dxd: differentiate by design no. 4

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RUNNING HEAD

DIFFERENTIATE by DESIGN NO.4Design and Technology

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RUNNING HEAD

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Design and technology have been linked for years. But now this symbiotic power couple appears to have tied a permanent knot that will benefit anyone who touches technology (which is nearly everyone, of course). As eBay CEO John Donahue says, “Now that we have enough technology to do anything, design can begin to be better than the technology itself.” In announcing the creation of its own live magazine called WIRED by Design, WIRED stated, “Design is far bigger than logos, gadgets, and clothes. It plays a defining role in nearly every facet of our lives, from buildings to films to music to food. Design lives inside the choices we make in pursuit of artistry.” What does this really mean, aside from design finally getting more respect? Quite possibly its rising stature may mean more leadership positions for designers and a greater likelihood that designers are involved in the development of a project on the first day, not when it is too late to make a difference. Designers have the empathy and knowledge to enhance the user experience, to make a good product better. Here’s another benefit to design having a dominant role: attractive, appealing design can overcome concerns about a product’s usability. As this issue of DxD demonstrates, Pratt Institute is successfully engaged in working with technology to make it more intuitive, more useful, and, yes, more visually appealing.

INTRODUCTION

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SPEAKING OF DESIGN: SANTIAGO PIEDRAFITA

DxD: Design and technology are seen as entwined, so that it is difficult to imagine one without the other. How has traditional design education responded to their increasing inseparability? SP: Technology and design education have always gone hand in hand. It can be reasonably argued that design in and of itself is a “technology,” capable of shaping, reshaping, and ultimately transforming the world we live in.

As I think of our programs within this ever- evolving context, I think of the considerable challenges and opportunities that await our students and with them a new generation of designers. Recognizing the critical importance of knowledge and expertise in a field that daily informs the ongoing project that is our communicative society, I am also reminded that design curricula must strive to address head-on the strategic environment in which our future graduates will practice.

Much-needed good work lies ahead in charting and shaping the various contemporary communications environments that presently describe a novel set of cultural, economic, and technological interrelationships among users, smart objects, and settings, and in aggregate, their many interactions. Invariably, it is within these new environments that one finds people— citizens, stakeholders, impacted communities, and others with pressing needs—leading us to problems worth solving and, with them, the opportunity for betterment for all involved.

More specifically, as our programs respond to design problems of increasing complexity in systems and contexts of use, I see three growing areas of study as critical to the preparation of our students: user experience design that anticipates, understands, and supports user behavior within a wide range of communications systems; interaction design that determines the design of optimal human-to-human and human-to-system interactions when working with complex information technologies; and information design that enables the organization and presentation of complex information to support use, analysis, and comprehension of all kinds of meaningful knowledge.

DxD: But do we help prepare designers today for this increasingly complex world?

SP: I think designers are already ahead of the curve on this, based simply on what competencies are required to be a designer. We are certainly well versed in everything that is related to curiosity, creativity, indus-triousness, and, along with that, more than capable of innovative thinking and making. Still, these capabilities are sometimes mistakenly thought of as singular, even whimsical. Reassuringly, designers are just as rigorous in their approach, thorough in their working process, and precise in their execution as all other pertinent disci-plines and practices currently informing this new tech-nological moment. Moreover, more than most, designers have an expansive worldview that also privileges the understanding of the natural world, the social sciences, and the humanities—all critical to leveraging all techno-logical advancement in a progressive and responsible, human-centered manner. Ultimately, I believe that at Pratt we help prepare expert-generalists, able to engage with the world on multiple levels while championing the humanist ideal with people at the center. DxD: Finally, what can designers do to help all of us feel less overwhelmed by all the information that bombards us today? SP: Technological solutions that are not at their heart aimed at achieving a better quality of life for most, if not all, people can be harmfully regressive. Designers have the ability and often the choice to provide for sensible design solutions that support meaningful interactions with the world and the people around us. No matter the platform, vehicle, or format, I like to believe that there will always be a hunger and deep-seated need for what is valuable and enduring, what is worth knowing and retaining. If so, we need to continue to develop content that is true and relevant, that holds in it the promise of knowledge and wisdom. And, we must do all that we can to provide access to that very content, for a wide range of audiences and users. If we can do this, we will be doing both our part and our very best.

Santiago Piedrafita (M.S. Communications Design ’94) has come back home. He is the newly named chair of Pratt’s Graduate Communications Design Department. Previously he was associate professor and chair of the Department of Graphic Design and Industrial Design at the College of Design, North Carolina State University. Piedrafita has long been a student of the intersection between design and technology—and how designers and design education respond to and, perhaps more importantly, come to define the role of technology in today’s world.

SPEAKING OF DESIGN

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Architects are the true visionaries of the built environment. To give their ideas tangible form, they have turned to digital fabrication. At Pratt, faculty members in the School of Architecture are working with robotics technology to empower students to learn from real-world construction through innovative research at the forefront of the industry.

Partnering with Aercon AAC, a Florida-based company that is leading the way in the development of the versatile building product autoclaved aerated concrete (AAC), Pratt Undergraduate Architecture professors Lawrence Blough and Ezra Ardolino conducted two back-to-back courses designed to give undergraduate architecture students the opportunity to realize their computer- generated designs in life-size prototypes that they could fabricate themselves. The first course, a studio in which students designed office-building envelopes to be constructed from AAC blocks donated by Aercon, stemmed from Blough’s and Ardolino’s research in the use of robotics to develop advanced techniques for 21st-century masonry architecture. Combining materials such as AAC, which is both very light and very easy to carve, with robotics, architects could fabricate for themselves structures on par with the vaulted ceilings created by master stonemasons for the great Gothic cathedrals, which for centuries have served as the basis for further advances in both design and construction.

The second course, a prototyping seminar, gave students the opportunity to refine the digital designs they created in the previous course by using robots in Ardolino’s fabrication studio to mill the AAC modules to the appropriate size and shape. The students then worked with Blough to assemble the modules at the School of Architecture to create a 10-foot by 4-foot façade prototype in the lobby of Higgins Hall.

Such design-to-fabrication courses not only give students vital hands-on learning experiences, but also allow them to participate in the groundbreaking research being done by Pratt faculty members like Blough and Ardolino, which in turn advances their research. Blough says, “I like the idea of this cross-pollination between what goes on in my office and in Ezra’s office, and that we can then bring it back to the studio to really push it. It was really liberating for me to take it to a whole new level with Ezra and the students, because you have all of these great minds working on it.”

Design-to-fabrication courses not only give students vital hands-on learning experiences, but also allow them to participate in the groundbreaking research being done by Pratt faculty members, which in turn advances their research.

EXPLORING NEW HORIZONS IN 21ST-CENTURY MASONRY ARCHITECTURE

WITH ROBOTICS TECHNOLOGY

ROBOTIC FABRICATION

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LG CHALLENGES PRATT STUDENTS TO PORTRAY “THE ART OF THE PIXEL”

When it comes to digital displays, every pixel counts. So when LG Electronics sought to highlight the stunning color, contrast, and clarity of its new Ultra HD and OLED TV technologies, the company looked to students at Pratt and eight other top art and design schools to create digital works that demonstrate the impact of every pixel.

“The Art of the Pixel” competition is part of LG’s campaign to launch two new displays: Ultra HD, which boasts a resolution four times that of Full HD 1080p displays; and OLED, which incorporates novel technologies that allow individual pixels to be turned off and on, rendering truly black blacks for unparalleled contrast.

Following an online popular vote and scoring by acclaimed digital artist Mark Tribe and LG experts, 110 Fathoms by Pratt Communications Design junior Joseph Bui (B.F.A. Communications Design, Class of ’16) was named first runner-up out of nearly 300 entries. To create 110 Fathoms, Bui used an HP Photosmart D110 series scanner as a camera. With their dramatically increased optical resolution, as compared to digital cameras, and built-in light sources, flatbed scanners can capture incredibly sharp and saturated images—precisely the type that show off LG’s new displays. According to Tim Alessi, LG’s director of new product development for home entertainment, “Students applied the latest display technology in a way that really showcases the brilliance that today’s most advanced TV displays deliver.”

When LG Electronics sought to highlight its new Ultra HD and OLED TV technologies, the company looked to students at Pratt to create digital works that demonstrate the impact of every pixel.

LG

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PRATT COLLABORATION WITH LG ELECTRONICS USA AND SURFACE MAGAZINE ON SHOW AT

ART BASEL MIAMI BEACH

Pratt Digital Arts, an exhibition organized by Pratt Institute in partnership with LG Electronics USA and Surface magazine, attracted lively crowds to the Miami Beach EDITION hotel for a special Pratt reception and an exclusive Surface magazine talk with curator Hans Ulrich Obrist, musician FKA Twigs, and artist Alex Israel during Art Basel Miami Beach on December 4 and 5. The exhibition, curated by Pratt’s Department of Digital Arts Chair Peter Patchen, featured digital artwork by Pratt students and recent graduates shown on state-of-the-art LG Ultra HD 4K TVs and OLED TVs. Select pieces in the show were created for LG’s 2014 art competition that challenged students at nine of the country’s top art schools to create new digital artwork. Highlights included 110 Fathoms by Pratt student Joseph Bui (B.F.A. Communications Design, Class of ’16), who won second place in LG’s acclaimed national “The Art of the Pixel” competition held earlier this year.

The Pratt Digital Arts exhibition attracted lively crowds to the Miami Beach EDITION hotel for a special Pratt reception and an exclusive Surface magazine talk with curator Hans Ulrich Obrist, musician FKA Twigs, and artist Alex Israel during Art Basel Miami Beach.

ART BASEL

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Design is a funny word. Some people think

design means how it looks, but of

course, if you dig deeper, it’s really

how it works.Steve Jobs

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When you take technology and

mix it with art, you always come up with something

innovative.Robert Rodriguez

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OUT OF THIS WORLD: NASA AND PRATT PARTNER ON WEARABLE TECHNOLOGY

The wearable technology industry—already a $3-5 billion market—is set to grow to over $40 billion within the next five years, according to research from Credit Suisse, radically altering the way we interact with technology, our environment, and each other. As designers and hardware engineers regularly find themselves working side by side in this space, collaboration across disciplines is increasingly important.

With an eye on these trends, Pratt partnered with NASA last fall to create reconfigurable smart garments for astronauts on the International Space Station. During a wearable technology design studio class taught by Adjunct Associate Professor of Industrial Design Rebeccah Pailes-Friedman, Pratt students partnered with engineering students from the University of New Hampshire (UNH) on a project for NASA’s WEAR Lab, a research division that focuses on developing and integrating wearable technology for garments used during space missions.

“Pratt is the first art school that NASA has worked with on wearable technology,” says Pailes- Friedman. She notes the strengths that Pratt brings to the project, including the Institute’s particular skill in producing functional and smart designs. Combining advanced knowledge of wearable technology and an interdisciplinary approach, Pratt was the ideal environment for NASA to test these new technologies.

Over the course of the semester, students created garments capable of housing removable electronic swatches that would enable astronauts to run multiple types of experiments. Pratt students designed the clothing, the swatches, and the mechanism for attaching them to the garment, while students at UNH worked on engineering unique functionality for each swatch.

The project proved inspirational for both designers and engineers. In April, students traveled to the Johnson Space Center to present their work to NASA, and in September they attended Seattle’s 2014 UbiComp, an international science and computing conference, to discuss a paper on the project accepted for publication at the panel, Atelier of Smart Garments and Accessories.

Pratt is the first art school that NASA has worked with on wearable technology.

NASA

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FROM E-COMMERCE TO CONTENT CREATION: PRATT EXPERTISE FINDS A HOME AT AMAZON

As technology has shifted, so too have opportunities in the marketplace for both retailers and creative content creators. Companies have gone from merely selling products to designing and manufacturing them, along with their content and the platforms to support them. Perhaps no company has been more conscious of this shifting market than Amazon, the world’s largest online retailer. As the company’s focus has rapidly grown to include user experience and content creation, so too has its need for employees specializing in everything from producing award-winning television, to editing new fiction, to designing cutting-edge electronic devices like the Kindle. In Pratt Institute graduates, Amazon has found the forward-thinking and practical approach to creativity that drives growth and innovation.

Pratt emphasizes “the role that user experience plays in designing and building successful products,” says Josh Eyre (Industrial Design ’07), Senior UX Designer at Amazon. This has proven integral for the growing retail giant as its products and markets continue to grow. The design thinking and real-world experience of Pratt alumni have helped Amazon to sustain a period of intense expansion into new markets with aplomb, making sure it remains “Earth’s most customer-centric company.”

Beyond fueling Amazon’s growth, Pratt graduates have helped shape the company culture of forward thinking by drawing on the lessons they learned during their education. “Pratt taught me to think about design concepts abstractly across mediums,” says Amazon Interactive Designer Benjamin Logsdon (B.F.A. Computer Graphics ’07). This has given him and other Pratt alumni colleagues an affinity for interdisci-plinary collaboration and a willingness to explore their ideas through trial and error, which helps explain the connection between the Institute and the company. In both places, Logsdon says, “Smart risks are encouraged and thinking big is expected.”

In Pratt Institute graduates, Amazon has found the forward-thinking and practical approach to creativity that drives growth and innovation.

AMAZON

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DESIGN AT THE THRESHOLD: REPURPOSING TECHNOLOGY TO CREATE MEANING

For Diego Zaks (M.F.A. ’14), exploration is the key to success. A self-described design technologist, Zaks seeks out, manipulates, and deploys the digital tools necessary to create both compelling works of art and engaging interactive experiences for start-ups and established firms.

Zaks set his sights on Pratt while still growing up in Venezuela. The Institute would ultimately provide the ideal environment in which to both hone his creative and technical skills and address the pervasive violence that eventually drove him away from his home country. Zaks’ thesis project, Design at the Threshold, represents the culmination of his search for the perfect means to convey the frustration and helplessness he felt living in the state of constant fear and uncertainty that exists in Venezuela.

Design at the Threshold consists of three distinct and interrelated pieces. The first, the Murder Machine, depicts the frequency of murders in Venezuela by creating a real-time feed of hypothetical murder reports generated from actual Venezuelan news reports that are deconstructed and reassembled to create a new headline every 20 minutes, reflecting the country’s murder rate in 2012, 2013, and 2014.

Design at the Threshold’s second piece, SOS Venezuela, is a darknet connecting peaceful student protestors in Venezuela, whom the police and military typically target. Allowing activists to stay connected during Internet blackouts, the platform identified more than 40 crimes in just four days. Invisible Protests, part three of Zaks’ thesis, projects life-size versions of the images collected via SOS Venezuela onto the streets of New York City, prompting viewers to consider how they would feel if such violence were a part of their daily lives.

Zaks credits the openness of the Pratt M.F.A. program in Communications Design with his ability to fully explore the technologies employed in Design at the Threshold in order to realize his ideas in such an impactful way. The results are getting noticed. The Murder Machine was also selected for the IberoAmerican International Design Biennial, which opened in Madrid in November 2014 and will go on to tour the world.

Today, Zaks uses the methodologies he developed for Design at the Threshold to create interactive installations and consumer experiences for Eponym, an eyewear start-up company with stores throughout New York and San Francisco. He feels fortunate to have found a professional environment that mirrors that of Pratt—one that will allow him to follow his passions and interests to create a great product. Zaks says, “My work is inseparable from who I am, where I’ve been, and what I’ve done. It’s all about using technology to tell a story.”

Zaks seeks out, manipulates, and deploys the digital tools necessary to create both compelling works of art and engaging interactive experiences for start-ups and established firms.

DIEGO ZAKS

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SECOND NATURE: EXPLORING THE ENVIRONMENT THROUGH TECHNOLOGY

Most people wouldn’t think of technology as a way to get back to nature, but for Adjunct Assistant Professor of Architecture Ajmal Aqtash (B. Arch. ’02), the link is crystal clear. He sees advances in technology as opportunities to explore new territories, using an organic approach to improving systems for everything from building natural structures to harnessing wind power.

Aqtash was drawn back to Pratt precisely because he wanted to work with the School of Architec-ture’s Center for Experimental Structures, a unique initiative that seeks to bridge the gap between new building technology and the advantages of natural design. As the center’s Associate Director, Aqtash works on projects that not only allow him to create better structures, but to experiment and explore in order to envision new inventions, radical redesigns, and the building blocks for a more sustainable future.

He is at work developing a biodegradable skeleton on which organic matter will grow without soil, a system that has the potential to revolutionize everything from green architecture to environmentalism. This skeleton eventually decomposes, leaving behind natural structures capable of everything from insulating residential communities from highway noise and pollution to helping to cool and provide shade for the façades of existing buildings. These structures could eventually be modified to help rebuild vulnerable environmental systems, including ocean reefs and mangroves.

Aqtash is currently creating multiple simulators that will help him determine factors that are key to the system’s success. The first of these simulates different climates, varying levels of humidity, precipitation, and heat, to allow Aqtash to understand the growth rates of the natural root structures that make up his design. The second, a UV accelerator, simulates long periods of UV exposure on the biodegradable materials that will initially support the structure. For this project, Aqtash’s team includes undergraduate research assistants specializing in morphology, the study of the structure and form of systems. These students have not only helped Aqtash to carry out his ideas, but have also provided new insight while putting their growing technical knowledge into practice.

For both the students and Aqtash, these projects are as much about experimentation and risk-taking as they are about research. By manufacturing his own parts for preliminary testing using MakerBot 3-D printers and developing new software interfaces, Aqtash has been able to nimbly adapt his designs as he makes new discoveries. This is true for his work on the natural structure and simulators as well as his other ventures, including a wind testing apparatus that he is developing to capture wind power more efficiently by adapting to changing wind flow conditions.

Aqtash, who has always been interested in using architecture in concert with the natural environment, views these projects as the precursors to large-scale change in architecture and design.

Aqtash sees advances in technology as opportunities to explore new territories, using an organic approach to improving systems for everything from building natural structures to harnessing wind power.

AJMAL AQTASH

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PRATT’S 2014 FASHION SHOW SPOTLIGHTED BEST DESIGNS AND FASHION ICONS

The Pratt Institute Fashion Show, held in May 2014, marked a celebration of new talent and two of fashion’s most noted black designers at a grand event befitting of, and benefiting, one of the oldest departments of fashion design in the country.

Stephen Burrows, preeminent black designer of the 1970s and 1980s, received the Pratt Fashion Lifetime Achievement Award. Byron Lars, leader of a new generation of influential black designers, received the Pratt Fashion Visionary Award. Both designers had their work featured at a major exhibition held in the spring at Pratt Manhattan Gallery. Titled Black Dress: Ten Contemporary Fashion Designers, the show celebrated the creativity and entrepreneurial success of black designers.

Cotton Incorporated was the lead sponsor, with funding awarded in part through a competitive grant given to Pratt by the Importer Support Program of the Cotton Board and managed by Cotton Incorporated. Santander Universities, the philanthropic arm of the Santander Group that focuses on advancing the needs of society as a whole though higher education, also supported the event. Their generous involvement helped Pratt’s 115th ticketed runway show become a runaway success.

The work of graduating seniors featured in the show, titled “Under Construction,” was pre-selected by a panel of industry experts and fashion press whose members worked with the students all year, reviewing, critiquing, and helping the seniors refine their works. Only the top works of 21 students, as selected by the panel, were presented. The students, working with Fashion Department Chair Jennifer Minniti, were given a challenge: rethink the boundaries of fashion through new ideas and techniques. That meant working with newly developed fabrics, manipulated textiles, bonded materials, and alternative methods of construction.

While the honored designers and the curated student designs were the stars of the evening, the show’s glow was enhanced by the icons presenting the awards to the honorees. Supermodel Pat Cleveland presented the award to Burrows, and actress Angela Bassett gave Lars his award.

The Pratt Institute Fashion Show and the cocktail benefit that follows celebrate the fashion industry—newcomers and leading designers alike—and also generate significant funds for student scholarships and the Department of Fashion Design.

FASHION

TECHNOLOGY

DESIGN AND

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Plates

P. 02Pratt alumnus Santiago Piedrafi ta (M.S. Communications Design ’99)

believes that technology and design have always gone hand in hand.

P. 04Participants in Blough and Ardolino’s

design studio designed AAC envelopes for a generic four-story offi ce building.

(Courtesy of Lawrence Blough)

P. 06110 Fathoms by Joseph Bui (B.F.A.

Communications Design, Class of ’16) was named fi rst runner-up in LG Electronics’

“The Art of the Pixel” competition.

P. 15Image from Invisible Protests shows riot police in Caracas, Venezuela, projected

onto the streets of New York City.

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P. 16A schematic of Ajmal Aqtash’s device,

which simulates different climates, varying levels of humidity, precipitation,

and heat

P. 20By Caroline Kaufman (B.F.A. Fashion, ´14)

P. 21By Allison Bjerknes (B.F.A. Fashion, ´14)

P. 19By Anne Lysonski

(B.F.A. Fashion, ´14)

Plates

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P. 33Eduardo Palma

(M.F.A. Communications Design ´15) took first place in the Pratt/Hennessey’s

2014 “Wild Rabbit” competition.

P. 34From Es Mejor Ser Rich Que Poor,

Eduardo Palma’s award-winning interactive installation representing the dichotomy

of rich and poor societies

P. 30The leather and plywood woven

chair by Justin Crocker (M.I.D. ´14) was displayed at the International

Contemporary Furniture Fair.

Plates

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P. 35Partially revealed second layer from Es Mejor

Ser Rich Que Poor, Eduardo Palma’s award-winning interactive installation representing

the dichotomy of rich and poor societies

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P. 38For the Wall Street Journal’s 125th anniversary,

Michael Levin (M.F.A. Communications Design ´15) created a series of portraits of WSJ readers

incorporating the paper’s signature hedcut style. Levin asked each sitter for their thoughts on

the WSJ’s history and then used their words to construct the hedcuts.

Plates

P. 38Second in the series of portraits

by Michael Levin (M.F.A. Communications Design ´15)

P. 38Third in the series of portraits


P. 38Fourth in the series of portraits


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Visual appearance is one of the most effective variables

for quicklydifferentiating

one application from another.

Bob Baxley

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Where you innovate, how you innovate, and what

you innovate are design problems.

Tim Brown—

3129

Design is the intermediary

between information and understanding.

Hans Hofmann—

323330

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PRATT SHINES AT ICFF WITH TWO STELLAR BOOTHS

When the International Contemporary Furniture Fair (ICFF) was held last May at the Jacob K. Javits Convention Center in New York, Pratt had two major exhibits at the premier platform for contemporary design.

The ICFF, billed as the leading North American venue for global design and luxury, attracts architects, interior designers, and developers from around the world. It is a big deal—and getting bigger. May’s show, the 26th annual, had 629 exhibitors, up 18 percent from the previous year, with more than 31,000 people attending the four-day event.

The Industrial Design Department’s display, “Discovering Brilliance,” featured inventive furniture designs by current ID students—work that highlights the creative breadth of students as they imagine and put into use structural innovations for furniture featuring the latest digital and traditional production techniques. Bruce Hannah, the professor who oversaw the birth of the works, from concept to actual piece, said, “Every student comes to class with an amazing idea that has been germinating for months, or even years.” He added that, “ICFF focuses students on the realization of the projects, allowing both students and industry leaders to discover the brilliance of their work.”

The second booth, “BF+DA: Redefining Business as Usual,” featured works by Pratt alumni entrepreneurs whose companies are part of Pratt’s design business incubator, the Brooklyn Fashion and Design Accelerator (BF+DA), located in Williamsburg. This booth spotlighted textiles, apparel, and tabletop designs, and also included Francis Bitonti Studio’s “Cloud Collection” of 3-D printed home goods and Really Brothers’ eco-friendly toys where the product is the packaging. The BF+DA provides an interdisciplinary workspace for startups with access to diverse resources including micro-run apparel production and high-tech digital fabrication facilities, along with another kind of critical support— business-development mentoring.

The ICFF provides a significant industry platform for Pratt students and alumni to demonstrate the strength of their imagination, exceptional use of materials and technology, and style.

ICFF

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HENNESSY CHALLENGES STUDENTS TO PURSUE THEIR “WILD RABBIT”

Hennessy V.S, the world’s top-selling cognac brand, and Pratt continue to participate in a collaboration that has yielded creative results.

Earlier in the year, nine Pratt students selected from a variety of disciplines were asked to create works of art shaped by Hennessy’s command, “Never stop. Never settle.” Goil Amornvivat, visiting assistant professor, worked with the students throughout the process, in which they were challenged to express their “Wild Rabbit”—or constant pursuit of one’s potential.

In late June the students’ works were evaluated by a panel of industry experts, including last year’s winner, Andre De Castro (M.F.A., Communications Design ’13), along with artist Futura; Hennessy Senior Vice President, Marketing, Rodney Williams; NYC and Company Chief Creative Officer William Wong; journalist Jeffrey Podolsky; Ralph Pucci International Creative Director Ken Smart; and Cloud Red partner and designer Allen Yee.

Eduardo Palma (M.F.A., Communications Design ´15), of Bogota, Colombia, won the top award for a project that focused on his passion—creating works that impact culture through language. His piece consists of 120 postcards that combine to form a large mural with the message Es Mejor Ser Rich Que Poor (It’s better to be rich than poor) that represents the dichotomy between privileged and poor societies. Palma, whose work has been exhibited often during the past several years, says, “I’m passionate about design as a way of seeking, approaching, and solving problems. During my training and professional experience, I’ve had the opportunity to explore different areas of design, which showed me the importance of design thinking and logic, and has also enabled me to get an important set of skills and tools to put into practice.” He adds, “As a professional, I’m eager to contribute to the solution of social issues and to work with people from different disciplines and backgrounds.”

Palma’s piece was exhibited a second time this year, when Pratt and the Schomburg Center for Research in Black Culture showcased his installation, followed by a panel discussion about the ways in which language and culture shape each other with artist Shantell Martin, Ellery Washington, and others.

Second place honors went to Eden Daniell (B.F.A. Fine Art Jewelry ´14) of Norwalk, CT. Her Wild Rabbit is challenging viewers to discover the unexpected via a complex silver ring. Lillian Ling (M.F.A. Communications Design ´15) of Columbia, MD, took third place for instigating cultural critique through design, using three tablets to represent the children’s game Rock, Paper, Scissors.

The three artists had their work displayed during a private two-day salon series and roundtable discussion of industry leaders in Los Angeles, at Pratt Trustee Ralph Pucci’s showroom. The event celebrated the launch of a limited-edition Hennessy bottle by renowned street artist Shepard Fairey. Two of the Pratt students, Palma and Ling, discussed their pieces during the panel, which focused on the future of art and the role of collaboration between artists, brands, and institutions. Questions for the panelists, who included Fairey, Pratt alumnus Derrick Adams, Saatchi Art CEO Sean Moriarty, and artist Futura, were submitted via social media. “Our partnership with Pratt Institute, now in its third year, continues to produce a level of work that exceeds our expectations and highlights the depth of talent at the school,” says Rodney Williams, Senior Vice President of Marketing at Hennessy V.S.

“We are proud to be able to showcase the abilities of such talented students and provide a global platform where they can express their ideas and creativity.”

HENNESSY

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VISA/PRATT CHARRETTE: HIGHLY SUCCESSFUL COLLABORATION

What’s a charrette? It could be an effective tool for corporations that seek answers, new perspectives, and a range of approaches to a particular challenge.

A charrette is an intense, one- to three-day meeting that explores a particular design challenge by bringing together all possible stakeholders, including the client with the design problem and experts from a range of backgrounds. These people come together to discuss not only how to solve the issue, but also whether more research is needed, or if the design itself should be changed—maybe even how to market the new design. The outcome of the session is actionable ideas developed in just days, by a hand-ful of people in a room, instead of multiple departments within a company taking months or even years to achieve similar results.

Pratt has fully embraced the concept of the charrette, which allows students and faculty to apply design thinking to the real-life challenges faced by corporations every day. In the past, Pratt has been engaged by Colgate-Palmolive, L’Oréal, and Sanofi-Aventis to hold charrettes that explore specific client concerns.

One Saturday last August, 25 people gathered at Pratt—10 faculty, 10 students, five representatives from Visa, plus a chronicler of the session and an illustrator. Their mission was to discuss, brainstorm, and document the creative process surrounding a profound question: how to revolutionize the traditional method of payment by credit card, one that has been static for decades. The 25 formed a creative community that was given the time and freedom to generate ideas that might lead to more questions, or might focus on several targeted areas that could be explored more intensely through workshops or design studios. For instance, who is the person who will use the card—what is the narrative that describes how, when, and why it will be used? How innovative should a new card be? How will it be integrated into pre-existing technology?

“The charrette has been a beneficial and exciting experi-ence that has helped us understand both our challenges and our options—thanks to the fresh thinking, technical expertise, and incredible design acumen of Pratt students and faculty,” said Ken Sippola, Senior Director, Global Design Innovation, Visa. “We look forward to continuing this relationship with Pratt, as we grow even more innovative and design-driven.”

VISA

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THE SOUND OF CREATIVITY: ME.U AND PRATT

Me.U might appear to simply be a young accessory company, but this design-driven lifestyle brand understands the importance of creativity and appeals to photographers, musicians, filmmakers, and artists with a strong aesthetic. So when this premier audio accessory company set out to develop a new pair of headphones, a partnership with Pratt Institute made perfect sense. Together, Me.U and Pratt created a sponsored studio in which student participants from Industrial and Fashion Design were tasked with proposing designs for a Pratt co-collection of earphones.

With Associate Professor of Industrial Design Rebeccah Pailes-Friedman, an expert in wearable technology, as faculty advisor, participants developed three designs that captured the youthful, artistic aesthetic and ideology of the Me.U brand. The top proposals from each student were then put into production for the final phase of the project. The layered, edgy design of Chantal Galipeau (B.F.A. Fashion Design ’15) spoke to the raw inspiration of Brooklyn and will soon be sold and manufactured by Me.U. The partnership with the Institute allowed the fledgling company to gain access to young talent and capture fresh ideas in a creative setting, all while connecting directly with their target market. For their part, Pratt students not only offered an innovative approach to design, but also gained real-world experience on product design and development.

“Our headphones embody cutting-edge design and an aesthetic that appeals to the creative nature of the individual, just as Pratt is world-famous for nurturing the creative spirit in its students,” says Johan Persson, one of the creators of Me.U.

ME.U

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PRATT INSTRUMENTAL IN THE WALL STREET JOURNAL’S 125TH

ANNIVERSARY CELEBRATION

The first issue of The Wall Street Journal (WSJ) was published on July 8, 1889; it cost 2 cents and a year’s subscription was $5. Pratt Institute was already two years old.

It is fitting that The Wall Street Journal’s parent Dow Jones and Pratt—pioneers and still leaders in their respective fields—formed a partnership to create works that celebrate the impressive history and ongoing innovative approach of The Wall Street Journal as it celebrated its 125th anniversary during the summer.

Eleven Pratt students, with varied backgrounds and interests, were involved in the initiative that resulted in an exhibition, Pratt Celebrates 125 Years of The Wall Street Journal, held at the Pratt Manhattan Gallery from July 8 to August 21. The students were given access to Journal staff and archives so that they could research the publication, its culture, its high journalistic standards, and how it grew from a four-page newsletter to its position as one of the most influential voices in journalism—as well as the largest circulation paper in the country.

Eric O’Toole, adjunct assistant professor of Graduate Communications Design, who oversaw the project and spearheaded the design of the exhibition, said, “Pratt students have unique skill sets that enable them to tell stories visually. It is exciting to see them use these talents to create a narrative exploring the long history of The Wall Street Journal.”

In August, representatives from Pratt, the Journal, and Dow Jones voted on their favorite artist/ designer, taking into account concept, interpretation of themes, execution, and presentation in making their decision. A portrait series by Michael Levin (M.F.A. ’15)—inspired by four family members who are avid Wall Street Journal readers—featured hedcuts in the traditional WSJ design that were created using comments about the publication made by his sitters, rather than the usual dots. Levin’s work was chosen for permanent display in Dow Jones’ corporate office in New York.

Saana Hellsten (M.F.A. Communications Design ’15) and Saul Schister (B.F.A. ’14) were given special recognition as runners-up. Hellsten created a three-dimensional wooden portrait in hedcut style of one of the Journal’s longest-employed individuals. Schister’s work, a modern-day re-imagining of the 15th-century Gutenberg printing press, became a performance piece in the gallery as he printed a limited edition (125) of birthday cards in honor of the Journal’s 125th anniversary.

Paula Keve, Chief Communications Officer, Dow Jones, said, “We have enjoyed working with these young artists and were delighted to see their creative representations of the Journal’s extraordinary achievements.”

The exhibition’s media coverage was as successful as the exhibition itself. Interior Design magazine featured the exhibition in its news and events section in the print edition and online. Pratt also focused on a social media campaign across Facebook, Twitter, and Instagram that led to posts from Interior Design magazine to its 190,000 followers, Wall Street Journal Executive Editor Almar Latour to his 5,700 followers, and arts reporter Kelly Crow, who advised her 14,000 followers to visit the show. Pratt’s media relations team also staffed weekly Wall Street Journal after-hours events, including a WSJ alumni event attended by press from the Journal and other high-profile outlets.

“Pratt students have unique skill sets that enable them to tell stories visually.”

WSJ

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Design is so critical it should be

on the agenda of every meeting in

every single department.

Tom Peters—

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Design is always about synthesis—

synthesis of market needs,

technology trends, and business

needs.Jim Wicks—

ALUMNI PROFILE

FRANCIS BITONTI

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FRANCIS BITONTIHome Décor, Fashion Refashioned – 3-D Printing with a Designer’s Touch

As Francis Bitonti (M.Arch. ´08) recalls, “I was a confused undergrad.” The proof? He went from majoring in writing to biology to getting an arts degree, simply because he was interested in computer graphics. After receiving his degree, he met an architect and thought that might be an interesting profession, particularly since he had always been intrigued by forms and wanted to work with physical materials, not just virtual ones.

So he enrolled in Pratt’s School of Architecture. “I loved Pratt. I was allowed to explore so many different areas and use my programming background to experiment,” he says. Any confusion about what he wanted to do had ended, and he began his highly successful career at the intersection of design and technology.

When Bitonti left Pratt, he began exploring the limits of computing, in particular, gaining an under-standing of what a computer could draw. As an architect/industrial designer, he opened Francis Bitonti Studio in 2007. His mission was to apply digital design and computer-controlled manufacturing technol-ogies in a number of industries. One of his first initiatives was to design and build a bike rack in a compe-tition sponsored by the New York City Department of Transportation, Google, and the Cooper-Hewitt International Design Museum. His effort—an eco-friendly, cost-effective bike rack that was attractive and versatile—gained him finalist status.

Next, Bitonti ventured into 3-D design for furniture. From there, he found his way to fashion. He knew that his methodology—meshing computer-driven techniques and advanced manufacturing technologies—had the ability to completely transform the industry. In this arena, he has collaborated with designer Katie Gallagher on small accessories and textiles, and with Michael Schmidt Studios, he created the famous fully articulated 3-D gown for burlesque luminary Dita Von Teese.

With his own eclectic academic background as a guide, Bitonti is determined to help others break the rules of fashion design and manufacturing. In the summer of 2013, he founded the New Skins Workshop Series. It enables students to immerse themselves in the development and execution of 3-D printed research clothing.

In 2015, Bitonti will launch what he calls his “disruptive luxury brand” that will offer fine jewelry, bags, and accessories for members. People who sign up for and receive membership will be able to shop, see previews, and receive new product releases. But if you don’t care about accessories or jewelry, you can still have your own Francis Bitonti bowl, plate, or vase. For a dollar and access to a 3-D printer, you can have a piece from his Cloud Collection. It’s a luxury brand for everyone.

Bitonti knew that his methodology—meshing computer-driven techniques and advanced manufac-turing technologies—had the ability to completely transform the industry.

ALUMNI PROFILE

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FACULTY PROFILE

CRAIGMacDONALD

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CRAIG MacDONALDIntegrating Information with User Experience (UX) Design

Craig M. MacDonald, assistant professor, School of Information and Library Science (SILS), wants to play matchmaker. He thinks it’s time that technology and design become more entwined, and he believes his areas of expertise are a good starting point—Human-Computer Interaction (HCI) and Library and Informa-tion Science (LIS).

He acknowledges that the foundation technology of any object is essential. “Something has to work first before improvements to usability are added,” he says. “But it’s also important to consider whether the product is enjoyable and appealing to use.”

Still, he is disappointed with the pace at which those enhancements occur. MacDonald thinks one way to address the problem is for technologists to gain visual design literacy. “Visual design must be considered initially; it can’t be simply shiny packaging placed on a functionally usable product at the end of the process.” That just doesn’t work, he says, adding, “Visual design must be integrated into the user-centered design process from the start.”

Designers needn’t worry that this approach will place their jobs in jeopardy. As MacDonald says, only literacy is required, not fluency. HCI and usability professionals need to know some fundamentals such as composition, color theory, grid design, and typography. With that grounding, technologists and usability professionals will better understand creative expression and appreciate the power of aesthetics in influencing users’ perceptions and buying decisions.

Two years ago, MacDonald joined the SILS faculty so that he could, on a daily basis, interact with the design-thinking community and perhaps even develop a model for how designers and information scientists might work together and borrow from each other to make better products and systems.

Making technology more accessible doesn’t just mean making changes to a physical object. It is also about organizing information so that it can be found more easily. That’s why he has SILS students work with museums, libraries, and corporations to help them better organize information, often by designing better interfaces to help people find things. Ultimately, he is helping students become UX professionals (including librarians) who design better tools, spaces, and services that take into account how people interact with others and information.

He believes, for example, that museums and historical archives must rethink how they digitize their holdings so that the user experience is more engaging, intuitive, and user-friendly. He’ll put his theories to the test in a partnership with Carnegie Hall, in which he will work with SILS students to conduct research on behalf of the Carnegie Hall Digital Archive Project to learn users’ expectations and preferences for searching and browsing the Hall’s archival materials (e.g., historical posters, ticket stubs, programs, and other event ephemera).

MacDonald sees the emergence of more and stronger links between technology and design. “This year, the theme of Google’s developer conference was design. That is a huge change for such a technology-centric company. And IBM has said it will invest $100 million and hire 1,000 designers in the coming years,” he says. These patterns point to increasing opportunities for designers and better user experience for everyone who uses technology.

Making technology more accessible doesn’t just mean making changes to a physical object. It is also about orga-nizing information so that it can be found more easily.

FACULTY PROFILE

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PRATT SHOWS 2015

2015 PRATT FASHION SHOW + COCKTAIL BENEFIT

PRATT PRESENTS: WOMEN OF INFLUENCE IN THE BUSINESS OF STYLE

NYCXDESIGN: ICFF

EVENTS

JOIN US

Explore the year’s boldest ideas, biggest thinking, and best work in Pratt Institute’s spring year-end shows.

Various dates and venues. For more information, visit www.pratt.edu/pratt-shows

Honoring Francisco Costa and featuring collections by the Department of Fashion class of 2015

Thursday, May 7, 20156 PM Award Presentation and Fashion ShowCenter548, 548 West 22nd Street, Manhattan7:30 PM Cocktail BenefitDream Meatpacking District, 355 West 16th Street, ManhattanLead Sponsor: The Importer Support Program of the Cotton Board and Cotton IncorporatedPlatinum Sponsor: Santander UniversitiesFor more information, contact [email protected] or 718.399.4548.

With Shirley Cook, CEO of Proenza Schouler, and Melisa Goldie, CMO of Calvin Klein; and moderated by Eric Wilson, InStyle magazine

Friday, May 8, 20155:30 PM Reception, 6:30 PM TalkPratt Institute, IAC Building, 200 Willoughby Avenue, BrooklynSponsored by Rolls-RoyceFree and open to the public; reservations are required.For more information and reservations, contact [email protected].

North America’s premier showcase for contempo-rary design, the ICFF annually lures those in determined pursuit of design’s timely truths and latest trends to an encyclopedic exhibition of up-to-the-moment offerings, as well as a series of fascinating, fun, edifying programs, and a packed schedule of exhibits and features.

May 16–19, 2015Jacob K. Javits Convention Center, 11th Avenue at 38th Street, Manhattan

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Saturday, September 19, 2015Pratt Institute, 200 Willoughby Avenue, BrooklynFor information, email [email protected].

NYC Media Lab’s Annual Summit is a crash course in the best thinking, projects, and talent in digital media and communications across the city’s universities.

September 25, 2015, 9 AM–5 PMNYU Skirball Center for the Performing Arts, 566 LaGuardia Place, Manhattan

SoDA, Society of Digital Agencies, Inc., serves as a network and voice for entrepreneurs and innova-tors around the globe who are creating the future of marketing and digital experiences. The SoDA Academy Learning Conference takes SoDA’s collaborative approach to an entirely new level—focused specifically on leading practitioners in 10 key disciplines.

October 11–13, 2015Pratt Institute, Higgins Hall61 St. James Place (at the corner of Lafayette Avenue), BrooklynPresented in partnership with SoDA, Society of Digital Agencies, Inc.

A Pratt Institute scholarship benefit honoring icons of art and design

Thursday, October 29, 2015Mandarin Oriental, 80 Columbus Circle, Manhattan www.pratt.edu/Legends

EVENTS

JOIN US

ALUMNI DAY 2015

NYC MEDIA LAB 2015 ANNUAL SUMMIT

2015 SODA ACADEMY LEARNING CONFERENCE

LEGENDS 2015

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DxD4 Design and Technology April 2015

Writers: Karen Horton, Charlotte Savidge, Harris SolomonCreative Director: Mats HåkanssonAssociate Creative Director: Kara SchlindweinDesign: Ghazaal Vojdani Image Manipulation: Ghazaal Vojdani & Alex Cerrilla Production Manager: David DupontPrinter: High Road Press

Differentiate by Design (DxD) is produced by the Office of Strategic Partnerships and Institutional Support in the Division of Institutional Advancement for Pratt Institute’s corporate partners and friends. Executive Director, Strategic Partnerships and Institutional SupportLudovic Leroy Senior Corporate Relations ManagerJustin Coles CoordinatorAlexandre da Silva To learn more about how you can benefit from a partnership with Pratt, email us at [email protected].

About the cover image:The graphic elements on the front cover are derived from diagrams of ecotones—transitional areas where two communities meet and integrate, such as the area where grasslands meet the forest, or where one body of water meets another.

In this case, the use of ecotones alludes to the intersection between the communities of design and technology. This concept is also reflected in the contrast between two printing processes on the cover as well as in the two key colors used throughout DxD4.

About the imagery:The graphic effects applied to the imagery within this issue of DxD are the visual language of satellite or x-ray imagery as a reference to science and technology.

Moreover, the use of fluorescent inks and experimentation within the tradi-tional printing process asserts the theme of DxD4 throughout the magazine.

COLOPHON

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RUNNING HEAD

PRATT INSTITUTEInstitutional Advancement | Strategic Partnerships and Institutional Support 200 Willoughby Avenue | Brooklyn, NY 11205

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RUNNING HEAD

dxd: differentiate by design no. 4

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