student must apply separately
to Pratt and to Brooklyn Law School.
Each school processes applications
independently, without reference to the
joint degree. Upon acceptance to both
schools, a student follows the joint degree
program leading to the conferring of
both degrees. Students who have already
earned a library science or law degree
before applying to Pratt are not eligible
for the joint degree program. To obtain
a Brooklyn Law School application and
catalog contact:
Office of Admissions
Brooklyn Law School
250 Joralemon Street
Brooklyn, NY 11201
718-780-0385

SILS Certificate Programs
SILS offers several certificate programs
within the M.S.L.I.S. program, or for
people who already hold library science
degrees and wish to earn a specialization.
advan c e d c ert i f i c at e
p rogram s in a rc h i ves a n d
in m u s e u m l i b ra r i es
Students choose to complete one or both
12-credit certificates within the M.S.L.I.S.
(24 credits plus the 12-credit core for
the 36-credit master’s), as the program
curricula are complementary within the
contexts of cultural informatics and arts
and humanities perspectives.
advan c e d c ert i f i c at e i n
arc hiv e s ( 1 2 c red i t s
within the m . s. l . i . s. p rog ra m
o r po st- g ra d uat e)
This program can be taken within
Pratt’s M.S.L.I.S. program. It can also
be taken as a stand-alone program
by holders of an M.L.S. degree from an
ALA-accredited program.
Required courses:
LIS-624 Management of Archives and
Special Collections
LIS-698 Practicum/ Seminar
two electives from recommended
archives courses (6 credits)
s c h o o l o f i n f o r m at i o n a n d l i b r a ry s c i e n c e
a dvance d ce rtif icate in
m us e um librar ie s ( 12 cr e dits
w i th in th e m.s.l.i.s. program
or post-graduate )
Pratt-SILS is the first and only school of
library and information science to offer
a museum libraries certificate program.
Based on four pillars of knowledge—
research/curatorial; digital technology;
education and outreach, and field
experience—it prepares students for
careers not only in museums, but also
research libraries, art libraries, and in
digital archives and humanities. This
program can be taken within Pratt’s
M.S.L.I.S. program. It can also be taken
as a stand-alone program by holders of an
M.L.S. degree from an ALA-accredited
program. Students select one three-credit
course from a selection of courses for each
of the four required areas.
a dvance d ce rtif icate in
l i brary me dia s pe cialist
p rogram le ading to ne w yor k
state te ach e r ce rtif ication
i n lms ( 18 cr e dits )
To be eligible for this post-master’s
program, applicants must hold an M.L.S.
degree from an ALA-accredited program.
Required courses:
LIS-648 Library Media Centers
LIS-676 Literature and Literacy for
Children
179
LIS-677 Literature and Literacy for
Young Adults
LIS-680 Instructional Technology
LIS-690 Student Teaching I
LIS-692 Student Teaching II
One hundred hours of field observation in
school library media centers plus 40 full
days of student teaching (20 elementary
and 20 secondary) are required. Student
teaching is conducted in the fall or
spring terms in New York City under
the supervision of a certified LMS. Field
hours and student teaching must be
completed, documented, and submitted to
the coordinator in order to graduate.
In addition, New York State requires
a firm background in liberal arts and
sciences for all certified teachers. Upon
application to the program, students
must provide proof via transcripts
of at least one three-credit course in each
of the following:
Artistic Expression, Communication,
History, Social Sciences, Humanities,
Science, Mathematics, and Writing.
Students must also provide proof via
transcript of at least six credits in a
language other than English. New York
State requires a pedagogical core of
education courses. This requirement is
satisfied at Pratt Institute.
Required courses:
ED-608 Roots of Urban Education
ED-610 Child and Adolescent
Development
 180
For more information, contact Professor
Jessica Hochman, coordinator of the
Library Media Specialist Program, at
jhochman@pratt.edu.
advan c e d c ert i f i c at e i n
library an d i n f or m at i on st u d i es as a non-matriculated student. As such,
( 30 c r e d its)
To meet the needs of experienced
professionals, Pratt offers a post-
master’s certificate requiring 30 credits
of coursework. Of these, six must be
research-oriented independent study. Of
the remaining 24 credits, students may
take up to nine in related subject areas.
Required courses:
Elective credits 24
(six three-credit courses)
LIS-699 Research-oriented
Independent Study
“The fact that Pratt is a
world-renowned
art school that encourages
independent thinking
seemed like a natural fit
for me.”
—Jill Go l d st ei n,
M.S.L.I.S. ’09, Project archivist,
Hank Kaplan Boxing Archive,
Brooklyn College Library
Admissions Brooklyn Historical Society. In addition,
scholarships help students participate in
our London and Florence programs.
a d mis s ion as a s pe cial stude nt
Students eligible for admission may begin
the program as a special student, defined Planning Your Program
a student may take up to six credits. To
proceed in the program, a student must advis e me nt and me nto ri ng
apply for admission and be accepted as Upon entering SILS, each student
matriculated. See www.pratt.edu/apply is assigned a faculty advisor to help
for more information. with course planning to meet his/her
educational and career goals. Whether
taking the 36-credit master’s or the
s c holar s h ips
30-credit degree for students holding
SILS merit, continuing, special, and a master’s in another field, students
grant-funded scholarships make work with their advisors to customize
significant contributions to serve and their programs.
recognize talent and at the same time In addition, the SILS office staff,
contribute to make real the dream of a team of knowledgeable and caring
a SILS M.S.L.I.S. degree. Students professionals, are ready to assist students
must take a minimum of six credits to and to make their educational experience
be eligible for scholarship funds. All at Pratt rewarding and personally
entering students are considered for merit fulfilling. All students should establish
scholarships. Scholarships and fellowships a Pratt email account and sign up for
are offered for continuing students the SILS listserv to stay informed about
and include research, internships, and school activities and job postings.
international study.
For the past several years, SILS
students have greatly benefited from
scholarship funds from Institute of
Museum and Library Services partnership
grants, which award scholarships for
internships and the archives certificate
with the Brooklyn Historical Society,
museum library certificate with
the Brooklyn Museum and Digital
Management program with Brooklyn
Museum, Brooklyn Public Library, and

SILS students in the Conservation Lab course at the
Brooklyn College Archives Lab
in te r n s hip s a n d p rac t i c u m
To gain hands-on experience studying
and working in one’s area of emphasis,
we strongly encourage students to
participate in our program of internships
and practicum. Students select their work
site based on program interests and career
goals and have the opportunity to work in
such leading cultural organizations as The
Metropolitan Museum of Art, New York
and Brooklyn public libraries, the New
York and Brooklyn historical societies,
Brooklyn Museum, and Pratt libraries in
addition to numerous other academic and
special libraries in the metropolitan area
in fields such as IT, publishing, and the
corporate sector.
in te r natio na l p rog ra m s
Responding to the globalization of
information and library service,
SILS’s new program in international
librarianship offers courses in Florence
and London.
s c h o o l o f i n f o r m at i o n a n d l i b r a ry s c i e n c e 181
▶▶ Florence in partnership with Studio
Art Centers International (SACI)
is a five-week, six-credit program
offering two three-credit courses
that run concurrently and are “So many of the
taught by SACI Italian faculty: professors I had at Pratt
▶▶ Florentine Art and Culture, built an awareness
Museum and Library Research and
Documentation in me that community is
▶▶ Cultural Heritage Conservation— the focus, and we have
Focuses on paper conservation to meet the demands of
including rare books, manuscripts,
and art on paper.
the community.”
▶▶ London Summer School on —M ary Grah am, M.L.S. ’78,
E-Publishing and Bloomsbury Former Deputy Director
Conference in partnership with for Public Service,
University College London (UCL), Brooklyn Public Library
Department of Information is
a two-week, three-credit program
taught by UCL faculty. It features
visits to publishers and libraries
“Forty years have passed,
in London, Cambridge, and Oxford,
and lectures by noted academics. and I still believe that
Pratt Institute, with its
friendly atmosphere, was
wor ks h ops
the best thing that ever
SILS provides students with a series of
all-day workshops taught by experts happened to me.”
in their field. Fall 2011 workshops
—Dr . Far ide h Tehra ni ,
included Paper Conservation, Rare
M.S.L.I.S. ’76, Librarian,
Book Cataloging, Introduction to EAD,
Rutgers University Libraries
Introduction to Archivists Toolkit, Grant-
writing for Digitization Projects, Graphic
and Sequential Novels, and Podcasting
and Information Visualization.

Library and Information Science Faculty
Selenay Aytac
V i si t i n g Ass i sta nt P rof essor
Ph.D., Information Science, Long Island University,
C.W. Post Campus; M.B.A., Business and Total Quality
Management, Isik University; B.L.S., Istanbul University.
Virginia L Bartow
V i si t i n g Ass i sta nt P rof essor
B.A., William Smith College; M.L.S., Columbia University;
curator of the George Arents Collection, and
head of Special Collections Cataloging, The New York
Public Library.
Jason Baumann
V i si t i n g Ass i sta nt P rof essor
B.A., Eugene Lang College the New School for; M.L.S.,
Queens College, City University of New; M.F.A., City
College of New York; Special Assistant to the Director,
NYPL Research Libraries.
John Berry
V i si t i n g P ro f e ss o r
B.A., Boston University; M.L.S., Simmons College;
Editor-at-Large, Library Journal
Helen-Ann Brown
V i si t i n g Ass i sta nt P rof essor
B.S., University of Maryland College Park; M.L.S.,
University of Maryland College Park; M.S., University
of Pennsylvania; Education and Outreach Head, Weill
Cornell Medical Library.
Left: A student at the Pratt Brooklyn Library
Gilok Choi
Assistan t Profess or
Ph.D., School of Information, University of Texas at
Austin; M. A., Communication, Ewha University, Seoul,
Korea, 1998; B. A., Journalism and Broadcasting, Ewha
University, Seoul, Korea, 1994; her research interests
focus on how users process different forms of auditory
and visual information in virtual environments drawing
recent developments in multi-sensory media, so she
teaches a course on virtual information environments.
Anthony Cocciolo
Assistan t Profess or
Ed.D., Ed.M., M.A., Communication, Computing and
Technology in Education Teachers College, Columbia
University; B.S., Computer Science University of
California, Riverside; his research interests are in the
uses of emerging information and communications
technologies (ICTs) to enhance libraries and education,
especially in the social, cognitive and affective
dimensions of learning and knowledge construction
in digital environments; former head of Technology
for the Gottesman Libraries at Teachers College,
Columbia University.
Anthony Cucchiara
Visitin g Ass istan t Profess or
B.A., St. Francis College; M.L.S., Pratt Institute; M.B.A.,
Long Island U Brooklyn; Archivist and Associate
Librarian for Distinctive Collections and Information
Services, Brooklyn College, CUNY.
1 83
Susan DiMattia
Vis itin g Ass ociate Profess or
B.A., Wilson College; M.B.A., University of Connecticut;
M.L.S., Simmons College; Past president of Special
Libraries Association; Editor, Library Hotline.
Ernest DiMattia
Vis itin g Ass ociate Profess or
B.A., Boston College; M.L.S., Simmons College; M.B.A.,
University of Connecticut; President and Executive
Director, The Ferguson Library, Stamford, CT.
Deirdre Donohue
Vis itin g Ass istan t Profess or
B.A., State University of New York New Paltz; M.L.S., Pratt
Institute; Librarian, International Center of Photography.
Kathleen Dreyer
Vis itin g Ass istan t Profess or
M.L.S., Drexel University; M.S., Columbia University; B.S.,
Biology, Long Island University.
Judith Freeman
Vis itin g Profess or
B.A., Livingstone College; M.L.S., Rutgers University;
Children’s literature consultant, lecturer, writer, member,
Newbery Committee, Children’s Book Award; author of
Libraries Unlimited Series, Books Kids Will Sit Still For.
Nancy Friedland
Vis itin g Ass ociate Profess or
B.A., University of Massachusetts Amherst; M.A., New York
University; M.L.S., Rutgers University; Head, Butler Library
Media Center , Butler Library, Columbia University.
1 84
Barbara Genco
V i si t i n g Ass o ci at e P rof essor
B.A., Canisius College; M.L.S., Pratt Institute; Director,
Collection Development, Brooklyn Public Library.
Tula Giannini
D e a n o f t h e S cho o l of Info rmat io n and
L i b r a ry S ci e n ce s
Ph.D., Bryn Mawr Coll; M.L.S., Rutgers University; Master
of Music, Manhattan School of Music; Bachelor of
Music, Manhattan School of Music; An interdisciplinary
researcher, she is a leading scholar in French wind
instruments and LIS in the digital world. Recent
publications include: nine articles in Grove Dictionary
of Music, the book, Great Flute Makers of France,
published in Japanese, 2007, described in Choice as “a
model of archival research for all graduate students;
“Core Competencies for Art Museum Librarianship,”
ARLIS, and “Frédéric Triebert, Designer of the Modern
Oboe” Pendragon. Program Chair, ALISE 2009,
her theme, Transforming LIS Education for the 21st
Century, reflects creative and innovative approaches
to education.
Sharareh Goldsmith
V i si t i n g Ass i sta nt P rof essor
B.A., Mt. Holyoke College; M.L.S., Pratt Institute;
Advanced Certificate in Library and Information Studies,
Pratt Institute.
Joshua Hadro
I n st ru cto r
M.L.S., Pratt Institute; B.A., Philosophy, Columbia
University; executive editor, digital products, Library
Journal and The Horn Book.
Alexis Hagadorn
V i si t i n g Ass i sta nt P rof essor
M.L.S., Columbia University, Advanced Certificate in
Library and Archives Conservation, Columbia University;
B.A., Barnard College; head of conservation, Columbia
University Libraries.
Susan Hamson
Visitin g Ass istan t Profess or
Ph. D., American History, Temple University; M.A.,
American History, Rutgers University; B.A., Historical
Studies, Richard Stockton College; curator of
manuscripts and university archivist, Columbia Rare
Book and Manuscript Library.
Jessica Lee Hochman
Assistan t Profess or
Ph.D., Teachers College, Columbia University in
Philosophy and Education, and Cultural Studies.
Diversity Fellow 2001–2003 Master of Arts Degree in
Instructional Technology and Media in the Program of
Scientific Foundations. Completed May, 2001.
Jennifer Hubert-Swan
Visitin g Ass istan t Profess or
M.L.S., Wayne State University; B.A., English, Olivet
Nazarene University; Library Department chair, Little
Red School House, Elisabeth Irwin High School.
Michael Inman
Visitin g Ass istan t Profess or
B.A., University of North Texas; M.A., University of North
Texas; M.L.S., Pratt Institute; Librarian in Charge, Rare
Book Division, NYPL Research Libraries.
Elizabeth Johnston
Instructor
M.L.S., Pratt Institute; B.A., Colorado College; freelance
software developer.
Jesse Karp
Instructor
M.L.S., Pratt Institute; B.A., Journalism, New York
University; early childhood and interdimensional
librarian, Little Red School House and Elizabeth Irwin
High School.
Matthew Knutzen
Assistan t Profess or
M.F.A., Abstract Cartography and Artists’ Books, Pratt
Institute; B.A., Geography, University of California,
Berkeley; geospatial librarian, New York Public Library.
Irene Lopatovska
Ass istan t Profess or
B.S., Kiev State University; M.L.S., University of North
Texas; Ph.D., Information Science, Rutgers University.
Amy Lucker
Vis itin g Ass istan t Profess or
M.S.L.I.S., Simmons College; M.A., Latin, Greek,
University of Wisconsin-Madison; B.A., Classics, Colby
College; Library Director, Institute of Fine Arts, New
York University.
Susan L. Malbin
Vis itin g In structor
Ph.D., Comparative History, Brandeis University; M.L.S.,
State University of New York Albany; B.A., History,
Barnard College; director of library and archives,
American Jewish Historical Society.
David Marcinkowski
Vis itin g Ass ociate Profess or
M.A., Media Studies, The New School; B.A., Philosophy
and Religion, Kean University; associate professor,
Associate Degree Program, Pratt Institute; associate
director of Computing Services, Pratt Institute,
Manhattan campus.
Hillias Martin
Vis itin g Ass istan t Profess or
M.L.I.S., Pratt Institute; B.A., English and Drama,
University of Georgia; assistant director for young adult
programs, New York Public Library.
Seoud M. Matta
Dean Emer itus
D.L.S., Columbia University.
Elena Dana Neacsu
Vis itin g Ass istan t Profess or
Diploma de Drept (JD/BA equiv.), University of
Bucharest School of Law; D.E.A. (LLM equiv.), Ecole de
Droit et des Etudes Politiques, Caen, France; L.L.M.,
Harvard Law School; M.L.S., Queens College, CUNY; Law
Reference Librarian, Columbia Law Library.

Lisa Norberg
V i si t i n g Ass i sta nt P rof essor
M.L.S., Indiana University; B.A., Political Science,
University of Wyoming; dean, Barnard Library and
Academic Information Services.
Maria Cristina Pattuelli
Ass i sta n t P ro f e ssor
Ph.D., University of North Carolina at Chapel Hill;
Advanced degree (master’s equivalent) in Cultural
Heritage Studies, University of Bologna, Italy; Advanced
degree (master’s equivalent) in Philosophy, University of
Bologna, Italy.
Alexa Pearse
V i si t i n g Ass i sta nt P rof essor
M.L.S., Palmer School of Library and Information
Science, Long Island University; M.A., World History,
New York University; B.A., History, New York
University; librarian for journalism, media, culture, and
communication, Bobst Library, New York University.
Slava Polishchuk
V i si t i n g Ass i sta nt P rof essor
M.F.A., Brooklyn College, City University of New York;
B.A., Brooklyn College, City University of New York;
conservator, Library Archives and Special Collections,
Brooklyn College Library, City University of New York.
Deborah Rabina
Ass o ci at e P ro f e ssor
Ph.D., Rutgers University; Rabina’s areas of specialization
include reference resources (general, legal, government),
information law and policy, government and NGO
information sources and scholarly communications.
Dr. Rabina’s research focuses on two major areas: how
democratic micro and macro organizations, form and
harbor information policies that stem from and support
their perception of democracy and the role of evolving
patterns of scholarly communications in academic and
research environments.
s c h o o l o f i n f o r m at i o n a n d l i b r a ry s c i e n c e
Lee Robinson
Visitin g Ass ociate Profess or
B.A., CUNY; M.L.S., Columbia University; M.A., Hunter
College, CUNY; Supervising Librarian, NYPL, Research
Libraries, Art and Architecture Dept.
Pamela Rollo
Visitin g Profess or
B.A., Lemoyne College; M.L.S., Columbia University;
Formerly Director, Information Resources, Credit
Suisse First Boston; Past President, Special Libraries
Association; business information consultant.
Caroline Romans
Visitin g Profess or
M.L.S., Drexel University.
Charles Rubenstein
P ro fess or
B.S., Richmond College, CUNY; M.S., Polytechnic Inst
Bklyn; Ph.D., Polytechnic Inst NY; M.L.S., Pratt Institute;
also a visiting professor of engineering at the Institute
for Research and Technology Transfer, Farmingdale
State College (SUNY).Professor Rubenstein has been
elected to the IEEE Board of Directors serving as
Director Elect in 2008–2009 and then as Director
2010–2011.
Nasser Sharify
Dean Emer itus , Distin guis h ed Profess or of
Libr ary an d In for mation Scien ce
Lic. des Lettres, Tehran University; M.S., D.L.S., Columbia
University.
Kenneth Soehner
Visitin g Ass ociate Profess or
B.A., New York University; M.L.S., Columbia University;
M.A., Columbia University; Chief Librarian, Arthur K.
Watson Library, The Metropolitan Museum of Art.
185
Christopher Sula
Ass istan t Profess or
Ph.D., Certificate in International Technology and
Pedagogy, The Graduate Center, City University of New
York; M.Phil., Philosophy, The Graduate Center, City
University of New York; B.A., Philosophy and English,
Augustana College.
Cynthia Tobar
Vis itin g Ass istan t Profess or
M.L.S., Certificate in Archival Management, Pratt
Institute; M.A., Political Science, New School for Social
Research; B.A., English and Writing, Minor in Philosophy,
City University of New York–Hunter College; metadata
librarian, Mina Rees Library, The Graduate Center, City
University of New York.
Kara Van Malssen
Ass istan t Profess or
M.A., Moving Image Archiving and Preservation, New
York University; B.A., Film and Media Studies, University
of Florida.
Kevin B. Winkler
Vis itin g Ass istan t Profess or
B.A., San Diego State University; M.L.S., Columbia
University in the City of New York; M.A., Hunter College,
City University of New York.
Philip Yockey
Vis itin g Ass ociate Profess or
B.A., Guilford College; M.A., University of North
Carolina at Greensboro; M.L.S., Columbia University;
Manager, Celeste Bartos Education Center, NYPL,
Research Libraries.
 187

School of Liberal Arts and Sciences

Liberal Arts and Sciences courses enhance all-important me dia studie s

skills of writing, speaking, and good thinking. Courses in the
clas s e s in th e l i bera l a rt s
humanities, mathematics and sciences, and social sciences
form the core of students’ general education. The School of
Liberal Arts and Sciences offers courses in astronomy, botany, de an
Andrew Barnes, Ph.D.
chemistry, communications, cultural history, creative writing, las-dean@pratt.edu

cultural studies, ecology, English, foreign languages, gender

as s istant to the dea n
studies, humanities, mathematics, music, performance, Gloriana Russell

philosophy, physics, psychology, science, and social science.

Pratt also offers instruction at the
introductory level in Italian, Spanish,
German, French, and Chinese.
Students for whom a language is a
program requirement have a priority in
registration. Other students may select six
acade mic advis ement
Programs (IEP, CEP, and SCP). The c oor dinator
courses in these programs help students to Erich Kuersten
prepare for academic and studio courses
by incorporating elements of literature, as of f ice
well as critical theories and examinations Tel: 718-636-3570 | Fax: 718-399-4586
of the visual arts. The SCP is strongly www.pratt.edu/slas

credits in a single language for liberal arts
elective credit.
The School of Liberal Arts and
Sciences also provides English language
support for international students in the
Intensive, full-time Certificate of English
Proficiency, and summer certificate
Left: Students in the classroom
recommended for students whose TOEFL
score is below 600 (PbT). Students who
complete the SCP program are not
required to take the placement exam.
Our Liberal Arts and Sciences
faculty members are creative writers,
composers, and performers, as well as
scholars, critics, and scientists. They help
students find meaning in the traditional
188

disciplines of history, literature, science,

and philosophy; to explore emerging
approaches to multiculturalism, gender
studies, and popular culture; and to
provide a humanistic context for the
flights of imagination that result in art
and design.
The mission of the School of Liberal
Arts and Sciences is to enable students to
explore areas of knowledge and reflect
critically and creatively on aesthetic
forms and on intellectual and cultural
practices. Graduates can conduct
research, substantiate arguments, and
communicate in the broadest possible
sociohistorical, literary, and scientific
contexts. The school’s primary goal
is for its students to make continuing
contributions as critical thinkers and
creative professionals.

Student in class
 189

Media Studies

The Graduate Program in Media Studies at Pratt is situated ch air

Ira Livingston, Ph.D.
in the uniquely vibrant environment of an art, design, and engl@pratt.edu

architecture school. Students who value both the intellectual

c oor dinator
and creative sides of media studies are encouraged to apply. Jon Beller
jbeller@pratt.edu

Media Studies at Pratt is an intensive The Program’s Structure

program developed in relation to Pratt’s administrative secreta ry
art, design, and architecture environment Danielle Skorzanka

and to the burgeoning mediascape, lively The program emphasizes studies of

social space, and theoretical scene of media in their various forms, including of f ice
Brooklyn and New York City. Classes film, video, television, radio, writing, Tel: 718-636-3790

are small, following both the seminar and computer-mediated forms of

and workshop format, and all classes are
taught by professors.
The program has been conceived and
instituted in a way that understands that
media emergence is rapidly transforming
experience, society, and knowledge. It
is designed to foster the investigation of
many of the significant social, political,
cultural, economic, and aesthetic
questions of our time by drawing both on
the historical record with regard to media
forms as well as on cutting-edge theory
regarding gender and sexuality, race,
nation, political economy, aesthetic form,
screen studies, and the like.
convergence. Students study the logics
and logistics of media and mediation,
and they explore cultural technologies
of expression, representation, and
manipulation, along with the aesthetic,
economic, and political contexts in which
such media necessarily operate. Students
gain expertise in media history, theory
and practice, and in textual analysis,
interpretation, and semiotics.
The Master of Arts in Media Studies
graduate program consists of 30 credits
taken over three semesters and a thesis.
The program can be completed in three
semesters if the student finds a final
190
thesis/project topic during the first year
and prepares to complete it in the third
semester. Even so, an extra semester is
generally recommended to allow more
to time to find, explore, and develop the
thesis/project that will best serve the
student’s particular interests.
The core sequence for the M.A.
consists of Mediologies 1 and II (six credits
total) and Encounters 1 & 2 (two credits
total), Practices 1 and II (elective courses
totaling six credits), seminars and project
courses (electives totaling 12 credits), an
Internship course (for those who wish; HMS-
9700, 9701, 9702, 9703) and a final thesis with
required Final Project/Thesis Workshop
(four credits total); and for those who wish,
a Thesis in Progress course).
Mediologies courses (HMS-650A/B)
provide students with crucial critical and
theoretical tools; students take a sequence
of two required introductory courses
during their first semester. These courses
are designed to address students with
substantial experience in media studies as
well as students with less exposure.
Practices courses comprise a range of
electives, including those taught in
other programs, such as Digital Arts.
These courses enable students to acquire
basic competence in media aesthetics
and production.
Encounters courses (HMS-549 A/B) enable
students to engage directly with others
working in media fields, and with timely
issues and ideas, in an open-discussion
“salon” environment.
The Final Project/Thesis Workshop
(HMS-659A) offers an intensive small
support group in which students can
develop and write their thesis; students
who want more time to finish their thesis
take HMS-659B (Thesis in Progress).
Students may also choose to undertake
an internship for academic credit
(HMS-9700, 9701, 9702, 9703) and professional
enrichment.
Admissions Requirements
Applications for admission to the Master
of Arts in Media Studies are due January
5 for the following fall; the program
accepts fall entrants only. Applicants
should have a B.A., B.S. or B.F.A. from
an accredited institution. Candidates
must submit (1) a statement of purpose
in which they describe their interest in
the program; (2) 10–20 pages of relevant
writing sample(s), with emphasis on
analytical writing about media; (3)
transcripts of undergraduate coursework;
and (4) three letters of recommendation.
All applicants must follow the standard
admission process for graduate programs
at Pratt: see www.pratt.edu/apply.
m aste r of arts in me dia studie s
In addition to the core courses described
above, the program offers a range of
electives in areas of specialization and
interdisciplinary constellations within
media studies, enabling students to
develop particular areas of concentration,
first through coursework and then in their
one-on-one work with thesis advisors.
Faculty represent areas that include
New Media, Documentary Studies,
Global Media, Media and the Urban
Environment, Media and Performance,
Music/Sound Studies, Media/Attention
Economies, Media Ecology, Archaeology
of (New) Media, and Media, Activism,
and Social Change.
Elective seminars run in the format
of small discussion courses focused on
individual or team presentations on the
analysis of texts, films, objects, themes,
and theories. Elective project courses are
semester-long laboratory/workshops
in which students and one or more
faculty members—in any one of several
departments—engage a topic, idea,
interface, space, or modality, focusing on
the interface between the theorization
and production of media objects. Foci will
vary based upon specific expertise and
interests of involved faculty and students.
Each year in late April, the Media
Studies Program will host a conference,
Mediologies, which will include
presentations of work and works-in-
progress by students, faculty, and guest
presenters. Seminar courses being offered
in the spring will enable students to
develop papers and projects specifically
for presentation at Mediologies.

Media Studies Faculty
Jonathan Beller
P ro f e ss o r
B.A., Columbia University; Ph.D., Duke University;
Interests: Media Theory, Marxism, Critical Race Theory,
Cinema, Media Archaeology, Decolonization, Aesthetics
and Politics, Feminism, Third Cinema, Philippine Culture
and Politics.
Youmna Chlala
V i si t i n g I n st ru c to r
Steven Doloff
P ro f e ss o r , L ect urer in Int ensive English
B.A., State University of New York, Stony Brook; Steven
was named a Pratt Institute Distinguished Professor
(2001–2002) and received the Institute’s Student
Government Association Faculty Excellence Award
in 1990.
Amy Guggenheim
Adj u n ct Ass o ci at e P rof essor
Amy Guggenheim is a filmmaker and writer. Her work
in theater and film has been presented internationally
with support from the New York State Council on the
Arts, the American Embassy, Fulbright Foundation,
Mellon Fund, and others. Her work has been published
in American Letters and Commentary, and in the Italian
literary journal Storie.
Christian Hawkey
Associate Profess or
Professor Hawkey is the author of three award-winning
books of poetry, including The Book of Funnels (Wave
Books, 2004), which won the 2006 Kate Tufts Discovery
Award, HourHour (Delirium Press, 2005), and Citizen
Of (Wave Books, 2007). His poems have appeared in
Conjunctions, Volt, Denver Quarterly, Tin House, Crowd,
BOMB, Chicago Review, and Best American Poetry. He
has received awards from the Academy of American
Poets and the Poetry Fund.
Jeffrey Hogrefe
Adj un ct Ass istan t Profess or
B.A., UC Berkeley; Jeffrey Hogrefe is an author,
architectural critic, and coordinator of Pratt School of
Architecture’s Writing Program: Language/Making. He
is a studio critic at Parsons the New School for Design,
Cooper Union, and Columbia; a contributor to Harper’s,
the New Yorker, Smithsonian, New York Observer,
Washington Post and Vanity Fair; and the author of
O’Keeffe: The Life of An American Legend.
Samantha Hunt
Associate Profess or
M.F.A., Warren Wilson Coll; Samantha Hunt is the author
of two books, The Seas—for which she was awarded
a National Book Foundation award for writers under
35—and The Invention of Everything Else, a novel
about the life of Nikola Tesla. Her stories have appeared
in the New Yorker, McSweeney’s, A Public Space,
Cabinet, Seed Magazine and on the radio program This
American Life.
191
Rachel Levitsky
Adjun ct Ass istan t Profess or
Professor Levitsky’s first full-length volume, Under the
Sun, was published by Futurepoem books in 2003. She
is the founder and co-director of Belladonna*, an event
and publication series of feminist avant-garde poetics.
She is also the author of five chapbooks of poetry,
Dearly (a+bend, 1999), Dearly 356, Cartographies of
Error (Leroy, 1999), The Adventures of Yaya and Grace
(PotesPoets, 1999), 2(1×1) Portraits (Baksun, 1998), and
a series of poetry plays.
Ellen Levy
Vis itin g Ass ociate Profess or
Ira Livingston
Chair , Huma n ities an d Med ia Stu die s
Ph.D., Stanford University; Ira Livingston’s primary field
is cultural theory. He is the author of Between Science
and Literature: An Introduction to Autopoetics (2006)
and Arrow of Chaos: Romanticism and Postmodernity
(1997), and coeditor of Posthuman Bodies (1995, with
Judith Halberstam) and Poetry and Cultural Studies: A
Reader (2009, with Maria Damon).
192
Jennifer Miller
Ass o ci at e P ro f e ssor
Circus Amok founder and artistic director Jennifer
Miller has been working with alternative circus forms,
theater, and dance, for over 20 years. Her work with
Circus Amok was awarded a “Bessie” in 1995 and an
OBIE in 2000. Circus Amok is the subject of a French
documentary film, Un Cirque a New York 2002 and
Brazilian documentary, Juggling Politics 2004. She has
taught at Cal Arts, NYU, and UCLA.
Tracie Morris
Ass o ci at e P ro f e ssor
Ph.D., New York University; M.F.A., Hunter College,
City University of New York; Tracie Morris is an
interdisciplinary poet who has worked extensively
as a sound artist, writer and multimedia performer.
Her installations have been presented at the Whitney
Biennial and the Jamaica Center for Arts and Learning.
Negar Mottahedeh
P ro f e ss o r
Cecilia Muhlstein
V i si t i n g I n st ru c to r; Tutor
Cecilia Muhlstein was born in Texas, but grew up in Los
Angeles. Her work and interests reside in fiction, critical
theory, art, and eco-poetics. Her current work can
be found in the pages of NYArts magazine and in the
archives of Safe-T-Gallery.
Mendi Lewis Obadike
Ass i sta n t P ro f e ssor P h.D., Duke Universit y.
Robert Obrecht
Adj u n ct Ass i sta nt P ro f essor
B.A., Sarah Lawrence Coll; TESOL Certificate, Columbia
University Teachers College. His compositions have
premiered in New York at Lincoln Center’s State Theater
and Alice Tully Hall, the Brooklyn Academy of Music,
Merkin Hall and LaMama E.T.C., among others. He has
scored exhibition videos for the Museum of Modern
Art, the Museum of Natural History, the Jewish Museum
and the Queens Museum of Science. His theme song
for the Disney/Henson “Bear in the Big Blue House” is
broadcast worldwide. Obrecht has been teaching at
Pratt since 1988.
Ethan Spigland
Associate Profess or
B.A., Yale University; M.F.A., New York University; Matrise,
University of Paris VIII; has made numerous films and
media works including: Luminosity Porosity, based
on the work of architect Steven Holl, Elevator Moods,
featured in the Sundance Film Festival, and The Strange
Case of Balthazar Hyppolite, which won the Gold Medal
in the Student Academy Awards.
Suzanne Verderber
Associate Profess or
B.A., Dartmouth College; Ph.D., Univ of Pennsylvania;
Suzanne Verderder’s teaching and research focus on
the relationship between subjectivity and power, and
on the relation between pre-modern periods (medieval,
Renaissance, Baroque) and contemporary concerns.
Specific fields of study include politics, literature, art,
critical theory, philosophy, religion, and psychoanalysis.
Christopher Vitale
Assistan t Profess or
B.A., State University of New York Binghamton; Ph.D.,
New York University; His areas of specialization include
continental philosophy, comparative modernist literary
and cultural studies, psychoanalysis, queer studies,
theories of race and ethnicity, radical political thought,
and film and film theory. Currently, he is writing a book
about complexity studies and theories of networks. He
has taught at NYU, UC Berkeley, and Hunter College.
 193

Classes in the Liberal Arts Humanities and Media Studies

ch air
Ira Livingston, Ph.D.
engl@pratt.edu

as s istant to the cha i r

Danielle Skorzanka

Mathematics and Science

ch air
Carole Sirovich, Ph.D.
Pratt provides a well-rounded education in the liberal arts that sci@pratt.edu

encompasses Humanities and Media Studies, Mathematics and as s istant to the cha i r
Margaret Dy-So
Science, Social Science, and Cultural Studies. In addition, the
laboratory te chni ci a n
Institute supports international students in gaining the English Tiffany Liu
language skills they need to pursue their education and to
interact as vital members of the community. Social Science and Cultural Studies
ch air
Gregg Horowitz, Ph.D.
hu m an itie s a n d m ed i a st u d i es m at h e matics and s cie nce
ss@pratt.edu
The Humanities and Media Studies The mission of the Department of
as s istant to the cha i r
Department offers a variety of courses— Mathematics and Science is threefold. Sophia Straker-Babb
English literature, communications, The first is to acquaint students with
music, theater, film, foreign languages, scientific methodologies, critical thinking,
and creative writing—as well as a and the history of scientific thought. The Intensive English Program
graduate program in Media Studies. What second is to address the interface between inte ns ive e ngl i sh di recto r
unites them, giving them continuity, is science and art, architecture, and design, Nancy Seidler
the department’s mission: to recognize whether it is through the physics of light, cep@pratt.edu

and foster the relationship between
visual and written texts; to instill within
students critical thinking, reading, and
writing skills that will inspire them in
their professional lives for intellectual
and creative growth; and to promote
understanding and appreciation for
the diverse cultures within the U.S. and
throughout the world.
the chemistry of color, the biology of
form, or the mathematics of symmetry.
The third is to educate students so that
they can respond intelligently and
critically to today’s new developments
in science and technology and make
informed decisions regarding current
scientific matters that affect public policy
issues and ethics.
ce rtif icate of eng li sh
prof icie ncy c oordi nato r
Nada Gordon
c ompute r -as s ist ed la ng uag e
le ar ning c oor di nato r
Rachid Eladlouni
as s istant to the di recto r
Natasha Dwyer
194
s o c ial s c ie nc e a n d
c u ltu ral st u d i es
The Department of Social Science and
Cultural Studies trains students to
bring critical and analytical skills to
bear on the social world and on their
professional and artistic work. Through
the perspectives of social science, history,
philosophy, and cultural studies, students
explore the cultural achievements of
humankind and the social forces that
have influenced the development of
culture and human personality.
Resources in the School of
Liberal Arts and Sciences
in te n s iv e en g l i s h p rog ra m
The Intensive English Program (IEP)
provides academic English language
instruction to matriculated graduate and
undergraduate students. In addition,
two certificate programs run under the
IEP’s umbrella: the full-time Certificate
(CEP) and Summer (SCP) programs.
The mission of all programs in the IEP
is to support successful matriculation
of international students by providing
appropriate English language instruction.
Internal assessment and advisement
ensure students’ proper placement in
English language courses, as well as
successful matriculation and degree
attainment. The curriculum includes art,
design, and architecture content and is
enhanced by direct exposure to related
cultural experiences and language-
learning technology.
Pratt Institute and the School of
Liberal Arts and Sciences welcome
international students and offer an array
of programs and services to improve
English-language skills and academic
readiness. All international students with
TOEFL scores below 600 (PbT), 250
(CBT), or 100 (iBT)—including transfer
students—whose first language is not
English must demonstrate proficiency in
English by taking an English Placement
Test upon arriving at the Institute. The
Intensive English Program (IEP) in the
Language Resource Center on Pratt’s
Brooklyn campus administers the test.
This placement test consists of a
reading test, a writing test, and a personal
interview with an IEP faculty member.
Students assessed at the exempt level
of English proficiency satisfy their
Intensive English requirement and may
enroll in all Institute courses without
restriction. Students who are assessed as
being in need of English instruction must
register in consecutive Intensive English
courses (including summer IEP classes
should they wish to take other Institute
courses during those sessions) until they
achieve exempt status based on IEP exit
proficiency criteria.
Students who, upon entering Pratt, are
assessed below Level 5 may be required to
join the full-time CEP Program. Students
who have registered for three (fall and
spring) semesters are considered “at risk.”
Students who have registered for four (fall
and spring) semesters and who do not
assess at the exempt level may be required
to withdraw voluntarily from Pratt or
register for the full-time CEP Program.
Good communication skills are
essential to academic success at Pratt
Institute. Instruction in the IEP
emphasizes language use for general
academic and specific purposes in the
professions in which Pratt specializes,
namely, art, design, architecture, and
information and library science. IEP
faculty are trained and experienced in
teaching English as a second language,
as well as in integrating art and design
content into their courses. Our classes are
small (8 to 12 students per session), and
enrolled international students benefit
from their use of the Language Resource
and Writing and Tutorial Centers for
additional language learning practice.
For information on the Test of
English as a Foreign Language (TOEFL)
requirements at Pratt Institute,
please refer to the catalog listing for
particular schools and departments.
New international students are strongly
encouraged to enroll in IEP summer
courses in order to be fully prepared
for the academic requirements of their
degree programs.
th e ce rtif icate of eng li sh
prof icie ncy program
The Certificate of English Proficiency
(CEP) program at Pratt Institute is a one-
year English-language program located
at our Brooklyn campus. Students whose
TOEFL scores fall below the admission
 s c h o o l o f l i b e r a l a rt s a n d s c i e n c e s 195

minimums established by Institute degree w r iting and tutor ial ce nte r

programs may apply to the CEP for full-
The Writing and Tutorial Center provides
time English-language instruction. At
free tutoring for all Pratt students in
the end of the two-semester program of
English, math, physics, art history, and
English study, those students completing
other academic areas. Special assistance is
CEP coursework receive a certificate of
provided for students for whom English
English language proficiency.
is a second language. Small-group
Courses focus on speaking, listening,
and regularly scheduled one-on-one
reading, and writing within the context
conversation sessions are also offered.
of art and design, as well as TOEFL
The Center also offers periodic workshops
preparation. For more information on
in word processing, résumé writing,
Pratt’s Intensive and Certificate English
presentation skills, thesis preparation,
programs, contact IEP administrative
and other topics suggested by faculty
offices at 718-636-3450, visit the IEP
and students.
website at www.pratt.edu/iep or email
The Writing and Tutorial Center staff
IEP at cep@pratt.edu.
consists of a director, faculty and staff
tutors, and trained student peer tutors.
lab o rato r ie s a n d c om p u t er The director coordinates scheduling and
fac il itie s appointments in all areas. Any faculty
member, staff member, or adviser may
The science laboratories (chemistry,
recommend students who need assistance.
physics, biology), located in the Activities
The Writing and Tutorial Center is
Resource Center, are interdisciplinary
located in North Hall 101 (opposite the
research facilities. Sophisticated
bank). Daily schedules are posted at the
instruments and equipment are available,
beginning of each semester and at the
and undergraduates are encouraged
beginning of Pratt’s summer sessions.
to use them under faculty supervision.
Computer facilities are available for
use by all students of the Institute.
Specialized facilities are employed in
the sciences.

Liberal Arts Faculty
Andrew Barnes
D e a n o f t h e S cho o l of Liberal Arts
a n d S ci e n ce s
Gloriana Russell
Ass i sta n t to t h e Dean
Intensive English
Erich Kuersten
Aca de m i c Adv i sement Coo rdinator
Intensive English
Natasha Dwyer
Ass i sta n t to t h e Direc to r
Rachid Eladlouni
Co mpu t e r -Ass i st ed Lang uag e Learning ( CALL)
Co o r di n ato r ; L ec t urer, Int ensive English
B.A. Ibn Tofail University (Morocco); M.A. Hunter College.
Cynthia Elmas
L ect u r e r , I n t e n s ive English
Master of Arts in TESOL Hunter College, B.A. in French
Literature from Rutgers University, where she also
studied Art History at the graduate level. She has over 15
years experience of teaching ESL to adults in New York
and was also Assistant Editor for the multi-disciplinary
journal, RES: Anthropology and Aesthetics for 8 years.
In addition to ESL, she is also a dancer who performs
regularly in the New York area.
Left: A year-end student reading
Laura Elrick
Visitin g In structor ; Lectur er ,
Int e n s ive En glis h ; Tutor
B.A., Arts Rhetoric and Communication, University of
Southern California; Laura Elrick teaches in the English
and Humanities Department and the Intensive English
Program. She has published two books of poetry and
numerous essays on contemporary literature and
politics, and regularly performs her work nationally.
She holds a B.A. in Rhetoric and Communication from
the University of Southern California and is currently
pursuing a Masters in Liberal Studies at the CUNY
Graduate Center in Manhattan. Her interests include
the intersection between poetics and the production of
social space, spatiality and scale.
Dana Gordon
CEP Coor d in ator ; Lectur er , In ten s ive En glis h
M.A., University of California Berkely; Nada Gordon
has two decades of experience teaching English as
a Second Language, including eleven years in Tokyo,
Japan. She is the author of Folly (Roof Books); Are
Not Our Lowing Heifers Sleeker than Night Swollen
Mushrooms? (Spuyten Duyvil), foriegnn bodie (Voces
Puerulae); V. Imp (Faux Press); and with Gary Sullivan,
Swoon (Granary Books).
Thomas Healy
Lec tur er , In ten s ive En glis h
M.A., University of Ireland; Thomas has an M.A. in English
Literature from the National University of Ireland, and
a certificate in TEFL from the Galway Language Centre,
Ireland. He has studied at the Takabijustu School of Art,
Tokyo and the Massachusetts Institute of Art, Boston. He
has taught English in Ireland, Japan and the U.S. Since
1992, Thomas has worked on a number of curriculum
197
development projects, involving English for Academic
Purposes in Japan and Korea, English Language Training
for the Beijing Olympic Games 2008, and in middle
schools in the People’s Republic of China. He has
conducted in-service teacher training in Japan, Korea,
Taiwan, Thailand and Brazil. With Ken Wilson, he is the
author of First Choice, an integrated skills coursebook
published by Oxford University Press.
Helen McNeil
Lectur er , In ten s ive En glis h
Master of Arts in TESOL. New York University Helen
earned her ESL certificate from the New School in
Social Research in 1990. She taught in the summer
program at Nanjing University, China in 1993. She won
her MA in Tesol from New York University in 1998 while
teaching in their intensive English program. She has
also taught in Columbia University and La Guardia
Community College. She has been teaching in the IEP
for the past six years at Pratt. She is currently singing in
a chorus which performs in Carnegie Hall in 2007.
Jennifer Ostrega
Lectur er , In ten s ive En glis h
Bachelor of Arts Theater Arts, Rutgers University,
State University; Master of Arts English as a Second
Language, Hunter College; Publications: “Using Role
Play as a Metacognitive Tool for Writing,” NYS TESOL
Idiom Magazine Winter 2007–2008. Conferences:
2008 National TESOL conference, “English for Artistic
Purposes;” 2007 NYS TESOL Applied Linquistics
Conference and NYS TESOL Technology Conference;
Corporate: Facilitator and Consultant of Social
Dynamics Workshops Through Improvisational Theater:
Pfizer Inc., Columbia University Awards:National
Endowment of the Arts, Southern Council, and PSNBC
grants for Writing/Performance.”
198
Eric Rosenblum
V i si t i n g I n st ru c to r; Lec t urer,
I n t e n s i v e E n g l i sh
B.A., Ohio University; M.F.A., Syracuse University; Eric’s
fiction and non-fiction have appeared in Guernica
Magazine, the Chicago Tribune and the Chicago
Reader. He teaches Freshman English and ESL at Pratt.
Nancy Seidler
D i r ecto r , I n t e n s ive English
Bachelor of Arts, Brooklyn College; Master of Arts in
TESOL, Monterey Institute of International Studies. She
was an exchange student at the University of Paris and
taught at the Sichuan Union University in China. She
has been working at Pratt since 1999, where, in addition
to administering various aspects of the IEP and CEP,
she has taught in the Intensive English Program and
the English Department and has tutored in the Writing
and Tutorial Center. During all this time, she has learned
a great deal about art, design and architecture,
and has wholly enjoyed working with the international
students at Pratt!
Gloria Steil
L ect u r e r , I n t e n s ive English; Visit ing
I n st ru cto r ; T u tor
B.A., University of California Berkeley; M.A., New York
University; Gloria received her B.A. in Legal Studies
from the University of California, Berkeley, and MA in
Education/TESOL from New York University. She has
over 8 years of teaching experience. Prior to joining
the English and Humanities and the Intensive English
departments at Pratt, she taught English in Tokyo
for the Japanese Ministry of Education; a summer
intensive course in English literature and composition
in Seoul; and English literature at the College of New
Rochelle, SUNY Westchester, Medgar Evers College,
Hostos Community College, and Borough of Manhattan
Community College.
Humanities and Media Studies Caterina Bertolotto
Vis itin g Ass ociate Profess or
Laurea in Pedagogia, University of Turin, Italy; Caterina
Bertolotto, a graduate of the University of Turin, Italy,
Donald Andreasen has received 8 certificates in different language
Visitin g In structor
teaching methodologies in both Italy and in New York,
M.F.A., New School; Don earned his Masters of Fine
as well as a Distinguished University Teaching Award
Arts degree in Playwriting from the Actors Studio, New from The New School. She is the author of 4 books,
School University. He has had one-act plays produced
at the HERE Theatre and Access Theatre in New York
2 audio and 2 PowerPoint CDs. She has also taught
seminars to language teachers and undergraduates
City and was co-writer of a short film produced by Fox
at The New School, Sarah Lawrence College, Montclair
Searchlab Pictures. Don has also worked as a voice-over
State University, Eugene Lang and Baruch College.
artist doing various commercial work in addition to
network television.
Warren Burdine
Vis itin g Ass istan t Profess or
Saul Anton
Visitin g Ass istan t Profess or
Philip Carroll
Vis itin g In structor
Eleanor Bader
Adj un ct In structor
B.A., New York University; M.S.W., Hunter College of
Peter Chamedes
Vis itin g Ass istan t Profess or
CUNY. In addition to teaching at Pratt, Professor Bader
Peter Chamedes is a person with ‘60s values and an
also teaches at Kingsborough Community College
abiding love of literature and art. Following a doctorate
of CUNY and writes for publications including The
in English Literature (poetry), family obligations
Brooklyn Rail, Lilith, Library Journal, The Progressive,
redirected him into an extended career in advertising.
and New York Law Journal. She co-authored Targets of
This was at last succeeded by a return to scholarship
Hatred: Anti-Abortion Terrorism (Palgrave Macmillan,
and pedagogy. His students have ranged from at-
2001) and has received writing awards from both
risk adolescents to aspiring artists (including many
Library Journal and the Independent Press Association
remarkable Pratt scholars). His consuming interests
of N.Y.
include his two babies, poetry, contemporary art, and
African art.
Emily P. Beall
Adj un ct Ass istan t Profess or
Professor Beall’s academic interests include 20th- and
Priya R. Chandrasekaran
Vis itin g In structor
21st-century experimental poetry and poetics, with
a focus on experimental writing by women. A poet
herself, she is also interested in the intersections of
Youmna Chlala
Vis itin g In structor
poetics and modern dance, and the ways that such
intersections generate concepts of space, meaning,
and the body.
Ellen Conley
Adjun ct Ass istan t Profess or
M.S., Wagner College; B.A., Penn State; MTMS ASCP,
Jonathan Beller Jefferson Medical College; Ellen Conley is a published
P ro fess or
writer of four books with national reviews:The Chosen
B.A., Columbia University; Ph.D., Duke University;
Shore (Univ. of Calif. Press), Bread and Stones (Mercury
Interests: Media Theory, Marxism, Critical Race Theory,
House), Soon to Be Immortal (St. Martin’s Press) and
Cinema, Media Archaeology, Decolonization, Aesthetics
Soho Madonna (Avon Original Fiction).
and Politics, Feminism, Third Cinema, Philippine Culture
and Politics.

Kathryn Cullen-DuPont
Adj u n ct Ass i sta nt P ro f essor
B.A., New York University; M.F.A., Goddard College;
Kathryn Cullen-DuPont is the author of the
Encyclopedia Of Women’s History In America (Facts On
File, 1996, rev. ed., 2000) and Elizabeth Cady Stanton
(Facts On File, 1992); co-author of Women’s Suffrage
In America (Facts On File, 1992, rev. ed., 2005) and
Women’s Rights On Trial: 101 Historic Trials From Anne
Hutchinson To The Virginia Military Institute Cadets
(Gale Research, 1997); and editor of American Women
Activists’ Writings: An Anthology, 1637–2002 (Cooper
Square Press, 2002). She is currently working on a book
about human trafficking.
Don Doherty
V i si t i n g I n st ru c to r; Tutor
B.A., Hunter College, City University of New; M.A., New
York University; Don Doherty has been an instructor
at Pratt since 1996, teaching Freshman Composition
and Literature and English as a Second Language.
He did Foundation Year at Pratt before moving into a
Liberal Arts program at Hunter College, so Pratt was
his first home-away-from-home. His interests include
writing short fiction, writing and producing music, video
production, animation, collage and drawing. He rides an
Alien Workshop deck with Tensor trucks and Darkstar
wheels. His Youtube account is papakilatube.
Steven Doloff
P ro f e ss o r ; L ect urer, Int ensive Eng lish
B.A., State University of New York At Stony; M.phil.,
City University of New York Graduate Center; Ph.D.,
City University of New York Graduate Center; TESOL
Certificate, Columbia University Teachers College;
Steven Doloff was named a Pratt Institute Distinguished
Professor (2001–02) and received the Institute’s
Student Government Association Faculty Excellence
Award in 1990.
Helen Easterly
Adj u n ct Ass i sta nt P ro f essor
s c h o o l o f l i b e r a l a rt s a n d s c i e n c e s
Laura Elrick
Visitin g In structor ; Lectur er ,
Int e n s ive En glis h ; Tutor
B.A., University of Southern California; Laura Elrick
teaches in the English and Humanities Department and
the Intensive English Program. She has published two
books of poetry and numerous essays on contemporary
literature, culture, and politics, and regularly performs
her work nationally. She holds a B.A. in Rhetoric and
Communication from the University of Southern
California and is currently pursuing a Masters in Liberal
Studies at the CUNY Graduate Center in Manhattan. Her
interests include the intersection between poetics and
the production of social space, spatiality and scale.
Elizabeth Fow
Adj un ct In structor ; Tutor
B.A., University of Waikato, New Zealand; M.F.A.,
Brooklyn College.
Sacha E. Frey
Visitin g In structor
John Gendall
Visitin g In structor
Daniel Gerzog
Associate Profess or
Daniel Gerzog (B.A. ‘53, M.A. ‘54, A.B.D. ‘58, NYU) is
Associate Professor of English and Humanities and
has been teaching at Pratt since 1959. He is currently
working with his second generation of fledgling artists,
designers and architects, introducing them to the joys
and stimulations of good reading and clear expression.
He also supervises thesis corollary statements in the
MFA program.
Elizabeth Grinnell
Visitin g Ass istan t Profess or
M.F.A., Brown University; B.A., Mills College; E. Tracy
Grinnell is the author of Some Clear Souvenir (O
Books, 2006) and Music or Forgetting (O Books, 2001).
She is the founding editor of Litmus Press, a nonprofit
publisher of new American poetry and works in
translation.
199
Amy Guggenheim
Adjun ct Ass ociate Profess or
Amy Guggenheim is a filmmaker and writer. Her work
in theater and film focuses on violence, intimacy, and
sexuality, and has been presented internationally with
support from the New York State Council on the Arts,
the American Embassy, Fulbright Foundation, Mellon
Fund, and others. Her work has been published in
American Letters and Commentary, and in the Italian
literary journal Storie. Her 2008 artistic residency in
Japan—in development for her first feature film-
relates to her work as founder of the Center for Artistic
Engagement.
Christian Hawkey
Ass ociate Profess or
Professor Hawkey is the author of three award-winning
books of poetry, including The Book of Funnels (Wave
Books, 2004), which won the 2006 Kate Tufts Discovery
Award, HourHour (Delirium Press, 2005), and Citizen
Of (Wave Books, 2007). His poems have appeared in
Conjunctions, Volt, Denver Quarterly, Tin House, Crowd,
BOMB, Chicago Review, and Best American Poetry. He
has received awards from the Academy of American
Poets and the Poetry Fund, and in 2006 he received a
Creative Capital Innovative Literature Award. In 2008, he
was a DAAD Artist-in-Berlin Fellow.
Kwame Heshimu
Vis itin g In structor ; Tutor
B.A. in English (with a specialization in writing), New
York University; Kwame Heshimu grew in the shadow of
the Blue Mountain. Son of a Cuban expatriate, and with
a mother who was a descendant of Jamaican maroons,
he spent his childhood in one of the most inaccessible
communities on the island. His grandfather, a
saxophonist with dance bandleader Ray Coburn,
frequently accompanied Rastafarian drummers. Kwame
not only became enthralled with the music, but with
the Rastafarian vocabulary, or Iyaric, an intentionally
created dialect of English, reflecting their desire to take
forward language and confront Babylon system. His
romance with word, sound, and power had begun.
200
Jeffrey Hogrefe
Adj u n ct Ass i sta nt P ro f essor
B.A., UC Berkeley; Jeffrey Hogrefe is an author,
architectural critic, and coordinator of Pratt School of
Architecture’s Writing Program: Language/Making. He
is a studio critic at Parsons the New School for Design,
Cooper Union, and Columbia; a contributor to Harper’s,
the New Yorker, Smithsonian, New York Observer,
Washington Post and Vanity Fair; and the author of
O’Keeffe: The Life of An American Legend, a biography
focused on the artist’s rights of seclusion and personal
identity politics.
Kathleen Hopkins
Ass o ci at e P ro f e ssor
B.A., University of Colorado, Boulder; M.A., California
State University; Kathleen Hopkins, Associate
Professor,is a former Director of Intensive English,
Chair of the Department of English and Humanities
and the first Director of the Writing for Publication,
Performance, and Media program. She has served as
Faculty Trustee to the Pratt Board of Directors.
Samantha Hunt
Ass o ci at e P ro f e ssor
M.F.A., Warren Wilson Coll; Samantha Hunt is the author
of two books, The Seas—for which she was awarded
a National Book Foundation award for writers under
35—and The Invention of Everything Else, a novel
about the life of Nikola Tesla. Her stories have appeared
in the New Yorker, McSweeney’s, A Public Space,
Cabinet, Seed Magazine and on the radio program This
American Life.
Dexter Jeffries
Adj u n ct I n st ru c tor
B.A., Queens College, City University of New; M.A., City
College of New York; Ph.D., City University of New York,
Graduate Center; Dexter Jeffries was born and raised
in New York City. In between his academic studies he
was a taxi driver and served in a United States Army
combat engineer battalion in West Germany. Jeffries
came to Pratt in 1993, and in 1996, in conjunction with
the Media Arts department, he produced and directed
the documentary film, What’s Jazz? In 2003, Kensington
Press published his autobiographical memoir, Triple
Exposure: Black, Jewish and Red in the 1950s. Jeffries
lives in Brooklyn.
Sean Kelly
Visitin g In structor
B.A., Loyola College University of Montreal
David D. Kim
Visitin g In structor
Rachel Levitsky
Adj un ct Ass istan t Profess or
Professor Levitsky’s first full-length volume, Under the
Sun, was published by Futurepoem books in 2003. She
is the founder and co-director of Belladonna*, an event
and publication series of feminist avant-garde poetics.
She is also the author of five chapbooks of poetry,
Dearly (a+bend, 1999), Dearly 356, Cartographies of
Error (Leroy, 1999), The Adventures of Yaya and Grace
(PotesPoets, 1999), 2(1×1) Portraits (Baksun, 1998), and
a series of poetry plays.
Ellen Levy
Visitin g Ass ociate Profess or
Ira Livingston
Chair , Huma n ities an d Med ia Stud ies
Ph.D., Stanford University; Ira Livingston’s primary field
is cultural theory. He is the author of Between Science
and Literature: An Introduction to Autopoetics (2006)
and Arrow of Chaos: Romanticism and Postmodernity
(1997), and coeditor of Posthuman Bodies (1995, with
Judith Halberstam) and Poetry and Cultural Studies: A
Reader (2009, with Maria Damon).
Jennifer Miller
Associate Profess or
Circus Amok founder and artistic director Jennifer Miller
has been working with alternative circus forms, theater,
and dance, and for over twenty years. Her work with
Circus Amok was awarded a “Bessie” in 1995 and an
OBIE in 2000. Circus Amok is the subject of a French
documentary film, Un Cirque a New York 2002 and
Brazilian documentary, Juggling Politics 2004 She has
taught at Cal Arts, NYU, and UCLA.
Tracie Morris
Ass ociate Profess or
Ph.D., New York University; M.F.A., Hunter College,
City University of New York; Tracie Morris is an
interdisciplinary poet who has worked extensively
as a sound artist, writer and multimedia performer.
Her installations have been presented at the Whitney
Biennial and the Jamaica Center for Arts and Learning.
She holds an M.F.A. in poetry from Hunter College and a
Ph.D. in Performance Studies from New York University.
Negar Mottahedeh
Profess or
Cecilia Muhlstein
Vis itin g In structor ; Tutor
Cecilia Muhlstein was born in Texas, but grew up in Los
Angeles. Her work and interests reside in fiction, critical
theory, art, and eco-poetics. Her current work can
be found in the pages of NYArts magazine and in the
archives of Safe-T-Gallery.
Mendi Lewis Obadike
Ass istan t Profess or Ph.D., D u k e U niv e r sit y.
Robert Obrecht
Adjun ct Ass istan t Profess or
B.A., Sarah Lawrence Coll; TESOL Certificate, Columbia
University Teachers College; Obrecht was born in New
York City in 1951. His compositions have premiered in
New York at Lincoln Center’s State Theater and Alice
Tully Hall, the Brooklyn Academy of Music, Merkin
Hall and LaMama E.T.C., among others. He has scored
exhibition videos for the Museum of Modern Art, the
Museum of Natural History, the Jewish Museum and
the Queens Museum of Science. His theme song for
the Disney/Henson “Bear in the Big Blue House” is
broadcast worldwide. Obrecht has been teaching at
Pratt since 1988.
Rosemary Grebin Palms
Ass ociate Profess or
B.A., College of St. Teresa (MN), English; M.A., University
of Texas—Austin, English; Ph.D., University of Texas—
Austin, American Literature; Rosemary Grebin Palms
was born in Minnesota; she has been a New Yorker
since 1970 and on the Pratt faculty since 1973.

Kristin A Pape
Adj u n ct Ass i sta nt P ro f essor
Jean-Paul Pecqueur
V i si t i n g I n st ru c to r
M.F.A., University of Washington; B.A., Evergreen State
College; Jean-Paul Pecqueur is a poet and writing
instructor who has published poems, critical reviews,
and essays in a number of national publications.
He has taught creative writing, critical writing, and
literature courses at The University of Washington and
The University of Arizona’s Poetry Center. Jean-Paul
has been teaching Introduction to Literary and Critical
Studies courses at the Pratt Institute since 2006. His first
book of poems, The Case Against Happiness, was the
winner of Alice James Books’ Kinerth Gensler award
in 2006.
Alba Potes
V i si t i n g Ass i sta nt P rof essor
D.M.A. in Composition, Temple University; Alba Potes
was born in Colombia. Her compositions have been
performed by the Montreal Chamber Orchestra,
National Symphony of Colombia, Darmstadt 2000
Internationale Ferienkurse für Neue Musik, the Institute
for New Music in Freiburg, The New York New Music
Ensemble, and by music festivals in Latin-America,
South Korea, Germany, Canada and USA. Connected to
her creative work based on Spanish literature, she has
also taught Spanish in CUNY and Columbia University.
She teaches music at The Mannes College of Music,
College Preparatory Division.
Margaux L R Poueymirou
V i si t i n g Ass i sta nt P rof essor
Evan Rehill
V i si t i n g I n st ru c to r
Eric Rosenblum
Visiting Instructor; Lecturer, Intensive English
B.A., Ohio University; M.F.A., Syracuse University; Eric
Rosenblum holds a B.A. in English from Ohio University
and an M.F.A. in Fiction Writing from Syracuse University.
Eric’s fiction and non-fiction have appeared in Guernica
Magazine, the Chicago Tribune and the Chicago Reader.
s c h o o l o f l i b e r a l a rt s a n d s c i e n c e s
Carole Rosenthal
Visitin g Profess or
B.A., Penn State; M.A., New York University; M.A.,
Graduate Faculty of the New School for Social
Research; Carole Rosenthal is the author of a short
story collection in which characters’ inner lives collide
explosively with external reality. Her fiction has been
translated into eleven languages and dramatized for
radio and television networks, including Italy’s RAI
and South Africa’s Springbok Broadcasting. Widely
anthologized, she teaches modern and contemporary
ideas in literature and film at Pratt. She is also a former
psychotherapist whose art work has appeared in shows
and magazines.
Sandra Ruiz
Visitin g In structor
Sydney Scott
Visitin g Ass istan t Profess or
Sydney Scott is a Ph.D. Candidate in Media Studies
and holds an MA in Communication Studies. Her
philosophies: “Life may be painful, but learning doesn’t
have to be”; “Whoever walks away with the most candy
wins”; and “Love is far more pragmatic than it’s cracked
up to be” (stolen from Ally McBeal). Her interests include
art, theatre, comedy, TV/film, Seinfeld, Knicks, Yankees,
bagels, black coffee, pizza, black and white cookies and
anything else that’s totally New York.
Heidi Singer
Visitin g In structor
Heidi Singer holds a Ph.D. from CUNY Graduate Center
(1983) in German Languages and Literatures, an M.A. in
German from Syracuse University (1973), and a B.A. in
Psychology from San Francisco State University (1969).
She has taught at Queensborough College (1981–1991)
and Hunter College (1986–2000) and at The New
School (since 1995) and Pratt (since 2001). She was a
translator for The Rockefeller Archive Center, translated
numerous books and articles, and wrote a book for
Living Languages: German all the Way (Crown, 1994).
201
Sharon Snow
Vis itin g In structor
B.A., Vassar College; Master of Arts, French Literature,
Columbia University; spent her junior year in Paris, and
following graduation, received a fellowship to study at
the University of Lausanne, Switzerland. After receiving
her Masters in French at Columbia, she worked at an
art gallery and for the United Nations. She taught at
Manhattan’s Hewitt School for 14 years and is now
visiting instructor at Pratt and at St. Josephs College.
Ethan Spigland
Ass ociate Profess or
B.A., Yale University; M.F.A., New York University; Matrise,
University of Paris VIII; has made numerous films and
media works including: Luminosity Porosity, based
on the work of architect Steven Holl, Elevator Moods,
featured in the Sundance Film Festival, and The Strange
Case of Balthazar Hyppolite, which won the Gold Medal
in the Student Academy Awards.
Gloria Steil
Vis itin g In structor
B.A., University of California, Berkeley; M.A New York
University. Professor Steil has also taught English
in Tokyo for the Japanese Ministry of Education;
a summer intensive course in English literature and
composition in Seoul; and English literature at the
College of New Rochelle, Medgar Evers College,
Hostos Community College, and Borough of Manhattan
Community College.
Barbara Turoff
Adjun ct Ass istan t Profess or
Ph.D., New York University; Laurea, Universita di Bologna
Suzanne Verderber
Ass ociate Profess or
B.A., Dartmouth College; Ph.D., Univ of Pennsylvania;
Suzanne Verderder’s teaching and research focus on
the relationship between subjectivity and power, and
on the relation between pre-modern periods (medieval,
Renaissance, Baroque) and contemporary concerns.
Specific fields of study include politics, literature, art,
critical theory, philosophy, religion, and psychoanalysis.
202
Christopher Vitale
Ass i sta n t P ro f e ssor
B.A., State University of New York Binghamton; Ph.D.,
New York University; His areas of specialization include
continental philosophy, comparative modernist literary
and cultural studies, psychoanalysis, queer studies,
theories of race and ethnicity, radical political thought,
and film and film theory. Currently, he is writing a book
about complexity studies and theories of networks. He
has taught at NYU, UC Berkeley, and Hunter College.
Elizabeth Williams
Adj u n ct Ass o ci at e P rof essor
M.F.A., Columbia University; B.A., Middlebury College.
Thaddeus Ziolkowski
Co o r di n ato r , T h e Writ ing P rog ram;
P ro f e ss o r
B.A., George Washington University; Ph.D., Yale
University. Professor Ziolkowski’s work is included in An
Anthology of (American) Poets (Talisman Books, 1998)
and Writing from the New Coast (O-blek Editions, 1993).
His book-length collection of poems, Our Son, the
Arson (What Books), was published in 1996. Ziolkowski
has also been a staff reviewer for Artforum magazine.
His book reviews, film reviews, cultural criticism, and
travel writing have appeared in Slate, Bookforum, Travel
& Leisure, and The Village Voice. An account of his surfer
boyhood in Melbourne Beach, Florida, On a Wave, was
a finalist for the PEN/Martha Albrand Award in 2003.
Ziolkowski’s novel, Wichita, has been selected by Alice
Sebold and Tonga Books, a new imprint of Europa
Editions. Forthcoming in 2012, Wichita will be issued in
Italian, U.K. and U.S. editions. Ziolkowski is the recipient
of a Guggenheim Fellowship in 2008­–2009.
Mathematics and Science Jon Hagen
Vis itin g Ass ociate Profess or
B.S., Physics, Stanford University; M.S., Physics,
University of Idaho; Ph.D., Electrical Engineering,
Damon Chaky Cornell University.
Assistan t Profess or
Ph.D., Rensselaer Polytechnic Institute; B.S., Rensselaer
Polytechnic Institute; Dr. Chaky’s research focuses on
Christopher Jensen
Ass istan t Profess or
the sources, transport and fate of pollutants in the urban
B.A., Pomona College; Ph.D., Stony Brook University;
environment, particularly that of New York City. He
he teaches courses in Ecology, Human Evolution, and
regularly teaches Ecology for Architects, Toxics and the
the Biology of Cooperation. He is active in Sustainable
elective course Science and Society. Dr. Chaky is active
in Sustainable Pratt, a group of students, faculty and staff
Pratt’s efforts to bring ecologically-conscious practices
to our campus and beyond. Those activities are
that works to position Pratt as a leader in sustainable,
complemented by his research, which focuses on the
ecologically-aware design and architecture.
stability of systems of interacting organisms.
Barbara Charton
Adj un ct In structor
Cindie Kehlet
Ass istan t Profess or
B.A., Brooklyn College; M.S., Pratt Institute; M.L.S., Pratt
Ph.D., M.S., University of Aarhus; Dr. Kehlet teaches
Institute; Adv. Cert., Pratt Institute; Barbara Charton is
Introductory Science and the Chemistry of
still doing chemistry and extending it in several new
Pigments. Her research interests are in the field of
directions—into art conservation and environmental
Conservation Science.
studies.
Marvin Charton Steve Kreis
Vis itin g Ass ociate Profess or
P ro fess or
Ph.D., Stevens Institute of Technology, 1962; M.A.,
Brooklyn College, 1956; B.S., College of the City of
Richard Leigh
Vis itin g Ass ociate Profess or
New York, 1953
B.A., Oberlin College; Ph.D., Columbia University; PE
(Mechanical), New York State LEED AP; Practiced laser
Eleonora Del Federico spectroscopy at City College of NY and l’Ecole Normale
Associate Profess or
Superieure (Paris); joined Brookhaven National
Ph.D., University of Massachusetts at Amherst, 2000;
Laboratory and switched to energy analysis and
Licenciada (equivalent to MS degree), University of
development of energy-efficient technologies; taught
Buenos Aires, Argentina, 1991
full time at Pratt 1987–93; back to BNL, acquired NYS
Professional Engineering license; then into the non-
Anatole Dolgoff profit sector first as Senior Engineer at the Community
Adj un ct Profess or Environmental Center, making existing and new
buildings more energy efficient in the NYC metro area,
Margaret Dy-So now as director of advocacy and research at the Urban
Assistan t to the Chair Green Council, (NY Chapter of the US Green Building
Council, managers of LEED), working to improve energy
Aman Gill efficiency in building codes and on worker education.
Visitin g In structor
B.S., Integrative Biology and History, University of
California, Berkeley; Ph.D. candidate in Ecology and
Evolution, Stony Brook University.

Joel Levitt
Adj u n ct P ro f e ss o r
B.S.E.E.; M.S.E.E., Columbia U Sch Engr; M.A.(Physics),
Columbia University; Professional Degree (E.E.),
Columbia U Sch Engr; He is the Director of the Anxiety
and Hypoglycemia Relief Institute and the Chairman
of The Engineering In Medicine and Biology Society
(New York chapter), part of the non-profit IEEE. He has
lectured at Rockefeller U and elsewhere on software
and health (anxiety and hypoglycemia).
Tiffany Liu
Lab T ech n i ci a n
Ágnes Mócsy
Ass i sta n t P ro f e ssor
Ph.D., University of Minnesota; M.Sc., University of
Bergen, Norway; Dr. Mócsy performs research on
the fundamental nature of matter, specifically on
the interactions of subatomic particles within the
nucleus of the atom. She has held research positions
at the Niels Bohr Institute, Copenhagen; Theoretical
Physics Institute, Frankfurt; and Brookhaven National
Laboratory. Dr. Mócsy teaches Introductory Physics
and Astronomy.
Carole Sirovich
Chair
Ph.D., New York University; M.S., New York University;
B.S., Brooklyn College.
Gerson Sparer
P ro f e ss o r
B.S., Brooklyn College; M.S., Courant Institute; Ph.D.,
Courant Institute.
Oscar Strongin
V i si t i n g Ass i sta nt P rof essor
Ph.D., Columbia University; Independent Consulting
Geologist engaged in oil/gas development as well as
environmental impact of extraction of unconventional
fossil fuel resources; also served as Energy Consultant
to U.S. House of Representatives Committee on Energy
and Commerce.
s c h o o l o f l i b e r a l a rt s a n d s c i e n c e s 203
Vincent Tedeschi Josiah Brownell
Visitin g In structor Ass istan t Profess or , History
B.A., Western Michigan University; M.A., London School
James Wise of Economics; J.D., University of Virginia Law School;
Visitin g In structor Ph.D. Political Science, School of Oriental and African
B.A., Hunter College; M.A., Brooklyn College. Studies, University of London.
Daniel Wright Matthew A. Carlin
Assistan t Profess or Vis itin g In structor , An th ro p ology
Ph.D., Stanford University; M.S., University of California, Ph.D., Columbia University.
San Diego; B.S., Pennsylvania State University.
Paul Dambowic
Adjun ct In structor
B.A., New York University; M.A., Yale University.
Social Science Mareena Dareedia
and Cultural Studies Vis itin g In structor , Cin ema Stu die s
B.F.A., York University; M.F.A., Pratt Institute.
Sameetah Agha Cristina Dragomir
Vis itin g In structor , Politics
Associate Profess or , History
B.A., Babes-Bolyai University; M.A. Babes-Bolyai
B.A., Smith College; M.A., M.Phil., Ph.D., Yale University.
University; A.B.D., New School University.
Robert Ausch Lisabeth During
Adj un ct Ass istan t Profess or , Psych ology
Ass ociate Profess or , Philosop h y
B.A., New York University; M.A., City College, City
University of New York; Ph.D., Graduate Center, City
B.A., Wesleyan University; MTh., King College, Univeristy
of London, London, U.K.; Ph.D., Trinity College,
University of New York.
Cambridge University, Cambridge, U.K. Research
Josh Blackwell interests include European philosophy from 1780–1980,
aesthetics and the philosophy of the arts, dance and
Visitin g In structor , Fa s hion an d Des ign
History
performance art, Weimar Germany, theology and
antiquity, literary theory, and classical film theory. She
B.A., Bennington College; M.F.A., California Institute
has published on French Surrealism, feminism, the 19th
of the Arts.
century novel, Hegel, and film, especially the work of
André Bazin. Her current project is a book on the history
Francis Bradley and representation of chastity. Before coming to Pratt
Assistan t Profess or , History
she taught for 15 years in the Philosophy Department of
Ph.D., University of Wisconsin, Madison.
the University of New South Wales.
B. Ricardo Brown Barbara Duarte Esgalhado
Co or d in ator , Cr itical an d Vis ual Stud ies ,
Vis itin g In structor , Psychology
Associate Profess or , Cultur al Stud ies
B.A., Rutgers University; Ph.D., Columbia University.
B.A., Simons Rock College of Bard; M.A., Syracuse
University; M.Phil., Ph.D., Graduate Center, City
University of New York.
204
John Frangos
Adj u n ct Ass i sta nt P ro f essor, History
B.A., M.A., Queens College; M.A., C.W. Post Campus, Long
Island University; Ph.D., New York University.
David Goodman
Ass i sta n t P ro f e ssor, Histo ry
B.A., Sarah Lawrence College; M.A., New School
University; Ph.D., Indiana University.
Monica A. Grandy
V i si t i n g I n st ru c to r, P syc holo gy
B.A., Sarah Lawrence College; Ph.D., City University of
New York.
Nelson Hancock
V i si t i n g Ass i sta nt P rof essor, Ant hropolo gy
Ph.D., Columbia University; B.A., Princeton University.
Mitchell Harris
Adj u n ct Ass i sta nt P ro f essor, History
B.F.A., SUNY-Purchase; M.A., M.Phil, City University of
New York.
Gabriel Hernández
V i si t i n g I n st ru c to r, Histo ry
B.A., City College of New York; A.B.D., SUNY-Stony Brook.
Ann Holder
Ass o ci at e P ro f e ssor, History
B.A., Hampshire College; Ph.D., Boston College.
Estelle Horowitz
P ro f e ss o r Eme r ita
Gregg M. Horowitz
P ro f e ss o r , C h a i r
B.A., Sarah Lawrence College; M.A., Boston University;
Ph.D., Rutgers University.
May Joseph
P ro f e ss o r , G lo bal St udies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California, Santa Barbara.
Shelley Juran
P ro fess or , Psychology
B.A., M.A., Brooklyn College; Ph.D., City University of
New York.
Josh Karant
Adj un ct Ass istan t Profess or , Philos oph y,
Fo o d Stud ies
B.A., Pomona College, M.A., New School; M.A., Rutgers
University; Ph.D., University of Maryland.
Samiha Matin
Visitin g In structor , Cultur al Stud ies
B.A., Rutgers University; M.A. Teachers College,
Columbia University; Ph.D., New York University.
John McGuire
Adj un ct In structor , Ph ilos oph y
B.A., New York University; A.B.D., New School University.
Peter Nekola
Adj un ct Ass ociate Profess or , History
B.A., St. Olaf College; M.A., Ph.D. candidate, New School
for Social Research.
Darini Nicholas
Adj un ct In structor , An th ropology
B.A., University of Louisville; M.A., Goddard College
(Kentucky); Ph.D. candidate, New School University.
Irving Perlman
P ro fess or , History
B.A., Brooklyn College; M.B.A., J.D., New York University.
Robert Richardson
Adj un ct Ass istan t Profess or , Philos oph y
B.A., Wheaton College; M.A., Ph.D. Candidate,
Pennsylvania State University.
Uzma Z. Rizvi
Assistan t Profess or , An thropology
and Ur ban Stud ies
B.A., Bryn Mawr College; M.A., Ph.D., University
of Pennsylvania.
Adam Rosen-Carole
Vis itin g In structor , Ph ilos o p h y
B.A., Vanderbilt University; M.A., Ph.D.,
New School University.
John Santore
Profess or , History
B.A., M.A., Temple University; Ph.D., Columbia
University; Pratt Institute Distinguished Professor
Award 1993–1994.
Zachary Sapolsky
Vis itin g In structor , Psychology
B.A., University of Rochester; M.A., Ph.D., Long
Island University.
Ritchie Savage
Vis itin g In structor , Sociolo gy
B.S., Bradley University, Sociology and Philosophy;
M.A., Ph.D. Candidate and Dissertation Fellow, New
School for Social Research, Sociology. His recent
publications include “Populist Elements in Contemporary
American Political Discourse” forthcoming in an
edited volume from The Sociological Review; “The
Complexitites of Re-articulating Autonomy from a
Nietzschean Perspective” in Filos; “Merleau-Ponty’s Use
of the Weberian Example: Avoiding Totalizing Meanings
in History” in Max Weber Matters: Interweaving Past and
Present (Ashgate, 2008). He received the Janey Summer
Research Fellowship from the New School in 2010 in
order to conduct archival research in Caracas, Venezuela,
for his dissertation “A Comparative Analysis of Populist
Discourse in Venezuela and the United States: 1945–1954
and 1998–present.”
Jeff Surovell
Adjun ct Ass istan t Profess or , H istory
B.A., M.A., Ph.D., Columbia University.
Kumru Toktamis
Adjun ct Ass istan t Profess or , S ociology
B.A., Middle East Technical Univerity, Ankara, Turkey;
M.A., Ph.D., The New School University.
Basil Tsiokos
Vis itin g In structor , Theory a nd Pr actice
B.A., Stanford University; M.A., New York University.

Sal A. Westrich
P ro f e ss o r , H i sto ry
B.A., City College of New York; M.A., University
of Wisconsin; M.A., Harvard University; Ph.D.,
Columbia University.
Justin Williams
V i si t i n g I n st ru c to r, Histo ry
B.A., Columbia College; A.B.D., SUNY-Stony Brook.
Rebecca Winkel
V i si t i n g Ass i sta nt P rof essor, P syc holo gy
M.A., Columbia University; M.A., Gordon-Conwell
Theological Seminary; Ph.D., The New School for
Social Research.
Iván Zatz Díaz
Ass o ci at e P ro f e ssor, Globaliz at ion
B.A., State University of New York, Purchase; M.F.A.,
New York University; Ph.D., Graduate Center, City
University of New York.
Critical and Visual Studies
Jonathan Beller
P ro f e ss o r
B.A., Columbia University; Ph.D., Duke University;
Interests: Media Theory, Marxism, Critical Race Theory,
Cinema, Media Archaeology, Decolonization, Aesthetics
and Politics, Feminism, Third Cinema, Philippine Culture
and Politics.
B. Ricardo Brown
Ass o ci at e P ro f e ssor, Cult ural St udies
B.A. Simons Rock College of Bard; M.A., Syracuse
University; M.Phil., Ph.D., Graduate Center, City
University of New York.
David Goodman
Ass i sta n t P ro f e ssor, Histo ry
B.A., Sarah Lawrence College; M.A., New School
University; Ph.D., Indiana University.
s c h o o l o f l i b e r a l a rt s a n d s c i e n c e s
Nelson Hancock
Visitin g Ass istan t Profess or , An th ropology
Ph.D., Columbia University; B.A., Princeton University.
May Joseph
P ro fess or , Global Stud ies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California, Santa Barbara.
Peter Nekola
Adj un ct Ass ociate Profess or , History
B.A., St. Olaf College; M.A., Ph.D. candidate,
New School University.
Ethan Spigland
Associate Profess or
B.A., Yale University; M.F.A., New York University; Matrise,
University of Paris VIII; has made numerous films and
media works including: Luminosity Porosity, based
on the work of architect Steven Holl, Elevator Moods,
featured in the Sundance Film Festival, and The Strange
Case of Balthazar Hyppolite, which won the Gold Medal
in the Student Academy Awards.
Kumru Toktamis
Adj un ct Ass istan t Profess or , Sociology
B.A., Middle East Technical University, Ankara, Turkey;
M.A., Ph.D., The New School University.
Suzanne Verderber
Associate Profess or , Huma n ities
and Med ia Stud ies
B.A., Dartmouth College; Ph.D., Univ of Pennsylvania;
Suzanne Verderder’s teaching and research focus on
the relationship between subjectivity and power, and
on the relation between pre-modern periods (medieval,
Renaissance, Baroque) and contemporary concerns.
Specific fields of study include politics, literature, art,
critical theory, philosophy, religion, and psychoanalysis.
Christopher Vitale
Assistan t Profess or
B.A., State University of New York Binghamton; Ph.D.,
New York University; His areas of specialization include
continental philosophy, comparative modernist literary
and cultural studies, psychoanalysis, queer studies,
theories of race and ethnicity, radical political thought,
205
and film and film theory. Currently, he is writing a book
about complexity studies and theories of networks. He
has taught at NYU, UC Berkeley, and Hunter College.
Iván Zatz-Díaz
Ass ociate Profess or , Global ization
B.A., State University of New York, Purchase; M.F.A., New
York University; Ph.D. Graduate Center, City University
of New York.
The Writing Program
Thaddeus Ziolkowski
Coordinator, The Writing Program; Professor
B.A., George Washington University; Ph.D., Yale
University. Professor Ziolkowski’s work is included in An
Anthology of (American) Poets (Talisman Books, 1998)
and Writing from the New Coast (O-blek Editions, 1993).
His book-length collection of poems, Our Son, the
Arson (What Books), was published in 1996. Ziolkowski
has also been a staff reviewer for Artforum magazine.
His book reviews, film reviews, cultural criticism, and
travel writing have appeared in Slate, Bookforum, Travel
& Leisure, and The Village Voice. An account of his surfer
boyhood in Melbourne Beach, Florida, On a Wave, was
a finalist for the PEN/Martha Albrand Award in 2003.
Ziolkowski’s novel, Wichita, has been selected by Alice
Sebold and Tonga Books, a new imprint of Europa
Editions. Forthcoming in 2012, Wichita will be issued in
Italian, U.K. and U.S. editions. Ziolkowski is the recipient
of a Guggenheim Fellowship in 2008­–2009.
Katherine Baldwin
Vis itin g In structor
Priscilla Becker
Vis itin g In structor
M.F.A., Columbia University; Becker’s first book of
poems, Internal West, won The Paris Review book
prize, and was published in 2003. Her poems have
appeared in Fence, Open City, The Paris Review, Small
Spiral Notebook, Boston Review, Raritan, American
Poetry Review, Verse, and The Swallow Anthology of
206
New American Poets; her music reviews in The Nation
and Filter magazine; her book reviews in The New York
Sun; and her essays in Cabinet magazine and Open
City. Her essays have also been anthologized by Soft
Skull Press, Anchor Books, and Sarabande. She teaches
poetry at Pratt Institute, Columbia University, and in her
apartment. Her second book, Stories That Listen, has
just been released from Four Way Books in 2010.
Anselm Berrigan
V i si t i n g Ass i sta nt P rof essor
Anselm’s books of poetry include Some Notes on
My Programming (2006), Zero Star Hotel (2002), and
Integrity & Dramatic Life (1999), all published by Edge
Books. A serial poem, “Have A Good One,” is being
brought out by Cy Press in 2008. He was Artistic
Director of The Poetry Project at St. Mark’s Church from
2003–2007, where his duties included hosting the
weekly Wednesday Night Reading Series. He co-edited
The Collected Poems of Ted Berrigan (University of
California Press, 2005) and is the current poetry editor
at The Brooklyn Rail.
Popahna Brandes
V i si t i n g Ass i sta nt P rof essor
B.A., Oberlin College; M.F.A., Brown University; Popahna’s
recent fiction can be found in Tarpaulin Sky. Other works
of prose, translation, film, and music have appeared in
The Encyclopedia Project and Pocket Myth. She was
a fiction editor for the late literary journal, 3rd bed;
plays cello with My Invisible; and runs annual writing
workshops in the book village of Montolieu, France.
Bliss Broyard
V i si t i n g I n st ru c to r
B.A., University of Vermont; M.F.A., University of Virginia.
Professor Broyard’s collection of stories, My Father,
Dancing (Knopf, 1999), was a New York Times notable
book of the year. She is also the author of the family
memoir One Drop: My Father’s Hidden Life—A Story of
Race and Family Secrets (Little, Brown, 2007), named a
best book of the year by the Chicago Tribune.
Gabriel Cohen
Visitin g Lectur er
B.A.,Wesleyan University; Gabriel Cohen is the author
of five novels and a nonfiction book and has written
for The New York Times, Poets & Writers, Shambhala
Sun, Gourmet.com, Time Out New York, and many
other publications. He has taught fiction and nonfiction
writing at New York University, mentors writing students
at the New School, and lectures and gives workshops
frequently. His website is www.gabrielcohenbooks.com.
Jon Cotner
Visitin g In structor
B.A. Humanities, Shimer College; M.A., St. John’s
College; Ph.D. candidate in Poetics, SUNY Buffalo.
Professor Cotner is co-author of Ten Walks/Two Talks
(Ugly Duckling Presse, 2010) and has worked on a
collaboration titled Conversations over Stolen Food and
projects for The Believer, the BMW Guggenheim Lab,
Elastic City, and the Poetry Society of America.
Trinie Dalton
Visitin g Ass istan t Profess or
M.F.A., Bennington College; Trinie Dalton has authored
and/or edited five books. Wide Eyed (Akashic), Sweet
Tomb (Madras Press, 2010), and A Unicorn Is Born
(Abrams, 2007) are works of fiction. Dear New Girl
or Whatever Your Name Is (McSweeney’s, 2005) and
Mythtym (Picturebox, 2008) are art compilations. She
currently teaches writing workshops at Pratt, a bookarts
studio course at NYU, and is on the M.F.A. Fiction faculty
at Vermont College of Fine Arts.
Steven Doloff
P ro fess or , Lectur er in In ten s ive En glis h
B.A., State University of New York, Stony Brook;
Steven was named a Pratt Institute Distinguished
Professor (2001–2002) and received the Institute’s
Student Government Association Faculty Excellence
Award in 1990.
John Glassie
Visitin g In structor
B.A., The Johns Hopkins University. Professor Glassie
is a former contributing editor for The New York Times
Magazine, where for several years he edited the weekly
“Lives” column. He has written for The New York Times,
The Believer, Salon, Wired, The Dallas Morning News,
and The Atlanta Journal-Constitution, among other
publications and is currently at work on a non-fiction
book about a 17th-century polymath, which will be
published in the fall of 2012. He is also the author
of a book of photographs, Bicycles Locked to Poles
(McSweeney’s, 2005).
David Gordon
Vis itin g In structor
M.F.A., Writing, M.A., English and Comparative Literature,
Columbia University; David Gordon was born in New
York City. He attended Sarah Lawrence College and has
worked in film, fashion, and publishing. His first novel,
The Serialist, was published by Simon and Schuster in
March 2010.
James Hannaham
Adjun ct Ass istan t Profess or
M.F.A., University of Texas; B.A., Yale University; James
Hannaham’s first novel, God Says No (McSweeney’s,
2009), was a finalist for a Lambda Book Award, named
an honor book by the American Library Association’s
Stonewall Book Awards, a semi-finalist for a VCU Cabell
First Novelist Award, and made the shortlist for the
Green Carnation Prize in the UK. His stories have been
published in The Literary Review, Open City, JMWW,
One Story, and will soon appear in Fence. His criticism
and journalism have appeared in The Village Voice,
Spin, and Salon.com, where he was on staff, and have
been reprinted in Best African American Essays 2009
and Best Sex Writing 2009. He has received fellowships
from The MacDowell Colony, Yaddo, The Blue Mountain
Center, The Constance Saltonstall Foundation for the
Arts, Chateau de Lavigny, Fundación Valparaíso, Bread
Loaf, and a NYFFA Fellowship in Fiction.
Ryan Fischer-Harbage
Vis itin g Ass istan t Profess or
B.A., Kalamazoo College; M.F.A., Bennington College.
Professor Fischer-Harbage, a literary agent who runs
The Fischer-Harbage Agency, represents several
New York Times bestselling authors and has placed
books with all major publishers in the U.S. and
the U.K. He previously served as an editor at Simon &
Schuster, Little, Brown & Company as well as
The Penguin Group (U.S.A.).

Christian Hawkey
Ass o ci at e P ro f e ssor
Professor Hawkey is the author of three award-winning
books of poetry, including The Book of Funnels (Wave
Books, 2004), which won the 2006 Kate Tufts Discovery
Award, HourHour (Delirium Press, 2005), and Citizen
Of (Wave Books, 2007). His poems have appeared in
Conjunctions, Volt, Denver Quarterly, Tin House, Crowd,
BOMB, Chicago Review, and Best American Poetry. He
has received awards from the Academy of American
Poets and the Poetry Fund, and in 2006 he received a
Creative Capital Innovative Literature Award. In 2008, he
was a DAAD Artist-in-Berlin Fellow.
Jason Helm
V i si t i n g Ass i sta nt P rof essor
M.F.A., Creative Writing, Sarah Lawrence College;
Jason’s first book, Exposure, a YA sci-fi fantasy novel, is
currently on the market. He is at work on a collection
of short stories about mid-nineties gutterpunk culture
in Minneapolis.
Samantha Hunt
Ass o ci at e P ro f e ssor
M.F.A., Warren Wilson College; Samantha Hunt’s second
novel The Invention of Everything Else (Houghton Mifflin
Harcourt, 2008) was a finalist for the Orange Prize and
winner of the Bard Fiction Prize. Her first novel, The
Seas (Picador, 2005) won a National Book Foundation
award for writers under 35. Hunt’s work has appeared in
The New Yorker, McSweeney’s, A Public Space, Cabinet,
Esquire, jubilat, The Believer, Blind Spot, Tin House, New
York Magazine, on the radio program This American Life
and in a number of other fine publications.
Mary-Beth Hughes
V i si t i n g Ass i sta nt P rof essor
B.A., Marymount Manhattan College. Professor Hughes’
stories have appeared in A Public Space, Ploughshares,
The Paris Review, and are collected in the book Double
Happiness. Her novel is Wavemaker II (Atlantic Monthly
Press, 2002).
Sean C. Kelly
V i si t i n g I n st ru c to r
B.A., University of Montreal; Sean was editor of National
Lampoon and a founding editor of Heavy Metal. He
has been a staff writer for Saturday Night Live, and as a
s c h o o l o f l i b e r a l a rt s a n d s c i e n c e s
free-lance writer he has written for numerous television
productions and for periodicals, including Bazaar,
Colors, Interview, Playboy, Spy, The Village Voice and
The New York Times. He is the author and editor of
numerous books and anthologies.
Rachel Levitsky
Adj un ct Ass istan t Profess or
Professor Levitsky’s first full-length volume, Under the
Sun, was published by Futurepoem books in 2003. She
is the founder and co-director of Belladonna*, an event
and publication series of feminist avant-garde poetics.
She is also the author of five chapbooks of poetry,
Dearly (a+bend, 1999), Dearly 356, Cartographies of
Error (Leroy, 1999), The Adventures of Yaya and Grace
(PotesPoets, 1999), 2(1×1) Portraits (Baksun, 1998), and
a series of poetry plays.
Robert Lopez
Visitin g Profess or
M.F.A., The New School for Social Research; Robert
Lopez is the author of two novels, Part of the World
(Calamari Press, 2007) and Kamby Bolongo Mean
River (Dzanc Books, 2009), and a collection of stories,
Asunder (Dzanc Books, 2010). He has taught at The New
School and Columbia University and is a 2010 New York
Foundation for the Arts fellow in fiction.
Laura Minor
Visitin g In structor
M.A., University of Florida; M.F.A., Sarah Lawrence
College; Laura Minor is a Brooklyn-based poet,
professor, and singer/songwriter. Her work has most
recently appeared in Sixers Review, Lungfull, JMWW:
A Journal of Quarterly Writing, and Mantis/Stanford
University. She has released two international and
critically acclaimed records, “Salesman’s Girl” for
Hightone Records (2002) and “Let Evening Come,”
(Ocean of Sound Recordings, 2009). Her prize-winning
chapbook is forthcoming on Pudding House Press and
her second solo record is forthcoming on Ocean Sound
Recordings in spring 2011. She is currently publishing
towards her first collection of poems, “The Ossicles,”
and plans to pursue a Ph.D. in women’s studies and fine
arts at Rutgers University in fall 2011.
207
Tracie Morris
Ass ociate Profess or
B.A., M.F.A., Hunter College; M.A., Ph.D., New York
University; Tracie Morris is a multidisciplinary poet,
performer, and scholar who works extensively as
a sound artist, writer, bandleader, and actor. Her
installations have been presented at the Whitney
Biennial, Ronald Feldman Gallery, the Jamaica Center
for Arts and Learning, and the New Museum. She
recently completed her latest poetry manuscript,
“Rhyme Scheme” and is working on an academic work,
“Who Do with Words” on the significance of philosopher
J.L. Austin. She is also developing two audio projects: an
untitled CD with music with her band and another CD in
collaboration with composer Elliott Sharp.
Anna Moschovakis
Vis itin g Ass istan t Profess or
B.A., University of California, Berkeley; M.F.A., Bard
College; She is the author a book of poems, I Have Not
Been Able to Get Through to Everyone, and a translator
of poetry, fiction, and theory from the French. She is also
an editor, designer, and printer at Ugly Duckling Presse,
a nonprofit publishing collective based in Brooklyn. She
is pursuing graduate studies in Comparative Literature
at the CUNY Graduate Center.
Cecilia Muhlstein
Vis itin g In structor , Tutor
California State University, Los Angeles; Cecilia was
born in Texas, but grew up in Los Angeles. Her work and
interests reside in fiction, critical theory, art, and eco-
poetics. Her current work can be found in the pages of
NYArts magazine and in the archives of Safe-T-Gallery.
John O’Connor
Vis itin g In structor
B.A., University of Michigan; M.F.A., Columbia University.
Professor O’Connor’s food and travel writing has
appeared in The New York Times, Men’s Journal,
The Financial Times, and Gastronomica, and he has
contributed essays to the literary journals Open
City, The Believer, and Quarterly West, and to the
anthologies The Best Creative Nonfiction Vol. 1, The
Gastronomica Reader and They’re At It Again: An Open
City Reader.
208
Shelly Oria
V i si t i n g I n st ru c to r
B.A., Tel Aviv University; M.F.A., Sarah Lawrence College.
Professor Oria’s fiction has appeared in McSweeney’s,
Quarterly West, cream city review, and fivechapters.
She is a recipient of the 2008 Indiana Review Fiction
Prize among other awards and curates the monthly
series “Sweet! Actors Reading Writers.”
Nelly Reifler
V i si t i n g Ass i sta nt P rof essor
B.A., Hampshire College; M.F.A. Sarah Lawrence College;
She authored See Through (Simon & Schuster, 2006).
Her work has appeared in many publications including
McSweeney’s, Bomb, Post Road, Jubilat, Taxi, Black
Book and Nerve.com. Her plays have been performed
in the U.S. and Australia, and she is the recipient of
honors including a Henfield Prize and a Rotunda Gallery
Emerging Curator grant.
Eric Rosenblum
Visiting Instructor; Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Creative Writing-
Fiction, Syracuse University; Eric’s fiction and non-fiction
have appeared in Guernica Magazine, the Chicago
Tribune and the Chicago Reader.
Jonathan Santlofer
V i si t i n g I n st ru c to r
B.F.A., Boston University School of the Arts; M.F.A., Pratt
Institute; Santlofer is the author of five bestselling
crime novels, short stories in many anthologies and
collections, winner of the Nero Wolfe Award for Best
Crime Novel, co-author/contributor to The Dark End of
the Street anthology (Bloomsbury USA, 2010); recipient
of two National Endowment for the Arts grants, Rome
Prize; and on the board of directors of Yaddo, the oldest
arts community in the United States.
Todd Shalom
V i si t i n g I n st ru c to r
B.S., Boston University; M.F.A., California College
of the Arts. Founder of Elastic City walking tours,
Professor Shalom works with text, sound, and image.
He collaborates with performance artist/director
Niegel Smith; together, as Permiso, they conceive
and stage interactive rituals in public and private
environments. His solo work includes improvisational
music performances, soundwalks, poetry readings, Writing and Tutorial Center
installations, photography, and sleepovers. He
is an active member of the New York Society for
Acoustic Ecology.
Randy Donowitz
Justin Taylor Dir ector of the Wr itin g an d T u tor ia l C e nte r
Visitin g Ass istan t Profess or
B.A., University of Florida; M.F.A., The New School. Terri Bennett
Professor Taylor is the author of the story collection Tutor
Everything Here Is the Best Thing Ever (Harper’s
Perennial, 2010) and the novel The Gospel of Anarchy Priya Chandrasekoran
(Harper’s Perennial, 2011). He is the editor of The Tutor , Wr itin g, Thes is
Apocalypse Reader, Come Back Donald Barthelme,
and co-editor (with Eva Talmadge) of The Word Made Diane Cohen
Flesh: Literary Tattoos from Bookworms Worldwide Ass istan t to the Dir ector
(Harper’s Perennial, 2010). With Jeremy Schmall,
he publishes The Agriculture Reader, a limited-edition Maura Conley
arts annual. Tutor , Wr itin g, Thes is
Holly Tavel Marissa Forbes
Visitin g In structor Tutor , Wr itin g, Con ver s ation
B.A., The New School; M.F.A., Brown University; recipient
of a 2009 Fulbright Scholarship in Creative Writing to Elizabeth (Lol) Fow
the Czech Republic. Adjun ct In structor ,Tutor , T h e sis,
Gr ad uate Wr itin g
Ellery Washington
Visitin g Ass istan t Profess or Dominica Giglio
D.E.U.G., Sorbonne University, Paris, France. Ellery Tutor , Wr itin g, Art History
Washington’s writing has appeared in the French
publication Nouvelles Frontières, Out Magazine, Heather Green
The Berkeley Fiction Review and various literary Tutor , Wr itin g, Thes is , Con v e r sation
anthologies, including Griots Beneath the Baobab
(IBWA Press), Geography of Rage (RGB Publisher), Joseph Herzfeld
and State by State (Harper Collins). He is a recipient Lectur er In ten s ive En glis h ,T u tor , W r iting
of the PEN Center West–Rosenthal Emerging Voices
Fellowship and the IBWA Best Short Fiction Award. Kwame Heshimu
Vis itin g In structor ,Tutor , W r iting
Gina Zucker
Visitin g Ass istan t Profess or Matt Kubacki
B.A., Washington University; M.F.A., New School; Vis itin g In structor , Tutor , W r iting
Gina Zucker has published fiction and nonfiction in
magazines and journals such as Tin House, Salt Hill, The
Chicago Sun-Times, The New York Post, Elle, Glamour,
Cecilia Muhlstein
Vis itin g In structor , Tutor , W r iting, T h e sis
GQ, Rolling Stone, Redbook, and Cosmopolitan, as well
as on various online journals. Her writing has been
anthologized in two collections: ALTARED (Vintage,
Evan Rehill
Vis itin g In structor , Tutor , W r iting, T h e sis
2007) and BEFORE (Overlook Press, 2006). She is a
recipient of a Vermont Studio Center Fellowship and a
New School Merit Scholarship.
 209

Academic Degrees Overview

Undergraduate Programs Graduate Programs

s c h ool of a rch i tectu r e sc hool of arc hi te c ture
Architecture B. A RCH . 0202 Architecture (first-professional) M. A RCH. 0202
Construction Management B. P. S. 0201 Architecture (post-professional) M.S . 0202
Construction Management B. S. 0201 Architecture and Urban Design M.S . 0205
Building and Construction A . A . S. 5317 City and Regional Planning M.S . 0206

s c h ool of a rt a n d d es i g n Facilities Management M.S . 0201

Graphic Design/Illustration A . A . S. 5012 Historic Preservation M.S . 0299

Painting/Drawing A . A . S. 5610 Urban Environmental Systems Management M.S . 0206

Digital Design and Interactive Media A . O . S. 5012 sc hool of art and de si g n

Graphic Design A . O . S. 5012 Art and Design Education (init./prf. certification) M.S . 0831
Illustration A . O . S. 5012 Art and Design Education (prf. certification) M.S . 0831
Art and Design Education B. F. A . 0831 Art and Design Education ADV. CRT. 0831
Art History B. A . 1003 Art Therapy and Creativity Development M.P.S . 1099
Communications Design B. F. A . 0601 Art Therapy with Special Needs Children M.P.S . 1099
Digital Arts B. F. A . 1009 Arts and Cultural Management M.P.S . 0599
Fashion Design B. F. A . 1009 Communications Design M.S . 0601
Film B. F. A . 1010 Communications Design M.F.A . 1009
Fine Arts B. F. A . 1001 Dance/Movement Therapy M.S . 1099
History of Art and Design B. A . 1003 Design Management M.P.S . 0599
B. F. A . 1003
Digital Arts M.F.A . 1009
Industrial Design B. I. D . 1009
Fine Arts M.F.A . 1001
Interior Design B. F. A . 0201
History of Art and Design M.S . 1003
Photography B. F. A . 1011
Industrial Design M.I .D . 1009
s c h ool of lib eral a rt s an d s ci en ces
Interior Design M.S . 0201
Critical and Visual Studies B. A . 4903
Museum Studies ADV. CRT. 1003
Writing B. F. A . 1599
Package Design M.S . 1009
c om bine d d e g r ee prog ram s
Art and Design Education B.F.A./M.S. 0831
continued on next page
210 ac a d e m i c d e g r e e s o v e rv i e w

Graduate Programs, continued

s c h ool of info r m at i o n a n d l i b ra ry s ci en ce
Library and Information Science M. S. 1601
Library and Information Science: M. S. 899.01
Library Media Specialist
Archives Certificate Program ADV. CRT. 1699
Library and Information Studies ADV. CRT. 1699
Library Media Specialist ADV. CRT. 899.01
Museum Libraries ADV. CRT. 1699

s c h ool of lib eral a rt s an d s ci en ces

Media Studies M. A . 0601

c om bine d d e g r ee prog ram s

Library and Information Science/Digital Arts M.S./M.F.A. 1601/
1009
Library and Information Science/Law M.S./J.D. 1601/
M.S./L.L.M. 1401
History of Art and Design/Fine Arts M.S./M.F.A. 1009/
1001
History of Art and Design/Information and Library Science M.S./M.S. 1009/
1601
 211

Curricula

School of Architecture
M. Arch. in Architecture M.S. in Architecture
(First-professional) (Post-professional)
s e me st e r 1 s em e ste r 5 se me ste r 1
ARCH-601 Design Studio 1: Fundamentals 5 ARCH-805 Design Studio 5: Vertical Option 5 ARCH-781 Pro Seminar I 3
ARCH-611 Computer Media 1: Multimedia 3 ARCH-861 Professional Practice 3 GAUD Elective 6
ARCH-631 Structures I 3 History/Theory Elective 3 ARCH-803 Summer Design Studio 6: Vertical 5
ARCH-651 History and Theory 1: Modern 3 GAUD Elective 3 Option
History Credits subtotal Credits subtotal 14
14
Credits subtotal 14 s em e ste r 6 se me ste r 2
s e me st e r 2 ARCH-806 Design Studio 6: Vertical Option 5 ARCH-901 Fall Design Studio 5
ARCH-602 Design Studio 2: Context 5 History/Theory Elective 3 ARCH-982 Pro Seminar II 3
ARCH-612 Computer Media 2: Advanced 3 All Institute Elective 6 ARCH-988 Thesis Research 3
Multimedia GAUD Elective 3
Credits subtotal 14
ARCH-632 Structures II 3 Credits subtotal 14
Total credits required 84
ARCH-652 History and Theory 2: 3 se me ste r 3
Architectural Theory
ARCH-912 Thesis 5
Credits subtotal 14
All-Institute Elective 3
s e me st e r 3
Credits subtotal 8
ARCH-703 Design Studio 3: 5
Urban Mixed Use Total credits required 36
ARCH-753 History and Theory 3: 3
Non-Western History
ARCH-761 Environmental Controls 3
ARCH-762 Material and Assemblies 3
Credits subtotal 14
s e me st e r 4
ARCH-704 Design Studio 4: CAP 5
ARCH-861 Professional Practice 3
History/Theory Elective 3
GAUD Elective 3
Credits subtotal 14
212 curricula

M.S. in Architecture M.S. in City and M.S. in Urban Environmental

and Urban Design Regional Planning Systems Management
s e me st e r 1 s em e ste r 1 se me ste r 1
UD-803 UD Studio I 5 PLAN-600 Fundamentals: Seminar and 5 EMS-620 Sustainable Communities 3
UD-813 Methods and Computer 3 Studio Elective Credits 6
Applications PLAN-602 History and Theory of City 3 EMS-640 Environmental Law 3
UD-993 Urban Design Theory 3 Planning
Credits subtotal 12
Credits subtotal 11 PLAN-603 Urban Economics 3
se me ste r 2
s e me st e r 2 Elective Credits 3
EMS-611 Environmental Assessment: 3
Credits subtotal 14
UD-901 UD Studio II 5 Impact Statements
UD-981A Culmination Project Research 3 s em e ste r 2 EMS-612 Environmental Assessment 3
UD-991 Urban Design and 3 PLAN-604 Planning Law 3 (A,B,C)
Implementation: Case Studies Elective Credits 8 EMS-621 Green Buildings 3
All-Institute Electives 3 PLAN-605 Planning Method I 3 (A,B,C)
Credits subtotal 14 Credits subtotal 14 Elective Credits 3
(EMS-624 Environmental
s e me st e r 3 s em e ste r 3 Economics)
UD-902 UD Culmination Project 5 PLAN-701 Planning Methods II 3 Credits subtotal 12
All-Institute Elective 3 PLAN-810 Studio: Sustainable se me ste r 3
Credits subtotal 8 Communities, or
EMS-623 Computer Applications: GIS 3
Total credits required 33 PLAN-820 Studio: Land Use and Urban (A,B,C)
Design, or
Elective Credits 3
PLAN-850 Studio: Sustainable Development 5
Credits subtotal 6
Elective Credits 3
se me ste r 4
Credits subtotal 11
PLAN-601 Planning/Urban Design Studio,
s em e ste r 4 or
PLAN-810 Studio: Sustainable PLAN-652 Planning Studio, or
Communities, or
PLAN-653 Land Use Studio 5
PLAN-820 Studio: Land Use and Urban
Design, or Elective Credits 5
Credits subtotal 10
PLAN-850 Studio: Sustainable Development 5
Total credits required 40
PLAN-891 Directed Research 2
Elective Credits 5
Credits subtotal 12
s em e ste r 5
PLAN-892 Demonstration of Professional 3
Competence
Elective Credits 6
Credits subtotal 9
Total credits required 60
 curricula 213

M.S. in Minor in Facilities M.S. in Historic Preservation

Facilities Management Management
s e me st e r 1 se me ste r 1
FM-621 Computer Applications 3 The Department of Facilities Management offers a PR-510 History and Theory of Historic 3
FM-631 Principles of Facilities 3 nine-credit minor to graduate students in the following Preservation
Management departments: Architecture, City and Regional Planning, PR-511 Documentation/Interpretation 3
Urban Enviromental Systems Management, Historic of the Built Environment
FM-633 Managerial Accounting and 3 Preservation, and Interior Design. Students may apply
Finance to the Minor in Facilities Management program through PR-513 Building Restoration and 3
FM-663 Real Estate Development 3 their advisor at any point during their academic Investigation
career. The completion of the minor will be noted on PR-649 Architecture and Urban History I 3
Credits subtotal 12 the student’s transcript but will not be shown on the
Credits subtotal 12
s e me st e r 2 diploma.
FM-632 Project Management 3 Required courses se me ste r 2
FM-634 Facility Programming and Design 3 PR-512 Preservation Law and Policy 3
FM-631 Principles of Facilities 3
FM-636 Facility Maintenance and 3 Management PR-520 Concepts of Heritage 3
Operations Additional courses must be taken in the following: PLAN-640 Real Estate Development 3
­ Elective Credits 3 FM-621 Computer Applications for 3 ­PR-650 Architecture and Urban History II 3
Credits subtotal 12 Facilities Managers Credits subtotal 12
s e me st e r 3 FM-632 Project Management 3 se me ste r 3
FM-731 Strategic Planning and 3 FM-633 Managerial Accounting and 3 PR-521 Interventions, Additions, 3
Management Finance Alterations, and Adaptive Re-use
FM-733 Economic Evaluation of Facilities 3 FM-634 Facility Programming and Design 3 PR-620 Preservation Colloquium 3
FM-735 Telecommunications: Concepts 3 FM-636 Facility Maintenance and 3 Preservation Elective 3
and Strategies Operations
Credits subtotal 9
FM-771 Legal Issues 3 FM-663 Real Estate Development 3
se me ste r 4
Credits subtotal 12 FM-731 Strategic Planning and 3
Management PR-621 Preservation Studio 5
s e me st e r 4 Preservation Elective 3
FM-733 Economic Evaluation of Facilities 3
FM-798 Demonstration of Professional 4 Elective Credits 3
Competence FM-735 Concepts and Strategies: 3
Telecommunications Credits subtotal 11
HMS-697A Thesis Writing I 1
FM-771 Legal Issues 3 Total credits required 44
Elective Credits 9
Total credits (minimum) 9
Credits subtotal 14
Total credits required 50
214 curricula

School of Art M.S. in Art and Design M.S. in Art and Design
Education (Initial/ Education (Professional
and Design Professional Certification) Certification)
s em e ste r 1 se me ste r 1
ADE-506 Literacy and Language 1 ADE-616A Fieldwork in Art and Design
Acquisition in the Art Classroom Education, or
ADE-616A Fieldwork in Art and Design ADE-616B Fieldwork in Art and Design 2
Education or Education (with Special
ADE-616B Fieldwork in Art and Design 2 Populations)
Education (with Special ADE-616C The Inclusive Art Room 1
Populations) ADE-625 Play and Performance: From 3
ADE-616C The Inclusive Art Room 1 Childhood to Pedagogy
ADE-630 Media and Materials: from Studio 3 ADE-630 Media and Materials: From Studio 3
to Classroom to Classroom
ED-608 Roots of American Education 3 Elective 2
Credits subtotal 10 Credits subtotal 11
s em e ste r 2 se me ste r 2
ADE-522 Student Teaching: Saturday Art ED-602 Survey of Art Education
School, or Literature, or
ADE-524 Student Teaching: In the 3 ED-603 Survey of Design Education 3
Galleries Literature
ADE-619 Foundations in Art and Design 3 ED-605 The Teacher in Film and Fiction 3
Education Elective 3
ED-602 Survey of Art Education Credits subtotal 9
Literature, or
se me ste r 3
ED-603 Survey of Design Education 3
Literature ADE-517A Directed Research in Art and
Design Education, or
Credits subtotal 9
ADE-517B Directed Research in Art and 2
s em e ste r 3 Design Education (with Special
ADE-522 Student Teaching: Saturday Art Populations)
School, or ADE-621 Special Topics in Art and Design 3
ADE-523 Student Teaching: After School 3 Education
ADE-620 The Art of Teaching Art and 3 ED-660A Thesis I 3
Design Credits subtotal 8
ED-660A Thesis I 3 se me ste r 4
Elective 2 ED-660B Thesis II 3
Credits subtotal 11 Elective 3
s em e ste r 4 Credits subtotal 6
ADE-531A Student Teaching: In the Public Total credits required 34
Schools, or
ADE-531B Student Teaching: 4
With Special Populations
ADE-532A Student Teaching Seminar 1
ED-660B Thesis II 3
Credits subtotal 8
Total credits required 38
(Plus courses and credits listed under “Certification
Requirements”)
 curricula 215

Advanced Certificate M.P.S. in Arts and Cultural M.P.S. in

in Art and Design Education Management Design Management
s e me st e r 1 s em e ste r 1 ( fall) se me ste r 1
ADE-506 Literacy and Language 1 ACM-625 Leadership and Team Building 2 DM-631 Leadership Behavioral 1
Acquisition in the Art Classroom ACM-627 Management Communications 2 Simulation
ADE-521 Student Teaching: Saturday Art ACM-631 Behavioral Simulation 1 DM-632 Leadership and Team Building 2
School, or DM-652 Design Management 2
ACM-641 Management of Arts and 2
ADE-524 Student Teaching: In the 3 Cultural Organizations DM-654 Strategic Technology 2
Galleries
ACM-645 Art in the Urban Environment 2 DM-661 Financial Reporting and Analysis 2
ADE-616B Fieldwork in Art and Design 2
Education with Special Credits subtotal 9 Credits subtotal 9
Populations s em e ste r 2 ( sp ri ng ) se me ste r 2
ADE-620 The Art of Teaching Art and 3 ACM-623 Financial Planning and Budget 2 DM-622 Advertising and Promotion 2
Design Management DM-633 Managing Innovation and 2
ED-608 Roots of American Education 3 ACM-624 Arts and Cultural Education 2 Change
Credits subtotal 12 ACM-632 Organizational Behavior 2 DM-641 International Environment of 2
s e me st e r 2 ACM-642 Nonprofit Law and Governance 2 Business
ADE-522 Student Teaching: Saturday Art Credits subtotal 8 DM-651 Management Communications 2
School, or Credits subtotal 8
s em e ste r 3 ( summe r i and summe r i i )
ADE-523 Student Teaching: After School 3 se me ste r 3
ACM-626 Managing Innovation and 2
ADE-531A Student Teaching: In the Public Change DM-634 Negotiating 1
School, or
ACM-633 Negotiating 1 DM-653 Design Operations Management 2
ADE-531B Student Teaching: 4
With Special Populations ACM-646 External Relations 2 DM-656 Directed Research 1

ADE-532A Student Teaching Seminar 1 ACM-652 Directed Research 1 DM-662 Money and Markets 2
ACM-664A Capstone Planning: Advisement 2 Credits subtotal 6
ADE-619 Foundations in Art and Design 3
Education Credits subtotal 8 se me ste r 4
Credits subtotal 11 s em e ste r 4 ( fall) DM-621 Strategic Marketing 2
Total credits required 23 ACM-621 Strategic Marketing 2 DM-642 Business Law 2
(Plus courses and credits listed under “Certification ACM-622 Fundraising for Arts and Culture 2 DM-643 Intellectual Property Law 1
Requirements”)
ACM-643 Art, Culture, and Social Policy 2 DM-663 Financing: Companies and New 2
c e rt if ic at ion r eq u i r em en ts ACM-654 Strategic Technology 2 Ventures
The following academic requirements must be fulfilled Credits subtotal 8 DM-671 Managerial Decision Making 1
prior to applying for Initial Teaching Certification. DM-673 Capstone Planning: Advisement 1
The courses or workshops may be taken at Pratt or s em e ste r 5 ( sp ri ng )
transferred from another post-secondary school or Credit subtotal 9
ACM-628 Advertising and Promotion 2
institution. se me ste r 5
ACM-644 Cultural Pluralism in the U.S. 2
Course in Child/ 3 DM-623 Building Entrepreneurial 2
Adolescent Psychology ACM-651 Finances and Financial Reporting 2
for Nonprofit Managers Courage
One semester of 3 DM-644 Design Futures: Theory and 2
a foreign language ACM-664B Shaping the 21st Century: 2
Integrative Capstone Practice
Workshop in 0 DM-655 New Product Management and 2
Child Abuse Prevention ACM-671 Managerial Decision-Making 1
Development
Credits subtotal 9
Workshop in Life Safety and 0 DM-672 Business Strategy 2
Total credits required 42
Violence Prevention 0 DM-674 Shaping the 21st Century: 2
Integrative Capstone
Credits subtotal 10
Total credits required 42
216 curricula

M.S. in M.S. in M.F.A. in

Communications Design Package Design Communications Design
s e me st e r 1 s em e ste r 1 se me ste r 1
DES-618 Typography I 3 DES-618 Typography I 3 DES-710A Graduate Studio: Visual 3
DES-620 Visual Communications I 3 DES-620 Visual Communications I 3 Language

DES-625 Visual Perception 3 DES-625 Visual Perception 3 DES-720A Graduate Studio: Technology 3

DES-680 Digital Design 3 DES-677 Electronic Pre-press 3 DES-730A Graduate Studio: Design 3
Transformation
Credits subtotal 12 Credits subtotal 12
DES-760A Graduate Seminar 3
s e me st e r 2 s em e ste r 2
Elective Credits 3
DES-619 Typography II 3 DES-619 Typography II 3
Credits subtotal 15
DES-621 Visual Communications II, or DES-628 Structural Packaging Design 3
se me ste r 2
DES-681 Interactive Design I (DD) 3 DES-630 Packaging: Graphics I 3
DES-741 Cross Disciplinary Studio 3
DES-677 Electronic Pre-press, or HA-601 History of Western Art, or
DES-751 Design Writing 3
DES-683 Motion Design 1 (DD) 3 HD-662 History of Communications 2
Design DES-791 Thesis Resource 3
HA-601 History of Western Art, or
Credits subtotal 11 Elective Credits 6
HD-662 History of Communications Design   2
Credits subtotal 15
Credits subtotal 11 s em e ste r 3
DES-629 Fragrance Packaging Research 3 se me ste r 3
s e me st e r 3
Workshop DES-710B Graduate Studio: Visual 3
DES-624 Communication Seminar, or Language
DES-631 Packaging: Graphics II 3
DES-682 Interactive Design II (DD) 3 DES-720B Graduate Studio: Technology 3
DES-660 Directed Research 2
DES-626 Corporate Image Planning, or DES-730B Graduate Studio: Design 3
DES-680 Digital Design 3
DES-634 Marketing, or Transformation
Credits subtotal 11
DES-640 Design Management 3 DES-760B Graduate Seminar 3
s em e ste r 4
DES-636 Visual Communications III, or DES-794B M.F.A. Thesis Resource 1
DES-634 Marketing, or
DES-684 Motion Design II (DD) 3 DES-794B M.F.A. Thesis Resource 1
DES-640 Design Management 3
DES-660 Directed Research 2 DES-796 M.F.A. Thesis I 3
DES-699A Thesis I 6
Credits subtotal 11 Credits subtotal 17
Credits subtotal 9
s e me st e r 4 se me ste r 4
s em e ste r 5
HD-505 History of Design, or DES-795A M.F.A. Thesis Resource 1
HD-505 History of Modern Design, or
HD-506 Concepts of Design 2 DES-795B M.F.A. Thesis Resource 1
HD-506 Concepts of Design 2
DES-699A Thesis I 6 DES-797 M.F.A. Thesis Production and 2
DES-699B Thesis II 3 Exhibition
Elective Credits 3
Credits subtotal 5 DES-799 M.F.A. Thesis II 3
Credits subtotal 11
Total credits required 48 Elective Credits 6
s e me st e r 5
pr ere qui si te c ourse s Credits subtotal 13
DES-699B Thesis II 3
DES-608 Design Procedures 3 Total credits required 60
Credits subtotal 3
DES-676 Computer Graphic Systems 3
Total credits required 48
These courses may be required as prerequisite courses
(Courses followed by the notation DD should be chosen for students not having an appropriate communications
if completing the M.S. program with an emphasis in design background.
Digital Design.)
p r e r e qu is it e c o u r s es
DES-608 Design Procedures 3
DES-676 Computer Graphic Systems 3
These courses may be required as prerequisite courses
for students not having an appropriate communications
design background.
 curricula 217

M.F.A. in 3-D Animation M.F.A. in Interactive Arts M.F.A. in Digital Imaging

and Motion Arts
s e me st e r 1 s em e ste r 1 se me ste r 1
DDA-606A Graduate Seminar I 3 DDA-606A Graduate Seminar I 3 DDA-606A Graduate Seminar I 3
DDA-610 Digital Arts Practicum 3 DDA-610 Digital Arts Practicum 3 DDA-610 Digital Arts Practicum 3
DDA-617 Languages 3 DDA-617 Languages 3 DDA-617 Languages 3
DDA-643 Animation Studio 3 DDA-643 Imaging Studio 3 DDA-645 Imaging Studio 3
Studio Elective 3 Studio Elective 3 Studio Elective 3
Credits subtotal 15 Credits subtotal 15 Credits subtotal 15
s e me st e r 2 s em e ste r 2 se me ste r 2
DDA-606B Graduate Seminar II 3 DDA-585 Interactive Installation 3 DDA-606B Graduate Seminar II 3
DDA-643 Animation Studio 3 DDA-587 Art of Electronics 3 DDA-614 3D Modeling 3
DDA Elective 6 DDA-606B Graduate Seminar II 3 DDA-645 Imaging Studio 3
Studio Elective 3 DDA Elective 3 DDA Elective 3
Credits subtotal 15 Studio Elective 3 Studio Elective 3
s e me st e r 3 Credits subtotal 15 Credits subtotal 15
DDA-653 Post-Production 3 s em e ste r 3 se me ste r 3
DDA-660A Thesis I 6 DDA-660A Thesis I 6 DDA-660A Thesis I 6
Art History Elective 3 DDA Electives 6 DDA Electives 6
Credits subtotal 15 Art History Elective 3 Art History Elective 3
s e me st e r 4 Credits subtotal 15 Credits subtotal 15
DDA-660B Thesis II 6 s em e ste r 4 se me ste r 4
Liberal Arts Elective 3 DDA-660B Thesis II 6 DDA-660B Thesis II 6
DDA Elective 3 Liberal Arts Elective 3 Liberal Arts Elective 3
DDA Elective or Internship 3 DDA Elective 3 DDA Elective 3
Credits subtotal 15 DDA Elective or Internship 3 DDA Elective or Internship 3
Total credits required 60 Credits subtotal 15 Credits subtotal 15
Total credits required 60 Total credits required 60
218 curricula

M.S./M.F.A. in Library
and Information Science
and Digital Arts
s e me st e r 1 s em e ste r 5 e le c ti ve c ourse s—m.s. in l is
M.S. in LIS M.S. in LIS Required Electives: 6 credits (two 3-credit courses)
LIS-651 Information Professions 3 LIS Elective Course (Electives 3 related to digital technology and information; students
may be selected from lists of select two courses from the following:
M.F.A. in DA
required or recommended LIS-608 Human Information Behavior 3
DDA-572 Electronic Music and Sound, or courses.)
LIS-632 Conservation and Preservation 3
DDA-626 Audio for Digital Media 3 M.F.A. in DA
LIS-643 Information Architecture and 3
DDA-600 Digital Arts In Context 3 DDA-614 3D Modeling 3 Interaction Design
DDA-610 Fundamentals of Computer 3 DDA-660 Thesis I 3 LIS-663 Metadata, Description and 3
Graphics Access
Note: 6 credits of non-DDA courses required for the MFA
DDA-616 Design for Interactive Media 3 in DA degree are taken in the MSLIS program from list of LIS-665 Projects in Digital Archives 3
Credits subtotal 15 MSLIS electives with as asterisks (see list).
LIS-680 Instructional Technology 3
s e me st e r 2 DDA Electives (See List) 3
LIS-693 Digital Libraries 3
M.S. in LIS Credits subtotal 12
Recommended Electives: 12 credits (four 3-credit
LIS-652 Information Services and 3 s em e ste r 6 courses). Note: Courses with an asterisk satisfy
Sources M.S. in LIS the 6-credits of non-DA required electives. “SS”
LIS-653 Knowledge Organization 3 indicates summer session. Besides these elective
LIS Elective Course 3
courses, students may choose other electives such as
M.F.A. in DA LIS Elective Course 3 Photography Collections, Film and Media Collections,
DDA-500 Interactive Studio or (Electives may be selected from the above lists of and Digital Libraries.
DDA-585 Interactive Installation 3 required or recommended courses.) LIS-605 Special Topics in Online Data- 3
DDA-622 Interactive Media 3 M.F.A. in DA base Searching and Services
Credits subtotal 12 DDA-587 Physical Computing 3 LIS-611 Information Policy 3

s e me st e r 3 DDA-660 Thesis II 3 LIS-618 Special Topics in The Art World: 3

Services and Sources
M.S. in LIS Credits subtotal 12
LIS-621 Special Topics in Electronic 3
LIS-654 Information Technologies 3 Total credits required 75 Collections and Sources (SS)
LIS Course from the list of 3 s u btotals by de g re e : LIS-623 Online Databases Humanities 3
“Required Electives:” (See List) M.S. in LIS: 30 and Social Sciences
M.F.A. in DA M.F.A. in DA: 45 LIS-629 Special Topics in Museum and 3
DDA-620 Graphics Programming 3 Library Research
el ec ti ve c ourse s—m.f.a. i n da
DDA-625 Video Editing 3 Recommended Electives: LIS-631 Academic Libraries and 3
Credits subtotal 12 Scholarly Communication
DDA-587 Physical Computing 3
s e me st e r 4 LIS-634 Abstracting and Indexing 3
DDA-612 Digital Imaging 3
M.S. in LIS LIS-641 Information Systems Analysis 3
DDA-614 3D Modeling 3
LIS Course from the list of 3 LIS-642 Special Topics in Thesaurus 3
DDA-620 Graphics Programming 3 Design and Construction
“Required Electives” (See List)
DDA-645 Digital Imaging Studio 3 LIS-686 Special Topics in Performing Arts 3
LIS Course from the list of 3
“Recommended Electives” (See Other Electives: Librarianship
List) DDA-510 Artist Books in the Digital Age 3 LIS-696 Special Topics in Special 3
M.F.A. in DA DDA-513 3D Lighting and Rendering 3 Collections Institutes
DDA-645 Digital Imaging Studio 3 DDA-514 Storyboarding and Storytelling 3 LIS-698 Practicum/Seminar 3
DDA-650 Thesis Research 3 DDA-584 ActionScript 3
Credits subtotal 12 DDA-624 3D Computer Animation 3
DDA-630 Advanced Interactive Media 3
DDA-643 Digital Animation Studio 3

M.P.S. in Art Therapy
and Creativity Development
and M.P.S. in Art Therapy
with Special Needs Children
ac ad e m ic y e a r p rog ra m
s e me st e r 1
ADT-641/ Creative Arts Therapy I/ Special
621 Ed. I
ADT-645/625 Group Creative
Arts Therapy I/ Special Ed. I
ADT-661/671 Fieldwork
Experience and Supervision I/
Special Ed. I
TECH-634/635 Materials in
Creative Arts Therapy/Special
Ed I
Credits subtotal
s e me st e r 2
ADT-632/633 Research and
Thesis, or Research and Thesis:
Special Education
ADT-642/622 Creative Arts
Therapy II/ Special Ed. II
SS-640 Development of Personality I
ADT-647 Art Diagnosis
ADT-662/672 Fieldwork
Experience and Supervision II/
Special Ed. II
Credits subtotal
s e me st e r 3
ADT-649 Advanced Seminar I in Creative
Arts Therapy Adults, or
ADT-651 Developmentally Disabled, or
ADT-653 Children and Adolescents
SS-630 Clinical Diagnosis and Treatment
Issues
ADT-663/673 Fieldwork
Experience and Supervision III/
Special Ed. III
ADT-688 Family Art Therapy
SS-650 Development of Personality II
Credits subtotal
curricula 219
M.P.S. in Art Therapy and
Creativity Development and
M.P.S. in Art Therapy with
Special Needs Children
s pr ing/ s umme r
inte ns ive program
s em e ste r 4
3 ADT-646/626 Group Creative 3 y e ar 1
Arts Therapy II/Special Ed. II
3 ADT-650 Advanced Seminar II in Creative
Arts Therapy Adults, or
se me ste r 1 ( sp ri ng )
ADT-641/ Creative Arts Therapy I 3
2 ADT-652 Developmentally Disabled, or
621
ADT-654 Children and Adolescents 3
se me ste r 2 ( summe r)
SS-660 The Psychology of Intergroup 3
3 SS-640 Development of the Personality I 3
Relations and Institutional
Process ADT-642/622 Creative Arts 3
Therapy II
ADT-664/674 Fieldwork 2
11 ADT-645/625 Group Creative 3
Experience and Supervision IV/
Special Ed. IV Arts Therapy I
3 ­Elective 3 TECH-634/635 Materials in 3
Credits subtotal Creative Art Therapy
14
se me ste r 3 ( fall)
Total credits required 53
3 ADT-661/ Fieldwork Experience and 2
671 Supervision I
3 Credits subtotal 17
3
2 y e ar 2
se me ste r 4 ( sp ri ng )
14
SS-630 Clinical Diagnosis and Treatment 3
Issues
ADT-662/672 Fieldwork 2
Experience and Supervision II
se me ste r 5 ( summe r)
3 SS-650 Development of Personality II 3
3 ADT-632 Thesis/Research 3
ADT-649 Advanced Seminar I in Creative
2 Arts Therapy Adults, or
ADT-651 Developmentally Disabled, or
3 ADT-653 Children and Adolescents 3
3 ADT-688 Family Art Therapy 3
14 se me ste r 6 ( fall)
ADT-663/673 Fieldwork 2
Experience and Supervision III
Credits subtotal 19
220 curricula

M.S. in Dance/ M.S. in Dance/

Movement Therapy Movement Therapy
ac a de mic y e ar program s pr ing/ s umme r
inte ns ive program
s em e ste r 1
DT-671 Theory and Practice of Dance 3 y e ar 1
Therapy I
DT-673 Studies in Movement Behavior I 3
se me ste r 1 ( sp ri ng )
y e ar 3 ADT-641 Creative Arts Therapy I 3­
ADT-641 Creative Arts Therapy I 3
ADT-645 Group Creative Arts Therapy I 3
DT-673 Movement Behavior I 3
s e me st e r 7 ( spr i n g ) ADT-661 Fieldwork Experience and 2
se me ste r 2 ( summe r)
Supervision I
ADT-664/674 Fieldwork 2 SS-640 Development of Personality I 3
Experience and Supervision IV Credits subtotal 14
ADT-642 Creative Arts Therapy II 3
SS-660 Psychology of Intergroup 3 s em e ste r 2
Relations ADT-645 Group Creative Arts Therapy I 3
DT-672 Theory and Practice of Dance 3
s e me st e r 8 ( su m m er ) Therapy II DT-671 Theory and Practice of Dance 3
Therapy I
ADT-643 Expressive Modalities 3 DT-674 Studies in Movement Behavior II 3
ADT-632 Research and Thesis 3
se me ste r 3 ( fall)
ADT-646/ Group Creative Arts Therapy II 3
626 ADT-661/671 Fieldwork 2
ADT-642 Creative Arts Therapy II 3
Experience and Supervision I
ADT-647 Art Diagnosis 3 ADT-662 Fieldwork Experience and 2 Credits subtotal 20
ADT-650 Advanced Seminar II in Creative Supervision II
Arts Therapy Adults, or SS-640 Development of Personality I 3
ADT-652 Developmentally Disabled, or Credits subtotal
y e ar 2
17
ADT-654 Children and Adolescents 3 s em e ste r 3
Credits subtotal
se me ste r 4 ( sp ri ng )
17 ADT-649 Advanced Seminar I in Creative
SS-630 Clinical Diagnosis and Treatment 3
Total credits required 53 Arts Therapy Adults, or
Issues
ADT-651 Developmentally Disabled or
DT-674 Movement Behavior II 3
ADT-653 Children and Adolescents 3
ADT-632 Thesis/Research 3
SS-630 Clinical Diagnosis and Treatment 3
Advanced Seminar I in Creative
Issues
Arts Therapy
DT-675 Improvisation 3
ADT-649 Adults, or
ADT-663 Fieldwork Experience and 2
ADT-651 Developmentally Disabled, or
Supervision III
ADT-653 Children and Adolescents 3
SS-650 Development of Personality II 3
Credits subtotal ADT-662/672 Fieldwork 2
14
Experience and Supervision II
s em e ste r 4 se me ste r 5 ( summe r)
ADT-646 Group Creative Arts Therapy II 3
SS-650 Development of Personality II 3
ADT-650 Advanced Seminar II in Creative
DT-672 Theory and Practice of Dance 3
Arts Therapy Adults, or
Therapy II
ADT-652 Developmentally Disabled, or
se me ste r 6 ( fall)
ADT-654 Children and Adolescents 3
ADT-663 Fieldwork Experience and 2
SS-660 The Psychology of Intergroup 3 Supervision III
Relations and Institutional Credits subtotal 22
Process
ADT-664 Fieldwork Experience and 2
Supervision IV
Credits subtotal 11
Total credits required 56
 curricula 221

M.F.A. in Fine Arts M.S. in History

of Art and Design

s em e ste r 1 se me ste r 1
Studio Major 3 HA-602 Theory and Methodology 3
y e ar 3 Art Criticism/Analysis/History 3 Art History (Film/Design 3
Liberal Arts 3 Electives)
s e me st e r 7 ( spr i n g ) Art History (Architecture 3
Elective Credits 6
ADT-664 Fieldwork Experience and 2 Electives)
Supervision IV Credits subtotal 15
Credits subtotal 9
SS-660 The Psychology of Intergroup 3 s em e ste r 2
se me ste r 2
Relations Studio Major 3
HA-650 Materials, Techniques, and 3
s e me st e r 8 ( su m m er ) Art Criticism/Analysis/History 3 Conservation
ADT-646 Group Creative Arts Therapy II 3 Liberal Arts 3 Art History (Non-Western 3
Advanced Seminar II in Creative Elective Credits 6 Electives)
Arts Therapy Elective Credits 3
Credits subtotal 15
ADT-650 Adults or Credits subtotal 9
s em e ste r 3
ADT-652 Developmentally Disabled, or se me ste r 3
Art Criticism/Analysis/History 3
ADT-654 Children and Adolescents 3 Art History (Pre-Renaissance 3
FA-650A Thesis I 5
DT-675 Improvisation 3 Electives)
Elective Credits 8
Credits subtotal 14 Art History (Renaissance/ 3
Credits subtotal 16
Total credits required 56 Baroque Electives)
s em e ste r 4 Elective Credits 3
FA-601 Thesis Statement I 2 Credits subtotal 9
FA-650B Thesis II 5 se me ste r 4
Elective Credits 7 HA-605 Thesis 3
Credits subtotal 14 Art History (Renaissance/ 3
Total credits required 60 Impressionism Electives)
Elective Credits 3
Credits subtotal 9
Total credits required 36
222 curricula

M.S. in History M.S. in History

of Art and Design of Art and Design
M.S. in Library and M.F.A. in Fine Arts
Information Science Theory, Criticism, and History of Art, Design,
and Architecture Requirements
s e me st e r 1 s em e ste r 1 se me ste r 2
LIS-651 Information Professions 3 HA-602 Theory and Methodology 3 Studio Major 3
LIS-652 Information Services and 3 Art History (Film/Design 3 Art Criticism/Analysis/History 3
Sources Electives) Liberal Arts 3
HA-602 Theory and Methodology 3 Art History (Architecture 3 Elective Credits 6
Art History Elective 2 Electives)
Credits subtotal 15
Credits subtotal 11 Credits subtotal 9
se me ste r 3
s e me st e r 2 s em e ste r 2
Art Criticism/Analysis/History 3
LIS-653 Knowledge Organization 3 HA-650 Materials, Techniques, and
Conservation 3 FA-650A Thesis I 5
LIS-654 Information Technologies 3
Art History (Non-Western 3 Elective Credits 8
HA-650 Materials, Techniques and 3 Electives) Credits subtotal 16
Conservation
Elective Credits 3 se me ste r 4
Art History Elective 2
Credits subtotal 9 Complete these courses plus 7 elective credits.
Credits subtotal 11
s em e ste r 3 FA-601 Thesis Statement I 2
s e me st e r 3
Art History (Pre-Renaissance 3 FA-650B Thesis II 5
Art History Elective 6 Electives)
Elective Credits 7
Library Science Elective 6 Art History (Renaissance/ 3
Credits subtotal 14
Credits subtotal 12 Baroque Electives)
Master of Fine Arts credits required 60
s e me st e r 4 Elective Credits 3
Credits subtotal Total required credits (M.S./M.F.A.) 90
Art History Elective 6 9
Library Science Elective 6 s em e ste r 4
Credits subtotal 12 HA-605 Thesis 3
s e me st e r 5 Art History (Renaissance/ 3
Impressionism Electives)
Art History Elective 5
Elective Credits 3
Library Science Elective 6
Credits subtotal 9
Credits subtotal 11
Master of Science credits required 30
s e me st e r 6
Fine Arts Requirements
HA-605 Thesis 3
Credits subtotal
s em e ste r 1
3
Studio Major 3
Total credits required 60
Art Criticism/Analysis/History 3
Liberal Arts 3
Elective Credits 6
Credits subtotal 15
 curricula 223

Advanced Certificate M.I.D. in Industrial Design

in Museum Studies
Required core courses: s em e ste r 0 se me ste r 3
HA 560 Museology 3 Take these qualifying courses unless exempt. Take 3 credits from the industrial design core courses.
HA 610 Internship 6 IND-585 Production Methods I 2 IND-509 Space Analysis I, or
HA 610B Internship 6 IND-586 Production Methods II 2 IND-510 Space Analysis II 2
A choice of 6 elective credits from: IND-612B Industrial Design Technology II 3 IND-540 CAID II: Alias or
HA 600I Materials and Techniques of 3 IND-694 Drawing I 2 IND-542 CAID II: Solid Works/Pro E. 2
Venice, Pratt in Venice Program IND-695 Drawing II 2 INDC-620 Process/Product Studio, or
ADE 524 Student Teaching in the Gallery 2 Credits subtotal 11 INDC-622 Interdepartmental Studio, or
LIS 629 Museum and Library Research 3 s em e ste r 1 INDC-624 Design Methodology, or
LIS 632 Conservation and Preservation 3 Complete these courses. INDC-626 Design Strategies, or
ACM 621 Strategic Marketing 2 IND-612A Industrial Design Technology I 3 INDC-628 Furniture Design, or
ACM 622 Fundraising for the Arts and 2 IND-614A Graduate Color Workshop I (2-D) 2 INDC-630 Exhibit Design, or
Culture
IND-660A Directed Research I 2 INDC-632 Tabletop Design 3
ACM 624 Arts and Cultural Education 2
IND-672 Graduate 3-D I 2 IND-699A Thesis I 3
ACM 642 Nonprofit Law and Governance 2
IND-690 Industrial Design Workshop I 2 HD-506 Concepts of Design 2
ACM 651 Finance and Financial Reporting 2
Credits subtotal 11 Elective 2
for Nonprofit Managers
s em e ste r 2 Credits subtotal 14
Take 3 credits from the industrial design core courses. se me ste r 4
IND-539 CAID I: Alias or IND-515 Prototypes I, or
IND-541 CAID: Solid Works/Pro E. 2 IND-516 Prototypes II 2
IND-614B Graduate Color Workshop II 2 HD-608 History of Industrial Design 2
(3-D)
Elective 2
INDC-620 Process/Product Studio, or
IND-699B Thesis II 3
INDC-622 Interdepartmental Studio, or Credits subtotal 9
INDC-624 Design Methodology, or Total credits required 48
INDC-626 Design Strategies, or
A minimum of 48 credits of study are required for the
INDC-628 Furniture Design, or Master in Industrial Design.
INDC-630 Exhibit Design, or The courses with the notation “(QUAL)” represent an
additional 11 credits that may be required for applicants
INDC-632 Tabletop Design 3 whose undergraduate background need strengthening
IND-660B Directed Research II 2 in Industrial Design.
IND-673 Graduate 3-D II 2
Elective 3
Credits subtotal 14
2 24 curricula

M.S. in Interior Design School of Information M.S. in Library and

Information Science
s e me st e r 1
INT-601 (QUAL) Qualifying Design I 6
and Library Science
INT-606 (QUAL) Qualifying rchitecture 2
Drawing
se me ste r 1
INT-631 (QUAL) Color and Materials 2
LIS-651 Information Professions 3
HD-609 History of Interior Design 2
LIS-652 Information Services and 3
Credits subtotal 12 Sources
s e me st e r 2 Elective Credits 3
INT-560 (QUAL) CADD I: AutoCAD 2 Credits subtotal 9
INT-602 (QUAL) Qualifying Design II 6 se me ste r 2
INT-604 (QUAL) Qualifying Construction 2 LIS-653 Knowledge Organization 3
HD-610 History of Interior Design II 2 LIS-654 Information Technologies 3
Credits subtotal 12 Elective Credits 3
s e me st e r 3 Credits subtotal 9
INT-621 Design I 6 se me ste r 3
INT-623 Construction I 2 Elective Credits 9
INT-625 Presentation Techniques 2 Credits subtotal 9
INT-633 Lighting Design I 2 se me ste r 4
Credits subtotal 12 Elective Credits 9
s e me st e r 4 Credits subtotal 9
INT-561 CADD II: 3-D Max 2 Total credits required 36
INT-622 Design II 6
INT-624 Construction II 3
INT-698 Directed Research (Required for 2
thesis)
Credits subtotal 13
s e me st e r 5
INT-632 Color and Materials II 2
INT-699A/671 Thesis I or 3–5
Exhibition Design I
HD-506 Concepts of Design 2
Elective Credits 3
Credits subtotal 10–12
s e me st e r 6
INT-641 Professional Practice 2
INT-699B/ Thesis II or Exhibition Design II 3–5
672
Elective Creditts 2–4
Credits subtotal 9
Total credits required 48
A minimum of 48 credits is required for the Master of
Science in Interior Design. The courses followed by the
notation “(QUAL)” represent an additional 20 credits that
may be required for applicants whose undergraduate
backgrounds need strengthening in art and design.
 curricula 225

M.S. in History M.S. in Library and M.S./M.F.A. in Library

of Art and Design Information Science: Library and Information Science
M.S. in Library and Media Specialist and Digital Arts
Information Science s em e ste r 1 se me ste r 1
LIS-648 Library Media Centers 3 M.S. in LIS
s e me st e r 1 LIS-651 Information Professions 3 LIS-651 Information Professions 3
LIS-651 Information Professions 3 LIS-652 Information Services and 3 M.F.A. in DA
LIS-652 Information Services and 3 Sources DDA-572 Electronic Music and Sound, or
Sources Credits subtotal 9 DDA-626 Audio for Digital Media 3
HA-500 Theory and Methodology 3 s em e ste r 2 DDA-600 Digital Arts In Context 3
Art History Elective 2 LIS-653 Knowledge Organization 3 DDA-610 Fundamentals of Computer 3
Credits subtotal 11 LIS-654 Information Technologies 3 Graphics
s e me st e r 2 LIS-676 Literature and Literacy for 3 DDA-616 Design for Interactive Media 3
LIS-653 Knowledge Organization 3 Children Credits subtotal 15
Credits subtotal 9 se me ste r 2
HA-550 Materials, Techniques and 3
Conservation s em e ste r 3 M.S. in LIS
Art History Elective 2 LIS-677 Literature and Literacy for Young 3 LIS-652 Information Services and 3
Credits subtotal 11 Adults Sources
s e me st e r 3 LIS-680 Instructional Technologies 3 LIS-653 Knowledge Organization 3
­Art History Elective 6 LIS-690 Student Teaching: 1–6 3 M.F.A. in DA
Credits subtotal 9 DDA-500 Interactive Studio, or
Library Science Elective 6
Credits subtotal 12 s em e ste r 4 DDA-585 Interactive Installation 3
s e me st e r 4 LIS-692 Student Teaching: 7–12 3 DDA-622 Interactive Media 3
Art History Elective 6 Elective credits 6 Credits subtotal 12
Credits subtotal 9 se me ste r 3
Library Science Elective 6
Credits subtotal Total credits required 36 M.S. in LIS
12
s e me st e r 5 certi fi c ati on re qui re me nts LIS-654 Information Technologies 3
Art History Elective 5 The following academic requirements must be fulfilled LIS Course from the list of “Required 3
prior to applying for Initial Teaching Certification. Electives”(See List)
Library Science Elective 6 The courses or workshops may be taken at Pratt or
M.F.A. in DA
Credits subtotal 11 transferred from another post-secondary school or
institution. DDA-620 Graphics Programming 3
s e me st e r 6
DDA-625 Video Editing 3
HA-605 Thesis 3
Credits subtotal 12
Credits subtotal 3
Total credits required
se me ste r 4
60
M.S. in LIS
LIS Course from the list of 3
“Required Electives” (See List)
LIS Course from the list of 3
“Recommended Electives”
(See List)
M.F.A. in DA
DDA-645 Digital Imaging Studio 3
DDA-650 Thesis Research 3
Credits subtotal 12
226 curricula

s e me st e r 5 el ec ti ve c ourse s – m.s. i n li s L.L.M./M.S. LIS—

M.S. in LIS Required Electives: 6 credits (two 3-credit courses)
LIS Elective Course (Electives may 3 related to digital technology and information; students Law Librarianship and
select two courses from the following:
be selected from lists of required
or recommended courses.) LIS-608 Human Information Behavior 3
Information Law—
M.F.A. in DA LIS-632 Conservation and Preservation 3 Dual-Degree
DDA-614 3-D Modeling 3 LIS-643 Information Architecture and 3
Interaction Design
DDA-660 Thesis I 3 se me ste r 1
Note: 6 credits of non-DDA courses required for the LIS-665 Projects in Digital Archives 3
LIS 617 Legal Research Methods & Law 3
M.F.A. in DA degree are taken in the M.S. LIS program LIS-663 Metadata, Description and
from list of M.S. LIS electives with as asterisks (See List)). Access3 LIS 651 Information Professions 3

DDA Electives (See List) 3 LIS-680 Instructional Technology 3 LIS 652 Information Services and Sources 3
Credits subtotal 12 LIS-693 Digital Libraries 3 BLS Copyright Law 3
Credits subtotal 12
s e me st e r 6 Recommended Electives: 12 credits (four 3-credit
M.S. in LIS courses). Note: Courses with an asterisk satisfy the 6 se me ste r 2
credits of non-DA required electives. “SS” indicates LIS 626 Online Databases: Law 3
LIS Elective Course 3 summer session. Besides these elective courses,
LIS Elective Course 3 students may choose other electives such as LIS 653 Knowledge Organization 3
Photography Collections, Film and Media Collections, LIS 654 Information Technologies 3
Electives may be selected from the above lists of and Digital Libraries.
required or recommended courses. BLS Mass Media Law 3
LIS-605 Special Topics in Online Data- 3
M.F.A. in DA Credits subtotal 12
base Searching and Services
DDA-587 Physical Computing 3 LIS-611 Information Policy 3 se me ste r 3
DDA-660 Thesis II 3 LIS-618 Special Topics in The Art World: 3 LIS 698 Practicum (BLS Library & Archives) 3
Credits subtotal 12 Services and Sources BLS Internet Law 3
Total credits required 75 LIS-621 Special Topics in Electronic 3 Choose two electives from the following courses:
Subtotals by Degree: Collections and Sources (SS)
LIS 611 Information Policy
M.S. in LIS 30 LIS-623 Online Databases Humanities 3
LIS 613 Government Information
and Social Sciences
M.F.A. in DA 45 LIS 616 Business Economics &
LIS-629 Special Topics in Museum and 3
e le c t ive c ou r s es — m .f.a . i n da Statistical Information
Library Research
Recommended Electives LIS 619 International Information
LIS-631 Academic Libraries and 3
DDA-587 Physical Computing 3 Scholarly Communication LIS 684 Contemporary Issues in Law 6
DDA-612 Digital Imaging 3 LIS-634 Abstracting and Indexing 3 Credits subtotal 12
DDA-614 3-D Modeling 3 LIS-641 Information Systems Analysis 3 se me ste r 4
DDA-620 Graphics Programming 3 LIS-642 Special Topics in Thesaurus 3 Thesis 3
Design and Construction BLS Information Privacy Law 3
DDA-645 Digital Imaging Studio 3
Other Electives LIS-686 Special Topics in Performing Arts 3 Choose one elective from the following courses:
Librarianship
DDA-510 Artist Books in the Digital Age 3 LIS 608 Information Behavior
LIS-696 Special Topics in Special 3
DDA-513 3-D Lighting and Rendering 3 Collections Institutes LIS 627 Online Databases: Business
DDA-514 Storyboarding and Storytelling 3 LIS-698 Practicum/Seminar 3 LIS 630 Research Methods
DDA-584 ActionScript 3 LIS 665 Projects in Digital Archives
DDA-624 3-D Computer Animation 3 LIS 697 Social Media 3
DDA-630 Advanced Interactive Media 3 Credits subtotal 9
DDA-643 Digital Animation Studio 3 Total credits required 45
summe r ( opti onal)
Students may take up to 6 credits in the summer including:
LIS 684 Contemporary Issues in Law 3
LIS 698 Practicum 3
Thesis 3
 curricula 227

Advanced Certificate Advanced Certificate Advanced Certificate in

in Archives in Library and Library Media Specialist
Information Studies se me ste r 1
LIS-648 Library Media Centers 3
LIS-699 Independent Study 6
LIS-676 Literature and Literacy for 3
LIS Elective Courses (8) 24 Children
s e me st e r 1 See Concentration Advisor
LIS-690 Student Teaching I 3
LIS-625 Management of Archives and 3 Credits subtotal 30
Special Collections Credits subtotal 9
Total credits required 30
Credits subtotal 3 se me ste r 2
s e me st e r 2 LIS-677 Literature and Literacy for Young 3
LIS Elective See list below 3 Adults
Credits subtotal 3 LIS-680 Instructional Technology 3
LIS-692 Student Teaching II 3
s e me st e r 3
Credits subtotal 9
LIS Elective See list below 3
Total credits required 18
Credits subtotal 3
s e me st e r 4 c e rti fi c ati on re qui re m en t s
The following academic requirements must be fulfilled
LIS-698 Seminar and Practicum 3
prior to making an application for Initial Teaching
Credits subtotal 3 Certification. The courses or workshops may be taken
Total credits required 12 at Pratt or transferred from another post-secondary
school or institution.
LIS Elective courses:
Advanced Certificate in Museum Libraries
LIS-632 Conservation and Preservation
Four courses are needed in order to obtain the
LIS-650 Principles of Records Advanced Certificate in Museum Libraries. This
Management certificate is for students who have already graduated
LIS-663 Metadata and obtained an MLS, whether from Pratt-SILS or
another accredited library school.
LIS-665 Projects in Digital Archives
1 course is required:
LIS-669 Management of Electronic
Records LIS-698 Seminar and Practicum
LIS-686 Performing Arts Librarianship se me ste r 1
LIS-687 Special Collections LIS Elective from the following courses:
LIS-688 Map Collections Curatorial:
LIS-689 Art Collections LIS-629 Museum Library Research
LIS-697 Special Topics in Ephemera LIS-632 Conservation and Preservation
Collections LIS-667 Art Librarianship
LIS-697 Special Topics in Film and Media LIS-686 Performing Arts Librarianship
Collections
LIS-687 Special Collections
LIS-697 Special Topics in Photography
Collections LIS-688 Map Collections

LIS-697 Special Topics in Rare Books LIS-689 Art Collections

LIS-697 Special Topics in Archives LIS-697 Special Topics in Florentine Art

and Manuscripts and Culture
LIS-697 Special Topics in Museum 3
Librarianship
Credits subtotal 3
228 curricula

School of Liberal M.A. in Media Studies

s e me st e r 2
LIS Elective from the following courses:
Arts and Sciences se me ste r 1
HMS-650A Methodologies I 3
Digital Technology: KMS-549A Encounters I 1
LIS-643 Information Architecture Practices elective 3
LIS-665 Projects in Digital Archives Seminar or Project Electives 3
LIS-680 Instructional Technologies Credits subtotal 10
LIS-681 Usability Leadership se me ste r 2
LIS-697 Special Topics in Digital Libraries HMS-549B Encounters II 1
LIS-697 Special Topics in London/E- Practices Elective 3
Publishing
Seminar or Project Elective 3
LIS-697 Special Topics in Web Design 3
HMS-650B Methodologies II 3
Credits subtotal 3
Credits subtotal 10
s e me st e r 3
se me ste r 3
LIS Elective from the following courses
HMS-659A Thesis Workshop 4
Museum Library Education and Outreach:
Seminar or Project Elective 6
LIS-697 Special Topics in Museum and
Library Education Outreach Credits subtotal 10
LIS-697 Special Topics in Museum 3 Total credits required 30
Education Libraries and
Resource Centers
Credits subtotal 3
s e me st e r 4
LIS-698 Seminar and Practicum 3
Credits subtotal 3
Total credits required 12

Courses
School of Architecture
ARCH/Architecture
Design Studio I: Fundamentals
ARCH-601 | 5 CR   This studio is an introduction
to the fundamental concepts, processes, and skills
required for graduate architectural design. With a series
of abstract yet non-reductive exercises, students will
learn to create and discuss formal, spatial and material
relations. Through design projects and discussions with
the studio critic, students will develop an understand-
ing of fundamental design principles, representational
techniques, and analytical skills.
Design Studio 2: Context
ARCH-602 | 5 CR   Studio emphasis is on design
that conceptually and materially addresses a specific
site and context. The study and application of building
materials and technologies is explored in the design of
a small building (renovation and addition) in response
to a detailed architectural program. Digital representa-
tion techniques are also explored. Prerequisites: take
ARCH-620.
Computer Media I: Multimedia
ARCH-611 | 3 CR   The first media course empha-
sizes the integrated use of the computer and computer
software for representation, design development,
and presentation. (A basic knowledge of computers is
required.)
Computer Media II: Advanced
ARCH-612 | 3 CR   This course provides a framework
for conceptualizing the digital project in architecture.
The course is a hybrid seminar/workshop that is driven
by a single course project that, in turn, is driven by
a series of investigations. These investigations will
approach the functions of software in such a way as to
extract critical approaches to the digitization of archi-
tecture. Prerequisites: take ARCH-640.
Structures I
ARCH-631 | 3 CR   This course introduces the fun-
damentals of structures including statics, strength, and
stability of materials. Students are introduced to struc-
tural concepts, systems, and the tracing of structural
loads, using basic principles, physical modeling, and
theoretical and analytic methods. Topics include the
interrelationship between strain, stress, and stability, as
well as the implications of tension, compression, shear,
torsion, and bending. (Prerequisite is a minimum three
credits of college-level Physics or Calculus)
Structures II
ARCH-632 | 3 CR   This course is an exploration of
structural design in building using several material
palettes including wood, steel, and concrete. This
course introduces specific structural applications of
materials commonly used in small-scale commercial
and institutional buildings. Students are introduced to
the design of columns, walls, joinery, and connections
appropriate to each material type. Theoretical, analyti-
cal, and computer simulation methods are employed.
Prerequisites: take ARCH-630.
Directed Research
ARCH-648 | 2–3 CR   This course is intended for
students who wish to do independent research at a
graduate level in a subject of their choice and accept-
able to the graduate faculty and the chairperson.
International Studies: Rome
ARCH-648A | 3 CR   Students visit and study ancient
Rome sites; Medieval, Renaissance, and Baroque
architecture; and modern and contemporary projects
in Rome, as well as in other prominent Italian cities and
towns. This course provides firsthand experience ana-
lyzing architecture, cultural forces, and urban systems
through architectural investigations. Prerequisites: take
ARCH-652.
International Studies: Istanbul
ARCH-648B | 2–3 CR   This course is intended for
students who wish to do independent research at a
graduate level in a subject of their choice and accept-
able to the graduate faculty and the chairperson.
229
International Study: Istanbul Research
ARCH-648C | 3 CR   The seminar intends to close
the existing gap between theories and technologies of
the 21st-century metropolis and architects’ current data
retrieval and representation methods. It will do this by
examining the kind of knowledge each data collection
technology generates for its own time, place, and
content. Prerequisites: take ARCH-652.
History/Theory I: Modern
ARCH-651 | 3 CR   This course investigates the
history of modern architecture during the twentieth
century. It introduces students to important architects,
buildings, movements, discourses, and institutions and
traces the transformations ofboth mainstream modern-
ism and avant-garde practices from the 1920s until the
1960s. Beyond a history of canonical figures and works,
the course will also address aspects of the history of
modern architecture that have only recently been
introduced into the study of this period.
History/Theory 2: Arch Theory
ARCH-652 | 3 CR   This is an intensive reading
course in architectural theory and related philosophi-
cal and critical texts from the nineteenth and twentieth
centuries. The current state of architectural practice
in relation to theory is considered. Students place the
readings in relation to one another and in cultural/
historical context through class discussion and seminar
format, presentation, and papers. Prerequisites: take
ARCH-650.
Independent Study
ARCH-698 | 1–5 CR   Students may conduct an inde-
pendent study project on a problem of interest or as
an extension of a regular course. The study may result
in either a paper or a physical design project. The topic
must be approved by the chair and may be supervised
by any faculty member.
Thesis in Progress
ARCH-700 | 0 CR   If the Thesis course is not com-
pleted in the initial semesters, students can continue
working in ARCH-700 for no more than five semesters.
230 courses
Design Studio III: Urban Mix
ARCH-703 | 5 CR   This design studio will focus on
the contemporary urban condition. Specifically, the
students will be introduced to the interrelationships
between urban form, land and building use, transporta-
tion, and environment. Prerequisites: take ARCH-620
ARCH-621.
Design Studio IV: CAP
ARCH-704 | 5 CR   This is the final studio in a series
of four core design studios. This studio emphasizes the
comprehensive nature of architectural design. One
project, of moderate complexity, engages students in a
design investigation for an urban site which includes all
aspects of design development, including documenta-
tion of typical construction details. Prerequisites: take
ARCH-620 ARCH-621 ARCH-622.
Parametric Systems and Form
ARCH-711A | 3 CR   Students in this course investi-
gate how computer programming techniques can be
used in the generation of architectural form, in particu-
lar three-dimensional form.
Scripting and Form
ARCH-711C | 3 CR   Students in this course investi-
gate how computer programming techniques can be
used in the generation of architectural form, particularly
in the generation of drawings, both still and animated,
and user-interactive systems. Prerequisites: take ARCH-
612.
Digital Fabrication in Arch.
ARCH-712A | 3 CR   This course instructs students in
the project conceptualization, preparation of drawings,
and production involved in computer aided fabrica-
tion of architectural components. Prerequisites: take
ARCH-612.
Computer Aided Construction
ARCH-712B | 3 CR   This course introduces students
to new ways architects can engage the construction
industry as a result of the computer techniques in
theproduction of building components and assemblies.
Prerequisites: take ARCH-612.
Integrated Computer Modeling
ARCH-712C | 3 CR   This course is an introduction
to and advancement of computer-aided modeling and
rendering of 3-D visuals in architecture. The emphasis of
this course is on the integrated use of various software
packages and the exploration of how the computer can
be used for the effective generation and visualization
of 3-D architectural design concepts. Prerequisites: take
ARCH-612.
Animation in Arch. Design
ARCH-713A | 3 CR   In this course students retool
digital animation techniques into form generation
devices for architectural design. In particular, students
will focus on building interactive, performative models
for the evaluation of architectural geometries. Prerequi-
sites: take ARCH-612.
Computer Logics
ARCH-714A | 3 CR   This course emphasizes an in-
depth understanding of the logins of computer media
employed in architectural design. Instead of accepting
the formal biases of a given software package, students
are asked to explore methodologies through which the
architectural designer can customize a set of computer
design tools to correspond to specific architectural form
agendas. Prerequisites: take ARCH-612.
Architecture Exhibition Design
ARCH-715A | 3 CR   This course teaches the design,
curation, and fabrication skills necessary to mount an
architecture exhibition. Students organize content, pres-
ent conceptual ideas, design exhibition details, build
prototypes, and develop a construction schedule within
given budget. Prerequisites: take ARCH-612.
Theory & Practice: Architectural Rep.
ARCH-716A | 3 CR   This course gives students
an overview of the practical and theoretical aspects
of architectural representation from the 1960s to the
present. Students examine how a variety of media is
incorporated into representations of design, and in par-
ticular how computer media is used in contemporary
architectural practice. Prerequisites: take ARCH-612.
Computer Media: Advanced Modeling
ARCH-717A | 3 CR   The basic premise underlying
this seminar is that to better define what architecture
can be and do in a hyper-mediated world, we must turn,
not to computer paradigms, but to narrative film. To this
end, this seminar examines films as if they were works
of architecture and imagines architecture as film. Archi-
tecture is anything but certain, and the fiction of films,
as opposed to the insistent actuality of buildings, frees
us from the pretense of knowing with certainty. Also, in
the tradition of architecture theory at its best, looking
at films through architecture reveals them in ways not
possible through literature or theater.
History/Theory 3: Non-Western History
ARCH-753 | 3 CR   This course introduces the issues
and personalities that are shaping the built environ-
ment today in much of the non-Western world. The
course situates and circumscribes the theoretical
debates that are occurring, emphasizing common fea-
tures where they occur, such as climate, religion, ethnic
composition and social hierarchies, and also shared
problems like low-cost housing or large institutional
projects. Prerequisites: take ARCH-650 ARCH-651.
Environmental Controls
ARCH-761 | 3 CR   This course addresses the design
of mechanical, electrical, plumbing, and other systems
for providing services in buildings. Heating, cooling,
electrical service, lighting, plumbing, fire protection,
vertical transportation, communication and security,
acoustics, and energy conservation techniques are
covered. From physical law to practical applications,
building services for houses, institutional and com-
mercial structures and communities are discussed.
Prerequisites: take ARCH-661.
Materials and Assemblies
ARCH-762 | 3 CR   Topics include assemblage of
the structural types: wood, masonry, steel, tensile
structures, and concrete; selection criteria for non-
structuralmaterials: glass, plastics, and non-ferrous
materials; building components: stairs, windows, glass,
and interior finishes, and criteria for fire, water move-
ment, sound, and temperature control. Prerequisites:
take ARCH-630.
Integrated Building Systems
ARCH-763 | 3 CR   This is an applied science course
in which advanced applications of scientific technol-
ogy in structures, materials, and energy are developed.
The lecture format is supplemented by exercises and
individual research projects pertinent to the technology
of design and construction. Prerequisites: take ARCH-
661 ARCH-662.
Teaching Methodologies
ARCH-781 | 3 CR   This course is intended for
students who wish to do independent research at a
graduate level in a subject of their choice and accept-
able to the graduate faculty and the chairperson.
Summer Design Studio: Vertical
ARCH-803 | 5 CR   Coursework studies complex
architecture and urban design problems related to
various theoretical premises; cultural, historical, and
technical concepts are examined for application and
contribution to developing appropriate architectural
form and aesthetics.
Design Studio 5: Vertical Option
ARCH-805 | 5 CR   This is a Vertical Design Studio
in which students produce a project in a paperless
studio. Sites are located within a negotiation between
the building and the Internet. The premise is to make
a digital object that, like digital processes, combines
both representation and production. Prerequisites: take
ARCH-620 ARCH-621 ARCH-622 ARCH-623.

Design Studio 6: Vertical II
ARCH-806 | 5 CR   This studio provides opportuni-
ties for advanced architectural research by graduate
students. The class investigates and elaborates powers
of conviction through architecture, taking as a context
current issues rather than a particular physical loca-
tion. Students are enabled and encouraged to design
their own strategies to carry out the course objectives.
Prerequisites: take ARCH-620 ARCH-621 ARCH-622
ARCH-623 ARCH-624.
Multimedia & Computer Methods
ARCH-813 | 3 CR   The basic premise underlying this
seminar is that to better define what architecture can
be and do in a hyper-mediated world, we must turn,
not to computer paradigms, but to narrative film. To this
end, this seminar examines films as if they were works
of architecture and imagines architecture as film. Archi-
tecture is anything but certain, and the fiction of films,
as opposed to the insistent actuality of buildings, frees
us from the pretense of knowing with certainty. Also, in
the tradition of architecture theory at its best, looking
at films through architecture reveals them in ways not
possible through literature or theater
Material Articulation in Architecture
ARCH-850A | 3 CR   Students research historical and
contemporary architecture precedents and identify sets
of design criteria. Students then use these criteria to
fabricate physical models. These models are prototypes
for ways in which technology, technique, and material
converge in architectural production. Prerequisites: take
ARCH-753.
Material Technology in Architecture
ARCH-850B | 3 CR   Students research historical and
contemporary architecture precedents and identify sets
of design criteria. Students then use these criteria to
fabricate physical models. These models are prototypes
for ways in which technology, technique, and material
converge in architectural production. Prerequisites: take
ARCH-753.
Architecture in Film
ARCH-851A | 3 CR   This seminar introduces stu-
dents to the scholarship in architecture and film as they
examine the optical and analytical devices of narrative
film within the context of architecture theory. Students
study film as if it were architecture, making space with
moving images and architecture as if it were film playing
up the time and psyche of architecture. Prerequisites:
take ARCH-753.
Architecture and Geometry
ARCH-851B | 3 CR   This course examines a number
of problematics concerning the use of computation, as
its use in design work has shifted the technological and
aesthetic understanding of geometry and architecture.
Students will look at specific historical and contempo-
rary definitions of computation as well as its different
uses in different fields related to the discipline ofarchi-
tecture. Prerequisites: take ARCH-753.
Design Intelligence
ARCH-851C | 3 CR   Design Intelligence deals with
the particular moments where established techniques
of architectural affect and production shift among
design media, environments, and designed artifacts.
The course traces links between drawing shorthand for
two-dimensional media. and building where specific
confluence, crisis, and shift occurs in the concep-
tion and practice of each. This traffic back and forth
between architecture’s media is examined in archival
research, theoretical discourse, and actual production.
Prerequisites: take ARCH-753.
Nature and Design
ARCH-851D | 3 CR   This seminar examines how
nature and design have been considered intrinsically
linked throughout history and considers how recent
technological advancements can alter our under-
standing of how this relationship can be enacted in
architectural design. Prerequisites: take ARCH-753.
Critical Geography & Technical Rep.
ARCH-851E | 3 CR   This course investigates how
spatial relationships affect a range of subject areas,
from the way physical structures and natural condi-
tions affect populations, to the way populations in
turn shape physical spaces. Students will study the
theoretical work of critical geography through texts by
Denis Cosgrove and others, as well as the work of the
Frankfurt School, which includes the work of Walter
Benjamin. Students will develop a mapping project that
researches contemporary relations between the social
and spatial.
Composite Structures in Arch
ARCH-853A | 3 CR   This course explores the
possibilities and limitations of composite materials in
the building industry. Students study how composite
structures take advantage of the different properties of
its constituent parts. Issues covered in this course range
from initial analysis and design to implementation in
architecture projects. Prerequisites: take ARCH-753.
Plasticity in Architecture
ARCH-853B | 3 CR   This course is about rethinking
questions of technology in architecture. The course
addresses both historical and contemporary issues,
including cybernetics, second-order systems theory,
problems of agency and animations, theories of sus-
tainability and computation, in an architectural context.
Prerequisites: take ARCH-753.
History Structural Design
ARCH-853C | 3 CR   This seminar introduces
students to the history of structural design and enables
them to research theoretical and material topics
regarding structural engineering. The seminar examines
the relationship between architecture and engineering.
Prerequisites: take ARCH-753
courses 231
Theoretical Principals of Materials
ARCH-853D | 3 CR   This course explores the theo-
retical principles behind structural engineering and
building materials, and how new technology can alter
methodologies in architectural design. Prerequisites:
take ARCH-753.
Theory & Practice Architecture
ARCH-855A | 3 CR   This course enables students
to make a connection between the academy and the
profession through research and discussion of current
themes in the discipline of architecture. Prerequisites:
take ARCH-753.
Architecture and Culture
ARCH-855C | 3 CR   This course will allow for the
specific examination of architecture with the respect to
cultural systems, including ethical, political, legal, and
property systems. Prerequisites: take ARCH-753.
Mass Customization in Architecture
ARCH-857A | 3 CR   This course explores the use
of mass customization in architecture, both through
historical research and practical exploration. Students
examine built and theoretical work and study how
mass customization is integrated in the practice of
architecture. Students also examine socio-political
and socio-cultural aspects of mass customization in
the discipline of architecture, particularly in relation to
housing. Prerequisites: take ARCH-753.
Architecture and Information Space
ARCH-857B | 3 CR   This course introduces stu-
dents to the problematic of designing architectural
spaces with programs related with the collection,
dissemination, exchange and learning of information.
Prerequisites: take ARCH-753.
Architecture and Urban Transformation
ARCH-859A | 3 CR   This seminar explores histories
and theories of change in cities, focusing, on the role
that architectural design plays in producing, imagining,
and justifying the redistribution of spatial, material, and
economic resources. Prerequisites: take ARCH-753.
Architecture and Society
ARCH-859B | 3 CR   This course investigates the
relationship between space, social activism, and the
environment in America from the 1960’s to the pres-
ent. It traced the evolution of environmental design
by looking at the present. It traced the evolution of
environmental design by looking at the complex
relationships between the American civil rights and
environmental movements. This seminar seeks to
contextualize the history of advocacy and grassroots
architecture and planning. Prerequisites: take ARCH-
753.
232 courses
Landscape, Cityscape, Place
ARCH-859C | 3 CR   This course traces the relation-
ship of architecture and urban design to developments
in human geography and cultural landscape studies
from the turn of the 20th century to the present day.
Prerequisites: take ARCH-753.
Housing in Berlin and NY
ARCH-859D | 3 CR   This course surveys the history
of large scale housing projects and housing reform
movements in Berlin and New York from around 1890 to
the present day, with a focus on architects’ engagement
with the social and economic problems of the modern
metropolis. These two cities are exemplary of the vast
new metropolises that came into existence with the
wave of industrialization ofthe late 19th century and in
both we find case studies that chronicle the constantly
renegotiated relationship between architectural culture
and the modern urban situation. Prerequisites: take
ARCH-753.
Professional Practice
ARCH-861 | 3 CR   This course examines the
profession of architecture. What is an architect? What
is the process of licensing? What are the contractual
responsibilities of an architect? What are the stages of
an architectural project? These and other questions
regarding the practice of architecture are raised and
answered. The tools for starting, maintaining, and evolv-
ing in architecture are presented. Prerequisites: take
ARCH-661 ARCH-662 ARCH-663.
Internships
ARCH-862 | 2–5 CR   Graduate students may
participate in architectural office internships in selected
architectural firms. An internship is intended to include
all phases of office experience under the supervision
of senior members of the firm and is a significant tran-
sitioned experience leading to architectural practice.
Internships are considered as elective credit only, with
credit hours determined by the chair based on the
nature of the work assignment and the length of the
internship period.
Fall Design Studio for MS students
ARCH-901 | 5 CR   Studio emphasis is on design
that conceptually and materially addresses a specific
site and context. The study and application of building
materials and technologies is explored in the design of
a small building (renovationand addition) in response
to a detailed architectural program. Digital representa-
tion techniques are also explored. Prerequisites: take
ARCH-620.
Spring Thesis Design
ARCH-902 | 5 CR   Students work on the detailed
design and presentation of an approved thesis subject
that investigates—from a theoretical or pragmatic
position—a subject of sufficient complexity and particu-
lar relevance to the thesis candidate’s background or
career orientation.
Graduate Pro Seminar I
ARCH-981 | 3 CR   The course is intended to provide
a discussion of current theoretical issues in archi-
tecture and urban design that will serve to support
investigations being carried out in the graduate design
studios. The course will place a special emphasis on
architectural issues related to New York. The course will
be taught through critical readings, discussion, and pre-
sentations of individual research. This course is taken
concurrently with ARCH-601 and ARCH-602.
Graduate Pro Seminar II
ARCH-982 | 3 CR   This course is intended to provide
a discussion of theoretical issues in architecture and
urban design which will serve to support investigations
being carried out in the graduate design studios. The
course will place a special emphasis on architectural
issues related to New York. The course willbe taught
through critical readings, discussion, visiting lecturers,
and presentations of individual research. This course is
to be taken concurrently with ARCH-601 and ARCH-602.
Prerequisites: take ARCH-601 ARCH-602.
Thesis Research
ARCH-988 | 3 CR   This course consists of in-depth
research, concept development, and programming
of thesis projects. Students are required to work
competently between the accumulation of information
and the technical transformation of that material into
a definitive architectural project. Co-requisite courses:
ARCH-602.
CM/Construction
Management
Construction Management I
CM-601 | 3 CR   Covers construction project
management from conception to completion. Students
explore feasibility studies, site selection, planning,
programming, design coordination, and contracting
procedures of actual construction. Emphasis is on con-
tractor operations, project administration, job planning,
CPM scheduling, and subcontract coordination.
Construction Management II
CM-602 | 3 CR   Covers construction project
management from conception to completion. Students
explore feasibility studies, site selection, planning,
programming, design coordination, and contracting
procedures of actual construction. Emphasis is on con-
tractor operations, project administration, job planning,
CPM scheduling, and subcontract coordination.
Computer Applications I
CM-621 | 2 CR   A hands-on study of computer
applications that facilitate the construction manage-
ment process and extend management capabilities.
Computerized control systems are investigated from
pre-design through construction with an emphasis on
cost management and scheduling. CM-621 deals with
contemporary applications of construction manage-
ment tools.
Computer Applications II
CM-622 | 2 CR   A hands-on study of computer
applications that facilitate the construction manage-
ment process and extend management capabilities.
Computerized control systems are investigated from
pre-design through construction with an emphasis on
cost management and scheduling. CM-622 concen-
trates on project schedule applications. An introduction
to web-based project management tools is also investi-
gated. Prerequisites: take CM-621.
Construction Safety Management
CM-640 | 3 CR   An advanced comprehensive
approach to the management of construction site
safety. Federal and state requirements are reviewed,
and New York City rules and regulations, building
codes, and fire department requirements and local laws
pertaining to site safety are covered in detail. Topics
related to establishing and implementing a site-safety
program include: pre-bidding considerations, planning
and scheduling, personnel training, orientation, and
safety audits. Students prepare a case study Site Safety
Plan for a construction site. This course is approved by
the Department of Buildings as meeting the orientation
course and the 40-hour course requirements for certifi-
cation as a site safety manager in New York City.
Architecture of NYC
CM-651A | 2 CR   New York City is a virtual store-
house of American architecture. The stock of buildings
includes examples of nearly every style of architecture
from colonial to postmodern. This course reviews the
various historical eras of architecture in New York City
and analyzes how they were affected by construction
technology and social and economic forces. Lectures
present the stylistic groupings of architecture and are
supplemented by visits to the unique historic districts
and architectural sites of the city.
Architecture of NYC
CM-651B | 3 CR   New York City is a virtual store-
house of American architecture. The stock of buildings
includes examples of nearly every style of architecture
from colonial to postmodern. This course reviews the
various historical eras of architecture in New York City
and analyzes how they were affected by construction
technology and social and economic forces. Lectures
present the stylistic groupings of architecture and are
supplemented by visits to the unique historic districts
and architectural sites of the city.

Building Codes and Zoning
CM-661 | 2 CR   This is a study of zoning and building
code requirements. Special emphasis is placed on the
life safety and accessibility sections of the building
code and roles of building departments and their
authority. The approval and permit process is discussed
as it relates to various types of alterations and building
structures.
Restoration & Renovation
CM-662 | 3 CR   This course consists of a series
of lectures and readings to enable students o assess
and restore property damage and to recognize and
appreciate the techniques necessary to rehabilitate
and renovate old structures. The lectures are designed
in the chronological order employed by an architect,
construction manager and/or general contractor in
the restoration and renovation of historic buildings.
This course concentrates on the construction methods,
tools, and materials necessary to restore the style
and grace required to protect our housing stock and
American heritage.
EMS/Environmental
Management Systems
Environmental Assessment: Impact
Statements
EMS-611 | 3 CR   Examines the critical, environ-
mental, ecological, geological, economic, social, and
health-related components that must be considered
as part of the environmental review process under
national, state, and municipal environmental quality
review laws. The tools and techniques for conduct-
ing assessments, the different models for interpreting
data, and the use of mitigating measures are presented
through case analyses.
Environmental Monitoring
EMS-612 | 3 CR   Prepares students to interpret and
analyze scientific testing information inthe context of
regulatory requirement, community sustainability, and
environmental justice. The course examines the chem-
istry of atmospheric, land and water environments, with
particular emphasis on pollution encountered in urban
and industrial sectors; the effect of air, noise, and water
pollution, hazardous materials, pesticides, and synthet-
ics on the quality of community life; and the analysis of
“brownfields” and contaminated urban sites.
Environmental Assessment: Life Cycle
EMS-612A | 1 CR   This courses introduces students
to the theory and methodology and underlying life
cycle analysis, a systematic set of procedures for
compiling and examining the inputs and outputs of the
materials and energy and the associated environmen-
tal impacts directly attributable to the functioning of
a product or service system throughout its life cycle.
Students gain practical knowledge by applying the
technique to a product or system of their choice.
Environmental Assessment: Eco Footprint
EMS-612B | 1 CR   Sustainability indicators measure
progress toward a sustainable economy, society, and
environment. The Ecological Footprint Analysis is a type
of sustainability indicator that measures how much bio-
logically productive land and water area an individual,
a city, a country, or a region requires to produce the
resources it consumes and to absorb the waste it regen-
erates. This course introduces the principles underlying
sustainability indicators, including Ecological Footprint
Analysis, and will offer students hands-on experience
with these tools.
Environmental Theory and Ethic
EMS-613 | 3 CR   The purpose of this course is to
discuss the history of environmental concern in the
United States and explore to what extent social or
institutional value assumptions are responsible for our
present environmental condition. With modern tech-
nologies significantly enlarging our spheres of action
and responsibility, how far should moral concern extend
when considering the relationship between culture
and nature? The course deals with basic philosophical
and ethical questions that must be answered if we are
to successfully integrate human action with natural
processes.
Sustainable Communities
EMS-620 | 3 CR   Examines a range of strategies
for planning communities that minimize the use of
non-renewable energy sources, maximize recycling,
and promote healthy living and working environments.
Its premise is that comprehensive approaches that
consider both human welfare and resource limitations
at the local and global levels are required in order to
build and maintain sustainable communities. Strategies
examined include sustainable production, transporta-
tion, infrastructure, and distribution policies. Examples
are drawn from current community development and
preservation practice in urban, metropolitan, and rural
areas. The course analyzes public policies and private
practices relating to the urban environment, and inves-
tigates methods forcreating a more sustainable future.
courses 233
Green Buildings/Best Practices
EMS-621B | 1 CR   Taught by a practicing high
performance/green architect/developer, this course
provides students with the philosophy, theory, his-
tory, and best practices underpinning innovations in
high performance green building. Focusing on new
construction, the course offers an in-depth look at the
process by which several of the architect/developer’s
buildings were conceived, designed, and implemented
with a particular focus on the potential for affordable
high performance green development.
Architecture & Energy
EMS-621C | 1 CR   Taught by a practicing architect,
this course provides students with the philosophy,
theory, history, and best practices underpinning
innovations in high performance green building and
rehabilitation. Focusing on adaptive re-use and rehabili-
tation, it offers a look at the process by which several of
the architect’s projects were conceived, designed, and
implemented.
Environmental Mgt: Solid Waste
EMS-621D | 1 CR   This course examines the envi-
ronmental planning implications of various practices
and technologies relating to solid waste management
and prepares planners and architects to identify and
promote more sustainable ways of managing solid
waste. Particular emphasis is placed on new innova-
tions in solid waste management including recycling,
reuse, and reduction.
Environmental Mgt: Water Quality
EMS-621E | 1 CR   This course examines the
environmental planning implications of practices and
technologies relating to water management, and pre-
pares planners and architects to identify and promote
more sustainable practices for managing both drinking
water and wastewater. Particular emphasis is placed on
the science of water and on recent innovations in water
quality management including bioremediation, water-
shed planning, and natural wastewater systems.
Environmental Mgt: Energy Systems
EMS-621F | 1 CR   This course examines the unique
nature of energy use and planning in urban areas. It
introduces students to key issues associated with local
energy planning: how cities use energy; the sources of
this energy; what alternatives exist; the delivery systems
that get energy to cities; the institutional, market, and
regulatory environment in which urban energy plan-
ners operate; and what steps cities are taking to better
manage their energy use.
234 courses
Environmental Mgt: Toxics and Hazards
EMS-621G | 1 CR   This course focuses on toxic and
hazardous substances in the environment, with particu-
lar emphasis on trace metals and organic compounds
associated with construction materials and the urban/
industrial environment. It examines issues such as
urban air quality and indoor air pollution, the persis-
tence of toxic chemicals in the environment, and the
regulation and cleanup of toxic substances. Case study
discussion focuses on sources and exposure to toxic
substances in the built environment in general, and the
New York City urban environment in particular.
Environmental Mgt: Brownfield
Remediation
EMS-621H | 1 CR   This mini-course offers an
introduction to brownfields, defined as abandoned or
underused properties that are either contaminated or
perceived to be contaminated, starting with a discus-
sion of the history of brownfields, their relationship to
other categories of contaminated properties, and their
legal status. The remainder of the course will focus on
the practical aspects of brownfield cleanup and rede-
velopment, including government regulation, remedial
technologies, and project financing, and the role of
brownfields in urban planning. There will be particular
emphasis on the environmental justice issues surround-
ing brownfields and the strategic use of brownfields in
combating sprawl.
Environmental Mgt: Industrial Ecology
EMS-621I | 1 CR   Industrial ecology is the practice of
transforming production from an “open loop” process,
in which resource and capital investments move
through the system in a linear way to become waste, to
a “closed loop” process in which wastes become inputs
for new processes and enterprises are approached as
ecosystems. This course uses in depth case studies from
specific industry sectors to demonstrate how industrial
ecology can promote pollution prevention and waste
reduction. It includes an examination of the economic
development potential of green business.
Computer Applications: GIS
EMS-623 | 3 CR   Introduces students to basic
concepts in data management, spreadsheet analysis,
digital mapping, and Geographic Information Systems
(GIS) within the context of planning projects. The uses of
selected spreadsheet and GISpackages in various areas
of planning, such as land use, real estate, environmen-
tal management, transportation, and infrastructure
planning are investigated. Students receive hands-on
experience with Excel, MAP INFO, and dBase packages.
Environmental Economics
EMS-624 | 3 CR   This course examines the relation-
ship between the environment and socioeconomic
systems. An economic framework is used to identify
the causes of environmental problems and their
potential solutions. The issue of sustainable develop-
ment is examined from an interdisciplinary perspective,
incorporating materials from the natural sciences,
philosophy, and other social sciences. Contemporary
environmental policy is considered in an urban context,
both in the U.S. and globally, with a focus on the equity
and efficiency aspects of environmental issues, and
with an emphasis on the potential for application of
alternative economic approaches.
Independent Seminar
EMS-630 | 1 CR   Provides a formal setting each
semester for students to discuss substantive issues and
integrate concerns across the curricula. Since students
are pursuing different concentrations and/or enter the
program with different backgrounds, special attention is
given to interdisciplinary and integrative needs. Faculty
and specialists in the field present lectures dealing with
professional practice.
Independent Seminar
EMS-631 | 1 CR   Provides a formal setting each
semester for students to discuss substantive issues and
integrate concerns across the curricula. Since students
are pursuing different concentrations and/or enter the
program with different backgrounds, special attention is
given to interdisciplinary and integrative needs. Faculty
and specialists in the field present lectures dealing with
professional practice.
Environmental Law
EMS-640 | 3 CR   Provides a basic framework in
environmental law by surveying critical cases, policy
decisions, and legal history. Regional, national, and
international issues are addressed with the focus on
how inter-jurisdictional problems are resolved. The
relationship between legal, constitutional, and political
systems in different localities is also considered.
Contemporary Issues
EMS-641 | 3 CR   This course consists of special
seminars held on selected topics of current inter-
est in environmental planning, such as brownfield
remediation and development; wetlands delineation
and remediation; coastal zone and waterfront planning;
sustainable agriculture and food safety; sprawl and
growth management systems; high performance/green
buildings; sustainable campus planning, etc. Seminars
feature Pratt faculty and visiting practitioners. Sections
of this course are reserved for graduate level students.
The course may be taken up to three times to cover
different topics.
Capstone I
EMS-660A | 2 CR   A demonstration fulfilling an
approved scope of work showing the analytical capaci-
ties and creative skills expected of a professional in this
field serves as a capstone of the program. The demon-
stration can involve original research, a work-related
project, or an extension of course-related work.
Capstone II
EMS-660B | 3 CR   As a capstone requirement of
the program, students demonstrate fulfillment of an
approved scope of work showing the analytical capaci-
ties and creative skills expected of a professional in this
field. The demonstration can involve original research, a
work-related project, or an extension of course-related
work.
Thesis in Progress
EMS-700 | 0 CR   If the Demonstration of Profes-
sional Competence is not completed in the initial
semesters, students can continue working in EMS-700
for no more than five semesters.
Financing Green Infrastructure
EMS-701BP | 1 CR   Examples of green infrastruc-
tural systems are increasingly prevalent in the modern
urban context. This course will explore the reasons for
why green infrastructure remains the exception when
major infrastructural projects are undertaken. It will
explore the process of developing capital programs and
projects and the critical changes within that structure
that need to be undertaken to move green infrastruc-
tural practice from a best practice goal to standard
practice in cities.
Green Buildings Rating Systems
EMS-755A | 1 CR   Taught by a practicing environ-
mental planner, this course familiarizes students with
relevant concepts, literature, and practices relating
to greenbuilding rating systems at the local, regional,
national, and global levels. Skills taught include cost-
ing methodologies, approaches to the evaluation
of sustainable design, and the specific methods for
evaluating the contribution of design to environmental
quality developed by the “Leadership in Energy and
Environmental Design” (LEED) rating system.
Waterfront & Wetland Planning
EMS-761BP | 1 CR   This course focuses on the
various uses of urban waterfronts and wetlands, includ-
ing both the upland and the waterways. The course
will examine shoreline and water quality conditions,
and will consider waterfront developments, working
waterfronts, and natural waterfronts. The class will
concentrate on NYC and New Jersey, examining the
environmental, economic and social equity issues
involved in waterfront planning, development, and
preservation.

ESM/Environmental
Systems Management
Climate Change & Cities
ESM-634AP | 1 CR   Global warming and climate
change represent among the greatest challenges to
global well-being and security and to the future of
humans on Earth. This course will examine the science
and history of this crisis with a focus on the various
policy initiatives and actions being taken globally and
locally to both mitigate and prepare for the impacts of
climate change. The class will look at case studies from
different cities around the world and pay particular
attention to New York’s PlaNYC, which sets the goal of
30% reduction from current greenhouse gas emissions
by 2030.
Green Infra. Build/Design
ESM-739BP | 2 CR   The primary focus of this
design/build course is to provide students with the
opportunity to not only design but to understand the
techniques of construction and implementation, gain-
ing valuable experience and knowledge of the practical
aspects of green infrastructure design. The course will
contain, in equal parts, learning and design modules
with weekend site visits as a requirement for the build
focus.
ESM Internship
ESM-9601P | 1 CR   Internships are learning experi-
ences in the work place that relate to students’ major
and career goals. Interns are able to take the skills and
theories learned in the classroom and apply them to
real-life work experience. Students have the opportu-
nity to learn new skills and conceptsfrom professionals
in the field and to test career goals and explore career
options. Students also gain a more objective under-
standing of the experience through corollary meeting
and by recording their observations and completing
exploratory assignments.
ESM Internship
ESM-9602P | 2 CR   Internships are learning experi-
ences in the work place that relate to students’ major
and career goals. Interns are able to take the skills and
theories learned in the classroom and apply them to
real-life work experience. Students have the opportu-
nity to learn new skills and concepts from professionals
in the field and to test career goals and explore career
options. Students also gain a more objective under-
standing of the experience through corollary meetings
and by recording their observations and completing
exploratory assignments.
EMS Internship
ESM-9603P | 3 CR   Internships are learning experi-
ences in the work place that relate to students’ major
and career goals. Interns are able to take the skills and
theories learned in the classroom and apply them to
real-life work experience. Students have the opportu-
nity to learn new skills and concepts from professionals
in the field and to test career goals and explore career
options. Students also gain a more objective under-
standing of the experience through corollary meeting
and by recording their observations and completing
exploratory assignments.
FM/Facilities Management
Computer App for Facilities
FM-621 | 3 CR   Economic analysis and evalua-
tion of facilities to minimize return on investment are
covered in this course. Facilities are viewed as assets to
be managed as a portfolio. Topics include: monitoring
market conditions and lifecycle costs of existing facili-
ties, developing performance measurement criteria,
comparing alternatives for owned or leased space, new
or renovated facilities, optimizing the facility as an asset,
analyzing the impact of environmental, construction,
and marketing issues on project facilities and formulat-
ing a financially-viable development proposal.
Principles of Facilities Management
FM-631 | 3 CR   Introduces the role of the facilities
manager and examines facilities management through
forecasting and budgeting, architectural planning and
design, maintenance and operations management and
the integration of services. Basic principles of business
management are discussed in the context of facilities
management.
Project Management
FM-632 | 3 CR   Covers project management
from the concept phase through move-in, including
budgeting and cost estimating, the delivery process,
programming and space planning, selecting the design
team, and managing construction and occupancy.
Techniques for cost analysis, scheduling, and proce-
dures for contracting, construction coordination, and
the control of change orders are reviewed. The impact
of scheduling on contractor claims is studied along with
management reporting and feedback. Prerequisites:
take FM-631.
Managerial Accounting/Finance
FM-633 | 3 CR   Covers aspects of accounting
and finance of practical use to the facilities manager.
Emphasis is on the understanding of financial language,
statements, and instruments, their application, and the
use and interpretation of accounting data as a basis for
analysis and decision making.
courses 235
Facility Programming & Design
FM-634 | 3 CR   Focusing on human/environment
relations, this course develops an awareness of the
design process and the significance of design in facility
performance. Students simulate the planning process
from programming through the delineation of major
design considerations and quality standards. Through a
combination of lectures, seminars, and group exercises
in decision making and role playing, the student experi-
ences the planning process as designer, owner, and
manager and examines the impact of the process on
the final building project.
Facility Management/Operation
FM-636 | 3 CR   Provides a comprehensive study
of maintenance and operations management of envi-
ronmental, communications, life/safety, and security
systems in buildings. Areas of study include advanced
mechanical and electrical systems, evaluation and
integration of systems, energy conservation, upgrading
systems with tenants in place, preventative mainte-
nance, and implications of maintenance and operations
for planning and design.
Sustainable Construction Management
FM-646 | 3 CR   Sustainable construction is no
longer an option. Issues such as global warming, high
oil prices, and a global economy have altered the con-
struction industries, the Federal Government, and the
world’s outlook on maintaining a sustainable environ-
ment. This course will equip students with the skills to
manage sustainable construction projects.
Architecture of NYC
FM-651A | 2 CR   New York City is a virtual store-
house of American architecture. The stock of buildings
includes examples of nearly every style of architecture
from colonial to postmodern. This course reviews the
various historical eras of architecture in New York City
and analyzes how they were affected by construction
technology and social and economic forces. Lectures
present the stylistic groupings of architecture and are
supplemented by visits to the unique historic districts
and architectural sites of the city.
Architecture of NYC
FM-651B | 3 CR   New York City is a virtual store-
house of American architecture. The stock of buildings
includes examples of nearly every style of architecture
from colonial to postmodern. This course reviews the
various historical eras of architecture in New York City
and analyzes how they were affected by construction
technology and social and economic forces. Lectures
present the stylistic groupings of architecture and are
supplemented by visits to the unique historic districts
and architectural sites of the city.
236 courses
Real Estate Development
FM-663 | 3 CR   Focuses on economic development
issues and the principles of real estate finance. Topics
covered include property descriptions, an overview of
the real estate development process and its partici-
pants, contract and closing procedures and tools, and
tax shelters. The roles played by the public and private
sectors are examined with an emphasis on discerning
the differences in perspective associated with each
sector.
International Facility Management
FM-682 | 3 CR   This course surveys issues unique to
international facility planning and management. Topics
include comparative business practices; site selection;
project planning, organization, and management; envi-
ronmental issues; construction costs and a comparative
parity index; regional influences; communication and
information systems; distribution networks; and facility
management. Implications of current events such as
Europe 1992, business globalization, and the world real
estate crisis will be examined.
Facilities Management Research
FM-690A | 1 CR   Students conduct independent
research in advanced topics in facilities management
under faculty direction. Projects result in reference texts
for the Facilities Management library, papers for publi-
cation, or grant publications for further study. Approval
of the chairperson is necessary.
Facilities Management Research
FM-690B | 2 CR   Students conduct independent
research in advanced topics in facilities management
under faculty direction. Projects result in reference texts
fort he Facilities Management library, papers for publi-
cation, or grant publications for further study. Approval
of the chairperson is necessary.
Facilities Management Research
FM-690C | 3 CR   Students conduct independent
research in advanced topics in facilities management
under faculty direction. Projects result in reference texts
for the Facilities Management library, papers for publi-
cation, or grant publications for further study. Approval
of the chairperson is necessary.
BIM for Facilities Managers
FM-722 | 3 CR   The focus of this class is to learn the
fundamental concept of Building Information Model-
ing (BIM), and how it relates to the field of Facilities
Management. The student will be learning the basics
of modeling through the revision of an existing office
building. Thereafter we will use the officebuilding.
Thereafter we will use the office building as a source to
generate an FM model that will be used throughout the
course. Cutting edge software will be used to modify
and harvest the embedded data from the building
information model, which are then used to inform and
plan the maintenance of the building.
Strategic Planning/Management
FM-731 | 3 CR   Focuses on strategies for man-
agement to anticipate and accommodate change in
corporate-wide facilities. Areas of discussion include the
planning framework, establishing goals, developing link-
age between business planning and facilities planning,
methods for information gathering, building an informa-
tion database, inventory and needs analysis, modeling
techniques, developing an action policy, and effective
communication of facilities issues to senior management.
International Business Finance
FM-732 | 3 CR   This course provides an overview
of the environment, concepts, and basic differences
involved in international business and finance. Topics
included country-market differences, trade and invest-
ment patterns, the international financial environment,
issues in business/government relations, and strategies
for international business.
Econ Evaluation of Facilities
FM-733 | 3 CR   Economic analysis and evalua-
tion of facilities to minimize return on investment are
covered in this course. Facilities are viewed as assets to
be managed as a portfolio. Topics include: monitoring
market conditions and lifecycle costs of existing facili-
ties, developing performance measurement criteria,
comparing alternatives for owned or leased space,
new or renovated facilities, optimizing the facility as an
asset, analyzing the impact of environmental, construc-
tion, and marketing issues on project facilities, and
formulating a financially-viable development proposal.
Prerequisites: take FM-633.
Telecom: Concepts, Strategies
FM-735 | 3 CR   This course examines the impact
of telecommunications technology on facilities plan-
ning and management. Topics include the design and
implementation of local and wide area voice and data
communications networks, client service applications,
groupware, and business communications systems for
enhancing collaborative work. Key technical, policy, and
organizational issues pertaining to the effective deploy-
ment and use of telecommunications technologies in a
managed facility will be explored.
LEED Green Associate
FM-742A | 2 CR   The US Green Building Council
developed the Leadership in Energy and Environmental
Design (LEED) rating system in response to market
demand for a common definition and standard of mea-
surement for green building. Based on well-founded
scientific standards, LEED emphasizes state of the art
strategies for sustainable site development, water sav-
ings, energy efficiency, materials selection, and indoor
environment quality. This LEED course will present
the history and principles of the LEED rating system;
compare LEED to other environmental rating systems;
provide specific examples of LEED certified construc-
tion; and will prepare students to take the LEED Green
Associate exam (a course requirement), the USGBC’s
entry-level professional credential. Co-requisite
courses: FM-742B.
LEED Existing Building: O + M
FM-742B | 1 CR   LEED for Existing Building
addresses whole-building cleaning and maintenance
issues (including chemical use), recycling programs,
exterior maintenance programs, and systems upgrades.
It can be applied both to existing buildings seeking
LEED certification for the first time and to projects
previously certified under LEED for New Construction,
Schools, or Core & Shell. This class will review in depth
the requirements, synergies, standards, core concepts,
and building strategies to achieve a LEED O + M rating.
Co-requisite courses: FM-742A.
Legal Issues
FM-771 | 3 CR   Students review business and
building law as they pertain to the facilities manager,
with particular focus on contracts, environmental and
construction law, risk management, and insurance.
Contracts are reviewed for consultants, construction,
and maintenance, procurement, and purchasing agree-
ments. The significance of key legal terms and clauses is
examined as well as procedures and policy implica-
tions for dealing with construction claims and disputes,
hazardous materials, and multi-state facilities.
Demonstration of Professional
Competence
FM-798 | 5 CR   As a capstone requirement of
the program, students demonstrate fulfillment of an
approved scope of work showing the analytical capaci-
ties and creative skills expected of a professional in this
field. The demonstration may involve original research,
a work-related project, or an extension of course-
related work.
Demonstration in Progress
FM-799 | 0 CR   If the Thesis course is not completed
in the initial semesters, students cancontinue working
in FM-700 for no more than five semesters.
FM Internship
FM-9700 | 0 CR   Students wishing to combine prac-
tical experience with facilities management study may
apply for an internship with participating companies if
they have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor and
employer, prepare a written description of the studies
to be accomplished as part of their internship, and their
relationship to the curriculum. The application must be
approved by the faculty advisor, the chairperson, and
the employer.

FM Internship
FM-9701 | 1 CR   Students wishing to combine prac-
tical experience with facilities management study may
apply for an internship with participating companies if
they have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor and
employer, prepare a written description of the studies
to be accomplished as part of their internship, and their
relationship to the curriculum. The application must be
approved by the faculty advisor, the chairperson, and
the employer.
FM Internship
FM-9702 | 2 CR   Students wishing to combine prac-
tical experience with facilities management study may
apply for an internship with participating companies if
they have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor and
employer, prepare a written description of the studies
to be accomplished as part of their internship, and their
relationship to the curriculum. The application must be
approved by the faculty advisor, the chairperson, and
the employer.
FM Internship
FM-9703 | 3 CR   Students wishing to combine prac-
tical experience with facilities management study may
apply for an internship with participating companies if
they have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor and
employer, prepare a written description of the studies
to be accomplished as part of their internship, and their
relationship to the curriculum. The application must be
approved by the faculty advisor, the chairperson, and
the employer.
FM Internship
FM-9704 | 4 CR   Students wishing to combine prac-
tical experience with facilities management study may
apply for an internship with participating companies if
they have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor and
employer, prepare a written description of the studies
to be accomplished as part of their internship, and their
relationship to the curriculum. The application must be
approved by the faculty advisor, the chairperson, and
the employer.
FM Internship
FM-9705 | 5 CR   Students wishing to combine prac-
tical experience with facilities management study may
apply for an internship with participating companies if
they have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor and
employer, prepare a written description of the studies
to be accomplished as part of their internship, and their
relationship to the curriculum. The application must be
approved by the faculty advisor, the chairperson, and
the employer.
BLS Partnership
PEX-600 | 1–15 CR  
PLAN/City and Regional
Planning
Skills I: Introduction to GIS
PLAN-601A | 1 CR   This course introduces students
to Geographic Information Systems software as used in
city planning practice. Students become familiar with
and gain experience analyzing data and producing
professional maps. The course will be conducted in
coordination with the mini-studio project in PLAN 656:
Fundamentals of Planning.
Skills I: Writing for Planners
PLAN-601B | 1 CR   This course introduces stu-
dents to professional writing as used in city planning
practices. Students become familiar with and gain
experience producing professional written forms, such
as the planning report, the opinion piece or letter to the
editor and public testimony. They also become familiar
with synthesizing data and writing about graphics. The
course will be conducted in coordination with the mini-
studio project in PLAN 600: Fundamentals: Seminar &
Studio.
Skills I: Manual Graphics
PLAN-601C | 1 CR   This mini course is designed
for graduate planning students with little or no design
experience as an introduction to hand-drawn graphics
for planning and design. It strives to combines both a
critical understanding of the theories and practice of
graphical representation with hands-on skill develop-
ment.
Skills I: Computer Graphics
PLAN-601D | 1 CR   The course will consist of lec-
tures, readings, in-class demonstrations, and discussion
based assignment reviews. Students will be introduced
to basic graphic concepts, raster/vector graphics, map-
ping, screen vs. print composition, graphic voice, weight
and emphasis, photo manipulation, storyboarding,
and presentation technique. Students may use course
assignments to fulfill requirements for the correspond-
ing mini-studio.
History & Theory of City Planning
PLAN-602 | 3 CR   Theories of planning focus on the
normative issues that arise in considering why and what
we plan. Under this heading are questions of ideology,
values, purposes, and principles, including gender, race,
and class. Theories of planning also involve questions
of governmental intervention and public legitimization.
Since the process of planning is affected by changes
in social, economic, and political contexts, this course
examines and evaluates the theory of planning practice
in various historical periods.
courses 237
Urban Economics
PLAN-603 | 3 CR   Presents economic theory and
method through the study of selected urban issues,
including user charges, externalities, and property
rights, subsidies and vouchers, public services and effi-
ciency, and the public economy of metropolitan areas.
Readings are chosen to introduce economic issues from
distinct philosophical perspectives.
Planning Law
PLAN-604 | 3 CR   Planners must have an under-
standing of how the legal system shapes the analysis,
organization, and articulation of public goals and
interests. This course covers the following subjects as
they relate to the definition and achievement of con-
certed social action: the structure of government; the
scope of authority of agencies and the substantive and
procedural limits on various kinds of private and public
actions; the major concepts of the law in which plan-
ning programs may be structured and planning disputes
resolved; the vocabulary and procedural framework of
legal dispute resolution; the ability to read statutes and
regulations, find case law, and comprehend judicial
opinions; the concepts of constitutional law, common
law, case precedents and judicial review; and advocacy
and the adversarial process as the basic method of
dispute resolution. Prerequisites: take PLAN-656.
Planning Methods I
PLAN-605 | 3 CR   Methods employed by planners
in their professional activities. It includes a discussion
of various uses and types of data, compilation, and reli-
ability of data, population and housing characteristics,
population dynamics, methods for estimating popula-
tion, and models for forecasting population.
Statistics: Refresher
PLAN-606A | 1 CR   Statistics is a prerequisite for
the required Advanced Methods course. The five week
course provides a refresher for students who have
already studied statistics elsewhere. (There is a 3-credit
statistics course for those who have not studied statis-
tics before.)
Statistics: Fundamentals
PLAN-606B | 2 CR   Covers fundamental concepts
and methods in inferential statistics and basic econom-
ics most widely used by urban planning professionals.
In the first half of the semester, students cover such
statistical techniques as elementary probability theory,
decision-tree analysis, measures of central tendency
and dispersion, hypothesis testing and various correla-
tion techniques. Topics covered in economics include
concepts of supply and demand, microeconomics, and
discounting costs and benefits over time. The course
provides necessary preparation for later courses in
demographics and public finance.
238 courses
Real Estate Development
PLAN-640 | 3 CR   Focuses on economic develop-
ment issues and the principles of real estate finance.
Topics include property descriptions, participants in the
development process, contract and closing procedures
and tools, tax shelters, types of real estate development
and an overview of the development process.The roles
played by the public and private sectors are examined
with an emphasis on discerning the differences in
perspective associated with each sector.
Thesis in Progress
PLAN-700 | 0 CR   If the Demonstration of Profes-
sional Competence is not completed in the initial
semesters, students can continue working in PLAN-700
for no more than five semesters.
Planning Methods II
PLAN-701 | 3 CR   Provides students with
knowledge of a range of advanced quantitative and
qualitative analytical methods used in urban planning.
This course covers basic survey methodology, advanced
land use analysis, transportation planning methods,
global and local economic trend analysis, methods
in environmental and regional planning, advanced
demography, program evaluation, policy analysis, and
policy evaluation. Readings include planning texts and
case studies.
GIS I: Fundamentals
PLAN-702A | 3 CR   Introduces students to basic
concepts in data management, spreadsheet analysis,
digital mapping and Geographic Information Systems
(GIS) within the context of planning projects. The uses of
selected spreadsheet and GIS packages in various areas
of planning, such as land use, real estate, environmen-
tal management, transportation and infrastructure
planning are investigated. Students get hands-on expe-
rience with Excel, MAP INFO, and dBase packages.
Advanced GIS
PLAN-702BP | 3 CR   This course will provide
advanced instruction in geographic information
systems (GIS) for urban planning applications. Skills
covered include database management for GIS, use of
maps to track social and environmental data over time,
interactive mapping technologies, and 3-D applications
of GIS. Students develop the ability to analyze data
spatially and use maps to represent complex social,
geographical, and environmental phenomena. Prereq-
uisites: take PLAN-544.
Advocacy Planning & Action
PLAN-711 | 3 CR   Advocacy planning is a major
force in community, city, and regional decision-making
processes. The evolution, current status, and projected
role of advocacy in the planning and design domains
are considered. Topics include citizen participation
in political and developmental activities; changing
governmental policies affecting neighborhood housing
and commercial programs; work with established and
underrepresented community groups; the ideological
premises of advocacy and social action; and the rela-
tionship of the planner to society and societal concerns.
The course incorporates lectures, seminar discussions,
guest presentations, and student field-related projects.
It is a prerequisite for further independent study in the
advocacy field.
Housing & Community Renewal
PLAN-712A | 1 CR   Housing development, particu-
larly affordable housing, is a key component of planning
for sustainable cities. This course will examine the
dynamic relationships among social needs, planning,
and design, financial considerations, infrastructure and
environmental issues, and political and social factors.
Students will expand their proficiency in professional
skills used in housing development, focused on
residential real estate development, financing, and
financial analysis.
Affordable Housing
PLAN-712B | 1 CR   Housing is a universal social
necessity that at once plays a critical role in our built
environment and acts as a major force in our economy.
This minicourse is designed to provide a basic introduc-
tion to residential real estate development, financing,
and financial analysis for affordable housing develop-
ment. It focuses on developing critical analysis of the
various constraints which shape housing development
projects: economic, physical, legal, tax, and market
concerns.
Special Needs Housing
PLAN-712C | 1 CR   Housing is a universal social
necessity that at once plays a critical role in our built
environment and acts as a major force in our economy.
This mini course will expand student’s understanding of
affordable housing development by focusing on hous-
ing for people with special needs and the supportive
housing model. Topics covered include evolution and
history of supportive housing, current policy implica-
tions, and the design and financing of supportive
housing as well as how to adequately and equitably
plan for supportive housing in cities and communities.
Students should have a basic knowledge of affordable
housing development and finance before taking this
course.
Community Economic Development
PLAN-713A | 3 CR   Explores the phenomenon of
poverty and its causes and consequences. It is intended
to create a better understanding of poverty and covers
issues of definition, demographics, geographic distribu-
tion, and trends. Through readings, class discussions,
and guest lecturers, students examine the relationship
between poverty and employment, specifically focusing
on the plight of the working poor and critical issues
related to women and children in poverty. In the second
half of the course, students examine interventions
by the public and private sectors to uproot poverty,
including the Federal War on Poverty, the Welfare State,
private sector initiatives, and community development
involvement. The course concludes with an examina-
tion of the “underclass” phenomenon and attempts to
separate myths from realities.
Downtown Economic Development
PLAN-713CP | 2 CR   Downtowns are essential for
a community’s economic and civic health. This course
explores multi-disciplinary strategies to revitalize
downtowns, whether as small as a rural hamlet or as
large as a metropolitan center. The emphasis is on com-
mercial revitalization, but downtown and mixed-use
redevelopment are fully addressed. All of the elements
of a successful program are covered, including: surveys,
market analyses, public participation, access, transit,
parking, pedestrians, placemaking, streetscape, facade
programs, regulations, and “main street management.”
Green Industry
PLAN-713P | 2 CR   This course examines the basic
tools and practice of economic development with par-
ticular emphasis on efforts to launch a green industrial
sector. Public investment in energy conservation and
low carbon economy creates a tremendous opportunity
to expand domestic manufacturing and create jobs.
While there are promising pilot projects, their success
has not translated into the broad city, state, and federal
policies needed to capitalize on the opportunity. In
addition, ultimately, every business must be green and
we will use the policy tools developed for manufactur-
ing to examine how governments can incentivize green
behavior for all businesses.
Social Planning
PLAN-714 | 3 CR   Utilizes planning techniques in
the investigation of social problems facing communi-
ties. The major focus is cross-cutting themes, such as
the social role of government, poverty, privatization,
race, class, gender, and ethnicity. Topical issues on the
public agenda are also analyzed, incorporating issues
such as welfare reform and homelessness. Specific
issues and topics are selected according to students’
backgrounds and interests.

Land Use & Sustainable City
PLAN-722A | 3 CR   Since World War II, the spread-
ing interstate highway systems and home financing
policies have created the ubiquitous American suburb.
Metropolitan regions have spread out along transporta-
tion corridors absorbing the countryside in a reckless
manner. In the 1970s, a new network of global cities tied
together by electronic communications began to rise.
Examples include command and control centers such
as London, New York, and Tokyo. Regional growth poles
such as St. Louis, Pittsburgh, Reno, and Austin began to
restructure the old dichotomy between the center and
the periphery—or between town and country—and to
re-link cities in a new global economy. This class exam-
ines the economic, demographic, cultural, and political
reformulations that have transformed metropolitan
areas into global cities and backwater towns into new
growth centers.
Land Use Regulations
PLAN-722B | 3 CR   This course presents the nuts
and bolts of land use planning as practiced in the US
today and gives students the opportunity to develop/
design a land use plan for a small hypothetical city. The
focus is on what constitutes a comprehensive plan,
principles of good plan-making, where to start, specific
steps to take, information needs, and how to choose
methods to accommodate a range of community
situations.
Sustainable Site Planning
PLAN-723 | 3 CR   Especially intended for students
concentrating in physical planning, this seminar
provides an introduction to the basic principles, latest
practices, and tools for three-dimensional visualization
and analysis in site planning and design. Understand-
ing that the context of any site is the interrelation of
social, economic, historic, cultural, and environmental
factors, this course focuses on the physical planning
of the site by drawing from contemporary practices in
ecology, landscape design, zoning, energy efficiency,
and resource management and bridging the disciplines
of engineering, landscape design, architecture, and
planning. The class provides students with both and
understanding of the broader implications of site pan-
ning and the skills and tools for the planning and design
of a singular site and building project. Prerequisites:
take 3 credits from course PLAN-656.
Parks & Open Space
PLAN-725AP | 3 CR   This is a lecture and workshop
exploring programming, planning, and design concepts
of urban open space. The scope of design projects
becomes progressively larger throughout the semester,
starting with small recreation areas, corporate plazas,
and cultural facilities, and leading to the programming,
planning, and design of pedestrian malls, waterfront
rehabilitation and civic scale plazas. In conjunction with
workshop projects, lectures with illustrative material
are given on the specific issues of site feasibility, site
programming, site planning, and design strategies.
Placemaking
PLAN-725B | 1 CR   What is Placemaking and how
can it be used to build stronger communities? How
does one evaluate a plaza, park or other public space to
see if it is serving the needs of a community? How does
one engage the community in evaluating, transforming,
or creating a great public space? While these methods
can be applied to any public space, the course focuses
most on plazas and “squares,” which have rich history of
their own in both the U.S. and abroad.
Transportation Planning
PLAN-728A | 3 CR   Provides the urban planner with
a working knowledge of the concepts, technologies,
and practices involved in planning, operating, and eval-
uating present and future urban transportation systems.
While the primary focus is on technical transportation
matters, technology-policy relationships are noted,
complementing the fuller treatment of transportation
policy in other coursework within the curriculum.
Transit Equity
PLAN-728B | 1 CR   Students examine equity issues
inherent in transportation systems. The main product
of the class is a paper on a case study of transportation
equity issues in a specific place (a city or metropoli-
tan region, in the U.S. or elsewhere in the world). For
example, it could be an analysis of equity issues as they
manifest in a specific transportation policy, approach, or
mode (e.g. greenways, Transit-Oriented Development,
etc.); it could be an examination of how political pro-
cesses and transportation funding and policies interact
(e.g. factors that might shape the next transportation
authorization bill).
Pedestrians & Bicycles
PLAN-728C | 2 CR   Transportation planning is about
more than just traffic counts and parking policy. This
course focuses specifically on planning for pedestrians
and cyclists, the importance of public spaces, street
design, and public safety.
Policy Planning Changes
PLAN-761 | 3 CR   Participants develop practi-
cal skills in analyzing community change. Technical
methods, such as survey and sampling techniques and
selected topics in regional economics and demograph-
ics, are covered in class through lectures. The class is
divided into working groups, which jointly select and
carry out a case study of a community. As part of the
group project, a community survey is developed and
administered. The group projects may be linked to one
of the department’s studio courses.
courses 239
Metropolitan Regional Planning
PLAN-762A | 3 CR   An introduction to the theory
and practice of metropolitan regional planning.
Lectures follow the procedures and substantive com-
ponents of a regional plan. Where appropriate, outside
experts drawn from the region’s professional pool
supplement the course lectures. Students are required
to evaluate a plan for a region in either the United States
or abroad. This encourages familiarity with the regional
planning process and allows comparisons between
plans and planning theory. The student also is required
to assume the role of a personality involved in a region-
shaping issue. A mock public hearing is held with each
student testifying as the chosen figure. Reports from the
student’s own perspective are required.
Policy, Law & Planning
PLAN-763 | 3 CR   This course draws on a particular
city planning issue—transportation, solid waste
management, and waterfront redevelopment are
example—to explore the interconnections among poli-
tics, economics, and the built and natural environments
in New York City. The course is taught by a practitioner
who introduces students to diverse issues in public
sector management, public finance, urban design, and
grassroots and electoral politics as they bear on the
planning issue under examination.
Shrinking Cities
PLAN-764 | 1 CR   What will be the fate of America’s
older industrial cities industrial cities like Detroit or Buf-
falo, cities that have been losing jobs and population for
decades? Can these cities become stronger, healthier,
as well as smaller places? This course will look at the
reasons that these cities are shrinking, how job and
population loss affect their economic and physical
environment, and their prospects for the future. We will
take a particular look at the reuse of urban land, and the
opportunities to rethink redevelopment with green land
uses as open space and urban agriculture.
Planning For Disaster
PLAN-765 | 3 CR   The frequency of natural disasters
has been increasing over the past two decades. Despite
increased investment and advances in hazard-man-
agement technology, human and economic losses
from disasters have been rising worldwide. This class
provides an introduction to planning for disaster mitiga-
tion. After an overview of the changing approaches to
disaster policy and planning, local and federal planning
strategies will be discussed in depth around recent case
studies.
Urban Policy: Gender/Race/Immigrants
PLAN-766 | 3 CR   Large metropolitan areas such as
New York City are experiencing dramatic demographic
and employment shifts. These transformations are
profoundly influencing both the urban structure and
attitudes toward the built and natural environments.
Students examine the roles of gender and class and
how these factors and demographic trends affect plan-
ning and design practices.
24 0 courses
Art & Social Change
PLAN-771A | 3 CR   What will be the fate of Ameri-
ca’s older industrial cities industrial cities like Detroit or
Buffalo, cities that have been losing jobs and popula-
tion for decades? Can these cities become stronger,
healthier, as well as smaller places? This course will
look at the reasons that these cities are shrinking, how
job and population loss affect their economic and
physical environment, and their prospects for the future.
We will take a particular look at the reuse of urban land,
and the opportunities to rethink redevelopment with
green land uses as open space and urban agriculture.
Special Topics in Planning I
PLAN-801A | 1 CR   In addition to regular course
offerings, students may take up to 12 additional credits
as Directed Research. Directed Research may consist of
independent study on a topic of interest to the student
or an extension of a regular course. Any faculty member
may supervise the student.
Special Topics in Planning II
PLAN-801B | 2 CR   In addition to regular course
offerings, students may take up to 12 additional credits
as Directed Research. Directed Research may consist of
independent study on a topic of interest to the student
or an extension of a regular course. Any faculty member
may supervise the student.
Special Topics in Planning III
PLAN-801C | 2 CR   In addition to regular course
offerings, students may take up to 12 additional credits
as Directed Research. Directed Research may consist of
independent study on a topic of interest to the student
or an extension of a regular course. Any faculty member
may supervise the student.
Special Topics in Planning IV
PLAN-801D | 1 CR   In addition to regular course
offerings, students may take up to 12 additional credits
as Directed Research. Directed Research may consist of
independent study on a topic of interest to the student
or an extension of a regular course. Any faculty member
may supervise the student.
Independent Study in Planning I
PLAN-808A | 1 CR   In addition to regular course
offerings, students may take up to 12 additional credits
as Directed Research. Directed Research may consist of
independent study on a topic of interest to the student
or an extension of a regular course. Any faculty member
may supervise the student.
Independent Study in Planning II
PLAN-808B | 2 CR   In addition to regular course
offerings, students may take up to 12 additional credits
as Directed Research. Directed Research may consist of
independent study on a topic of interest to the student
or an extension of a regular course. Any faculty member
may supervise the student.
Independent Study in Planning III
PLAN-808D | 2 CR   In addition to regular course
offerings, students may take up to 12 additional credits
as Directed Research. Directed Research may consist of
independent study on a topic of interest to the student
or an extension of a regular course. Any faculty member
may supervise the student.
Studio: Sustainable Communities
PLAN-810 | 5 CR   The neighborhood (as defined
by a number of physical, political, and socioeconomic
criteria) is the level at which most planning efforts
affect citizens. Increasingly, the neighborhood has
also become the official focal point for city, state, and
federal programs in both service delivery and physical
development planning and implementation. This studio
introduces the student to basic techniques in neighbor-
hood needs analysis and comprehensive planning.
Utilizing a neighborhood of appropriate size and type,
the students, working in teams, develop an area-wide
plan (based on primary and secondary research and
needs analysis) providing for residential, commercial,
and industrial land use and related services and infra-
structure. In order to maximize the usefulness of the
semester’s work, as well as to provide a realistic assess-
ment of plans produced by the studio, written, and
graphic materials are prepared for presentation to the
“client”, usually a locally—based nonprofit organization
representing the neighborhood under study.
Studio: Land Use & Urban Design
PLAN-820 | 5 CR   This course combines basic
principles and practices of city planning and urban
design to a specific topical project. Physical, social,
economic, cultural, and political factors are considered
in order to produce a workable plan and viable design.
Projects are selected from actual planning/design
situations in urban and/or regional contexts and require
documentation and development strategies for politi-
cal discourse. In addition to typical studio work, there
are lectures, site visits, written reports and input from
official and community representatives. Each semester,
this studio undertakes a comprehensive land use plan-
ning study for a key piece of urban property. The study
tests the physical, environmental, social, and financial
feasibility of developing the area for mixed urban uses.
It examines the problems and opportunities that are
present in the area and focuses on the development
of a number of alternative plans for both short-term
(three to five years) and long-term (15 years) futures.
The layout, design, and character of proposed housing,
industry, social services, and open spaces are included
in the development plan, as are issues of equitable
development and the creation of environmentally-
sensitive sustainable communities.
Studio: Int’l Plan. & Sustainability I
PLAN-880A | 3 CR   This seminar introduces and
explores in depth the urban policies and institutions
of Third World nations as they relate to the nation’s
physical and socioeconomic development. Emphasis
is on the comparative analysis of current experiences
in major metropolitan areas. Planning issues, such as
migration, homelessness, and the informal economy,
are considered in both pre- and post-industrial service
societies. Experts on international planning and design
are invited as guest lecturers.
Directed Research
PLAN-891 | 2 CR   The demonstration of an approved
scope of work showing the analytical capacities and
creative skills expected of a professional planner is
the capstone of the program. The demonstration can
involve original research, a work-related project, or an
extension of course-related work. An advisory commit-
tee of faculty members judge the demonstration.
Demo of Professional Competence
PLAN-892 | 2 CR   The demonstration of an approved
scope of work showing the analytical capacities and
creative skills expected of a professional planner is
the capstone of the program. The demonstration can
involve original research, a work-related project, or an
extension of course-related work. An advisory commit-
tee of faculty members judge the demonstration.
Professional Competence in Progress
PLAN-893 | 0 CR   If the Demonstration of Profes-
sional Competence is not completed in the initial
semesters, students can continue working in PLAN-700
for no more than five semesters.
PLAN Internship
PLAN-9600P | 0 CR   Internships are learning experi-
ences in the work place that relate to student’s major
and career goals. Interns are able to take the skills and
theories learned in the classroom and apply them to
real-life work experience. Students have the opportu-
nity to learn new skills and concepts from professionals
in the field and to test career goals and explore career
options. Students also gain a more objective under-
standing of the experience through corollary meetings
and by recording their observations and completing
exploratory assignments.
PLAN Internship
PLAN-9601P | 1 CR   Internships are learning experi-
ences in the work place that relate to students’ major
and career goals. Interns are able to take the skills and
theories learned in the classroom and apply them to
real-life work experience. Students have the opportu-
nity to learn new skills and concepts from professionals
in the field and to test career goals and explore career
options. Students also gain a more objective under-
standing of the experience through corollary meetings
and by recording their observations and completing
exploratory assignments.

PLAN Internship
PLAN-9602P | 2 CR   Internships are learning experi-
ences in the work place that relate to students’ major
and career goals. Interns are able to take the skills and
theories learned in the classroom and apply them to
real-life work experience. Students have the opportu-
nity to learn new skills and concepts from professionals
in the field and to test career goals and explore career
options. Students also gain a more objective under-
standing of the experience through corollary meetings
and by recording their observations and completing
exploratory assignments.
PLAN Internship
PLAN-9603P | 3 CR   Internships are learning experi-
ences in the work place that relate to students’ major
and career goals. Interns are able to take the skills and
theories learned in the classroom and apply them to
real-life work experience. Students have the opportu-
nity to learn new skills and concepts from professionals
in the field and to test career goals and explore career
options. Students also gain a more objective under-
standing of the experience through corollary meetings
and by recording their observations and completing
exploratory assignments.
PR/Historic Preservation
History/Theory of Preservation
PR-510 | 3 CR   Explores the basic concept of “What
is Historic Preservation?” through a study of the route
preservation has taken to reach the place it is today.
The course presents both the historic development
of preservation and the theoretical and philosophical
foundations of that development. It then raises some of
the fundamental issues concerning the values, assump-
tions, and practice of historic preservation.
Documentation/Interpretation of the
Built Environment
PR-511 | 3 CR   Introduces the student to methods
of documenting and interpreting the built environ-
ment, emphasizing hands-on involvement through
the analysis of a neighborhood in New York City. It
stresses research methodology, using library resources,
public records, maps, historic documents, images, oral
histories, and folklore. The class focuses on the docu-
mentation of a New York City neighborhood selected by
the instructor with the collaboration of the historic pres-
ervation faculty. Historical data is collected throughout
the first half of the semester, and students work col-
laboratively to assemble a comprehensive story of the
development of the entire study area. During the second
half of the semester, students collect oral histories and
folklore from residents of the study area, and explore the
interpretations of the history that was uncovered.
Preservation Law & Policy
PR-512 | 3 CR   Provide a working understanding
of the legal underpinnings of landmark regulation
in the United States and its implications, as well as
interrelationships between historic preservations and
public policy. It raises some of the fundamental issues
concerning the values, assumptions, and practice of
historic preservation.
Building Technology
PR-513 | 3 CR   The student learns to look at
an existing building to understand and evaluate its
performance and to develop the necessary repair and
restoration technologies. Typical restoration problems
of various building types are studied with case studies
involving actual restorations of historic buildings.
Concepts of Heritage
PR-520 | 3 CR   All historic preservation efforts take
place within the context of accepted definitions of
heritage. These definitions have changed dramati-
cally overtime; they vary from country to country, and
are contested even within the contemporary United
States. This course provides a historical and critical
introduction to concepts of heritage. The class will
be conducted as a seminar, with emphasis on close
reading of texts and intensive discussion. Students also
have an opportunity to write a research paper on a
subject related to current issues in the policy, politics, or
philosophy of heritage conservation. Prerequisites: take
PR-510 PR-511.
Alterations/Adaptive Re-Use
PR-521 | 3 CR   Students study the complex issue of
changing historic structures and structures within historic
districts. New construction, alterations, and additions
present preservationists with many challenges, including
questions of appropriateness that involve regulatory
issues, aesthetics, and preservation philosophy. Adaptive
re-use is a related issue, often requiring alterations, but
even when it does not change the exterior of a build-
ing, the perception of the building can be dramatically
changed. Prerequisites: take PR-510 PR-511.
Directed Research
PR-601 | 1–3 CR   This course is intended for
students who wish to do independent research at a
graduate level in a subject of their choice and accept-
able to the graduate faculty and the chairperson.
Public History
PR-610 | 3 CR   The field of public history offers a
rich set of tools and strategies for historic preservation-
ists. This course will introduce students to methods
and approaches, gaining familiarity with historical
methodology including the development of historical
theme, context, and narrative as well as the use of oral
history, material culture, and folklore to gain deeper
understanding of place history and significance. It will
also explore the ways in which interpretive strategies
can be employed to engage and connect with public
audiences.
courses 24 1
Main Street Revitalization
PR-611 | 1 CR   The traditional commercial shopping
street, whether it is in an urban neighborhood or is
the Main Street in a small or large village, represents
the heart of a community’s economic and social life.
As such, it represents a critical area of concern for
those involved in the practice of historic preservation,
planning, architecture, and urban design. Main Street
Revitalization covers a broad spectrum of issues, includ-
ing all matters of design (urban design, public space
design, graphics, etc.), preservation, planning, organiza-
tion, economic development, promotion, marketing,
retailing, and building a working relationship with all
members of the public and private community
Preservation Colloquium
PR-620 | 3 CR   Conducted as a seminar, the
Colloquium is designed to help students focus their
conceptual thinking on concrete problems by analyzing
and writing about historic preservation issues. The
course begins with an overview of current issues within
the preservation movement, and an examination of
some of the philosophical conflicts facing practitioners.
Then, drawing from current events, the students inves-
tigate specific preservation case studies and closely
examine cases of most interest to the group. Guest
speakers, visits to community meetings, and public
hearings, the reading of daily newspapers, and other
relevant publications will augment assigned readings
and weekly group discussions. Prerequisites: take
PR-510 PR-511 PR-512 PR-513 PR-520 PR-521.
Preservation Studio
PR-621 | 5 CR   This studio is the program’s
culmination and provides an opportunity for students
to bring together an array of skills and knowledge to
address a specific set of challenges based on New York
neighborhoods and current issues. The studio begins
with classroom and field study and includes meetings
with experts and community representatives. This
phase of the course is intended to ground students in
the neighborhood’s history, urban fabric, and current
issues. This provides a solid foundation for the second
phase, in which the students work in teams under the
guidance of an interdisciplinary group of faculty advi-
sors to address the major preservation issues that have
been presented. The second phase is carried out under
conditions that are intended to simulate the actual
conditions of professional practice within the studio
context. Students work in multidisciplinary teams and
are responsible to private, government, or non-profit
clients. Exercises include resource assessments; devel-
opment analyses; preservation plans; legal, regulatory,
and political strategy; and preparing written reports and
graphics. The studio ends with students presenting their
work to the public. Prerequisites: take PR-510 PR-511
PR-512 PR-513 PR-520 PR-521.
24 2 courses
Neighborhood Revitalization
PR-630 | 3 CR   The popularity and importance that
downtown revitalization now enjoys, whether it is for
the small-town “Main Street” or the urban commercial
shopping strip, has made this area of study critical to
those involved in architecture, planning, and design.
The special needs of revitalization require profession-
als to have a background in historic preservation and
sensitivity to social and economic issues as well as to
design and marketing. The dynamics of implementing
such programs are considered in this course.
Project Management
PR-631 | 1 CR   Today historic preservation profes-
sionals find themselves engaged in overseeing projects
that require not only strong preservation disciplines but
strong project management disciplines. The class will
examine the fundamentals of project management and
its adaptability to a broad base of historic preservation
projects regardless of type or size. The methodology of
Project Planning and Estimation will evaluate the use
of templates in creating repeatable processes that can
be easily ported to project management software. The
value of project management methodologies will be
examined through a case study.
Architecture & Urban History I
PR-649 | 3 CR   This course explores through lec-
tures and readings the history of world architecture and
urban/city development. It is conceptualized, framed,
and presented for students studying Historic Preserva-
tion. It assumes that students have little familiarity with
the history of architecture or the city and therefore
places emphasis on architectural styles in the context
of the development of the city. This course is the first
in a two-part series that chronologically covers the
broad sweep of the history of world architecture and
city development. The second semester will focus on
the architecture and urban form of the Americas with
special emphasis on the United States.
Arch & Urban History II
PR-650 | 3 CR   This course explores through
lectures and readings the history of world American
architecture and urban/city development highlight-
ing the social, cultural, and technological changes
that influenced both. It is conceptualized, framed, and
presented for students studying Historic Preservation.
It assumes that students have little familiarity with
history of architecture or the city and therefore places
emphasis on architectural styles in the context of the
development of the city. This course is the second
in a two-part series that chronologically covers the
broad sweep of the history of world architecture and
city development (though each course may be taken
independently).
Neighborhood Preservation Zoning
PR-711P | 1 CR   This course provides a comprehen-
sive introduction to current neighborhood preservation
issues both in New York City and in other municipalities
across the United States. It will examine the recent pro-
liferation of neighborhood conservation districts in the
U.S., along with how their administration is coordinated
with the work of local landmarks preservation com-
missions and planning agencies. Other topics covered
include: Preservation planning tools, the interrelation
between zoning and landmark regulations, and the
evolution of urban renewal. This will provide context for
the study of the continuing expansion of neighborhood
preservation efforts nationwide.
International Conservation
PR-781P | 1 CR   This course provides students with
an overview of key elements ininternational preserva-
tion. We look at the work of leading organizations
and contemporary case studies to demonstrate how
approaches, goals, and sustainable strategies vary.
International Charters will be addressed as well as the
World Heritage process from Indicative and Tentative
listings to Inscription of At Risk designation. Sustain-
ability, tourism, Modernism, and changing landscapes
are also themes that are explored through discussions
in class.
UD/Urban Design
Summer Design Studio I
UD-803 | 5 CR   This course focuses on the methods
and techniques for analysis of urban areas. The weekly
assignments involve site visits, the development of land
use, transportation conditions and image maps, and the
studies of the constraints and opportunities for change.
A format is then established for categorizing the issues
affecting life and business in an area and then isolating
the problems, developing alternate improvements, or
solutions and weighing the benefits and costs from
varying points-of-view.
Methods and Comp Applications
UD-813 | 3 CR   Utilizing various computer software
applications, this course explores a variety of graphic
techniques and analytical methods used in urban
design and related to design methodology.
Fall Design Studio 2 for UD
UD-901 | 5 CR   This studio focuses on the interven-
tion of specific single or multi-building projects in the
existing urban fabric. Detailed analysis of an urban
context is undertaken through survey and mapping
techniques applied to a wide range of physical criteria.
In certain cases, sensitive historic contexts will generate
issues related to historic preservation strategies. The
course familiarizes the student with program methodol-
ogy and in particular, delivering design criteria for urban
design projects. Emphasis is on principles of design that
promote fit/compatibility between existing and new
development.
Design Studio UD Culmination
UD-902 | 5 CR   The final design studio is based on
an individual project that is chosen and programmed
by the student. It is intended that projects synthesize
knowledge/issues explored in earlier studios and are
applied to contexts or problem-types related to the
student’s background or career orientation.
Culmination Project Research
UD-981A | 3 CR   This course involves in-depth
programming and research or an individual project to
be designed in the final Urban Design Studio, UD-614B.
The site or subject is to be chosen by the student and
approved by the instructor prior to initiating research.
Urban Open-Space Design
UD-981B | 3 CR   This course looks at the context
of urban open space as planning fact and architectural
expression through the use of comparative examples of
Western and non-Western spaces. Typologies of urban
landscapes are developed based on their disposition
in response to a multiplicity of influences and their per-
ceptual qualities of spatial definition. Key issues include
new town planning, zoning, and legal constraints,
regeneration of downtowns, preservation, and change.
Technical aspects of open-space design are covered
including site construction methodology, infrastructure
systems, site feasibility, and urban ecology.
Urban Design & Implementation: Case
Studies
UD-991 | 3 CR   This course examines contemporary
urban design practice through the analysis of current
project case studies. The analysis focuses on the
relationship between design, regulatory frameworks,
and financing/marketing considerations. The course
features site visits and involves speakers from the
design and development professions.
Urban Design Theory
UD-993 | 3 CR   This is an introduction to different
theoretical approaches to urban design, using both
historical and contemporary examples.

UESM/Urban Environmental
Systems Management
Productive, Performative Landscapes
UESM-737AP | 1 CR   This course will explore
emergent trends in landscape design as essential com-
ponents of a developing urban green infrastructure.
The landscape typologies will be introduced through a
series of case studies with projects ranging from Seville,
Spain to Ridgewood, Queens. Each class is organized
around a “performative” or “productive” concept and
is articulated through substantive readings, interactive
lectures, and engaging guest speakers.
Health Impact Assessment
UESM-737BP | 2 CR   This course introduces the
concept of a HIA, as it relates to and differs from, other
customary assessments such as environmental impact
assessment and chemical risk assessment. The goal
is to foster a general understanding of the procedural
steps for conduction a HIA and develop the necessary
skills.
School of Art and Design
ACM/Arts and Cultural
Management
Strategic Marketing for Arts & Culture
ACM-621 | 2 CR   Historical overview of how arts
and cultural programs have been marketed in the U.S.
Examines current trends and developments through
case studies. Topics will include theories of marketing
and the development of new strategies to reach new
audiences. This course will examine how the changing
demographics of our cities present challenges to
traditional marketing methods. Lastly, students will
learn how arts and cultural programs are marketed in
other nations.
Fundraising for Arts/Culture
ACM-622 | 2 CR   This course is a survey of the field
of development as it applies primarily to nonprofit
visual arts organizations, both large and small. It
examines functions within organizations and provides
advice, strategy, perspective, and basic skill building.
The course also offers current insights and potentially
helpful contacts in the field.
Financial Planning/Budget Man
ACM-623 | 2 CR   This course provides a structured,
integrated plan for managing organizational financial
resources. Students examine the pros and cons of cor-
porate sponsorship and its future in nonprofit cultural
industries.
Arts & Cultural Education
ACM-624 | 2 CR   In this course, students gain an
understanding of the historical and contemporary
educational objectives of cultural institutions. Through
readings, observations, writing, and discussion, students
consider issues such as education as a marketing tool;
modes of presentation and display as communicators
of educational goals; audience diversification; outreach
and community involvement; and the critical relation-
ship of individual artists to the museums that represent
them. This course develops educational materials and
approaches for exhibitions and events at selected
institutions.
Leadership and Team Building
ACM-625 | 2 CR   This course prepares students
for the challenge of participatory management by
building skills and providing opportunities to practice
both leadership and team building. It explores motiva-
tion, decision making, diversity of skills, and cultural
backgrounds in the training and development of a
committed work team.
Managing Innovation and Change
ACM-626 | 2 CR   The shifting demographics of our
cities, evolving tastes, and reduced resources make it
necessary for arts/cultural organizations to rethink their
programming as well as their institutions’ structure. The
need for innovation and change can also be linked both
to technological developments and to an emerging
understanding of the limits to growth. These factors
combine to create a need to manage our human and
material resources more effectively. The course empha-
sizes the need for a strategic perspective at every level
of the organization.
Management Communications
ACM-627 | 2 CR   This course focuses on effec-
tive writing and speaking for professional success.
Participants gain competencies in persuasive writing
and public presentation through an array of detailed
business case studies.
Advertising & Promotion
ACM-628 | 2 CR   This course examines approaches
to developing, evaluating, and managing advertising
and promotion strategies. The course structure follows
that of an advertising campaign. Planning in terms of
targeting and promotions is discussed, followed by plan
implementation.
courses 24 3
Behavioral Simulation
ACM-631 | 1 CR   The Northwood Arts Center (NAC)
simulation recreates a typical day in a nonprofit arts
organization. Acting as senior management of the NAC,
students will address a variety of issues such as artistic
programming, board relations, and development,
capital improvements, and outreach through education
and community relations. The Crandall Museum, the
New Horizons Theater, and the NAC all offer support
for the services and staff. Participants manage the NAC
as they see fit for half a day. The remainder of the day is
devoted to feedback on participants’ managerial styles
and effectiveness as leaders, exploring how they incor-
porated skills and knowledge acquired in coursework
prior to the run of the simulation.
Organizational Behavior
ACM-632 | 2 CR   This course is an overview of theo-
ries of organizational and group dynamics. It presents
situations to help students develop diagnostic and
process capabilities for structuring effective and effi-
cient organizations. Of particular interest is the external
control of organizations, offering insight into the role
of the board of directors, government, funding sources,
the audience, critics, peer reviews, etc.
Negotiating
ACM-633 | 1 CR   Negotiation and dispute resolution
skills are developed through a mix of lecture and inter-
active role playing exercises in small teams.
Management of Arts/Cultural Org.
ACM-641 | 2 CR   This course focuses on the role
and economic definition of the nonprofit arts and
cultural organization in society. Site visits to arts and
cultural organizations in the greater New York area, and
interviews with nonprofit managers build the skeletal
framework for highlighting key infrastructur eissues.
Nonprofit Law & Governance
ACM-642 | 2 CR   This course provides a practical
overview of the legal issues affecting the operation of
nonprofit organizations in the United States. It provides
the basics of how to establish and organize a 501(c)3
nonprofit organization.The course explores copyright
issues, reproduction rights, and the development
of legal issues involved with new communications
technologies.
Art, Culture and Social Policy
ACM-643 | 2 CR   This historical overview of the
interplay between the arts, culture, and public policies
looks beyond economic public policies that affect
the arts and culture to examine how policies, or lack
thereof, play a role in the production and consumption
of art and cultural programs. The course also examines
how artists shape attitudes, opinions, and awareness of
social issues.
24 4 courses
Cultural Pluralism in the U.S.
ACM-644 | 2 CR   The course examines the histori-
cal development of multiculturalism and the social
context from which it grew. It demonstrates how many
organizations have responded to the call for greater
diversity, not only in what they produce and present,
but also in their employment practices, governance,
and role in their respective communities. Using guest
speakers and case studies, the course will also examine
trends in other parts of the world and the resulting arts/
cultural practices.
Art in the Urban Environment
ACM-645 | 2 CR   Since the mid-1960s, the practice
of making art for and in the public realm has grown in
stature and importance. In the United States and most
industrialized nations, public art programs are managed
by a variety of not-for-profit and public sector agencies.
This course examines the development of this field and
looks at the management structures that have been
institutionalized to respond to the desire for community
inclusion in the decision-making process. It explores the
relationship between artists, communities, and society-
at-large within the urban environment.
External Relations for Nonprofit Mgrs
ACM-646 | 2 CR   Operating in several different
public environments, managers of nonprofit organiza-
tions must deal with varied constituencies. This course
offers a guide to methods and techniques for handling
public relations, advocacy, crisis management, and
other external relations issues.
Finances/Financial Reporting
ACM-651 | 2 CR   Financial literacy is the goal of this
course. Considering the limited resources available to
most arts/cultural administrators, it is imperative that
they are equipped with the analytical skills necessary
to stretch their contributed and earned dollars to the
maximum while protecting the integrity of the organiza-
tions programming and/or services. Participants will
become familiar with all aspects of nonprofit account-
ing theories and practices. Great attention and detail
will be focused on building budgets, both institutional
and project.
Directed Research
ACM-652 | 1 CR   This course prepares students for
Thesis I and Thesis II. Emphasis is on refining methods
for gathering and analyzing information for preparing a
case study, proposal, or business plan.
Strategic Technology
ACM-654 | 2 CR   With advances in computer
operating and communication systems, the workplace
has been redefined. Managers must be familiar with
the technological tools that enable them to optimize
their hardware and software. This course provides the
framework for assessing the needs of an organization
and equips the manager to articulate those needs in a
computer-literate way.
Capstone Research
ACM-661 | 1 CR   This is the first course in the series
of three final project courses (ACM661, ACM 662, and
ACM 663). This course enables students to review and
critique organizational practices and current theories
and trends related to their choice of final project
topic. Through the use of qualitative and quantitative
methodologies, students will gain perspective on the
objective conditions of their chosen field. This knowl-
edge will be applied to refining their subjective original
contributions for their final capstone project.
Capstone Prototype
ACM-662 | 1 CR   This is the second course in a
series of three (ACM 661,662,663) for the final capstone
project. In Capstone Prototype the student develops
a miniature model of the final capstone project. The
final project is a business plan, a website, a festival, an
exhibition, or other. In Capstone Prototype the student
develops the written summary proposal of professional
quality necessary to win support from participants,
supporters, funders, or audience, establishing both the
social needs and the unique character of the project.
Prerequisites: take ACM-661.
Capstone Project: Integration
ACM-663 | 2 CR   This course is the capstone of
the Arts & Cultural Management program. Students
conduct original research, either through an internship,
as a consultant to a nonprofit organization, or via a case
study. Prerequisites: take ACM-662.
Thesis I
ACM-664A | 2 CR   This course is the capstone of the
Arts & Cultural Management program. Students conduct
original research, either through an internship, as a con-
sultant to a nonprofit organization, or via a case study.
Thesis II
ACM-664B | 2 CR   This course is the capstone of the
Arts & Cultural Management program. Students conduct
original research, either through an internship, as a con-
sultant to a nonprofit organization, or via a case study.
Managerial Decision Making
ACM-671 | 1 CR   In this course, students are
provided with a “tool box” of techniques to help them
evaluate alternatives and make informed managerial
decisions through the use of decision trees, basic game
theory, and break-even analysis.
AD/Art & Design
Independent Study
AD-698 | 1–4 CR   In this graduate course, work is
assigned on an individual basis under advisement by
a faculty member, and in consultation with the depart-
ment’s chairperson. This course provides graduate
students the opportunity to pursue a project that goes
beyond the curriculum or facilities. Prerequisites: take 9
credits; from Levels 500 600 700.
ADE/Art & Design Education
Literacy and Language Acquisition in the
Classroom
ADE-506 | 1 CR   Through reading a variety of texts
by educators and artists, students will develop an
understanding of language acquisition and literacy and
the ways in which literacy promotes learning. Working
with art projects designed by ADE faculty and students,
each class member will learn to integrate reading,
writing, listening, and speaking strategies into their art
lessons in ways that meaningfully support both the
NYSED visual arts and English language standards.
Fieldwork in Art & Design
ADE-515A | 1–6 CR   Research projects in art
and design are developed by students to combine
theoretical studies with field experiences. Chairperson
approval and attendance at a semi-monthly seminar
are required.
Directed Research in ADE
ADE-517 | 2 CR   Through this course, students
will be introduced to current art education research
methodologies. Qualitative methods will be examined,
including historical, ethnographic, case studies, surveys,
and art-based research models, along with the role of
the researcher in the process. The problems, issues, and
questions generated in the observations, fieldwork,
readings, studio practice, and related art education
coursework will be the source of the research projects.
Graduate students will develop a preliminary research
question.
Student Teaching I: Saturday Art School
ADE-521 | 3 CR   An introduction to teaching
practice that precedes formal student teaching in
the schools is provided in a laboratory situation. Each
student is responsible for the planning, teaching, and
evaluation of art lessons guided by the theory and
strategies presented in ADE-619. During a seminar
immediately following each class, common issues and
problems, both classroom and societal, are discussed.

Student Teaching II: Saturday Art School
ADE-522 | 3 CR   A continuation of teaching practice
and reflection begun in ADE-521.
Student Teaching: After School
ADE-523 | 3 CR   An introduction to teaching
practice that precedes formal student teaching in the
schools. In this laboratory situation, each student is
responsible for the planning, teaching, and evalua-
tion of art lessons, guided by the theory and strategies
presented in ADE 619. During a seminar immediately
after each class, common issues and problems, both
classroom and societal, are discussed.
Student Teaching: Galleries
ADE-524 | 3 CR   Students are assigned to a class in
one of three local New York City public high schools.
They use exhibitions at the Pratt Manhattan gallery as a
springboard for research on the work of the artist(s) and
their contemporaries. Classes are held at the gallery
and, during pre- and post-visits, at the schools. Weekly
seminars in the gallery will follow each class.
Student Teaching: Pre-K-HS
ADE-531A | 2–6 CR   This is the culminating experi-
ence in the Art and Design Education program. With
the guidance of the cooperating teacher and college
supervisor, the student participates in a professional
teaching situation, applying the insights gained from
previous coursework, reading, observation, and class-
room practice.
Student Teach: Pre-K-HS Special
Populations
ADE-531B | 2–6 CR   The student is placed in a
professional program with a selected special needs
population. Students design and direct art activities for
this population, using a non-therapeutic approach.
Student Teaching Seminar
ADE-532A | 1 CR   Taken concurrently with student
teaching, this weekly seminar is designed as a forum
for reflection, analysis, and inspiration. Lesson plans
and art projects in various stages of completion, as
well as problems related to classroom management,
curriculum development, and school culture are the
subjects of discussion. Issues arising in the New York
State Teacher Certification Examination (LAST), ATS-W,
and CST study groups are also considered.
Puppets & Performing Objects
ADE-535 | 3 CR   This studio course explores the
various styles of puppetry: performing objects, shadow
figures, Bunraku and other rod puppets, body pup-
pets, large-scale outdoor parade puppets, and toy
theater. The goal is to create aunique and contempo-
rary language of object, gesture, and story. The class
culminates with final performances in any form or
combination of puppetry forms.
Fieldwork in Art/Design Education
ADE-616A | 1–6 | 3 CR  This course is about
looking and provides an exercise in qualitative inquiry.
Students will experience the complexities of a school
art program through non-participant observation.
Photographs and other visual material will be used to
record what they have seen and later, they will search
for patterns in the data collected in their journals. A final
project will be designed in response to their observa-
tions and readings.
Fieldwork Art/Design Education:
Special Needs
ADE-616B | 1–6 CR   This course is about looking
and provides an exercise in qualitative inquiry. Students
will experience the complexities of a school art program
through non-participant observation. Photographs and
other visual material will be used to record what they
have seen, and later, they will search for patterns in the
data collected in their journals. A final project will be
designed in response to their observations.
The Inclusive Artroom
ADE-616C | 1 CR   This course provides foundational
knowledge about practice and policy for special needs
populations. It is a co-requisite with ADE-616B, a course
in which students do required (100 hours) of fieldwork
experience within broader social, cultural, and historical
contexts that shape artistic expression and special
education systems. Students will also be familiar with
multiple perspectives—social, cultural, linguistic, family,
and community—that shape teaching practice and
student learning.
Foundations in Art & Design Education
ADE-619 | 3 CR   The history of art education, the
literature on children’s artistic development, and an
exploration of art materials and processes will serve
as the context for research on motivation, classroom
management, lesson planning, diverse student popula-
tions, and assessment of learning in art. Reflection and
analysis of practice in a teaching journal along with
visual documentation of the Saturday Art School, After-
school, or Galleries classes will provide opportunities
for further exploration of these topics. A research paper
is required.
Art of Teaching Art & Design
ADE-620 | 3 CR   The aesthetic dimensions of the
art and design curriculum and the spaces in which we
teach and learn are the focus for discussion. Students
will also reflect upon the questions raised during
teaching in Saturday Art School, After-school, or Gal-
leries. An interdisciplinary approach to research in the
development curriculum, the use of narrative to under-
stand behavior, the value of motivation in classroom
management, assessment, working with students with
disabilities and special needs, and some practical ways
to respond to and to analyze works of art will serve to
direct advanced research by the students.
courses 24 5
Special Topics
ADE-621 | 3 CR   This course provides an examina-
tion of a particular theoretical or practicalissue in art
or design education. Each semester focuses on one
subject, suchas the integration of art history and studio,
the art of the picture book, art education and popular
culture, or alternative sites for art education outside the
art room. The particular topic will be announced prior to
the semester it is being offered.
Play and Performance
ADE-625 | 3 CR   Just as play can be an impor-
tant element of creativity, attention to performance
values can transform teaching behavior. Using their
observations and memories of childhood play, students
will explore play and performance as sources for art-
making in the classroom. Play will also be explored from
a variety of theoretical, historical, aesthetic, and cultural
perspectives. Students will analyze their performance
(on video) as teaching artists and integrate perfor-
mance into visual arts curricula. The role of play in
learning and generating creativity in the art classroom
will also be discussed.
Media and Materials
ADE-630 | 3 CR   This exploration of a central
element in planning and implementing an art cur-
riculum begins with the research and development of
a series of related art projects. Particular literary works
serve as subject matter for the projects and extensive
experimentation with a variety of studio materials
(photo-based media, computers, film, and video) is
encouraged. The role of technology in the making and
teaching of art will also be examined, using interac-
tive/graphics software to design a portfolio website.
Through reading, writing, and discussion, issues such as
age-appropriateness, teaching techniques, and learn-
ing styles are also considered.
ED/Education
History & Philosophy of Education
ED-600 | 3 CR   An analysis of the major traditional
and contemporary philosophers relating to educa-
tion provides a context for an examination of our
experiences as teachers and learners. Students will use
these readings to raise questions and develop issues
for individual and group projects in preparation for
advanced research.
Survey of Art Education Literature
ED-602 | 3 CR   Against the background of historical
movements, trends, and issues in art education, the
course surveys contemporary literature in the field.
Students acquire the necessary library research skills,
identify a topic of personal interest, and develop this
topic into a piece of qualitative research in art education.
24 6 courses
Survey of Design Education Literature
ED-603 | 3 CR   After examining the intentions and
effects of past and current design movements and
values, students will develop and critique their own
philosophy of design and its educational applications.
We will also draw upon available texts, media presenta-
tions, guest lectures, and studio projects to explore how
design has shaped societal development in diverse
cultures, past and present.
The Teacher in Film/Fiction
ED-605 | 3 CR   While educational texts and ethno-
graphic studies provide information about teachers,
classrooms, and schools, they rarely capture the unique
quality of the teacher’s voice or performance style,
nor do they conjure up the particular ambiance of a
classroom. Fictional narratives in film and literature
will serve as a springboard for discussion of the role of
the teacher in society. What is the reality behind these
fictions? How do they support or refute our own ideas
about teaching?
American Urban Education
ED-606 | 3 CR   This course provides an analysis of
contemporary urban schooling in the United States
with particular attention to the New York City system
of public education. A variety of texts and the diverse
experiences of the students in the class will guide our
evaluation of assumptions about teaching, learning,
the assessment of learning, and the role of education
in a democracy. Discussion about diversity in the urban
classroom will prepare students for working with a
variety of populations and learners including those with
special needs and English language learners.
The Roots of Urban Education
ED-608 | 3 CR   This course focuses on the history
and philosophy of education with an emphasis on
issues that are specifically American. The central ques-
tions that will be addressed are what enlightenment is
and what its relevance is to teaching. Beginning with
philosophy and proceeding to history, texts from both
disciplines will be included. A culminating research
paper is required.
Child & Adolescent Development
ED-610 | 3 CR   This course introduces education
students to the various cognitive, developmental,
social, cultural, and environmental factors that influ-
ence a student’s growth. Developmental theory and its
implications for instruction are examined through texts
and fieldwork placements in local intermediate schools.
Various strategies and issues are discussed in relation
to developmental theory. Individualized instructional
strategies and classroom management techniques that
take into account differing learning styles and special
needs and disabilities are considered.
Thesis I
ED-660A | 3 CR   The thesis project is developed
from questions raised by one or more of the follow-
ing: observations, fieldwork, reading, studio practice,
personal interest, and related art education course-
work. The research is grounded in practice and allows
students a critical examination of their pedagogy and
teaching practice through an investigation guided by
information retrieval strategies and the APA Publication
Manual. While the project may include substantial
amounts of visual or nonverbal materials, if appropriate,
a paper with documentation is required. The first course
will include school observations, group work, and
individual conferences.
Thesis II
ED-660B | 3 CR   The second course is devoted
to the development of a written analysis of the data
obtained in Thesis I.
Thesis in Progress
ED-700 | 0 CR   If the thesis is not completed in two
semesters, students can continue working in ED-700 for
no more than five semesters (not including summers).
ADT/Creative Arts Therapy
Creative Art Therapy Special Education I
ADT-621 | 3 CR   This course provides an overview
of the history, theory, and practice of creative arts
therapy. Psycho-aesthetic diagnosis and treatment
planning, creativity development, and the interface of
artistic and interpersonal communication are explored.
Students are encouraged to integrate their practicum
experiences with the assigned readings and classroom
discussions.
Creative Arts Therapy Special Education II
ADT-622 | 3 CR   This course provides an overview
of the history, theory, and practice of creative arts
therapy. Psycho-aesthetic diagnosis and treatment
planning, creativity development, and the interface of
artistic and interpersonal communication are explored.
Students are encouraged to integrate their practicum
experiences with the assigned readings and classroom
discussions.
Group Creative Art Therapy Special Ed I
ADT-625 | 3 CR   Students explore small-group
dynamics in the treatment setting. The course has
experiential, didactic, and supervisory components that
combine practical experience with didactic orientation.
Group Creative Art Therapy Special Ed II
ADT-626 | 3 CR   Students explore small-group
dynamics in the treatment setting. The course has
experiential, didactic, and supervisory components that
combine practical experience with didactic orientation.
Research and Thesis
ADT-632 | 3 CR   This course is designed to give
students an introduction to the philosophical, concep-
tual, and practical basis of qualitative and quantitative
research methodologies. Students will be exposed to
research techniques, data collection and analysis, and
ethics. Students will also be provided with advisement
to plan and complete a thesis.
Research and Thesis
ADT-633 | 3 CR   This course is designed to give
students an introduction to the philosophical, concep-
tual, and practical basis of qualitative and quantitative
research methodologies. Students will be exposed to
research techniques, data collection and analysis, and
ethics. Students will also be provided with advisement
to plan and complete a thesis.
Creative Arts Therapy I
ADT-641 | 3 CR   This course provides an overview
of the history, theory, and practice of creative arts
therapy. Psycho-aesthetic diagnosis and treatment
planning, creativity development, and the interface of
artistic and interpersonal communication are explored.
Students are encouraged to integrate their practicum
experiences with the assigned readings and classroom
discussions.
Creative Arts Therapy II
ADT-642 | 3 CR   This course provides an overview
of the history, theory, and practice of creative arts
therapy. Psycho-aesthetic diagnosis and treatment
planning, creativity development, and the interface of
artistic and interpersonal communication are explored.
Students are encouraged to integrate their practicum
experiences with the assigned readings and classroom
discussions.
Expressive Modalities I
ADT-643 | 3 CR   This course introduces the student
to a wide range of expressive modes of communication
that will include visual, tactical, verbal, and auditory
experiences. The student is exposed to other creative
art therapies such as drama, music, video, dance, poetry,
Gestalt, and body therapies. The integration of these
modalities with art therapy is explored.
Group Creative Arts Therapy I
ADT-645 | 3 CR   Students explore small-group
dynamics in the treatment setting. The course has
experiential, didactic, and supervisory components that
combine practical experience with didactic orientation.

Group Creative Arts Therapy II
ADT-646 | 3 CR   Students explore small-group
dynamics in the treatment setting. The course has
experiential, didactic, and supervisory components that
combine practical experience with didactic orientation.
Art Diagnosis
ADT-647 | 3 CR   A grounding in fundamentals of art
diagnosis is provided by illustrating how an individual’s
view of himself/herself and his/her world is manifested
through artistic expression. Art work from patients is
presented and discussed in-depth, as are a variety of art
therapy assessments.
Adv. Seminar Creative Art Therapy I:
Adult
ADT-649 | 3 CR   Students choose one of the
above three areas to specialize in and complete their
practicum/internship with that population. The course
emphasizes advanced case presentation and explores
in-depth training in the theory and practice of creative
arts therapy. Specific reading lists are given to students,
depending on specialization.
Adv. Seminar Creative Art Therapy II:
Adult
ADT-650 | 3 CR   Students choose one of the
above three areas to specialize in and complete their
practicum/internship with that population. The course
emphasizes advanced case presentation and explores
in-depth training in the theory and practice of creative
arts therapy. Specific reading lists are given to students,
depending on specialization.
Adv. Seminar Creative Art Therapy I: Dev.
Disabled
ADT-651 | 3 CR   Students choose one of the
above three areas to specialize in and complete their
practicum/internship with that population. The course
emphasizes advanced case presentation and explores
in-depth training in the theory and practice of creative
arts therapy. Specific reading lists are given to students,
depending on specialization.
Adv. Seminar Creative Art Therapy II: Dev.
Disabled
ADT-652 | 3 CR   Students choose one of the
above three areas to specialize in and complete their
practicum/internship with that population. The course
emphasizes advanced case presentation and explores
in-depth training in the theory and practice of creative
arts therapy. Specific reading lists are given to students,
depending on specialization.
Adv. Seminar Creative Art Therapy I:
Children & Adolescents
ADT-653 | 3 CR   Students choose one of the
above three areas to specialize in and complete their
practicum/internship with that population. The course
emphasizes advanced case presentation and explores
in-depth training in the theory and practice of creative
arts therapy. Specific reading lists are given to students,
depending on specialization.
Adv. Seminar Creative Art Therapy II:
Children & Adolescents
ADT-654 | 3 CR   Students choose one of the
above three areas to specialize in and complete their
practicum/internship with that population. The course
emphasizes advanced case presentation and explores
in-depth training in the theory and practice of creative
arts therapy. Specific reading lists are given to students,
depending on specialization.
Fieldwork Exp/Supervision I
ADT-661 | 2 CR   The students meet in small groups
and receive intensive supervision both in a group and
individual format. Integration of practical and theoreti-
cal work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Exp/Supervision II
ADT-662 | 2 CR   The students meet in small groups
and receive intensive supervision both in a group and
individual format. Integration of practical and theoreti-
cal work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Exp/Supervision III
ADT-663 | 2 CR   The students meet in small groups
and receive intensive supervision both in a group and
individual format. Integration of practical and theoreti-
cal work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Exp/Supervision IV
ADT-664 | 2 CR   The students meet in small groups
and receive intensive supervision both in a group and
individual format. Integration of practical and theoreti-
cal work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Exp/Supervision Special
Education I
ADT-671 | 2 CR   The students meet in small groups
and receive intensive supervision both in a group and
individual format. Integration of practical and theoreti-
cal work is an intrinsic part of this course, through case
presentations and experiential exercises.
courses 24 7
Fieldwork Exp/Supervision Special
Education II
ADT-672 | 2 CR   The students meet in small groups
and receive intensive supervision both in a group and
individual format. Integration of practical and theoreti-
cal work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Exp/Supervision Special
Education III
ADT-673 | 2 CR   The students meet in small groups
and receive intensive supervision both in a group and
individual format. Integration of practical and theoreti-
cal work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Exp/Supervision Special
Education IV
ADT-674 | 2 CR   The students meet in small groups
and receive intensive supervision both in a group and
individual format. Integration of practical and theoreti-
cal work is an intrinsic part of this course, through case
presentations and experiential exercises.
Family Art Therapy
ADT-688 | 3 CR   Issues of the family as a system are
the subject of focus for the course. Students study art
therapy as a unit. The student will then learn how to
utilize art materials in this interaction to enhance insight
among the members of the family.
Thesis in Progress
ADT-700   If the thesis is not completed in the initial
semesters, students can continue working in ADT-700
for no more than five semesters (only required semes-
ters are considered).
DT/Dance Therapy
Theory/Practice of Dance Therapy I
DT-671 | 3 CR   This course involves the study of
dance therapy literature, history, and basic psycho-
dynamics issues, and their relation to dance therapy
practice. Body/mind relationships will be examined in
relationship to clinical practice and other applications.
Theory/Practice of Dance Therapy II
DT-672 | 3 CR   This course involves the study of
dance therapy literature, history, and basic psycho-
dynamics issues, and their relation to dance therapy
practice. Body/mind relationships will be examined in
relationship to clinical practice and other applications.
24 8 courses
Studies Movement Behavior I
DT-673 | 3 CR   This course studies systems of move-
ment analysis, especially Laban analysis. Movement
assessment, evaluation, and observation are studied
through direct movement exploration and the use
of videos. The relevance of LMA to dance therapy is
explored.
Studies Movement Behavior II
DT-674 | 3 CR   This course studies systems of move-
ment analysis, especially Laban analysis. Movement
assessment, evaluation, and observation are studied
through direct movement exploration and the use
of videos. The relevance of LMA to dance therapy is
explored.
Improvisation
DT-675 | 3 CR   This course involves the study of
the fundamental nature of the improvisational process
in dance therapy. The use of improvisation in varying
dance therapy methodologies is examined.
COMD/
Communications Design
Imaging: Photoshop & Graphics
COMD-508 | 2 CR   This course is an intensive work-
shop in the creation of realistic and surrealistic pictures
using the preeminent software application for digital
image manipulation. Classes are held in computer
labs equipped with Macintosh computers. One major
assignment will extend over the entire semester—to
make a creative photo montage from one’s own
photographs. The final presentation must include final
artwork as well as original source photographs. The
course goal is to provide a thorough understanding of
the techniques that can be used to create a convincing
photo montage. Prerequisites: take COMD-201 COMD-
202 COMD-211 COMD-212 COMD-215 COMD-216
COMD-231 COMD-232.
Advanced Imaging in Photoshop
COMD-509 | 2 CR   This class will help students
improve their rudimentary understanding and profi-
ciency in the manipulation of representational digital
media. It is designed to take the student to the next
level of creativity through the use of complex digital
tools and techniques that will expand the student’s
understanding of the program, while at the same time
maximizing their performance. It will allow the students
to take the boring or mundane and give it some punch.
Prerequisites: take COMD-508 or COMD-211.
Sequential Art & Graphic Novel
COMD-511 | 2 CR   This course emphasizes visual
storytelling in all its complexities—from the psychologi-
cal reasoning behind the arrangement of panels to
mold time to the pacing, camera angles, balloon place-
ment, composition dynamics, and lettering that make a
story come alive. In addition to the traditional forms of
print-based sequential illustration, this course also pro-
vides an excellent foundation for the creative process in
video animation and computer interactive multi-media
productions. Prerequisites: take COMD-201 COMD-202
COMD-211 COMD-212 COMD-215 COMD-216.
Web Design
COMD-520 | 3 CR   This course teaches the concepts
and structure of World Wide Web-based communica-
tions employing interactive digital media. A variety of
digital tools and procedures will be employed, including
HTML scripting, text editing, graphics processing, Inter-
net access, Web browsing, file transmission, and Web
page design. Prerequisites: take COMD-201 COMD-202
COMD-211 COMD-212 COMD-215 COMD-216.
Web Design II
COMD-521 | 3 CR   Students will redesign 2 HTML
websites to Flash websites using the techniques
learned during class and also design an original
online Flash portfolio. Hands-on lab time, experience,
discussions, and demonstrations will give students
greater sensitivity to AS3, the programming language
behind Flashcs3, and equip them to create custom
Flash interactive solutions for clients, either for websites
or interactive CD-ROM presentations. Students must
already excel in Flash CS3 and be proficient in Illustrator,
and Photoshop to enroll. Prerequisites: take COMD-520.
Freelancing: Business Graphics
COMD-551P | 2 CR   This course is essential for
students planning to establish a freelance business or
seek full-time employment, in the fields of illustration,
graphic design, and advertising art direction. The lec-
ture/workshop sessions cover: 1. Resume, cover letter,
portfolio, website, and promotional piece; 2. Negotia-
tion, contracts, pricing, proposal writing, and copyright;
3. Marketing, interviewing, researching clients, taxes,
business structure/planning.
DDA/Digital Arts
Special Topics
DDA-500 | 3 CR   This course offers students the
opportunity to explore emerging developments in
digital art technologies and subject matter. These may
include either specialized topics or special project
opportunities. Content may be either developmental,
practical, or both, depending on current objectives.
Prerequisites for this course vary by section. Students
are required to obtain the permission of the chairperson
in order to register for this course.
Artist’s Books in Electronic Age
DDA-510 | 3 CR   This course provides students with
the skills necessary to produce an artist’s book with a
computer graphics system. The course covers all areas
of book production, including concept development,
writing of text, layout, image making, printing, and
building. This course is based on the premise that com-
puter technology has revived the Renaissance model
of a single individual in charge of all aspects of book
creation, printing, and publishing. Prerequisites: take
DDA-150 or DDA-612.
Lighting and Rendering
DDA-513 3D | 3 CR   In this intermediate level
course, students learn the principles and techniques of
virtual 3-D lighting and rendering. This includes utilizing
materials, textures, cameras, shadows, special effects,
and rendering tools. Students complete projects deal-
ing with green screen shooting, matching live action,
and rendering CG film frames to match real footage.
Storyboarding & Storytelling
DDA-514 | 3 CR   This course targets all areas of
pre-production and design for computer animation
in preparation for hands-on modeling and animation
classes. The course focuses on the fundamental skills
of design for computer animation beginning with basic
conceptual scripting and storyboarding techniques and
ending with the development of a complete technical
breakdown ready to be animated. The art of storytell-
ing is explored from logo treatments to character
animation. Students should come prepared to draw,
write, pantomime, analyze, and invent. By the end of the
course, students conceive, design, and execute their
own storyboard for animation, including a technical
breakdown of timing and strategies that can be applied
in subsequent computer animation courses. Prerequi-
sites: take DDA-201 or DDA-610.
Character Design
DDA-515 3D | 3 CR   This class addresses the
movement of the animated character with a focus of
historical study of character design, and the techniques
for building an effective 3D CG character model.

Character Animation
DDA-517 3D | 3 CR   This course explores character
animation using the Maya software package as an
example. Coming into the course students should
already have some mastery of three-dimensional
modeling, rendering, and animation, be familiar with
the Maya software package, and have some experience
with character animation.
Character Rigging
DDA-519 3D | 3 CR   This course is designed to teach
the complete rigging process for 3-D computer graph-
ics character models. 3-D characters will be rigged with
an Inverse Kinematics-Forward Kinematics skeletal and
control system to simplify the animation process. Upon
completion of this class students will be prepared to do
3-D animations with properly constructed and rigged
characters. Prerequisites: take DDA-310 or DDA-624.
Web Design
DDA-520 | 3 CR   This course explores the concepts
and structures of online communications, employing
interactive digital media. A variety of digital tools and
procedures will be studied, including scripting, text
editing, graphics processing, Internet access, Web
browsing, file transmission, and Web page design.
Prerequisites: take DDA-320 or DDA-622.
Advanced Web Design
DDA-525 | 3 CR   This course focuses on Web
development using the latest in server side and CGI
programming, with an emphasis on effective interactive
design. Students learn the processes involved in the
creation of a dynamic interactive site. Tools include PHP,
SSL, PERL, MySQL, Filemaker, Shockwave, and Flash.
Prerequisites: take 1 group (take DDA-320 DDA-520 /
take DDA-520 DDA-622).
Internship
DDA-540 | 2–3 CR   This course provides computer
graphics majors with exposure to production-oriented
computer graphics in professional settings. Students
choose one of several projects offered by companies
participating in the program. This course provides
students with a realistic view of the day-to-day plan-
ning, budgeting, and managing of a computer graphics
facility.
Internship
DDA-542 | 2–3 CR   This course provides computer
graphics majors with exposure to production-oriented
computer graphics in professional settings. Students
choose one of several projects offered by companies
participating in the program. This course provides
students with a realistic view of the day-to-day plan-
ning, budgeting, and managing of a computer graphics
facility.
Subverting Digital Media
DDA-555 | 3 CR   Students learn to explore their
creative and potentially non-conformist ideas within
the context of digital media practices. Students engage
in a self-directed practical as well as theoretical inquiry
into digital media.
Interactive 3D for the Web
DDA-560 | 4 CR   This course explores the con-
ceptual and technical issues surrounding the creation
of nonlinear, user-controlled, spatial experiences.
Students conceive, build, and implement interactive
3-D works using Maya and Director 3-D for delivery on
the Internet.
Electronic Music and Sound
DDA-572 | 3 CR   Students examine works of
seminal figures in electronic music and incorporate the
aesthetics and structural concepts learned to create
original musical compositions. Special attention is given
to crafting transparent music mixes, using reverbera-
tion, automation, compression, and equalization. The
course is divided into two segments: hard disk recording
and MIDI-based recording. The goal is to create music
compositions that encompass the worlds of digital
audio and MIDI.
Advanced Video Editing
DDA-577 | 3 CR   This class focuses on the use
of 2-D digital video technologies in the creation of
full-screen moving video. The course begins with a
review of cinematic and analog video technology, but
focuses on the creation and manipulation of full-screen
digital video imagery. The class will cover the process
of editing video using a digital non-linear editing
system, including compositing, keying, color correction,
layering, special effects, audio, and titling. All students
enrolled in this class must have completed CG-575
(Video Editing for Computer Graphics) or have sufficient
experience with analog and digital video systems.
Flash for Animators
DDA-580 | 3 CR   This course is an introduction to
Flash, a powerful animation tool originally designed for
the web, and now used for broadcast as well. Essential
techniques such as special effects and camera moves
are used for creating and executing animation for
environments using Flash.
Creating Code for Digital Media
DDA-581 | 3 CR   This intermediate-level course
explores the creation and control of digital media by
custom-created computer code. The subjects covered
include low-to-high-level programming, scripting,
and mark-up languages. This course focuses primarily
on one subject area in any of four course offerings.
Students may enroll up to four times providing they do
not repeat any subject area at the same level.
courses 24 9
Creating Code for Digital Media
DDA-582 | 3 CR   This intermediate-level course
explores the creation and control of digital media by
custom-created computer code. The subjects covered
include low-to-high-level programming, scripting,
and mark-up languages. This course focuses primarily
on one subject area in any of four course offerings.
Students may enroll up to four times providing they do
not repeat any subject area at the same level.
Creating Code for Digital Media
DDA-583 | 3 CR   This intermediate-level course
explores the creation and control of digital media by
custom-created computer code. The subjects covered
include low-to-high-level programming, scripting, and
mark-up languages. This course focuses primarily on
one subject area in any of four course offerings. Stu-
dents may enroll up to four times providing they do not
repeat any subject area at the same level. Prerequisites:
take DDA-200 or DDA-620.
Code for Digital Media
DDA-584 | 3 CR   This intermediate-level course
explores the creation and control of digital media by
custom-created computer code. Subjects covered
include low-to-high-level programming, scripting,
and mark-up languages. This course focuses primarily
on one subject area in any of four course offerings.
Students may enroll up to four times providing they do
not repeat any subject area at the same level.
Interactive Installations
DDA-585 | 3 CR   This course covers the aes-
thetic, conceptual, and technical aspects of creating
digital installations. Students use various software and
hardware systems to enable the production of passive
and interactive installations incorporating computer
graphics, video, audio, and sensing systems. The class
is comprised of lecture, demonstration, and workshops
for project development. Prerequisites: take DDA-622.
Robotics & Physical Computing
DDA-587 | 3 CR   This studio course covers the
history and contemporary landscape of electronic art,
concentrating on those artists that are invested in a
physical or mechanical presence of technology within
their work. Students will use various electronic and
software languages to enable the production of public-
oriented electronic art.
Compositing & Special Effects
DDA-590 | 3 CR   This course focuses on the
techniques required to integrate a variety of source
materials seamlessly into a single unique image.
Compositing is used to create unusual visual effects
in motion pictures, television commercials, broadcast
banding, and network identification, as well as in video
game production. Students learn the correct use of
filters, traveling mattes, rotoscoping, layering, and blue
screen. Color theory is also addressed.
2 50 courses
Motion Graphics
DDA-595 | 3 CR   This course focuses on the art of
motion design and compositing, including limited 2-D
animation and mixed media. Using images, graph-
ics, video footage, and sound, students explore the
relationships of motion, pacing, textures, transparency,
transitions, design, and composition in space and time.
Digital Arts in Context
DDA-600 | 3 CR   Provides a critical investigation of
the digital arts from both a design and fine art perspec-
tive. Students research, analyze, and present their
findings on topics which may include the evolution of
the field, the development of digital arts disciplines, the
impact of technology, the pioneers and leading figures
in electronic art and design, the digital arts commu-
nity today, and contemporary works and activities in
computer graphics. Prerequisites: take 9 credits; from
Department DDA.
Graduate Seminar I
DDA-606A | 3 CR   This course is designed to
immerse students in the critical discourse and practice
of digital art. The students will formulate and hone their
thesis ideas and studio practice as they gain theoretical
fluency. The course format will combine seminar ses-
sions, guest lectures, student presentations and field
trips. Guest critics will be visiting throughout the year.
Students will begin to consider their thesis work at the
beginning of this semester which they will continue to
explore and develop throughout the first year. Students
will be given a required summer reading list with which
they will be immediately engaged at the beginning of
the semester.
Graduate Seminar II
DDA-606B | 3 CR   This course is designed to
immerse students in the critical discourse and practice
of digital art. The students will formulate and hone their
thesis ideas and studio practice as they gain theoretical
fluency. The course format will combine seminar ses-
sions, guest lectures, student presentations, and field
trips. Guest critics will be visiting throughout the year.
Students will begin to consider their thesis work at the
beginning of this semester which they will continue to
explore and develop throughout the first year. Students
will be given a required summer reading list with which
they will be immediately engaged at the beginning
of the semester. In this second semester, students
continue critical and theoretical development while
assembling a body of work and preparing to present
their project ideas to their Thesis committee. Prerequi-
sites: take DDA-606A.
Digital Imaging
DDA-612 | 3 CR   This course provides computer
graphics majors with their first exposure to hands-
on two-dimensional paint and image processing
techniques. It involves the use of a paint system with
drawing, coloring, and video digitizing capabilities.
Projects focus on the student’s areas of interest includ-
ing design, illustration, and photography. Prerequisites:
take DDA-610.
3-D Computer Modeling
DDA-614 | 3 CR   The purpose of this course is to
master the fundamental concepts of three-dimensional
modeling with a computer graphics system. Topics
include concepts of three-dimensional space and form,
familiarity with hardware and software, three-dimen-
sional modeling, scene composition, coloring, mapping,
lighting, rendering, and recording. Students are required
to design, build, and render several models. Prerequi-
sites: take DDA-610.
Dimensional Print for Artists
DDA-615 | 3 CR   This studio art course empha-
sizes artistic and aesthetic creativity utilizing Digital
3D modeling, 3D printing, and other digital output
methods. Students will apply current digital arts theory
to the creation of a personal body of work while explor-
ing digital and mixed media processes unique to 3D
printing. Course goals will be achieved through the
production of artwork, critiques, reading, and the hands
on use of state-of-the-art 3D printers. Prerequisites:
take DDA-614.
Design for Interactive Media
DDA-616 | 3 CR   This course provides computer
graphics majors with their first experience in the
design of computer-based interactivity. Students will
learn about essential interactive design issues such as
color, typography, layout, and navigation. Co-requisite
courses: DDA-610.
Languages
DDA-617 | 3 CR   This course is an introduction to
programming as a means of artistic expression. The
focus is on developing computer languages literacy
with an emphasis on techniques and applications to
the visual arts. Range of programming languages will
be introduced in parallel (e.g. Processing, Phython,
MaxMSP, ActionScript), underlining fundamental prin-
ciples, and common approaches.
Graphics Programming
DDA-620 | 3 CR   This course introduces students to
the basic concepts of computer programming with an
emphasis on art and design. Two-dimensional graphics
and interactivity are explored through the use of line,
form, and color.
Interactive Media I
DDA-622 | 3 CR   This course introduces students to
the principles of computer-based interactivity. Students
combine two-dimensional imaging and graphics
authoring as well as audio and visual technology for
achieving interactivity from multiple source media.
Interface design and scripting tools are covered.
3-D Computer Animation
DDA-624 | 3 CR   This course introduces students
to the principle of three-dimensional computer anima-
tion. Basic 3-D modeling ability is required. Students
learn how to develop storyboards as well as key frame,
interpolation, and rendering techniques. Students are
required to complete a short animated piece.
Video Editing
DDA-625 | 3 CR   Introduces video editing as a
creative tool for digital arts students interested in
its application to motion graphics, animation, and
interactive genres. It offers a thorough technical
understanding of nonlinear editing on the Final Cut Pro
system. Through editing exercises, students learn to
manipulate time, space, sound, and emotions to create
subjective narrative and experimental works. Prerequi-
sites: take DDA-610.
Audio for Digital Media
DDA-626 | 3 CR   Covers the aesthetic, conceptual,
and technical aspects of using audio and music with
various electronic media, such as 2-D/3-D animation,
video, and the World Wide Web. The course includes
lectures on the physical propertiesof sound, music
instruments, music notation, and musical styles, and
emphasizes critique of audio design techniques.
Advanced Interactive Media
DDA-630 | 3 CR   This course covers intermediate
and advanced techniques in interactive mediaincluding
a greater mastery of authoring tools and techniques,
mixed media,high-level interface design and current
trends in interactive media.Students are required to
complete an original interactive work.Prerequisites: take
DDA-620 DDA-622.
Advanced Digital Imaging
DDA-632 | 3 CR   This course expands the boundar-
ies of two-dimensional computer imaging, exploring
a variety of painting, drawing, and image-making
techniques on traditional and alternative media. The
development of an individual style technique and visual
“voice” is encouraged. Prerequisites: take DDA-612.

Advanced 3-D Computer Animation
DDA-634 | 3 CR   This course covers the con-
cepts, tools, and techniques employed in advanced
three-dimensional computer animation. This includes
hierarchical character animation, time curves, and
motion paths, color, and light animation and advanced
rendering techniques. Advanced script and character
sheet development, audio/visual synchronization, and
procedural descriptions of natural phenomena are
explored. Students are required to complete a fully ani-
mated piece. Prerequisites: take DDA-310 or DDA-624.
Motion Dynamics
DDA-635 | 3 CR   Students explore motion dynam-
ics animation using the Maya software package.
Students will learn the principles and practice of rigid
body dynamics, particle systems, and cloth dynamics.
Advanced undergraduates may enroll only by permis-
sion of the instructor and the DDA office. Prerequisites:
take DDA-624.
The Internet As Art Medium
DDA-640 | 3 CR   This course is aimed at those who
wish to expand their artistic ambition and creative
vision by exploring this new venue in the arts, and in
turn, produce substantial projects through Internet
technology. Its primary focus will be the aesthet-
ics arising from the advent of a Web culture and an
examination of where and how this new medium may fit
into the context of today’s and tomorrow’s art-making.
Prerequisites: take DDA-520.
Digital Animation Studio
DDA-643 | 3 CR   This advanced-level course allows
MFA students in the Digital Animation and Motion Arts
emphasis to work independently on a variety of their
digital animation projects. Under the guidance of the
instructor, each student designs and realizes either one
or two animations during the course of the semester.
Students may work either individually on their own per-
sonal animation, or collaboratively with several other
students in the class on an animation project. Students
may take the class a maximum of four times, provided
the student receives a minimum grade of B in the previ-
ous DDA-643 class.
Digital Imaging Studio
DDA-645 | 3 CR   This capstone course allows
students in the Digital Imaging minor to work inde-
pendently on a variety of their digital imaging projects.
Under the guidance of the instructor, each student
designs and realizes one or more substantial imaging
projects during the course of the semester. Students
must have substantial skills, both technically and
aesthetically, in the field of digital imaging prior to
enrolling in this course. Students may take this course a
maximum of four times provided they achieve a grade
of B or better in prior sections of DDA-645.
Interactive Arts Studio
DDA-646 | 3 CR   This is a project-based Studio
course in which students may work on group projects
or smaller individual works in series in pursuit of their
artistic goals in the DDA MFA program.
Thesis Research
DDA-650 | 3 CR   Computer graphics MFA thesis
candidates are required to define the objectives of
their thesis/final project as well as the methodology
they plan to use. Students work in close collaboration
with their faculty advisor and are required to do all the
research necessary to present a coherent, realistic,
and acceptable thesis proposal. Prerequisites: take 27
credits.
Post production
DDA-653 | 3 CR   This studio course covers the
concepts, tools, and techniques associated with com-
pleting and outputting a time-based project. Students
mix animation, video audio, rendering, and compositing
tools to finished projects properly. Prerequisites: take
DDA-643.
Thesis I
DDA-660A | 6 CR   This is the first of two thesis
courses for all MFA candidates in Digital Arts. It is the
fourth course in the DDA MFA thesis process, following
the completion of DDA-606B Graduate Seminar II, and
it is a pre-requisite for DDA-660B Thesis II. Students are
expected to begin the production of a DDA-660B Thesis
II. Students are expected to begin the production of a
significant original contribution to the field of Digital
Arts. Prerequisites: take DDA-606B.
Thesis II
DDA-660B | 3 CR   This is the culminating course
for all MFA candidates in Digital Arts. It is the fourth and
final course in the Digital Arts MFA thesis process, fol-
lowing the completion of DDA-660A Thesis I. Students
are expected to complete and present a significant
original contribution to the field of Digital Arts in the
form of a visual project and a written documentation of
the entire process, from research through completion.
Prerequisites: take DDA-660A.
Thesis I
DDA-660C | 3 CR   This is the first of two thesis
courses for all MFA candidates in Digital Arts. It is the
fourth course in the DDA MFA thesis process, following
the completion of DDA-606B Graduate Seminar II, and
it is a pre-requisite for DDA-660B Thesis II. Students are
expected to begin the production of a DDA-660B Thesis
II. Students are expected to begin the production of a
significant original contribution to the field of Digital
Arts. Prerequisites: take DDA-606B.
courses 251
Thesis in Progress
DDA-700 | 0 CR   If the Thesis course is not com-
pleted in the initial semesters, students can continue
working in DDA-700 for no more than five semesters.
DDA Internship
DDA-9600P | 0 CR   This course provides computer
graphics majors with exposure to production-oriented
computer graphics in professional settings. Students
choose one of several projects offered by companies
participating in the program. This course provides
students with a realistic view of the day-to-day plan-
ning, budgeting, and managing of a computer graphics
facility.
DES/Graduate
Communications Design/
Package Design
Special Studies
DES-600 | 2–6 CR   This course will allow students to
explore advanced areas of electronic imaging, publish-
ing, digital color, and creative thinking, all of which will
enable students to enhance their design skills. Prereq-
uisites: take DES-620.
Portfolio Development
DES-607 | 1 CR   This course offers an intensive
investigation of the design of a portfolio, including
marketing techniques, format, and binding, layout and
reproduction. Students design and lay out their port-
folios and begin final preparation. A follow-up session
is available for final portfolio review by professionals in
the field. Prerequisites: take 39 credits.
Design Procedures
DES-608 | 3 CR   This is an introductory class aimed
at preparing students with fundamental skills and
information that will be necessary for developing visual
communications projects. Abstraction, imagery, layout,
and sequencing are studied through assignments and
critiques. This class fosters conceptualizing abilities in
preparation for the more advanced Communications
Design curriculum.
252 courses
Exhibition Design
DES-609A | 2 CR   This course covers a variety of
environmental design projects that range from corpo-
rate exhibits to museum planning. The studio classes
are augmented with lectures, field trips, and visual pre-
sentations. Students develop concepts that may include
floor plans, structural systems, and graphic design
solutions. The class is open to environmental, industrial,
and communications design students. Prerequisites:
take DES-620.
Color Workshop
DES-614A | 3 CR   This course explores color and
light phenomenology in the three-dimensional world.
Relationships between color and light as they affect
our visual perception of size, shape, and proportion are
explored from both practical and aesthetic perspec-
tives. Projects examine color and light on forms such
as product and packaging as well as color and light in
space, as for display and interiors.
Color for Digital Communication
DES-615 | 3 CR   This course explores diverse issues
of human vision, color theory, and reproduction in a
cross-media environment. With an ever-increasing
array of manufacturing and distribution options
available, designers need a deeper knowledge of the
mechanics of color. Upon completion of this course,
students have a professional understanding of how
color happens, and how to exploit creative color
choices that are targeted to specific desired responses
from the viewing audience. Prerequisites: take DES-608
DES-618 DES-620 DES-676 DES-677.
Typography I
DES-618 | 3 CR   This class is an introduction to
the concrete and conceptual aspects of typography
as a visual medium. The first half of the semester will
deal with the technical requirements of typography.
The second half will deal with abstract compositional
uses for typography, integrating hand skills and the
computer as a way to render type. Historical and current
forms of alphabetic communications will be explored,
along with the relationship to modern image-based
communications.
Typography II
DES-619 | 3 CR   This advanced class deals with
virtually all aspects of typography.Typographic applica-
tions encompass historic and contemporary viewpoints.
Course projects involve the effective use of type and
letter forms in order to creatively solve communications
problems. Use of Macintosh systems incorporating
design, production, text, and display type is required as
a prerequisite for this class. Prerequisites: take DES-618.
Visual Communications I
DES-620 | 3 CR   This course offers a disciplined,
systematic approach to concept development and the
problem-solving process applied to graphic design.
Use of the grid system, figure and ground relationships,
typography, and symbolism are covered in relationship to
setting priorities and utilizing information. Students are
engaged in a wide range of assignments in order to apply
design principles and broaden creative experiences.
Visual Communications II
DES-621 | 3 CR   A systematic and conceptual
approach is utilized to solve a multi-faceted design
project in this course. It involves reviewing methods of
analyzing and classifying solutions to communications
problems. The projects dealt with are of a two- and
three-dimensional nature and involve all elements and
concepts of graphic design. Each student is expected
to develop a unique and creative approach to design/
project solutions. Prerequisites: take DES-620.
Communications Seminar
DES-624 | 3 CR   This course introduces the student
to the influential role that graphic design plays in the
evolution of style and ritual within our society. The
semester-long assignment will focus on the realization
of an idea involving publication design. The class will
be broken down into teams of students who will form a
company and work collaboratively in the development of
ideas, design, layout, scheduling, production, and share
of expense of the project. The role of the designer, art
director, illustrator, and production artist is played out by
team members. Guest lecturers may visit the class during
the semester. Studio tours may be scheduled during
class time. Prerequisites: take DES-620 DES-621 DES-619.
Visual Perception
DES-625 | 3 CR   After an introduction to the
physiological and historical perspectives of visual
perception, the course develops a conceptual aware-
ness of the organization and perception of two- and
three-dimensional design through selected readings.
Symbols, archetypes, and the creative process of
problem solving are explored as aids in approaching
practical and relevant design problems. Technological
advances of computer graphics are explored as issues
affecting perception. The course includes readings, pre-
sentations, discussions, papers, and visiting lecturers.
Corporate Image Planning
DES-626 | 3 CR   In this course, corporate identity
functions as a problem-solving model. It combines
phases of information gathering, organization, and
analysis, strategy development, creative design, graph-
ics systems development, and establishing applications
standards into a coordinated program. Each student
performs on a professionally realistic level, selecting a
client or being assigned one, and fulfilling every role
of a typical corporate identification “team” (i.e. account
manager, design director, and marketing manager).
Each corporate identification program includes every
stage from initial client interviews through to the last
stages of a design control manual. Prerequisites: take 18
credits; from Level 600.
Marker Comps
DES-627 | 2 CR   This course is for future visual com-
munications, packaging, display, interior, or industrial
designers. Storyboarding techniques for multi-media
and advertising presentations are covered. The use of
markers for portfolio projects is taught in a unique style.
This is an invaluable skill for presenting one’s ideas
professionally.
Structural Packaging
DES-628 | 3 CR   This course teaches the use of
multiple production materials, manufacturing, and
assembly processes. The course addresses the stan-
dards, rules, and language of retail merchandising in
multiple venues, with a focus on presentation skills that
will allow students to utilize and maximize their creativ-
ity abilities. Students will design retail packages that are
practical, affordable, and competitive.
Packaging: Fragrance
DES-629 | 3 CR   This course takes a focused view
of cosmetic packaging through a workshop format
and the development of a term project. Selection and
development of projects are augmented by ongoing
and individual critiques and consultations. Prerequi-
sites: take DES-630 DES-631.
Packaging: Graphics I
DES-630 | 3 CR   Packaging design combines
marketing, graphics, and three-dimensional design.
Emphasis is on the application of graphic design ele-
ments to various forms of packaging. Packages are
analyzed and positioned from a marketing point of
view. Brand marks, visual graphics, and color schemes
are developed for individual products and extended
product lines. Typical assignments include food, phar-
maceutical, and mass market products.
Graphics/Package Design II
DES-631 | 3 CR   Packaging design is an extremely
viable field that combines marketing, graphics, and
three-dimensional design. Emphasis is on the applica-
tion of graphic design elements to various types of
products. Packages are analyzed and positioned from
a marketing point of view. Brand marks, visual graph-
ics, and color schemes are developed for individual
products and more sophisticated related product lines.
Typical assignments include food, pharmaceutical, and
mass market products. Prerequisites: take DES-630.
Packaging Tech I: Materials and Methods
DES-632 | 3 CR   This is a study of methodologies
and scientific methods employed in research, analysis,
synthesis, and evaluation in comprehensive design
problems. The course reviews information on packag-
ing materials properties; material compatibility; and
production methods including: blow molding, injection
molding, vacuum forming, blister packing, and paper-
board construction.

Marketing
DES-634 | 3 CR   This course covers marketing
strategies in areas of packaging and graphic design,
multi-media, industrial design, and urban environmen-
tal systems management. Lectures deal with consumer
need evaluation; media research; pre-testing and
product development; advertising; product distribution
methodology; and environment for product merchan-
dising. Guest speakers include leaders in marketing,
advertising, and media. Prerequisites: take 18 credits;
from Level 600.
Typographics
DES-635 | 3 CR   This course seeks to promote
problem-solving concepts, emphasizing the use of
type and the letter forms as visual communications
tool—prompting the student to think as opposed to
producing mere layout. It encourages students to work
in terms of client-designer relationships, simulating
actual working conditions. Assignments are critiqued
using professional standards. Upon approval of ideas,
students follow through with client presentations,
developing portfolio pieces as the ideal final result.
These pieces are due for review at the end of each
semester. Prerequisites: take DES-619.
Visual Communications III
DES-636 | 3 CR   This is an advanced course for
students who successfully complete Visual Com-
munications I & II. It offers students an opportunity to
develop, analyze, and research specific problems and to
devise a graphics programs on topics of public concern.
A case study approach is used, allowing each student
to select eight to ten projects matching his/her field of
interest (i.e. corporate identity, advertising, packaging,
or editorial design). Prerequisites: take DES-621.
Design Management
DES-640 | 3 CR   This course deals with manage-
ment methods within large corporations, design
consulting firms, advertising agencies, and multi-media
production companies. Each student receives a broad
perspective as a manager and employee within the
context of the professional world. Guest lectures
include management experts from the worlds of busi-
ness and design. Prerequisites: take 18 credits; from
Level 600.
Internship
DES-654 | 1–6 CR   The internship makes it pos-
sible for students to receive on-the-job experience in
their field of study prior to completing their graduate
programs. This class bridges the gap between the
academic and professional worlds. Prerequisites: take
24 credits; from Levels 600 700.
Special Projects
DES-656 | 1–6 CR   Coursework and/or special proj-
ects are assigned on an individual basis with the approval
of and in consultation with the department chair.
Special Projects
DES-657 | 1–6 CR   Coursework and/or special
projects are assigned on an individual basis with the
approval of and in consultation with the department
chair.
Special Projects
DES-658 | 1–6 CR   Coursework and/or special
projects are assigned on an individual basis with the
approval of and in consultation with the department
chair.
Special Projects
DES-659 | 1–6 CR   Coursework and/or special
projects are assigned on an individual basis with the
approval of and in consultation with the department
chair.
Directed Research
DES-660 | 2 CR   This course involves individual
or team investigations related to the thesis project.
Problem-solving and research techniques are explored.
The objective of the class is to identify a subject and to
formulate a viable hypothesis, bibliography, and plan of
action for the final thesis. Prerequisites: take 24 credits;
from Levels 600 700.
Illustration
DES-662 | 3 CR   Through weekly sessions that
combine drawing exercises, critiques, and fieldtrips to
professional workplaces, this course teaches students
how to work as illustrators. Thoughtfully solving assign-
ments and discovering one’s own visual vocabulary will
be the primary aims. Students develop skills in any style
or medium they choose, including the computer. The
course emphasizes the importance of the collaboration
between the illustrator and the designer/art director.
Prerequisites: take 9 credits; from Level 600.
Creative Thinking
DES-664 | 2 CR   This course explores a number of
practical approaches to the purposeful and systematic
enhancement of the creative process. Beyond gaining
a new mastery over creativity, the techniques help
students delve more deeply into the realm of visual
opportunities. Students are engaged in a number of
creative thinking exercises and projects.
Electronic Imaging
DES-665 | 3 CR   This course explores the advanced
techniques and options available within today’s
necessary imaging software with a focus on Adobe’s
Photoshop and Illustrator programs. In addition, the
incorporation of basic student-generated 3-D imagery
and stock imagery is also covered. Project work
includes professionally-rendered artwork based on real
world assignments. A strong emphasis on conceptual
development accompanies the advanced technical
material. Prerequisites: take DES-620 DES-676.
courses 253
Publishing
DES-667 | 3 CR   Understanding how the business of
publishing functions is required in order to determine
the feasibility of publishing projects. This course wil
provide the students with a basic understanding of the
publishing process. Prerequisites: take DES-620.
Advertising Design
DES-668 | 3 CR   This course is a rational approach
to the creative process in advertising design. Students
develop concepts with “roughs” and explore the use of
copy, typography, photography, and illustration. Stu-
dents carry assignments from concept to conclusion.
Prerequisites: take DES-619 DES-620.
Design in Motion
DES-674 | 3 CR   Designing for film and other kinetic
media has grown from underground artists’ efforts in
the 1950s to a major role for both directors and design-
ers. The look of a film, video, or digital presentation’s
opening sequence sets the tone for what follows. This
course will examine how and why this look is achieved.
Computer Graphics Systems
DES-676 | 3 CR   This introductory course explores
the practical applications of today’s computer hardware
and graphic design software. The focus of the class will
beon gathering critical knowledge and gaining basic
mastery of a powerful suite of design visualization and
creative production tools. The course will cover the
field’s essential design applications: Adobe, Photoshop,
Illustrator, GoLive, Imageready, and QuarkXPress on the
Macintosh platform.
Electronic Pre-Press
DES-677 | 3 CR   This course provides students
with exposure to advanced concepts and procedures
that are required in preparing art and designs for
professional printing. Topics include color calibration
and control, color management, advanced electronic
layout, digital color separation, project management
and file preparation, digital proofing, process printing,
and coverage of emerging trends in digital printing and
variable-data printing. A particular emphasisis placed
on the relationship between the desires of graphic
design and the realities of print production.
Digital Design
DES-680 | 3 CR   The course introduces graduate
Communications Design students to the core ideas and
technologies surrounding image-making, sound, and
time-dependent media. To form challenging visual nar-
ratives there is an emphasis placed on broadcast quality
image compositing, typography, and audio. The primary
focus in this class is on the learning process, which puts
more emphasis on the conceptual thinking behind each
assignment than on the finished products.
254 courses
Interactive Design I
DES-681 | 3 CR   This course is an introduction to the
designer’s role in planning and producing non-linear
media such as websites, interactive installations, DVDs,
and CD-ROMs. Using web layout and animation soft-
ware, students learn to conceive, develop, design, and
produce websites and related media. The similarities
and differences with traditional media are discussed as
they pertain to typography, color, branding, and layout.
This course is of interest to students in all design and
image-related disciplines (computer graphics, photog-
raphy, film, video, and the visual arts).
Interactive Design II
DES-682 | 3 CR   This course focuses on the
advanced planning, conceptualizing, designing, and
building of an interactive project. Students review
contemporary designers’ solutions to complex media
projects and, using this knowledge as a foundation,
develop their own innovative solutions. The emphasis
is on developing an individualized approach to new
media. Examples of potential projects include interfaces
for mobile devices, electronic books, and interactive
branding. Prerequisites: take DES-681.
Motion Design I
DES-683 | 3 CR   This course aims to develop stu-
dents’ fluency in working with motion and time-based
media. This class deconstructs the concept of motion
byreferencing how things move in the real world, as well
as by exploring elements, such as space and time, that
create motion. The traditional design attributes—color,
composition, shape, depth, tension, and contrast—are
used and combined with time-based attributes such
as pace, rhythm, sequence, and repetition to evaluate
work. Prerequisites: take DES-680.
Motion Design II
DES-684 | 3 CR   This course focuses primarily on
storytelling and narrative as well as on the different
aesthetics of animation and video. Having gained a
comfortable technical level in Motion Design I, students
begin to develop longer format pieces exploring
personal and commercial dimensions of their work.
Assignments become broader as students gain more
confidence in the medium. Prerequisites: take DES-683.
Thesis Resource
DES-698 | 0 CR   This non-credit course provides stu-
dents with opportunities to work with faculty members
with specific areas of expertise who serve as additional
thesis advisors to their Thesis I and II teachers.
Thesis I
DES-699A | 6 CR   Independent research based on
individual thesis proposals, submitted by the candidate
and approved by the thesis advisor, is undertaken. Proj-
ects must represent a meaningful contribution to the field
of design and show a mature correlation between design
and supportive documentation. Communications and
packaging design students must have a portfolio review
before entering Thesis. Prerequisites: take DES-660.
Thesis II
DES-699B | 3 CR   Independent problems based on
individual thesis proposals, submitted by the candidate
and approved by the thesis advisor, are undertaken.
Projects must represent a meaningful contribution
to the field of design and show a mature correlation
between design and supportive research. Communi-
cations and packaging design students must have a
portfolio review before entering thesis. Prerequisites:
take DES-699A.
Thesis in Progress
DES-700 | 0 CR   If the thesis is not completed in two
semesters, students can continue working in DES-700
for no more than five semesters (not including sum-
mers). Prerequisites: take DES-699B; minimum grade
IP, CR.
Graduate Studio: Visual Language A
DES-710A | 3 CR   This studio will focus on strate-
gies to utilize design as a means for communication.
Students will apply self-directed creative design
strategies employing typography, image, and sound to
explore the principles and methodologies associated
with the development of communication design as a
visual language. Students will utilize design process:
how form, function, and content interrelate to create
meaning in the communication of ideas, messages, and
information through print and digital media, artifacts,
information, environments, and systems. 710A is the
first semester and 710B is the second semester of this
two semester studio course.
Graduate Studio: Visual Language B
DES-710B | 3 CR   This studio will focus on strate-
gies to utilize design as a means for communication.
Students will apply self-directed creative design
strategies employing typography, image, and sound to
explore the principles and methodologies associated
with the development of communication design as a
visual language. Students will utilize design process
how form, function, and content interrelate to create
meaning in the communication of ideas, messages, and
information through print and digital media, artifacts,
information, environments, and systems. 710A is the
first semester and 710B is the second semester of this
two semester studio course. Prerequisites: take DES-741
DES-751.
Graduate Studio: Technology A
DES-720A | 3 CR   Students will critically analyze
and explore the tools, skills, and production meth-
ods of current and emerging technologies in design
media, with an emphasis on effective and appropriate
creative visualization, analysis, and utilization. Students
will investigate technology trends within a historical
context, in order to better understand and extrapo-
late emerging technology systems. 720A is the first
semester and 720B is the second semester of this two
semester studio course.
Graduate Studio: Technology B
DES-720B | 3 CR   Students will critically analyze
and explore the tools, skills, and production meth-
ods of current and emerging technologies in design
media, with an emphasis on effective and appropriate
creative visualization, analysis, and utilization. Students
will investigate technology trends within a historical
context, in order to better understand and extrapo-
late emerging technology systems. 720A is the first
semester and 720B is the second semester of this two
semester studio course. Prerequisites: take DES-741
DES-751
Transformation Design A
DES-730A | 3 CR   This studio will focus on strategies
to utilize design as a means for transformation. With an
emphasis on a human-centered, holistic, and empathic
approach, students will apply “design thinking”
methodologies to problems and issues in an attempt to
transform the behaviors of individuals in desirable and
sustainable ways, while creating meaningful experi-
ences and interactions for people with communications
media, artifacts, environments, organizations, services,
systems, and each other. Emphasizing that people are
participants rather than simply users, students will study
ergonomics, usability, and human factors—cognitive,
physical, linguistic, social, and cultural behaviors. 730A
is the first semester and 730B is the second semester of
this two semester studio course.
Transformation Design B
DES-730B | 3 CR   This studio will focus on strategies
to utilize design as a means for transformation. With an
emphasis on a human-centered, holistic, and empathic
approach, students will apply “design thinking”
methodologies to problems and issues in an attempt to
transform the behaviors of individuals in desirable and
sustainable ways, while creating meaningful experi-
ences and interactions for people with communications
media, artifacts, environments, organizations, services,
systems, and each other. Emphasizing that people are
participants rather than simply users, students will study
ergonomics, usability, and human factors, cognitive,
physical, linguistic, social, and cultural behaviors. 730A
is the first semester and 730B is the second semester
of this two semester studio course. Prerequisites: take
DES-741 DES-751.
Cross-Disciplinary Studio
DES-741 | 3 CR   This course introduces the student
to communications design as it interfaces with, and is
influenced by, other design disciplines. It will emphasize
collaboration and cross-disciplinarity while encourag-
ing students to seek and solve design problems and
issues that focus on community and social outreach.
The studio will typically be team taught by a faculty
member from within the department and a professional
from another discipline. Prerequisites: take DES-710A
DES-720A DES-730A.

Design Writing
DES-751 | 3 CR   This studio course will focus on
core writing skills and effective methods for research-
ing, analyzing, evaluation, and chronicling design
issues. Students will address both critical thinking about
design issues and practical considerations through
writing and public discourse. This course allows
students to develop a voice through writing prior to
beginning their thesis project. Prerequisites: take DES-
710A DES-720A DES-730A.
Graduate Seminar A
DES-760A | 3 CR   Combining lectures, discussions,
small groups, and collaboration, Seminar is a forum
for critical analysis and discussions of theoretical,
historical, and contemporary issues in communications
design. Effective speaking, presentation, and writing
skills will be addressed. Assigned faculty and guest
lecturers will serve as instructors. Topics will vary. 760A
is the first semester and 760B is the second semester of
this two semester course.
Graduate Seminar B
DES-760B | 3 CR   Combining lectures, discussions,
small groups, and collaboration, Seminar is a forum
for critical analysis and discussions of theoretical,
historical, and contemporary issues in communications
design. Effective speaking, presentation, and writing
skills will be addressed. Assigned faculty and guest
lecturers will serve as instructors. Topics will vary. 760A
is the first semester and 760B is the second semester of
this two semester course. Prerequisites: take DES-760A.
COMD Teaching Practicum
DES-771 | 3 CR   Intended for those who desire
to enter teaching at the college-level, students will
explore and observe multiple teaching pedagogies/
strategies, design education methodologies, and
evaluation techniques in order to develop a knowledge
base for curricular and project development, as well
as techniques for effective and appropriate course
preparation and instruction. Course, program, and
student assessment processes will be introduced and
discussed. Evaluation given by participating faculty will
serve to assist students in preparation for post-second-
ary teaching. This course may be repeated.
MFA Thesis Research
DES-791 | 3 CR   Students will explore various
research methods with the goal of identifying a
problem or issue that will become the basic of a thesis
topic. Students will be expected to formulate a viable
hypothesis, bibliography, and plan of action. How to
best utilize public and private archives, collections, and
libraries, as well as online and database research, will
be addressed.
MFA Thesis I Resource A
DES-794A | 1 CR   Thesis Resource I offers the
student the opportunity for individual guidance on their
thesis research and development during Thesis I. A
student’s thesis committee is comprised of one primary
advisor and a minimum of two secondary advisors. The
course MFA Thesis I Resource A represents advisement
from the first secondary advisor. Prerequisites: take
DES-791.
MFA Thesis I Resource B
DES-794B | 1 CR   Thesis Resource B offers the
student the opportunity for individual guidance on their
thesis Research and development during Thesis I. A
student’s thesis committee is comprised of one primary
advisor and a minimum of two secondary advisors. The
course MFA Thesis I Resource A represents advisement
from the first secondary advisor. Prerequisites: take
DES-791.
MFA Thesis II Resource A
DES-795A | 1 CR   Thesis Resource offers the student
the opportunity for individual guidance on their thesis
research and development during Thesis II. A student’s
thesis committee is comprised of one primary advisor
and a minimum of two secondary advisors. The course
MFA Thesis II Resource A represents advisement from
the first secondary advisor. Prerequisites: take DES-
794A DES-794B DES-796.
MFA Thesis II Resource B
DES-795B | 1 CR   Thesis Resource offers the student
the opportunity for individual guidance on their thesis
research and development during Thesis II. A student’s
thesis committee is comprised of one primary advisor
and a minimum of two secondary advisors. The course
MFA Thesis II Resource A represents advisement from
the first secondary advisor. Prerequisites: take DES-
794A DES-794B DES-796.
MFA Thesis I
DES-796 | 3 CR   Working under the advisement of
a thesis committee, students undertake independent
research through self-directed projects that represent a
coherent voice and makes a meaningful contribution to
the field of design. The thesisis not a single project, but
rather a body of work consisting of multiple projects/
visual explorations based on a single topic/subject area
sharing a common methodology. Prerequisites: take
DES-791.
MFA Thesis Production & Exhibition
DES-797 | 2 CR   Students are required to present
and defend their thesis and body of work in a public
venue, and submit a written document. This course will
allow the student to work with faculty and peers in the
design and development, production, and exhibition
of the written and visual components of the thesis.
Prerequisites: take DES-796.
courses 255
MFA Thesis II
DES-799 | 3 CR   Taken in the final semester of the
students study, students complete their thesis under
the advisement of the thesis committee. In addition to
demonstrating professional competence and persistent
ideas consistently applied within a body of work culmi-
nating in a public exhibition, students are also expected
to complete a written documentation of the thesis.
Prerequisites: take DES-796.
MFA Thesis in Progress
DES-799A | 0 CR   Taken in the final semester of the
students study, students complete their thesis under
the advisement of the thesis committee. In addition to
demonstrating professional competence and persistent
ideas consistently applied within a body of work culmi-
nating in a public exhibition, students are also expected
to complete a written documentation of the thesis.
Prerequisites: take DES-799.
DES Internship
DES-9600P | 0 CR   The internship makes it pos-
sible for students to receive on-the-job experience in
their field of study prior to completing their graduate
programs. This class bridges the gap between the
academic and professional worlds.
DES Internship
DES-9601 | 1 CR   The internship makes it possible
for students to receive on-the-job experience in
their field of study prior to completing their gradu-
ate programs. This class bridges the gap between the
academic and professional worlds. Prerequisites: take
24 credits; from Levels 600 700.
DES Internship
DES-9602 | 2 CR   The internship makes it possible
for students to receive on-the-job experience in
their field of study prior to completing their gradu-
ate programs. This class bridges the gap between the
academic and professional worlds. Prerequisites: take
24 credits; from Levels 600 700.
DES Internship
DES-9603 | 3 CR   The internship makes it possible
for students to receive on-the-job experience in
their field of study prior to completing their gradu-
ate programs. This class bridges the gap between the
academic and professional worlds. Prerequisites: take
24 credits; from Levels 600 700.
256 courses
DM/Design Management
Strategic Marketing
DM-621 | 2 CR   Design plays a critical role in
creating sustainable creative advantage. This course
examines the role of strategic design intelligence in
the marketing process. Current theories and practices
of marketing are covered, including market research,
pricing, advertising, and merchandising policies, distri-
bution, and responsible package design.
Advertising and Promotion
DM-622 | 2 CR   This course examines approaches
to developing, evaluating, and managing responsible
and effective advertising and promotion strategies.
The course structure follows that of an advertising
campaign focusing on planning and targeting of pro-
motions, media selection, and plan implementation.
Building Entrepreneurial Courage
DM-623 | 2 CR   In order to effectively bring
creative professional services to market, leaders must
evidence entrepreneurship, creativity, and managerial
skill. The course confronts the challenge of organiz-
ing “creatives,” building entrepreneurial courage,
and developing systems that encourage collabora-
tion across boundaries. It provides an opportunity to
integrate and apply learning and to refine professional
development agendas.
Leadership Behavioral Simulation
DM-631 | 1 CR   The program begins with an
intensive team-building experience. Participants run a
multinational company for two days, learning about one
another and practicing leadership and team develop-
ment. The simulation is a practice field, an opportunity
for participants to build relationships that will help them
work together and sharpen their awareness of personal
strengths and development needs. Each participant is
coached to create a professional development plan to
guide them through the two-year program.
Leadership and Team Building
DM-632 | 2 CR   In combination with the simulation
practice field, this course prepares participants to work
together as a team throughout the program. Coursework
explores the theory and practice of leadership and the
challenge of team building in design organizations. Each
participant is coached—using a variety of profiles—to
deepen understanding of the impact of leadership style
on a team. Professional development plans are refined.
The goal of the course is to prepare self-aware leaders
for the challenge of managing in the 21st century—lead-
ers who can use design intelligence to help shape the
future of their organizations and our world.
Managing Innovation and Change
DM-633 | 2 CR   To maintain or achieve higher-order
market advantage, organizations must invest in innova-
tion in product, process, and people. An emerging
solutions economy and resource productivity revolution
requires that businesses adopt sustainable practices
and abandon wasteful and environmentally-damaging
processes and products. Design managers will need
to lead change and develop skills to move new ideas
through organizations. This course helps design
managers develop the skills needed to usher new ideas
through organization.
Negotiating
DM-634 | 1 CR   A second, intensive mini-module
designed to develop negotiation and dispute resolu-
tion skills through a mix of lecture and role-playing
exercises.
International Environment of Business
DM-641 | 2 CR   Design managers need to learn
to effectively operate in an increasingly international
context of competition, cooperation, and public con-
cern. Globalization of products, customers, suppliers,
distributors, regulators, and “watchdog” agencies is a
trend that will only intensify. This course examines that
global context and helps prepare design managers for
the changes and challenges ahead.
Business Law
DM-642 | 2 CR   This course looks at the law as it
impacts design managers. It examines the problems
of negligence and the crafting of contracts and war-
ranties. It provides design managers with a framework
for dealing with a wide range of design-related legal
problems in a national and global context. The course
enables design managers to anticipate the practical
and legal concerns that they will encounter and pre-
pares them to address them in an ethical and socially
responsible way.
Intellectual Property Law
DM-643 | 1 CR   Knowledge of Intellectual Prop-
erty Law is an integral part of design management.
Trademarks and trade dress, utility patents, and design
patents and copyright law are reviewed, with emphasis
on protection and litigation against infringement.
Design Futures: Theory & Practice
DM-644 | 2 CR   This course focuses on the future
and on the role of design and design leaders in shaping
that future. It highlights the extraordinary power of
design informed by Strategic Design Intelligence (SDI)
and Sustainable Creative Advantage (SCA) to transform.
It explores how companies are using these principles to
add value and create advantage, and it looks at those
who are on the cutting edge. Program participants are
encouraged to build on this class for their capstone and
use it to identify the design leaders who are creating
the future across a variety of design disciplines.
Management Communications
DM-651 | 2 CR   Effective communication is a vital
leadership tool. This course enables participants
to develop and refine skills in professional writing,
speaking, and presentation. It will also explain the
requirements for completion of the Design Manage-
ment Program final capstone requirement (DM-674).
Instructors provide guidance and examples to enable
participants to ready the proposals, cases, or research
projects necessary for this graduation requirement.
Course instructors act as ongoing advisors, continuing
to work with participant teams through the courses in
Directed Research and Capstone Planning (DM-656 and
DM-673).
Design Management
DM-652 | 2 CR   Design Management is a discipline
that maximizes the contribution of Strategic Design
Intelligence (SDI) and Sustainable Creative Advan-
tage (SCA). These concepts will be introduced and
explored as the core contribution of the design leader
in the organization. Design management links design
and related business activities into a creative and
coordinated strategy for creating value and sustainable
advantage for the firm.
Design Operations Management
DM-653 | 2 CR   This class focuses on creating
and managing efficient processes that link design to
business operations and enable cost-effective imple-
mentation of strategic initiatives. Participants explore
tools, techniques, and best practices of design as well
as other businesses.
Strategic Tech: Issues/Challenges
DM-654 | 2 CR   Technology is no longer a support
to design businesses; it is now a tool to create critical
strategic advantage. Design managers need to use
technology strategically to create and share informa-
tion critical to the success of the business with others
inside and outside of the organization. This course
provides an overview of strategic technology issues and
challenges faced by design managers.
New Product Management &
Development
DM-655 | 2 CR   This course examines the methodol-
ogy for bringing new products to market. The complete
picture of product innovation for goods and services is
explored, from original strategy through launch control.
Directed Research
DM-656 | 1 CR   This course continues the work to
prepare participant teams to complete the Shaping
the 21st Century: The Design Management Agenda
capstone requirement for graduation. Emphasis is on
refining methods for gathering and analyzing informa-
tion for the preparation of a case study, proposal, or
research project.

Financial Reporting & Analysis
DM-661 | 2 CR   Design leaders are required to
understand the way businesses tracks and measures
financial performance. Generally Accepted Account-
ing Principles(GAAP) are introduced together with the
preparation and analysis of financial statements.
Money and Markets
DM-662 | 2 CR   This course provides an overview of
macroeconomic concepts relevant to understanding
the cost and use of capital in a business and the impor-
tance of managing return on investment and investor
expectations.
Financing Companies & Ventures
DM-663 | 2 CR   This course explores strategies
for funding new ventures and for financing economic
growth. It provides a framework for risk analysis and for
examining the potential return on a new venture.
Managerial Decision Making
DM-671 | 1 CR   This course provides a tool box of
techniques, such as decision trees, basic game theory,
and break-even analysis, to help managers evaluate
alternatives and make informed decisions.
Business Strategy
DM-672 | 2 CR   The course examines the art and
science of strategic management and business plan-
ning. It also explores the formulation, communication,
and implementation, of both corporate and business-
level strategy.
Capstone Planning: Advisement
DM-673 | 1 CR   This course continues the work to
complete the 21st Century Design Agenda capstone
requirement for graduation. Emphasis is on develop-
ing research reports and cases for presentation and
publication in journals or on websites or at major
conferences or in action learning projects which apply
design management principles.
Shaping the 21 Century: Capstone
DM-674 | 2 CR   The capstone requirement is
designed to encourage and require the integration of
all course work and the creation of a contribution to the
field of Design Management. Capstone work must be
of professional quality and be able to be submitted for
publication or equivalent. Successful completion of the
capstone is required for graduation from the program.
DRWG/Drawing
Drawing Anatomy I
DRWG-550 | 4 CR   Through observation and knowl-
edge of the musculo-skeletal system and its functional
kinetics, the student is encouraged to express the
human form in graphic language. The study of human
structure becomes a comprehensive, informative, visual
experience, subduing copying dependency, and devel-
oping the selective force of expressive drawing. Studies
from anatomical dissections for the artist are an integral
part of this course.
Drawing Anatomy II
DRWG-551 | 4 CR   Through observation and knowl-
edge of the musculo-skeletal system and its functional
kinetics, the student is encouraged to express the
human form in graphic language. The study of human
structure becomes a comprehensive, informative, visual
experience, subduing copying dependency, and devel-
oping the selective force of expressive drawing. Studies
from anatomical dissections for the artist are an integral
part of this course. Prerequisites: take DRWG-550.
FA/Fine Arts
Directed Research
FA-511 | 1–5 CR   This course focuses on direct
research related to previously-taken formal courses of
study with the instructor in question. To pursue Directed
Research, the permission of both the faculty member
and the chairperson is required.
Seminar: Art Criticism
FA-600 | 3 CR   The basic concepts and problems of
modern art as developed and formulated by artists and
critics are examined.
Thesis Statement I
FA-601 | 2 CR   This course involves a written
corollary documentation to accompany studio work
completed in FA-650A/B, Thesis I and II. Prerequisites:
take 30 credits. Co-requisite: FA-650A.
Multimedia Installation
FA-602 | 3 CR   This conceptually-based course will
integrate video, photography, objects, performance,
and traditional media (drawing, painting, and sculp-
ture) into an environmental installation. Students are
expected to be proficient in these areas and be willing
to experiment with the nature of media on both a visual
and conceptual level.
courses 257
MFA FA Professional Practices
FA-603P | 3 CR   This course is designed to introduce
MFA students to all aspects of the professional art world
and to assist them in acquiring the knowledge and skills
required to navigate that world.
Art Criticism/Analysis
FA-605 | 3 CR   Students pursuing contemporary art
criticism, analytic photography issues, or non-tradi-
tional critical approaches to art prepare a minor thesis
in this course.
Graduate Symposium
FA-609F | 3 CR   Second year MFA students consider
cultural context and personal history in order to
investigate their studio practice and work, and its public
reception. The fall semester concludes with the pre-
sentation of brief illustrated lectures and the selection
process for the spring term’s seven participants. Those
seven students, chosen by an external critic, continue
during the spring semester to present their lectures and
exhibit work in a series of academically constructed
public events. Co-requisite courses: FA-650A.
Graduate Symposium
FA-609S | 3 CR   Second year MFA students consider
cultural context and personal history in order to
investigate their studio practice and work and its public
reception. The fall semester concludes with the pre-
sentation of brief illustrated lectures and the selection
process for the spring term’s seven participants. Those
seven students, chosen by an external critic, continue
during the spring semester to present their lectures and
exhibit work in a series of academically constructed
public events. Prerequisites: take FA-609P.
Graduate Internship Seminar
FA-610A | 3 CR   The MFA Internship offers valu-
able professional study in college-level teaching or
an internship in a non-profit, museum, art gallery, or
as a studio assistant with a professional artist. It may
be taken for two semesters or for a total of six credits.
Students find internships with artists, museums, and
galleries or to undergraduate classes at Pratt and else-
where to observe and to assist in a variety of capacities.
This course is reserved for graduate level Fine Arts
students. May be taken twice.
Graduate Internship Seminar
FA-610B | 3 CR   The MFA Internship offers valu-
able professional study in college-level teaching or
an internship in a non-profit, museum, art gallery, or
as a studio assistant with a professional artist. It may
be taken for two semesters or for a total of six credits.
Students find internships with artists, museums, and
galleries or to TA undergraduate classes at Pratt and
elsewhere to observe and to assist in a variety of
capacities. This course is reserved for graduate level
Fine Arts students. May be taken twice.
258 courses
Directed Research
FA-611 | 1–3 CR   Focuses on direct research related
to previously-taken formal courses of study with the
instructor in question. The permission of both the fac-
ulty member and the chairperson is required to pursue
Directed Research.
First Yr. MFA Print Seminar
FA-612F | 3 CR   This course will provide first year
Printmaking students with a forum for discussion and
critique of their work. Artists/curators and members
of the professional printmaking world will make guest
visits to the class and the class will visit printmaking
facilities in the NYC area.
First Yr. MFA Print Seminar
FA-612S | 1 CR   This course will provide first year
Printmaking students with a forum for discussion and
critique of their work. Artists/curators and members
of the professional printmaking world will make guest
visits to the class and the class will visit printmaking
facilities in the NYC area.
Painting & Drawing
FA-613A | 3 CR   Examines the interactions between
drawing and painting through group seminars, indi-
vidual critiques, and studio practice. Drawing sessions
featuring poses of varying duration will allow the
student to study gesture, contour, composition, and
modeling. The drawing seminar will alternate with
four-hour painting problems from the figure and from
the landscape.
Painting & Drawing
FA-613B | 3 CR   Examines the interactions between
drawing and painting through group seminars, indi-
vidual critiques, and studio practice. Drawing sessions
featuring poses of varying duration will allow the
student to study gesture, contour, composition, and
modeling. The drawing seminar will alternate with
four-hour painting problems from the figure and from
the landscape.
MFA 1st Yr. Printmaking Survey
FA-613P | 3 CR   A first year graduate seminar taken
in the student’s chosen area of study. The course is
designed to introduce and promote an engagement
with the New York City Art World, promote a self-
reflective study of work influences and studio practice,
and foster a sense of community for students during
their first year of graduate study.
Painting & Drawing
FA-614A | 3 CR   Examines the interactions between
drawing and painting through group seminars, indi-
vidual critiques, and studio practice. Drawing sessions
featuring poses of varying duration will allow the
student to study gesture, contour, composition, and
modeling. The drawing seminar will alternate with
four-hour painting problems from the figure and from
the landscape.
Painting & Drawing
FA-614B | 3 CR   Examines the interactions between
drawing and painting through group seminars, indi-
vidual critiques, and studio practice. Drawing sessions
featuring poses of varying duration will allow the
student to study gesture, contour, composition, and
modeling. The drawing seminar will alternate with
four-hour painting problems from the figure and from
the landscape.
Drawing
FA-617 | 3 CR   Students explore advanced studio
problems in drawing with an emphasis on the figure.
Seminar discussion and criticism are included. Some
sections emphasize practice and others focus on
discussion.
Painting
FA-621 | 3 CR   Students explore advanced studio
problems with an emphasis on independent creative
work. Seminar discussion and criticism are included.
Photo Methods: Experimental
FA-625 | 3 CR   This course is an examination of
non-silver processes (platinum, gumbichromate, etc.)
and their extension into non-traditional photographic
presentation. Construction techniques and object-
making, done in both studio conditions and daylight, as
well as the use of lighting set-ups and the human form
to study the experimental tradition in photography, will
be examined. Incorporation of other media is stressed
in both group and individual projects.
Digital Photography
FA-627 | 3 CR   Digital Photography I is an introduc-
tion to the ideas and skills of digital imaging. Students
are instructed in the beginning digital techniques of
Adobe Photoshop, using them to create a body of work.
The objective of the course is to introduce the technical
aspects of digital photography along with aesthetic
concerns and to create a portfolio based in digital
photography.
Sculpture
FA-631 | 3 CR   Advanced studio problems in sculp-
ture are pursued with an emphasis on independent
creative work in media of the candidate’s interest.
Ceramics
FA-641 | 3 CR   Advanced studio problems and
projects in ceramics are pursued with an emphasis on
independent creative work.
Drawing Into Sculpture Seminar
FA-648 | 3 CR   This course explores the relation-
ship between drawing and sculpture in a conceptual
framework.
Art & Culture Seminar
FA-649 | 3 CR   Provides for an interdisciplin-
ary dialogue between artists and anthropologists,
psychoanalysts, sociologists, philosophers, and other
practitioners from various fields. These bi-weekly dia-
logues will be complemented by class discussions and
assigned readings. A final paper is required.
Thesis I
FA-650A | 5 CR   This course ends with an exhibition
of creative work. The approval of the Graduate Fine Arts
Faculty Committee is required. Prerequisites: take 30
credits.
Thesis II
FA-650B | 5 CR   This course ends with an exhibition
of creative work. The approval of theGraduate Fine Arts
Faculty Committee is required. Prerequisites: take 30
credits.
Theories of the Avant-Garde
FA-657 | 3 CR   Theories of the Avant Garde will focus
on the history and practice of time-based works of art
since the late fifties. Emphasis will be given toVideo
(DVD) and Performance Art. The course will begin with
examination of Fluxus (Maciunas, Ono, Young, Beuys), the
Happenings and Environments (Kaprow, Cage, Kusama,
Warhol, Schneemann), and the body art of the sixties
(Nauman, Oppenheim, Acconci). Video art will be intro-
duced from the perspectives of Nam June Paik, Bill Viola,
Joan Jonas, Mary Lucier, and Gary Hill. The performance
art of the seventies and eighties will focus on anarchism,
feminism, simulationism, and multiculturalism. These
developments will be investigated historically, theoreti-
cally, ironically, poignantly, and—most of all—critically.
Intaglio Printmaking
FA-661 | 3 CR   This course will cover a wide range
of traditional and experimental intaglio techniques,
including dry point, line etching, soft ground, and
aquatint. Based on these techniques, the students will
explore both traditional and non-traditional materials
and methods. Regular critiques and discussions will be
held during class.
Relief Printmaking
FA-662 | 3 CR   This course will instruct students
on the process of relief printmaking, one of the oldest
and most direct forms of printmaking. Instruction
will include carving and printing images from wood,
linoleum, and birch plywood, among other surfaces.
Techniques will include reduction, multiple block, and
experimental printing.
Silkscreen Printmaking
FA-663 | 3 CR   This course will instruct students on
the process of silkscreen printmaking. Techniques cov-
ered will include photo-emulsion stencil, hand drawn
stencil mono-printing, and printing on experimental
surfaces. Artistic and commercial uses of silkscreen will
be discussed, including digital applications.

Lithography Printmaking
FA-665 | 3 CR   This course will instruct students
on the process of lithography printmaking problems
dealing with stone, plate, and mylar printing. The
course beings with an emphasis on positive work-
ing photo litho plates with various methods of image
making, including photographic, hand drawn on mylar,
computer generated, and/or manipulated and found
objects. Stone lithography concludes the course with
an emphasis on preparing the stone, materials, and
methods of drawing on the stone, the stone etching
process, and printing.
Contemporary Photo Seminar
FA-669 | 3 CR   A survey of contemporary photo-
graphic work, criticism, issues, and problems through an
examination of current museum and gallery exhibitions,
magazine reviews, and recently published books.
Emphasis will be on developing a critical viewpoint and
vocabulary, but relevant technical issues will not be
slighted. In addition to oral and written reports, students
may expect assignments in techniques and procedures
not generally used but which are employed by certain
contemporary photographers.
New Forms
FA-671 | 3 CR   An examination of new media,
processes, and combinations, and non-traditional
investigation.
Contemporary Abstraction
FA-678 | 3 CR   This course traces two lines of inquiry
in abstraction, one based on observation (Picasso) and
one based on concept alone (Mondrian).
Contemporary Art (1960–Pres)
FA-680 | 3 CR   Students examine the major devel-
opments in art since 1960, including lyrical abstraction,
pop, minimalism, conceptual art, earthworks, post-
minimalism, new painting, and sculpture as seen by
artists and critics.
Photography
FA-681 | 3 CR   This course involves advanced work
in an area of the student’s interest, individual problems
in original concepts, basic research, and techniques.
Development of an idea into final form must be suitably
presented.
Photography for Non-Major
FA-685 | 3 CR   Photography for Non-Majors is
designed for students who have an interest in learning
basic photography techniques and concepts utilizing
the artistic content of their major area of emphasis. The
course will include an exploration of both traditional
darkroom techniques and digital photography meth-
ods. The class will culminate in portfolio presentations/
critiques and a research paper.
Critical History of Photography
FA-688 | 3 CR   This course deals with the critical
issues surrounding the invention of photography
and its development as a medium, an art form, and a
phenomenon during the 19th century. Photography’s
relationship to the other arts, as well as the events it
recorded, will be discussed.
Thesis in Progress
FA-700 | 0 CR   If the thesis course is not completed
in the initial semesters, students can continue working
in FA-700 for no more than five semesters. Prerequi-
sites: take FA-650B.
FA Internship
FA-9601P | 1 CR   Internships are learning experi-
ences in the work place that relate to your major and
career goals. Interns are able to take the skills and theo-
ries learned in the classroom and apply them to real-life
work experience. You have the opportunity to learn new
skills and concepts from professionals in the field and
test career goals and explore career options. Students
also gain a more objective understanding of the experi-
ence through corollary meetings and by recording their
observations and completing exploratory assignments.
FA Internship
FA-9602P | 2 CR   Internships are learning experi-
ences in the workplace that relate to your major and
career goals. Interns are able to take the skills and theo-
ries learned in the classroom and apply them to real-life
work experience. You have the opportunity to learn new
skills and concepts from professionals in the field and
test career goals and explore career options. Students
also gain a more objective understanding of the experi-
ence through corollary meetings and by recording their
observations and completing exploratory assignments.
FA Internship
FA-9603P | 3 CR   Internships are learning experi-
ences in the workplace that relate to your major and
career goals. Interns are able to take the skills and theo-
ries learned in the classroom and apply them to real-life
work experience. You have the opportunity to learn new
skills and concepts from professionals in the field and
test career goals and explore career options. Students
also gain a more objective understanding of the experi-
ence through corollary meetings and by recording their
observations and completing exploratory assignments.
courses 259
FASD/Fashion Design
Special Topics
FASD-500 | 2 CR   Provides both undergraduates
and graduates the opportunity to be introduced to
various areas of study within the Fashion Industry. The
course of study will incorporate studio visits and work-
shops as well as lectures on each given course. The
curriculum varies as determined by the chairperson.
Fashion In Europe
FASD-591 | 2 CR   This course of study takes
students through Europe’s fashion capitols: London,
Paris, and Milan. Each city will include on-site visits (by
appointment only) to couture fashion designer ateliers,
ready-to-wear houses, couture fabric mills, couture
beaders, fashion businesses, and visits to fashion
institutions. Private city tours would also be a part of
this program to provide students with a greater cultural
understanding. Students will reside at either three- or
four-star hotels in a highly central location in each city.
Fashion in Europe
FASD-592 | 3 CR   This course of study takes
students through Europe’s fashion capitols: London,
Paris, and Milan. Each city will include on-site visits (by
appointment only) to couture fashion designer ateliers,
ready-to-wear houses, couture fabric mills, couture
beaders, fashion businesses, and visits to fashion
institutions. Private city tours would also be a part of
this program to provide students with a greater cultural
understanding. Students will reside at either three- or
four-star hotels in a highly central location in each city.
FILM/Film
Advanced Studies
FILM-505 | 2–4 CR   An elective course for super-
vised research, this course will enable a graduate
student to pursue a learning media project: design,
technique, production, and post-production. The class
can be taken at various levels, but only by graduate
students.
Digital Ink & Paint
FILM-530 | 3 CR   This digital production course
offers animation students the concepts and techniques
needed to master an important component of modern
animation production: digital ink and paint. This course
is designed primarily for Media Arts and Computer
Graphics Junior and Senior animation majors, as well
as CG graduate animation majors. Prerequisites: take 1
group (take FILM-143 FILM-384 DDA-100 / take 6 cred-
its; from Department DDA; from Levels 500 600 700).
260 courses
HA/ART/Art in Venice
Painting (Venice)
ART-590I | 2–10 CR   This course involves studio
work (outdoors as well as in), lectures, special projects,
individual critiques, and instruction, with particu-
lar emphasis on the interaction of light and color.
Sketchbooks and journals will be required. There will be
portfolio reviews in Venice, and work submitted for the
Pratt in Venice show will be reviewed. The course will be
supported by and integrated with courses in drawing,
printmaking, art history, special studies, and materials
and techniques.
Drawing/Non-Acid Printmaking (Venice)
ART-591I | 2–10 CR   This course consists of
studio and site work, independent projects, group and
individual critiques, and field trips to use landscapes
as subjects. At least six sessions will be devoted to
expanding drawing concepts through printmaking, and
the use of drypoint, collagraph, monotype, and relief
print techniques. The world-class print workshop of the
Scuola Internazionale della Grafica on the Grand Canal
is the location for this work. Individual development
is stressed and a body of work comprising drawings,
prints, and notations, including a journal, is required and
is to be submitted for the Pratt in Venice show.
Art History of Venice (Venice)
HA-590I | 3 CR   On-site study of painting,
architecture, sculpture, and drawing of Venice is the
prime purpose of this course. Classes held on-site will
alternate with lectures and discussions that place the
material in its art historical context. Study of ancient
Byzantine and Gothic art in Venice will precede discus-
sion of Renaissance art with its rich cross currents
of influence from Byzantium, Northern Europe, and
Central Italy. Technical innovations of Venetian Renais-
sance artists and later developments in the Baroque
will be considered. Students will carry out visually-
based assignments, including papers that analyze and
compare art works in Venice. The Marciana Library will
serve as a resource.
HA/History of Art
Theory & Methodology
HA-500 | 3 CR   The history of the discipline will be
reviewed. Students read numerous outstanding art
historical and critical writings exemplifying differing
approaches to the discipline, including connoisseurship
and criticism, iconography, and contextual studies. Each
student develops a bibliography on a particular histori-
cal approach to the study of art. Class discussion uses
historical examples to set a standard for art historical
writing and address current issues in the discipline. This
course is required for art history majors and masters
candidates in art history.
Renaissance Art
HA-501 | 3 CR   Students consider fifteenth and six-
teenth century art in Italy: the innovations of Donatello,
Brunelleschi, and Masaccio; the High Renaissance of
Raphael, Leonardo, and Michelangelo; the emergence
and decline of Mannerism; the late Renaissance in
Venice (Titian, Tintoretto, and Veronese).
Asian Art
HA-502 | 3 CR   An introduction to the art history
of the East. Emphasis is on Chinese art, including ritual
bronzes and masterpieces of landscape painting.
Students study the influence of Indian art on Chinese
Buddhist sculpture and transformations of the Chinese
tradition in Japanese art.
Aegean & Greek Art
HA-504 | 3 CR   Explores the art and architecture of
mainland Greece, Crete, and the Cycladic Islands from
the Bronze Age to Roman times. Painting, sculpture,
pottery, the minor arts, and architecture are discussed
in stylistic terms and as expressions of evolving social
attitudes, mythical traditions, religious beliefs, and
historical developments. Particular attention is given to
the legacy and iconography of Classical art.
Art by Women: 15th Ctry–Pres
HA-507 | 3 CR   This is a seminar on art by women
from the Renaissance to the present time, including
Renaissance artists such as Sofonisba Anguissola;
Baroque painters such as Artemisia Gentileschi and
Judith Leyster; Angelica Kauffmann in the eighteenth
century; Rosa Bonheur and the impressionists Mary
Cassat and Berthe Morisot in the nineteenth century;
and artists in all media in this century, such as Nevelson
and Hepworth, O’Keeffe and Frankenthaler, Kollwitz and
Kasebier. The course includes discussion of women as
artists in relationship to their roles in the societies in
which they lived.
Impressionism/Post-Impression
HA-509 | 3 CR   Students examine the development
of realism and the reaction against it in late-nine-
teenth-century painting. French Impressionism,
Post-Impressionism, and Symbolism are studied, includ-
ing figures such as Degas, Monet, Morisot, Cezanne, Van
Gogh, Gaugin, Munch, and Ensor.
Chinese Landscape Painting
HA-510 | 3 CR   Surveys landscape painting in China
from T’ang through Early Ch’ing dynasties (eighth
through seventeenth centuries). It investigates the
philosophical ideas embodied in the subject and stylis-
tic changes from the classical balance of Northern Sung
landscape to the Expressionism of Confucian scholar
painters and mad monk painters. Co-requisite courses:
HA-115 HA-116 ENGL-102 ENGL-103.
Picasso/Matisse Seminar
HA-511 | 3 CR   Follows the evolution of these two
pioneers of modern art from their training to their late
years. Students investigate topics such as the influence
of Cezanne and the Nabis on Matisse; the importance of
late Impressionism and Primitive art to Picasso; and the
role of sculpture in the work of each artist.
African Art
HA-512 | 3 CR   This course considers the art of
sub-Saharan Africa. It focuses on the sculpture from the
principal stylistic regions of West and Central Africa. The
artworks will be discussed in their social context.
David to Delacroix
HA-513 | 3 CR   The development of French painting
from Neoclassicism through Romanticism (c. 1780–
1845) is examined in this course, with consideration also
given to contemporary schools of realism in France.
International manifestations oft hese styles, especially
in England and Germany, are explored as they relate
to French art. Students study such painters as David,
Gericault, Girodet, Gros, Boilly, Ingres, and Delacroix. It is
recommended that undergraduate students complete
HA-215 and HA-216 prior to taking this course.
Film Criticism
HA-514 | 3 CR   An introduction to methods of film
analysis. The course studies the writings of some of the
best exponents of film theory, aesthetics, and criticism
in popular and scholarly forms: e.g. Arnheim, Eisenstein,
Bazin, Vertov, Kael and Sarris. Screenings include nar-
rative fiction, documentary, and experimental films. It is
recommended that undergraduate students complete
HA-115 HA-116 HA-215 and HA-216 prior to taking this
course.

Southern Baroque Art
HA-515 | 3 CR   The church answers Protestant aus-
terity with the glorious spectacle of Baroque painting,
sculpture, and architecture. Naturalism and realism, the
classical revival, and the uses of space, time, and light
are examined through such masters of the seventeenth
century as Caravaggio, the Caracci, Bernini, Cortona,
Borromini, Ribera, and Velazquez. Baroque subjects
brought about by the Catholic Reformation such as
visions, ecstasy, martyrdom, and mysticism will be
analyzed.
Northern Renaissance Art
HA-516 | 3 CR   Examines early painting in Flanders,
as well as in France, The Netherlands, Germany, and
England from 1400 to 1600. The altar pieces and
portraits of Jan Van Eyck, the prints of Albert Durer, and
the peasant scenes of Pieter Bruegel the Elder are high-
lights of the course.
Documentary Film
HA-517 | 3 CR   Students examine and discuss
the earliest one-reelers, Cinema Verite, experimental
and art films as well as recent feature-length motion
pictures and videos. Filmmakers as diverse as The
Lumiere Brothers, Thomas Edison, Diziga Vertov, Robert
Flaherty, Leni Riefenstahl, Frederick Wiseman, and D.A.
Pennybaker are included.
Drawings/Prints Seminar
HA-519 | 3 CR   Participants study the history of
drawings and prints from the fifteenth to the twentieth
centuries. Emphasis is on key figures such as Pisanello,
Durer, Leonardo, Michelangelo, Raphael, Rembrandt,
Goya, Degas, and Picasso.
American Art 1770–1940
HA-520 | 3 CR   This condensed course examines
American art and its major themes and issues c.
1770–1940. Students study painting, sculpture, photog-
raphy, and to a lesser extent, architecture. Instruction
will focus on the interrelationship between American
themes and national identity (for example, the Hudson
River School and western landscape tradition); the link
between the production and reception of art works; and
the achievement of well-known artists. American Art
begins with colonial portraiture and continues, covering
Antebellum genre painting, American impressionism,
“The Ash Can School,” regionalism, and World War II
propaganda art.
Pre-Columbian Art
HA-522 | 3 CR   This survey course introduces stu-
dents to the art of the geographic area which includes
Mexico, Central and South America, and the Spanish-
speaking Caribbean. Brazilian cultural expressions are
also presented. The course begins with pre-Columbian
Peru in 1500 BC and continues to 1492. The focus ison
art in various media and architecture of pre-Columbian
cultures.
Rembrandt & His Contemporaries
HA-523 | 3 CR   Participants study 17th-century
art mainly in The Netherlands. The Caravaggisti, Hals,
Rembrandt, Vermeer, landscape, still-life, and genre
specialists are included.
Native American Art
HA-526 | 3 CR   This course focuses on the art
and architecture of the woodlands, plains, southwest,
northwest coast, and arctic Native American peoples.
Collections of Native American art in local museums
are studied.
Roman Art
HA-529 | 3 CR   Explores Etruscan and Roman art
and architecture in its cultural, political, and social
context. Students study monuments in Rome and else-
where in the Empire and examine questions of stylistic
change, acculturation, patronage, and religion.
Medieval Art I
HA-531 | 3 CR   Students explore the architecture,
painting, mosaics, sculpture, and the minor arts of the
Early Christian, Byzantine, Migration, and Carolingian
periods that make up the Early Middle Ages. Emphasis
is placed on the evolution of form and style, as well as
iconography and symbolism. Considerable attention is
given to the social, religious, and intellectual context of
each work. Students do research on selected topics and
develop critical thinking skills.
Medieval Art II
HA-532 | 3 CR   This course begins with the art
of northern Europe after the Carolingian period and
extends through the International Gothic age. It exam-
ines the painting, sculpture, and architecture of the
Anglo-Saxon, Ottonian, Romanesque, and Gothic peri-
ods. Students are introduced to the art and architecture
of the later Middle Ages, with an emphasis on the styles,
iconographic approaches, and techniques of produc-
tion used by the cultures in which they flourished.
Oceanic Art
HA-533 | 3 CR   This course examines the creation,
form, and impact of the richly varied arts of the South
Seas and the Pacific Islands, including Easter Island,
Papua-New Guinea, Hawaii, and New Zealand. It
also covers the islands of Polynesia, Melanesia, and
Micronesia where the arts mark, motivate, and contain a
significant portion of everyday life.
Issues in Art History
HA-551 | 3 CR   Provides both advanced under-
graduate and graduate students the opportunity to
study in-depth a particular research problem or theme
in art history. The format consists primarily of lectures
with follow-up discussions. The course topics vary as
determined by the instructor and the department chair.
courses 261
Women in Photography
HA-552 | 3 CR   This class explores the work of
women photographers from c. 1840 to the present,
and the complex role gender plays in their work and
the response of their audience. Photography has
proven open to woman on both the amateur and the
professional level to an extent unknown in the so-called
fine arts. The primary emphasis is on images made by
women artists and the ways they have been chronicled
and discussed in both traditional and feminist history
and art criticism.
Dada and Surrealism
HA-553 | 3 CR   This course covers Dada and Sur-
realist art, film, and literature, focusing on its sources in
idealism, materialism, and psychoanalysis. Emphasis is
placed on issues of paternal authority and transgres-
sive sexuality; the role of women not only as the subject
matter of art, but also as artists in their own right;
as well as how Dada and Surrealism radicalized our
understanding of painting, sculpture, film, photography,
text, and collage.
Museology
HA-560 | 3 CR   Museums in New York City serve as
a learning lab for the study of museum methodology.
Classes are held at various collections in the city as well
as at Pratt. The course covers registration, curatorial
procedures, educational programs, and conservation
programs. Issues of how contemporary museums meet
the needs of a changing society are explored.
Special Topic: Exhibition
HA-561 | 1 CR   Students analyze current exhibition
in terms of its museological approach. Field trips to
the exhibition provide an in-depth understanding of
the objects, the subject, and the museum’s curator’s
underlying concept in structuring the show. Alterna-
tive modes of organizing the exhibition are considered
and discussed in class. This course can be linked to
other related theoretical or practical courses to provide
insight into an actual exhibition.
Art History of Venice (Venice)
HA-590I | 3 CR   On-site study of painting,
architecture, sculpture, and drawing of Venice is the
prime purpose of this course. Classes held on-site will
alternate with lectures and discussions that place the
material in its art historical context. Study of ancient
Byzantine and Gothic art in Venice will precede discus-
sion of Renaissance art with its rich cross currents
of influence from Byzantium, Northern Europe, and
Central Italy. Technical innovations of Venetian Renais-
sance artists and later developments in the Baroque
will be considered. Students will carry out visually-
based assignments, including papers that analyze and
compare art works in Venice. The Marciana Library will
serve as a resource.
262 courses
Directed Research
HA-599 | 1–3 CR   Direct research is related to
previously-taken or currently enrolled formal courses
in the History of Art and Design Department. To pursue
Directed Research, the permission of both the faculty
member and the chairperson isrequired.
Materials/Techniques of Venice
HA-600I | 3 CR   Students participating in Pratt
in Venice are introduced to issues and bibliography
relating to this subject. Through the good offices of the
Universita Internazaionale dell’Arte, students visit the
main restoration studio of the Soprintendenza in Venice
as well as current restoration sites and the laboratory
of the Kress Foundation. The Cini Foundation Library
provides abundant support. Each participant selects a
problem in Venetian materials and techniques to study
through early descriptions and restorers’ journals and,
to the extent possible, experiments with the material/
technique in the studio. This course may be taken twice
(in succeeding summers) by degree candidates in art
history.
Art History: Western Art
HA-601 | 3 CR   Designed for the graduate student
who has not studied Western art history, this survey
course helps students master the subject matter by
reading historical writing on art of the major periods.
Theory and Methodology
HA-602 | 3 CR   Students are introduced to key
figures in the history of art and design via their writings.
Further readings for discussion exemplify a range of
methodologies represented in the discipline and also
chronological and geographical range. Students are
expected to participate actively and critically in the
weekly discussions. An annotated bibliography of a
key scholar or method and a catalogue raisonne of an
object in Pratt’s permanent collection complete the
course requirements.
Thesis
HA-605 | 3 CR   Serves as a thesis course for the
graduate student who minors in art history and for
the master’s candidate in art history. Proposed topics
are submitted in writing to a faculty committee. After
approval of the proposal, the student works on an indi-
vidual basis with the appropriate faculty advisor. Theses
conform to the requirements established by the Library
and are filed there as well as with the Department of
Art History.
Art History Documentation
HA-605B | 1 CR   This serves as a supplementary
thesis course for the graduate student who minors in
art history and for the master’s candidate in art history.
Proposed topics are submitted in writing to a faculty
committee. After approval of the proposal, the student
works on an individual basis with the appropriate
faculty advisor. Theses conform to the requirements
established by the Library and are filed there as well as
with the Department of Art History. Prerequisites: take
HA-605. Co-requisite: take HA-605.
Dutch Art Seminar
HA-623 | 3 CR   Graduate students will study a spe-
cific theme in the complex and vibrant world of Dutch
Art in the 15th–17th centuries. The topic, introduced by
the instructor, will follow a seminar format of oral and
written presentations by students.
Contemporary Art Seminar
HA-627 | 3 CR   Beginning with the varied responses
to abstract expressionism around 1960, this course
explores the gradual unfolding of American painting,
sculpture, and alternative art forms such as video and
performance over the last three decades. Course mate-
rial is approached critically and historically, focusing on
issues of post-modernism in regard to its feminist coun-
terpart among other developments. There are regular
gallery, museum, and studio visits. Course requirements
include active participation of registrants, a seminar
report, and a paper.
Michelangelo Seminar
HA-630 | 3 CR   Students are introduced to topics
and issues in Michelangelo studies. Through readings
and discussions, students examine the religious, intel-
lectual, and political climate in which Michelangelo
lived and worked. Research topics are developed on
themes chosen by the group.
Making Medieval Manuscripts
HA-631 | 3 CR   This course explores the ways
medieval manuscripts were produced and illuminated.
Students study the stylistic evolution of manuscripts
and their importance as a resource for understanding
medieval painting. Changes in the choice of texts and
subjects throughout the Middle Ages, and the artists’
motivations, are other major areas of study.
Venetian Renaissance Seminar
HA-632 | 3 CR   This course looks in depth at the
visual riches of the Renaissance in Venice. An intro-
duction to Venetian Renaissance culture and to late
fifteenth- and sixteenth-century art and architecture
from the Bellini, Coducci, and Lombardi to Giorgione,
Titian, Sansovino, Tintoretto, Veronese, and Palladio is
provided along with selected readings, followed by a
quiz. Participants choose a focus for research and col-
laborate by sharing bibliographies. Each student selects
a topic related to the focus and presents the results of
research in a seminar report to the group and in a final
written version of the report.
German 19th-Century Art
HA-633 | 3 CR   This survey of German art provides
students with a chronological understanding of
individual artists and movement within a broader social
and historical context. Students examine the recurring
directions of realism and romanticism, the conse-
quences of political events, the impact of developing
urban centers, and the formation of a national identity
in relation to French and Italian art and the heritage of
the German Middle Ages and Renaissance. Contempo-
rary literature, music, philosophy, and art criticism is also
introduced.
The Beginnings of Abstract Art
HA-634 | 3 CR   This course explores the devel-
opment of abstract art in France, the Netherlands,
Italy, Germany, Russia, and United States from circa
1900 through the 1920s. The focus is on the origins
of abstract art in Symbolism and the movements of
Cubism, Fauvism, Futurism, Orphism, Synchronism,
Supremacist, Constructivism, De Stijl, as well as the
contributions of Kandinsky and the Blaue Reiter.
Creating Exhibitions
HA-635 | 3 CR   This course offers an introduction to
the process of planning, curating, execution, publicizing,
and finding of art or design exhibitions. This course
prepares the student for participation in small or large
presentations of commercial or educational exhibitions
within an organization or school, or in galleries, muse-
ums, or large commercial expositions and fairs.
Materials/Techniques/Conservation
HA-650 | 3 CR   Historic materials and techniques in
the various media are studied through the examination
of examples, early descriptions, and restorers’ journals.
Students experiment in various techniques that are not
current practice and learn of the technology that allows
individuals to analyze the materials and technique of
a given artist or object. The expertise of restorers is
included through classes held in the Brooklyn Museum
and guest lecturers.
Problems in Art History
HA-651 | 3 CR   Offered primarily to graduate
students and focused on in-depth study of problems
in art history. (The department may allow advanced
undergraduate students to enroll under special
circumstances.) The seminar format of the course may
also include lectures, class discussions, and student
presentations. Course topics will vary as determined by
the instructor and the department chair.

Independent Study
HA-699 | 3 CR   Independent study in art history is
available to graduate students who develop a contract
with the appropriate professor in art history to do
research in an area not covered in the courses offered
or that grows out of and goes beyond work already
done in a 500-level art history course. The professor
chosen must be an expert in the material to be studied
and the contract must specify regular advisement ses-
sions. The paper must be the product of the research.
No student may take HA-699 more than once.
Thesis in Progress
HA-700 | 0 CR   If the thesis course is not completed
in the initial semesters, students can continue working
in HA-700 for no more than five semesters. Prerequi-
sites: take HA-605 HA-605B.
Art History Internship
HA-9603 | 3 CR   Allows a graduate student to
work in a museum or a gallery for credit. The proposed
assignment must be approved by the chairperson of
Art History, and the work done must involve training
relevant for an art historian. A specific program of hours
and supervision must be developed with museum
personnel and the chair of the Art History Department,
and the student must report in writing to the Art History
Department on his/her work.
Art History Internship II
HA-9603B | 3 CR   Graduate students work in a
museum or gallery for credit. The requirements to enroll
and to complete the course work are the same as for HA
610. This course is required and only open to MS candi-
dates in the History of Art andDesign with a certificate in
Museum Studies. Prerequisites: take HA-610.
HD/History of Design
Survey Design History (1750-Pres)
HD-501 | 3 CR   This lecture course concentrates
on the history of mass produced designs, from the
Industrial Revolution to the present, with an empha-
sis on the general tendencies of the periods and the
social contexts in which the designs were conceived.
Examples representing links between design disciplines
are compared and analyzed for a better understanding
of the cross influences and interactions taking place.
History of Modern Design
HD-505 | 2 CR   The design of useful objects, interior
design, and graphic design are surveyed in chronologi-
cal order. The early beginnings of modern design are
examined briefly. Developments since 1850 are treated
in greater depth with a focus on the evolution of mod-
ernism leading to current practice.
Concepts of Design
HD-506 | 2 CR   Contemporary design has its roots in
the development of theories about what good design
is or should be. This course explores the theories of
pioneer and recent modern designers and critics from
Ruskin to William Morris to the post-moderns currently
in practice. Students read selected materials and meet
in seminar discussion groups to review and evaluate the
ideas they have studied. The aim is to encourage the
student to develop a philosophical direction.
History of Illustration
HD-511 | 2 CR   After a brief survey of early examples
of illustration and the effects of new reproductive tech-
niques on the development of illustration, this course
explores significant illustrations from the eighteenth
through twentieth centuries. Beginning with the social
and narrative commentaries of William Holgrath,
through to the present, successive styles, trends,
subjects, and advances in reproductive techniques
are explored. Students examine and discuss the work
of major artists and illustrators, focusing on how an
awareness of the legacy of the past can be an influence
on the present and future of illustration.
Issues in Design History
HD-551 | 3 CR   This course provides both advanced
undergraduate and graduate students the opportunity
to study in depth a particular research problem or
theme in design history. The format used will be primar-
ily lectures with follow-up discussions. The course
topics will vary as determined by the instructor and the
department chair.
Problems in Design History
HD-561 | 1 CR   Offered to graduate students
and focused on the in-depth study of problems in
design history. The seminar format of the course may
also include lectures, class discussions, and student
presentations. Course topics vary as determined by the
instructor and the department chair.
Concepts of Design II
HD-606 | 3 CR   In this seminar course, students
study theories and concepts of design. Issues important
to all fields of design will be discussed in the historical
context based on original writings and theories of the
most influential thinkers/ designers of the 19th and
20th centuries. Individual examples of design, including
students’ own designs, will be considered in relation to
these theories. Field trips will provide opportunities to
explore libraries and to apply the theories to practical
examples. Prerequisites: take HD-506.
courses 263
History of Industrial Design
HD-608 | 2 CR   Students will study pre-industrial
beginnings in primitive and ancient design. Medieval
and Renaissance preludes to the design in the Industrial
Revolution and its development to the present time
are reviewed. Products, transportation, packaging, and
graphics from 1850 to the present will be emphasized.
The course will include slide lectures, seminar sessions,
and research assignments.
History of Interior Design I
HD-609 | 2 CR   This course presents interior design
in relation to its architectural context, from primitive
and prehistoric beginnings to the Renaissance. Interior
spaces, furniture, and other interior elements in typical
uses are studied. Class format includes slide lectures,
seminar sessions, assigned reading, and research
assignments.
History of Interior Design II
HD-610 | 2 CR   This course presents interior design
and its relationship to architecture from the eighteenth
century to the present, with a special emphasis on
design since the beginning of the Industrial Revolu-
tion. Furniture, textiles, and other interior elements and
related products in typical uses are studied. The leaders
of the modern movement are examined in terms of
their works, writing, and theories. Class format includes
slide lectures, seminar sessions, assigned reading, and
research assignments. Prerequisites: take HD-609.
Aspects of Japanese Design
HD-640 | 3 CR   Students are introduced to Japanese
designs of recent production in thefields of graphic,
fashion, product, and interiors. Students are led to
actively interpret the designs from both Eastern and
Western viewpoints. Traces of sociological, philo-
sophical, and religious history visible in contemporary
Japanese designs are examined and discussed. This
course is only open to graduate students, as experience
in understanding design as part of culture is required
in order to be able to do the complex visual analyses
appropriate to Japanese design.
Problems in Design History
HD-651 | 3 CR   Offered to graduate students
and focused on the in-depth study of problems in
design history. The seminar format of the course may
also include lectures, class discussions, and student
presentations. Course topics vary as determined by the
instructor and the department chair.
History of Communications Design
HD-662 | 2 CR   This course provides students with
a view of the history of communications design and
the designers who influenced it. The course includes
analytical and critical examinations of modernist and
post modernist developments through class lectures.
Readings and videos emphasize the diverse roles that
designers have played in their complex social and
cultural environments.
264 courses
ART/Industrial Design
in Copenhagen
Special Studies (Copenhagen)
ART-590K | 6–9 CR   This study abroad program is a
seven- or nine-week summer program consisting of a
six- or nine-credit Digital Design Studio Workshop, plus
a three-credit lecture series on various aspects of the
history, theory, and practice of Scandinavian design and
the philosophical, economic, and political factors that
are affecting the practice of design in a global context.
Special Studies (Copenhagen)
ART-591K | 3 CR   This study abroad program is a
seven- or nine-week summer program consisting of a
six- or nine-credit Digital Design Studio Workshop, plus
a three-credit lecture series on various aspects of the
history, theory, and practice of Scandinavian design and
the philosophical, economic, and political factors that
are affecting the practice of design in a global context.
IND/Industrial Design
Transportation I
IND-507 | 4 CR   Research and development dealing
with the design of vehicles and/or equipment and/
or environment for the general area of transportation
is reviewed in this course. It covers design procedures
such as survey and design development in 2- and 3-D
sketching and/or mock-up for final presentation. The
subsection of this course concerns itself specifically
with the design of automobiles. It introduces, discusses,
and evaluates the design procedures as they are cur-
rently practiced in the automobile industry.
Transportation II
IND-508 | 4 CR   Research and development dealing
with the design of vehicles and/or equipment and/
or environment for the general area of transportation
is reviewed in this course. It covers design procedures
such as survey and design development in 2- and 3-D
sketching and/or mock-up for final presentation. The
subsection of this course concerns itself specifically
with the design of automobiles. It introduces, discusses,
and evaluates the design procedures as they are cur-
rently practiced in the automobile industry.
Space Analysis I
IND-509 | 2 CR   This course is directed toward the
understanding of the concept of negative volume
(space) in relation to interior and exterior environmental
situations. The first semester is devoted to a series of
abstract visual experiences designed to develop an
awareness of space and of the relationship of forms to
a particular negative volume. In the second semester,
the student applies theory to a project (shop, restaurant,
outdoor theater, exhibition space, or some other area of
our environment) and brings it to finished model form.
Space Analysis II
IND-510 | 2 CR   This course is directed toward the
understanding of the concept of negative volume
(space) in relation to interior and exterior environmental
situations. The first semester is devoted to a series of
abstract visual experiences designed to develop an
awareness of space and of the relationship of forms to
a particular negative volume. In the second semester,
the student applies theory to a project (shop, restaurant,
outdoor theater, exhibition space, or some other area of
our environment) and brings it to finished model form.
Prototypes I
IND-515 | 2 CR   This course is offered to seniors
who wish to pursue their own special talents or inven-
tive faculties. The resulting forms must be designed and
built as complete, full-size, and useful prototypes—that
is, the first of a series. The only restrictions on form are
simple and logical: to be able to execute the project
with available materials, tools, and personal finance.
Furniture, mass production ceramics, lighting, portable
structures, and textiles are potential projects.
Prototypes II
IND-516 | 2 CR   This course is offered to seniors
who wish to pursue their own special talents or inven-
tive faculties. The resulting forms must be designed and
built as complete, full-size, and useful prototypes—that
is, the first of a series. The only restrictions on form are
simple and logical: to be able to execute the project
with available materials, tools, and personal finance.
Furniture, mass production ceramics, lighting, portable
structures, and textiles are potential projects.
Toy Design
IND-517 | 2 CR   This course deals with design tech-
niques related to toy design, encompassing building,
color, graphics, simple mechanics, and drafting. These
will be applied through use of plastic, wood, foam, wire,
paint, pencils, markers, and vacuum forming. Special
consideration is given to the understanding of the child.
The safety concerns as well as the educational and fun
value of the toy will be considered. Children will judge
the student’s toy at the end of the semester.
CAID I: Alias
IND-539 | 2 CR   Through a series of hands-on exer-
cises, students learn to design in both 2-D planes and in
3-D space using point, line, curve, and line drawing ele-
ments to create both simple and complex wire frames
of a product design. Image manipulation and color also
are taught. The product is then redesigned using solids
modeling geometry employing Boolean operations.
Shading, color, and rendering studies are performed on
the 3-D model.
CAID II: Alias
IND-540 | 2 CR   Students learn how to develop a
3-D electronic mock-up of a product, using both simple
and complex surface modeling techniques. Color,
texture, patterning, lighting, and relativity of surface
are employed to create realistic images of the product.
Transference of files through a neutral format such as
IGES to drafting/plotting software and devices is also
covered. Prerequisites: take IND-539.
CAID: Solid Works/Pro E.
IND-541 | 2 CR   A thorough overview of Computer-
Aided Industrial Design (CAID), from simple software
programs for PC-type hardware to high-end, state-of-
the-art workstations. Field trips and guest lecturers
provide in-depth presentations about this newly devel-
oping area of industrial design. CAID is evaluated in
relation to traditional industrial design methodologies.
Students are introduced to desktop CAID with PC-type
hardware and a product-drafting program.
CAID II: Solid Works/Pro E.
IND-542 | 2 CR   Students learn an advanced, two-
dimensional drafting software program running on
high-end, PC-type equipment. Differences between
product and environmental drafting are reviewed. Stu-
dents learn to develop a library of component parts and
patterns which are used as standard symbols for mate-
rial specification. In addition to producing a complete
set of product drawings, text formatting, specification
layout, technical documentation, and presentation
manuals relating to the draftings are covered. Prerequi-
sites: take IND-541.
Drawing Forum
IND-547 | 2 CR   This course uses the student’s cur-
rent design classes as a point of reference for furthering
drawing skills. Emphasis is placed on drawing as an
integral part of the design process. Each work session
focuses on the student’s individual needs in the areas
of ideation scrolling, developing design ideas on paper,
rendering techniques, and graphic design.

Production Methods I
IND-585 | 2 CR   This is a survey of materials—
metals, polymers, elastomers, glass, ceramics, paper,
and other engineering materials—and a discussion
of processes—forming, casting, cutting, joining, and
finishing. The survey, which at times includes field trips,
demonstrations, and the preparation of written reports
is conducted from a product design point-of-view. The
objective of the course is to give the student a compre-
hensive understanding of the above and an approach
to a continuing study of the subject.
Production Methods II
IND-586 | 2 CR   This is a survey of materials—
metals, polymers, elastomers, glass, ceramics, paper,
and other engineering materials—and a discussion
ofprocesses—forming, casting, cutting, joining, and
finishing. The survey, which at times includes field trips,
demonstrations, and the preparation of written reports
is conducted from a product design point-of-view. The
objective of the course is to give the student a compre-
hensive understanding of the above and an approach
to a continuing study of the subject.
Design (Paris/Barcelona)
IND-590I | 4 CR   This program provides an opportu-
nity for fifteen students to explore two of Europe’s most
legendary design cultures and to meet and work with
designers from around the world. Prerequisites: take
IND-201 IND-202.
Industrial Design Tech I
IND-612A | 3 CR   The objective of this course is
to convey the information required in the design of
products. A manufacturing process is analyzed and
used as the basis of design. During the semester, stu-
dents review specific materials and processes. Course
includes guest lectures, field trips, and video presenta-
tions. A project report will be required.
Industrial Design Tech II
IND-612B | 3 CR   The objective of this course is to
convey the information required in the design of plastic
products. A plastic product is analyzed and designed.
During the semester project, students review specific
materials and processes related to the development
of a design; assess alternative processes; and discuss a
number of topics related to industrial design through
guest lectures, field trips, and video presentations.
A project report will be required. Prerequisites: take
IND-612A.
Grad Color Workshop I (2-D)
IND-614A | 2 CR   This course is an analysis of
human perception and the modes and attributes of
light and color. The study of simultaneous contrast, or
the way we perceive color changes as a continuous
physical and psychological process, will be the key to
the controlled experimental studies. Various media will
be used in the process of developing creative methods
for exploring ways we can manipulate the various
aspects of color and light that affect our psycho-
physiological equilibrium in challenging ways. Color
vocabulary and glossary will accompany stages in
development.
Grad Color Workshop II (3-D)
IND-614B | 2 CR   The course explores color and
light phenomenology in the three-dimensional world.
Relationships between color and light as they affect
our visual perception of size, shape, and proportion are
explored from both practical and aesthetic perspec-
tives. Projects examine color and light on forms such as
product and packaging as well as in space, as in display
and interiors.
Model Shop
IND-615 | 2 CR   This is an accelerated design shop
course presenting the use of tools and the processes
of forming, cutting, joining, and finishing. Subjects
covered will also include the description of models: soft,
presentation, and working. The student will be expected
to work on group and individual projects, utilizing
appropriate tools, materials, and processes. All work will
be photographed, and a presentation document of all
projects will be required.
Grad Digital Foundation Studio
IND-643P | 2 CR   The Digital Foundation Studio will
provide the student with the short-term practical tool
kit as well as the long-term updatable foundation by
exposing the student with theoretical principles and the
practical examples of the wide variety of digital technol-
ogy and tools which designers inevitably encounter and
must comfortably wield in today’s workplace and for
years to come. The topics, tools, and methods covered
by the course include, but are not limited to, Alias, Maya,
Rhino 3D, Solidworks, NURBS Modeling, Solid Modeling,
Parametric Modeling, Feature-Based Modeling, Polygon
Modeling, Developing Surfaces, Digital Sculpting, 3-D
Rendering, 3-D Animation, 3-D Scanning, 3-D Data Cre-
ation for Rapid-Prototyping/CNC Machining. Successful
and practical ability to assess, select, and make use of
the most appropriate and effective digital technology
and tools for the different needs they will encounter
throughout their academic studies and professional
careers.
Special Projects
IND-656 | 1–6 CR   Course work and/or special
projects are assigned on an individual basis. A variety of
topics are offered. Refer to specific registration sched-
ule of courses for offerings and to appropriate bulletins
for descriptions.
courses 265
Special Projects
IND-657 | 1–6 CR   Course work and/or special
projects are assigned on an individual basis. A variety of
topics are offered. Refer to specific registration sched-
ule of courses for offerings and to appropriate bulletins
for descriptions.
Special Projects
IND-658 | 1–6 CR   Course work and/or special
projects are assigned on an individual basis. A variety of
topics are offered. Refer to specific registration sched-
ule of courses for offerings and to appropriate bulletins
for descriptions.
Special Projects
IND-659 | 1–6 CR   Course work and/or special
projects are assigned on an individual basis. A variety of
topics are offered. Refer to specific registration sched-
ule of courses for offerings and to appropriate bulletins
for descriptions.
Directed Research I
IND-660A | 2 CR   Individual or team investigations
are conducted and related to selected topics under
faculty direction. Students develop thesis proposals in
second semester.
Directed Research II
IND-660B | 2 CR   Individual or team investigations
are conducted and related to selected topics under
faculty direction. Students develop thesis proposals in
second semester.
Graduate 3-D I
IND-672 | 2 CR   Students are introduced to an
ordered sequence of purely visual experiences to
develop a recognition of the abstract elements in any
design situation. The goal is to become so familiar
with the principles of abstraction that one automati-
cally thinks of a visual problem in terms of organized
relationships.
Graduate 3-D II
IND-673 | 2 CR   Students are introduced to an
ordered sequence of purely visual experiences to
develop a recognition of the abstract elements in any
design situation. The goal is to become so familiar
with the principles of abstraction that one automati-
cally thinks of a visual problem in terms of organized
relationships.
266 courses
Graduate 3-D III
IND-674P | 2 CR   This advanced course in 3D
asks the student to consider how understanding the
language and process of abstraction informs the
designing of the familiar. There are two three-dimen-
sional exercises exploring the human form through
abstraction, and the human condition (senses) as they
relate to product design; thus closing the knowledge
gap between abstract visual relationships introduced
in Graduate 3-D I and developed in Graduate 3-D II and
product development.
Finding Your Voice
IND-680P | 2 CR   Creative writing and oral presen-
tations are key elements to all art and design proposals,
now and in the future. Catching your audience’s atten-
tion right away, getting them hooked on a great story,
and keeping them hooked through the poetics of the
written and spoken word is our goal. Finding Your Voice
is a creative writing course specifically designed for the
graduate student, whose first hurdle into the real world
is to overcome and complete a Master’s Thesis. Students
will explore and consider the questions: How do I start
writing?; What should I be writing?; and Why?
Industrial Design Workshop I
IND-690 | 2 CR   Workshops are offered in two
distinct areas: process and concept. Both strive to
develop one’s individual vision as a designer and
enhance problem-solving abilities. Process workshops
focus on research, priorities, and understanding context
and dialogue as a part of the design process. Students
step through project development, including sketching,
model making, fabrication, and formal presentations.
Concept workshops follow an abstract and often lateral
creative process designed to expand the students’
visual, aesthetic, and conceptual framework. Resulting
projects are typically sculptural in nature and become
expressions of the relationship between the individual,
the artist, and the designer.
Drawing I
IND-694 | 2 CR   General drawing is based on per-
ception of form in natural growth: cellular, geometric,
and organic. In the analytical learning process, drawing
as a thinking tool serves to reveal the dynamic relation-
ships between natural and manmade systems. Exercises
in drawing stress the intuitive, visual, and analytical
learning processes.
Drawing II
IND-695 | 2 CR   Intensified drawing studies in natu-
ral and manmade forms, including the figure, still-life,
and structures. Advanced techniques involving con-
ceptsof mechanical objects rendering, delineation, and
graphics are covered. Employment of different drawing
media encourages professional flexibility. Prerequisites:
take IND-694.
Advanced Design Drawing
IND-696 | 2 CR   This course refines and extends the
scope of the students’ design drawing skills through
demanding skill-building exercises, the repetition
of drawings, the use of the human figure in design
drawings, and intensive classroom drawing sessions. A
complete set of concept, development, and presenta-
tion drawings for a new or existing student design is
executed and developed. Drawing techniques for the
design of portfolio layouts are introduced, resulting in
a developed portfolio design for a project previously
done by each student.
Thesis I
IND-699A | 3 CR   Independent problems based on
individual thesis proposals, submitted by the candidate
and approved by the thesis advisor. Projects must
represent a meaningful contribution to the field of
design and must show mature correlation between all
phases of design and construction based on supportive
research. Prerequisites: take IND-660B.
Thesis II
IND-699B | 3 CR   Independent problems based on
individual thesis proposals, submitted by the candidate
and approved by the thesis advisor. Projects must
represent a meaningful contribution to the field of
design and must show mature correlation between all
phases of design and construction based on supportive
research. Prerequisites: take IND-699A.
Thesis in Progress
IND-700 | 0 CR   If the thesis course is not completed
in the initial semesters, students can continue working
in IND-700 for no more than five semesters. Prerequi-
sites: take IND-699B.
GR IND Internship Course
IND-9600 | 0 CR   Internships are learning experi-
ences in the work place that relate to the industrial
design profession. Interns are able to take the skills
and theories learned in the classroom and apply them
to real-life work experience. Internships provide the
opportunity to learn new skills and concepts from
professionals in the field, test career goals, and explore
career options. Students also gain an objective under-
standing of the experience through required corollary
meetings with instructor and other students, and by
recording their observations during the internships and
completing exploratory assignments.
IND Internship
IND-9601 | 1 CR   Internships are learning experi-
ences in the work place that relate to the industrial
design profession. Interns are able to take the skills
and theories learned in the classroom and apply them
to real-life work experience. Internships provide the
opportunity to learn new skills and concepts from
professionals in the field, test career goals, and explore
career options. Students also gain an objective under-
standing of the experience through required corollary
meetings with instructor and other students, and by
recording their observations during the internships and
completing exploratory assignments.
IND Internship
IND-9602 | 2 CR   Internships are learning experi-
ences in the work place that relate to the industrial
design profession. Interns are able to take the skills
and theories learned in the classroom and apply them
to real-life work experience. Internships provide the
opportunity to learn new skills and concepts from
professionals in the field, test career goals, and explore
career options. Students also gain an objective under-
standing of the experience through required corollary
meetings with instructor and other students, and by
recording their observations during the internships and
completing exploratory assignments.
IND Internship
IND-9603 | 3 CR   Internships are learning experi-
ences in the work place that relate to the industrial
design profession. Interns are able to take the skills
and theories learned in the classroom and apply them
to real-life work experience. Internships provide the
opportunity to learn new skills and concepts from
professionals in the field, test career goals, and explore
career options. Students also gain an objective under-
standing of the experience through required corollary
meetings with instructor and other students, and by
recording their observations during the internships and
completing exploratory assignments
INDC/Industrial Design
Core Electives
Process/Product Studio
INDC-620 | 3 CR   An industrial designer’s work is a
crossing of art, engineering, and commerce.They study
society’s needs, wants, wishes, and dreams. They use
the language of analysis as well as function, form, and
feeling as a palate for creating useful objects that help
in the humanization of technology, the conservation of
resources, and in creation of observable meaning and
beauty. This is a studio/lecture/presentation class that

develops students’ designing and process skills. Stu-
dents will decide if they wish to complete one of several
in-depth projects for the semester. They will produce
portfolio-quality appearance models and drawings. The
creative brain is like a muscle; it needs exercise to work
well. A primary goal of this course is to practice using
this resource to enhance students’ inventive, creative,
and critical thinking abilities. Students will learn and
practice some traditional and novel ideation process
“movement” techniques and apply them to creating
project-appropriate research, concepts, solutions, and
presentations. They will become more comfortable
working with design program complexity and ambiguity
and will improve their self-esteem. The course will
encourage questioning, divergent thinking, and daring.
The class will help them become better self-directed
conceptual learners and allow their left logical judging
brain and their right creative artist brain to work better
together. A designer plays in a world of information and
ideas. Collecting, organizing, understanding, manipulat-
ing, and applying the results of this play is the work.
Demonstrations, examples, and studio projects will
emphasize the duel role of sequential linear thinking as
well as non-linear thinking and how both are necessary
tools of the designer. The class syllabus will include
project defining, programming, and information gather-
ing and analysis as well as strategies using intuition,
inspiration, and other inventive stimulations. Students
will use “ideatoons” to help process a design concept
and will produce finished models and or drawings of
their projects. Prerequisites: take IND-612A.
Interdepartmental Studio
INDC-622 | 3 CR   This class teams students from
Architecture, Industrial Design, Interior Design, ComD,
and other departments. Final, semester-long team proj-
ects will include the analysis and design of an imagined
or existing company as well as its products, packaging,
inventions, and interior environments. Students from
different departments will become part of a cross-
disciplined team and will develop a group-chosen
comprehensive design program for their projects,
working electronically and in studio. They will explore
different ways of thinking for product, environmental,
and graphic design, marketing and branding, and other
solutions; new presentation techniques will also be
explored. Students can take this class with permission
from the Industrial Design Department.
Design Methodology
INDC-624 | 3 CR   The class will investigate creative
processes and methodologies for designing, commu-
nicating, and manufacturing products. The focus will be
on three different products through which students will
explore design considerations, and visual communica-
tion and analysis tools. The results will be implemented
in their final designs. Prerequisites: take IND-612A.
Design Strategies
INDC-626 | 3 CR   This class helps students
understand: A) business bottom lines and objectives;
B) how to establish the business strategies to achieve
the bottom lines; and C) how to combine design skills
with branding/marketing tools. This class will discuss
topics such as market size, penetration rate, market
share, market segmentation, competitive analysis,
product lineup, differentiation, and design language.
The above topics will be applied to products chosen
by the instructor or individual student, which will result
in a set of marketing strategies and design skills. The
final deliverables will include marketing/branding
plans, concept sketches, presentation renderings, and
prototypes of three products chosen from their product
lineup. Prerequisites: take IND-612A.
Furniture Design
INDC-628 | 3 CR   This course presents several
fundamental areas of furniture design in the form of
lectures, class discussions, and studio assignments,
with the goal of exploring furniture design through
participation in a major project. This studio stresses
active education through design work and conceptual
development. Models and sketches are used to explore
design options, followed by fabrication of a full-size
working prototype. A well-considered written proposal
describing the proposed project is also required. Pre-
requisites: take IND-612A.
Exhibit Design
INDC-630 | 3 CR   This course explores exhibit
design as it applies to museum (institutional) and
commercial installations as a major discipline in the
arts. Students study unique expressions of content and
media that can be used to create exciting environmen-
tal spaces, focusing on the design of special places
made for the celebration of the human spirit and on
how three-dimensional design principals relate to
architectural scaled space and human behavior. Visits
to museums, commercial installations, and exhibit
manufacturers act as points of departure for the study
of contemporary space design issues, exhibit content
development, environmental graphic design, and
exhibit production techniques. The semester concludes
with a team-based project guided by a sponsor from
a museum of commercial organization. Prerequisites:
take IND-612A.
courses 267
Tabletop Design
INDC-632 | 3 CR   Students research the cuisine of
a country other than their own and choose a specific
location in New York where a restaurant would be
opened serving the students ethnic choice. The
interior concept is presented in written form, based
on researching the cultural and social aspects of food
preparation and consumption in and outside the home,
its icons, colors, and visual language, geography and
climate, history and economic and political structure.
With this information students design six tabletop
pieces for their restaurant, considering function,
aesthetics of the tabletop landscape, and the cultural
relationship to the venue. Finally, a record of the pro-
cess, developmental sketches, mechanical drawings,
computer renderings, and the research are assembled
into a book, presented along with the six finished
models. Prerequisites: take IND-612A.
INT/Interior Design
NEOCON Intensive (Chicago)
INT-501 | 3 CR   This course begins with a three-
hour lecture/orientation session at Pratt. Students then
spend seven days in Chicago at NEOCON, the contract
design industry’s most important event, where new
furniture and products are exhibited. During this time,
students will meet and hear some of the world’s top
designers discuss their work. The week culminates with
tours of Chicago’s architecture and interiors, and the
buildings of Frank Lloyd Wright. A three-hour session at
Pratt concludes the course.
Furniture Design
INT-517 | 2 CR   This is an introduction to the con-
cepts, functions, materials, and construction techniques
of furniture design. It also is a review of design theory
development in two- and three-dimensional forms of
a basic furniture concept or design. Lectures and field
trips prepare students to solve furniture design prob-
lems in drawing and model techniques.
Lighting Design II
INT-522 | 2 CR   This course covers additional areas
and topics not included in the basic lighting design
course. Emphasis will be on designing illumination for
complex project types, including analysis of lighting
criteria, development of design concepts, and complete
documentation requirements. This course is designed
for the student who wants to utilize light as a major fea-
ture of their design projects and requires more in-depth
information and understanding.
268 courses
Sustainable Design
INT-525 | 2 CR   This undergraduate level course
is an introduction to and critical evaluation of the
concepts, principles, and methodologies of environ-
mentally responsible interior design. Through lectures
and discussion, students undertake a systematic
exploration of the fundamental issues affecting and
influencing sustainably designed interiors. Research
and analysis of case studies and innovative design
solutions for interiors for interiors will be enhanced by
field trips to green sites and discussions with practitio-
ners and experts, leading students to develop a solid
rationale for making environmentally sensitive design
decisions.
Textiles for Interiors
INT-532 | 2 CR   The purpose of this course is to
provide a thorough study of textiles, wall covering, and
carpet as it relates to the aesthetics, application, and
function in corporate, healthcare, institutional, and
residential interiors. A great portion of this course will
be devoted to practical application. These sessions will
be held in environments where students would go to
obtain products for their “real” projects.
CADD I: Autocad
INT-560 | 2 CR   This first course in Computer-Aided
Design and Drafting (CADD) covers the basic concepts
and techniques encountered in today’s micro-com-
puter-based CAD systems. Major commands, defining
a drawing, and editing techniques are mastered. Basic
prototype drawings are created and recorded on hard
copy.
CADD II: 3-D Max
INT-561 | 2 CR   Using specialized software, students
learn to prepare detailed and rendered perspective
drawings for presentation purposes.
CADD III: REVIT
INT-562 | 2 CR   This course will cover the use of
Revit Architecture, a leading Building Information
Modeling (BIM) software that is quickly becoming the
industry standard for design professionals. The goal of
this course is to get students familiar with Revit in par-
ticular, and the BIM design process on a more general
scale. We will focus on how these tools can enhance
student work using design studio/thesis examples,
as well as how these tools are used in a professional
environment using complex large-scale projects as
case-studies. Prerequisites: take INT-560 INT-561.
Retail Design
INT-571 | 2 CR   A thorough introduction to the com-
plexities of retail design, from basic programming to
design analysis, economic viability, and the significant
details of display, lighting, graphics, and store fixtures
will be thoroughly explored.
Residential Design
INT-572 | 2 CR   Course description pending.
Qualifying Design I
INT-601 | 6 CR   These are basic design courses
dealing with people’s relation to space, architecture,
and the environment in a broad sense. Emphasis is on
human factors, scale, materials, and structures. The
course progresses from the abstract to problem-solving
through analysis and includes consideration of profes-
sional design problems of moderate scope.
Qualifying Design II
INT-602 | 6 CR   These are basic design courses
dealing with people’s relation to space, architecture,
and the environment in a broad sense. Emphasis is
on human factors, scale, materials, and structures.
The course progresses from the abstract to problem-
solving through analysis and includes consideration
of professional design problems of moderate scope.
Prerequisites: take INT-601.
Qualifying Construction
INT-604 | 2 CR   This is an introduction to structural
principles and construction practices in design and
architecture. Emphasis is on the relation of basic
structures to the needs of interior design. Consideration
of problems and solutions of small-scale construction
are explored. Construction drawings and details are
reviewed together with lecture and discussion.
Qualifying Arch Drawing
INT-606 | 2 CR   Drafting techniques, perspective
construction, and lettering are taught as well as delin-
eation, media, and application. Advanced problems in
rendering and presentation techniques are introduced.
Sustainable Design
INT-607 | 2 CR   This graduate level course is an
introduction to and critical evaluation of the concepts,
principles, and methodologies of environmentally
responsible interior design. Through lectures and
discussion, students undertake a systematic exploration
of the fundamental issues affecting and influencing
sustainably designed interiors. Research and analysis of
case studies and innovative design solutions for interi-
ors for interiors will be enhanced by field trips to green
sites and discussions with practitioners and experts,
leading students to develop a solid rationale for making
environmentally sensitive design decisions.
Taste
INT-609 | 2 CR   The course investigates a series of
histories and theories of the domestic interior by look-
ing at it from within and from the outside, its contents
and its representations. It engages history and theory
by allowing course participants to create their own
body of scholarship through a series of focused case
study investigations of the changing cultural forces and
how they directly affect the form of the interior and its
representations of the past and present.
Interior Design Theory
INT-610 | 2 CR   Through the investigation and
analysis of various readings in philosophy, architectural
theory, and other diverse yet parallel areas such as
sociology, anthropology, poetry, and cultural studies,
this course functions to introduce students to theory
related to the specifics of inhabitation, body awareness,
and tactility, as well as sensory awareness critical to
the development of interior design sensibility, and the
important and critical role that interior design posits in
the physical realization of contemporary society.
Design I
INT-621 | 6 CR   Studio assignments deal with
unique and prototypical large-scale interior problems.
These include office environments, hotels, restaurants,
exhibitions, and health and educational facilities. Every
attempt is made to simulate office working condi-
tions with real sites and requirements. Programming
and space planning are central issues in solving these
design problems.
Design II
INT-622 | 6 CR   Studio assignments deal with
unique and prototypical large-scale interior problems.
These include office environments, hotels, restaurants,
exhibitions, and health and educational facilities. Every
attempt is made to simulate office working condi-
tions with real sites and requirements. Programming
and space planning are central issues in solving these
design problems. Prerequisites: take INT-621.
Construction I
INT-623 | 2 CR   An examination of construction
methods and techniques, as well as the full range of
contract documents, including working drawings,
schedules, and specifications and the role they play in
design practice. Students produce working drawings
for cabinet construction as well as full-scale building
projects.
Construction II
INT-624 | 3 CR   An examination of construction
methods and techniques, as well as the full range of
contract documents, including working drawings,
schedules, and specifications and the role they play in
design practice. Students produce working drawings
for cabinet construction as well as full-scale building
projects. Prerequisites: take INT-623.
Presentation Techniques
INT-625 | 2 CR   A study of presentation techniques
is presented starting with a brief review of perspective
drawing methods. The course develops the under-
standing of texture, tone, and color. Students focus on
techniques of their own and develop varied rendering
styles, including the incorporation of digital drawing
and rendering techniques.

Color and Materials I
INT-631 | 2 CR   This course is an overview of
color theory and color phenomenology as it relates
to interior design. With a broad introduction to color
theory, students manipulate visual phenomenon in
two- and three-dimensional exercises. The final project
applies these principles to a given interior using color
and materials on architectural surfaces, furniture, and
furnishings.
Color and Materials II
INT-632 | 2 CR   Architectural and interior finishing
materials are examined in relation to function and
appropriateness. Where possible, material choices
relate to concurrent studio design assignments in INT-
601 and INT-621. Field trips to manufacturing facilities
and installations are a part of the course.
Lighting Design I
INT-633 | 2 CR   This is a survey of theoretical,
technical, and creative concepts of lighting as elements
of commercial and institutional design. Lecture topics
include color, light sources, measurement, and control
as they affect the interior environment. Students are
required to solve and document typical lighting design
problems.
Professional Practice
INT-641 | 2 CR   The practice of interior design
involves both office and project management. This
course examines the legal, financial, personnel, market-
ing, and communications responsibilities of a design
principal in the field. It introduces the graduate student
to the complexities of managing the execution of a
contract interior project, including experience at a job
site in progress.
Special Projects
INT-656 | 1–6 CR   Coursework and/or special
projects are assigned on an individual basis.
Special Projects
INT-657 | 1–6 CR   Coursework and/or special
projects are assigned on an individual basis.
Special Projects
INT-658 | 1–6 CR   Coursework and/or special
projects are assigned on an individual basis.
Special Projects
INT-659 | 1–6 CR   Coursework and/or special
projects are assigned on an individual basis.
Exhibition Design Intensive I
INT-671 | 5 CR   The EDI is a two-semester immer-
sion into the design and study of exhibitions of all kinds
and is an alternative to traditional thesis work. It is
intended for students who are interested in specializing
in exhibition design or in exploring one aspect of inte-
rior design intensively as it relates to exhibition design.
Design projects are supplemented by field trips and
discussion sessions, and project critiques with exhibit
design professionals.
Exhibition Design Intensive II
INT-672 | 5 CR   The EDI is a two-semester immer-
sion into the design and study of exhibitions of all kinds
and is an alternative to traditional thesis work. It is
intended for students who are interested in specializing
in exhibition design or in exploring one aspect of inte-
rior design intensively as it relates to exhibition design.
Design projects are supplemented by field trips and
discussion sessions, and project critiques with exhibit
design professionals. Prerequisites: take INT-671.
Directed Research
INT-698 | 2 CR   Offers instruction in and discussion
of design programming and design methodology. It
consists of the preparation of a design program for
the thesis to be prepared the following two semesters.
The first six weeks are spent in lecture and seminar
sessions, providing instruction in program development
and in discussion of programming techniques and the
selection of a thesis project, including the thesis site.
The remainder of the semester is spent primarily in
individual and/or small group discussions, providing
guidance in the detailed development of individual
thesis design programs.
Thesis I
INT-699A | 3 CR   Independent problems based on
individual thesis proposals, submitted by the candidate
and approved by the thesis advisor, are undertaken.
Projects represent design solutions of significant scope
and complexity and must show mature correlation
between all phases of design and construction based
on supportive research. Prerequisites: take INT-622
INT-698.
Thesis II
INT-699B | 3 CR   Independent problems based on
individual thesis proposals, submitted by thecandidate
and approved by the thesis advisor are undertaken.
Projectsrepresent design solutions of significant scope
and complexity and must showmature correlation
between all phases of design and construction based
onsupportive research. Prerequisites: take INT-699A.
Thesis in Progress
INT-700 | 0 CR   If the thesis course is not completed
in the initial semesters, students can continue working
in INT-700 for no more than five semesters.
courses 269
INT Internship
INT-9600 | 0 CR   Internships are learning experi-
ences in the work place that relate to the interior design
profession. Interns are able to take the skills and theo-
ries learned in the classroom and apply them to real-life
work experience. Internships provide the opportunity
to learn new skills and concepts from professionals in
the field, test career goals, and explore career options.
Students also gain an objective understanding of the
experience through requires corollary meetings with
instructor and other students, and by recording their
observations during the internship and completing
exploratory assignments.
INT Internship
INT-9601 | 1 CR   Internships are learning experi-
ences in the work place that relate to the interior design
profession. Interns are able to take the skills and theo-
ries learned in the classroom and apply them to real-life
work experience. Internships provide the opportunity
to learn new skills and concepts from professionals in
the field, test career goals, and explore career options.
Students also gain an objective understanding of the
experience through requires corollary meetings with
instructor and other students, and by recording their
observations during the internship and completing
exploratory assignments.
INT Internship
INT-9602 | 2 CR   Placements enable students to
receive experiences in professional design firms prior to
completing their graduate studies.
INT Internship
INT-9603 | 3 CR   Placements enable students to
receive experiences in professional design firms prior to
completing their graduate studies.
PHOT/Photography
Special Studies
PHOT-500 | 2 CR   This is an elective course for
supervised research. This course will enable a graduate
student to pursue learning media and developing
projects: design, technique, production, and post-
production. Graduate students may use this course at
various levels.
270 courses
PRNT/Printmaking
Art and the Computer I
PRNT-561 | 2 CR   Students learn basic computer
skills using Photoshop and PaintBrush software to
generate artwork for printmaking and book art classes.
The course is offered as an elective to all graduate and
undergraduate students. For undergraduate printmak-
ing majors, the course is required with a prerequisite of
one semester of printmaking.
Art and the Computer II
PRNT-562 | 2 CR   Students learn basic computer
skills using Photoshop and PaintBrush software to
generate artwork for printmaking and book art classes.
The course is offered as an elective to all graduate and
undergraduate students. For undergraduate printmak-
ing majors, the course is required with a prerequisite
of one semester of printmaking. Prerequisites: take
PRNT-561.
Letterpress: Text & Image
PRNT- 563 | 2 CR   This introductory course will
explore two of the oldest forms of printmaking: let-
terpress and relief. Students will use hand set type, print
in relief, and make photo-polymer plates to investigate
the unique possibilities offered by combining text and
image as visual language.
SCJ/Sculpture
Metal Sculpture II
SCJ-503 | 2 CR   Students explore metal as a
sculptural material and the techniques available to
its working and experience the material in its varying
states ranging from rock hardness through plasticity
to fluid, molten conditions. This ability to assume many
forms along with the immediacy, power, and versatility
of the oxy-acetylene torch, electric arch, forge, and
a myriad of other metal smithing tools provide a rich
and varied context for exploring sculptural concepts.
Prerequisites: take SCJ-501.
TECH/Technics
Companion Forms: Artist’s Book
TECH-500 | 3 CR   This studio course, offered jointly
through the School of Liberal Arts and Science and
the School of Art and Design, explores the relationship
between visual and literary art forms through the arts of
the book. Students are exposed to historical precedents
for collaborations between artists and writers of vari-
ous cultures. Taught jointly by faculty from visual and
literary disciplines, students will themselves produce
books and shorter forms with their visual and literary
counterpoints.
Anatomy I
TECH-501 | 2 CR   The structure of the human form
in movement, equilibrium, and motion is studied in
TECH-501. Motion, expression, and body language are
observed and explored through the study of skeletal
and kinetic muscular masses in TECH-502. Drawings
from anatomical dissections for artists at a well-known
medical school are encouraged.
Anatomy II
TECH-502 | 2 CR   The structure of the human form
in movement, equilibrium, and motion is studied in
TECH-501. Motion, expression, and body language are
observed and explored through the study of skeletal
and kinetic muscular masses in TECH-502. Drawings
from anatomical dissections for artists at a well-known
medical school are encouraged. Prerequisites: take
TECH-501.
Painting Processes
TECH-507 | 2 CR   Covers the technical aspects of
painting, including a study of the chemistry of paints,
pigments, and finishes and their applications through
discussions, lectures, demonstrations, and research
assignments. This is a required class for painting majors.
Prerequisites: take 4 credits; from Subject PTG; from
Level 200.
Introduction to Glass
TECH-513P | 2 CR   A broad survey of glass tech-
niques designed to introduce the beginning student
to the major areas of glass fabrication; kiln-forming,
kiln-casting, cold-working, flame-working, and glass-
blowing. Students are expected to complete a series
of projects utilizing techniques from each of the areas
taught. Prerequisites: take SCJ-305 SCJ-315 (SCJ_315)
FAU-342 FAU-347P IND-311 IND-507 FA-671 IND-612A
or IND-610.
Clay & Glazes
TECH-515 | 2 CR   Course description pending.
Prerequisites: take 2 credits; from courses SCJ-207
SCJ-208 FA-641.
Pop-Up Paper Engineering
TECH-516 | 2 CR   This course covers the fundamen-
tals of paper structure and movements as a 3-D and 4-D
way to illustrate images or ideas. Pop-ups, or movables
as they are historically called, have remained popular
since the 18th century because the viewer is required
to be an active participant in the process. Because the
artwork develops as the viewer opens the card or book
in which the construction has been placed, the viewer
feels that he/she takes part in the creation of art.
Woodworking I
TECH-519 | 2 CR   Students are introduced to an
array of woodworking and related fabrication tech-
niques and processes. The use of hand, power, and
machine tools is taught through lectures, demonstra-
tions, and hands-on experience. Topics include basic
woodworking techniques, safety procedures, wood
identification, joinery, construction methods, shaping,
turning, and finishing. Assigned and independent proj-
ects allow exploration while applying specific processes
and techniques. Whether functional or sculptural, the
goal of this course is to give students the knowledge to
conceive and realize ideas in wood. Supplies: material
fee required.
Woodworking II
TECH-520 | 2 CR   Building upon the experience of
Woodworking I, this course provides students with the
continued opportunity to improve their skills in an array
of woodworking and related fabrication techniques
and processes. Through lectures, demonstrations,
and hands-on direct experience students will learn
advanced techniques in the use of hand, power, and
machine tools, as well as joinery, construction methods,
shaping, turning, and finishing. Assigned and indepen-
dent projects will allow students to explore and apply
specific and more advance processes and techniques.
Whether functional or sculptural, the goal of this course
is to give students the knowledge to conceive and
realize highly developed ideas in wood. Prerequisites:
take TECH-519.
Plastics I
TECH-525 | 2 CR   This course covers thermoplastics:
orientation; cutting and joining; forming; vacuum, drape,
blow, and injection; foams; thermosetting plastics; and
casting are required to produce a document of work for
departmental evaluation.
Plastics II
TECH-526 | 2 CR   A continuation of TECH-525.
Students explore advanced work in synthetics for
application in painting, graphics, sculpture, and design.
Light, color, texture, and form in a wide variety of
plastics and composites also are studied. Prerequisites:
take TECH-525.

Casting and Moldmaking I
TECH-527 | 2 CR   The broader scope of this class
is to give art students the knowledge and the tools to
be able to professionally reproduce a fine art object
from one material into another, such as plaster, plastic,
cement, clay, and other non-metallic materials. Instruc-
tion and exercise are given on basic mold-making
principles, beginning from learning the piece mold
construction to the applications and use of various
contemporary flexible molding components recently
available to the art market. The waste mold technique
will close the semester exercises.
Casting and Moldmaking II
TECH-528 | 2 CR   The broader scope of this class
is to give art students the knowledge and the tools to
be able to professionally reproduce a fine art object
from one material into another, such as plaster, plastic,
cement, clay, and other non-metallic materials. Instruc-
tion and exercise are given on basic mold-making
principles, beginning from learning the piece mold
construction to the applications and use of various
contemporary flexible molding components recently
available to the art market. The waste mold technique
will close the semester exercises. Prerequisites: take
TECH-527.
Foundry I
TECH-529 | 2 CR   The aim of these courses is to
teach students the technology and process required to
cast an artwork in bronze. The technique is called lost
wax process. Students are taken step-by-step through
the various components of the process with lectures,
demonstrations, and exercises to a final point of casting
their own class projects. Prerequisites: take 2 credits;
from courses TECH-531.
Foundry II
TECH-530 | 2 CR   The aim of these courses is to
teach students the technology and process required to
cast an artwork in bronze. The technique is called lost
wax process. Students are taken step by step through
the various components of the process with lectures,
demonstrations, and exercises to a final point of casting
their own class projects. Prerequisites: take TECH-529.
Metal Fabrication, Welding, & Forge
TECH-531 | 2 CR   This hands-on course introduces
the fundamentals of direct metal fabrication. Instruction
and demonstrations are offered in basic processes such
as welding, brazing, cutting, and shaping using the oxy-
acetylene torch, shielded electric arc (MIG, TIG, Stick),
plasma, various machine tools, and the forge.
Welding and Forge II
TECH-532 | 2 CR   Gas welding and cutting, brazing
and soldering, spray, arc welding, and forge tempering
are included in this course. Prerequisites: take TECH-
531.
Sheet Metal Shaping & English Wheel
TECH-533 | 2 CR   This course will teach participants
how to make three-dimensional forms from sheet
metal. Students will be able to produce a variety of
volumeric forms for various purposes, from simple to
the complex, ranging from abstract sculptural forms to
functional applications.
Machine Shop Practice I
TECH-540 | 2 CR   Provides students with the
opportunity to improve their skills in metal fabricat-
ing techniques through lecture, demonstrations, and
hands-on direct experience with the metal-turning
lathe. Topics covered include basic operation and
safety, face plate turning, taper turning, boring, drilling,
etc. Assigned projects will be evaluated on the basis
of procedures achieved in meeting existing industrial
standards. This course is recommended for sculpture
and industrial design majors.
Machine Shop Practice II: Milling
TECH-541 | 2 CR   Provides students with the
opportunity to improve their skills in metal fabricat-
ing techniques through lecture, demonstrations, and
hands-on direct experience using the vertical milling
machine. Topics covered include basic operation and
safety, flying cutting, power-fed boring, drilling, and tap-
ping on the mill, etc. Assigned projects will be evaluated
on the basis of precision achieved in meeting existing
industry standards. This course is recommended for
sculpture and industrial design majors.
Art of the Book I
TECH-545 | 2 CR   This hands-on intensive class
covers an array of traditional and experimental book
structures essential in the production of conventional
editions as well as complex, unique sculptural books.
Students will create their own books based on the
study of historic book structures and the hands-on
examination of numerous examples of contemporary
“artist books.” Central to this studio class is an emphasis
on both technique and innovation so that students may
explore the conceptual and material basis of the “artist
book.”
Art of the Book II
TECH-546 | 2 CR   Building on the knowledge
and skills acquired in Art of the Book I, students will
continue to explore the conceptual basis of the genre,
while producing a complex unique artist book and a
small artist book edition. In a focused environment,
students will be offered more in-depth instruction to
achieve their personal project goals. The prerequisite
for this course is Art of the Book I. However, students
with comparable experience may request approval from
the Fine Arts Department to forgo this requirement.
Prerequisites: take TECH-545.
courses 271
Materials in Creative Art Therapy
TECH-634 | 3 CR   Students familiarize themselves
with the use of all drawing materials, papers, paints,
collage materials, assemblages, plastic, carving, and
casting and their applications to specific clinical
settings. Students also study the dimensions of form,
shape, color, and texture of various materials that stimu-
late, structure, and organize artistic expression.
Materials in Creative Art Therapy:
Special Ed
TECH-635 | 3 CR   Students familiarize themselves
with the use of all drawing materials, papers, paints,
collage materials, assemblages, plastic, carving, and
casting and their applications to specific clinical
settings. Students also study the dimensions of form,
shape, color, and texture of various materials that stimu-
late, structure, and organize artistic expression.
School of Liberal Arts
and Science
CHI/Chinese
Elementary Chinese I
CHI-501 | 3 CR   This is a course in conversational
Mandarin, including basic grammar and basic func-
tional vocabulary of the Chinese language, and aspects
of Chinese culture.
Chinese II
CHI-503 | 3 CR   This is a course in conversational
Mandarin, including basic grammar and basic func-
tional vocabulary of the Chinese language, and aspects
of Chinese culture.
Chinese I
CHI-521 | 3 CR   This is the first semester of an inter-
mediate course in conversational Mandarin, including
basic grammar and basic functional vocabulary of the
Chinese language; speaking, reading, and writing; and
aspects of Chinese culture.
Chinese II
CHI-523 | 3 CR   This is the first semester of an inter-
mediate course in conversational Mandarin, including
basic grammar and basic functional vocabulary of the
Chinese language; speaking, reading, and writing; and
aspects of Chinese culture.
272 courses
FREN/French
French Conversation
FREN-533 | 3 CR   This course is about communi-
cating in spoken French. It is for undergraduate and
graduate students who have completed Intermedi-
ate French I and II (or have equivalent skills) and who
wish to acquire oral proficiency. Conducted entirely in
French, classes are devoted to directed conversation
and role-playing as well as learning strategies for com-
munication on the fly.
Francophone Literatures
FREN-538 | 3 CR   This course is about communi-
cating in spoken French. It is for undergraduate and
graduate students who have completed Intermedi-
ate French I and II (or have equivalent skills) and who
wish to acquire oral proficiency. Conducted entirely in
French, classes are devoted to directed conversation
and role-playing as well as learning strategies for com-
munication on the fly.
GER/German
Reading German I
GER-601 | 3 CR   This course is designed to develop
German reading skills and a vocabulary in the context
of the study of art history. This is a two-semester course,
for which credit is achieved only on the successful
completion of both semesters. Open only to graduate
students in art history.
Reading German II
GER-602 | 3 CR   This course is designed to develop
German reading skills and a vocabulary in the context
of the study of art history. This is a two-semester course,
for which credit is achieved only on the successful
completion of both semesters. Open only to graduate
students in art history.
HMS/Humanities
and Media Studies
Religion in 20c Novel
HMS-500B | 3 CR   This course covers a range of
authors whose fictional works involve questions of
modern religious faith. Novels exploring aspects of
Eastern theology, mysticism, and Catholicism are inves-
tigated for their spiritual responses to contemporary
social and political events and conditions, as well as for
their stylistic elements.
Special Topics in: Literary Studies
HMS-500S | 3 CR   This course is designed to enable
students to explore special topics in literary studies in a
concentrated way. See HMS website for descriptions of
topics being offered in a given semester. Students will
learn contemporary theories and methods via an in-
depth exploration of the topic at hand. May be repeated
for credit as topic changes.
Special Topics in: Modern/Contemporary
HMS-501S | 3 CR   This course is designed to enable
students to explore special topics in modern and
contemporary literature and culture in a concen-
trated way. See HMS website for descriptions of topics
being offered in a given semester. Students will learn
contemporary theories and methods via an in-depth
exploration of the topic at hand. May be repeated for
credit as topic changes.
Special Topics in: World Literature/Culture
HMS-503S | 3 CR   This course is designed to enable
students to explore special topics in world literature
and culture in a concentrated way. See HMS website for
descriptions of topics being offered in a given semester.
Students will learn contemporary theories and methods
via an in-depth exploration of the topic at hand. May be
repeated for credit as topic changes.
SPT: Literary/Cultural Theory
HMS-530S | 3 CR   This course is designed to enable
students to explore special topics in literary and cultural
theory in a concentrated way. See HMS website for
descriptions of topics being offered in a given semester.
Students will learn contemporary theories and methods
via an in-depth exploration of the topic at hand. May be
repeated for credit as topic changes.
SPT: Literary/Cult Studies
HMS-531S | 3 CR   This course is designed to enable
students to explore special topics in literary and cultural
studies in a concentrated way. See HMS website for
descriptions of topics being offered in a given semester.
Students will learn contemporary theories and methods
via an in-depth exploration of the topic at hand. May be
repeated for credit as topic changes.
Poetics of Cinema
HMS-540E | 3 CR   This course investigates relation-
ships between image and narrative in cinema. Weekly
creative assignments—informed by close readings of
film excerpts and text—will culminate in the design of
a short, poetic film project. We will view visionary work
by innovative filmmakers, and engage in close reading,
followed by active discussion, to deepen our under-
standing of artistic choices—in the use of metaphor,
point of view, association, montage, image/action,
frame, composition, time, space, kinetics, transforma-
tion, multiple perspectives, reflexivity, gesture and the
body, non-linear narrative, amongst others—in the act
of visual storytelling central to the cinematic enterprise.
Women in International Cinema
HMS-540F | 3 CR   This course considers the vision
of prominent and pioneering films, with particular
attention to the gaze, subjectivity, ambivalence, mul-
tiplicity of perspective, identification, and disruption,
as cinematic vocabulary and subject. We will look at
films—in the works of artists such as Agnes Varda, Lois
Weber, Claire Denis, Marguerite Duras and Alain Renais,
Julie Taymor, Susanna Bier, Rainer Fassbinder, Wong Kar
Wai, Ang Lee, and Todd Haynes—with an emphasis on
identity, sexuality, and gender.
Semiotics of Media
HMS-540G | 3 CR   This class will explore the semiot-
ics of cinema as elaborated by Deleuze in his books
Cinema 1 and Cinema 2. Deleuze develops a taxonomy
of cinematic signs that displace both linguistic-based
semiotics and psychoanalytic approaches. How can we
extend Deleuze’s categories to incorporate innovations
in digital and new media?
Film Theory in Practice
HMS-540H | 3 CR   This course is an introduction
to some of the key concepts in the history of film and
media theory. However, rather than merely reading
about these theories, students will also experiment with
and apply these theories in practical exercises involving
writing, photography, video, and other media.
Film Sound
HMS-540I | 3 CR   Is film a visual medium? This
course explores some of the theoretical concerns in
designing the sound of a film, including the creation of
soundtracks, the use of original scoring, and voiceovers.

Key Concepts in Net Art
HMS-540J | 3 CR   Net Art is an interdisciplinary field
with roots in a number of other practices—conceptual
art, performance art, video art, video games, poetry, and
mail art, to name a few. We will study works of art on the
internet and the practices of making and presenting
art that precede them. Alongside works of art and art
criticism, we will read works about the nature of the
Internet as a medium. Key concepts include: transmis-
sion, narration/narrative, presence, interactivity,
identity, instrument, gaming, digital vs. analog, medium,
and mediation.
SPT: Cinema/Media Studies
HMS-540S | 3 CR   This course is designed to enable
students to explore special topics in cinema and media
studies in a concentrated way. See HMS website for
descriptions of topics being offered in a given semester.
Students will learn contemporary theories and methods
via an in-depth exploration of the topic at hand. May be
repeated for credit as topic changes.
Media Studies Encounters
HMS-549A | 11 CR   Media Studies Encounters 1,
offered during Fall Semester, gives students a program
of events, including speakers, films, presentations,
performances, outings, and various other activities
designed to introduce a widely varied set of media
practices and theories in an informal setting. Discus-
sions will also be held during weeks in which events
are not scheduled. Some ongoing writing is required,
but because the course is only for one credit, it will only
meet for eight sessions at various points throughout
the semester.
Media Studies Encounters
HMS-549B | 21 CR   Media Studies Encounters II,
offered during the spring semester, gives students
a program of events, including speakers, films, pre-
sentations, performances, outings, and various other
activities designed to introduce a widely varied set of
media practices and theories in an informal setting. Dis-
cussions will also be held during weeks in which events
are not scheduled. Some ongoing writing is required,
but because the course is only for one credit, it will only
meet for eight sessions at various points throughout
the semester.
Performance Studies
HMS-560S | 3 CR   This course is designed to enable
students to explore special topics in performance
and performance studies in a concentrated way. See
HMS website for descriptions of topics being offered
in a given semester. Students will learn contemporary
theories and methods via an in-depth exploration of
the topic at hand. May be repeated for credit as topic
changes.
Electro-Acoustic Music
HMS-590A | 3 CR   This course acquaints students
with the history of electronics in music/audio art, gives
them some measure of technical competence with cur-
rent tools in analog and digital audio, and presents them
with exercises that will promote original, creative work.
The Idea of Black Music
HMS-590B | 3 CR   Do we know black music when we
hear it? When we hear it as part of narrative (ie: in film,
opera, or commercials), how does black music function
symbolically? What challenges does sound pose to the
accepted wisdom in semiotics? In addition to listening
to music by black performers and composers, we will be
reading critical works about music across fields such as
musicology, film theory, black studies, and literature.
Special Topics in: Music & Sound Studies
HMS-590S | 3 CR   This course is designed to enable
students to explore special topics in music and sound
studies in a concentrated way. See HMS website for
descriptions of topics being offered in a given semester.
Students will learn contemporary theories and methods
via an in-depth exploration of the topic at hand. May be
repeated for credit as topic changes.
The Artist’s Book
HMS-591A | 3 CR   This course develops critical
frameworks for interpreting and creating artists’ books;
that is, artworks in which the book is a medium. We
will study such books alongside histories of the field,
theoretical writings, and critical commentaries. These
studies will inform our endeavors to create, catalogue,
and/or critique artists’ books in which visual, verbal, and
material elements are interwoven. Advanced students
from various fields are encouraged to use and expand
their own disciplinary perspectives. Visits to collections
around New York City will supplement Pratt’s resources.
Special Topics in: Literary Studies
HMS-600S | 3 CR   This course is designed to enable
students to explore special topics in literary studies in
an intensive graduate seminar setting. See HMS website
for descriptions of topics being offered in a given
semester. Students will learn contemporary theories
and methods via an in-depth exploration of the topic at
hand. May be repeated for credit as topic changes.
Special Topics in: Contemporary Art/
Theory
HMS-630A | 3 CR   This course will focus on analyz-
ing how contemporary artists and those that write about
their work, engage with the problems and possibilities
of representing history. Students will investigate the vari-
ous ways contemporary artists attempt to engage with
and represent history. When do artists look to the past
and for what artistic, critical, and political purposes?
What does artwork that engages history tell us about
how history can be thought of, represented, imagined?
What does contemporary art tell us about the relation-
ships among history, images, and visual culture?
courses 273
Special Topics in: Literary/
Cultural Theory
HMS-630S | 3 CR   This course is designed to enable
students to explore special topics in literary and cultural
theory in an intensive graduate seminar setting. See
HMS website for descriptions of topics being offered in
a given semester. May be repeated for credit as topic
changes.
Special Topics in: Cultural Studies
HMS-631S | 3 CR   This course is designed to enable
students to explore special topics in cultural studies in
an intensive graduate seminar setting. See HMS website
for descriptions of topics being offered in a given
semester. Students will learn contemporary theories
and methods via an in-depth exploration of the topic at
hand. May be repeated for credit as topic changes.
Special Topics in: Cinema/Media Studies
HMS-640S | 3 CR   This course is designed to enable
students to explore particular special topics in cinema/
media studies in a intensive graduate seminar setting.
May be repeated for credit as topic changes.
Mediologes I
HMS-650A | 3 CR   This course introduces students
to the logics of mediation in their varied forms, includ-
ing print, visual (photography, cinema, video), audio,
technological, and social forms of media.
Mediologes II
HMS-650B | 3 CR   This course will build on the work
of Mediologies I, introducing students to methods of
interpreting a variety of media objects/artifacts, books,
photographs, films, everyday objects, video games,
websites, sounds/music, and other specific artifacts of
media process while situating these objects in relation
to critical, social, historical, and cultural contexts.
Media Studies Thesis Workshop
HMS-659A | 3 CR   This course will work to help
students prepare for the production of a final project or
thesis. The class will be run as a workshop for student
work, facilitated by a faculty member. Students will
engage with readings on the topic of producing a final
project or thesis; examine relevant critical texts as well
as workshop the process of selecting a thesis advisor;
assemble an annotated bibliography, a precis, and
literature review; prepare outlines and preliminary or
preparatory statements of purpose, and begin the work
at hand. Instructor and peers will respond to work in
progress and help the student reach the point at which
they can take the project or thesis to fruition during the
class semester, or in the following semester.
2 74 courses
Writing for Art & Design Practice
HMS-696A | 1 CR   This course is a one credit, gradu-
ate-level writing workshop designed to teach artist how
to write through and about artistic practice. Through a
series of readings and exercises, students are provided
with creative approaches to meet writing required of
them in school and more generally. Students will read
and write about visual art, design, dance, money, news
and politics, science, and poetry. They will also write
first person essays and collaborative texts about their
own practice of making. Students will complete weekly
assignments and cooperatively review work in class.
For a final assignment, students will prepare a writing
portfolio that includes a revised artists statement, read-
ing journals, and essay that makes textual citation to the
course reader and outside texts. Students will be given
the opportunity and support to publish their writing
portfolios as an artist’s book.
Graduate Thesis Writing
HMS-697A | 1 CR   This course explores the writ-
ing and critical skills necessary for the successful
completion of a graduate thesis. In a workshop setting,
students will engage in free writing followed by critical
and structural evaluation, revision, and final editing,
with a focus on introductory paragraphs and thesis
statements. Students will also examine techniques
for structuring a complex discussion; develop an
understanding of what assertions and claims need
evidentiary support; and consider the elements of a
successful and insightful conclusion.
LAS/Liberal Arts and Sciences
Independent Study
LAS-698 | 1–6 CR   In this graduate course, work is
assigned on an individual basis under advisement by
a faculty member, and in consultation with the depart-
ment’s chairperson. This course provides graduate
students with the opportunity to pursue a project that
goes beyond the existing curriculum or facilities.
MSCI/Math and Science Special Studies in Science
SCI-590 | 1–3 CR   Special studies courses cover
a variety of new or experimental topics for graduate
students. The subject matter changes from semester-
to-semester, depending on student and faculty
Science of Light interests.
MSCI-520P | 3 CR   This introduction to light and
optical phenomena in nature, technology, and art
will acquaint students with all aspects of light. Topics
include natural and artificial sources of light, how light
travels in natural settings and lenses, and how light is
captured by film, video chips (CCDs), and our retinas. PHIL/Philosophy
Some simple algebra will be used.
Toxics in the Environment
MSCI-536 | 1 CR   This course focuses on toxic and Aesthetics
hazardous substances in the environment, with particu- PHIL-604 | 3 CR   Presents the main studies in the
lar emphasis on trace metals and organic compounds philosophy of art and criticism through both a historical
associated with construction materials and the urban/ and analytic lens. It looks at the classical arguments
industrial environment. It examines issues such as of Plato, Kant, Hegel, and Dewey, as well as current
urban air quality and indoor air pollution, the persis- conceptual frameworks for identifying what makes for
tence of toxic chemicals in the environment, and the a work of art. Emphasis is placed on the significance of
regulation and cleanup of toxic substances. Case study these theories to the art of the twentieth century.
discussion focuses on sources and exposure to toxic
substances in the built environment in general, and the Philosophy and Culture
New York City urban environment in particular. PHIL-605P | 3 CR   Students in this course will
undertake a specifically philosophical analysis of
Special Studies in Science some of the many constituent elements of culture: art,
MSCI-590 | 1–3 CR   Special studies courses cover language, music, experience, religion, and politics. In
a variety of new or experimental topics for graduate addition, the course will address the questions of how
students. The subject matter changes from semester-to- philosophy, as itself a cultural practice, is related to the
semester, depending on student and faculty interests. art, language, and so on. Readings will be drawn from
classic texts of Western philosophy as well as contem-
Science of Sustainability porary theories of culture.
MSCI-610 | 3 CR   The Brundtland Commission in
1987 defined “sustainability” as “meeting the needs
of the present generation without compromising the
ability of future generations to meet their own needs.”
The Science of Sustainability course explores some of SPAN/Spanish
the major scientific issues behind our understanding of
sustainability. Through lectures, readings, and discus-
sions, the class will explore such issues as biodiversity,
population, food and water resources, climate change,
energy, public health, and the overall forecast for the
Conversational Spanish I
environment and the human condition for the next sev- SPAN-501 | 3 CR   This is a conversational Spanish
eral decades. Students will gain a greater appreciation course designed to prepare Art and Design Education
of how science can inform the policies and practices majors (undergraduate and graduate) for the practicum
that will shape a more sustainable future. in New York City schools. Conversational exercises
will be oriented to classroom interactions. This is a
The Evolution of Cooperation two-semester course for which credit is achieved only
on the successful completion of both semesters. (Open
MSCI-663P | 3 CR   When we describe what propels
only to students in Art and Design Education.) Prerequi-
evolution, “competition” and “exploitation” are the
sites: take 3 credits; minimum grade C, CR; from courses
processes that first come to mind; however, coopera-
ENGL-103 ENGL-102 WR-110.
tion within and between organisms has also played a
prominent role in the evolution of the earth’s organisms.
In this course, we will consider the various level at
which cooperation has emerged as the result of natural
selection, starting with single-celled organisms and
building up to human cultural systems. While the course
has no prerequisites, the readings and assignments will
be aimed at highly-motivated students; students will be
expected to conduct significant independent inquiry.

Conversational Spanish II
SPAN-502 | 3 CR   This is a conversational Spanish
course designed to prepare Art and Design Education
majors (undergraduate and graduate) for the practicum
in New York City schools. Conversational exercises
will be oriented to classroom interactions. This is a
two-semester course for which credit is achieved only
on the successful completion of both semesters. (Open
only to students in Art and Design Education.) Prerequi-
sites: take SPAN-501.
SS/Social Science
Capitalism and Socialism
SS-508 | 3 CR   Various types of modern socioeco-
nomic systems are reviewed, including an examination
of general questions such as goals and values of
different systems, degree of popular control over
socioeconomic decisions and extent of economic
inequality. U.S, Russia, and other societies are compared
with respect to institutional arrangements, economic
performance, and consistency to ideology.
Controversies in Cltrl Thry
SS-510 | 3 CR   This is an interdisciplinary seminar
that explores theoretical and conceptual issues of
common concern to both architecture and liberal arts.
It focuses on bodies of twentieth-century cultural and
social theory that can be said to have developed an
ideology of space, viewed both as a notion of habitat
and as a vision of urban utopianism.
Globalization: Cntmp Econ
SS-537 | 3 CR   Examines the current processes and
features of global integration and division. It focuses on
the emergence over the past decade of what has been
called the “new world order.” Particular attention is paid
to the differential impact across regions and nations of
international, political, and economic institutions and
arrangements; and on work, governments, social move-
ments, and public life.
Spaces, Movements, Identities
SS-560 | 3 CR   Concentrates on some of the most
important contemporary writings on space, new social
movements, identity, and the body. The readings are
drawn from sociology, geography, architecture, cultural
studies, and feminism. It uses these perspectives to
understand how the present can be conceptualized,
with particular attention to the question of power: how
it is to be thought of, questioned, desired, and resisted.
Art Worlds
SS-601 | 3 CR   Students examine the social
dimension of art, architecture, and design. The course
addresses both the historical contextualization of art in
society and traces the political, economic, and cultural
forces that bear upon the organization of creative
activity. Various instances of art, monuments, and urban
design are studied for the insights they provide into the
broader dynamics of society.
Ways of Knowing: Research Method
SS-602 | 3 CR   Provides the social-scientific founda-
tions for graduate thesis research projects. It takes what
we know and then links particular ways of generating
an understanding of the world to various research
methodologies available in the social sciences. It
provides students with ways in which to reflect on con-
ceptual and ethical issues in social research.
Clinical Diag/Treatment Issues
SS-630 | 3 CR   The objective of this course is to
study a broad range of diagnostic categories. Emphasis
is placed on patients’ verbal and non-verbal styles of
communication and their impact on the creative arts
therapy treatment process.
Development of Personality I
SS-640 | 3 CR   The perspectives of the major
developmental theorists are integrated with current
psychoanalytic and object relations theory. This
approach provides the student with an in-depth cover-
age of the first three years of life. Emphasis is placed on
the development of play, fantasy, movement, and art.
The effect of these first three years on later personality
development is also explored.
Development of Personality II
SS-650 | 3 CR   The course includes the growth of
the individual as he/she passes through tasks of life.
Emphasis is placed on creativity development through-
out life stages.
Psych Intergrp Rltns/Inst Proc
SS-660 | 3 CR   This course deals with the study of
how creative arts therapists can effectively com-
municate their techniques, theories, and clinical
understanding of patients to other members of the
treatment team. Special emphasis is placed on multi-
cultural issues and their impact on treatment. Ethics
and professionalism are explored.
courses 2 75
LRS/Libraries
Beyond Google
LRS-590 | 1 CR   Beyond Google examines many of
the central issues in Information Literacy (the ability to
critically retrieve, use, and evaluate information). Topics
include an introduction to information literacy best
practices, research strategies, search engine limita-
tions, online and print resources, and citation styles.
Students will gain an understanding of copyright, fair
use, plagiarism, and information ethics. The culture and
theory of contemporary information related issues will
be covered as well.
School of Library and
Information Science
LIS/Library Information
Science
Online Database Search/Services
LIS-605 | 3 CR   An introduction to computer
searching methods in reference services is presented.
Strategies and their relationship to the structure and
content of online databases and CD-ROMs and the
evaluation of search results are included. Emphasis is
on laboratory experience with a wide range of data-
bases as provided by vendors.
Digital Info Economics & Management
LIS-607 | 3 CR   This course covers topics related to
digital information management. Students will gain an
understanding of macro- and micro-economic issues
involved in the production, distribution, and use of
information, information products, and services. Histori-
cal evolution of information media and ethical as well
as policy issues involved in information availability and
consumption will also be examined.
Human-Information Behavior
LIS-608 | 3 CR   This course examines the concepts
of information, information needs, and the process of
seeking information. Models of information behavior
and major theories, paradigms, and perspectives related
to information seeking are addressed. Characteristics of
information seeking behavior are explored as they relate
to individuals and groups in various social roles, demo-
graphic areas, and occupations as well as issues related
to user-centered service and system design.
276 courses
Professional Writing
LIS-609 | 3 CR   Students select and investigate
focused aspects of a broad array of issues and topics in
librarianship and information policy and practice. The
purpose is to improve both written and oral presenta-
tion skills, and to obtain mastery of the issues in the
field. Presentations are developed individually and
in team exercises. Classes are devoted to discussion
and critiques of the presentation and content of each
student’s work by students and the instructor.
Information Policy
LIS-611 | 3 CR   The course will be concerned pri-
marily with access to and dissemination of information.
Students will discuss the range and scope of informa-
tion policies as they affect society today, among them
freedom of information, intellectual property, privacy,
and government information. Students will be shown
how tensions between conflicting laws and policies are
resolved on a legal and pragmatic level and will rely on
both primary and secondary source materials, including
statutes, case law, law reviews, scholarly journal articles,
books, and popular press.
Government Information Sources
LIS-613 | 3 CR   Publications of federal and certain
state and local governments and theirselection,
acquisition, use and administration are discussed. Prac-
ticalexercises in printed tools and electronic databases
are required.Prerequisites: take LIS-651 LIS-652.
Health Science: Services/Sources
LIS-614 | 3 CR   A methodical study of the organiza-
tion, development and use of printed andweb-based
reference sources in the health sciences. Emphasis is
on referencedepartment activities and communication
between librarian/informationspecialist and scientist.
Prerequisites: take LIS-652.
Business/Econ/Statistic Source
LIS-616 | 3 CR   This course is a survey and evalu-
ation of information sources for business,finance and
economics. Sources in advertising and marketing,
finance andinvestment, money and banking are
analyzed. Special attention is given toservice problems.
Prerequisites: take LIS-652.
Legal Research Methods/Law Literature
LIS-617 | 3 CR   This course is an analysis of the
systematic approach used in the legalprofession
and law libraries to find the law through the use of
printedmaterials and electronic information sources.
An introduction to the legalprocess and the basic
principles of American law are included.Prerequisites:
take LIS-652.
The Art World: Services/Source
LIS-618 | 3 CR   The course will provide students with
an in-depth understanding of theresources needed by
dealers, appraisers, gallery owners, curators andschol-
ars in the establishment of information relating to the
artist, and tothe provenance, style and valuation of fine
and decorative art. Studentswill be exposed to all the
major current and historical resources, bothelectronic
and print in this specialized area of Art Librarianship.
Prerequisites: take LIS-652.
International Information Sources
LIS-619 | 3 CR   This course will emphasize the
place and importance of internationaldocuments to
the global economy and to international collabora-
tive research.Students will be instructed on access
to and bibliographic control ofmaterials in print, and
to electronic formats produced by internationalnon-
governmental organizations and foreign governments,
a few examples beingthe United National system, the
European Union, the World Bank, World TradeOrganiza-
tion, and British parliamentary documents.
Online Databases Social Sciences/
Humanities
LIS-623 | 3 CR   An in-depth examination of selected
online and Web-based databases in thesocial sciences
and humanities. Topics include database scope, content
andstructure; the uses of databases made by informa-
tion professionals;information-seeking behavior;
research methodology; and scholarlycommunication.
Students explore and use electronic sources in the
socialsciences and humanities, learning their applica-
tion to research in meetinguser-information needs.
Prerequisites: take LIS-652.
Online Databases Health Sciences
LIS-624 | 3 CR   A study of the development and use
of computerized databases in healthsciences libraries.
Emphasis is on patron interview techniques, search-
strategy formulation, processing and evaluation. Online
interaction betweensearcher, scientist and database
is discussed, and the cost analysis ofvarious databases
and their value to the health science library is covered.
Information resources on the Internet and World Wide
Web are also emphasizedas well as Web-based infor-
mation delivery techniques. Prerequisites: takeLIS-652.
Management of Archives/Special
Collection
LIS-625 | 3 CR   An examination of the nature of
archives and the principles underlying theirmanage-
ment. The acquisition and processing of archival
material; appraisalprinciples and techniques; conserva-
tion of textual and non-textual materials,including
control of the physical environment; use of archival
materials; andadministration of archival repositories are
studied in depth. Prerequisites:take LIS-653.
Online Databases: Law
LIS-626 | 3 CR   An in-depth examination of selected
databases and vendors in the field oflaw. Emphasis is
on scope, content, and structure of LEXIS and WESTLAW.
Legal data available in other online services such as
NEXIS, VU/TEXT, DIALOGand WILSONLINE are covered,
as well as databases which contain specializedinforma-
tion such as taxes, securities, etc. Prerequisites: take
LIS-617.
Online Databases: Business
LIS-627 | 3 CR   Familiarizes students with specific
databases, the techniques used to searchthem and
their application in a business library. Focus is on
bibliographic,full-text, statistical and directory data-
bases (both domestic andinternational in scope), which
are common to all business libraries. Theultimate goal
of the course is to foster the ability to search efficiently-
and accurately with an awareness of the special needs
of the businessenvironment. Prerequisites: take LIS-652.
Museums & Library Research
LIS-629 | 3 CR   Working with the Watson Library and
other units of the Metropolitan Museum ofArt, students
learn how works of art communicate meaning, ideas,
andinformation from a research and cross-cultural
perspective. Literature,exhibitions, digital collections,
databases in the arts, programs and events,films and
other media are examined from the point-of-view of
access,organization, and management of museum col-
lections. Prerequisites: takeLIS-652.
Research Methods
LIS-630 | 3 CR   An introduction to methods, both
quantitative and qualitative, for conducting basic or
applied research in information and library science.
Topics include research and scientific methods; infor-
mation theory, principles, and laws; research formats,
procedures, and processes; subject literature research;
statistical methods; infometric and bibliometric
methods; questionnaire design; data modeling and rep-
resentation; and research (grant) proposal and report
writing and presentation.
Academic Libraries and Scholarly
LIS-631 | 3 CR   This course will provide a survey
of scholarly communication past and present with
a particular emphasis on the changes in scholarly
communication in the past ten years. Students will
examine the interaction between society, technology,
and scholarly communication, the theory and practice
of the communication of knowledge in academic and
research environments, and how these trend develop-
ments of publishing and communication are affecting
changes in scholarly communications.

Conservation and Preservation
LIS-632 | 3 CR   An introduction to the preservation
of library and archival materials using a comprehensive
approach that includes theoretical, technical, and
practical aspects of preservation. It covers the historical
development of preservation in libraries and archives,
including permanence and durability, ideas that sup-
port preservation of cultural material, and preservation
methods such as conservation treatments, preservation
microfilming, digitization, and other types of reformat-
ting. Students also examine holdings maintenance
and rehousing techniques, preservation selection,
conditions, and needs of assessment surveys, handling,
and storage techniques, environmental controls, and
disaster planning and salvage methods. Prerequisites:
take LIS-651.
Information Architecture/Interior Design
LIS-643 | 3 CR   Drawing on the principles of
information architecture, interaction design, and from
the domains of information science, design, art, media
ecology, and psychology, this course provides students
with a unified method for thinking about and designing
for information and interactivity in space and, to some
extent, place. Special attention is given to new media in
general and the web specifically. Students are expected
to demonstrate not only an ability to think and do, but
also to reflect on how thinking and doing it lead to,
and influence, each other. Prerequisites: take LIS-653
LIS-654.
Usability of Digital Information
LIS-644 | 3 CR   This course provides students with
the skills required for strategically defining, developing,
introducing, and diffusing usability thinking. Specific
attention is given to heuristic (expert) evaluation,
and ‘guerilla’ usability testing of traditional graphical
interfaces (desktop- and laptop-based) as well as new
types of interfaces and interactions (mobile, touch, and
gestural).
Library Media Centers
LIS-648 | 3 CR   Topics include learning processes
and classroom management; working with students
with disabilities; curriculum planning and development;
assessment; and the roles, programs, and services
of media centers and library media specialists. The
course introduces the relationship of the State Learning
Standards to the schools’ programs at various develop-
mental levels. 85 hours of field experiences is required
along with a weekly seminar.
Principles of Records Management
LIS-650 | 3 CR   Introduces basic records manage-
ment theories and methodologies as applied to records
inventories; the development of retention and disposal
schedules; records center management; vital records
protection; reports and correspondence management;
and filing system design.
Information Professions
LIS-651 | 3 CR   Introduces the fields of librarianship
and information professions. Course material covers the
evolving role of libraries in society, the legal and ethical
aspects of the profession, and the impact of rapidly
changing information environments. Also included are
the principles of management, development of policies
and procedures, effective communication skills, types
of libraries and information centers, and organizational
and staffing structures. Three hours of field observation
is required.
Information Services & Resources
LIS-652 | 3 CR   Covers concepts of reference service
in real and virtual environments. The course introduces
the selection and evaluation of resources in all formats,
the development of searching techniques, strategies
for user-centered service, matching user needs to
resources, and the provision of information services in
changing technological environments. Six hours of field
observation is required.
Knowledge Organization
LIS-653 | 3 CR   Covers basic concepts of knowl-
edge/information organization and subject analysis.
The material includes basic principles and application
of descriptive cataloging and classification, authority
control, and types and forms of catalogs. Also covered
are the use of MARC records and meta data, strate-
gies for user-centered cataloging and classification,
principles of abstracting and indexing, and the rapidly
changing knowledge organization systems.
Information Technologies
LIS-654 | 3 CR   Covers concepts of information
technology in libraries and information centers. The
course introduces the study of information storage and
retrieval in digital environments, the technical aspects
and methods of online searching, the use of assistive
technology, the use of various electronic formats and
user interfaces, and database structure and analysis. It
also includes techniques for creating and maintaining
websites and the use of mark-up languages.
Collection Development
LIS-660 | 3 CR   A study of methods and techniques
for the development of a collection policy and practice
to meet the needs of diverse user groups. The course
includes collection policy development, censorship,
methodology of user group identification, standards,
budget allocations, selection, media, and weeding.
Advanced Cataloging/Classification
LIS-662 | 3 CR   Students study advanced theory and
practice in cataloging and classification with an empha-
sis on the Library of Congress classification schedules
and cataloging of non-book media, and metadata for
Web-based sources. Prerequisites: take LIS-653.
courses 2 77
Metadata: Description & Access
LIS-663 | 3 CR   Students will explore the principles
of archival description with an overview of metadata
applications such as Dublin Core, Text Encoding
Initiative (TEI), Metadata Object Description Schema
(MODS), Encoded Archival Description (EAD), VRA Core,
Categories for the Description of Works of Art (CDWA),
and Cataloging Cultural Objects (CCO). The overview
includes metadata formats, descriptive detail for dif-
ferent forms of material, choice and form of entry for
creators, provision of authority control for creators, sub-
ject analysis, and thesauri. Prerequisites: take LIS-653.
Projects in Digital Archives
LIS-665 | 3 CR   This class is a combination of
theoretical, practical, and hands-on approaches to
digital library creation. Topics will include metadata
creation, image capture, archival storage, and Web
presentation. Students will learn about the theories
behind the practices that they will implement, and will
gain an understanding about the administrative issues
associated with the successful implementation of a
digitization project. Prerequisites: take LIS-654.
Art Librarianship
LIS-667 | 3 CR   This course examines a wide range
of information in the history of art, including printed
and online resources. Course will explore the unique
characteristics of art publications and the basics of art
book publishing and the art book trade topics, including
an overview of various kinds of art and design libraries.
It will include a wide range of information resources
relating to the history of art, including print and online
resources.
Mgt of Electronic Records
LIS-669 | 3 CR   This course includes the study of the
organizational transitions and culture changes required
for successful program implementation, multiple types
of technology and their roles in the management of
electronic records, current practices in the manage-
ment of electronic records in business applications,
e-mail, instant messaging, websites, and desktop
computers and preservation of digital records. Also
covered are electronic record system inventories and
implementation of retention and disposition systems
for documentation management repositories, data-
bases, e-mail, and Web content.
Cultural Heritage Description and Access
LIS-670 | 3 CR   This course examines principles
and practices for enhancing access to cultural heritage
materials and making digital content easier to find
anduse. Students will be provided the opportunity to
explore, analyze, and evaluate state-of-the-art and
emerging trends in the description and access of digital
heritage collection in libraries, archives, and museums.
The goal of this course is to introduce students to the
range of theoretical and practical issues relates to
heritage data organization. Prerequisites: take LIS-653
LIS-663
278 courses
Library Use Instruction
LIS-673 | 3 CR   Examines the processes involved
in the planning and implementation of a library use
instruction program. The course also analyzes problems
involved in introducing, financing, promoting, and main-
taining programs of instruction. Specific methodologies
used in providing instruction in all types of libraries
together with evaluation procedures are investigated.
Prerequisites: take LIS-652.
Museum & Library Education Outreach
LIS-675 | 3 CR   The design and implementation
of outreach programs to educational communities by
libraries and museum will be studied in this course.
Attention will be paid to the ways in which currents in
museum education can be applied to librarianship.
Topics covered include contemporary pedagogical and
curatorial theory, the relationships between libraries
and museum with education in the current funding
environment, the provision of online educational
materials, and the diversity of education communities
and their needs.
Literature & Literacy for Children
LIS-676 | 3 CR   A study of print and non-print
materials for children from pre-school through primary
grades and their relationship to the elementary-level
state learning standards. Emphasis is on the develop-
mental aspects of the child in society. The history of
children’s materials, criteria for selection, and methods
for promoting use are examined.
Literature & Literacy for Young Adults
LIS-677 | 3 CR   A study of print and non-print
materials for adolescents from grades 7 through 12 and
their relationship to intermediate- and commence-
ment-level state learning standards. Emphasis is on the
developmental aspects of adolescents in society. The
history of young adult materials, criteria for selection,
and methods for promoting use are examined.
Library Services: Children/Young Adult
LIS-678 | 3 CR   A study of the objectives, organiza-
tion, and programs of library services for children and
young adults in school and public libraries; administra-
tive aspects and standards, and measurements are
emphasized.
Storytelling
LIS-679 | 3 CR   Students will learn the history
and process of storytelling and develop their own
techniques and style. Methods for choosing stories
using a number of criteria (including motifs, type, style,
and ethnic origin), learning stories, and methods for
promoting use will be emphasized. Other topics to be
covered include how to use storytelling effectively in
different curriculum areas, analysis of stories, and a
study of folk literature for children. Methods for promot-
ing use related to the elementary level State Learning
Standards will be examined.
Instructional Technologies
LIS-680 | 3 CR   Covers the selection and uses
of technology, software, and other media including
instructional and assistive technologies—as they are
used to acquire information, to communicate, and to
teach and learn. The role of information professionals
as leaders in innovative uses of technologies is empha-
sized. Prerequisites: take LIS-654.
Social Media
LIS-681 | 3 CR   The rise of the networked informa-
tion environment, currently highlighted by descriptors
like Social media and Web 2.0, and popularized by
web properties (Facebook and Twitter), will continue
to profoundly influence the ways in which humans
share information. Such technologies support the
use, production, and circulation of knowledge in
a peer-to-peer networked arrangement. This new
structural arrangement has implications for informa-
tion organizations and professionals, and goes far
beyond, “should my library be Twittering?” Rather, the
question this course will be guided by is: How might
information organizations and professionals leverage
the networked information environment to advance
longstanding professional values, such as a commit-
ment to democracy, community building, and individual
efficacy and fulfillment.
People-Centered Methods and Design
LIS-682 | 3 CR   Principles and practices from the
field of design are used to introduce students to design
thinking and people-centered research methods. At
the conclusion of this course students will have the
leadership skills necessaryto prepare and manage
people-centered service interface initiatives. This class
is intended for students who are close to completing
the program, have a project in mind, and would like
to design and possibly implement their project with
assistance from a supportive environment.
Contemporary Issues in Law Librarianship
LIS-684 | 3 CR   Introduces the student to the world
of law librarianship as profession. It will address general
aspects of law librarianship as well as all the concrete
aspects of the profession, including working in a law
firm library, public library of a law school library, and
its various aspects, such as the role of the administra-
tor, as well as that of the technical and public services
librarian. Collection development, technology trends,
and the world of library consortia will also be discussed.
Prerequisites: take LIS-617.
Medical Librarianship
LIS-685 | 3 CR   An introduction to medical librarian-
ship as a profession and the role of the medical library
in health care institutions. Use and application of
medical reference tools and modern access systems is
studied. Analysis of medical literature, retrieval systems,
and centers and remote bibliographic sources through
interactive terminals are studied.
Performing Arts Librarianship
LIS-686 | 3 CR   Students will explore the intersec-
tion of performing arts librarianship and research by
producing a guide to a specific collection. Through pre-
sentations, consultations, and individual study, students
will consider how the organization and description
of collections conveys meaning about their subjects,
how copyright law impacts scholarship, and why the
interaction between researcher and reference librarian
is crucial to success. Students will explore catalogs
and finding aids, examine the challenges in working
with various formats, and consider how programs and
exhibitions can “animate” collections. Prerequisites:
take LIS-652.
Institute on Art Collections
LIS-687 | 3 CR   This institute is an introduction to the
field of art information services and the evolving role of
the art information professional. The course will exam-
ine the fundamental principles of fine and applied arts
research and methodology. It will cover the impact of
new developments in art documentation, technology,
and the dissemination of textual and image resources.
Institute participants will gain an understanding of
the working practices and key issues in today’s art
information field, both as information professionals and
as researchers. They will draw upon this knowledge
in order to investigate and evaluate specific research
areas and topics. Prerequisites: take LIS-652.
Institute on Map Collections
LIS-688 | 3 CR   Maps are the most efficient deliver-
ers of information, dealing with the spatial dimension of
events in time. Ecology, history, property, archaeology,
events in the news—all can be clarified by the cartog-
rapher’s artistic and/or scientific hand or computer
graphic file. This institute is an introduction to maps as
information tools. We will examine maps, atlases, and
globes; their collection in local and national libraries
and by private collectors; and their impact on library
map collections. Map librarianship as practiced today
will be examined via presentations by NYPL librarians,
visits to local map stores, and antiquarian dealers.
Participants will draw upon this information and experi-
ence to investigate and evaluate specific research areas
and topics.
Institute Special Collections
LIS-689 | 3 CR   In collaboration with the New York
Public Library (NYPL), students gain an understanding
of research in the humanities and other disciplines
reflected in research libraries. Use of primary sources
and work with NYPL’s distinguished librarians and
curators ensure an appreciation of how traditional
documents, digital libraries, and research methods
combine to enrich knowledge and communicate mean-
ingful ideas and information. This course section is
Special Collections. Prerequisites: take LIS-652.

Student Teaching: Grades 1–6
LIS-690 | 3 CR   This course consists of 20 days of
full-time experience in Grade 1–6 level library media
centers in a variety of communities where library media
specialists interact with classroom teachers, parents/
caregivers, and students who are socio-economically
disadvantaged, English language learners, disabled, or
have special needs. Students attend a weekly seminar
in which the needed knowledge base in the state learn-
ing standards is related to library media programs and
services for various developmental stages of children,
and how the library media specialist can enhance
and support student growth and learning. Emphasis is
on the techniques for building collaborative learning
environments wherein the learning and independence
of students with disabilities and the listening, speaking,
reading, and writing skills of all students at the child-
hood level are enhanced. Prerequisites: take LIS-651
LIS-652 LIS-653 LIS-654; minimum GPA 3.25.
Student Teaching: Grades 7–12
LIS-692 | 3 CR   This course consists of 20 days of
full-time experience in Grade 7–12 level library media
centers in a variety of communities where library media
specialists interact with classroom teachers, parents/
caregivers, and students who are socio-economically
disadvantaged, English language learners, disabled, or
have special needs.Students attend a weekly seminar in
which the needed knowledge base in the state learning
standards is related to library media programs and
services for various developmental stages of children,
and how the library media specialist can enhance
and support student growth and learning. Emphasis is
on the techniques for building collaborative learning
environments wherein the learning and independence
of students with disabilities and the listening, speaking,
reading, and writing skills of all students at the child-
hood level are enhanced. Prerequisites: take LIS-651
LIS-652 LIS-653 LIS-654; minimum GPA 3.25.
Digital Libraries
LIS-693 | 3 CR   This course will examine the current
state of digital libraries in a new context. We will look at
the history and background of digital libraries; particular
areas of digital librarianship including digitization,
preservation, and subscription; and other third party
resources. Finally we look at communities of practice
that can be served by digital libraries, with emphasis
on the shifting world of learning, scholarship, and play.
Prerequisites: take LIS-654.
Film and Media Collections
LIS-694 | 3 CR   The course will provide an intro-
duction to building and maintaining collections and
services related to visual media, primarily moving
images, sound, and ephemera. Discussions will survey
key components such as the history of film and media
in library collections, collection development, access,
equipment, copyright, emerging technologies, and
management ofnon-print formats.
courses 279
Photography Collections
LIS-695 | 3 CR   This course will survey the important
issues in the field, look at case studies, and visit existing
collections in order to have a sense of the variety of
strategies employed to organize photographs and
make them retrievable. The class will employ practical
exercises to enforce key principles of photography
organization and cataloging, drawing upon the sur-
veyed collection practices, and exploring best practices.
Special Topics
LIS-697 | 3 CR   Covers current issues and topics.
New or experimental courses are taught several times
to assess the need for them in the regular curriculum.
Practicum
LIS-698 | 3 CR   Consists of a seminar and a
150-hour practicum of supervised observation and
practice in a library or other information service setting
selected by the school. Students gain experience in a
wide variety of functions. Students maintain journals
of systematic observation and are given readings and
other assignments. Only students who have met the
criteria for participation can enroll. Prerequisites: take
12 credits.
Independent Study
LIS-699 | 3 CR   This course includes study of the
organizational transitions and culture changes required
for successful program implementation, multiple types
of technology and their roles in the management of
electronic records, current practices in the manage-
ment of electronic records in business applications,
e-mail, instant messaging, websites, and desktop
computers, and preservation of digital records. Also
covered are electronic record system inventories and
implementation of retention and disposition systems
for document management repositories, databases,
e-mail, and Web content. Prerequisites: take 12 credits.
Independent Study
LIS-799 | 3–6 CR   Research studies dealing with a
problem of particular interest to the student and related
to his/her area of specialization are completed under
the direction of a member of the faculty. Six credits
required; may be taken as one unit or in two, three credit
units. Prerequisites: take 12 credits.
 281

Graduate Admissions

v ic e p r e s id en t of fice of admis s ions Applications are welcome from all

fo r e n ro llm en t Myrtle Hall, 2nd floor qualified students, regardless of age, sex,
Tel: 718-636-3514 or 800-331-0834
Judith Aaron religion, race, color, creed, national origin,
718-636-3743 Fax: 718-399-4242
www.pratt.edu/admissions
or disability. Admissions committees base
jaaron@pratt.edu
their decisions on a careful review of all
credentials submitted by the applicant.
d ir e c to r o f g ra d uat e a n d qu estions ?
Ask Pratt’s “Virtual Advisor”
Although admission standards at Pratt
in te r natio na l a d m i ss i on s are high, extraordinary talent may
at www.pratt.edu/ask
Young Joo Hah
718-636-3683
sometimes offset a lower grade point
yhah@pratt.edu average or test score. If a student is not
accepted, this decision is not a negative
g rad uate ad m i s s i on s c ou n selor reflection on the student’s chances for
Russell Tyler successful completion of similar studies at
718-636-3551 another institution, nor does it preclude
rtyler@pratt.edu the student’s eventual admission to the
Institute.
g rad uate ad m i s s i on s c ou n selor The Office of Graduate Admissions
Ryan Gottschling is open weekdays from 9 am to 5 pm from
718-230-6891 September through May, and from 9 am
rgottsch@pratt.edu
to 4 pm during June, July, and August.
282 g r a d uat e a d m i s s i o n s
Guided Campus Tours
Guided campus tours of the Brooklyn
campus are scheduled Monday and Friday
at 10 am, 12 pm, and 2 pm. Tuesday through
Thursday tours are scheduled at 10 am
and 2 pm. Schedule a campus tour online
at www.pratt.edu/visit, call the Office of
Admissions at 718-636-3779 or 800-331-
0834, or email us at visit@pratt.edu.
Graduate Merit-Based Scholarships
Incoming students will be evaluated
by their academic department for
merit-based scholarships. There is no
application form. Assistantships are
awarded to some second-year students.
Graduate Admissions
All applicants to graduate programs at
Pratt must have received a bachelor’s
degree from an accredited institution in
the United States or have been awarded
the equivalent of the bachelor’s degree
from an international institution of
acceptable standards. International
students should see the international
student section for additional
requirements.
Deadline for Applications
Completed applications for most
programs (including letters of reference,
statement of purpose, transcripts,
and portfolio) should be submitted
by January 5 for fall entrance. Some
programs will accept applications after
the deadline if there is room. See the
department requirements section on
page 284 for specific deadline information
as well as for programs that accept
students in the spring. Applicants for
the spring semester must apply by
October 1 (September 1 for international
applicants). Applications received after
that time will be considered only if there
is room in a particular program.
General Credentials
Application Forms
Graduate applicants are required to
apply online at www.pratt.edu/apply.
We strongly suggest that you keep
photocopies of all completed forms for
your own records. Also, we ask that you
use your full name on all documents and
do not use nicknames or middle names.
Application Requirements
CollegeNET will host Pratt Institute’s
undergraduate applications for Spring
2013 and Fall 2013 admission. The
online application, as well as various
requirements, may be found at www.
pratt.edu/apply as of August 1. Please
note: Pratt’s new application enables
applicants to request recommendation
letters and transcript(s) online (for
all students who studied in the US).
Writing portfolios will be uploaded on
the new application. Visual portfolios
will continue to be submitted at https://
pratt.slideroom.com. See www.pratt.edu/
apply for instructions on submitting your
application and supporting documents.
Candidates for graduate admission
must submit the following:
1. Online graduate application with
nonrefundable $50 application
fee at www.pratt.edu/apply.
(International students must pay
a $90 application fee.) Graduate
students are required to apply
online.
2. Transcripts from all institutions
attended after graduation from
secondary school.
International students must have
all transcripts officially translated
into English. (Both the unofficial
original and the English translated
version must be submitted online
at our application site.) Students
who have studied outside the
U.S. in an educational structure

different from the U.S. (three-year
degrees, for example) are asked to
submit a World Education Services
(WES) (www.wes.org) evaluation
to expedite their application
processing. WES evaluations do not
include translations. The documents
must be officially translated into
English before submitting to WES
or any other reputable education
evaluation service, e.g., your
embassy.
3. Supporting Documents
The following documents should
be submitted electronically on the
online application site at www.
pratt.edu/apply. Please include the
following:
a. Two letters of recommendation
from employers, professors,
or others able to judge your
potential for graduate study
in the specific program.
Recommendation letters are
submitted online. See www.pratt.
edu/apply. (If your references
refuse to submit online, please
ask them to mail their references
to Pratt at Pratt Institute, Office
of Graduate Admissions, 200
Willoughby Ave, Brooklyn, NY.)
Follow the procedures below.
Make sure you contact your
references and request a
recommendation letter from
them; let them know the process
is online.
b. Additional writing sample
(required by City and Regional
Planning, Urban Environmental
Systems Management, and
Theory, Criticism, and History
of Art, Design, and Architecture
only) may be uploaded at the
application site.
c. Résumé (required for Design
Management; optional for all
graduate programs) should be
uploaded at the application site.
d. Statement of purpose giving your
long-range goals and interest in
the chosen discipline and reason
for applying to the program: The
statement of purpose, which must
be 250–500 words, should be
uploaded to the application site.
4. Department requirements,
including portfolio if required.
These are listed later in this section.
5. TOEFL score or IELTS score for
international applicants whose
native language is not English.
Unless otherwise indicated
under each department, the
minimum required TOEFL score
is 550 (paper)/213 (computer)/79
(Internet) and the required IELTS
score is 6.5. Please make sure
that you register for a TOEFL
or IELTS test that will enable
you to submit your scores by the
application deadline. It generally
takes four to six weeks to receive
the scores. Check www.toefl.org for
information on testing sites.
g r a d uat e a d m i s s i o n s 2 83
Slideroom is the preferred method
of submitting portfolios. Letters of
recommendation that are mailed must
be sealed by reference, signed across the
flap of the envelope, and mailed to the
applicant or directly to Pratt.
Submit any print documents in one
envelope if possible and mail to:
Graduate Office of Admissions
Pratt Institute
200 Willoughby Avenue
Brooklyn, NY 11205
admissions@pratt.edu
Tel: 718-636-3669 or 800-331-0834
Fax: 718-399-4242
If you plan to messenger your documents,
please do so before December 24 or after
January 2. Pratt closes for winter break
during that time.
We strongly suggest making
photocopies of all mailed forms for your
own records.
Please use your full name on the
application and on all documents and not
nicknames or middle names so that we are
able to match TOEFL scores, transcripts,
etc. with your application.
International Applicants
In addition to the requirements above, all
applicants must demonstrate proficiency
in the English language if their first
language is not English. They may do this
by satisfying the following two language
requirements:
Applicants must submit their Test of
2 84 g r a d uat e a d m i s s i o n s
English as a Foreign Language (TOEFL)
or IELTS and should have test results sent
to Pratt Institute, Graduate Admissions,
200 Willoughby Ave., Brooklyn, NY
11205, USA. Check www.toefl.org for
information on testing sites.
In addition to the TOEFL or IELTS,
all international students whose first
language is not English are required
to take an English examination before
they register for classes. Students who
do not pass will be required to complete
Intensive English at Pratt. Students
who are otherwise acceptable but have
low English scores on the TOEFL may
be accepted provisionally and may be
required to take only English classes until
they achieve the TOEFL score required
by their department, at which time they
may enroll in their degree courses. These
students will receive an I-20 for English
only. Students who are accepted with a
possibility of needing English language
study indicated on their I-20 and their
acceptance letter will be tested for English
when they arrive at Pratt. Students who
need to take English will take it with their
academic program.
In calculating their expenses, students
should budget the tuition equivalent of
two credits per semester for Intensive
English courses. TOEFL requirements:
Most departments require a TOEFL
score of 550 (paper)/213 (computer)/ 79
(Internet), although some require 600
(paper)/250 (computer)/100 (Internet).
Department Requirements
Graduate programs have different
professional requirements. See the
following section for particular programs’
requirements.
School of Architecture
Applicants to the M aste r of
A rch ite ctur e (first-professional)
program (fall entrance only) must have
received a bachelor’s degree from an
institution in the U.S. that is accredited
by a recognized regional association or
have been awarded the equivalent of the
bachelor’s degree from an international
institution of acceptable standards.
Applicants must present a portfolio
providing evidence of their interest in
architecture or their visual sensibility
through the media of their choice—
photography, drawing, essays, videos, etc.
Portfolios must be submitted online at
https://pratt.slideroom.com. The GRE is
required. The GRE code is R2669.
Applicants for admission to the
Post-prof e s s ional M aste r of
S c i e nce in A rch ite ctur e or th e
Post-prof e s s ional M aste r of
S c i e nce in A rch ite ctur e and
U r ban De s ign programs (summer
entrance only) must have received a
Bachelor of Architecture (five-year
program) from an accredited school of
architecture. These programs are three-
semesters, beginning in summer and
ending in spring. Applicants must have
earned a Bachelor of Architecture (five-
year B. Arch.) from an accredited school
of architecture. Applicants should submit
all materials as early as possible in order to
ensure enough time to review and make
decisions and in the case of international
students to get the I-20. Ideally, applicants
(particularly international applicants)
should submit all materials, including
their portfolio, by December 1. Applicants
will be accepted after the deadline of
January 5 only if there is room. Portfolios
should be submitted at https://pratt.
slideroom.com.
Post-professional applicants for both
the M .S. in A rch ite ct ure and the
M .S. in A rch ite cture a nd Urba n
De s ign must present a portfolio (online
at https:/pratt.slideroom.com) providing
evidence of qualifications to participate
in advanced studies. In exceptional
circumstances, licensed architects with
extensive professional work experience
but without the five-year professional
degree may ask for special consideration
and review of their portfolio to establish
proficiency for admission. Portfolios
should be submitted at https://pratt.
slideroom.com.
Applicants for admission to the
M aste r of S cie nce i n Hi sto ri c
Pr e s e rvation (fall and spring
entrance) must have a bachelor’s
degree from an accredited institution.
Applications will be accepted after the
deadline until the program is full. TOEFL
of 600 (250 computer or 100 Internet) is
required for international students.
Applicants for admission to the
M aste r of S cie nce i n C i ty a nd
Re gional Planning (fall and spring

entrance) program should have received
their bachelor’s degree in any field and
must submit an extended piece of writing
to support their application for advanced
studies. The writing sample may be a
term paper or report done for work and
is not required to be related to planning.
Applications will be accepted after the
deadline if there is room.
Applicants for admission to the
Maste r o f S c i en c e i n U r ba n
En v iro n m e nta l Sy st em s
Manage m e nt (fall and spring
entrance) program should have received
a bachelor’s degree in a scientific,
analytical, or technical field. They must
submit a writing sample or portfolio,
depending on their specific backgrounds.
The writing sample or portfolio should
indicate an interest in or awareness of
issues to be addressed in this program.
Applications will be accepted after the
deadline if there is room. The GMAT is
optional.
Applicants for admission to the
Maste r o f S c i en c e i n Fac i l i t i es
Manage m e nt should have a bachelor’s
degree in architecture, construction
management, engineering, business, or
interior design. Applicants in other fields
are eligible but may be required to take
non-credit courses in building technology
unless they have acquired equivalent
knowledge through non-academic
experience. A statement of purpose in
essay format (600 words) is required.
The GRE or GMAT is optional; neither
is required. Applications will be accepted
after the deadline if there is room.
g r a d uat e a d m i s s i o n s 285
School of Art and Design are encouraged to arrange a visit to the
Applicants for admission to the M aste r department by calling 718-636-3411.
of Fine A rts (fall entrance only) Applicants must submit 12–15 pieces
must have a studio art degree (either the of work in traditional or digital media
B.F.A. or B.A. in Studio Art) or at least (1) online at https://pratt.slideroom.
40 undergraduate credits in studio art com (preferred format), or (2) in slide
(excluding art history and aesthetics). format or prints, or (3) in DVD or CD-
No reviews are done in person but ROM format. CDs and DVDs must be
applicants are encouraged to arrange Macintosh compatible and must be
a visit to the department by calling in addition to slides, print, or online
718-636-3602. Applicants are asked to submissions. The graduate admissions
upload their portfolio (15–20 images) review committee is interested in work
online at https://pratt.slideroom.com that reflects creativity, technical facility,
accompanied by a list describing size, and the conceptual skills to develop a
materials used, and date of completion for sophisticated body of work. A TOEFL
each image. The cost to upload is $10. The score of 550 (paper)/213 (computer)/or
graduate admissions review committee is 79 (Internet) is required for international
interested in a serious exploration of an students.
idea rather than a portfolio that contains Applicants for admission to the
a variety of work or styles. It is possible M aste r of I ndustr ia l D esi g n
for an applicant to work in several media, program (fall entrance only) should
for example painting, printmaking, and submit a portfolio online at https://
sculpture, as long as all of the work is pratt.slideroom.com, including both
concerned with a central idea. The M.F.A. text (descriptions, problem statement,
is a professional degree and therefore etc.) and images (from development
the committee is interested in work done sketches to finished work). The portfolio
during the latter part of an applicant’s must contain examples of drawing as a
college career. A TOEFL score of 550 communication tool, three-dimensional
(paper)/213 (computer)/79 (Internet) is objects, and a basic understanding
required for international students. of graphic design, executed through
Applicants to the M aste r of Fine presentation and layout. Showing both
A rts in Digital A rts (fall entrance the process and execution of a project,
only) should have an undergraduate along with problem solving and research,
degree or considerable background in is recommended. Please include any
the digital arts and should submit a additional materials that tell the story
strong visual portfolio demonstrating of who you are as a creative person. The
a conceptual and aesthetic focus. No M.I.D. program is highly collaborative
reviews are done in person, but applicants and includes students from a wide variety
of backgrounds; therefore, in your
286 g r a d uat e a d m i s s i o n s
written statement, discuss aspects of your
personal character and background that
would contribute to and benefit from
a collaborative learning environment.
A TOEFL of 575 (paper)/233
(computer)/90 (internet) is required.
Applicants for admission to the
Maste r o f I n t er i or D es i g n (fall
entrance only) with an undergraduate
degree in interior design, architecture,
or other closely related design fields
are eligible for the 48-credit two-year
graduate program. A portfolio is required
(see guidelines for submission below.)
A two-semester Qualifying Program
of an additional 20 credits is required
for applicants whose undergraduate
backgrounds are unrelated to interior
or architecture but whose applications
indicate a strong aptitude for graduate
study. These students complete 68 credits
in three years. It should be noted that
applicants to the Qualifying Program are
not required to submit a portfolio. We do
encourage applicants to the Qualifying
Program to submit a portfolio of work
from other disciplines and interest such
as fine arts, fashion, industrial design, or
communications design.
Portfolios may be uploaded at
https://pratt.slideroom.com (preferred)
or in print format, sized at 8.5” x 11”.
For students applying to the two-year
program, the portfolio must demonstrate
skills from previous education and/or
professional experience. Please make sure
to notate attributions in group projects
and/or professional work. Students
applying to the three-year graduate
program who choose to submit a portfolio
should provide evidence of their visual
sensibility and experience in other fields.
We do not schedule interviews in person,
but applicants are encouraged to arrange
a visit to the department by calling
718-636-3630. A TOEFL score of 600
(paper)/250 (computer) /100 (Internet)
is required of international students.
Applicants for admission to
the M aste r of Fine A rt in
C ommunications De s ign (fall
entrance only) must be highly motivated
individuals who hold an undergraduate
degree in graphic design or related design
fields such as industrial or interior design,
architecture, fine arts, or media arts.
Exceptional individuals from disparate
disciplines may be admitted provisionally
and required to take design foundation
courses. All applicants must submit a
portfolio of work to be reviewed by an
Admissions Committee comprised of
faculty. Work included in the portfolio
may be personal work, professional
assignments, or course assignments done
in an undergraduate or graduate program.
Your portfolio should contain between
12 and 20 examples of your best work in
traditional or digital media. In addition
to the portfolio, the written statement of
purpose is given significant consideration.
The intent of this portfolio review is for
you to demonstrate creative potential and
provide enough information about you to
determine whether or not this program is
appropriate for you. Most important, the
Admissions Committee will determine
if you demonstrate the potential to
successfully complete the M.F.A. in
Communications Design.
1. Submit online at
https://pratt.slideroom.com.
2. For international applicants whose
first language is not English, a
minimum TOEFL score of 600
(paper)/250 (computer)/100
(internet) is required.
It is preferable for applicants for
admission to the M aste r o f Sci ence
in Communications Desi g n or
M aste r of S cie nce in Packag i ng
De s ign (fall entrance only) to hold an
undergraduate degree in graphic design
or related design fields such as industrial
or interior design, architecture, fine
arts, or media arts, but we give serious
consideration to applications from
individuals with degrees/backgrounds
from non-design fields such as business,
liberal arts, and the sciences who
demonstrate a strong aptitude for
graduate study. A qualifying program of
an additional six credits of prerequisite
classes may be required for these
applicants.
All applicants must submit a
portfolio of work to be reviewed by an
admissions committee comprised of
faculty. Work included in the portfolio
may be personal work, professional
assignments, or course assignments
done in an undergraduate or graduate
program. Your portfolio should contain
between 12 and 20 examples of your
best work in traditional or digital media.

In addition to the portfolio, the written
statement of purpose is given significant
consideration. The intent of this portfolio
review is for you to demonstrate creative
potential and the potential to successfully
complete the master’s degree program in
Communications or Package Design.
1. Submit online at
https://pratt.slideroom.com.
2. For international applicants
whose first language is not English,
a minimum TOEFL score
of 575 (paper)/233 (computer)/
90 (Internet) is required.
Applicants for admission to the M a st er
o f P ro fe s s i ona l St u d i es i n
A rt The rapy a n d C reat i vi ty
De v e lo p m e n t (fall and spring
entrance) program must present a
bachelor’s degree, preferably in studio
art or psychology. Applicants must
have 18 undergraduate credits in studio
art, to include coursework in drawing,
painting, and 3-D media to include
ceramic/clay work, and 12 credits in
psychology, to include coursework in
general, personality, abnormal, and
developmental psychology. A portfolio
of 12–15 slides or digital images is
required of all applicants. Applicants
may be contacted for an interview
when all credentials have been
received. A TOEFL score of 600 (250
computer or 100 Internet) is required
of all international students. No
TOEFL waivers for Art/Dance Therapy
will be issued unless student’s first
language is English.
Applicants for admission to the
M aste r of S cie nce in Dance /
M ove me nt Th e rapy must have a
bachelor’s degree, preferably in dance
or psychology. Prerequisites are 12
credits in psychology, to include general,
personality, abnormal, and developmental
psychology; and coursework in anatomy/
kinesiology. Students must also have
extensive experience in at least two idioms
of dance, one of which must be modern
dance. Students must have experience
in body/mind modalities, such as
meditation, yoga, and body therapy. A
written synopsis of dance training and
experience must be submitted with the
application. A personal interview will
be required, part of which will include
movement. A TOEFL score of 600 (250
computer or 100 Internet) is required of
all international students unless student’s
first language is English.
Applicants for admission to
the M aste r of Prof e s s ional
St u die s in A rts and Cultural
M anage me nt (fall entrance only).
Applicants should demonstrate
substantial experience in a related
field or activity—social community
engagement involving the arts. The
required statement of purpose should
reflect the applicant’s personal vision
of how this program fits in with his/her
personal and professional goals including
how the applicant hopes to use the skills
he/she acquires in this program. The
statement should be no more than 500
words or two pages. A TOEFL score
of 600 (250 computer or 100 Internet)
is required of international students.
g r a d uat e a d m i s s i o n s 287
Applications are accepted throughout the
semester. The GMAT is optional.
Applicants for admission to the
M aste r of S cie nce i n Theo ry,
Cr iticis m, and H isto ry o f Art,
De s ign, and A rch itect ure (fall
entrance only) must demonstrate the
skill of observation and description,
analysis and criticism, and the potential to
successfully complete the coursework and
to design and present a graduate thesis of
merit. Undergraduate study in art and/or
design history is encouraged, and at least
an introduction in those fields should be
included in the completed undergraduate
curriculum. The application package
must contain a personal statement
explaining the selection of Pratt and
motivation for the degree, a writing
sample (5–10 pages) that demonstrates
analytic and communication skills, and
recently earned scores from the Graduate
Record Examination (GRE code R2669).
Applicants for whom English is not their
first language must submit the results
of the TOEFL Examination and score at
least 600 (250 computer or 100 Internet.)
Applicants for admission to the
M aste r of Prof e s s io na l St udi es
in De s ign M anage ment (fall
entrance only) should ideally present
an undergraduate degree in one of the
design disciplines, with a minimum of
three years’ professional experience. A
résumé is also required. Applications are
accepted until June 1. A TOEFL score
of 600 (250 computer or 100 Internet) is
required for international students. The
GMAT is optional.
Applicants for admission to the
288 g r a d uat e a d m i s s i o n s
Maste r o f S c i en c e i n A rt a n d
De s ign Ed u c at i on must have
completed a four-year undergraduate
degree program with a minimum of
24 credit hours in art and art history at
an institution of higher education that
is regionally accredited or approved
by the New York State Department
of Education. A course in child and
adolescent psychology and six credits in
a foreign language are also required as
pre- or co-requisites. The applicant must
submit a portfolio of 15 images including
observational drawings along with other
media (a few teaching projects may also
be included). The portfolio should be
submitted as color copies or in digital
format. A telephone or personal interview
will follow. A TOEFL score of 600 (250
computer or 100 Internet) is required.
This 24-credit-hour program is
open to individuals with an M.F.A.
degree or those currently enrolled in the
M.F.A. program at Pratt. The portfolio
requirements are the same as those listed
for the M.S. in Art and Design Education.
The program may be completed in two
semesters by those already holding the
M.F.A. degree.
School of Information
and Library Science
Applicants for admission to the M a st er
o f S c ie n c e i n Li b ra ry a n d
In fo r m ation S c i en c e (fall, spring,
and summer entrance) must hold a
bachelor’s degree from an accredited
college or university. The applicant
must have a superior scholastic record
or otherwise give evidence of ability
to perform work on the graduate level.
Applicants are expected to offer evidence
of maturity and leadership potential
for the profession. An in-person or
telephone interview may be required;
applicants will be contacted by the
School of Information and Library
Science if an interview is deemed
necessary. The school may request that
applicants take the Graduate Record
Exam (GRE). Applicants may apply
for non-matriculated status and take
up to 6 credits. International students
whose first language is not English must
submit a TOEFL score of at least 600
(250 computer or 100 Internet). Students
who are not international but whose first
language is not English must submit the
TOEFL or GRE. Students may continue
to apply after the January 5th deadline
until the department is full. SILS accepts
applications on a rolling basis. If courses
are full, applicants will be moved to the
following semester.
Applicants for admission to the
M a ste r of S cie nce A dvance d
C ertif icate s in Library and
I n for mation S cie nce (fall, summer,
and spring entrance) must hold a master’s
degree in library and information science.
A TOEFL score of 600 (250 computer, 100
Internet) is required.
Applicants for admission to the
Master of Arts in Media Studies
should have a B.A., B.S., or B.F.A. from
an accredited institution. Candidates
must submit (1) a statement of purpose
in which they describe their interest in
the program; (2) 10–20 pages of relevant
writing sample(s), with emphasis on
analytical writing about media.
General Requirements
Deficiencies in
Undergraduate Preparation
Domestic applicants with deficiencies in
their undergraduate preparation of not
more than six credits may be admitted,
at the discretion of the department, on a
nonmatriculating basis for not more than
18 graduate credits. These students may
become matriculated upon completion
of at least eight graduate credits with
a grade of B or better. Applicants with
deficiencies of more than six credits
should apply as special students on the
undergraduate level and may apply on the
graduate level once these deficiencies are
satisfactorily removed.
Graduate Record Examination
Although Pratt Institute does not require
the Graduate Record Examination
for most programs, students who
already have taken this examination
should have the results forwarded to
the Office of Graduate Admissions.
The GRE is required for Architecture
(first professional), Art History, and the
combined Art History/Library Science
and combined Art History/Fine Art
programs. Pratt’s Institutional Code is
R2669.
 g r a d uat e a d m i s s i o n s 289

Accepted International Students coverage. Some countries have health Other Graduate
insurance plans that are valid in the
To obtain your I-20, you must complete
United States. If a student cannot present
Admissions Services
the I-20 request forms online at http://
my.pratt.edu after you have submitted evidence of acceptable coverage, he or she
your tuition deposit. Your OneKey will be required to subscribe to a health Readmission
login will be emailed and mailed to insurance plan provided by the Institute.Graduate students must apply for
you to access my.pratt.edu. Follow the To request a waiver of health insurance or
readmission if they were not in
instructions at http://www.pratt.edu/ enroll for health insurance through Pratt,
attendance for two consecutive semesters
oia. I-20 forms must be sent to the Office use the online waiver process found online
(excluding summer session). Master
of International Affairs. To expedite your at www.pratt.edu/health. of Science students in the Graduate
I-20, FedEx the I-20 forms to the Office School of Art and Design who attend
of International Affairs (OIA). Note:
Notification and Deposit four consecutive summer sessions do
In order to obtain an I-20, the Office Applicants for fall with complete not have to apply for readmission each
of Admissions must have an original applications by the deadline are generally summer. If they do not attend one
official TOEFL score report, which will notified of the decision of the admissions session of the four sessions offered, they
committee by April 1. Applicants for
be sent over to the Office of International must apply for readmission. Students
Affairs upon your deposit. If you were notspring are notified by November 15. applying for readmission must pay a $50
required to submit a TOEFL because you Accepted students who plan to enroll in readmission application fee. A graduate
met the English requirements in another the fall semester are required to make a student who wishes to register after
way, the Office of Admissions will send a deposit of US $500 postmarked by May an absence of two or more consecutive
TOEFL waiver to OIA. 1 or two weeks following acceptance, semesters, excluding summer session,
whichever comes later. Accepted students must apply to the Office of the Registrar
Health Requirements who plan to enroll in the spring semester for readmission. The form is available
All new students need to submit are required to make a deposit of US $500 at www.pratt.edu/admissions/apply.
documentation, in English, of all by December 1 or two weeks following Deadline dates for application are August
immunizations (including two acceptance, whichever comes later. 15 for the fall semester, December 15 for
measles, one mumps, and one rubella The full amount of this nonrefundable the spring semester, and May 1 for the
immunization received after the first deposit is deducted from the student’s summer session. A graduate student who
birthday) to the health services office first-semester tuition. The US $500 must was accepted for admission but never
prior to registration. In addition, all be in the form of an international money registered must reapply in writing to the
students should submit the completed order or via credit cadr for international Office of Graduate Admissions.
Health Evaluation form stating their students and can be paid on the phone by
present health status. The form is calling graduate admissions. A space will Transfer Credits
available in the Enrollment Guide and not be held for students who do not send The number of credits toward the
online at the Graduate Accepted Student the deposit. master’s degree that may be transferred
page at www.pratt.edu/apply. All students from another recognized graduate
are required by Pratt Institute to carry institution varies within the schools
health insurance providing acceptable and programs, but in no case will it
exceed 25 percent of the total credits
290 g r a d uat e a d m i s s i o n s

required. Students interested in receiving Mailing Address

graduate transfer credits should arrange
an appointment with their appropriate Graduate Office of Admissions
chairperson. Credit will be allowed for Pratt Institute
graduate courses that are appropriate 200 Willoughby Avenue
to the curriculum at Pratt and that Brooklyn, NY 11205
have been passed with a grade of B or admissions@pratt.edu
better. Transfer credit is provisional
until the student has completed at least Tel: 718-636-3669 or 800-331-0834
15 semester hours of credit at Pratt
Fax: 718-399-4242
Institute. Credit for courses taken, with
permission, at another graduate school Withdrawal After Deposit
while matriculated at Pratt is limited to a
Applicants who decide not to enroll after
maximum of six credits.
submitting a deposit must notify the
Nonmatriculated/Special Students admissions office by email (yhah@pratt.
edu) or mail as soon as possible. Deposits
Nonmatriculated (nondegree) students
are non-refundable.
may take courses for graduate credit,
providing the department approves
the registration, but they may not be
admitted to candidacy for a degree
without first gaining admission to a
graduate degree program. No more
than a total of 18 credits may be taken
by a student with nonmatriculated/
special status (no more than six credits
per semester). The nondegree form and
procedures can be found at www.pratt.
edu/apply.

Financial Aid
Pratt offers various kinds of assistance,
ranging from academic merit-based
scholarships to assistantships and loans.
Entering Graduate Students
Graduate students who are interested in
applying for federal aid must complete
and submit the Free Application for
Federal Student Aid (FAFSA) to the
Department of Education electronically
by March 1.
File electronically using the FAFSA or
renewal application at www.fafsa.ed.gov
or Pratt’s Website. Do not submit more
than one application!
The FAFSA should be submitted no
later than March 1 if the student wishes
to receive timely notification of financial
aid. Other documents, such as federal
tax transcripts, may be requested and
must be submitted by May 15.
291
If financial need has been established of f ice of f inanci a l a i d
and adequate funding is available, inf or mation cent er
students are considered for federal loan Myrtle Hall, 6th Floor
Tel: 718-636-3599 | Fax: 718-636-3739
programs. Graduate students are
finaid@pratt.edu
not eligible for Federal Pell Grants and www.pratt.edu/financing
Federal Supplemental Educational
Opportunity Grants (FSEOGs), and
Subsidized Stafford Loans.
Currently Enrolled
Graduate Students
Students who are interested in applying
for federal aid must submit the
FAFSA to the Department of Education.
The FAFSA should be filed no later
than March 1 if the student wishes to
be advised of aid in a timely fashion.
Documents such as IRS tax transcripts
may be requested. If requested, they
must be submitted by May 15.
The Office of Financial Aid, upon
receipt of student grades, evaluates the
eligibility of each applicant and sends
email notifications of the awards to
continuing students in early summer, if
the student has applied by March 1.
292 f i na n c i a l a i d
Grant and
Scholarship Programs
Graduate Scholarships
What is the purpose of the program?
To provide funds to full-time students
based on merit. These are awarded by
academic departments; all incoming
students are considered. There is no
application form. They may be awarded
for one year or may be renewable.
Pratt Restricted Awards
and Scholarships
What is the purpose of the program?
To provide funds derived from Institute
endowments and restricted gifts that
are granted to students according to
the wishes of the donor and on the
recommendation of the appropriate dean
or departmental chair.
How much are the awards?
The awards range from $1,000 and up for
the academic year, for one year only.
Who can receive this money?
Full-time students who have applied for
aid and have demonstrated financial need
and are making satisfactory academic
progress. Some awards are based on
academic merit only, and all are based on
departmental recommendations.
How much do I have to pay back?
No repayment is required.
How do I apply?
There are no special application forms
for restricted and endowed scholarships.
Each department determines its own
application process. Recipients are
selected by deans or department chairs
based on criteria established by donors.
These awards are made for one year only
and are based on the availability of funds
in any given year.
Pratt Assistantships/Fellowships
What is the purpose of the program?
To provide funds and professional
experience to help meet a student’s costs
from institutional sources.
How much are the awards?
The assistantship awards range from
approximately $500 to $7,200 for the
academic year and are paid directly to the
student and are not deductible from the
Bursar’s bill. Fellowships are credited to
the Bursar’s bill.
Who can receive this money?
Graduate students with demonstrated
proficiency in their area of study.
How much do I have to repay?
No monetary repayment is required;
students must complete assigned tasks.
How do I apply?
Through your department chair.
Rights and Responsibilities
of Recipients
For assistantships or fellowships to be
awarded in successive years, the student
must make satisfactory progress toward a
degree and show financial need. Students
must not owe any refunds on Federal Pell
Grants or any other awards paid, or not be
in default of any student loan.
Other Pratt Programs
Pratt Student Employment Program
Student employment is funded
entirely by Pratt Institute and offers an
opportunity for qualified students to
work part time on campus. Applicants
for student employment must complete
and submit all required financial aid
documents in order to qualify. These
funds are paid directly to students for
campus job assignments and are not
deductible from the Bursar’s bill.
Students are responsible for
submitting signed time sheets
electronically to the Office of Student
Employment. Employment forms
such as the W4, I-9, and Employment
Authorization Form must be completed
prior to working or getting paid.

Federal Programs
Federal College
Work-Study (fcws)
What Is FCWS?
Federal College Work-Study is a federally
assisted employment program that offers
qualified students a chance to earn money
to help pay for educational expenses.
These funds are paid directly to students
for job assignments and are not deductible
from the Institute’s bill.
ap p l ic atio n p roc ed u res
All students must submit the FAFSA
before a determination of eligibility
will be made. Eligible candidates will be
notified by the Office of Financial Aid
of job assignments and the forms required
before initiating employment.
s e le c tio n of rec i pi en t s a n d
al lo c atio n of awa rd s
The applicant must be enrolled full
time (nine credits) at Pratt. Pratt makes Federal Unsubsidized
employment reasonably available to all
eligible students who demonstrate need
as per federal guidelines. In the event
that more students are eligible for FCWS
than there are funds available, preference
is given to students who have greater
financial need and who must earn a part
of their educational expenses.
sc he dule
Pratt arranges jobs on campus, for up to
20 hours per week. Factors considered by
the Office of Financial Aid in determining
whether the applicant may work under this
program are financial need, class schedule,
academic progress, and specific skills. Level
of salary must be at least the minimum
wage; maximum wage is dependent on
the nature of the job and the applicant’s
qualifications. Students may work for only
one department each semester.
r i gh ts and r e s pons ibilitie s
of r e cipie nts
Satisfactory academic progress must be
maintained. Students must not owe any
refunds on Federal Pell Grants or any other
awards paid, and not be in default on any
student loan. Students are responsible for
submitting signed time sheets electroni-
cally to the Office of Student Employment.
Employment forms such as the W4, I-9,
and Employment Authorization Form must
be submitted prior to working.
Stafford Loans
These loans have the same terms and
conditions as Stafford Loans, except that
the borrower is responsible for interest that
accrues during deferment periods (includ-
ing in-school) and during the six-month
grace period. Interest may be deferred
while in school but interest will be capital-
ized if the student requests a deferment.
Program is open to students who may
not qualify for subsidized Federal Stafford
f i na n c i a l a i d 293
Loans. (Combined total cannot exceed
Stafford limits.)
loan s ch e dule
Annual Loan Limit
$20,500—graduate and professional
students (unsubsidized)
The annual loan limits for students
enrolled in a program of study for less
than one academic year in length are
prorated.
Aggregate Loan Limits
$138,500—undergraduate and
graduate combined.
1. All student loans will be disbursed
in two installments, one each
semester.
2. A percentage (approximately
1 percent) of the loan amount
will be deducted from each
disbursement as an origination fee.
or igination/ ins urance fees
Borrowers pay an origination fee of
1 percent. Interest rate is fixed at
6.8 percent, but may change July 1.
r igh ts and r e s pons i bi li t i es
of r e cipie nts
All borrowers are required to submit a
Master Promissory Note (MPN) to apply
for a Federal Direct Loan (subsidized and
unsubsidized). The MPN is an application
for the Stafford Loan Programs and is
valid for ten years from the time that you
294 f i na n c i a l a i d
originally submit. Please keep in mind
that you will still have to submit the
Free Application for Federal Student Aid
(FAFSA) each year by March 1.
The Office of Financial Aid will
notify you via your electronic financial
aid award letter of your loan eligibility.
If any changes are made to your financial
aid, a new letter with the most current
information will be emailed to your Pratt
email address. You should keep all the
letters you receive from the Office of
Financial Aid in order to keep track of
any award revisions.
Along with your electronic award
letter you will be able to gain access to an
electronic master promissory note (MPN).
Prior borrowers may have different
interest and repayment terms based on
when they borrowed their first loan.
All borrowers must attend school at
least half time to be eligible to borrow any
type of loan. Students who are registered
for Thesis in Progress (TIP) also have a
minimum attendance requirement. The
first year of TIP, the student is considered
full time for financial aid purposes only;
the second year, the student is considered
half time for financial aid; and the third,
the student must be registered for at least
six credits in the major or electives to be
eligible for aid.
Six months after ceasing to be at
least a half-time student, the borrower
must make formal arrangements with
the Department of Education to begin
repayment. The following regulations
apply:
1. The minimum monthly payment Sources of Outside Scholarships
will be $50 plus interest. In addition to the Financial Aid
2. The maximum repayment period is Information Center notices of outside
10 years. scholarships and scholarship workshops
held each month on campus, the
3. The maximum period of a loan Financial Aid Office has lists of agencies to
from date of the original note may which you may also apply. (Contact Peggy
not exceed 15 years, excluding West-Barton-Feagin at 718-399-4489 for
authorized deferments of payments. more information.)
4. Repayment in whole or part may be
made at any time without penalty.
Academic Progress
d i sbur s e me nt and r e f und and Pursuit
of cr e dit balance s
The Institute credits all loan disburse­ Financial Assistance Standards
ments for graduate level students after
the add/drop period of each semester.
Your loan funds will be credited only if standar ds of acade mi c prog ress
f or dete r mining e li g i bi li ty fo r
you file all your required applications in
a timely fashion. If your loan funds do pratt and f e de ral fi na nci a l a i d
not credit to your account as expected, Pratt applies minimum academic
please contact your financial aid counselor progress standards to all students
or contact the Office of Financial Aid at receiving Pratt aid, federal aid, and
718-636-3599 for assistance. If your loan state aid (including loans).
amounts exceed your balance, then you
will be written a refund check 14 days cr ite r ia
after this credit has been created on your Measurable satisfactory academic progress
account. All refund checks are mailed for a full-time graduate student means:
to students at the address submitted to
the Registrar’s Office. If you have any
▶▶ The student must complete a
minimum of 9 credits each semester
questions regarding your refund checks,
please feel free to contact the Bursar’s (TAP recipients must complete
a minimum of 12 credits each
Office at 718-636-3799.
semester).
▶▶ The student’s cumulative grade
point average (GPA) must not fall
below 3.0.
 f i na n c i a l a i d 295

▶▶ Students receiving federal and Pratt ▶▶ You must have earned at least the r h ode is land
financial aid who drop credits will required number of credits listed; and Rhode Island State Scholarship
be subject to adjustments in their ▶▶ You must have achieved the 560 Jefferson Boulevard
financial aid package. minimum GPA. Both of these Warwick, RI 02886
requirements must be met before 1-800-922-9855
r e v ie w po l i c i es loan certification can occur.
The Office of Financial Aid will peri- ve r mont
odically review the GPA and number Vermont Student Assistance Corporation
Standards of Degree Progress
of credits earned by each financial aid PO Box 2000
recipient using his or her academic tran- Winooski, VT 05404
script. Credits earned include only those m aste r ’s de gr e e / post-maste r ’s
1-800-645-3177
for courses with A through D grades. c ertif icate
A student not meeting these standards virgin is lands
te r m gpa cr e dits
will be placed on financial aid warning
 1 na 0 Board of Education
for one semester. After the grades for
 2 3.00 12 PO Box 11900
the warning semester are calculated, the
 3 3.00 21 St. Thomas, VI 00801
student’s transcript will be reviewed. If
 4 3.00 30 1-340-774-4546
the student fails to meet the standards, all
 5 3.00 39
of his or her financial aid will be revoked
 6 3.00 48 was h ington, d.c .
beginning with the semester following the
 7 3.00 57 Washington, D.C. Grant Program
warning semester. Once the student meets
 8 3.00 66 Educational Assistance Office
the minimum standards, he or she may
 9 3.00 75 2100 Martin Luther King Jr. Avenue
reapply for financial aid.
A student may choose to continue Suite 401
to study without Title IV aid if the Washington, D.C. 20020
department grants approval. In this Out-Of-State Programs 1-202-698-2400
instance, the student must apply and be Other state or commonwealth scholarship The above state and district programs
approved for an alternative loan prior to programs and where to apply: are available only to residents of the
getting registration approval from the
appropriate state or district. Pratt knows
Bursar’s Office. m ary land of no other states that make awards to
Higher Education Commission students at a New York college.
stan dar d s o f ac a d em i c
State Scholarship Administration
p rog r e s s fo r d et erm i n i n g
Jeffrey Building
e l ig ibility f or st u d en t a i d
16 Francis Street, 219
The following chart lists Pratt Institute’s Annapolis, MD 21401-1700
standards of degree progress for determin- 1-410-260-4500
ing eligibility. Note that each program
type shown on the chart requires that as
you begin each term shown:
296 f i na n c i a l a i d

United States Bureau of Veterans Administration c onne cticut

Indian Affairs Aid to Native Educational Benefits State Scholarship Program Commission
for Higher Education
Americans Higher Education Application forms are available at all PO Box 1329
Assistance Program Veterans Administration (VA) offices, Hartford, CT 06115
active duty stations, and American 1-860-713-6543
embassies. Completed forms are
ap p l ic atio n p roc ed u res submitted to the nearest VA office. (See de lawar e
Application forms may be obtained from Veterans Assistance under Registration.)
the Bureau of Indian Affairs office. An Delaware Post-Secondary
application is necessary for each year of Education Commission
study. An official needs analysis from Carvel State Office Building
Pratt’s Office of Financial Aid also is
State Education Agencies 820 North French Street, 5th Floor
required each year. Wilmington, DE 19801
Each first-time applicant must obtain 1-800-292-7935
a las ka
tribal enrollment certification from the Alaska Commission
bureau agency or tribe which records f lor ida
on Post-Secondary Education
enrollment for the tribe. Bureau of Student Financial Assistance
707 A Street, Suite 206
325 W. Gaines Street
Anchorage, AK 99567
s e le c tio n of rec i pi en t s a n d Tallahassee, FL 32399-0400
1-907-269-7973
al lo c atio n of awa rd s 1-850-245-0414
To be eligible, the applicant must: a rkans as
illinois
1. Be at least one-fourth American Student Loan Guarantee Foundation
Illinois Student Assistance Commission
Indian, Eskimo, or Aleut. of Arkansas
500 West Monroe, 3rd Floor
10 Turtle Creek Lane
2. Be an enrolled member of a tribe, Springfield, IL 62704
Little Rock, AR 72202
band, or group recognized by the 1-800-899-4722
1-800-622-3446
Bureau of Indian Affairs.
3. Be enrolled in or accepted for mas s ach us etts
c a lif or nia
enrollment at Pratt, pursuing at American Student Assistance Corporation
California Student Aid Commission
least a four-year degree. 100 Cambridge Street
3300 Vinsandel Drive
4. Demonstrate financial need. Boston, M.A. 02114
Rancho Cordova, CA 95670
1-800-999-9080
1-888-224-7268
 f i na n c i a l a i d 297

n e w ham p s h i r e Restricted Grants louis w. f e ldmann s cho la rshi p

New Hampshire Higher Education and Scholarships A bequest by Louis W. Feldmann, class
Assistance Foundation of 1911, in memory of his wife and son,
4 Barrell Court There are no special application forms awarded annually to a worthy student.
Concord, NH 03302 for restricted and endowed scholarships.
1-603-255-6612 Recipients are selected by deans or goodste in de ve lopment
department chairs based on criteria c or poration s ch olarshi p
n e w j e r s ey established by the donors. These awards in h onor of jack and
are generally made to continuing students f lor e nce goodste in
New Jersey Higher Education
in the spring semester for one year only
Assistance Authority Established by Pratt alumnus Steven H.
and are based on the availability of
PO Box #545 Goodstein, class of 1966, in memory of his
funds in any given year. Notification of
Trenton, NJ 08625 parents, this scholarship benefits students
scholarship and fellowship availability
1-800-792-8670 majoring in Construction Management.
will be made by individual departments
in the spring of each year.
n e w yo r k be njamin goldbe rger
New York State Higher Education me mor ial s ch olar s hi p
Services Corporation School of Architecture A scholarship established by Beatrice
99 Washington Avenue Goldberger, class of 1934, in honor of her
Albany, NY 12255 c ollaborative e ndow me nt f or father, Benjamin Goldberger, class of 1909.
1-888-697-4372 a rch ite ctur e / pete r s ch r ete r
en dow e d s ch olar s h ip w illiam randolph hea rst
pe n n s y lvani a The purpose of this scholarship s ch olar s h ip f or oppo rt uni ty
Pennsylvania Higher Education endowment shall be to provide A fund established by the William
Assistance Agency recognition and financial assistance to Randolph Hearst Foundation for minority
State Grant and Special Programs undergraduate students enrolled at Pratt students in architecture.
Division Institute in the School of Architecture.
1200 North 7th Street david mandl memorial scholarship
Harrisburg, PA 17102 patr ick f. c orvo ’88 me mor ial
A scholarship established in memory of
1-800-692-7392 s c holar s h ip
David Mandl to support deserving and/
A scholarship established by the family or academically qualified students in the
te xas and friends of Patrick Corvo, class of School of Architecture.
Texas Higher Education 1988, in his memory. An award to a
Coordinating Board student entering the final year of study patrons program s cho la rshi p
1200 E. Anderson Lane in the School of Architecture who has
A scholarship established by Pratt
Austin, TX 78752 demonstrated a serious commitment to
family member Edmund S. Twining
1-800-242-3062 the field of architecture.
III to provide support to outstanding
architecture students.
298 f i na n c i a l a i d

p lan n in g s ch ola rs h i p c lyde linc oln rouns e ville School of Art and Design
A scholarship fund established for s c holar s h ip f und
students in the graduate program in City Awarded to deserving students in the don ar ie v me mor ial t erm awa rd
and Regional Planning. School of Architecture. A term award for Pratt graduate students
enrolled in their second year in Graduate
p ratt p lan ni n g a lu m n i vi nce nt a. stabile e ndow e d Communications Design, in memory of
s c ho lar s hip s c holar s h ip Pratt Professor Don Ariev, class of 1960.
A fund established by Pratt Planning A scholarship fund established by Vincent Award will be based strictly on merit.
Alumni for students in the Graduate A. Stabile, class of 1940, for students in
Planning Program in the School of the School of Architecture. ralph appe lbaum e ndo wed
Architecture. s ch olar s h ip f und
g i h e i & s ato take uch i me mor ial A fund established by Ralph Appelbaum,
fran k o. p r i c e sc h ola r s h i p en dow e d s ch olar s h ip f und awarded to Industrial Design students on
A fund established by friends of Professor A scholarship established by John M. the basis of need and merit.
Price, longtime teacher of architecture, Takeuchi to honor his parents. It is
awarded to a worthy student. awarded to a full-time student in his or art stude nts ’ as s oci at i o n
her second year studying Architecture s ch olar s h ip
e d war d r e j r. sc h ola r s h i p who shows promise through academic A fund raised by the Art Students’
A scholarship established by Professor achievement. Association over a period of years,
Edward D. Re Jr. to aid students awarded by competition.
studying Architecture and Construction lu cinda ve ikos e ndow e d
Management. s c holar s h ip mary pratt bar r inger
A fund established by William and s ch olar s h ip f und
lee and norman rosenfeld award Elizabeth Pedersen in memory of A scholarship established by Mary Pratt
To provide monetary awards to profession- Lucinda Veikos, class of 1992, for a Barringer, awarded annually to five
ally motivated, academically qualified, deserving student in the School of Delaware College of Art and Design
and/or deserving undergraduate students Architecture. students coming to Pratt, selected by a
in the School of Architecture who have joint committee of representatives from
completed one year of study. Preference vei kos trave l s ch olar s h ip f or both schools.
will be given to students who are honest a rch ite ctural study and trave l
and honorable, as established by academic A scholarship established by Kohn th e r e ggie be h l drawi ng awa rd
leadership and character, who will use Pederson Fox Associates in memory of The Reggie Behl Drawing Award will
the funds to perpetuate their educational, Lucinda Veikos, class of 1992, for travel provide a financial award annually to a
creative, and professional goals. abroad for a deserving student in the student in his or her junior year in the
School of Architecture. School of Art and Design who exhibits
excellence in drawing.

be r n ic e bie nen stoc k f u r n i t u r e
library s c h ola rs h i p
A scholarship awarded to students pursu-
ing home furnishings-related studies.
s an d ra k. ben ja m i n - h a n n i ba l
s c ho lar s hip
A scholarship established in honor of
Sandra K. Benjamin-Hannibal, awarded
to two first-year students who are in the
process of completing their Foundation
Year studies and are candidates or finalists sc holar s h ip
in the Foundation Art Competition.
ru th c am p bel l b i g elow
an d dav id e. b i g elow
s c ho lar s hip f u n d
Awarded to a student in Interior Design on major on the basis of merit and need.
the basis of need and academic promise.
raym o n d and m a b el b olton
art an d d e s i g n sc h ola r s h i p
A scholarship fund established in honor
of Raymond and Mabel Bolton for
deserving students in the School of Art
and Design.
al m a h. bo rg f el d t sc h ola r s h i p
A bequest by Alma H. Borgfeldt for
scholarships for worthy female students
to be selected by the dean of the School
of Art and Design. The scholarships are
awarded to applicants who have majored
in the study of art in a public high school
located in Kings County (Brooklyn) and
who reside in Kings County (Brooklyn).
m a ry buckley and j os e ph par r iot c oy ne family f oundat i o n
en dow e d s ch olar s h ip s ch olar s h ip f und
Established by Mary Buckley, a former
professor at Pratt Institute who taught
in the Foundation Art Department, this
scholarship is awarded to Foundation
students who exhibit excellence in color
work and is intended to encourage work
in that discipline.
robe rt f. calrow me mor ial
A scholarship fund established by Trudi
Calrow in memory of her husband,
Robert F. Calrow, a well-known painter
and inspirational teacher. A scholarship
will be awarded annually to a Fine Arts
f ede r ic o caste llon e ndow e d
sc holar s h ip
A scholarship established by Hilda
Castellon in memory of her husband,
Federico Castellon, to be awarded on a
yearly basis to a promising student in
Graphic Arts.
a n dr e a m. ce lla and grace
h a ns e n ce lla me mor ial
sc holar s h ip
A scholarship established by Robert and
Warren Cella to aid students in the School
of Art and Design who actively promote
the arts in their community.
f i na n c i a l a i d 299
A fund established from the Richard
and Jean Coyne Family Foundation for
students in Communications Design.
tomie de paola s ch ola rshi p fund
An endowed scholarship to support
students majoring in Illustration,
established by alumnus Tomie dePaola,
class of 1956.
j oh n a. dr e ve s art and desi g n
s ch olar s h ip
A scholarship established from the
Estate of John A. Dreves, class of 1935, to
provide support for students in the School
of Art and Design who demonstrate
financial need.
faith e llis art f inanci a l a i d
s ch olar s h ip
A fund established by Faith Ellis, class
of 1939, in memory of her son Rolan
R. Ellis, to enable students to access
special training as determined by the Art
Education Department.
w illiam f ogle r e ndo wed
s ch olar s h ip f und
A scholarship established in memory
of Professor William A. Fogler, class of
1955, for promising students in Industrial
Design.
300 f i na n c i a l a i d
an tho n y ge n na rel l i m em or i a l
s c u l ptu r e awa rd
Awarded to students enrolled at Pratt
Institute who are studying sculpture.
The award will be based on artistic and
academic merit, as well as quality of
student work.
c har le s l . g osl i n en d ow ed
m e m o r ial s c h ola rs h i p
To provide recognition and financial
assistance, based on need and merit, to
students enrolled in Pratt Institute’s
Communications Design program in the
School of Art and Design.
r ic har d an d a n n e l . b oet z el
g u n n s c ho la rs h i p f u n d
A scholarship awarded annually to a
student majoring in Communications
Design on the basis of scholarly
achievement, with preference given to
students majoring in Advertising Design
or Illustration. Named for and established
by alumni from the class of 1937.
has ke ll travel s c h ola r s h i p
A scholarship established for students in
the School of Art and Design for travel
abroad within two years from graduation.
jo hn an d j oa n h erl i t z m em ori a l
e n d o we d s c h ola r s h i p
The purpose of this scholarship endow­
ment shall be to provide recognition and
financial assistance, based on need and
merit, to undergraduate students enrolled
in the Industrial Design program in the
School of Art and Design. Established in
memory of John Herlitz, class of 1964,
and Joan Herlitz.
t h e h ils on f und
A fund established by the Hilson Family
to enhance and strengthen the graduate
Communications Design program. Part
of the fund will be used for scholarships
for students in graduate Communications
Design.
st e ve h or n art & de s ign awar d
A scholarship established by Steve Horn
awarded annually to one outstanding
student studying Photography, Film, or
other media arts.
i n dustr ial de s ign s ch olar s h ip
A number of scholarships from a fund
established by business contributions,
awarded to students in Industrial
Design for experimental projects in the
laboratory.
m elvin k. j ung me mor ial
sc holar s h ip f und
Awarded to a worthy graduate student in
Industrial Design, named in memory of
an alumnus from the class of 1975.
h el e n of kluch ar ka
en dow e d s ch olar s h ip
A scholarship established by Pearl K.
Schwartz in honor of her mother, awarded A fund established by Pratt alumni Ted
to students studying Fashion Design.
w illiam and amy c . ko e
s ch olar s h ip
A partial scholarship for a student with
creative ability in the field of Fine Arts to
be used for travel or study outside of the
continental United States.
le e ds s ch olar s h ip in i nt eri o r
de s ign
A scholarship for interior design students,
established through a gift from the Estate
of Harold Leeds.
naomi le f f e xce lle nce i n
inte r ior de s ign s ch o la rshi p
Established with a generous bequest
from Naomi Leff, class of 1973, this full
scholarship is awarded annually to one
student who exhibits excellence in interior
design, who is in good academic standing,
and who demonstrates financial need.
h e r s ch e l le vit s ch o la rshi p
f und
Founded in 1986 by a group of donors
to honor Professor Herschel Levit’s 31
years of service to Pratt, this scholarship
is given to talented Pratt students in
their sophomore or junior year majoring
in Advertising, Graphic Design, and
Illustration.
te d and bets y le w in
e ndow e d s ch olar s hi p
Lewin, class of 1956, and Betsy Lewin,
class of 1959, to provide support for
Illustration students.

wil liam l . lon g yea r sc h ola r s h i p the design of displays used at the Point
A fund established by students, alumni,
and friends from the business world as a
tribute to William L. Longyear, associate Industrial Design students who have
dean emeritus and former chair of the
Department of Advertising Design,
awarded annually to Communications
Design students and to graduate Package
Design students on the basis of need and
scholarship. The recipients are nominated
by the department chairs and two faculty
members for approval by the dean of the
School of Art and Design.
the j o hn s. m a rqua rd t awa r d i n
c o m m u n ic at i on s d esi g n
An endowed scholarship fund established
by George Klauber, class of 1952, in
memory of John S. Marquardt, class
of 1989. A scholarship will be awarded
annually to outstanding undergraduates
majoring in Illustration, Advertising/Art
Direction, or Graphic Design, solely on
the basis of merit.
n e w yo r k ti m es ed u c at i on
fe l lo ws hip
A grant established by the New York
Times Foundation to fund fellowships
to graduate education majors to teach
observational drawing at Beginning
with Children, a public school in
Williamsburg, Brooklyn.
po in t o f p u rc h a s e sc h ola r s h i p
The Point of Purchase Scholarship
is funded by grants from numerous
companies with significant interest in
of Purchase (POP). An annual award
to either undergraduate or graduate
demonstrated design leadership potential
in the field of POP design.
elaine gluckman popow itz
m e mor ial s ch olar s h ip f und
Established in memory of Elaine
Gluckman, class of 1981, a faculty
member of the graduate Art Therapy
Department. Scholarship to be awarded
annually to a second-year student in
the graduate Creative Arts Therapy
Department who has exhibited
outstanding scholarship, integrity, and
concern for others.
lillian pratt fashion scholarship
A scholarship to benefit outstanding
juniors and seniors in Fashion Design,
established by Pratt family member
Lillian Pratt.
walter rogalski scholarship fund
A scholarship awarded annually to a
graduate Fine Arts student on the basis
of merit and need, as selected by a faculty
committee that reviews candidates
who exemplify the creative ability that
characterized the work of former Pratt
professor Walter Rogalski.
m arc ros e n s ch olar s h ip
Funded by friends and associates of
Marc Rosen, class of 1970, in his honor,
this award is made to an outstanding
f i na n c i a l a i d 301
graduate Communications/Package
Design student. The winner is selected
by the chair and members of the
faculty of the Department of Graduate
Communications/Package Design.
bar bara h aube n ros s i nt eri o r
de s ign awar d
A fund established to annually honor two
outstanding Interior Design juniors.
ann w. rust e ndow e d
s ch olar s h ip
A scholarship for students in the School of
Art and Design established by Leo Lewis
Rust in memory of his wife, Anna Klenke
Rust, class of 1938.
david s ay lor s ch ola rshi p fo r
de s ign
A scholarship established to benefit
undergraduate and graduate students
in the School of Art and Design who
are studying either industrial design or
interior design. Preference will be given
to students who combine the fields of
industrial design and interior design in
their studies, or who plan to do so in their
careers.
ch ar le s and mar ie scha de
e ndow e d s ch olar s h i p
A scholarship established by Charles and
Marie Schade to aid students in either the
School of Art and Design or Architecture
who demonstrate good academic standing
as well as financial need.
302 f i na n c i a l a i d
d o rothy g. sc h m i d t
s c ho lar s hip f u n d
A scholarship established in honor of
Dorothy G. Schmidt, to be used for
elementary and junior high school
teachers seeking courses at Pratt for
professional enhancement in their work
of teaching art and related subjects in the
public schools of Brooklyn, to be awarded
on the basis of need. Other factors being
equal, females shall be given preference.
fr e d e r ic k j. sc h u bac k
e n d o we d s c h ola r s h i p
To be awarded to one Fine Arts
undergraduate each year who is in good
academic standing and who demonstrates
financial need, established in memory of
Frederick J. Schuback, class of 1975.
jam e s s e e m a n en d ow ed
s c ho lar s hip
Established by the family and friends
of interior design leader and muralist
James Seeman, this scholarship provides
resources for dedicated Painting students,
with preference given to those who
recently moved to the United States.
s e e m an - bu r s e f u n d
A scholarship for students in the School
of Art and Design, specifically Fashion
Design.
sel ma s e ige l me mor ial
sc holar s h ip
A fund created by Morton Flaum, class of
1971, in memory of Selma Seigel, which
will provide scholarship aid to Interior
Design students in the School of Art and
Design.
star r f oundation s ch olar s h ip
A scholarship fund established by the
Starr Foundation for Asian students in the
Department of Communications Design.
Awards will be made annually to three
students majoring in Illustration, Graphic
Design, and Advertising.
ru th p. tay lor s ch olar s h ip
A fund established by the estate of Ruth
P. Taylor, class of 1921, for students in the
School of Art and Design.
vi rginia pratt th ay e r
sc holar s h ip in f ine arts
A fund created by Robert Thayer in
memory of his mother Virginia Pratt
Thayer to provide scholarship aid to an
outstanding student entering his or her
junior year in the Fine Arts program.
d oroth y toole s ch olar s h ip
Created through a bequest in the will
of Mrs. Dorothy Rodgers Toole, class of
1931, this scholarship is for students who
demonstrate unusual interest and talent
in the field of fashion illustration.
max w e be r s ch olar shi p fund
A gift given by Mrs. Max Weber and
Miss Frances Weber in memory of the
well-known artist who was a member of
the class of 1900, to be used annually to
provide scholarship aid for students in the
School of Art and Design.
ste ph an w e is s e ndowed
s ch olar s h ip
Awarded to Fine Arts students in good
academic standing, this scholarship,
funded by Donna Karan’s Karan-Weiss
Foundation, honors Stephan Weiss.
w illar d s ch olar s h ip
This scholarship was established to aid
students in the School of Art and Design
who are graduates of Washington Irving
High School.
h e nry wolf s ch olarshi p
e ndow me nt
An endowed scholarship fund, the
income of which will be used to
award one or more scholarships to
support economically disadvantaged
students pursuing B.F.A.s or M.F.A.s in
Photography or Communications Design.
ir ma h olland wolstei n endo wed
s ch olar s h ip
A scholarship fund established by Dr.
Benjamin Wolstein to aid gifted students
with financial aid in the Arts Education
program.

School of Information and
Library Science
beta phi m u s c h ola r s h i p
A scholarship fund established by
Beta Phi Mu, an honor society for elite
graduates in the School of Information
and Library Science.
m ab e l b ogar d u s s c h ola r s h i p
fu n d
A fund established for graduate students
in Information and Library Science,
named for an alumna from the class of
1913.
d o rothy m . c ooper en d ow ed
fe l lo ws hip
Established from the Dorothy M. Cooper
Trust to provide support for students in
the library school, named for an alumna
from the class of 1931.
m o rto n d. flau m m em or i a l
s c ho lar s hip
Established by Morton D. Flaum, class
of 1971, through his estate, to benefit
students in the School of Information and m arvin s cilke n e ndow e d
Library Science.
library s c h ool g ra d uat es ’
as s o c iatio n
A fund established for graduate students Library Science.
in Information and Library Science.
library s c ie n c e f u n d
A scholarship fund for graduate students
in Information and Library Science.
f i na n c i a l a i d 303
s. m. matta e ndow e d s ch olar s h ip th e e dmund s. tw ining i i i a nd
i n i nf or mation te ch nology diana tw ining s ils fello wshi ps
A fund established in honor of Seoud in f lor e nce
M. Matta, former dean of the School of The fund is intended to provide two
Information and Library Science. graduate fellowships each summer for
students studying in SILS’ Florence
sylvia g. me ch anic me r it awar d Summer Program.
i n b us ine s s librar ians h ip
A scholarship for graduate students in h . w. w ils on s ch olarshi p
Information and Library Science. A fund established by the H. W. Wilson
Foundation for graduate students in
p ratt-s e ve r n faculty awar d in Information and Library Science or
i n for mation and library studie s Liberal Arts and Sciences.
An annual award funded by a bequest from
alumnus David Severn, class of 1968, School of Liberal Arts and Sciences
is presented to a faculty member selected
by the Association for Information and izch ak f r ie dman e ndo wed
Library Science Education (ALISE). s ch olar s h ip
An endowed fund established by Pratt
p ratt-s e ve r n stude nt r e s e arch alumna Estelle Friedman, class of 1969
awar d in inf or mation s cie nce and her children in memory of her
An annual award funded by a bequest husband, Pratt alumnus, professor, and
from alumnus David Severn, class of dean of the School of Liberal Arts and
1968, is presented to a master’s degree Sciences, Izchak Friedman, class of 1962,
student selected by the American Society for students with an interest in combining
for Information Science (ASIS). science and the arts, based on merit and
financial need.
s c holar s h ip michael m. mahoney writers fund
A fund established in memory of Marvin Awarded to undergraduate students
Scilken, class of 1960, a former faculty majoring in writing, specifically those
member in the School of Information and interested in writing for publication
and performance media, in memory of
former Pratt student Michael Mahoney.
g eo rge s imor s ch olar s h ip Recipients will be chosen by the dean of
A fund established in memory of George the School of Liberal Arts and Sciences.
Simor, a former faculty member in the
School of Information and Library Science.
304 f i na n c i a l a i d

All Schools el s a k. brooks s ch olar s h ip kath le e n l. ge r la

Created through a charitable gift annuity e ndow me nt s ch olarshi p
alu m n i s c hola r s h i p from Elsa K. Brooks, class of 1939, this A fund established by the Kathleen L.
A fund established in 1957 by various scholarship is intended for incoming Gerla Charitable Trust.
alumni, the income from which is to be freshmen students.
used for scholarship assistance to worthy c olle e n gr if f in s cho la rshi p
students. h el e n r . f e cke e ndow e d A fund established by the Colleen A.
sc holar s h ip Griffin Charitable Foundation for a
jam e s w. atk i n son Awarded to students in good academic qualified student of Caribbean origin who
m e m o r ial s c h ola rs h i p standing who demonstrate financial need, demonstrates financial need.
Created from the trust of Yvonne Atkinson, named for an alumna of the class of 1926.
in memory of her husband James W. w ils on y. h anc ock
Atkinson, class of 1938, a generous and est h e r br igh am f is h e r e ndow e d s ch olar s h i p
active alumnus and graphic designer who sc holar s h ip f und A scholarship to provide general support
headed Pratt’s alumni branch in Detroit, A scholarship fund established by Edward for students in good academic standing,
this fund provides resources for general M. Fisher, in memory of his wife, to assist created through a bequest from the
scholarship purposes. Pratt Institute students. Estate of Elizabeth Marie Hancock in
memory of her late husband, Wilson Y.
d o rothy p. ba rr ett l ew is h . f ly nn s ch olar s h ip Hancock, class of 1933.
e n d o we d s c h ola r s h i p A fund established under the will
A fund established by the estate of of Lewis H. Flynn, class of 1916, for c oby h of f man s ch ola rshi p
Dorothy P. Barrett for general charitable scholarship aid. A scholarship established to support
and educational uses. students in the School of Art and Design.
f or d-e e oc s ch olar s h ip
wil liam bin g h a m i i s c h ola r s h i p An endowment fund established by the f e r dinand m. j unge
A trust for charitable purposes established Ford Motor Company to be used for me mor ial s ch olar s hi p
by the late William Bingham II for scholarships for minorities and women, A fund established from the estate
students from Bethel, Maine, other towns with preference given to Ford employees of Ferdinand M. Junge for talented
in Oxford County, Maine, or elsewhere in and their spouses and children. and deserving undergraduates who
the state of Maine (in that order). demonstrate financial need.
g ene ral s ch olar s h ip
blac k alu m n i A fund established in 1956 through h e r man y. kr ins ky s cho la rshi p
e n d o we d s c h ola r s h i p gifts from industries made as matching f und f or dis able d st udent s
A fund established to provide scholarships scholarships or tuition grants, the income A fund established for disabled students in
to students of African and Latino descent from which is to be used for general honor of former Pratt professor Herman
who have completed a year at Pratt, are in scholarship purposes. Y. Krinsky.
good academic standing, and demonstrate
a need for financial assistance.

jac o b an d g w en d olyn law r en c e
e n d o we d s c h ola r s h i p
A fund established for general scholarship This endowed scholarship was established
support.
m argar et a. m i d d l ed i tc h f u n d any full-time student at Pratt Institute who
A fund established anonymously to
finance scholarship or maintenance
abroad, or the travel itself.
le o j. pan ta s r esi d en c e
c e n te r s c hola rs h i p
A scholarship established by Leo J. Pantas,
class of 1937, trustee emeritus, with a
matching grant from Eaton Corporation.
Awarded to a full-time student with finan-
cial need living in Pantas Residence Hall.
p ratt art s u p p ly p rod u c t
s c ho lar s hip
A fund established by the Pratt Art Supply
Shop to provide supply scholarships for
qualifying students. Scholarships will be
awarded annually during a scholarship
and fall trade show.
alan pottas c h m em ori a l
s c ho lar s hip
A scholarship established by Lisa
Pottasch, honoring Alan Pottasch, that
supports undergraduate Communications
Design students, with a preference
given to those who have declared
a concentration in Advertising Art
Direction and display financial need.
f i na n c i a l a i d 305
c h a r le s pratt ii raoul s ettle s ch ola rshi p fund
m emor ial s ch olar s h ip A fund established in memory of Raoul
Settle, class of 1952.
by Edmund Twining III in memory of his
grandfather, Charles Pratt II, to support ir e ne c . s h e a e ndowed
s ch olar s h ip f und
best demonstrates the ideals of the founder A fund established by Irene C. Shea, class
of Pratt Institute. These are defined as of 1934, for students who demonstrate
leadership, community service, and self- financial need and are in good academic
motivation. Additionally, the award should standing.
be made to a student who demonstrates
artistic achievement at the college level. kath e r ine pratt tw i tchell fund
A fund established in memory of
g eo rge d. pratt s ch olar s h ip
Katherine Pratt Twitchell.
A scholarship fund established by Vera
H. A. Pratt in memory of her husband, j. s h e rwood w e be r
George D. Pratt, for worthy students. me mor ial s ch olar s hi p
A fund established in memory of J.
r i ch ar ds on ( j e r ry ) pratt
Sherwood Weber, former provost and
en dow e d s ch olar s h ip
faculty member, to be awarded annually
Funded by gifts from the Pratt family to an outstanding student in any school.
and established in honor of Richardson
Pratt Jr., former president of Pratt, this winnemore endowed scholarship
scholarship is awarded to outstanding
Established by Augustine E. Winnemore,
students with financial need.
this scholarship is awarded to outstanding
Architecture students.
r i ch ar ds on and mary o. pratt
s c holar s h ip
This scholarship, made possible by the
gifts of various donors, honors the legacies
of Richardson Pratt Jr., former president
of Pratt, and his wife, Mary O. Pratt.
pa i ge r e ns e s ch olar s h ip
A scholarship established in honor of
Paige Rense.
306 f i na n c i a l a i d
International Student
Scholarships
The International Student Scholar-
ship for the academic year 2012–13 will
be available to those students who have
encountered financial hardship. Students
must demonstrate unforeseen economic
need. A Financial Aid Committee will
determine the eligibility of the applicant.
The scholarship funds are very limited.
Since the award is based only on unfore-
seen economic need, there is no application
deadline. The scholarship, if awarded, is to
be used for tuition and fees only.
You must follow these guidelines:
1. You must in be in good academic
standing and must submit the latest
copy of your transcript.
2. You must have been enrolled at
Pratt for at least one academic year.
3. You must have clearance from the
Office of the Bursar. Those who
have any outstanding debts with the
Bursar will not be considered.
4. You must submit copies of bank
statements for the past six months;
telephone, utility, and rent bills; and
a budget for the academic year.
5. If you are sponsored, you must
submit proof of your sponsor’s
inability to continue with the
financial commitment.
6. You must submit a statement
outlining your academic goals at
Pratt, as well as what contributions
you have made as an international Mail to:
student to the campus life and why
you need the scholarship.
Office of Financial Aid
Pratt Institute
7. You must submit a letter of 200 Willoughby Avenue
recommendation. Brooklyn, N.Y. 11205
8. If you are receiving Pratt’s financial 718-636-3739 fax
assistance, your travels will be
restricted. Deadline: May 15, 2012, for requested
tax transcript.
The above-listed documents must be
3. Direct subsidized and
submitted as proof of unforeseen economic unsubsidized loans
need to the Office of International Affairs, Continuing students who wish to
Attention: Jane Bush. apply for a loan should file the
FAFSA by February 1. If you filed
the Master Promissory Note (MPN)
Financial Aid Instructions last year, you don’t have to submit
and Schedule another MPN loan application. We
can only notify students of their
All application materials are available at loan eligibility levels in the
www.pratt.edu/financing. You must electronic award letter, which is sent
submit the following to be considered for to your Pratt email address.
federal, state, and Pratt Institute aid
4. Other Information We Request
(including bank loans) for the next
A financial aid counselor may ask
academic year:
for additional information and or
1. Financial aid forms for 2012–13 documentation after your applica-
Free Application for Federal tion is reviewed. Respond
Student Aid (FAFSA). You send the quickly—we can’t finalize your aid
FAFSA to the federal processor. We until we receive the requested
strongly suggest it be completed and information.
be submitted electronically, online
Mail early. We award financial aid only
at www.fafsa.ed.gov or at the
when your file is complete! Call us with
financial aid section of Pratt’s
questions at 718-636-3599 or email at
website.
finaid@pratt.edu.
2. IRS tax transcript for 2011, if
requested. If you did not file a tax For the 2012–2013 academic year, please
return, you must submit a notarized refer to the financial aid section of the
letter stating your source of income. Pratt website: www.pratt.edu/financing.

Tuition and Fees
Costs
The following approximate costs are in
effect at the time of publication. They
are subject to change by action of the
Board of Trustees. The Institute reserves
the right to change regulations at any
time without prior notice. It also reserves away from home in either on-campus or
the right to change tuition and fees as
necessary. Tuition and fees are payable in
full at the time of registration.
Graduate
No flat rate. $1,402 per credit. Note:
The per credit charge for the School of
Information and Library Science is $1,126. and transportation.
Fees
Fees vary according to program.
For a complete listing of fees, see next
page. Please refer to the undergraduate
bulletin for undergraduate tuition and fees.
307
Books and Supplies bur s ar
Yvette Mack
Approximately $2,500 per year, ymack@pratt.edu
depending on program.
as s ociate bur s ar
Other Expenses
Loretta Edwards
For resident students (students living
of f ice
off-campus housing), an estimated $800 Tel: 718-636-3539 | Fax: 718-636-3740
per month (for a nine-month period) bursar@pratt.edu
should be allowed for food, housing,
clothing, and other personal needs. For
commuter students (students living at
home), an estimated $250 per month
should be allowed for personal expenses
Students provide their own textbooks
and instructional and art supplies. These
books and supplies may be purchased
either at the bookstore maintained by Pratt
Institute (on campus) or at local art supply
stores. Bookstore expenses are not chargeable
to the student’s Institute tuition account.
308 tuition and fees

Tuition Payment month plan is available for new students. Pratt Institute Graduate Fees
Undergraduate and graduate students Brochures explaining this plan (including
are charged tuition according to their an application) are available through the
enrollment status. An undergraduate Tuition Management Systems (TM.S.) firm. ge ne ral f e e s
student taking a graduate course The fee is $105 for the year. There is also a $50 Application fee
applicable to his or her undergraduate semester-based plan for $97 each semester. $90 Application fee/
degree is charged at the undergraduate TM.S. will provide an easy-to-use international students
rate. A graduate student taking an worksheet to assist the student in budget-
$300 Acceptance deposit
undergraduate course is charged tuition ing educational expenses for the year.
A semester-based plan is also available. $300 Residence deposit
at the graduate rate.
For further information, call or write:
Terms of Payment Tuition Management Systems activitie s f e e s
Bills are payable by personal or certified 171 Service Avenue, 2nd Floor $100 Graduate activities fee
check, money order, VISA, MasterCard, Warwick, RI 02886 each fall and spring term:
American Express, Discover, debit cards 800-722-4867 full-time students
featuring the NYCE symbol, or wire www.afford.com/PRATT
$80 Graduate activities fee each
transfer in advance of each term. Checks
fall and spring term: part-
should be made payable to Pratt Institute. Please notify the Bursar’s Office if you are
time students
Payment is also accepted online for a using TM.S.
nominal fee. Payment for fall is due
Pratt Institute
August 1 for all students. te ch nology f e e s
Office of the Bursar/Student services
200 Willoughby Avenue $265 Each fall and spring term:
Brooklyn, NY 11205 full-time students
Available Payment Tel. 718-636-3539 $135 Each fall and spring term:
Plan through Tuition Bursar@pratt.edu part-time students
Management Systems $135 Each summer term for all
students
Deferred Plan Option
(Fall- and Spring-Based)
This deferred payment plan may be
implemented on a yearly basis or semester
basis. This plan enables the student to pay
both fall and spring over eight, nine, or ten
months, beginning with July 15 for the
ten-month plan for continuing students.
The start date of August 15 for the nine-
month plan or September 15 for the eight-

ac ad e m ic fac i l i t i es f ees
$340 Each fall and spring term:
full-time students
$185 Each fall and spring term:
part-time students (This
fee is targeted to improve
facilities, equipment, and
materials that directly
enhance instruction.)
$60 International student
services fee (This fee is
targeted to improve the
quality of services available
to the international student.)
$185 Each summer term for
all students
arc hite c tu r e f ees
$30 Architecture shop fee. Each
fall, spring, summer term:
full-time and part-time
students
d ig ital arts la b f ees
$40 per course All 100/200/300-
level DDA courses
$50 per course All 400/500-level
DDA courses
$60 per course All 600-level DDA
courses
tuition and fees 309
h ea lth ins urance f e e s mis ce llane ous f e e s
TBD Mandatory fee per semester. $100 Shop Safety Certification
May be waived with proof of Class
personal health insurance. $35 Fee for issuance of
duplicate diploma
$55 Re-admission fee
t h es is -in-progr e s s f e e s
$20 Leave of absence fee
Each semester of In-Progress varies by
$100 Portfolio/work experience
academic department.
deposit
late payme nt f e e s $338 Fee–30 percent of per-credit
charge–SILS
A. A late fee of $80 will be charged
$421 Fee–30 percent of per-credit
for any unpaid balance after the
charge–graduate
initial disbursement of financial
$30 Supplemental/re-evaluation
aid has been applied for each
of transfer credit fee: each
semester.
transcript evaluated the first
B. A late registration fee of $55 will two semesters after entering
be charged after the first 15 days of Pratt, or failure to initiate
each semester/session for students evaluation of transfer credit
who did not complete their within the first two semesters.
registration during their
designated
registration period.
Fine Arts Studio
h ea lth s e rvice s f e e s Refundable Deposits
$165 Each fall and spring term:
full-time students m.f.a. f ine arts r e f u nda ble
$85 Each fall and spring term: studio de pos it
part-time students $50 Deposit for the entire program
Deposits are paid to the Bursar’s Office
and refunded by check.
$25 Deposit for key replacement
310 tuition and fees
m .i.d. in d u st r i a l d es i g n
r e fu n dab le st u d i o d epos i t
$50 Deposit for the entire program as follows:
$25 Key deposit for entire year
for studios with key-access
$25 Locker deposit for the entire (available in the student’s academic
program
Deposits are paid to the Bursar’s Office
and refunded by check.
in te r natio na l st u d en t t ra n s f er
$30 Credit evaluation fee
r etu r n e d c h ec k f ees
$25 1.25 percent interest fee
per month, assessed on all
delinquent accounts one
month or older
tran s c r ipt r equ est f ee*
( pe r c o py )
$7.50 By Internet,
http://pratt.edu/registrar
$10 By Internet,
http://pratt.edu/registrar
(request leaves Pratt
within one working day of
receipt on campus)
$15 In-person requests
$18.75 UPS Service
All fees are charged 100 percent when
dropping classes during the add/drop
period.
* Subject to change.
Course Withdrawal Refunds
Procedures for official withdrawals are
Students who want to withdraw must is computed from the date the form is
fill out the official withdrawal form
department), have the form signed by
the Office of the Bursar, and submit
it immediately to the Office of the
Registrar. Refunds are determined
by the date the add/drop or complete
withdrawal form is signed by the Office of plans. Penalties for housing and meal
the Registrar.
For all students, the following course student submits a completed Adjustment
withdrawal penalty schedules apply:
Pratt Institute Refund Policy
f u ll r e f und:
Withdrawal prior to and including the
opening day of term
85% tuition r e f und:
Withdrawal from the second through
8th day of the term
7 0 % tuition r e f und:
Withdrawal from the 9th through 15th
day of the term
5 5 % tuition r e f und:
Withdrawal from the 16th through 22nd
day of the term
n o r e f und:
Withdrawal after the 22nd day of the term
Individual fees are not refundable after
the first day of the term. Once a student’s
request is received, processing takes
approximately 10 working days. Liability
signed by the registrar staff. Withdrawals
may not be made by telephone. Check
registration schedules and the Institute’s
calendar for exact liability deadline dates
each semester.
Withdrawal from courses does not
automatically cancel housing or meal
plans are calculated based on the date the
Form to the Office of Residential Life.
Refunds for withdrawn courses are not
automatic and must be requested from
the Office of the Bursar.
Refunds on Student’s
Credit Balance
A credit balance on a student’s account
after applying Title IV funds (Federal
Student Aid Funds) will be automatically
refunded and a refund check will be
mailed to the student within 14 days of
the later of any of the following dates:
(1) the date the credit balance occurs;
(2) the first day of classes of a payment
period of enrollment; or
(3) the date the student rescinds his
or her authorization to apply Title
IV funds to other charges or for the
institution to hold excess funds.

Banking Facilities
Arrangements have been made with
a bank on campus for students to open
accounts, making it possible to cash
personal checks with the Pratt ID
(providing the student’s available bank
account balance covers the amount of
the check to be cashed) and a primary ID
(state-issued or passport). An automated
teller machine is also available on campus.
Billing
Bills are mailed to one address. One copy
of each bill will be mailed to the address
the student lists as his or her billing
address on registration records. A billing
address may be established, changed, or
deleted at any time by writing or visiting
the Office of the Registrar. Due dates
cannot be extended because bills have not
been received.
If no billing address is specified, bills
are mailed to the permanent address.
You may also pay online at http://
my.pratt.edu.
Billing Schedule
For those students who have registered,
fall semester bills are mailed during the
first week of July, and spring semester
bills are mailed during the first week
of December. All other bills including
summer are available online. Fall bills are
available online after July 1, if registration
has already occurred.
If you do not receive a bill, you may
contact the Office of the Bursar prior to
the due date to ascertain the amount due.
Please consult the costs section and your
housing license if you need an earlier
estimate. Consult the annual Academic
Calendar for exact payment deadlines.
Late Payment Fee and Interest
A late payment fee is assessed each
semester on all bills remaining unpaid, in
whole or in part, after the due date for the
semester. An interest fee of 1.25 percent
per month is assessed on all delinquent
accounts one month or older. Any cash
amounts paid totaling $10,000 or more
made within a 12-month period, the IRS
form 8300 will be completed and sent to
the IRS. Please be sure to have Photo ID.
tuition and fees 311
Payments
Payments must include the student’s
name and student ID number. Checks and
money orders should be made payable to
Pratt Institute in U.S. dollars and drawn
on a U.S. bank. Checks drawn on an
international bank may delay credit to the
student’s account and may be subject to
a collection fee imposed by Pratt’s bank.
Loan checks payable to the student or
parent must be endorsed.
Students may pay in person and
receive a receipt by presenting the invoice
and payment to the Bursar’s Office,
Myrtle Hall 6th Floor, between 10 am and
4 pm, Monday, Tuesday, Wednesday, and
Friday. Evening hours are on Thursdays.
Payment by mail avoids waiting in line.
Please allow five working days for mail
delivery and a minimum of three weeks
for processing.
Returned Checks
The Institute charges a processing fee of
up to $25 when a check is returned by the
student’s bank for any reason. Any check
in payment of an Institute charge that is
returned by the bank may result in a late-
payment charge, as well as a returned-
check charge.
312 tuition and fees
Adjustments
We strongly recommend that the student
keep each bill as an itemized record
of charges and credits. A student who
contests a portion of the bill should pay
the uncontested portion by the due date
and immediately contact the appropriate
office to request an adjustment.
Adjustments should be pursued and
resolved immediately to avoid a hold on
registration or grades.
Direct Loans (Stafford, Plus) Registration (First Day
Loan funds are sent to Pratt by the federal of Class)
government electronically (EFT). Funds We reserve the right to restrict eligibility
will be disbursed in accordance with for registration for students with high
federal regulations, and a signature may balances.
be required. Upon receipt of loan funds,
the Bursar’s Office will mail notification
to the student’s local address with specific
instructions for endorsing the check or Collection Accounts
signing an authorization sheet. Loan The student will be responsible for all
checks are made payable jointly to Pratt collection costs associated with delinquent
Institute and the student/parent. Both accounts forwarded to an outside
payees must endorse the check before it collection agency because of nonpayment.
can be applied to the student’s account.
(Parents must endorse PLUS checks.)
The student will be held responsible
for the loan portion of the balance on
his or her account whether or not he or
she receives the loan. It is the student’s
responsibility to contact the federal
government when delays occur. A student
whose Institute bills are overdue will not
be allowed to register in the Institute,
receive grades, transcripts, or diploma,
or have enrollment or degrees confirmed
until financial obligations are paid in full.

Registration and Academic Policies
In order to attend any course at Pratt
Institute, a student must:
1. Be formally approved for admission.
▶▶ Matriculated students will re-
ceive an acceptance letter/email
that includes a OneKey (user-
name) and ID number (initial
password). It may also include
additional requisites required for
admission to a program.
▶▶ All final and official college
and high school transcripts
(indicating date of graduation)
must be submitted to the
Institute prior to enrollment.
Non-matriculated students will
▶▶
be provided this information
once they submit a non-
matriculated student application
in the Registrar’s Office and
pay the fee. They do not have to
follow steps 2 and 3.
2. Meet with an academic advisor
and have a program of courses ap-
proved by that advisor on Academic
313
Tools—the portion of my.pratt. r e gistrar
edu that allows students to register Lisle Henderson
lhenders@pratt.edu
for classes, add or drop sections,
view their grades, and review their
degree audit. Your academic advisor as s ociate r e gist ra r
John Matheus
and your appointment dates for ad-
jmatheus@pratt.edu
visement and registration are listed
on your degree audit. Students
should contact their advisor for as s istant r e gist ra rs
Marcia Approo
assistance. mapproo@pratt.edu
3. Register for the approved courses on- Cynthia Smith
line during the designated registra- csmith@pratt.edu
tion period. A student’s registration
Andy Steinitz
date is displayed under the student’s asteinit@pratt.edu
name when he or she logs in to
my.pratt.edu. Online registration is
tap ce rtif ication o ffi cer/
done on Academic Tools.
vete rans advis o r
4. Pay prescribed tuition and fees to Charlotte Outlaw-Yorker
the Bursar. Students—and persons coutlaw@pratt.edu
approved by that student via the
Parent Module—can view the bill of f ice
on my.pratt.edu. See the Tuition Tel: 718-636-3663 | Fax: 718-636-3548
and Fees section of this Bulletin for reg@pratt.edu
more information.
Students are fully responsible for tuition
and fees after they complete steps 1
through 3 above. If students do not
314 r e g i st r at i o n a n d ac a d e m i c po l i c i e s
complete Step 4 before the first day of
class, their unpaid registrations may
be canceled according to the payment
schedule. Responsibility for a correct
registration and a correct academic record
rests entirely with the student. Students
are responsible for knowing regulations
regarding withdrawals, refund deadlines,
program changes, and academic policies.
Instructors will not admit students
to classes in which they are not officially
registered. Proof of official registration
may be obtained in the Office of the
Registrar or through the Academic Tools.
Any student who attends a class without
valid registration (i.e., they are not on the
official class roster) will not have credits
or a grade recorded for that course.
Identification Cards
and Services
As part of orientation, new students are
issued identification cards. Students must
present their PrattCard to receive services
and privileges, to gain entry into campus
buildings, and to identify themselves
to Institute officers as necessary. People
who cannot or will not produce a student
identification card are not recognized
as students and are not entitled to
student services. To find out more about
the PrattCard, log in at my.pratt.edu
(the PrattCard is on the left side of the
dashboard). The PrattCard Office is
located in the Activities and Resource
Center (ARC), Lower Level, Room A109.
Pratt Email Accounts
and My.Pratt Access
The portal my.pratt.edu is Pratt’s
interactive student gateway. It
provides access to grades, schedules,
bills, applications for graduation, and
transcripts, as well as other academic
information. No additional applications or
activations are necessary.
All student user names are
automatically assigned by the
Information Technology Office. Pratt
email and my.pratt.edu accounts are
assigned to all students at the time of
admission. The Admissions Office mails a
letter to all deposited students with their
Pratt email address and ID number.
Pratt online accounts must be used
for all official Institute communication
through the Internet as an individual’s
Pratt email address is the only way to
validate the authenticity of the requester.
No official requests will be fulfilled
from any email address that does not
end with a pratt.edu suffix. Likewise, all
official Institute communications sent
electronically are emailed to this address.
Some notices are only sent electronically.
Students are responsible for the
information sent to their Pratt email.
Student Registration
New Student Initial Registration
New students should receive information
about registration in the mail once
they have paid their deposit. Each
department’s advisement office provides
detailed academic advisement and
curriculum counseling for entering new
students. Contact your department for
further information.
Continuing Student Registration
Continuing students are assigned a
registration date based on their degree
progress. Official registration dates can be
found in the Academic Calendar or in the
Academic Guide for Students (emailed to
all students each fall). To avoid late fees, all
registered students who plan to continue
in subsequent semesters are required
to register during the open registration
period. This registration period closes at
the end of the previous semester. Failure
to register during the open registration
period and make payment in advance will
both result in late fees. Late registrations
will also severely jeopardize a student’s
chances of obtaining their preferred
academic course schedule.

Late Registration
New and continuing students who do
not complete registration during their
designated registration periods are
subject to a late fee. The amounts and
timing of these fees are described in the
Tuition and Fees section of this bulletin
and the Academic Calendar. Registration
or reinstatement after the published
add period requires a written appeal to
the Office of the Provost. Only after the
approval from the Provost will students be
registered and allowed to attend classes.
Admission to Class
It is the responsibility of each student
to obtain an official schedule (printout
of registered course, section, credit, and
time) on my.pratt.edu after completion
of the registration process. Students
are strongly cautioned to review and
confirm all data. If any course/section/
credit correction is necessary, the student
can make advisor-approved changes
on my.pratt.edu through the first two
weeks of classes (drop/add period) only.
Students may also alter their schedule
with the assistance of their department
or with a drop/add form available in
academic offices or the Office of the
Registrar.
r e g i st r at i o n a n d ac a d e m i c po l i c i e s 315
Veterans Affairs New students who have been in active
military service must submit a certified
Pratt Institute participates in the follow- copy of their DD 214 (discharge papers).
ing Veterans Administration Benefits:
Students in Active Reserve should be
▶▶ Chapter 33 Post 9/11 GI Bill certified by their commanding officer,
and the signature of the Pratt veterans’
▶▶ Chapter 30 Montgomery GI Bill
advisor should be obtained from the
(MGIB)
Registrar’s Office. Students who support
▶▶ Chapter 1606 Montgomery GI Bill spouses, children, or parents should
(MGIB-SR) submit birth certificates or marriage
▶▶ Chapter 31 Veterans Vocational certificates as appropriate. Students in
Rehabilitation the Reserve (Chapter 1606) seeking to
obtain educational benefits should see
▶▶ Yellow Ribbon Program
their commanding officer for eligibility
Because the New York Regional Veterans counseling and forms and, if eligible,
Administration (VA) will not accept should then see the Pratt veterans’ advisor
certification of enrollment before the first for certification. All students receiving
class day of any session, students planning benefits under Veterans’ Vocational
to enroll under any of the VA programs Rehabilitation (Chapter 31) should
should initiate the certification procedure contact their counselors at the VA, who
by making an appointment to see the will forward an “authorization form” to
veterans’ advisor in the Office of the Pratt’s veterans’ advisor. These veterans
Registrar after registration is completed. should then go to the Registrar’s Office
Depending on the Chapter, students after having been programmed by their
receive monthly checks from the VA or respective departments in order to present
the VA will send the check directly to a signed copy of the authorization to the
Pratt six to eight weeks after certification. Office of the Bursar. Only after receiving
Failure to request certification upon this signed authorization will the Office
completion of registration may result in of the Bursar validate tuition payment.
a four- to six-week delay in the receipt Veterans receiving an allocation for books
of the first benefit check. As of January should note that Pratt Institute maintains
1976, those students receiving survivor’s the campus bookstore. The VA should be
benefits (children of deceased veterans) notified accordingly. Final and official
are no longer required to be certified by authorization cannot be forwarded to
the school. Appropriate forms may be the VA until the student has completed
obtained at the student’s VA Regional registration. Pratt Institute serves only as
Office. New transfer students who have a source of certification and information
already received educational benefits to the VA Regional Office. The student
should bring their VA claim number. must carry out all financial transactions
316 r e g i st r at i o n a n d ac a d e m i c po l i c i e s
with the VA directly. All transactions are t ra ns f e r of cr e dits
carried out with the Buffalo Office: All students petitioning for transfer
P.O. Box 4616, Buffalo, NY 14240. credit(s) must submit a final, official
The New York Regional Office is at transcript from all colleges attended.
245 W. Houston Street (at Varick Street), Credit evaluations will be completed
New York, NY 10014. only after acceptance. Students seeking
transfer credit for professional courses in
art and design or architecture are required
Transfer Credits to submit a portfolio reflective of their
coursework completed in prior college(s)
as part of the admissions application.
Transfer Credit Prior
Transfer credit is only awarded for
to Matriculation courses taken at accredited colleges and
universities. Courses taken at unac-
r e s id e n c y r equ i r em en t credited or only nationally accredited
The number of credits toward a master’s institutions will be reviewed on a course-
degree that may be transferred from by-course basis only at the request of the
another graduate institution varies within student. Additional documents will be
the schools and programs, but generally requested at that time. Credit may only be
it does not exceed 25 percent of the total given for courses appropriate to the cur-
credits required for the program. riculum at Pratt. Courses that have been
The professional Master of applied toward an earned graduate degree
Architecture Program has a residency will not be considered for transfer credit.
requirement of 66 percent, which permits A grade of B or better from domestic in-
33 percent of transfer credits. Students stitutions and a numeric evaluation of 80
interested in receiving graduate transfer or better from international institutions
credits should arrange for an appointment will be considered acceptable for transfer
with their department chair. to the Pratt record. Transfer credit is not
Credit will be allowed for graduate included in the scholastic index and grade
courses that are appropriate to the point average. All official transcripts
curriculum at Pratt and that have been must be submitted to the Institute prior
passed with a grade of B or better. to enrollment. Failure to submit these
documents on time may result in loss of
transfer credit.
International students may be
required to submit additional class hour
documentation to determine an American
semester hour equivalent or have their
credentials or international credit hours
evaluated by an official international
credit evaluations service like World
Education Services (WES). Pratt will
accept international credit evaluations
performed by any member of the
National Association of Credit Evaluation
Services (NACES).
Transfer Credit After Matriculation
Every student, once matriculated at Pratt
is expected to complete his or her degree
requirements at Pratt. In exceptional
circumstances, a student who is in good
academic standing may request to take a
course at another college. These students
must get permission in advance to take
courses at other colleges for transfer to
their Pratt record.
The student must first secure written
approval on the permission form available
in the Office of the Registrar to take
courses at another college. Permission
for course credit must be approved by
the dean of the student’s school. The
approved permission must be signed for
clearance and filed in the Office of the
Registrar before the course is taken. Upon
completion, an official transcript must be
sent to the Registrar’s Office for the credit
to be transferred.
To be accepted for transfer credit, the
course must be recognized for graduate
level credit by the other institution and
must be passed with a grade no lower than
B. A grade of B– is not acceptable for trans-
fer purposes. Final grades of all transferred
credits are not included in the GPA.
 r e g i st r at i o n a n d ac a d e m i c po l i c i e s 317

Portfolio/Work be returned to that office after Part-Time Graduate

Experience Credit
Based on previous work experience and/
or portfolio, credit may be granted only
for work experience gained before initial
matriculation at the Institute. This is
available to all graduate students in both
the School of Architecture and the School
of Art and Design. When applying for
admission the student should indicate
his or her intention to seek credits for
work experience. Students must submit
the following documentation for credit
consideration:
▶▶ Résumé
▶▶ Professional portfolio
▶▶ Letters from employers detailing
responsibilities and areas of
expertise
To apply for portfolio/work experience
credit, the following steps must be
followed:
▶▶ Petition in person at the office of
the appropriate chair before initial
enrollment for classes. You will be
advised as to the feasibility of your
request and given a statement of
intent to be completed. You should
keep a copy of the document and be
sure another is in your permanent
file.
▶▶ Present a copy of the Statement
of Intent to the Registrar’s Office
with a $100 deposit. The Office
of the Registrar will give you an
application form, which should
completion. When the entire
process is complete, the Registrar’s
Office will apply the deposit to a
fee schedule of 30 percent of the
regular per-credit tuition rate per
credit evaluated.
Submit documentation as described
▶▶
above to appropriate departmental
chair. Please allow one week for
evaluation.
▶▶ Return the application with the
proper authorization to the Office of third week of classes and at the end of the
the Registrar to complete the process. semester. Faculty members are required
You will be billed accordingly.
Payment is due upon billing. Credits to the Registrar’s Office for permanent
earned through this procedure are
not included in the GPA. They will
not count toward the Institute’s
minimum residence requirement.
Student Status
Full-Time Graduate
To establish full-time equivalence,
graduate students must enroll for nine or conduct not consistent with general good
more semester credits (or an equivalent
combination of credits and activities
recognized as applicable). Graduate
students enrolled in their thesis course
or Thesis In Progress are considered full
time. Students registered for Intensive
English are considered registered in
activities equivalent to two credits for
each section.
Graduate students are classified as
part time if they schedule or drop to
fewer than nine credits of registered
course work.
Class Rosters and Attendance Policy
In accordance with college policy and
Department of Education regulations,
faculty is required to take attendance for
all students in all course sections. Updated
attendance rosters are turned in after the
to submit completed attendance rosters
storage. Attendance records are used for
several purposes, including the evaluation
of late requests for withdrawal and
determination of last date of attendance
for the proper return of Title IV moneys
to the government.
The continued registration of any
student is contingent upon regular
attendance, the quality of work and
proper conduct. Irregular attendance,
neglect of work, failure to comply with
Institute rules and official notices, or
order are regarded as sufficient reasons for
dismissal.
There are no excused absences or cuts.
Students are expected to attend all classes.
Any absences may affect the final grade.
Three absences may result in course
failure at the discretion of the instructor.
318 r e g i st r at i o n a n d ac a d e m i c po l i c i e s
Enrollment Verification
Letters
Students can generate a watermarked
PDF record of their periods of enrollment
and current status at Pratt Institute
online through the National Student
Clearinghouse. This service can be
accessed at any time through my.pratt.edu.
1. Log in with your OneKey at
my.pratt.edu;
2. Click on the Academic Tools tab near
the top of the page. Under Student
Self-Service, click on the red
Verifications and Transcripts link.
Through the Self-Service menu, a student
may also:
▶▶ Obtain a Good Student Discount
Certificate.
▶▶ View the enrollment information
on file with the National Student
Clearinghouse. (Enrollment
information is provided to the
National Student Clearinghouse by direct recipient, that student must
many post-secondary institutions.
Enrollment in those schools is
included.)
▶▶ View the student loan deferment
notifications that the Clearinghouse
has provided to your loan holders
(lenders and guarantors).
View the proof(s) of enrollment
▶▶
that the Clearinghouse has provided
to your health insurers and other
providers of student services or
products.
Order or track a transcript.
▶▶
View specific
▶▶ information about recognize a change of major as official
your student loans.
A student may request an enrollment
verification letter on Pratt Institute
letterhead several ways:
Through
▶▶ the Academic Tools
student menu (under My Courses). Course requirements for the new major
A written request including
▶▶
ID number and mailing/fax
destination from a student’s Pratt credits being required to graduate. It
email account.
In person at the Registrar’s Office
▶▶
with a Pratt ID.
A written request by fax with copy
▶▶
of student ID and signature.
In all cases that the student is not the
provide written permission to release
the information as well as the name and
address of the company or person that is
to receive the verification letter.
Changes and Withdrawals
Program/Major Changes
Each student must follow the program
and major for which she or he has been
admitted to Pratt. The Institute will not
unless the change is processed with the
appropriate approvals and recorded in the
student information system. A student
who wants to change his or her major
must first meet with the department chair
and then notify Graduate Admissions.
reflect the current catalog year. Hence,
a change in major may result in more
may also have an effect on the number of
transfer credits allowed.
Course/Section Changes
The Institute recognizes no change of
course(s) or section(s) as official unless
the change is processed online through
Academic Tools or with a drop/add form
submitted with the appropriate approvals
to the Registrar’s Office. Courses and
course sections may be changed online
during the first two weeks of each
semester. Once this add period is over
no courses may be added to the student’s
schedule. Students paying by the credit
who drop a course on or after the first day
of the term will be charged a percentage
of the course fee. (See refund period
schedule below.)
 r e g i st r at i o n a n d ac a d e m i c po l i c i e s 319

Fall S pring S u mme r (withdrawal). No course withdrawal will ▶▶ Notifying a faculty member,
Last day to add a Sep. 10 Jan. 28 May 13 be accepted after the published deadline. department chair,
class or change WD grades earned via the official or academic advisor.
sections
withdrawal procedure cannot be changed. ▶▶ Failure to pay the student account.
Last day to drop Aug. 27 Jan. 1 4 May 13
a class with 100%
refund Complete Withdrawal ▶▶ Failure to attend classes.
Last day to drop
a class with 85%
Sep. 3 Jan. 21 N/A from the Institute The Complete Withdrawal form must be
refund Students who are leaving Pratt without signed by the student, their department’s
Last day to drop Sep. 10 Jan. 28 N/A graduating are required to fill out a chair or academic advisor, a financial aid
a class with 70%
refund Complete Withdrawal form in the counselor, the bursar, and the Director of
Last day to drop Sep. 17 Feb. 4 May 28 Registrar’s Office. This form permits the Residential Life (if living in a residence
a class with 55%
refund Registrar to drop or withdraw a student hall). International students should also
from all registered classes (a student obtain the signature of the Office of
It is the responsibility of the student to cannot do this online). The form also International Affairs. Students who are
officially withdraw from any registered serves to advise relevant offices that a not enrolled during either the fall or the
course or section. This decision must be student is no longer enrolled. Students spring semester and have not completed
completed online through Academic who withdraw need to be advised a Complete Withdrawal or Leave of
Tools or by filing a properly completed about any financial obligations and any Absence form will be officially withdrawn
drop/add form with the Registrar’s academic repercussions of their actions. from the Institute and will need to apply
Office. Failure to attend classes, to notify They will also be required to complete an for readmission.
the instructor, or to make or complete Exit Interview in the Registrar’s Office.
tuition payment does not constitute The date that the Complete Leave of Absence
an official withdrawal. A student who Withdrawal form is turned into the A student in good academic and financial
does not officially withdraw from a Registrar’s Office is the official date used standing may request a leave of absence
registered course will receive an F for for withdrawal. This date determines for not more than two consecutive
nonattendance. Students who stop eligibility for WD grades and a student’s semesters (excluding summer sessions).
attending a course without having charges for the term of withdrawal. Students must apply with a Leave of
officially dropped the course during Only the submission of a Complete Absence Request form in the Office of the
the published refund period will not be Withdrawal form will deactivate your Registrar.
eligible for a retroactive refund. status as a currently enrolled student.
▶▶ Students must apply for a leave of
Students may withdraw from a Until that time, registration and billing
absence on or before the last day to
course during the first 11 weeks of the stay in effect and grades of F will be
withdraw from classes for any given
fall or spring semesters. A class that is issued for class absences.
semester.
dropped from a student’s schedule after None of the following actions cause an
the second week of the semester will official withdrawal or reduces financial ▶▶ Only students in good academic and
remain on the student’s academic record liability for a semester: financial standing will be approved.
with the noncredited designation of WD
320 r e g i st r at i o n a n d ac a d e m i c po l i c i e s
▶▶ A leave of absence will not be
granted once a student’s thesis is in
progress.
▶▶ International students must obtain
authorization from the Office of
International Affairs.
▶▶ Students applying for a leave of
absence must pay a $20 processing
fee.
▶▶ A student who wishes to register
after an undocumented absence
must apply for readmission.
Readmission
Students who do not attend Pratt for a
semester or more without receiving an
official leave of absence must apply for
readmission. Applications for readmission
are available from the Registrar’s Office.
Those applying for readmission must
pay a $55 application fee payable to Pratt
Institute.
Degree requirements are updated to
reflect the current catalog when a student
is readmitted to a program (rather than
the one used in the initial acceptance).
The readmission application deadlines
for each semester are below.
Fall S pring S u mme r
s eme ste r se me ste r se me ste r
Application Aug. 15 Dec. 15 May 1
Deadline
Personal Data Changes
All personal data changes must be made
in written form only by the student.
Students are responsible for reporting the
following personal data changes to the
Office of the Registrar:
▶▶ Change of name (requires legal
documentation)
▶▶ Change of address
▶▶ Change of major
Note: Consult the Office of the Registrar
for procedural details on reporting these
changes.
Parent Module
Students can authorize parents,
guardians, or sponsors to view current
schedules, grades, degree progress,
and/or access the tuition bill to see the
current balance and make payments.
Students manage (grant or rescind) these
permissions through their Academic
Tools. Parents and sponsors can then
access the system and log in at parents.
pratt.edu. To access the module:
1. Log in with your OneKey at
my.pratt.edu;
2. Click on the Academic Tools tab
near the top of the page. Then click
on the red Academic Tools link;
3. After the system logs you in, click on
the ‘Students’ menu on the sidebar;
4. Through “Grant Parent/Sponsor
Rights” (listed under My Personal
Information), students decide
which information they allow
each account to see or even rescind
previously given access. Students
can request to add people not listed
on this screen by returning to
the Students menu and clicking
“Request New Parent/Sponsor”
(under My Personal Information).
If a person is missing an email
address or other important
information, a request to update
their account can be made through
the same process.
Transcripts
Unofficial Transcripts are available for
viewing and printing through the online
Academic Tools at my.pratt.edu.
1. Log in with your OneKey at
my.pratt.edu;
2. Click on the Academic Tools tab
near the top of the page. Then click
on the red Academic Tools link;
3. After the system logs you in, click on
the ‘Students’ menu on the sidebar;
4. Click on the Unofficial Transcripts
option under My Grades and
Transcripts.

Official Transcripts may be ordered online
by students and alumni through www.
getmytranscript.com. Official transcripts
may also be ordered in person or by mail
at the Office of the Registrar. Records
containing financial holds will not be
processed until the hold is cleared. More
information can be found at www.pratt.
edu/registrar. Your request must have the
following information to be processed:
▶▶ Name while attending Pratt
Institute
▶▶ Nine-digit Social Security or seven-
digit student ID number
▶▶ Date of birth
▶▶ Telephone number
▶▶ Dates of attendance and/or
graduation
▶▶ Destination information where
transcript is to be mailed
Online Orders
Official transcripts may be ordered
online through the National Student
Clearinghouse with a valid major credit
card at www.getmytranscript.com. You
will receive a confirmation sheet that
must be signed and returned by one of the
following methods:
▶▶ Fax it to 1-703-742-4238 (remember
to dial 1-703 first).
▶▶ Scan and email to transcripts@
studentclearinghouse.org (scanned
attachment must be a GIF, JPEG,
BMP, or TIFF).
r e g i st r at i o n a n d ac a d e m i c po l i c i e s
▶▶ Mail it to: National Student
Clearinghouse 2300 Dulles Station
Boulevard, Suite 300 Herndon, VA
20171. Payment is by credit card
only.
There is a $2.25 transaction fee per
destination. Regular service (mailed first
class from Pratt in three to five business
days) is $5 per copy. Rush service (mailed
first class from Pratt in one business day)
is $10 per copy. Express service with UPS
shipping (mailed via UPS from Pratt in
one business day) is $18.50 per copy.
Orders at the Registrar’s Office
Official transcripts may be picked up in
person or ordered for delivery during
office hours. The office can only accept
cash or checks made out to Pratt Institute.
Requests for immediate processing and
pick up are $15 per copy. Requests to send
official transcripts by regular service
(mailed first class from Pratt in three to
five business days) are $10 per copy.
U.S. Mail Orders
To order an official transcript by mail,
please send a written request and check or
money order (no cash) to:
Pratt Institute
Office of the Registrar
200 Willoughby Avenue
Brooklyn, NY 11205
321
Payment is by check or money order only.
Only regular service (mailed first class
from Pratt in three to five business days)
is available using the mail service. The
charge is $15 per copy. Records containing
financial holds will not be processed until
the hold is cleared.
General Policies on Transcripts
▶▶ The Registrar’s Office must have
the student’s written request or
authorization to issue a transcript.
Parents cannot authorize the
Registrar’s Office to mail a
transcript.
▶▶ Official transcripts bear the
Institute’s seal and Registrar’s
signature.
▶▶ Partial transcripts are not issued. A
transcript is a complete record of all
credit work completed at Pratt.
▶▶ Allow five business days from
receipt of the transcript request
for the transcript to be mailed.
At certain peak times, such as
registration and commencement,
the processing time may be longer.
▶▶ Transcripts are not released
until a student’s account has been
paid in full.
▶▶ Copies of transcripts from other
schools that you may have attended
must be requested directly from
those schools. We cannot release or
copy transcripts in our file.
322 r e g i st r at i o n a n d ac a d e m i c po l i c i e s
Organization of
Course Offerings
Courses Numbered 100 Through 499 are
primarily reserved for undergraduates.
Graduate students will not receive credit
toward graduation for taking these
courses.
Courses Numbered 500 Through
599 are open to both undergraduates
with junior or senior class standing
and graduate students. Courses in this
range are considered either 1) Technical;
2) Qualifying; or 3) Graduate courses
whose content complements advanced
undergraduate studies. Credit earned
within the 500-numbered courses
by undergraduate students may not
be applied toward a graduate degree.
Graduate students enrolled in 500-level
courses are expected to perform with
greater productivity and capacity
for research and analysis than their
undergraduate colleagues enrolled in
the same courses. Significantly more is
expected of graduate students in course
projects, papers, and conferences.
Courses Numbered 600 And Above
are generally for graduate students
only. A graduate course embraces
highly developed content that demands
advanced qualitative and quantitative
performance and specialization not
normally appropriate to undergraduate
courses.
Courses numbered 9000 and above are
elective internship courses.
Semester Hour Credit
Each term is a minimum of 15 weeks;
special sessions are of variable length.
For courses that are passed, one credit is
earned for each period (50 minutes) of
lecture or recitation, or for approximately
one and one-half periods of laboratory
or studio work each week throughout
the term or the equivalent throughout
the sessions. Each credit a student carries
requires not fewer than three hours of
preparation per week including lecture
and recitation, laboratory and studio
work, and homework.
Grading System
Letter Grades That Affect the
Academic Index
a , a– e xce lle nt
The student has consistently demon­
strated outstanding ability in the
comprehension and interpretation of the
content of the course. (Numerical Value:
A = 4.0; A– = 3.7)
b +, b, b– ave rage
The student has acquired a compre­
hensive knowledge of the content of
the course. (Numerical Value: B+ = 3.3;
B = 3.0; B– = 2.7)
c+, c , ac ce ptable
The student has shown satisfactory
understanding of the content of the
course. C is the lowest passing grade for
graduate students. (Numerical Value: C+
= 2.3; C = 2.0; C– = l.7)
f failur e
The student has failed to meet the
minimum standards for the course.
(Numerical Value: 0.0)
Note: The highest grade acceptable for
recording is A (4.0) and not A+; C (1.0),
not C–, is the only grade preceding F (0.0).
The +/– grading system went into effect
as of the fall 1989 semester and is not
acceptable for recording purposes for prior
semesters.
Grades That Do Not Affect
the Academic Index
aud ( audit, no cr e dit )
Students must register for courses they
plan to audit by contacting the Registrar’s
Office in person or by way of their Pratt
email account.

c r ( c r e d it)
Indicates that the student’s achievement
was satisfactory to assure proficiency in
subsequent courses in the same or related
areas. The CR grade does not affect the
student’s academic index. The CR grade
is to be assigned to all appropriately
documented transfer credits.
The CR grade is applied to credit
earned at Pratt only if:
The student is enrolled in any
▶▶
course offered by a school other
than the one in which the student
is matriculated, and had requested
from the professor at the start of the
term a CR/NCR option as a final
grade for that term.
▶▶ The instructor has received approval
to award CR grades from the Office
of the Provost. (This does not apply to
liberal arts courses within the School
of Liberal Arts and Sciences.)
ip ( in p rogr es s )
Designation used only for graduate
student thesis, thesis project for which
satisfactory completion is pending, or
Intensive English course for which
satisfactory competence level is pending.
in c ( in c o m pl et e)
Designation given by the instructor at
the written request of the student and
available only if the student has been in
regular attendance, to indicate the student
has satisfied all but the final require-
ments of the course, and has furnished
r e g i st r at i o n a n d ac a d e m i c po l i c i e s 323
satisfactory proof that the work was not grade r e ports
completed because of illness or other cir-
Grade reports are not mailed to students.
cumstances beyond his or her control. The
Grades may be obtained via my.pratt.
student must understand the terms neces-
edu (see instructions below). Professors
sary to fulfill the requirements of the
submit final grades online and students
course and the date by which work must
are able to view their grades as soon as
be submitted. If the work is not submitted
the instructor enters them. If there are
by the understood date of submission, the
any questions about the grade received,
incomplete will be converted to a failure.
a student should contact the instructor
If unresolved at the end of following
immediately. Only the instructor can
semester, the grade is changed to failure
change a grade by properly completing,
with a numerical grade value of 0.
signing, and submitting a Change of
n c r ( no cr e dit) Grade form directly to the Office of the
Registrar. Time limits have been allotted
Indicates that the student has not
for resolving grade problems. Spring and
demonstrated proficiency. (See CR for
summer grades may not be changed after
conditions of use.)
the last day of the following fall semester.
n g ( no grade r e porte d) Fall grades cannot be changed after the
Indicates that the student was properly last day of the following spring semester.
registered for the course but the Once this time limit has passed, all INC
faculty member issued no grade. The and NR grades will convert to Fs. To view
student should contact the professor. grades online:
Students cannot graduate with an 1. Log in with your OneKey at
NG on their record. my.pratt.edu;
n r ( no r e c or d) 2. Click on the Academic Tools tab
near the top of the page. Then click
Grade given for no record of attendance
on the red Academic Tools link;
in an enrolled course. All NR designations
must be resolved by the end of the follow- 3. After the system logs you in, click on
ing term or the grade is changed to a letter the “Students” menu on the sidebar;
grade of F with a numerical value of 0. 4. Choose from the options offered
under My Grades and Transcripts.
w d ( w ith drawal f rom
a re giste r e d clas s )
Indicates that the student was permitted
to withdraw from a course in which he or
she was officially enrolled during the drop
period for that semester.
3 24 r e g i st r at i o n a n d ac a d e m i c po l i c i e s
Final Grades, Grade Disputes, and
Grade Appeal Policies
All grades are final as assigned by the
instructor. If a student feels that a grade
received is an error, or that he or she
was graded unfairly, it is the student’s
responsibility to make prompt inquiry
of the instructor after the grade has
been issued. Should this procedure not
prove to be an adequate resolution, the
student should contact the chair of the
department in which the course was
taken to arrange a meeting and appeal
the grade. If this appeal is unsuccessful,
a further and final appeal can be made
to the dean of the school in which the
course was taken. It is important to note
that only the faculty member who issued
the grade holds the authority to change
the grade. If a grade is to be changed, the
student must be sure that the change is
submitted within the following semester.
Petitions of change of any grade will be
accepted only up to the last day of the
semester following the one in which the
grade was given. Other than resolution
of an initially assigned incomplete grade
or of a final grade reported in error, no
letter grade may be changed following
graduation.
Repeated Courses quality points
A repeated course must be the same A = 4.00 B– = 2.70
course as the one for which the previous A– = 3.70 C+ = .30
final grade was awarded. No graduate
B+ = 3.30 C = 2.00
student may choose to repeat a course that
was passed with a grade of C or higher B = 3.00 F = 0.00
without specific authorization from the
(If unresolved at the end of the
chair or dean. Graduate students must
following semester, INC = F = 0.00
repeat all required courses in which F
and NR = F = 0.00)
is the final grade. The initial grade will
remain, but only the subsequent grade In the following example the GPA is 3.33:
earned will be averaged in the cumulative
index from the point of repeat onward. grade = quality point s ×
cr e dits atte mpte d =
grade points
Grade Point Average A = 4.00 × 3 = 12.00
A student’s grade point average is B+ = 3.30 × 3 = 9.90
calculated by dividing the total Grade B– = 2.70 × 3 = 8.10
Points received by the total Credits = 30.00
Attempted. A Grade Point is computed
total grade points ÷
by multiplying the Credits Attempted for
total cr e dits atte mpt ed =
each class by the Quality Points earned
grade points
for completing that class. Only credits
evaluated with letter grades that earn 30 ÷ 9 = 3.33
quality points (see table below) are used
in GPA calculations. Each semester has a 30 (total grade points) divided by 9
minimum length of 15 weeks. In courses (total credits) makes a GPA of 3.33.INC
that are passed, a credit is earned for (incomplete)and NR (no record)carry no
each period (50 minutes) of lecture or numerical value for one semester after the
recitation, and for approximately one and grade is given. Thereafter, if unresolved,
one-half periods of laboratory or studio the INC and NR grades convert to an F
work, each week throughout one term or and carry a numerical value of 0.
the equivalent. The following grades do not carry
numerical values and are never calculated
in the GPA:

P Pass
CR Credit
U Unsatisfactory
WD Withdrawal
AUD Audit
NCR No Credit
IP In Progress
Final grades for credit transferred from
other institutions to the student’s Pratt
record are not computed in the GPA.
Academic Standing
Pratt Institute’s policies on academic
standing intend to ensure that all students
receive timely notification when they are
subject to academic discipline or achieve
academic honors.
Each student is responsible at all times Degree Audits
for knowing his or her own standing.
These standings are based on the
published academic policies, regulations, These reports are similar to transcripts
and standards of the Institute. Students
subject to academic discipline are
encouraged to take advantage of support however, because they organize the
services available to them, including
academic advisement, in an effort to help that represent what is required. They also
them meet Institute academic standards. clearly flag what has been taken and what
All students’ records are reviewed at
the end of each semester to determine
whether any student who has failed to
remain in good standing may continue in
the program.
r e g i st r at i o n a n d ac a d e m i c po l i c i e s
Good Standing
All graduate students must maintain
a cumulative GPA of at least a 3.0
(equivalent of a B) to remain in good
standing. A graduate student whose
GPA falls below a 3.0 at any time may be
subject to academic dismissal. The specific
conditions under which this policy will
be invoked are as set forth by the dean of
each school. Written notification will be
furnished to the student by the dean.
Maximum Time for Graduate Study
All work for the master’s degree should
be completed within seven (7) calendar
years from initial registration in graduate
courses as a graduate student at Pratt Insti-
tute. The departments will not approve
registration after seven years without the
written approval of the provost.
Degree audits are computerized
checklists of graduation requirements.
because they list all academic activity.
They are different from transcripts,
coursework attempted into logical blocks
has yet to be taken.
325
there are four parts to an audit:
1. Student Information
The top of the first page lists the stu-
dent’s name, the academic program
being evaluated, the catalog year that
the requirements are being checked
against, and the student’s anticipated
graduation date (based on the date
of admission). This section may also
contain one or many text messages
specific to the student, depending on
his or her status at Pratt.
2. Credit and GPA Information
This area lists the total credits
required for graduation, the number
required to be taken at Pratt
(residency), and the GPA required
for graduation.
3. Required Course Information
This section is usually the
longest. It lists the entire range of
requirements and electives specific
to the academic program being
evaluated. Fulfilled requirements
will be listed with the grade earned
(or CR for transfer credit). Missing
requirements are also noted with
credits needed.
4. Other Courses
Courses that usually do not count
towards a program’s requirements
are listed in this bottom section.
Sometimes a course will not count
toward graduation because it was
dropped, or carries a grade that
makes it ineligible for consideration,
such as an F or an INC. Also, some
326 r e g i st r at i o n a n d ac a d e m i c po l i c i e s

students choose to take an extra
class for additional knowledge
even though it doesn’t fulfill any
particular degree requirement.
How to Get a Copy
of a Degree Audit
Students may view or print an audit at
any time using their Academic Tools.
1. Log in with your OneKey at
my.pratt.edu;
2. Click on the Academic Tools tab
near the top of the page. Then click circumstances from the candidate and a
on the red Academic Tools link;
3. After the system logs you in, click on chair and the dean.
the “Students” menu on the sidebar;
4. Click on Degree Audit under Course
Planning;
5. In order to review an audit for the
current academic program (major), complete the thesis by the end of that
click OK. In order to see what the
results would look like in a different pending and the student will receive an
program, use the drop down list
of majors next to Evaluate New
Program to select a potential major semester.
to review.
Students may go online and receive a
degree audit at any time. If you do not
have a computer or access to a computer
lab, come to the Office of the Registrar.
Students that have questions about how to
read the audit should visit their academic
advisor’s office or stop by the Office of
the Registrar during office hours for an
explanation.
Thesis Enrollment
Thesis must be completed within three
years, the duration of which equals the
initial semester of thesis registration plus
five (5) consecutive semesters of Thesis
In Progress. Graduate students must
register without interruption and pay
the Institute’s tuition and fees for each
additional semester of continued thesis
work following the initial semester of
thesis registration. Any extension beyond
the three-year duration is subject to an
acceptable demonstration of extenuating
written approval from the department
First Registered Thesis
Credit Semester
Graduate students will register for their
thesis course. If the student does not
first semester, completion of the thesis is
IP (In Progress) grade. The student must
enroll in Thesis In Progress the following
Subsequent Semesters of
Thesis in Progress
Registration for Thesis In Progress must
be made for each consecutive semester
following enrollment in Thesis. A student
is expected to complete their thesis within
the next 5 consecutive semesters. If at
the end of 5 semesters the Thesis is still
pending completion, the student will
be withdrawn from the original Thesis
course. Re-enrollment in the Thesis course
will only take place with the written
permission of the department chair.
Certification of Enrollment for
Registered Thesis Work
For certification purposes, Pratt considers
students taking Thesis or Thesis In
Progress to be full time.
Thesis Submission and Final Grade
Students should refer to the latest
version of the Graduate Theses Library
Guidelines, available at the Pratt Library.
Questions concerning organization
and formatting of materials should be
discussed with the Information/Reference
department of the Pratt Library before
final typing.
Graduation File on or before:
Summer Term/ September 15
October
Fall Term/February January 15
Spring Term/May May 15
Students must submit their own thesis
in person, unless it is submitted by
a representative from the academic
department.
For the Pratt Libraries to accept a
thesis submittal after the deadline date,
a Late Thesis Submittal Permission form
must be submitted to the Library. The
form is available at the Library Reference
desk. The department chair’s signature is
required to allow a late thesis submission.

Thesis and Thesis In Progress are
graded IP. Thesis will remain IP until
the Thesis advisor assigns a final grade
upon completion of the Thesis project.
A failing grade may be assigned if the
student fails to remain in proper progress
or communication, or fails to complete a
satisfactory thesis.
Academic Integrity Code
When a student submits any work
for academic credit, he/she makes an
implicit claim that the work is wholly
his/her own, done without the assistance
of any person or source not explicitly
noted, and that the work has not
previously been submitted for academic
credit in any area. Students are free to
study and work together on homework
assignments unless specifically asked not
to by the instructor. In addition, students,
especially international students, are
encouraged to seek the editorial assistance
they may need for writing assignments,
term papers and theses. Our Writing and
Tutorial Center staff is always available
to clarify issues of academic standards
and to provide writing and tutorial help
for all Pratt students. In the case of
examinations (tests, quizzes, etc.), the
student also implicitly claims that he/
she has obtained no prior unauthorized
information about the examination, and
neither gives nor obtains any assistance
during the examination. Moreover, a
student shall not prevent others from
completing their work.
r e g i st r at i o n a n d ac a d e m i c po l i c i e s
Examples of violations include but are
not limited to the following:
1. The supplying or receiving of com-
pleted papers, outlines, or research
for submission by any person other
than the author.
2. The submission of the same, or
essentially the same paper or report
for credit on two different occasions.
3. The supplying or receiving of unau-
thorized information about the form
or content of an examination prior
to its first being given, specifically
including unauthorized possession
of exam material prior to the exam.
4. The supplying or receiving of
partial or complete answers, or sug-
gestions for answers, of assistance in
interpretation of questions on any
examination from any source not
explicitly authorized. (This includes
copying or reading of another
student’s work or consultation of
notes or other sources during
examinations.)
5. Plagiarism. (See statement follow-
ing which defines plagiarism.)
6. Copying or allowing copying of
assigned work or falsification of
information.
7. Unauthorized removal or unnec-
essary “hoarding” of study or
research materials or equip-
ment intended for common use
in assigned work, including the
sequestering of library materials.
327
8. Alteration of any materials or
apparatus that would interfere with
another student’s work.
9. Forging a signature to certify
completion of a course assignment
or a recommendation and the like.
Plagiarism*
Plagiarism means presenting, as one’s
own, the words, the work, information,
or the opinions of someone else. It is
dishonest, since the plagiarist offers, as
his/her own, for credit, the language or
information or thought for which he/she
deserves no credit.
Plagiarism occurs when one uses the
exact language of someone else without
putting the quoted material in quotation
marks and giving its source. (Exceptions
are very well-known quotations, from the
Bible or Shakespeare, for example.) In
formal papers, the source is acknowledged
in a footnote; in informal papers, it may
be put in parentheses, or made a part of
the text: “Robert Sherwood says...”
This first type of plagiarism, using
without acknowledging the language
of someone, is easy to understand and to
avoid. When a writer uses the exact words
of another writer, or speaker, he/she must
put those words in quotation marks and
give their source.
A second type of plagiarism is more
complex. It occurs when the writer
presents, as his/her own, the sequence of
ideas, the arrangement of material, or the
pattern of thought of someone else, even
though he/she expresses it in his/her
328 r e g i st r at i o n a n d ac a d e m i c po l i c i e s
own words. The language may be his/
hers, but he/she is presenting as his/her
work, and taking credit for, the work of
another. He/she is, therefore, guilty of
plagiarism if he/she fails to give credit to
the original author of the pattern of ideas.
Graduation and Degrees
Degrees are conferred by the Institute
upon the recommendation of the dean
and faculty of the various schools. This
is done three times a year: October 1
(summer term), February 1 (fall term),
and June 1 (spring term).
Commencement Ceremony
One commencement ceremony is
held each year at the end of the spring
semester. Students who successfully
complete their studies in October or
February are invited to attend the
ceremony that is held following their
graduation. Students who anticipate
a Summer/October completion date
should attend the ceremony that is held
the May following their graduation.
Students who will graduate in
Summer/October and cannot attend
commencement the following spring
may apply for Permission to Walk in
May Commencement in the Registrar’s
Office. Their names will not appear in the
commencement program, nor will they
receive their diplomas early. Attendance
* Reprinted with permission of Macmillan Publishing
Company from Understanding and Using English by
Newman P. Birk, 1972.
at commencement does not guarantee
graduation from the Institute.
Graduation with Honors
To be graduated with distinction, a
graduate student must have earned a final
cumulative GPA no lower than 3.85 in all
work. To be considered for distinction, a
student must have completed a minimum
of 50 percent of degree credits at Pratt.
These credits must be in semesters
evaluated with a GPA.
Graduation Procedures
To be eligible for a degree, the student
must satisfy all Institute, school, and
department requirements as stated in
announcements. Where applicable,
students must also meet specific academic
requirements concerning prerequisites,
course sequences, or program options as
posted by academic departments.
a p plication f or graduation
Students wishing to be considered for
graduation must file a Graduation
Application. The application is available
on the student’s online Academic
Tools available through my.pratt.edu.
Applications must be filed on or before the
following deadlines:
Graduation File on or before:
Summer Term/ March 28
October
Fall Term/February March 28
Spring Term/May December 15
Using the application, candidates indicate:
1. Their anticipated graduation term.
2. The exact spelling and punctuation
of their name as it is to appear on
the diploma.
3. Their hometown and state/
country as it is to appear in the
commencement program.
4. The Diploma Mailing Address to be
used to mail diplomas.
Information can be updated before the
application deadline by simply filling
out and submitting the graduation
application again. If the candidate is not
cleared for the announced graduation,
a new application must be filed for each
subsequently requested graduation.
Only after the application has been
submitted to the Office of the Registrar
will the candidate’s name be placed on a
tentative graduation list. At that time, the
graduation review is scheduled.
Graduation Clearance
Within the schedules mentioned earlier,
the candidate must check for clearance at
the following offices:
of f ice of f inancial a i d:
Exit Interview for Federal
Student Loans
Federal Perkins Loans
Federal Direct Loans
(Stafford Loan, Parent PLUS)

o ffic e o f th e b u rs a r:
Outstanding Balance on
Tuition Account
library:
Outstanding Materials or Account
All financial indebtedness to the Institute
must be cleared prior to graduation.
Students who have completed their
academic requirements but who have
outstanding financial obligations to the
Institute will be graduated; however, the
diploma will be held and no transcript
will be released until their financial
account is cleared in full.
Graduation Requirements
Final graduation requirements include
the following:
1. Grade Requirements
Graduate students must be in good
standing, with a cumulative GPA of
at least 3.0. In courses constituting
the student’s major as formally
specified in advance by his or her
departmental chair, the student
must have received a grade of B or
better in each or have a cumulative
index in these courses of at least
3.0. Any outstanding INC, NG,
or NR grades from any previous
semester(s) that are pending
resolution must be resolved by the
following deadlines:
r e g i st r at i o n a n d ac a d e m i c po l i c i e s 329
the master’s degree is 24 credits. In
Graduation File on or before:
most cases transferred credit does
Summer Term/ September 15 not exceed 25 percent of the total
October credits required. The Professional
Fall Term/February January 15 Master of Architecture program
permits up to 33 percent of the total
Spring Term/May May 2
credits required.
Failure to do so will result in 4. Master’s Thesis
removal from the graduation list. A thesis is required in many of the
When final grades are reported master’s degree programs. Each
for the last term of active registra- student is held responsible for
tion, any reported INC or NR grade meeting the precise requirements
for a graduation candidate will of his or her school. Thesis
automatically remove the candidate candidates should obtain the latest
from the graduation list. Students edition of Regulations Concerning
who have been removed from the Deposit of Master’s Thesis in
consideration must complete a new the Pratt Institute Library and
application for graduation in sample pages from their respective
order to be considered for another departments.
graduation date.
2. Curriculum Requirements
Each student must fulfill all Changes to this Bulletin
requirements for graduation. No
While every effort has been made to make
credits required for graduation
the material presented in this Bulletin
will be waived. All requests for
timely and accurate, the Institute reserves
an exception to this rule must be
the right to periodically update and
referred to the dean’s office for
otherwise change any material, including
consideration. A course requirement
faculty listings, course offerings, policies,
in a student’s major may be
and procedures, without reprinting or
substituted by the department
amending this Bulletin.
chair/advisor of the department
in which the student is enrolled;
however, another course in the same
subject area must be taken.
3. Residence Requirements
Thesis work must be registered
at the Institute. The minimum
residence requirement at Pratt for
 331

Student Affairs

Life at Pratt can be intense. Often students The Office of Student Affairs is located vice pr e s ide nt
need assistance to cope with challenges on the ground floor of Main Hall and can Helen Matusow-Ayres

encountered at Pratt and in the city of be found on the Web at www.pratt.edu/

New York. The staff of the Office of studentaffairs/. The Vice President for as s istant to the v i ce
Student Affairs is able and willing to Student Affairs also has an office in Room pr e s ide nt
help each student in as many ways as 207A on the Pratt Manhattan campus. Susan Ebbs

necessary and possible to make meeting Specific hours and services provided are
these challenges a positive experience. posted there and on the Student Affairs administrative a ssi sta nt
In addition, the Office of Student Affairs website. Nadine Shuler

performs many ombudsperson services.

of f ice
Tel: 718-636-3639 | Fax: 718-399-4239
studaff@pratt.edu
332 st u d e n t a f fa i r s
Student Involvement The Department of Student Involvement
coordinates and assists students to
plan social, cultural, educational, and
d ir e c to r recreational programs. Student activities
Emma Legge
at Pratt are planned to contribute to
each student’s total education, as well
as s o c iate d i r ec tor as to meet social and recreational needs.
Meredith Crain
Students are responsible for managing
their own group activities, thus gaining
as s istan t d i rec tor experience in community and social
Alex Ullman
affairs and playing a role in shaping
Institute policy. Students are represented
o ffic e m anag er on Institute decision-making bodies
Karen Smith
such as the Board of Trustees, trustee
committees, and the Student Judiciary.
o ffic e The main functions of the
Tel: 718-636-3422
Department of Student Involvement are:
studentactivities@pratt.edu
www.pratt.edu/involvement ▶▶ Allocation and administration of
funds collected through the student
activity fee.
▶▶ Overseeing the Student Union
complex.
▶▶ Programming of student activities.
▶▶ Promoting leadership and
professional development.
New Student Orientation
New student orientation is an exciting
time at Pratt. In order to acclimate to
campus, graduate students have a one-
day orientation during the week before
classes begin. Brooklyn campus students
attend orientation on that campus, while
students attending Pratt Manhattan, will
attend orientation at 14th Street. Graduate
student socials will be held at both
campuses that week.
Graduate students are invited to attend
any and all other programs happening
that week, including the Broadway show
and baseball game. However, there is
no requirement to attend those events.
Detailed information will be sent to new
students beginning in June.
The orientation program is staffed by
an exemplary group of student leaders who
assist new students in any and many ways.
Parent and Family Programs
Pratt’s Parent and Family Programs
are campuswide endeavors that support
the mission of the Institute and enrich
the Pratt experience for students and
their families through communication,
programs, events. We seek to partner with
parents to ensure their student enjoys
all the opportunities for artistic as well
as educational and personal growth. We
offer programs for parents including
Parent Orientation, our Annual Family
Weekend, and our quarterly parents’
newsletter, The Institute Insider. For
further information, please contact
our office at 718-636-3422 or email at
family@pratt.edu.
 st u d e n t a f fa i r s 333

Student Organizations Active Organizations Student Media

Prattler (Student Newspaper)
Student Government Cultural
Association (sga) Prattonia (Yearbook)
PISA (Pratt International Student
The Student Government’s primary Association) Static Fish (Comic Book)
responsibility is to represent the student
PAASA (Pratt Asian American Ubiquitous (Art and Literary
body interests and to encourage students’
Students Association) Magazine)
involvement in the life of the Institute.
The Student Government has Queer Pratt (Gay, Bisexual, Lesbian, WPIR Pratt Radio
an Executive Committee in which Transgender, Questioning, and
undergraduate or graduate students are Allies) Professional and Academic
encouraged to become involved. The SGA
Special Interest ACM People–Arts and Cultural
can be reached by calling 718-399-4468
Management
or by emailing sga@pratt.edu. Anime Club
AIAS (American Institute of
Ceramics Club Architecture Students–National
Pratt Comic Club Chapter)
Pratt Dance Club ASIS&T (American Society
DIGIT (Digital Animation Club) for Information Science and
Technology)
Envirolution
Pratt Artist League (PAL)
Fashion Society
Comm-D Agency (Undergraduate
Hoop Club Comm-D)
Jewelry Club Communications Committee
Jugglers Anonymous (Graduate Comm-D)
Pratt Knits CMAA (Construction Management)
Poetry Club DIGIT (Digital Animation Club)
Sculpture Club Fashion Society
History of Art and Design Student
Association
Pratt Historic Preservation
Organization
IDSA (Industrial Design Student
Association)
334 st u d e n t a f fa i r s
Pratt Interiors
Key Frame Animation Club
LEAP (Leadership in Environmental
Advocacy and Planning)
PIPSA (Pratt Institute Planning
Student Association)
Pratt Photo League
Pressure (Print Making Student
Group)
SILSSA (School of Information
& Library Science Student
Association)
SLA (Special Libraries Association),
National Chapter
Society of Art Educators
Type Directors Club
Greek Letter Organizations
Inter-Greek Council (Fraternity/
Sorority Governing Body)
Kappa Sigma Fraternity
Pi Sigma Chi Fraternity
Sigma Sigma Sigma Sorority
Theta Phi Alpha Sorority
Religious and Spiritual
Jewish Student Union
Newman Club
Pratt Gospel Christian Fellowship
Pratt Remnant Christian Fellowship
Community Engagement Residential Life And Housing
Board
Also known as C-Board, these students dir e ctor
are dedicated to giving back to their Christopher Kasik
community, both local and global.
as s ociate dir e ctor fo r
Program Board r e s ide ntial lif e and ho usi ng
Katherine Hale
The Program Board is a group of students
who plan many on-and off-campus events.
as s ociate dir e ctor fo r ho usi ng
administration
Tuan Vu
Campus Ministry
The chapel, one of the central spaces as s istant dir e ctor no rt h
on campus, is the setting for meditation campus
Christopher Ruggieri
and for interdenominational and
denominational rites to celebrate
important events of the campus as s istant dir e ctor so ut h ca mpus
Grace Kendall
community as community. Currently,
Jewish, Catholic, and Protestant (in
English and Korean) services are offered as s istant dir e ctor ho usi ng
Jason LeConey
on a regular basis. Any group wishing to
use the chapel may contact the director
administrative as s ista nt
of Student Involvement, whose only
requirement is respect for the space Lillian Jennas
and its purpose.
r e ce ptionist
Steven Spavento
of f ice
Tel: 718-399-4550
reslife@pratt.edu
www.pratt.edu/reslife
 st u d e n t a f fa i r s 335

The mission of the Office of Residential
Life and Housing is to efficiently and
effectively administer a housing program
in a learning-centered environment that
challenges and supports students to
▶▶ Enhance self-understanding,
Value community responsibility,
▶▶
students to other departments at the
Institute while helping them to gain
leadership skills.
The Residential Life staff wants
to provide a memorable, enjoyable,
and successful academic year, but
reminds students that the success of this
experience lies within all of us. Through
choices, they should expect to be held
accountable, the hope being a different
choice will be made the next time,
more in keeping with the community
expectations set forth.
The Residence Halls

and participation, cooperation, understanding,

▶▶ Learn from their experiences.
The Office of Residential Life and
Housing holds the belief that student
development and learning goes on
outside the classroom, as well as inside
the classroom. The policies, procedures,
and programs that are established and
encouraged by the Office of Residential
Life and Housing are those that enhance
student learning and involvement outside
the classroom.
The department takes very seriously
its role as guarantor of a residence hall
atmosphere conducive to work and study.
We also strive to provide an atmosphere
in which students are encouraged to make
informed decisions on their own, take
responsibility for their actions, and learn
from their experiences.
Leadership development
opportunities are offered to students in
the residence halls through participation
in Residence Hall Councils, the
Residence Hall Advisory Committee
(a student advisory committee to the
Office of Residential Life and Housing),
EcoReps, Dining Services Reps, and
the Connections Leadership class.
Participation in these activities exposes
and communication, all can enjoy the Pratt Institute maintains six residence
time spent in the residence halls at Pratt halls accommodating approximately
Institute. 1,600 students. The focus of our
The Office of Residential Life and residential life program is on providing a
Housing at Pratt Institute is based on a comfortable yet challenging environment
specific set of values. These values guide for students to become integral members
the expectations the department has for of the campus community. This is
itself and the students who reside on fostered by educational approaches and
campus and extend to the residence halls programming. Pratt residence halls offer
in many direct ways. They are: a variety of housing options, including
rooms with and rooms without kitchens,
▶▶ Personal rights and responsibilities. doubles, and singles. Pratt also offers
▶▶ Integrity. campus meal plans for students who like
the convenience of eating on campus.
▶▶ Respect.
▶▶ Fairness and justice. Grand Avenue Residence
▶▶ Open communication. Grand Avenue Residence is home to new
▶▶ Involvement. and continuing graduate students. A
joint venture between Pratt Institute and
The educational mission of Pratt Institute a local developer has resulted in a true
is actively pursued in the residence halls. apartment-style graduate facility. The
An expected outcome of the on-campus building can accommodate 50 students
experience is to have students learn to in efficiency apartments (double and
cope and deal with problems that arise. single) and private single rooms within
Though this is not always an easy task, if two- and three-bedroom apartments. A
a student is able to learn from an adverse double efficiency is two students sharing
situation, the goal has been achieved. a one-room apartment (with kitchen
Along with this is the ability for students and bath). A single efficiency is one
to take responsibility for their choices and student in a private one-room apartment
behaviors. If students make inappropriate (with kitchen and bath). A shared single
336 st u d e n t a f fa i r s
is occupied by two or more students,
each with their own private bedroom,
sharing kitchen, bath, and living room.
The building is located one block from
campus. Each living room is furnished
with a sofa, club chair, coffee table, and
a kitchen table with chairs. Utilities are
included with the exception of phone
service. Internet connections and CATV
service are provided.
This residence requires a 12-month
occupancy period, and students will be
assigned for one year. Different than other
assignments, this assignment cannot be
cancelled unless a student leaves Pratt
Institute. Students are able to sublet
for the summer to other Pratt Institute
students, with approval from the Office of
Residential Life and Housing. Details are
available during the spring semester.
Willoughby Hall
Willoughby Hall accommodates 800
undergraduate and graduate students
in a 17-story building of single, double,
and triple rooms within apartments.
All apartments have kitchens. Rooms
are furnished and consist of at least
one double or semi-private single room
and one single room. The building
houses meeting space, a study lounge, a
convenience store, and a game room, as
well as the Offices of Residential Life
and Health and Counseling Services.
Internet connections and CATV services
are provided.
Upon acceptance to the Institute,
students are sent an Enrollment Guide,
which includes an application and
brochure describing each housing option.
Students are assigned rooms in the order
their application was received. Space is
limited, and students are advised to return
their completed application as soon as
possible. Assignment notifications are
made in June.
Students who have not applied by
May 1 can anticipate being assigned only
if and when space becomes available. All
correspondence should be addressed to:
Residential Life and Housing
215 Willoughby Avenue
Brooklyn, NY 11205
Room Rates—Graduate Options
Room rates vary according to the type of
accommodation. Typical costs for each
residence hall for a calendar year* are as
follows:
Grand Avenue
$13,184 (double studio)
$17,448 (single w/ shared bath)
$19,666 (studio single)
Willoughby Hall
$11,575 (semi-private single)
$12,111 (single w/ shared bath)
$12,658 (single w/ private bath)
* Graduate students, in most cases, have a 12-month
contract.
Meal Plan
In an effort to ensure that students receive
options for proper daily nutritional
requirements, Pratt Institute offers its
students a number of meal plans. The meal
plans are designed on a debit card system; the
student’s meal plan points decrease as he or
she purchases items in the main dining room,
convenience store, or pizza shop. A meal plan
point equals $1.
All students living in rooms without
kitchens and all freshmen, regardless
of their assignment, are automatically
enrolled in the minimum mandatory
meal plan. This meal plan is in effect for
both semesters and provides the student
the purchasing power of roughly 14 meals
per week. Students may opt for a larger
plan that offers additional purchasing
power of roughly 19 meals per week. The
cost of meals does not include incidental
purchases students may make at the
convenience store. The mandatory meal
plan rates for 2012–13 are $1,600 and
$1,890 per semester.

Students not living in mandatory
meal plan areas, upper-class students, and
commuters may opt for a mandatory plan
or an optional plan. Three optional plans
exist to accommodate a variety of student
needs. These plans are per semester only.
The optional meal plan rates for 2012–13
are $250, $650, and $950. Purchasing a
meal plan can save the student almost
10 percent over paying cash. With all
meal plans, students have the option to
add points online at any time during the
semester in amounts greater than $25.
Additional details pertaining to
the meal plans are provided in the
Enrollment Guide and are available
from the Office of Residential Life and
Housing.
Athletics and Recreation
d i r e ctor
Dave B. Adebanjo
a ss ociate dir e ctor f or
w e llne s s and r e cr e ation
Shena Faith
a ss istant dir e ctor of
at hletics f or intramurals
Michael Chapman
a ss istant ath letic
d i r e ctor of facilitie s and
event manage me nt
Keisha Lynch
a d ministrative s e cr etary
Linda Rouse
of fice
Tel: 718-636-3773 | Fax: 718-636-3772
st u d e n t a f fa i r s 337
The Activities Resource Center (ARC)
houses a 325 x130-foot athletic area,
the largest enclosed clear-span area
in Brooklyn. The complex includes
six multipurpose athletic courts with
Chemturf synthetic floor surfaces. These
courts are used interchangeably for
tennis, basketball, and volleyball. This
same area provides 650 bleacher seats for
intercollegiate basketball, the Colgate
Women’s Games, and other spectator
sports events. This enclosed area has a
seating capacity of up to 1,000 people for
special events. The four-lane, 200-meter
indoor track completely encircles the
athletic court areas. There are full locker
room facilities with saunas for men and
women. The second floor houses a fully
equipped and newly renovated weight
and fitness room, a dance studio, and the
administrative office of the director.
Recreational and intramural activities
are scheduled throughout the year in
conjunction with PrattFit programming
and range from individual to team sports
and special events. Men’s varsity teams
include cross-country, indoor and outdoor
track, basketball, and tennis. Women’s
teams include tennis, cross-country,
indoor and outdoor track, and volleyball.
Pratt Institute is an affiliate member of
the NCAA Division III and belongs to the
Hudson Valley Men and Women Athletic
Conference.
338 st u d e n t a f fa i r s
Career and Professional Preparing for a career is one of the most
important co-curricular activities for Pratt
Development students. It is to the students’ advantage
to work with their career counselor early
d ir e c to r in their college careers. Although most
Rhonda Schaller students in professional programs are not
ready to work in their field in their first
as s o c iate d i r ec tor year, they may seek counseling on the
Hera Marashian preparation necessary for various careers,
attend a variety of workshops, and
as s o c iate d i r ec tor review jobs.
Brynna Tucker Counselors can assist students in find-
ing part-time, freelance, and summer
as s istan t d i rec tor positions as well as internships once they
Deborah Yanagisawa have developed sufficient proficiency in
a chosen field. Field-related job referral
in te r n s hip p rog ra m m a nag er services are available only to matriculated
Laura Keegan degree students who have completed two
full-time semesters at Pratt, although
in fo r m atio n c oord i nator one semester can be waived for graduate
Robert Carabay students with professional experience. Stu-
dents interested in full-time positions after
c ar e e r d e v elop m en t a n d graduation are advised and referred to jobs
c u sto m e r r elat i on s c oor d i nator and career resources by their counselor.
Alex Fisher The department maintains a job
listing database, PrattPro, visual material,
d ir e c to r fine arts, and other career resources.
Tel: 718-636-3506 Students can also access our alumni-
career@pratt.edu mentoring database, and many job-
www.pratt.edu/career
search and field-related online resources.
No Pratt student should overlook the
resources on subjects like résumé writing
and portfolio development. Information
on the career potential, starting salaries,
and typical employers is included in Life
After Pratt, available from Admissions or
in a meeting with your career counselor.
Pay us a visit online or in person, or give
us a call.
According to a 2011 survey of Pratt’s
graduates six months after graduation,
85 percent were working. See more
information at www.pratt.edu/student_
life/career_services/prospective_
students.
Pratt Institute Internship Program
Internships are learning experiences in
the workplace that relate to a student’s
major and career goals. Interns are able
to take the skills and theories learned in
the classroom and apply them to real-
life work experience. Students have
the opportunity to learn new skills and
concepts from professionals in the field
and to test career goals and explore career
options.
In addition, internship experiences
allow students to develop a professional
network of contacts, thus aiding in
securing part-time employment during
school and full-time employment upon
graduation. Internships can also help a
student to assess her or his strengths and
weaknesses.

What is involved in an internship?
The usual length of the internship is 15
weeks (one semester) unless otherwise
arranged in advance. The internship
program is an academic experience, with
students who are able to receive credits
based on department policy. Internships
can be paid or unpaid, again depending on
departmental policy. A zero credit option
is now available during the summer
semester. Students can find out more
about the internship program in Career
and Professional Development, located
in East Hall 1, on the website, or from the
Internship Faculty Coordinator in their
department.
st u d e n t a f fa i r s 339
Disability Resource Center The mission of Disability Resource
Center (DRC) is to ensure that all
students with disabilities can freely and
d i r e ctor actively participate in all facets of Pratt
Mai M. Graves
life. To this end, the office provides and
mcdonald@pratt.edu
coordinates services and programs that
support student development, enable
l ea r ning s pe cialist/ c ouns e lor students to maximize their educational
Anna Riquier, L.M.H.C.
and creative potential, and assist students
ariquier@pratt.edu
in developing their independence to
the fullest extent possible. Another goal
l ea r ning s pe cialist
of the DRC is to increase the level of
Maegan Addis-D’Amato, L.M.S.W.
maddisa@pratt.edu awareness among all members of the
Pratt community so that students with
c ons ulting time manage me nt disabilities are able to perform at a
c oach level limited only by their abilities, not
Bradley E. Carney their disabilities.
ds@pratt.edu
Services to Students
c ons ulting clinical The DRC provides the following services
n eu rops ych ologist directly to students:
Beth Abrams, Ph.D.
ds@pratt.edu
▶▶ Maintains confidential records
of medical documentation of
disability.
a ss istant to th e dir e ctor
Nicole Y. Charles ▶▶ Determines program eligibility for
nchar143@pratt.edu services based upon documentation
of disability.
of fice ▶▶ Responds to inquiries from
Tel: 718-802-3123 | Fax: 718-399-4544
www.pratt.edu/disabilityservices
prospective students and parents.
▶▶ Consults with students about
appropriate individualized
accommodations, based upon
documentation of disability.
340 st u d e n t a f fa i r s

▶▶ Coordinates special assistants Students with disabilities may utilize Health and
for students such as note takers, the DRC for various support services,
interpreters, tutors, a time including one-on-one sessions and
Counseling Services
management coach, and learning group workshops with our learning
specialist. specialist to develop study skills and
dir e ctor
▶▶ Arranges auxiliary aides for students, learning strategies, as well as individual Martha Cedarholm, A.R.N.P.-B.C., F.N.P.
including spell checkers, digital sessions with our time management mcedarho@pratt.edu

tape recorders and assisted listening coach to gain assistance with prioritizing
devices such as FM Units, computer- and organizing assignments and as s ociate dir e ctor fo r
assisted-real-time-translation projects. Students may also work on
c ouns e ling
(CART) services, and sign language writing and reading assignments on Vincent Kiefner, Ph.D.
interpreting. computers containing assistive learning vkiefner@pratt.edu
technologies, and be administered quizzes
▶▶ Offers distraction-free study and and exams in our distraction-free study
testing room. and exam room. nur s e practitione r /a sso ci at e
▶▶ Offers various workshops throughout To be eligible to receive support dir e ctor f or h e alth
the academic year, including a fall Debbie Scott, A.R.N.P.-B.C., F.N.P.
services through DRC disability services
dscott2@pratt.edu
transitioning program. students must provide documentation
▶▶ Consults with faculty regarding the from a medical or clinical professional
instructional needs of students. that includes a diagnosis and nur s e practitione r
recommendations for accommodations Alison Altschuler, A.R.N.P.-B.C., A.N.P.
▶▶ Consults with campus department aaltc34@pratt.edu
and/or services. Students who are
administrators regarding the specific
experiencing academic difficulty but have
needs of students, such as special
never been diagnosed with a learning c ons ulting ph y s ician
housing accommodations.
disorder or a psychological condition, such Kristen Harvey, M.D.
▶▶ Consults with Health and as AD/HD, may schedule an appointment
Counseling services regarding to discuss the process of being evaluated
special medical needs of students. staf f c ouns e lor s
by a clinical or neuropsychologist.
Ariela Reder, Psy.D.
▶▶ Consults with community, local, For more information about disability areder@pratt.edu
and regional services, such as services visit our website at www.pratt.
Sarika Seth Ph.D
rehabilitation agencies, on behalf of edu/disabilityservices. You may also sseth@pratt.edu
students. contact the DRC Director, Mai M.
Graves, at 718-636-3711 to schedule
▶▶ Serves as an advocate for students
an appointment to discuss classroom staf f c ouns e lor and
with faculty and staff.
accommodations and services you outr e ach c oor dinato r
▶▶ Communicates Disability Services may need. Lonnette Belizaire, Ph.D.
program information to the campus lbelizai@pratt.edu
community.
▶▶ Assists students in monitoring the
effectiveness of accommodations.

c lin ic al ao d s ervi c es Health and Counseling Services operates
c o o r d inato r both by appointment and as a walk-in
Jernee Montoya, L.C.S.W. clinic. All care provided is strictly confiden-
jmontoya@pratt.edu
tial and remains separate from a student’s
academic and social conduct record. The of-
stu d e n t he a lt h i n su ra n c e fice is open on weekdays 9 am to 5 pm, with
s pe c ial ist the last appointments made at 4 pm. Check
Nicole A. Bernard the website for updated hours and services.
nbernard@pratt.edu The medical staff includes the direc-
tor, who is a family nurse practitioner, two
nurse practitioners, a physician attending
r e g iste r e d n u rs e
Meeo B. Ward, R.N. the clinic once a week during the academic
mward7@pratt.edu year, and two registered nurses. Services
provided include treatment of illnesses;
first aid for injuries; physicals, including
m e d ic al as s i sta n t
sports and women’s health examinations;
TBD
health education; and medical testing.
Pregnancy testing is performed in the
r e c e ptio n ist office for free; however, other tests are sent
Giovanni Glaize to a laboratory service, which will bill the
gglaize@pratt.edu
student or the student’s insurance provider.
Some commonly used medications
c o n s u ltin g p syc h i at ri st (over-the-counter and prescription) are
Jane Zirin, M.D. dispensed free or for a nominal fee.
Students must purchase all other medica-
tion at a pharmacy. Referrals are made to
p s yc hiatr ic n u r s e p rac t i t i on er
Lori Neushotz, D.N.P.
local medical resources for care not
lneushot@pratt.edu provided on campus.*
The counseling staff includes clinical
psychologists, clinical social workers, and
o ffic e a consulting psychiatrist who are available
Tel: 718-399-4542 | Fax: 718-399-4544
health@pratt.edu
by appointment to meet with students. Stu-
www.pratt.edu/health dents may receive counseling on a short-
term basis for personal, emotional, family,
interpersonal, and situational problems.
Consultation is available on campus, and
referrals for specialty services are made.
Since the Health and Counseling
* Numerous and varied resources are available at the
Health and Counseling page of the Pratt website at
www.pratt.edu/health.
st u d e n t a f fa i r s 341
Services Center is not designed to meet
the total health care needs of students,
referrals are sometimes made to outside
clinics and agencies. The staff is commit-
ted to helping students find the best source
of health care at the lowest cost. Hospital
and medical care beyond that provided by
the Health and Counseling Services is the
financial responsibility of the student and
his or her family. For this purpose, Pratt In-
stitute requires all students to carry health
and accident insurance.
Students are automatically enrolled in
a health and accident insurance plan. They
may waive this insurance fee, which will
be deducted from their bill, by provid-
ing insurance information in the online
student insurance system, Aetna Student
Health, prior to the waiver deadline, which
is always the last day to drop or add courses
for the fall semester. All students who were
born after January 1, 1957, must provide
proof of immunity against measles,
mumps, and rubella. New York State law
requires written documentation of two
measles-mumps-rubella vaccines or writ-
ten documentation of immunity to these
diseases proved by a blood test. Written
documentation is absolutely required in
order to attend classes.
Immunization against meningococcal
meningitis is strongly recommended for
students planning to live in on-campus
housing.† A complete medical history and
a comprehensive physical examination are
also required for all new students.
† New York State does not require this vaccine but does
require a signed acknowledgment of receipt and
review of vaccine information.
342 st u d e n t a f fa i r s

International Affairs The primary mission of the Office

of International Affairs (OIA) is to
coordinate services for international
d ir e c to r students, exchange students,
L. Jane Bush
international professors and scholars, and
their dependents.
as s o c iate d i r ec tor OIA staff members provide direct
Saundra Hampton
support with immigration issues,
employment authorization, financial
as s istan t d i rec tor issues, cross-cultural events, and personal
Mia Schleifer
matters. They serve a population of
around 1,000 students and scholars from
s e v is c o o r d i nator 60+ countries who consider the office to
Silvana Grima
be their vehicle for guiding them.
One of OIA’s goals is to further
r e c e ptio n ist develop a social structure that will foster
Zoila Dennigan
a broad cross-cultural exchange between
the various international student groups,
o ffic e the American population, and the
Tel: 718-636-3674
community at large. In fall, OIA sponsors
oia@pratt.edu
www.pratt.edu/oia
a Korean Thanksgiving Festival called
Chuseok and the Chinese Moon Festival
with a barbeque. They also celebrate
International Education Week. In spring,
OIA sponsors the International Food
Fair, where students and other members
of the Pratt community cook national
specialities.
In addition, the Pratt International
Student Association (PISA) is open for all
to join. PISA co-sponsors and plans special
events, such as movie nights, a Diwali
festival, and a photo contest.

Libraries
The Libraries and their departments
of Visual Resources and Multi-Media
Services are dedicated to an active
partnership in the academic process. The
Libraries’ primary mission is to support
the Institute’s academic programs by
providing materials and information
services to students, faculty, staff, alumni,
and visiting scholars. A state-of-the-art
integrated library system interfaces with
an up-to-date website providing broad
access to electronic materials as well as
information about the Libraries. Connect
to the Libraries’ website and catalog at
http://library.pratt.edu.
The collection at the Brooklyn
Campus Library provides broad-based
coverage of the history, theory, criticism,
and practice of architecture, fine arts,
and design, while also supporting the
liberal arts and sciences. The collection
encompasses over 176,674 monographs
and bound periodicals and also maintains
776 current periodical descriptions. The
Libraries also provide students access
to 38 online resources and electronic
periodical indexes. Through these
resources over 11,474 full-text periodical
343
Library
acting dir e ctor
Russell S. Abell
h e ad of public serv i ces
Patti McCall
h e ad of te ch nica l serv i ces
John A. Maier
titles are accessible. Available through the library s e rvices
Visual Resources Center are collections of c oor dinator ,
over 300,000 slides and digital images. In manh attan campus
addition, the Brooklyn Campus Library Jean Hines
houses microfilm, multi-media, rare
books, and the college archives. Multi- vis ual r e s ources curato r
Media Services, located in the lower Johanna Bauman
level of the Brooklyn campus library,
has a collection of film, video, and DVD
formats. Comfortable reading and Event Services
study spaces are available in this New
York City landmark building on the e ve nt s e rvice s c o o rdi nato r
Brooklyn campus. TBD
The Pratt Manhattan Library holds
more than 17,024 monographs, subscribes
to over 170 current periodicals and
Multi-Media Services
maintains a small fiction collection. The
book and periodical collection provides
support for the following programs: dir e ctor
Chris Arabadjis
Graduate Communications Design,
Information and Library Science,
Creative Arts Therapy, Facilities/ library audiovisua l
Construction Management, Historic c oor dinator
Mike Nemire
Preservation, Arts and Cultural
Management, AOS/AAS Program,
Design Management, and Continuing
and Professional Studies.
Librarians at both facilities offer
344 libraries

instructional programs to help patrons use

information resources more effectively.
Other services offered throughout the
year include orientation; individualized
instruction; information literacy
instruction; and research assistance
and referrals to other libraries in the
metropolitan area.
All of the Library units are
dedicated not only to providing access to
information, but to assisting information
seekers in developing successful
strategies to locate, evaluate, and employ
information to meet a full range of needs.

Libraries Faculty
Steven J. Cohen
Ass o ci at e P ro f e ssor/
Cata lo g e r a n d Librarian
B.A., Cornell University; M.S.L.S., Columbia University;
professional organization memberships include:
American Library Association, Art Libraries Society of
North America, Association of College and Research
Libraries, Association for Library Collections and
Technical Services New York Library Club.
Cheryl M. Costello
Ass i sta n t P ro f e ssor/
Art a n d Arch i t ect ure Librarian
B.A., University of Illinois, Urbana-Champaign; M.S.,
Library and Information Science, University of Illinois,
Urbana-Champaign; curator of exhibit, La Gazette
du Bon Ton: Art Deco Fashion Plates from 1913-1922
at the Pratt Library; published in ARLIS/NA Reviews;
peer reviewer for Art Documentation; professional
organization memberships include: American
Association of Museums, Art Libraries Society of New
York, Art Libraries Society of North America; awarded
the Celine Palatsky Travel Award for the Art Libraries
Society of North America Annual Conference 2008.
Bill McMillin
Assistan t Profess or /
Em ergin g Tech n ologies Libr ar ian
B.F.A., Photography, Maryland Institute College of Art
and Design; M.L.S. with Digital Libraries Specialization,
Indiana University Bloomington; publications include
“One Size Does Not Fit All: a multi-layered assessment
approach to identifying skill and competency levels”
and Library Technology and Applications for the
Classroom”; professional organization memberships
include ALA, ACRL, and ASIS&T.
Maggie Portis
Assistan t Profess or /
Art an d Arch itectur e Libr ar ian
B.A., The University of Texas, Austin; M.S. LIS, The
Palmer School, Long Island University; professional
organization memberships include ARLIS/NA and
ARLIS/VRA.
345
Paul Schlotthauer
Ass ociate Profess or /Libr ar ia n a nd A rch iv ist
B.S., Gettysburg College; M.M., Indiana University;
M.L.S., St. John’s University; Publications include “Pratt
Institute: A Historical Snapshot of Campus and Area”
in Digitization in the Real World: Lessons Learned
from Small and Medium-Sized Digitization Projects;
professional organization memberships include:
Association of American Archivists, Mid-Atlantic
Regional Archives Conference, Archivists Round Table
of Metropolitan New York, New York Library Club (board
member), American Library Association, Association of
College and Research Libraries, American Association
of Museums.
Holly Wilson
Ass ociate Profess or /
Res earch an d In struction Lib r a r ia n
B.A., Baldwin-Wallace; M.L.I.S., University of Pittsburgh;
publications include “Touch, see, find: serving
multiple literacies in the art and design library” in The
Handbook of Art and Design Librarianship; professional
organization memberships include: American Library
Association, Association of College and Research
Libraries; Reference and User Services Association, Art
Libraries Society of North America.
Board of Trustees

Bruce J. Gitlin Deborah J. Buck David S. Mack

C h a i r o f t h e B oard Artist, Interior Designer, and Owner, Buck House Senior Partner, The Mack Company
President, Milgo Industrial Inc.
Amy Cappellazzo David G. Marquis
Mike Pratt Chairman, Christie’s Post-War and Contemporary Founder and Executive Director, Marquis Studios
v i ce C h a i r o f t h e Board Development, Christie’s International
President and Executive Director, Katharine L. McKenna
The Scherman Foundation Richard W. Eiger Artist, Designer, and Owner, KLM Studios
Retired, Publisher, Macmillan, Inc.
Robert H. Siegel John Morning
V i ce C h a i r o f t h e Board Susan Hakkarainen President, John Morning Design, Inc.
Partner, Gwathmey Siegel & Kaufman Associates Vice President, Commercial Marketing and
Architects, LLC Communications, Lutron Electronics, Inc. and Chief Alicia Payette
Creative Officer and Board Member, Ivalo Lighting, Inc. Undergraduate Student Trustee
Thomas F. Schutte
President, Pratt Institute Gary S. Hattem David O. Pratt
President, Deutsche Bank Americas Foundation Not-for-Profit Consultant
Dr. Joshua L. Smith and Managing Director, Deutsche Bank Community
S ecr e ta ry Development Finance Group Stan Richards
Professor Emeritus, New York University Principal, The Richards Group
Cody Hughes
Howard S. Stein Recent Graduate Trustee Leslie Roberts
Treasurer Faculty Trustee
Retired, Managing Director, Operational Risk Global June Kelly
Corporate and Investment Bank, Citigroup June Kelly Gallery Marc A. Rosen
President, Marc Rosen Associates
Kurt Andersen James D. Kuhn
Writer President, Newmark Grubb Knight Frank David Ruy
Faculty Trustee
Roelfien Kuijpers
Managing Director, Global Head of DB Advisors Jennifer Stohlman
Deutsche Asset Management Recent Graduate Trustee
348 b oa r d o f t ru st e e s

Mark D. Stumer
Principal, Mojo-Stumer Associates, P.C.

Juliana C. Terian
Chairman of the Rallye Group

Anne H. Van Ingen

Former Director, Architecture, Planning and Design
Program and Capital Projects, NYSCA and Adjunct
Assistant Professor, Graduate School of Architecture,
Planning and Preservation, Columbia University

David C. Walentas
Owner, Two Trees Management Co., LLC

Young Woo
Principal, Youngwoo and Associates, LLC

Olivia Xu
Graduate Student Trustee

Michael S. Zetlin
Zetlin and De Chiara LLP

Lifetime Trustees:

Young Ho Kim
Malcolm MacKay
Herbert M. Meyers
Leon Moed
Bruce M. Newman
Heidi Nitze
 349

Administration

Dr. Thomas F. Schutte Leighton Pierce Vladimir Briller

P r e s i de n t ac t in g Dean , School of Art an d Des ign Executive Dir ector of Str ategic Pl a nning
an d In stitution al Res earch
Peter L. Barna Andrew Barnes
P ro v ost Dean, Sch ool of Liber al Arts an d Scien ces L. Jane Bush
Dir ector of In ter n ation al A ffa ir s
Marianthi Zikopoulos Tula Giannini
Ass o ci at e P ro v ost Dean, Sch ool of In for mation an d Martha Cedarholm
Libr ary Scien ce Dir ector of Health an d Counse l ing S e r v ice s
Judith Aaron
V i ce P r e s i de n t for Enrollm ent Russell Abell Frank Congin
Ac t in g Dir ector of Libr ar ies Dir ector of Study Abroad and I nte r nationa l
Helen Matusow-Ayres Partn er s hips
V i ce P r e s i de n t for St udent Af fairs Sylvia Acuesta
Co mptroller Randy Donowitz
Joseph M. Hemway Dir ector of the W r itin g an d T u tor ia l C e nte r
V i ce P r e s i de n t for Info rm at ion Tec hnolo gy Dave Adebanjo
a n d CIO Director of Athletics an d Recr eation Susan Ebbs
Dir ector of Special Projects/ A ssista nt to
Todd Michael Galitz Sinclaire Alkire the Vice Pr es id en t for Stud e nt A ffa ir s
V i ce P r e s i de n t for Inst it ut io nal Director of Acad emic Ma r ketin g
Adva n ce m e n t Adam Friedman
Christopher Arabadjis Dir ector of Pr att Cen ter fo r
Edmund F. Rutkowski Director of Multi-Med ia Ser vices Commun it y Developmen t
V i ce P r e s i de n t for Financ e
a n d Adm i n i st r atio n Nicholas Battis Anthony Gelber
Director of Exhibition s Dir ector of Ad min istr ative S usta ina b il it y
Thomas Hanrahan
D e a n , S ch o o l o f Arc hit ec t ure Stephen Brennan
Director of Ma in ten an ce an d Oper ation s
3 50 a d m i n i st r at i o n

Glenn Gordon Emma Legge Rhonda Schaller

E x ecu t i v e D i r ecto r o f P lanning, Desig n, Director of Stud en t In volvemen t an d Par en t Dir ector of the cen ter for Ca r e e r a nd
Co n st ru ct i o n , and P hysic al P lant and Fa mily Progr ams profess ion al d evelopmen t

Mai McDonald-Graves Ludovic Leroy Richard Scherr

D i r ecto r o f D i sabilit y Servic es Director of Cor por ate Relation s Dir ector of Facilities Plan n ing
an d Des ign
Thomas Greene Yvette Mack
D i r ecto r o f H u man Reso urc es Burs ar William J. Schmitz
Dir ector of Safet y an d Secur it y
Imani Griszell John Maier
D i r ecto r o f E v e nts Head of Tech n ical Ser vices Michael Sclafani
Dir ector of Alumn i Relations
Young Hah Emily Mack Marshall an d an n ual givin g
D i r ecto r o f G r a duat e Adm issions Director of Foun dation Relation s
Nancy Seidler
Katie Hush Ellery Matthews Dir ector of In ten s ive En glis h
D i r ecto r o f Special Events Director of Acad emic Computin g
Lorraine Smith
Lisle Henderson Patti McCall Cur ator , Vis ual Res ource Ce nte r
R eg i st r a r Head of Public Ser vices
Richard Soto
Debera Johnson Mara McGinnis Dir ector of Bud get
Aca de m i c D i r ecto r o f Sustainabilit y Ex ecutive Dir ector of Commun ication s
William Swan
Berti Jones Emily Moqtaderi Dir ector of Un d ergr ad uate A dm issions
D i r ecto r o f E n t erprise Syst em s Director of Ma jor Gifts
Vicki Weiner
Gale Justin Roy Muraskiewicz Dir ector of Plan n in g
D i r ecto r o f E duc at io nal Tec hnolo gy Bo okstor e Ma n ager
Warren White
Christopher Kasik Christopher Paisley Dir ector of HEOP
D i r ecto r o f R e s ident ial Lif e and Housing Director of Process in g an d Tech n ology
Bryan Wizemann
Dmitriy Paskhaver Dir ector of the W eb Group
Director of Res earch

Lance Redford
Director of Gover n men t an d Commun it y
Relation s
 351

Academic Calendar

Fall 20 12 S pring 2013 Summ er 2013 Important

Last day for 100% tuition refund August 27 January 14 May 13 Telephone Numbers
upon withdrawal (WD)

First day of classes August 27 January 14 May 13

(Jan 12 Sat/Sun Classes) (See schedule of classes) Admissions (toll-free) 800-331-­0834

Last day to add or drop without September 7 January 25 May 19 Admissions 718-636­-3514
a WD grade
Bursar 718-636­-3539
Last day to withdraw (WD) from November 9 April 2 June 11
Career Services 718-636­-3506
a course
Financial Aid 718-636-­3599
Dates that classes do not meet September 3 January 21 May 27
(Labor Day) (Martin Luther King Day) (Memorial Day) Health and Counseling Services 718-399-­4542
October 23 March 9–15 July 4 International Affairs Office 718-636-­3674
(Midterm Break) (Spring Break) (Independence Day)
November 21–25 Library (Circulation Desk) 718-636-­3420
(Thanksgiving)
Registrar 718-636-­3663
Final critique and exams December 10–16 April 30–May 6 Residential Life 718-399-­4550
Last day of classes December 16 May 6 August 2 Security 718-636­-3540
(See schedule of classes)
Student Activities and Orientation 718-636­-3422
Grades due online December 18 May 8 August 6

Please note: This calendar must be considered as informational and not binding on the Institute. The dates listed acad emic advisors
here are provided as a guideline for use by students and offices participating in academic and registration related
Architecture 718-399­-4333
activities. This calendar is not to be used for nonacademic business purposes. Pratt Institute reserves the right to
make changes to the information printed in this Bulletin without prior notice. Art and Design 718-636­-3611

Information and 212-647-7682

Library Science

Intensive English Program 718-636­-3450

Writing Programs 718-399­-4497

352 ac a d e m i c c a l e n da r

Fall 2012

Registration New Student Orientation Academic

Wednesday, January 11 Tuesday, August 21–Friday, August 24 Saturday, August 18
PMC SU/FA schedule due to Registrar’s Office. New student orientation held; loan entrance interviews. Arts and Cultural Management classes begin.

Monday, January 23 Wednesday, August 22

Brooklyn SU/FA schedule due to Registrar’s Office. Design Management classes begin.

Monday, February 6 Payment/Financial Monday, August 27

Fall schedule goes live on the Web. Classes begin.

Tuesday, February 14 Sunday, July 1 Monday, September 3

Academic advisement begins. Student loan application deadline. Labor Day. No classes.

Monday, March 19 Wednesday, August 1 Friday, September 7

Online registration begins for continuing students. Continuing students’ tuition payment deadline. Last day to add a class.
Wednesday, August 1 Last day to drop a class without a WD grade recorded.
Monday, May 7
Last day of preregistration for continuing students. New students’ tuition payment deadline. Friday, October 5–Sunday, October 7
Thursday, August 2 Family Weekend.
Monday, July 16–Friday, July 20
Tentative date for new student online registration. Late payment fee of $80 in effect for all students. Monday, October 8
Monday, August 27 Columbus Day. Classes meet. Offices closed.
Friday, September 7
Last day to add a class. Last day for 100 percent tuition refund upon withdrawal. Tuesday, October 23
Last day to drop a class without a WD grade recorded. Midterm Break. No classes. Institute offices open.
No new registrations accepted after this date.
Friday, November 9
Friday, November 9 Housing Last day for course withdrawal.
Last day for course withdrawal.
Wednesday, November 21–
Tuesday, August 21 Sunday, November 25
Entering freshman, transfer, and grad­uate students Thanksgiving. No classes. Offices open on 11/21 only.
check in to residence halls, 9 AM to 5 PM.
Monday, December 10–
Friday, August 24–Saturday, August 25 Sunday, December 16
Continuing students check ­in to residence halls,
Final critique and exam week. Fall semester ends.
9 AM to 5 PM.

Saturday, December 15
Noon checkout deadline for graduating students and
those who cancelled spring residence hall license.
Note: Student’s residing on-campus spring 2013
do not check-out of their fall rooms.

Saturday, December 15 International Students
Last day for students to submit graduation applications
to the Registrar’s Office for May graduation. Review for
Wednesday, August 15;
graduation begins January 4.
Thursday, August 16; Friday, August 17;
Tuesday, December 18 Sunday, August 19; Monday, August 20
Last day to change grades from previous Mandatory compliance and check-in workshops
spring/summer semesters.­
with OIA (choose one day on LMS).
Tuesday, December 18 Wednesday, August 15;
All final grades due online by 3 PM.
Thursday, August 16; Friday August 17;
Saturday, December 22– Monday, August 20; Tuesday, August 21
Wednesday, January 2 Mandatory English Proficiency exams given for
Winter vacation. international students (choose one day on LMS).
Sunday, August 19
New international students check-­in to residence halls,
9 AM to 5 PM.
Sunday, August 19
Welcome dinner for all new international students and
their families, 6 PM, Memorial Hall.
Tuesday, August 21–Friday August 24
New student orientation.
ac a d e m i c c a l e n da r 353
Refund Schedule
Course Withdrawal Refund
Schedule Fall 2012
Prior to and including August 27 Full refund
August 28–September 3 85% refund
September 4–September 10 70% refund
September 11–September 17 55% refund
After September 17 No refund
The refunds above are calculated using the date you
dropped your course online or submitted your completed
drop/add form to the Office of the Registrar (Myrtle Hall
6th Floor). No penalty is assessed for undergraduate
withdrawals when a full­-time credit load (12–18 credits)
is carried before and after the drop/add date.
Housing Cancellation Refund
Schedule Fall 2012
Please refer to the housing license to determine the
cancellation penalty/refund.
Meal Plan Cancellation
Refund Schedule
Please refer to the cancellation penalty schedule on
the back of your meal plan contract to determine the
cancellation penalty/refund.
Late Payment Fees
▶ A late payment fee of $80 will be charged for any
unpaid balance after the initial disbursement of
financial aid has been applied for each semester.
▶ A late fee of $50 will be charged after the first 15
days of each semester/session for students who
did not complete their registration during their
designated registration period.
354 ac a d e m i c c a l e n da r

Spring 2013

Registration Payment/Financial Housing

Wednesday, August 22 Thursday, November 1 Wednesday, January 9
PMC spring schedule due to Registrar’s Office. Recommended date to file spring financial aid and New international students’ resi­dence hall check-­in,
student loan applications for students who did not file 9 AM to 5 PM.
Tuesday, September 11 for fall term.
Brooklyn spring schedule due to Registrar’s Office. Thursday, January 10
Monday, December 17 Entering freshman, transfer, and graduate students’
Monday, September 24 Continuing students’ tuition pay­ment deadline check-in to res­idence hall, 9 AM to 5 PM.
Spring schedule goes live on Web.
for spring.
Tuesday, May 7
Monday, October 1 Wednesday, January 2 Noon check-out deadline for non-­graduating students
Academic advisement begins.
All continuing students should begin to file financial aid and those students without a Summer Ses­sion I
Monday, October 29 forms for summer 2013/fall 2013/spring 2014 financial residence hall license.
Continuing students’ online registration for aid award packages.
TBA
spring begins.
Friday, January 11 Noon check-out deadline for grad­uating students the
Friday, January 25 New student’s tuition payment deadline. day after commencement.
Last day to add a class. Note: Students residing on-campus Summer 2013
Monday, January 14
Last day to drop a class without a WD grade recorded. Session I do not check out of their spring room until
Last day for 100 tuition refund upon withdrawal.
No new registrations accepted after this date. notified by their SU room is ready.
Friday, February 1
Tuesday, April 2 Recommended filing deadline for financial aid
Last day for course withdrawal.
applications for the next academic year.

Friday, April 5 Academic

Recommended filing deadline for 2013/14 student
New Student Orientation loan applications. Saturday, January 5
Graduate Design Management and Arts and Cultural
Thursday, January 10–Friday January 11 Management classes begin.
New international student orienta­tion held. Tuesday, January 8; Thursday, January 10
Friday, January 11 English proficiency exam for international students.
New student orientation held. Saturday, January 12
Sat/Sun classes begin.

Monday, January 14
Weekday classes begin.

Monday, January 21
Martin Luther King Day.
­No classes.
 ac a d e m i c c a l e n da r 355

Friday, January 25 Refund Schedule

Last day to add a class or drop without
a WD grade recorded.

Monday, February 18 Course Withdrawal Refund

President’s Day. Classes meet. Offices closed.
Saturday, March 9–Friday, March 15
Spring break.
Sunday, March 24
Last day to submit a graduation application for October
and February graduation.
Saturday, March 30–Sunday, March 31
Spring Holiday. No classes. Institute closed.
Tuesday, April 2
Last day for course withdrawal.
Tuesday, April 30–Monday, May 6
Final critique and exam week. Classes end. Graduate
Design Management and Arts and Cultural
Management classes end.
Wednesday, May 8
Last day to change grades from previous fall semesters.
Wednesday, May 8
All final grades due online by 3 PM.
TBA
Graduation Awards Convocation.
TBA
Commencement.
Monday, May 6–Thursday, May 9
Pratt Show.
Schedule Spring 2013
Prior to and including January 14 Full refund
January 15–January 21 85% refund
January 22–January 28 70% refund
January 29–February 4 55% refund
After February 4 No refund
The refunds above are calculated using the date you
completed your transaction online or submitted your
completed drop/add form to the Office of the Registrar
(Myrtle Hall 6th floor). No penalty is assessed for under-
graduate withdrawals when a full­-time credit load (12–18
credits) is carried before and after the drop/add date.
Housing Cancellation Refund
Schedule Spring 2013
Please refer to the housing license to determine the
cancellation penalty/refund.
Meal Plan Cancellation
Refund Schedule
Please refer to the cancellation penalty schedule on
the back of your meal plan contract to determine the
cancellation penalty/refund.
Late Payment Fees
▶ A late payment fee of $80 will be charged for any
unpaid balance after the initial disbursement of
financial aid has been applied for each semester.
▶ A late fee of $50 will be charged after the first 15
days of each semester/session for students who
did not complete their registration during their
designated registration period.
356 ac a d e m i c c a l e n da r

Summer 2013

Registration Academic Refund Schedule

Monday, March 18 Monday, May 13
Registration for all summer classes begins. Summer Session classes begin. Course Withdrawal Refund
Monday, May 20 Saturday, May 18 Schedule Summer 2013
Last day to add a class. Graduate Design Management and Arts and Cultural Prior to and including May 13 Full refund
Last day to drop Summer classes without a Management classes begin.
May 14 through May 28 55% refund
WD grade recorded. Sunday, May 19 After May 28 No refund
No new Summer Session registrations accepted Last day to add a class.
The above refunds are calculated using the date you
after this date. Last day to drop without a WD grade recorded. dropped classes online or submitted your completed
Tuesday, June 11 No new Summer Session registrations accepted drop/add form to the Office of the Registrar (Myrtle Hall
Last day for withdrawal (WD) from a summer class. after this date. 6th Floor).

Monday, May 27
Memorial Day. No classes. Housing Cancellation
Payment/Financial Tuesday, June 11 Refund Schedule
Last day for course withdrawal from Summer Session. Please refer to the housing license to determine the
cancellation penalty/refund.
Friday, April 19 Thursday, July 4
Summer Session tuition payment deadline for Independence Day. No classes.
continuing students; thereafter, an $80 late payment Meal Plan Cancellation
fee charged to continuing students for Summer Session. Monday, August 5
Summer Session classes end.
Refund Schedule
Please refer to the cancellation penalty schedule on
Wednesday, August 7 the back of your meal plan contract to determine the
Summer Grades due online by 3 PM.
Housing cancellation penalty/refund.

Students check in to their residence hall room the Late Payment Fees
Sunday prior to the start of their classes, 9 AM to 5 PM.  A late payment fee of $80 will be charged for any
(Consult course schedule to determine the weeks
unpaid balance after the initial disbursement of
desired for on-campus housing.)
financial aid has been applied for each semester.
Students check out of their residence hall room on the  A late fee of $50 will be charged after the first 15
Saturday following the conclusion of their classes by
days of each semester/session for students who
noon. (Consult course schedule to determine the weeks
did not complete their registration during their
desired for on-campus housing.)
designated registration period.
Note: Students residing on campus for the last week of
the summer session and residing on campus for the fall
2013 semester do not check out of their summer room
until they are notified their fall room is ready.

How to Get to Pratt
Brooklyn Campus
200 Willoughby Avenue
Brooklyn, NY 11205
By Subway
fro m gran d c en t ra l stat i on
Take the downtown 4 or 5 train to the Fulton Street
station. Take the Brooklyn-bound A or C train to the
Hoyt-Schermerhorn station. Cross platform and take
the G train (front car) to the Clinton-Washington station.
Use Washington Avenue exit. On Washington, walk one
block north to DeKalb Avenue. Turn right onto DeKalb
and proceed one block to Hall Street/Saint James Place
to the corner gate of the Pratt campus.
fro m pe n n stat i on a n d
po rt au tho r i ty b u s t er m i na l s
Take the Brooklyn-bound A or C train to the Hoyt-
Schermerhorn station. Cross platform and take G train
(front car) to the Clinton-Washington station. Use
Washington Avenue exit and the follow directions
above to campus.
By Bus
f rom dow ntow n manh attan
Take the B51 bus from City Hall to Fulton and Smith
streets in downtown Brooklyn. Change to B38 bus and
take it up Lafayette Avenue to the corner of Saint James
Place, which turns into Hall Street. Entrance to the
campus is one block north on Hall Street.
By Car
f rom bqe, h e ading w e st/ s outh
Exit 31, Wythe Avenue/Kent Avenue. Stay straight
to go onto Williamsburg Street W., which becomes
Williamsburg Place, then Park Avenue. Turn left onto
Hall Street. Proceed two blocks to Willoughby Avenue.
Make a left on Willoughby. Campus is on right.
f rom bqe, h e ading e ast/ north
Exit 30, Flushing Avenue. Bear left onto Classon Avenue,
then turn left onto Flushing Avenue. Turn left on to
Washington Avenue. Proceed two blocks to Willoughby
Avenue. Make a left on Willoughby. Campus is on right.
Myrtle Hall is across the street from the main gate (first
left parking lot).
357
f rom w e st s ide of ma nhatta n
Via Ma n hattan Br id ge
Travel east on Canal Street to Manhattan Bridge. Exit
bridge to Flatbush Avenue. Turn left onto Myrtle Avenue.
Proceed 15 blocks. Make a right turn onto Hall Street.
Go one block. Make a left turn onto Willoughby. Campus
is on right.
f rom e ast s ide of ma nhatta n
Via Brooklyn Br id ge
Travel south on the FDR Drive (also called East River
Drive) to Brooklyn Bridge exit. Exit bridge to Tillary
Street. Turn left on Tillary to Flatbush Avenue. Turn left
onto Myrtle Avenue. Proceed 15 blocks. Make a right
turn onto Hall Street. Go one block. Make a left turn onto
Willoughby. Campus is on right.
f rom ne war k-libe rty a i rpo rt
After the exit, continue toward US-1/US-9/Newark-
Elizabeth (US-22.) Continue on US-1 and 9 North toward
Port Newark. US-1 and 9 North become 12th Street.
Continue on Boyle Plaza, which becomes the Holland
Tunnel. Take the tunnel toward Brooklyn/ Downtown
and continue on Beach Street to Walker Street.
Continue on Canal Street to the Manhattan Bridge.
Cross the bridge to Flatbush Avenue Extension. Turn left
onto Myrtle Avenue. Proceed 15 blocks. Make a right
turn onto Hall Street. Go one block. Make a left turn onto
Willoughby. Campus is on right.
358 h o w t o g et t o p r at t
fro m laguard i a a i r port
Follow signs toward Airport Exit/Rental Cars. Take ramp
(right) onto Grand Central Parkway toward Parkway
West/Manhattan. At exit 4, take ramp (right) onto
BQE/ I-278 W. toward the Verrazano Narrows Bridge.
Take BQE to exit 31, Wythe Avenue/Kent Avenue. Stay
straight to go onto Williamsburg Street W., which
becomes Williamsburg Place, then Park Avenue. Turn
left onto Hall Street. Proceed two blocks to Willoughby
Avenue. Make a left on Willoughby. Campus is on right.
fro m ke n n e dy a i rport
Take the Airport Exit on I-678 South and continue
towards Terminals 8 and 9. Go toward Terminal
9 Departures. Bear right towards the Van Wyck
Expressway/Airport Exit. Continue on the Van
Wyck/I-678 North. Take the 1B-2/Belt Parkway exit
towards the Verrazano Bridge. Take exit #1B to North
Conduit Avenue, which becomes North Conduit
Boulevard. Take Belt Parkway West towards the
Verrazano Bridge. Take the North Conduit Avenue exit
#17W. Continue on Nassau Expressway/North Conduit
Avenue. Bear left on Atlantic Avenue. Proceed five
miles. Turn right onto Washington Avenue and go seven
blocks. Turn right onto Willoughby Avenue. Campus is
on right. Myrtle Hall is across the street from the main
gate (first left into parking lot).
Manhattan Campus
144 West 14th Street
New York, NY 10011
By Car
fro m q u e e n s
V i a 59 t h St r e e t Bridge
Go south on the FDR Drive. Take 23rd Street exit. Make a
right turn onto 23rd Street. Make a left turn on Second
Avenue. Take Second Avenue to 14th Street. Make a
right turn. Pratt is located between Sixth and Seventh
avenues on the south side of the block, closest to
Seventh Avenue.
f rom brookly n
Via Brooklyn Br id ge, n orth on FDR Dr ive
Drive to Houston Street exit. Take left on Houston to
Third Avenue. Make a right. Take Third Avenue to 14th
Street, and make a left turn. Pratt is located between
Sixth and Seventh avenues on the south side of the
block, closest to Seventh Avenue.
f rom ne w j e r s ey
Take the Holland Tunnel to Manhattan. From tunnel,
bear right to Eighth Avenue. Travel east to Sixth Avenue.
Go south and make a left turn onto 14th Street. Pratt
is located between Sixth and Seventh avenues on the
south side of the block, closest to Seventh Avenue.
f rom w e stch e ste r
Take the West Side Highway South. Make a left turn onto
14th Street. Pratt is located between Sixth and Seventh
avenues on the south side of the block, closest to
Seventh Avenue.
pa rking in manh attan
Limited street parking is available on weekdays and
weekends. Parking is available for a fee in nearby
garages.
By Subway
Take the A, C, or E train to 14th Street/Eighth Avenue,
the F or V train to 14th Street/Sixth Avenue, the 1, 2,
or 3 train to 14th Street/Seventh Avenue, or the 4, 5,
6, N, R, Q or W train to 14th Street/Union Square. Take
crosstown buses or the L train to travel east or west on
14th Street. Pratt is located between Sixth and Seventh
avenues on the south side of the block, closest to
Seventh Avenue.
By Bus
If uptown, take the M20 to 14th Street/Eighth Avenue.
Or take the M6 to 14th Street/ Avenue of the Americas. If
downtown, take the M20 to 14th Street/Seventh Avenue.
Or take the M6 to 14th Street/Union Square. Take
crosstown buses or the L train to travel east or west on
14th Street. Pratt is located between Sixth and Seventh
avenues on the south side of the block, closest to
Seventh Avenue.
By PATH Train
f rom ne w j e r s ey
Take the PATH train to 14th Street in Manhattan. Exit at
Sixth Avenue and 14th Street. Pratt is located between
Sixth and Seventh avenues on the south side of the
block, closest to Seventh avenue.
Going from Pratt Brooklyn
to Pratt Manhattan
By Subway
Take the G train from the Clinton-Washington station.
Go two stops to Hoyt-Schermerhorn. Change for the
A or C train, and take it to 14th Street/ Eighth Avenue.
Walk east, or take the crosstown buses or L train for
eastbound travel. Pratt is located between Sixth and
Seventh avenues on the south side of the block, closest
to Seventh Avenue.
By Bus and Subway
Take the M38 bus to Flatbush Avenue. Exit at DeKalb
Avenue station. Take the N, R, Q or W train to 14th
Street/Union Square. Walk west, or take crosstown
buses, or the L train for westbound travel. Pratt is
located between Sixth and Seventh avenues on the
south side of the block, closest to Seventh avenue.

Index
A Aesthetics, 274
Absence, leaves of, 319–320
Academic calendar, 351–356
Academic facilities fees, 309
Academic integrity code, 327–328
Academic organizations, 333–334
Academic progress, 294–295
Academic standing, 325
Accreditation
Creative Arts Therapy degrees, 102
Pratt Institute, 17
School of Architecture, 21
School of Information and Library
Science, 172
Activities fees, 308
Activities Resource Center (ARC), 337
Administration, 349–350
Admission requirements, 281–290
Art and Design Education, 79
Creative Arts Therapy Department,
103
Design Management Program, 109
Digital Arts, 113
Facilities Management, 63
Fine Arts, 126
in Media Studies, 190
School of Information and Library
Science, 180
Advanced Certificates
in Archives, 179, 227
in Art and Design Education, 79, 215
in Library and Information Studies, 227
in Library Media Specialist, 227–228
in Museum Libraries, 179
in Museum Studies, 138, 223
Advertising, 253
Advisement, School of Information and
Library Science, 180
African art, 260
Alumni, 11–12
living in Brooklyn, 9
American art, 261
American Art Therapy Association, Inc.,
17, 102
American Dance Therapy Association,
17, 102
American Library Association,
Committee on Accreditation of,
17, 172
Anatomy, 257, 270
Animation, digital, 113, 249, 250
curriculum descriptions, 217
Applications, deadline for, 282
Architecture, 2, 25–36
course descriptions, 229–235
curriculum descriptions, 211–213
faculty, 30–36
Graduate Architecture and Urban
Design programs, 23
in Rome, 15
in Turkey, 14
Architecture, School of, 19–21
accreditation of, 17
admission requirements of, 284–285
Architecture, 25–36
City and Regional Planning, Master of
Science program, 51–55
course descriptions, 229–243
curriculum descriptions, 211–213
Facilities Management, 63–68
Graduate Architecture and Urban
Design programs, 23
Historic Preservation, 69–73
mission of, 21
Programs for Sustainable Planning
and Development, 47–49
programs in, 209
restricted grants and scholarships at,
297–298
Study Abroad programs of, 14–16
Urban Design, 37–45
Urban Environmental Systems
Management Program, 57–61
Architecture fees, 309
Archives, Advanced Certificate in, 179,
227
Art criticism and analysis, 258
Art and design, 244
Art and Design, School of, 75–169
accreditation of, 17
admission requirements of, 285–288
Art and Design Education, 77–81
Arts and Cultural Management, 83–85
Communications/Packaging Design,
87–99
course descriptions, 243–275
Creative Arts Therapy, 101–106
curriculum descriptions, 214–224
Design Management, 107–110
Digital Arts, 111–122
Fine Arts, 123–135
History of Art and Design, 137–143
Industrial Design, 145–155
Interior Design, 157–169
mission of, 76
programs in, 209
restricted grants and scholarships at,
298–302
Art and Design Education, 77–81, 126
course descriptions, 244–245
curriculum descriptions, 214–215
faculty, 80–81
Art librarianship, 276, 277
Arts and Cultural Management, 83–85
course descriptions, 243–244
curriculum descriptions, 215
faculty, 85
Art Therapy and Creativity Development,
Master of Professional Studies
degree in, 101, 102
361
Art Therapy with Special Education,
Master of Professional Studies
degree in, 101, 219–220
Asian art, 260
Assistantships and fellowships, 292
Athletics and recreation, 337
Attendance policy, 317
B
Bachelor of Architecture program,
accreditation of, 17, 21
Bachelor of Fine Arts (B.F.A.) degrees, in
Interior Design, accreditation of, 17
Banking facilities, 311
Berlin (Germany), 232
Billing, 311
Bloomsbury Conference, 14
Board of Trustees, 347–348
Books
artist’s books, 248, 270, 273
art of, 271
cost of, 307
Brooklyn
campus in, 1, 3
cultural institutions of, 12
Brooklyn Academy of Music (BAM), 12
Brooklyn Botanic Garden, 12
Brooklyn campus
directions to, 357–358
Library, 343–344
map of, 359
Brooklyn Law School, 47, 49, 51, 53, 66,
178
Brooklyn Museum of Art, 12
Building codes and zoning, 233
362 index
Bureau of Indian Affairs Aid to Native
Americans Higher Education
Assistance Program, 296
Business
information services for, 177
law for, 256
online databases in, 276
C Combined degrees and certificates
Calendar, academic, 351–356
Campus, 1, 3, 10
directions to, 357–358
guided tours of, 282
Library, 343–344
map of, 359
Campus ministry, 334
Capstone, 234, 257
Career and Professional Development,
2, 338–339
Casting, 271
Center for Continuing and Professional
Studies, for Study Abroad programs,
14
Center for Experimental Structures, 20
Center for Sustainable Design Studies
and Research (CSDS), 17
Ceramics, 258
Certificates
Advanced Certificate in Archives,
179, 227
Advanced Certificate in Art and
Design Education, 79, 215
Advanced Certificate in Library and
Information Studies, 180, 227
Advanced Certificate in Library Media
Specialist, 179–180
Advanced Certificate in Museum
Libraries, 179
Advanced Certificate in Museum
Studies, 138, 223
Art and Design Education, 126
Art and Design Education Professional
Certification, 79
of English Proficiency Program (CEP),
187, 194–195
from School of Information and
Library Science, 179–180
Children and young adult librarianship,
176
Chinese art, 260
Chinese (language), 271
City and Regional Planning, Master of
Science degree in, 21, 51–55
curriculum descriptions, 212
faculty, 54–55
Joint Degree Program in Planning and
Law, 47, 49, 66
City and Regional Planning program, in
Programs for Sustainable Planning
and Development, 47
Clay, 270
History of Art and Design and Fine Arts
or Library Science, 138, 178
Joint Degree Program in Planning an
Law, 47, 49, 51, 53, 66
L.L.M./Master of Science degree
LIS - Law Librarianship and
Information Law, 226
Master of Science degree in History
of Art and Design and Master of
Science degree in Library and
Information Science, 225
Master of Science degree in
Information and Library
Science/Juris doctor degree, 178
Master of Science degree in Library
and Information Science (Library
Media Specialist), 178
Master of Science degree in Library
and Information Science and
Master of Science degree in
Theory, Criticism, and History of
Art, Design and Architecture, 178
Master of Science degree in Library
and Information Science
and Master of Fine Arts in Digital
Arts, 178
Master of Science/Master of Fine
Arts degree in Library and
Information Science and Digital
Arts, 218, 225–226
Master of Science/Master of Fine Arts
in Fine Arts, 126
programs, 209, 210
Commencement ceremony, 328
Commission on Higher Education of
the Middle States Association of
Colleges and Schools, 17
Communications Design
course descriptions, 248
history of, 263
Communications/Packaging Design
programs, 87–99
course descriptions, 251–255
curriculum descriptions, 216
faculty, 95–99
Community Engagement Board, 334
Computer Graphics and Interactive
Media (CGIM), 253
Computers, 10, 195
architectural applications of, 230
construction management
applications of, 232
Digital Arts, 111–122
Facilities Management applications
of, 235
Geographic Information Systems,
234, 238
Industrial Design applications of, 264
Interior Design applications of, 268
in library, 11
printmaking applications of, 270
Urban Design applications of, 242
Construction Management
course descriptions, 232–233
Programs for Sustainable Planning
and Development and, 47
Copenhagen (Denmark), 15, 164
Council for Interior Design accreditation,
17
Counseling Services, 340–341
Course descriptions
School of Architecture, 229–243
School of Art and Design, 243–275
School of Information and Library
Science, 275–279
School of Liberal Arts and Sciences,
272–275
Courses
organization of course offerings, 322
program changes, 318
refunds for withdrawals from, 310,
353, 355
withdrawals from, 318–319
Creative Arts Therapy Department,
101–106
course descriptions, 246–247
curriculum descriptions, 219–220
faculty, 104–106
Credits
portfolio/work experience credit, 317
transfer credits, 289–290, 316
Critical and Visual Studies program,
faculty, 205
Cultural and special interest
organizations, 333
Cultural student organizations, 333
Cultural Studies, 194
faculty, 203–205
Curriculum descriptions, 211–228
Architecture, 211–213
Art and Design Education, 214–215
Arts and Cultural Management, 215
City and Regional Planning, Master of
Science program, 212
Communications/Packaging Design
programs, 216
Creative Arts Therapy, 219–220
Design Management Program, 215
Digital Arts, 218
Facilities Management, 213
Fine Arts, 221
Historic Preservation, 213
History of Art and Design, 221–222
Industrial Design program, 223
Interior Design, 224
School of Information and Library
Science, 224–228
Urban Design, 212
Urban Environmental Systems
Management program, 212
D
Dance/Movement Therapy
accreditation of, 17
course descriptions, 247–248
Master of Science degree in, 101, 102,
220–221
Deferred Plan Option, 308
Degree audits, 325
Design
architectural, 231
art and design, 244
Art and Design Education, 77–81
history of, 263
History of Art and Design, 137–143
Industrial Design program, 145–155
Interior Design, 157–169
Design Management Program (DMP), 3,
107–110
course descriptions, 256–257
curriculum descriptions, 215
faculty, 110
Digital animation and motion arts, 113
Digital Arts, 111–122
combined Master of Science in Library
and Information Science and
Master of Fine Arts degree in, 178
course descriptions, 248–251
curriculum descriptions, 218
faculty, 120–122
Digital Arts Lab Fees, 309

Digital Imaging, 113, 251
curriculum descriptions, 217
Digital photography, 258
Direct loan program (federal), 312
Disability Resource Center, 339
Disaster design strategies, 239
Drawing, 126, 257, 258
in Venice, 260
Dual degree programs, see Combined
degrees and certificates
E Art and Design Education, 80–81
Education
Art and Design Education, 77–81,
244–245
arts and cultural, 243
course descriptions, 245–246
history and philosophy of, 245
Master of Fine Arts/Post-
baccalaureate Certificate in Art
and Design Education, 126
Master of Professional Studies degree
in Art Therapy with Special
Education, 101, 219–220
Electronic imaging, 253
Electronic music and sound, 249
Email accounts, 314
Employment, Federal College Work-
Study, 293
English (language)
proficiency in, 126
School of Liberal Arts and Sciences,
support programs in, 187,
194–195
English Department, see Humanities and
Media Studies Department
Enrollment verification letters, 318
Environmental Management Systems,
233–234
Environmental Systems Management,
235
see also Urban Environmental
Systems Management program
E-portfolios, in SILS, 174–175
E-Publishing Summer School, 14
F Film
Facilities Management, 63–68
course descriptions, 235–237
curriculum descriptions, 213
faculty, 67–68
Master of Science degree in, 21
in Programs for Sustainable Planning
and Development, 47, 48
Faculty, 2, 4, 10
Architecture, 30–36
Arts and Cultural Management, 85
City and Regional Planning, Master of
Science program, 54–55
Communications/Packaging Design
programs, 95–99
Creative Arts Therapy Department,
104–106
Critical and Visual Studies program,
205
Design Management Program, 110
Digital Arts, 120–122
Facilities Management, 67–68
Fine Arts, 131–135
Historic Preservation, 73
History of Art and Design, 141–143
Humanities and Media Studies
Department, 198–202
Industrial Design program, 146,
151–155
Intensive English Program, 197–198
Interior Design program, 157, 163–169
Libraries, 345
Mathematics and Science
Department, 202–203
Media Studies, 191–192
School of Art and Design, 76
School of Information and Library
Science, 183–185
School of Liberal Arts and Sciences,
187–188, 197–208
Social Sciences and Cultural Studies
Department, 203–205
Urban Design, 43–45
Urban Environmental Systems
Management program, 60–61
Writing Program, 205–208
Writing and Tutorial Center, 208
Fashion Design, 2, 259
in Europe, 15
Federal College Work-Study (FCWS), 293
Federal financial aid, 293–294
Federal Stafford Loan Program, 293–294,
312
Fees, see Tuition and fees
Fellowships, 292
course descriptions, 259–261,
272–273
film and media collections, 279
teaching portrayed in, 246
women in, 272
Financial aid, 291–306
academic progress and pursuit for,
294–295
federal programs, 293–294
grant and scholarship programs, 292
instructions and schedule for, 306
International Student Scholarships,
306
merit-based scholarships, 282
out-of-state programs, 295
restricted grants and scholarships,
297–305
veterans assistance, 315
Fine Arts, 123–135
course descriptions, 257–259
curriculum descriptions, 221
faculty, 131–135
Fine Arts studio refundable deposits,
309–310
Florence (Italy), 14
Foreign languages, 187
Chinese, 271
French, 272
German, 272
Spanish, 274–275
Free Application for Federal Student Aid
(FAFSA), 291
French, 272
Full-time student status, 317
Furniture design, 267
G curriculum descriptions, 221–222
Galleries, 10
General fees, 308
Geographic Information Systems (GIS),
234, 238
German (language), 272
Glass, 270
Globalization, 275
Grade point averages, 324–325
Grades
grading system, 322–324
reports of, 323
Graduate Architecture and Urban Design
(GAUD) programs, 23
Graduate programs, 209–210
Graduate Record Examination (GRE), 288
Graduation, 328–329
Grants, see Scholarships
index 363
Graphic Design, 2
Greek art, 260
Greek letter organizations (fraternities
and sororities), 334
Green buildings, 233–235
H
Health and Counseling Services,
340–341
Health Insurance fees, 309
Health librarianship, 177
Health requirements, 289
Health sciences, online databases in, 276
Health Sciences Information Services,
177
Health Services fees, 309
Heritage, concepts of, 241
Historic Preservation, 69–73
course descriptions, 241–242
curriculum descriptions, 213
faculty, 73
Master of Science degree in, 69–73
in Programs for Sustainable Planning
and Development, 47, 48
History
of architectural planning in New York
City, 237
of architecture, 229, 230
of design, 263
of education, 245
of Historic Preservation, 241
of photography, 259
of Pratt Institute, 1, 4, 7
History of Art and Design, 137–143
course descriptions, 260–263
faculty, 141–143
joint Master of Science degree in
Library and Information Science
and, 178
in Venice, 260
Honors, graduation with, 328
Housing, 238, 334–336
architecture of, 232
refund schedule, 353, 355
see also Real estate
Humanities
course descriptions, 272–273
online databases in, 276
Humanities and Media Studies
Department, 193
course descriptions, 272–273
faculty, 198–202
364 index
I Internet, 10
Identification cards, 314
Illustration, 253
history of, 263
Impressionism and post-impressionism,
260
Industrial Design (ID), core electives,
266–267
Industrial Design program, 145–155
in Copenhagen, 264
course descriptions, 264–267
curriculum descriptions, 223
faculty, 151–155
history of, 263
Information and Library Science, School
of (SILS), 171–185
accreditation of, 17
admission requirements of, 288
course descriptions, 275–279
curriculum descriptions, 224–228
dual master’s degrees with History of
Art and Design, 138
faculty, 183–185
Master of Science degree in Library
and Information Science,
174–177
programs in, 210
restricted grants and scholarships
at, 303
Intellectual property, law on, 256
Intensive English Program (IEP), 194
faculty, 197–198
Interactive arts, 113
curriculum descriptions, 217
Interactive design, 254
Interactive media, 253
Interior Design program, 2, 157–169
accreditation of, 17
course descriptions, 267–269
curriculum descriptions, 224
faculty, 163–169
history of, 263
International Affairs, Office of, 342
International programs, in School of
Information and Library Science,
181
International students, 342
admission requirements for, 282–284,
289
in Art and Design Education, 79
calendar for, 353
English language support programs
for, 187, 194–195
scholarships for, 306
International student transfers, 310
as art medium, 251
online databases, 275, 276
ordering transcripts over, 321
services and sources for, 276
Web design for, 248, 249
Internships
Architecture, 232
Art History, 263
City and Regional Planning, 51
Communications/Packaging Design
programs, 253, 255
Digital Arts, 249, 251
Facilities Management, 236–237
Fine Arts, 257, 259
Industrial Design, 146, 266
Interior Design, 269
Planning, 240–241
Pratt Institute Internship Program,
338–339
Programs for Sustainable Planning
and Development, 48
School of Information and Library
Science, 181
Urban Environmental Systems
Management program, 59, 235
Istanbul (Turkey), 229
J
Joint degree programs
in Planning and Law, 47, 49, 51, 66
see also Combined degrees and
certificates
Juris doctor (J.D.) degree
joint degree with Master of Science
degree in City and Regional
Planning, 47, 49, 66
joint degree with Master of Science
degree in Information and
Library Science, 178
L M
Laboratories, 195
Languages, see Foreign languages
Late Payment fees, 309, 311, 355, 356
Late registration, 315
Law
business law, 256
environmental, 234
facilities management, 236
intellectual property law, 256
joint degrees in City and Regional
Planning and, 47, 49, 51, 53, 66
joint degrees in Information and
Library Science and, 178, 226
legal research methods and law
literature, 276
nonprofit law and governance, 243
planning law, 237
preservation law and policy, 241
Law librarianship, 177
Leaves of absence, 319–320
Liberal arts, 193–195
Liberal Arts and Sciences, School of,
187–208
classes in, 193–195
course descriptions, 272–275
faculty, 197–208
Media Studies, Graduate Program in,
189–192
programs in, 210
restricted grants and scholarships
at, 303
Libraries, 11, 343–345
faculty, 345
use of, 278
Library and Information Science, 218
course descriptions, 275–279
curriculum descriptions, 224–228
history of, 7
Master of Science degree in, 174–177
Master of Science/ Master of Fine Arts
degree in, 218, 222
see also Information and Library
Science, School of
Library Media Specialist (LMS) program,
175–176, 179–180, 225, 227–228
London (England), 14, 15
Machine shop, 271
Manhattan campus, 1, 3
directions to, 358
library at, 343
School of Information and Library
Science in, 171
Master of Architecture (M.Arch) degree,
19, 21, 26
admission requirements, 284
curriculum descriptions, 211
Master of Arts (M.A.) degrees, in Media
Studies, 189, 190, 228
Master of Fine Arts (M.F.A.) degrees
admission requirements, 285
combined with Master of Science
in Library and Information
Science in Digital Arts, 178
Communications Design, 87, 88
Digital Arts, 218, 285
Digital Imaging, 217
Fine Arts, 123–135, 221
Fine Arts studio refundable deposits,
309–310
Interactive Arts, 217
3-D Animation and Motion Arts, 217
Master of Fine Arts/Post-baccalaureate
Certificate in Art and Design
Education, 126
Master of Industrial Design program,
285–286
curriculum descriptions, 223
Master of Interior Design program, 286
Master of Professional Studies (M.P.S.)
degrees
Arts and Cultural Management,
83–85, 287
Art Therapy and Creativity
Development, 101, 102, 287
Art Therapy with Special Education,
101, 219–220
Design Management, 215, 287
Master of Science/ Master of Fine Arts
(M.S./M.F.A.)
in Fine Arts, 126
in Library and Information Science
and Digital Arts, 218, 222,
225–226
Master of Science (M.S.) degrees
Architecture, 19, 21, 26, 211–213, 284
Architecture and Urban Design, 19, 21,
37–45, 284
Art and Design Education, 77–81, 288
City and Regional Planning, 21, 212,
284–285
Communications Design, 90, 216,
286–287
Dance/Movement Therapy, 101, 102,
220–221, 287
Facilities Management, 21, 63, 213, 285
Historic Preservation, 69–73, 284
History of Art and Design, 221–222
Interior Design, 158, 286
Library and Information Science, 17,
174–177, 224–226, 288
Package Design, 90, 216
Theory, Criticism and History of Art,
Design, and Architecture, 287
Urban Environmental Systems
Management, 285
Urban Environmental Systems
Management program, 57, 212
 index 365

Master’s degrees New students Portfolios Renaissance art, 260, 261

Architecture, 19, 21, 26, 211–213
Art Therapy, 17
Industrial Design, 145–155
Mathematics and Science, Department
of, 193
faculty, 202–203
Matisse, Henri, 260
Meal plans, 336–337
refund schedule, 353, 355
Media Studies, Graduate Program in,
189–192
curriculum descriptions, 228
faculty, 191–192
see also Humanities and Media
Studies
Medical librarianship, 278
Medieval art, 261, 262
Mentoring, in School of Information and
Library Science, 180
Michelangelo, 262
Milan (Italy), 15
Miscellaneous fees, 309
Moldmaking, 271
Motion arts, 113
Motion design, 254
Motion graphics, 250
Multimedia Center, 11
Multi-Media Services Department, 343
Museology, 261
Museum of Arts and Design, 12
Museum of Modern Art, 12
Museums
Advanced Certificate in Museum
Libraries, 179
Advanced Certificate in Museum
Studies, 223
Certificate in Museum Studies, 138
library resources for, 278
Museum Studies, Certificate in, 138
My.pratt accounts, 314
initial registration for, 314
orientation for, 332, 352
New York City
architectural resources of, 23
architecture of, 232, 235
cultural institutions of, 12, 171
housing architecture of, 232
Pratt Institute’s campus in, 3
New York Industrial Retention Network
(NYIRN), 49
New York State
Library Media Specialist program and
teacher certification in, 176,
179–180, 227–228
Pratt Institute accreditation by, 17
teacher certification for, 79
Non-matriculated students, 290
O partnerships with cultural institutions,
Online databases, 275, 276
Orientation, for new students, 332, 352
Out-of-state financial aid programs, 295
P Printmaking, 126, 258, 270
Package Design
course descriptions in, 251–255
Master of Science degrees in, 87, 216
Painting, 126, 258, 260–262, 270
in Venice, 260
Parent and family programs, 332
Parent module, 320
Paris (France), 15
Part-time student status, 317
e-portfolios, in SILS, 174–175 Repeated courses, 324
portfolio development, 251 Residential life and housing, 334–336
portfolio/work experience credit, 317 Restricted grants and scholarships,
Post-baccalaureate Certificate in Art and 297–305
Design Education, 126 Returned check fees, 310, 311
Pratt, Charles, 7 Robotics, 249
Pratt Design Incubator for Sustainable Roman art, 261
Innovation, 17 Rome (Italy)
Pratt Institute architecture in, 14–15
accreditation of, 17 Fine Arts in, 126
administration, 349–350
assistantships and fellowships from,
292
Board of Trustees, 347–348
campus of, 3
directions to, 357–358
S
history of, 1, 4, 7 SACI School of Art, 14
library, 11 Saturday Art School, 77–79
mission of, 9 Scholarships, 291–306
federal programs, 293–294
12
restricted awards and scholarships
from, 292
instructions and schedule for, 306
International Student Scholarships,
306
withdrawals from, 319 merit-based, 282
Pratt Institute Internship Program, out-of-state programs, 295
338–339 restricted, 297–305
Pratt’s Center for Community in School of Information and Library
Development (formerly PICCED), 7, Science, 180
20, 48–49
School of Architecture, see Architecture,
Pre-Columbian art, 261 School of
Professional organizations, 333–334
Program Board, 334
School of Art and Design, see Art and
Design, School of
School of Information and Library
Program changes, 318 Science, see Information and
Library Science, School of
Programs for Sustainable Planning and
Development (PSPD), 47–49 School of Liberal Arts and Sciences, see
Liberal Arts and Sciences, School of
Project for Public Spaces (PPS), 49
Sciences, 193, 195, 274
Prototypes, 264
faculty, 202–203
Psychology, 275
Sculpture, 126, 258, 270
Publishing, 253
Social planning, 238
Social sciences, 275
online databases in, 276

N
Personal data changes, 320
Philosophy, 274
Photography, 126
R Social Sciences and Cultural Studies,
Department of, 194, 275
course descriptions, 275
collections, 279 Readmission, 289, 320 faculty, 203–205
National Architectural Accrediting Board course descriptions, 259, 269 Real estate, 236, 238 Spanish (language), 274–275
(NAAB), 17, 21 digital, 258 Recreation, 337 Special education, Art Therapy with
National Association of Schools of Art women in, 261 Special Education, Master
and Design, 17 Refunds
Photoshop (software), 248 of Professional Studies degree in,
Native American art, 261 for course withdrawals, 310, 353, 356 101, 219–220
Picaaso, Pablo, 260 on students’ credit balances, 310
Native Americans, financial aid programs Special interest organizations, 333
for, 296 Planning Registration, 312
course descriptions, 237–241 Special students, 290
NEOCON, 267 dates for, 352, 354, 356 Spring/Summer Intensive Program, in
Network for Emerging Architectural and Law, Joint Degree Program in, Registration and academic policies,
51, 53 Creative Arts Therapy, 103
Research (NEAR), 23 313–329 Statistical methods, 237
New Hampshire, 103 Planning Accreditation Board, 21 Religious and spiritual organizations, 334
Plastics, 270 Student affairs, 331–342
Rembrandt, 261
366 index

Student Government Association (SGA),

333
Student Involvement, Department of, 332
Student media, 333
Student organizations, 333–334
Students, 9
full-time and part-time status of, 317
Interior Design program, 157
special, 290
Student teaching, 244–245, 279
Student work, 21
Study Abroad programs, 14–16
Summer certificate programs (SCP), 187
Sustainability, 16–17
planning, 239, 240
Programs for Sustainable Planning
and Development, 47–49
science of, 274
T U
Teaching
Art and Design Education, 244–245
in film and fiction, 246
New York State certification for, 179
student teaching, 279
see also Education
Technics, 270–271
Technology fees, 308
Test of English as a Foreign Language
(TOEFL), 79, 113, 126, 187, 194,
283–289
Theory, Criticism, and History of Art,
Design, and Architecture, combined
degrees in, 178
Thesis enrollment, 326
Thesis In Progress fees, 309
W
Undergraduate programs, 209 Web design, 248, 249
University College London, 14 Welding, 271
Urban Design, 23, 37–45, 242 Western art, 262
course descriptions, 242 Withdrawals
curriculum descriptions, 212 after deposit, 290
faculty, 43–45 from courses, 318–319
Urban Environmental Systems from courses, refunds for, 310, 353, 356
Management program, 57–61 from Pratt Institute, 319
course descriptions, 235, 243 Women
curriculum descriptions, 212 art by, 260
faculty, 60–61 in international cinema, 272
in Programs for Sustainable Planning
in photography, 261
and Development, 47, 48
at Pratt, history of, 7
Woodworking, 270
Work experience credit, 317

V
sustainable communities, 233
3-D Animation and Motion Arts, 217 World Information, Society and
Sustainable Pratt, 49 Environments (WISE) program, 175
Toy design, 264
Transcripts, 320–321 Writing
request fees for, 310 Venice (Italy) for art and design, 274
Transfer credits, 289–290, 316 art history of, 260–262 professional, 276
Transportation, 264 Pratt in, 15–16, 138 Writing Program, faculty, 205–208
planning, 239 Veterans assistance, 296, 315–316 Writing and Tutorial Center, 195, 208
Trustees, Board of, 347–348 Video editing, 249, 250
Tuition and fees, 307–312 Visual communications, 252
deposit, 289
meal plans, 336–337
room rates, 336
Tuition Management Systems, 308
Turkey, architecture in, 14
Tuscany (Italy), 15
Typography, 252, 253