· pdf fileconsiderations of theoretical design ideas, spatial relationships, and structure....

INTERIORDESIGN

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INT 456/656-01CINEMATIC SPACE

Cinematic Space is focused on the study of itecture and interiors being an integral component in the creation of a cinematic experience and narrative structure of film. Open to interior design students, as well as communication design, architecture, and film students, the course offers students a diverseapproach to understanding cinematic space as a parallel idea to interior design and architectural conceptual design thinking, and considerations of theoretical design ideas, spatial relationships, and structure.

Within the course, exploration of the ‘space within a space,’ will illustrate how the role of the production designer becomes a critical creative component to filmmaking and spatial definition. Through selected readings, lectures, film viewing, student presentations, and guest speakers, students will better understand how to analyze and utilize the facets of filmmaking processes and cinematic space to enhance their own work.

JON OTISMONDAY 5:30-8:20PM

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INT 481/731-01INTERIOR OPTIONS LAB:

INTERIOR CLADDING

This lab will examine the concepts, materials, applications and performance of the “cladded interior.” Cladding can be conceived as surfaces with protective qualities and as coverings that are layered onto substrata that range from columns and partitions to openings. As a performative skin, cladding conceals, insulates, resists, reflects, and absorbs. Often, cladding is used to “cover up” what is unsightly, abrasive, or vulnerable. Sharing its etymology with clothing, this concept of “covering” also suggests a close relationship with the scale of the human body—a tactile and conforming

surface that not only presents a face, or veneer, to the exterior, but reminds us that textiles and tectonics are also derived from the same root.

Students will research and explore concepts, materials and applications of skins and surfaces as they create interior cladding to develop full-scale designs investigating materiality, fabrication and installation that is site-specific. Concepts of cladding may seek inspiration from biological surfaces to digital and include embedded technologies and interactive surfaces.

KEENA SUHMONDAY 9:00-11:50AM

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PARAMETRICS

Parametrics is an advanced level design lab that will teach students the fundamentals of parametric and rule based modeling for design applications in Interior Design, Architecture and Product Design. The curriculum will encourage a conceptual shift away from the authorship of individual design artifacts, and towards the creation and navigation of rule based design spaces. In order to do so, the course will investigate rule-based and parametric design

concepts and techniques in the context of a generative modeling environment: Grasshopper for Rhino. An introduction to basic modeling techniques in Rhino, and numerous examples of how to utilize Rhino/GH in the context of contemporary design workflows will be included. The coursework will be supported by both practical and conceptual reading material. Assignments originate from the context of the applied modeling.

BEN HOWESMONDAY 5:30-8:20PM

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NARRATIVE SPACES

Narrative Space explores how interiors can be shaped to communicate cultural identity by weaving together physical artifacts and oral testimonies, as well as photographic and other documentary evidence. Using ethnographic techniques such as data collection, site observation, field documentation, and data analysis, students will explore methods of observing and recording to visualize human and spatial behaviors. Working in groups, students

will spend the semester on a single project, that includes researching, conceptualizing and constructing different exhibits at 1:1 scale based on the ethnographic data gathered. Topics are related to current socio-cultural issues.

MICHAEL MAGGIOTHURSDAY 5:30-8:20PM

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SOFT CONSTRUCTION

The primary goal of Soft Construction is to expand the use of textiles in habitable space, therefore making textiles a predominate element in the environment. Students will be asked to engage with multiple textile techniques and experiments in order to develop a vocabulary and methodology toward “textile thinking.” The class is conducted in a workshop format where students work and produce

artifacts and invent during the class time block. Two projects will be issued: one at a furniture scale and one at an interior architectural scale.Shop certification is required.

ANNIE COGGANTUESDAY 5:30-8:20PM

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BIOMIMICRY

We find conditions that affect our psyche and work production in negative ways. This Options Lab is created to mitigate these environmental stresses. Our focus will be on how to influence the design of the interior by exploring sustainable principals and the process of making things ecologically. The lab combines BIOMIMICRY, SUSTAINABILITY PRINCIPLES & INDOOR ENVIRONMENTAL QUALITY. First, we attempt to learn about the several million years of research and development that has

been conducted on the Earth. Second, we will study how to apply broad sustainability principles and life cycle assessment. Third, we will use this knowledge to begin to generate ideas and forms, or proposals that perform and give back to people in space. Proposals will address air/noise pollution, electro-smog and environmentally unsound materials – all coming from understanding the three different levels of Biomimicry.

TETSU OHARAMONDAY 5:30-8:20PM

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TASTE

What is taste and how is it constructed? How do objects and spaces gain values extrinsic to themselves? Taste shifts in modernity from a static set of values reiterating socioeconomic strata, to a dynamic system of value relations between an artifact or space, its representations and its consumption. Taste becomes modern through its engagement with media. Histories and theories of taste, from the aesthetic to the political, will be investigated. Students will analyze a project from the Case

KARIN TEHVETHURSDAY 9:00-11:50AM

Study House Program (1945-1966), as these houses were conceived as media. The analysis will look within and without, at its substance and image, to excavate design media as a metaphor for, and one site of, the formation of taste.

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INT 532-02TEXTILES FOR INTERIORS

This course makes a thorough study of textiles, wall covering, and carpet as it relates to aesthetics, application, and function. Both historical and current color & design movements in architecture and interiorsare examined in detail. The structure and other physical properties vis-a-vis design and application are studied, and that understanding applied to a mid-term textile design project. The second half of the semester consists

of a series of trips to textile manufacturers, showrooms and notable projects to function as case-studies for the use of textiles in architecture and the interior.

HAZEL SIEGELWEDNESDAY 2-4:50PMMANHATTAN CAMPUS

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INT 517-02FURNITURE DESIGN

This is an introduction to the concepts, functions, materials, and construction techniques of furniture design. It is also a review of design theory development in two- and three-dimensional forms. Lectures, readings and field trips prepare the students to solve furniture design problems in drawing andmodel techniques.

LUCIA DIRESPINUSMONDAY 5:30-8:20PM

UNDERGRADUATE COMMUNICATIONS

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COMD 210–01 INTRODUCTION TO DESIGN PROCEDURES

PROFESSOR RICHARD LUNA MONDAY 12:00 – 4:20 PMSC

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complex throughout the semester. Creative design is encouraged and included in each assignment, but creativity is critiqued only in relation to the limitations of production and presentation media. No prerequisites.

This course is the technical preparation of visual artwork for publication. Computer production techniques as well as handcrafting presentation skills are taught in the context of simulated professional job processes. Procedures grow more


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COMD 214-03INTRODUCTION TO T YPOGRAPHY

INSTRUCTOR TBA TUESDAY 4:30 – 8:50 PMSC

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practice of arranging groups of words in serif and sans serif alphabets. The class will be limited to the use of two typefaces—Garamond and Univers. Assignments requiring hand skills are balanced with those using digital type. No prerequisites.

This course covers the history, design and usage of verbal imagery in visual communications. Beginning with a review of communication and the history of writing systems—particularly western systems and the Roman alphabet, study proceeds with the


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COMD 220–01/02INTRODUCTION TO ILLUSTRATION

PROFESSOR LYNNE FOSTERTHURSDAY 9:00 – 1:20 PM

PROFESSOR CHERYL GROSSFRIDAY 12:00 – 4:20 PMSC

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Class sessions alternate between working drawing/ painting studio workshops and class critiques of assignments. No prerequisites.

This course offers a foundation in the art of making pictures for the purpose of communicating information and ideas. All production media are allowed and encouraged in this practice.

All-Nighter Survival Kit

Back up back up back up!!!! Need all to have access to all my �les at all times.

Very thirsty. All the time.

My magic wand.

Blessed to have these babies. They have the most nimble touch.

Don’t really need these when I'm on my computer, but they allow me to tap into my designer persona.

Where the magic happens.

One must be able to block out any source of distraction to become one with DESIGN.

Do need these. My eyes get like the Sahara desert.

Very necessary as well. Stressed out lips are not cute, and you never know if your night might call for an impromptu make out sesh!

Great for trips to the bathroom.

If only this was MY energy source.

You never knewwhen you’re goingto need a burst of potassium!

An all-nighter for me typically starts with a nap in the late afternoon that mentally prepares me for a concentrated period time. The environment is also an impor-tant factor. I need to be in a studio

alone or surrounded by other people that are also working––as long as it is at a desk and nowhere near a bed. I’m not a huge coffee drinker either, because it just makes me feel jittery. So instead of coffee to keep me awake, I use upbeat music to help me power through. Also snacks.

Everyone has their different methods of getting through an all-nighter. This is a personal collections of objects that I can- not be without when tackling an immense pile of work, in a short period of time.


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COMD 230–01/03INTRODUCTION TO IMAGING

PROFESSOR WILLIAM KONT ZIASMONDAY 4:30 – 8:50 PM

PROFESSOR MAX SHUPPERTFRIDAY 9:00 – 1:20 PMSC

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evaluation of assignments, effectiveness of communication with image and typography will ultimately determine the success of images used in design and illustration. No prerequisites.

This course offers a foundation of image capture and production techniques within the context of the commu-nications design professions. While artistic expression will remain an important criterion in the


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COMD 330–02/04ILLUSTRATIVE MEDIA

PROFESSOR CHERYL GROSSMONDAY 12:00 – 4:20 PM

PROFESSOR CHANG PARKWEDNESDAY 3:00 – 7:20 PMSC

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learn a variety of traditional and digital processes for crafting visual images. Assignments will foster exploration and experimentation to develop hand and technical skills while reinforcing the principles of color, form, and composition. No prerequisites.

This course introduces students to an array of media, techniques and materials as they are used in the creation of imagery for the communication of ideas and information. Employing a mix of demonstrations, in-class exercises and multi-week projects, students


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COMD 319–01/02ILLUSTRATED T YPOGRAPHY

PROFESSOR JEN HEUERWEDNESDAY 6:00 – 8:50 PM

PROFESSOR ALEX CITRINTHURSDAY 1:30 – 4:20 PMSC

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will address concerns of layout and typeface selection as well as their own generated type designs to enhance the editorial, conceptual, and narrative concerns of the illustration. Students will be expected to have taken one illustration class prior to enrolling in this course.

This course is designed to enhance sensitivity to and bridge the gap between textual design and image making. Because of the inherent relationship of message and image in illustration, the treatment of words in and around the picture can make or break the communication. In this course students


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COMD 411–03/04/05/06AF TER EFFECTS

PROFESSOR CLAUDIA SOHRENSTUESDAY 3:00 – 5:50 PM

PROFESSOR RICHARD BORGETUESDAY 6:00 – 8:50 PM

PROFESSOR MILTON LADDMONDAY 12:00 – 2:50 PMSC

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experience using Photo shop and Illustrator will find After Effects a familiar tool with an easy-to-use interface. This class opens up a field of potential for students who wish to add motion work to their portfolio. No prerequisites.

The field of motion graphics is one of the most exciting areas of practice in graphic design today. The release of After Effects has democratized the field of motion graphics for those who have little or no experience in animation. Those who have


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COMD 415–01SKETCHBOOK WAREHOUSE

PROFESSOR GREG KLETSEL THURSDAY 12:00 – 2:50 PM SC

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finished work of art, which is also essentially a warehouse of commercial potential. This class is about finding or further developing a “voice”, therefore each book, or books, will be guided by the student’s intuition and interests. No prerequisites.

This class will explore and examine the commercial viability of the work of sketchbooks. The sketchbook will be understood as a repository for ideas and explorations which will ultimately make up a personal vision. In turn, this vision can be used as a presentable, comprehensive,

GoodNight!


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COMD 431–01KID’S STUFF: CREATING PROJECTS

FOR CHILDREN

PROFESSOR MEGAN CASHTHURSDAY 3:00 – 5:50 PMSC

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learning and the developmental stages of childhood (and how these concepts inform the work) will also be discussed. Students will acquire a deeper familiarity with the topic through class work, assignments, field trips, films, guest lectures and exposure to contemporary and historical materials. No prerequisites.

This course will explore the world of art and design created for young people including books, publications, educational materials, toys and games as well as examine the realms where child and adult audiences intersect. This includes signage, institutional and environmental design, consumer products, packaging and brand identity. Perception,


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COMD 434-01/02SPT: PUBLICATIONS

PROFESSOR LARRY GENDRON TUESDAY 9:00 – 11:50 AM

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under the constraints of a weekly publication and may get the opportunity to supplement their portfolios with published illustrations.

Students will be expected to have taken one illustration class prior to enrolling in this course.

This course will provide students the opportunity to experience the highly-competitive world of editorial illustration. Students will be given weekly or bi-weekly illustration assignments and discuss concepts during class. Students in this class will acquire a greater appreciation for working under the constraints


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COMD 451–01/02/03FREELANCING & BUSINESS

PROFESSOR JON WEIMANWEDNESDAY 9:00 AM – 10:50 AMWEDNESDAY 3:00 PM – 4:50 PMWEDNESDAY 11:00 AM –12:50 PMSC

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Additional topics will include: negotiation, contracts, pricing, proposal writing, copyright laws, marketing, interviewing, researching clients, taxes, business structure/planning. The course serves to equip students with a plethora of tools necessary to compete in the professional environment. No prerequisites.

This course is essential for students planning to establish a freelance business or seek full-time employment in the field of illustration and/or graphic design. The course will a broad range of topics of professional practice, including resumes, cover letters, portfolios, websites, promotional pieces, and others.


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COMD 458–01INDEPENDENT PUBLISHING PRIMER

PROFESSOR DUNCAN HAMILTONTHURSDAY 9:00 –11:50 AMSC

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the culture and history of self-publishing while also acquiring a range of information and technical skills that can be applied within their own work.

Students should have a basic understanding of graphic design and typography prior to enrolling in this course.

This class introduces students to the world of independent publishing, specifically focusing on the different ways an artist might make use of the ‘short run’ self-published book or zine format to explore ideas and work collaboratively with other artists, writers and designers. Employing a mix of class discussion, field trips and studio work, students will gain an understanding of

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COMD 461–01VISUALIZING THE IDEA

PROFESSOR KATHLEEN CREIGHTONWEDNESDAY 12:00 – 2:50 PMSC

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This course will focus on the analysis of existing visual imagery and challenge students to create exciting new non-traditional visuals.

Students should have a basic understanding of camera use prior to enrolling in this course.

Modern media is oversaturated with images, many of which we have seen so often they have become invisible. Effective marketing requires messages to be seen in order to be heard. Before you can solve a design problem, you have to understand it.

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COMD 467–01DRAWING ON LOCATION

PROFESSOR VERONICA LAWLORTUESDAY 2:00 – 4:50 PMSC

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with their location, and photographs. Class time is utilized on site at various locations around New York to observe, take notes and draw in real time. Locations may include but not be limited to: the zoo, night court, Coney Island, Ground Zero, Chinatown, South Street Seaport, St. John the Divine Cathedral, Union Square and others. No prerequisites.

This course is designed to train students to visualize and document the environment they observe around them. Locations throughout New York are used as reference material for communication solutions that relate to timely subjects and provocative themes. Students will keep intensive journals of their visits that include observations of each location, interviews with people connected

UNDERGRADUATE INDUSTRIAL DESIGN

IND 510 01: APPLIED SPACE METHODOLOGYPROF. KATE HIXON

PS 403 & PS 505AMONDAY, 5:00 PM - 7:50 PMSC

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This course is directed toward the understanding of the concept of negative volume (space) in relation to interior and exterior environmental situations. Students apply the theory to a project (shop, restaurant, outdoor theater, exhibition space, or some other built environment) and bring it to finished model form. The spring semester applies the principles of Form and Space Methodology to a single context or space. Initial concept models explore abstract visual ideas, interpretive themes,

and material/site relationships. Students will then express relationships and adjustments of proportion, hierarchy, scale, color, texture, interior modeling, axial movement and spatial opposition.Final presentation models describe completed designs and are built with attention to craftsmanship.


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IND 516 15: PROTOT YPES II: KINETIC DESIGN

PROF. JOBE BOBEE

PS 407MONDAY, 1:00 PM – 3:50 PM

In this course, each student will design kinetic experiences that open, close and change shape in entirely new ways. Through fundamental exercises in Kinetic Design, experience will be gained in determining not just the forms of these products, but the aesthetics of their kinetic characters as well. With a focus on aesthetics, invention,

and usability, students will focus their visions to yield complex kinetic movements. Final work will result in a unique kinetic design that can progress from previous 3-D design work, if applicable. Student will be encouraged to consider broader applications for their kinetic designs.


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IND 543 01: DIGITAL IDEATIONPROF. HENRY YOO

PS 403 & PS 505ATUESDAY, 9:00 AM – 11:50 AM

Introduction to Digital Design provides the student with theoretical principles and practical examples of a wide variety of digital technology, tools, processes and methods which designers inevitably encounter in today’s workplace. The topics, principles, tools, and methods covered by the course include NURBS Modeling, Solid Modeling, Parametric Modeling, Feature-Based Modeling, Polygon Modeling, Developing Surfaces, Digital Sculpting, 3-D Rendering,

3-D Animation, 3-D Scanning, and 3-D Data Creation for Rapid-Prototyping or CNC Machining. Successful completion of the course will provide the student with the understanding and practical ability to assess, select, and make use of the most appropriate digital tools and methods for their academic studies and professional careers. (Prerequisite: IND-541 or approval from the professor.)


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IND 406 01: SPECIAL PROJECT: DESIGNING WITH MINIMAL RESOURCES (CUBA)

PROF. IGNACIO URBINA POLO

PS 405 MONDAY, 5:00 PM – 7:50 PM

This course is directed toward the understanding of the concept of negative volume (space) in relation to interior and exterior environmental situations. Students apply theory to a project (shop, restaurant, outdoor theater, exhibition space, or some other built environment) and bring it to finished model form. The spring semester applies the principles of Form and Space Methodology to a single context or space. Initial concept models explore abstract visual ideas, interpretive themes,

and material/site relationships. Students will then express relationships and adjustments of proportion, hierarchy, scale, color, texture, interior modeling, axial movement and spatial opposition.Final presentation models describe completed designs and are built with attention to craftsmanship.


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IND 487 01: SUSTAINABLE PRODUCTION METHODS: RESEARCH TOOLS AND

STRATEGIESPROF. FRANK MILLERO

WEDNESDAY 1:00 PM - 3:50 PM

This survey course examines the environmental impact of industrial production.Ecology and production are explored through material categories, elucidating the material’s history, properties and applications, fabrication methods, environmental impacts, and alternative strategies.

While focused on materials, the course encompasses a range of approaches that will enhance the value and intelligence of your designs. Through this course you will hone your research, critical thinking and presentation skills through lectures and discussion, in-class activities, research projects and field trips.

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GRADUATE INDUSTRIAL DESIGN

IND 622 01: INTERDISCIPLINARY SPACE AND LIGHT DESIGN STUDIO

PROF. PETER BARNA

PS 405THURSDAY, 5:00 PM – 7:50 PM

This course presumes that our future experience of spaces will be a blend of traditional “concrete and static” reality + “virtual and dynamic” reality. With research projects, students will explore the potential of Reality Augmented. Video projection is used to transform the perceptual structure of architectural and interior spaces. The intention is to mold, with light, the user’s experience of spaces. The class begins with analysis/duplication

of the work by light artists James Turrell, Robert Irwin, Dan Flavin, etc. Students then extend this work to create spatial expressions that explore the possibilities of our future Reality Augmented.It is an open interdisciplinary graduate research course for interior designers, architects, industrial designers, digital artists, fine artists, and ComD majors. All other Pratt graduate students are welcome. Email: [email protected] with questions.

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GRADUATE INDUSTRIAL DESIGN

IND 632 01: TABLETOP DESIGN STUDIO PROF. LUCIA DE RESPINIS

PS 410THURSDAY 1:00 PM – 3:50 PM

Consuming food is a universal activity, totally influenced by the culture in which it is performed. The TableTop course asks a student to choose a culture other than their own, fully research that culture and use this knowledge to design tableware that communicates that culture, visually and through its use in a public venue located in New York City.

A name is created, a location determined and a restaurant façade, interior plan and menu are designed. But the major emphasis is on the design and creation of six pieces of tableware that will provide the diner with a seamlessly satisfying experience.

· pdf fileconsiderations of theoretical design ideas, spatial relationships, and structure....

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