parsons catalog

PARSONS PARIS SCHOOL OF ART+DESIGNCATALOGUE

Parsons Paris School of Art + Design, known in France as Ecole Parsons à Paris, promotes the artistic and intellectual maturation of promising students into exceptional professional artists, designers and design managers through a rigorous art, design and liberal arts education.

Parsons Paris emphasizes the ethical role of creative disciplines, viewing art and design practice as meaningful and necessary contributions to society.

Contemporary methods of visual production are taught on the foundation of traditional skills in the fine arts. The school aims to be a supportive, creative community of committed students, faculty, administration and alumni.

PARSONS PARIS SCHOOL OF ART + DESIGN

Parsons Paris is a dynamic forum for exchanging ideas, methods and professional experience. Our students and faculty combine curiosity, experimentation and enthusiasm in the pursuit of learning.

At Parsons Paris, we believe that finding a design solution, creating a work of art and facilitating the production of a creative team are intellectual processes of undeniable value. Developing critical awareness through hands-on research and discussion is essential to professional maturation and individual growth. Artistic practice demands a high level of personal commitment and discipline, and we expect our students to participate actively in class so that we can explore differing points of view and engage our creative resources.

Parsons Paris is rooted in a city of primary art and design production. Experiencing the uniqueness of the Parisian metropolis provides a rich source of visual inspiration. Sharing this experience with individuals from over 40 different countries gives our students a unique perspective on the variety of expression existing throughout the world. The legacy of Parsons Paris and its successful graduates is something to be proud of and to contribute to in the years to come. Sincerely,

Serge Guarino

LETTER FROM THE PRESIDENT

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foundation

communication design

design management

fashion design

fine arts

illustration

photography

critical studies

Parsons Paris / Ecole Parsons à Paris 04Student Life 08Partnerships 12The Knowledge Network 19Exchange Network Schools 20Career Services 22Exhibitions 24

Administration + Faculty 144Degree Programs 152Non-Degree Programs 154Admissions 158Application Procedure 160Application Materials 161Additional Application Materials 162Transcript Issues 165Tuition + Scholarships 166

Parsons Paris School of Art + Design was established in 1921 to provide the highest standard of American edu-cation to undergraduates in fine arts and design wishing to pursue degree options in Europe. With the resources of its location in one of the world’s most resplendent cities, Parsons Pa-ris emphasizes an interdisciplinary approach to academic programs coordinated with Parsons The New School for Design in New York City.Parsons Paris draws students from around the world. The spontaneous cultural diversity this engenders complements the program and fos-ters a critical sensitivity toward the globalization of visual culture and its impact on respective art and design fields. Parsons Paris’ multicultural environment nurtures artistic prac-tice as well as individual growth. The intimate size of our classes provides for a unique contact between ins-tructors and students.

PARSONS PARIS

Students are encouraged to develop personal expression through creative problem-solving and process-orien-ted research. Parsons Paris’ metho-dology gives students a competitive advantage, both academically and professionally, while emphasizing ethical interaction with society as a whole. Through its international fa-culty of working professionals, the school maintains close ties with the Parisian art and design culture.Special events, exhibitions and conferences bring students in inti-mate contact with their distinctive European setting. Parsons Paris ful-fills its mission on behalf of students - whether in Communication De-sign, Design Management, Fashion Design, Fine Arts, Illustration or Pho-tography - by offering a unique and challenging learning opportunity.

Parsons Paris School of Art + Design, accredited by the National Asso-ciation of Schools of Art and Design (NASAD), is legally structured as a non-profit institution in France. The formal title for the organization is “Association Franco-Américaine de Design” (AFAD). AFAD also uses the name Ecole Parsons à Paris. The legal structure of the school is that of an independent organisation. Under an arrangement with Parsons The New School for Design, since September 2008, students matriculating in the Parsons Paris program have been eligible to receive a Bachelor of Fine Arts (BFA) or Bachelor of Business Ad-ministration (BBA) degree from the New School.

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In 1921, Parsons launched an art and design school in Paris, situated at the Place des Vosges with 22 students. By 1927, 17 nationalities were represen-ted among the 217 students, inclu-ding Austrians, Swedes, Swiss, Rus-sians and Australians. It was the first American art institution abroad to provide a formal full-time program in the visual arts. The school was closed during World War II then reopened first with a summer abroad program in the late 1970s and then in 1981, as Ecole Parsons à Paris, at its present location near the Eiffel Tower, with full-time BFA programs.

Parsons The New School for Design, founded in 1896 by American painter William Merritt Chase, is one of the oldest colleges of art and design in the United States and a pioneer in the field of education. Under the sub-sequent leadership of Frank Alvah Parsons, the school expanded into Europe.

©The Anna-Maria and Stephen Kellen Archives Center for Parsons The New School for Design.above: A drawing class at the Paris Ateliers (Parsons) with Frank Alvah Parsons at the far left, 1920s.right: Frank Alvah Parsons

PARSONS PARIS AND PARSONS THE NEW SCHOOL FOR DESIGN: A HISTORY

PARSONS THE NEW SCHOOL FOR DESIGN

Today, as one of the largest degree-granting colleges of art and design, Parsons The New School for Design’s stated mission is: to transform talen-ted students into highly successful artists, designers and business peo-ple, through new links with New York City’s top industry professionals. Since 1970, Parsons The New School for Design has been a division of The New School. The New School is char-tered in the State of New York and accredited by the Commission on Hi-gher Education of the Middle States Association of Colleges and Schools. Parsons The New School for Design is also accredited by the National Asso-ciation of Schools of Art and Design (NASAD).

For more information on Parsons The New School for Design: www.parsons.eduFor more information on The New School: www.newschool.edu

• CUMULUS: Association of International Schools of Art & Design• ELIA: European League of Institutes of the Arts• NAFSA: Association of International Educators • CAA: College Art Association• DMI: Design Management Institute• EAIE: European Association for International Education • NCAA: National Council of Art Administrators• AACRAO: American Association of Collegiate Registrars & Admissions Officers• ICFAD: International Council of Fine Arts Deans • ECIS: European Council of International Schools• APUAF: Association des Programmes Universitaires en France• Icograda Education Network• Designers Accord• European Academy of Design • Ateliers de la Recherche en Design • Designers Interactifs

PROFESSIONAL AFFILIATIONS AND MEMBERSHIPS

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More than forty countries are repre-sented in the Parsons Paris student population, bringing to this small community a cultural diversity that is rare among art education institu-tions. This, combined with a location at the crossroads of Europe, makes studying at Parsons Paris a uniquely rich experience for young artists and designers. An elected student go-vernment brings issues before the school administration, and organizes social events that unite this close-knit community. Student life is a blend of structured classes, studio time and extracurricular events including guest speakers, gallery openings, social gatherings and the discovery of the world beyond the walls of the school. During the term, excursions are organized to the nearby sites of Giverny or Versailles, and beyond the borders of France to cities such as Berlin, Geneva, London, Florence or Venice.

Parsons Paris Open HouseSaturday, November 7, 2009Saturday, February 13, 2010Saturday, November 6, 2010Saturday, February 5, 2011

Campus Tours and Info SessionsBy appointment only, Mondays at 11 am , Wednesdays and Fridays at 2 pm. Please schedule an appointment in advance by email at [email protected] or by calling +33 (0)1 45 77 39 66.

Parsons Paris website: www.parsons-paris.com

STUDENT LIFE STUDENT LIFE OFFICE

The Student Life Office helps stu-dents navigate the many aspects of life as temporary residents of Paris and lends a hand as they discover their new environment. The orienta-tion program provides a week–long introduction to the French capital as well as an opportunity to meet fel-low classmates and the faculty and staff who form the school commu-nity. Student Life staff help students obtain residence permits (cartes de séjour) and advise on such practical matters as banking, telephone and transportation systems, insurance and medical referrals. Student Life provides organizational support for the student government, on-campus internship program, as well as social, cultural and special events. Counse-ling on any personal concerns that arise during the school term is availa-ble on a confidential basis.

CAMPUS LIFE

While the larger campus is certainly Paris, with its museums and historical sites, the facilities of Parsons Paris are ideally suited for the creative endea-vors proposed in the classroom. Sky–lit studios used for drawing, painting and sculpture surround a central courtyard. The photography studio, printmaking room, fashion atelier, and computer lab enable students to explore the limits of their creativity. An in–house gallery features exhibits by both professional artists and Par-sons Paris students alike. Small clas-ses, along with individual attention from faculty, provide an optimum environment for developing the dis-cipline and skills required for the stu-dent’s artistic pursuit. While classes are taught in English, we encourage students to study French so that they can take full advantage of their time in Paris.

VISITING PARSONS PARIS

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LIBRARIES

The American Library of ParisParsons Paris students have access to the American Library of Paris that houses a collection of more then 115,000 books, CD-ROM indexes, a periodicals collection of 450 titles (some of which date back to the 19th century) and over 350 current perio-dicals.

Bibliothèque Kandinsky, Centre de Documentation et de Recherche du Musée National d’Art Moderne - Cen-tre de Création IndustrielleOriginally reserved for museum cu-rators, under specific conditions the library exceptionally allows Parsons Paris students access to the collec-tion, with the academic supervision of Parsons Paris’ instructors. For more information on the Bibliothè-que Kandinsky see page 12-13.

Bibliothèque des Arts Décoratifs Demonstrating the school’s ongoing commitment to research in the fields of art and design, Parsons Paris Scho-ol of Art + Design supports the Biblio-thèque des Arts Décoratifs through an annual donation dedicated to acquisitions for the collection. This new partnership gives students and faculty at Parsons Paris privileged ac-cess to the library’s resources. For more information on the Bibliothè-que des Arts Décoratifs see page 14-15.

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HOUSING & MEALS

Students live in dormitories or apart-ments throughout the city or may choose to live with a French family.

Dormitory options include• During the fall semester students

may choose to live in La Maison Mere Dormitory located in the 6th Arrondis-sement, three stops away from Par-sons Paris. The rooms are equipped with AC, WiFi and Ethernet, electronic keys and digital phones. The building has 24/7 security and receptionist, a Residence Director and Residence Ad-visor on-site, a library, lounge, com-puter lab and printers. Meal plans are available. The rooms are double occu-pancy so you would share with ano-ther Parsons Paris student. La Maison Mere is only available for students 18 years of age and older.• The dormitories of Les Estudines

offer comfortable furnished studios, each with private shower and toi-let facilities as well as an equipped kitchenette. There is ADSL Internet access available as well as the pos-sibility of telephone and television service. There are three Les Estudi-nes facilities within Paris as well as numerous locations outside the city within commuting distance of Par-sons Paris

Apartments and HomestaysThe experience of life in the French community helps avoid isolating students within a closed English–speaking environment. As part of an ongoing process, the Student Life Office is involved in locating apart-ments suitable for students as well as developing and maintaining contacts with various rental agencies and Ho-mestay providers. Students receive assistance and documentation on effectively dealing with the legal as-pects of renting in France.

MealsMost Parsons Paris students prepare meals at home, eat in local restau-rants or from take-away shops in the neighborhood of school. Additionally, through the CROUS, a public esta-blishment of the French Minister of Education, students have access to four restaurants and twenty univer-sity cafeterias at which they can have a three-course meal at lunch or din-ner for fewer than 3 Euros.

ACADEMIC CALENDAR 2009-2010

FALL 2009Orientation and Housing Check-In August 30Orientation Begins August 31Academic Advising & Registration September 3-4Classes Begin September 7Drop/Add Week September 8-14Open House November 7Mid-Term Evaluation Week October 19-23Last day to withdraw from a class November 6Armistice Day Holiday November 11*Last Day of Classes December 18

SPRING 2010Orientation and Housing Check-In January 12Orientation Begins January 13Academic Advising & Registration January 18-19Classes Begin January 20Drop/Add Week January 21-27Open House February 13Mid-Term Evaluation Week March 8-12Spring break March 15-19Easter Monday Holiday April 5*Last day to withdraw from a class April 6Study Week - no classes April 26-30Ascension Holiday May 13*Last Day of Classes May 18End-of-Year Show May 20Graduation Ceremony May 22

SUMMER 2010Classes begin May 18Bastille Day Holiday July 14*Last Day of Classes July 24

* Classes will be rescheduled by the faculty in coordination with the Department Heads

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CENTRE NATIONAL D’ART ET DE CULTURE GEORGES POMPIDOU

above & left: © Photos : Philippe Migeat, Centre Pompidouopposite top & right: © Photos Georges Méguerditchian, Bibliothèque Kandinsky

Bibliothèque Kandinsky, Centre de Documentation et de Recherche du Musée National d’Art Moderne - Cen-tre de Création Industrielle The collections of this specialized, in-ternational, heritage-oriented library affiliated with the Centre Pompidou are intended for research and exhibi-tion purposes. They are exclusively devoted to 20th and 21st century works of art, design, architecture, photography, film, video and new media. The available resources also comprise related documents per-taining to art criticism and theory, aesthetics and museum studies. In addition, the library has a significant collection of contemporary artists’ books, to which Parsons Paris contri-butes through an annual donation dedicated to acquisition. Originally reserved for museum curators, the li-brary exceptionally allows associated researchers and students enrolled at Parsons Paris School of Art + Design to access the collections, under the academic supervision of Parsons Pa-ris’ instructors.

Internship Scholarship at the Centre National d’Art et de Culture Georges Pompidou

Parsons Paris and the Bibliothèque Kandinsky have created a joint framework that enables select students whose work displays academic merit to benefit from the unique opportu-nity to obtain an internship/scho-larship at the Bibliothèque Kandinsky during the course of their studies. Candidates must be proficient in the French language.

The Centre National d’Art et de Culture Georges Pompidou was the initiative of President Georges Pom-pidou (1911-1974), who wanted to create an original cultural institution in the heart of Paris completely fo-cused on modern and contemporary creation, where the visual arts would rub shoulders with theater, music, cinema, literature and the spoken word. Housed in a building designed by Renzo Piano and Richard Rogers, whose architecture symbolizes the spirit of the 20th century, the Centre Pompidou first opened its doors to the public in 1977. It is one of the most visited attractions in France. Some 6 million people pass through the Centre Pompidou’s doors each year. In a unique location under one roof, the Centre Pompidou houses one of the most important museums in the world, featuring the leading collec-tion of modern and contemporary

art in Europe, a vast public reference library with facilities for over 2,000 readers, general documentation on 20th century art, a cinema and per-formance halls, a music research institute, educational activity areas, and bookshop. Unwavering in its in-terdisciplinary vocation and its core mission, to spread knowledge about all creative works from the 20th cen-tury and the new millennium, each year the Centre Pompidou holds thirty or so public exhibitions plus international events. Exhibitions include cinema and documentary screenings, conferences and sympo-siums, concerts, dance and educatio-nal activities - many of which go on to other venues in France and abroad.

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The Bibliothèque des Arts Décoratifs is a research library dedicated to the decorative and applied arts. Boasting an impressive collection of 120,000 publications—including exhibition and sale catalogues, books, periodi-cals, 19th-century Japanese books and scrolls, photographs, and other printed records—the library is inte-gral to the institution’s missions of education, preservation, and docu-mentation, and is an invaluable re-source for researchers and designers. Of particular interest is the Maciet picture collection, a compilation of engravings and original photographs begun in 1885, which lines the walls of the library in 5,000 albums classi-fied by subject.Parsons Paris School of Art + Design supports the Bibliothèque des Arts Décoratifs through an annual do-nation dedicated to acquisitions for the collection, demonstrating the school’s ongoing commitment to re-search in the fields of art and design. This new partnership gives students and faculty at Parsons Paris privileged access to the library’s resources. Be-ginning in 2010, the annual commen-cement ceremony will be held in the Salon des Boiseries at the Musée des Arts Décoratifs, a sumptuous interior decorated in sculpted wood panelling from the 17th and 18th centuries.

LES ARTS DECORATIFS

Les Arts Décoratifs is a private, not-for-profit organization whose mis-sion, since 1882, has been to promote the applied arts and support the re-lationship between industry, culture, and design. Originally known as the Union Centrale des Arts Décoratifs (UCAD), Les Arts Décoratifs operates the museums (Arts Décoratifs, Mode et Textile, Publicité), and the Biblio-thèque des Arts Décoratifs from its location in the Rohan and Marsan wings of the Louvre complex. It also comprises the Musée Nissim de Ca-mondo, located in the Hôtel Camon-do (63 rue de Monceau), and the Ecole Camondo, a school of design and in-terior architecture (266 boulevard Raspail). Les Ateliers du Carrousel offer training workshops in arts and crafts for students of all ages and abi-lities throughout the organization’s three sites. All of these institutions function collectively to uphold the mission of Les Arts Décoratifs: “to keep alive in France the culture of the arts which seek to make useful things beautiful” by preserving, enriching, and documenting its collections; transmitting knowledge and skills; promoting contemporary design; and developing links with industry.

For more information on Les Arts Décoratifs, visit www.lesartsdecoratifs.fr

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top: © Photo: Olivier Thomasabove: © Photo: Luc Boegly

right: © Photo: Olivier Thomas

ECOLE LESAGE

In 1858 Charles F. Worth opened the first Haute Couture salon and in the creation of his notable garments, using lavish fabrics and trimmings, he called upon the embroidery skills of Albert Michonet. In 1924, Albert and Marie-Louise Lesage, a former colleague of Madeleine Vionnet, bou-ght Albert Michonet’s atelier. Thus began a close collaboration between the Maison Lesage and the great fashion designers of the day inclu-ding: Paquin, Poiret, Redfern, Made-leine Vionnet, and Elsa Schiaparelli.

In 1949, at the age of 20, Francois Lesa-ge took over the family business and for fifty years, mastered the blending of exemplary workmanship with the innovative needs of an emerging ge- neration of couturiers: Dior, Givenchy, Yves Saint Laurent, Scherrer, Lacroix and Gaultier.

In 2002, Francois Lesage joined the Chanel galaxy, but has remained the preferred supplier of embroideries to all the fashion greats: for Karl Lager-feld, he is an indispensable and irre-placeable partner.

The Maison Lesage is endowed with an inventory of over 60 tons of sup-plies among which are iridescent crystal, jet from the 1870s, cabochons, rhinestones, and glass beads from the roaring twenties.

Guardian of the disappearing sa-voir-faire of the craft of embroidery, Francois Lesage established a school to pass on this great tradition. Since its inception in 1992, the Ecole Le-sage, located on the ground floor of the Maison Lesage on the rue de la Grange Batelière, has unveiled its embroidery secrets and specialized knowledge to students from around the world.

In 2009, Parsons Paris School of Art + Design and the Ecole Lesage have partnered to provide our students with an opportunity to learn this great craft and be a part of preserving this technical and artistic heritage.

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© Photos: Olivier Saillant

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Dr. Brigitte Borja de Mozota began her career as a buyer in the department store chain “Au Printemps,” and as the founder and manager of an import company specializing in distributing designer products. In 1985, she received a PhD from Université Paris I Sorbonne following her research on design and its role in marketing strategy. She has since taught in numerous presti-gious academic institutions including Université Paris Ouest, ESSEC, and Audencia (France), and Brunel Univer-sity School of Engineering and Design (UK). Since 2000, she has been super-vising research and PhD dissertations in design management, as well as wri-ting numerous articles and reviews for academic research journals (including Design Journal, Revue Française de Gestion, Journal of Creative Industries, Design & Culture). First published in 1990, her book Design Management is a highly esteemed reference in the field, and has been translated into ten languages. As Chair of the Design Management Institute’s Research Ad-visory Council and co-founder/board member of the European Academy of Design and the Ateliers de la Recherche en Design, Dr. Borja de Mozota brings her expertise to Parsons Paris as Direc-tor of Research.

Biography

THE KNOWLEDGE NETWORK

In 2008, Parsons Paris launched the Knowledge Network, a research cen-tre dedicated to the dissemination and promotion of research in the fields of art and design. Under the direction of Dr. Brigitte Borja de Mo-zota, the Knowledge Network opera-tes a Design Observatory to evaluate the state of design research, a project which recently included collabora-ting with the French Ministry of In-dustry on a study of continuing edu-cation opportunities for designers. In 2009, The Knowledge Network will also begin publishing a new research journal entitled Collection, encou-raging the exchange of expertise between researchers and professio-nals through both articles and visual contributions. The first issue focuses on the intersection of sociology with art and design (Guest editor, profes-sor Michel Maffesoli, guest designer Olivier Peyricot). The Knowledge Network at Parsons Paris is actively engaged in events and conferences, and recently co-hosted the 6th edition of Les Ateliers de la Recherche en Design with Uni-versité Paris I as part of Designer’s Days 2009. Research tracks for the 2009-2010 year include a conference on Foundation Education and an in-vestigation on the subject of creative cities coinciding with the World De-sign Capital award.

COURS DE CIVILISATION FRANCAISEDE LA SORBONNE

In 1919, with the intention of deve-loping awareness of French culture, the Sorbonne established the Cours de Civilisation Française de la Sorbon-ne (CCFS) to introduce foreign stu-dents to the main aspects of French civilization - from its origins to the present day with an emphasis on contemporary France and its langua-ge. The headquarters are situated in the Sorbonne and courses are taught in the immediate vicinity.

Parsons Paris School of Art + Design and the Sorbonne

Parsons Paris has partnered with the Sorbonne to offer a unique program that is ideal for the Study Abroad student majoring in Art, Design, Art History, French, or Liberal Arts. The program combines intensive French courses at the Sorbonne with Art, Design, Art History, Liberal Arts or Design Management courses at Par-sons Paris.

Parsons Paris degree students' sche-dules are too full during the academic year to permit them to participate in this program. Should they wish they can enroll during the summer term.

Language, Art and Design in Paris

Visiting Students may study French twelve hours per week at the Sorbon-ne and take between 3-4 classes at Parsons Paris per semester. The clas-ses offered at the Cours de Civilisation Française de la Sorbonne range from introductory to advanced French classes (débutant, élémentaire, in-termédiaire, avancé, supérieur). Stu-dents take a French placement exam that will determine the student’s level. Written and spoken French will be studied, as well as a course spe-cifically on phonetics. Additionally, students, with the help of their home campus advisor, select up to 10 cre-dits from the rich and varied course offerings at Parsons Paris to create a personalized and directed course of study. Students have access to the Bi-bliothèque du Foyer International des Etudiantes, which is dedicated to the needs of international students.

Upon completion from this program students receive a certificate from the Cours de Civilisation Française de la Sorbonne and may participate in the graduation ceremony held at the Sorbonne. Additionally, Parsons Paris validates the work done at the Sorbonne by issuing a transcript that includes 9 credits completed at the Sorbonne as well as the courses com-pleted at Parsons Paris.

In addition to studying with peers from all over the world, students en-rolled in the full-time BFA and BBA programs at Parsons Paris have the possibility to study abroad during their junior year at one of the schools in our Exchange Network. In order to participate, students must be in good academic standing and apply during the spring semester of their sophomore year. Students are not permitted to spend their fourth and final year on exchange. Due to the Parsons Paris residency requirement, students who have transferred to Parsons Paris at the junior level may not participate in this program.

STUDY ABROAD OPTIONS

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London, ENGLANDCentral Saint Martins College of Art and Design

Wimbledon, ENGLANDWimbledon College of Art

Dublin, IRELANDNational College of Art & Design

Stockholm, SWEDENKonstfack

Reykjavik, ICELAND Iceland Academy of the Arts

Copenhagen, DENMARKDanmarks Designskole

Rotterdam, NETHERLANDSWillem de Kooning Academy

Antwerp, BELGIUM The Royal Academy for Fine Arts

Barcelona, SPAIN Elisava Escola Superior de Disseny

Jerusalem, ISRAELThe Bezalel Academy of Arts & Design

Sydney, AUSTRALIASydney College of the Arts

Toronto, CANADAOntario College of Art and Design

Vancouver, CANADA Emily Carr University of Art + Design

New York, USA Parsons The New School for Design

São Paulo, BRAZILFundaçao Armando Alvares Penteado (FAAP).

San Francisco, USACalifornia College of the Arts

Baltimore, USAMaryland Institute College of Art

EXCHANGE NETWORK SCHOOLS

CORPORATE PARTNERSHIPS

Through industry partnerships Par-sons Paris students gain real world experience and develop professional contacts. For the second consecu-tive year, BIOTHERM, a luxury brand of the L’Oréal Group and a pioneer and leader in international skincare, is supporting creativity and young talent through a partnership with Parsons Paris. Biotherm offers stu-dents the opportunity to develop their talents working on projects for a major company and participating students compete for scholarships in juried events.

>The first competition in 2008, “when it becomes Milk,” investigated the history, feeling and mythology of the Biotherm Milk ritual and coincided with the product 's 35th anniversary celebration. Winners and finalists ap-peared in a brochure included in the event's press package sent to 5000 agencies in 70 countries and transla-ted into 40 languages.

>In the second competition in Spring 2009, Biotherm called on the imagi-nation of Parsons Paris students to pay homage to the iconic packaging shape of its latest reversive aging in-novation SKIN VIVO. A jury comprised of international press selected the winning projects at the official Skin Vivo launch event that took place in June 2009 at Pershing Hall in Paris.

CAREER SERVICES

Students begin preparing for their ca-reers the day they select a professio-nal college of art and design. At Par-sons Paris, the process is promoted and enhanced by the Career Services Office that provides regular works-hops on resume writing, portfolio presentation, job search techniques and interviewing skills.

At Parsons Paris internships are an integral part of our arts, design and design management education and through which junior and senior stu-dents further their creative capabili-ties and are introduced to the profes-sional aspects of their chosen areas of study. The Career Services office along with involved faculty in each department develop relationships in the industry and create internship and job opportunities for students.

Annual career events, at which gra-duating seniors meet industry profes-sionals, provide an ideal environment to establish important networking relationships.

Andrew GNAnne Valerie HashAquentAsetheteBalmainBETC DesignBismark Phillips Communication MediaBoucheronCarré NoireCarvenCelineCelioCerruti 1881Centre PompidouChloéChristian DiorChristian LacroixChristian LouboutinChristie’sColors Condé Nast PublicationsDelphine MuratDice KayekDimDior HommeDM MediaEmanuel UngaroElixir

Giambatiste ValliGirault TotemGivenchyGroupe IdoineHachette FilipacchiHans de FoerHermèsHao-QuiIMG WorldJacques FathJohn RibbeLehman BrothersLagerfeld GalleryLancômeLanvinL’OréalLVMHKenzoKaeidoMagnum PhotosMartin GrantMartine SitbonMusée des Arts DécoratifsNatalysNina RicciOgilvyPaco RabannePfeiffer Consulting

QuicksandRalph KempRed DragonRick OwensRochasShigeru Ban Sonia RykielSutton LaneSwarovski Tod'sTorrenteTissus Malhia KentTom van LingenUngaroVan Cleef & ArpelsViktor & RolfVogueVoulelleWilmotte et AssociesYoung & Rubicam

Tom FordPatrick RobinsonLazaro HernandezNicky HobermanDimitar LukonovRyan MendozaHanna Ulvegarde BakErin FetherstonBennu GeredeGeorgia Hardinge

STUDENTS HAVE RECENTLY DONE INTERNSHIPS AT THESE COMPANIES NOTABLE ALUMNI

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Photos: SKIN VIVO Launch, June 2009

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Galerie Anatome, an associated gal-lery of Parsons Paris School of Art + Design, is the only gallery, documen-tation center and bookshop entirely dedicated to graphic design in France. It exhibits works by the best contem-porary graphic designers worldwide. The Anatome Gallery is a French non-profit organization.

www.galerie-anatome.com

The Parsons Paris Gallery, a vital component of Parsons Paris School of Art + Design, offers a showcase for artists of all genres. As part of the institution’s cultural mission, the Par-sons Paris Gallery presents local and international painters, sculptors, il-lustrators, photographers, and instal-lation/multimedia artists during the fall season. In the spring, the Gallery presents student work from its va-rious departments: Communication Design, Fashion Design, Fine Arts, Foundation, Design Management, Illustration and Photography.

The Parsons Paris End-of-Year Show is a visual culmination of student work from each department, including Communication Design, Illustration, Fashion Design, Fine Arts, Founda-tion, Photography, and Design Ma-nagement.

For graduating seniors, the End-of-Year Show also acts as a catalyst, pro-pelling them toward their professio-nal lives as artists and designers.

PARSONS PARIS GALLERY ANNUAL END-OF-YEAR SHOWGALERIE ANATOME

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FASHION SHOW

Fashion Design students produce a runway show and exhibit their work individually for all invitees, in-cluding members of the press and fashion and design industries. The senior fashion students’ work is then published and distributed to all the major fashion houses, critics, and magazines.

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Foundation is an intensive, first–year program for BFA candidates. The transdisciplinary curriculum empha-sizes drawing, process and creative problem–solving as fundamental to all artistic fields; while selective pro-jects, site–visits, guest lecturers and critics help define the differences between art and design specializa-tions. Students have the flexibility to choose a specific art concentra-tion after a formal exploration of the many options available in art and design. Integrated courses in critical studies provide the means to build

critical awareness, knowledge of art history and communication skills.Foundation offers a uniquely chal-lenging educational environment in which experience of the local culture is an integral part of the learning pro-cess. Students develop visual think-ing, practical skills and the individual discipline required for future study in the visual arts.

FOUNDATION

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Inspiration comes from my background, nature, friends, jokes…. My process

is getting supplies I think I need in order to make something I haven’t deci-

ded exactly what it will be. Then making a lot of mistakes - I’d rather build

on mistakes than erase them.

Where do you find inspiration and how does this affect your process?>

I take a break, open the window and eat something, preferably foie gras.

It also helps having a few projects going on at the same time so you can

alternate and get a fresh view on things.

How do you keep motivated when things get tough?>

Don't worry if you don't know exactly what you want to do - Foundation

gives you plenty of opportunity to try out different things that will help you

to decide. Don't procrastinate too much!What advice would you give to a student just starting out?>

I love the bakeries, museums, public gardens, private gardens, architecture,

the metro system, outdoor markets etc.What do you love most about Paris?>

I Just finished The Reluctant Fundamentalist and am now reading Immortality.What books do you have on your bedside table?>

Strong colors, tape, anything soft, the smell of good food…What turns you on creatively, spiritually or emotionally?>

Anything pointless or badly designed. Chaos and dirt.What turns you off creatively, spiritually or emotionally?>

Icelandic people have a rather dark sense of humor, procrastinate and

believe that everything will work out in the end. I am a typical Icelander. How has your background affected your approach to your work?>

Edda Mac Foundation

Icelandic

Icelandic, English, Italian, Danish, and Frenchis making its way on to the list, slowly

FALL ENTRYThe academic year routinely starts at the beginning of September. Se-condary school students or transfer students who have not completed a foundation year should apply for the first-year Foundation program.

SPRING ENTRYThe Accelerated Foundation program that commences in the spring semes-ter is a full foundation program: the first semester runs from January to mid-May and the second semester starts one week later and runs to the end of July. The curriculum is the same as fall entry Foundation but is more intense as it is completed in a shorter period of time. Upon succes-sful completion of the Accelerated Foundation program students com-mence the sophomore year in the subsequent fall semester. This entry option is dependent on a minimum enrollment; applicants will be infor-med by December 1, as to the status of the program.

Students may apply to transfer into the second semester of the Foun-dation sequence if they have taken equivalent coursework elsewhere. The Admissions Committee reserves the right to decide which of the Foun-dation sequences the student may enter into based on the student’s portfolio and transcripts.

2010-2011 Academic Year Curriculum The 2011-2012 curriculum will be pu-blished on our website in July 2010 www.parsons-paris.com

FOUNDATION YEAR SEMESTER 1 SEMESTER 2

Drawing Fundamentals 1 + 2 3 3

2D Integrated Studio 1 + 2 3 3

3D Design 1 + 2 3 3

Laboratory 1 + 2 3 3

Critical Reading and Writing 1 + 2 3 3

Survey of World Art and Design 1 + 2 3 3

Total Credits 18 18

ENTERING THE FOUNDATION PROGRAM

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Ece OneyFreshman

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Peirong ZhouFreshman

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Lily WatersFreshman

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Ga Yeong ParkFreshman

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Elliot ChaplinFreshman

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Lily WaltersFreshman

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Boramy ViguerFreshman

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Kristel ThalstromFreshman

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Lily WaltersFreshman

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Minjung KangFreshman

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Ece OneyFreshman

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Nehal SenanFreshman

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Yoshiko ShimadaFreshman

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Hui-Yu WuFreshman

Communication designers give form to information in advertising, pu-blishing and editorial design, corpo-rate and exhibition design, websites, multimedia, environmental graphics, signs and maps, film and video. In all these fields, the need to clearly and succinctly inform, entertain and per-suade remains a critical concern.

Located in an internationally re-nowned mecca for artists and de-signers, Parsons Paris offers Com-munication Design majors a unique opportunity to broaden their cultural and creative perspectives. Not only is the metropolitan landscape an ideal

setting to experience graphic design in action, but the city’s vibrant com-munity of design professionals is a rich resource for students as they discover their own visual language.

The comprehensive curriculum at Parsons Paris establishes a solid foundation in visual form and design principles, as well as addressing the methodologies and issues behind contemporary graphic design. Visits to Parisian art and design institu-tions like the Pompidou Center, the Musée des Arts Décoratifs, and the Palais de Tokyo provide a wealth of opportunities to view the trajectory of European communication design from its historical roots through to its latest trends.

COMMUNICATION DESIGN

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It would have to be my thesis project on the Paleo Festival as I was completely

free to do whatever I wanted.

I interned at Ogilvy in Paris. I learned a lot about the advertising industry

but mostly how employees in companies work together as a team.

Do what you enjoy the most. It makes work that much easier and enjoyable.

I try to find inspiration anywhere in my day-to-day life. But most of my best

inspiration comes when I’m not even thinking about it.

Out of all the projects you have done at Parsons Paris, which is your favorite?>

Have you done an internship/stage?>

What advice would you give to a student just starting out?>

Where do you find inspiration?>

As a child, I wanted to be racecar driver. I always knew I loved art and design

but I decided to follow a career in design in high school.

I work best when I’m working amongst other creative people, as we can help each

other by throwing around ideas. I like collaborating with other students when

I make multiple page layouts such as magazine spreads. To keep motivated

when things get tough I get together with friends and work collectively.

I’m quite influenced by the Bauhaus movement.

Paris felt like home almost immediately. I feel more at home here than in any

other city. In Paris, there’s always a rich culture to expose myself to at any time

whether it's art, design or music. I’m never bored in this city. I’ve become a more

confident and independent person here.

What did you want to be when you were a child and when did you

first realize you wanted to be a designer?

>

Where/when do you do your best work?>

What designers have influenced you, and how?>

What do you love about Paris?>

Patrick Issenmann Communication Design

Swiss, Indonesian

French, English and Indonesian

FOUNDATION YEAR FALL SPRING



3D Design 1 + 2 3 3




Total Credits 18 18

SOPHOMORE YEAR FALL SPRING

Type: Core Studio 4 -

Type: Core Lab 2 -

Form: Core Studio - 4

Form: Core Lab - 2

Digital Imaging and Multimedia 3 -

Interactive Multimedia - 3

Studio Electives 3 3

Intro to Design Studies 3 -

The Culture of Design - 3

Critical Studies 3 3

Total Credits 18 18

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JUNIOR YEAR FALL SPRING

Collab 1 + 2 4 4

Web Design 1 + 2 3 3


Global Design in the 21st century 3 -

Critical Studies Electives - 3

Art History Electives (CS) 3 3

Total Credits 16 15

SENIOR YEAR FALL SPRING

Senior Thesis 1 + 2 3 3

Senior Studio 1 + 2 3 3

Internship or Studio Elective 1 -

Design Entrepreneurship or Business Practice - 3


Critical Studies Electives 3 3

Total Credits 16 15


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Alex MahlerJunior

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Ella KivinenSophomore

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Patrick IssenmannSenior

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Alex LeonhardtCertificate Student

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Alex MahlerJunior

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Alejandra TempranaSophomore

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Miry YunJunior

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Joo Young KangVisiting Student

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Varvara TsepakovaSophomore

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Miry YunJunior

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The Design Management Depart-ment introduces students to a unique combination of design and management courses. Its goal is to provide students with a thorough understanding of the complexity involved in the management of de-sign, its practice and the social role it plays in everyday life. Students are introduced to design’s multifaceted nature by exploring how they can manage design and create new va-lue for business and society at large. They are introduced to the basics of design thinking through a hands-on approach that requires them to engage in the production of design.

They consider how design impacts business through seminars dedica-ted to management in all its aspects. Students learn to contextualise the role design plays in society through courses that introduce them to the history and sociology of design. Upon completion of the program, students will have acquired a fundamental knowledge of design and manage-ment, allowing them to identify and manage design that is functional, er-gonomic, aesthetic and sustainable.

DESIGN MANAGEMENT

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I am a 360° inspired person, I always keep my eyes and ears open. I find

inspiration in music, in the environment and I love to read. I‘m reading

two, no, three books at the moment: Barack Obama's The Audacity of Hope,

Obama is an excellent writer, well versed. I’m also reading Tipping Point by

Malcolm Gladwell, a must read for designers. The third is the Tibetan Book

of the Dead, revised by the Dalai Lama, it’s a great spiritual read.

Always have an open heart and open mind, accept things the way they are,

use your five senses. You have so much to learn from your peers, your friends,

and your teachers, even if you sometimes disagree with them.

Where do you find inspiration?>


I was born and raised in Manila, in the Philippines. My father is German

and my mother is Philippine. I was fortunate enough to be able to travel

throughout Europe, Asia, and the US. Coming from Asia, I fall under a wide

scope of influences, but I keep myself open when it comes to design, even if my

main influences are Asian and Oriental.

Europe will be my short-term plan. It’s hard to plan that far, as I have to take

my partner’s wishes into account. She is studying fashion, and I want to do

what’s best for both our careers. In the long run, I would like to spend a lot of

time in Asia (you know that the markets there are developing, and who knows

what it will be like in 10 to 15 years?). I would like to work in the Asian luxury

brand industry: from food to lifestyle products.

Where are your from, and how has your background affected your

approach to your work.

>

Where do you see yourself in 10 years? >

Alex Jentes Design Management

German, Philippean

Fluent: English, Tagalog, German, and French, Working Knowledge: Spanish and Italian. Learning: Mandarin

Advertising & Communication StrategyConcept MerchandisingConsumer BehaviorDesign EntrepreneurshipEuropean Design BusinessesFashion Industries

Fashion Collection Management Fashion RetailingFashion Publishing Marketplace for Art and DesignMarket Research Methods Selling Luxury: Advertising Communication & Branding Strategies

DESIGN MANAGEMENT ELECTIVES

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Marketing Strategies for Developing Brands 3 -

Strategic Design Management and Direction - 3

Design Research Methods 3 -

Design Development - 3

Internship - 1

Seminar: Global & Sustainable Design 3 -

Department Electives 3 3


Total Credits 18 13


International Business Law - 3

International Business 3 -

Financial Management 3 -

Business Ethics - 3

Senior Seminar and Thesis 1+2 3 3

Department Electives 6 3

Critical Studies Elective - 3

Total Credits 15 15

Total credits for degree 134

FRESHMAN YEAR FALL SPRING

Design 1 4 -

Design 2 - 4

The Culture of Design - 3

Introduction to Social Theory 3 -

Seminar: Intro to Design Management 3 -

Seminar: Design in Everyday Life - 3

Critical Reading and Writing 1+2 3 3

Survey of World Art and Design 1+2 3 3

Foreign Language 3 3

Total Credits 19 19


Economics 1+2 3 3

Finance and Accounting - 3

Marketing 3 -

Managing Creative Organizations - 3

Design Project Management 3 -

Design 3 3 -

Design 4 - 2

Seminar: Design and Innovation 3 -

Department Elective - 3

Critical Studies Elective 3 3

Total Credits 18 17


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Students interested in pursuing a career in Design Management enter directly into the Design Management Program as freshmen. Entering fresh-men must possess strong communi-cation and analytical skills. No port-folio is required for entrance to this program. Students will receive a Bachelor of Business Administration Degree*, a recognized undergraduate degree within the business field, at comple-tion of the four–year program in Paris.

BACHELOR OF BUSINESS ADMINISTRATION

Design Management professors are professionals chosen for their exper-tise in their respective fields. While students learn about design and management in the classroom, they are also exposed to the professional world through guest speakers, com-pany visits and field trips. Students may choose to specialize in Global Design Management, Fashion Mana-gement, Communication & Adverti-sing, and Design Marketing, or opt for a broader career approach.

*In addition to being accredited by the Middle States Commission on Higher Education, the Bache-lor of Business Administration degree meets the NASAD standards for a Bachelor of Arts - Design Management (Multi-disciplinary design).

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Keren FleischerVisting Student

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Jacob LindellFreshman

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Alexander LeonhardtVisting Student

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Alexander MahlerJunior

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Valeria DuenasFreshman

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Laura TrumpFreshman

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Denis BankovskiyFreshman

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Irina TataurovaFreshman

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Alexander MahlerJunior

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Each year students have the oppor-tunity to visit the major trade shows in the design industries, including Premier Vision the largest textile fair in Europe.

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Jacob LindellFreshman

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Valeria DuenasFreshman

The art and business of fashion give form and function to clothing, a basic human need, imbuing it with mea-ning in the ever-evolving language of style. The core of Parsons Paris’ curriculum is the designer critic pro-gram that emulates the workings of a professional design studio from conceptual drawing and pattern-making to the selection of colors, fabrics and the construction of fi-nished garments. Students acquire an understanding of tools, materials, construction techniques and textile design methods, enabling them to express their individual creative vi-sions. Intensive concept and design courses, weekly critiques, workshops with industry professionals and the study of Parisian prêt-à-porter help students to develop originality and acquire an understanding of their

craft. Beyond the school atelier, ex-posure to textile trade fairs, designer shows and museum exhibitions all foster a keen understanding of the European marketplace.

Visiting critics help familiarize stu-dents with the design requirements and specificities of various markets, while company-driven projects ex-pose students to the real world chal-lenges they will face in the business of style. Senior year culminates with the designer critic project in the first semester and the construction of a capsule collection in the second se-mester, all of which is presented in an annual fashion show attended by fashion professionals and the inter-national press.

FASHION DESIGN

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Yes, I’m currently working for the company Delphine Murat. I have learned

that I have to be very organized and need to know everything. Without

knowledge of design and the business side you can’t bring efficiency to the

company. You have to make yourself useful and indispensable when you

work with anyone.

I force myself to adapt as quickly as possible and be good at it.

I like to look back into history from different cultures. I look primarily at

other cultural influences first and see how it changes the fashion at that

time. I was born in Hong Kong and raised in Canada. I have incorporated my

Asian background and modernity into my graduation collection. I believe

that mixing the two different cultures can strengthen and create new

invention not only in fashion but in all different fields as well.

Have you done an internship/stage?>


Where do you find inspiration and has your background affected

your approach to your work?

>

When I was a child I wanted to be a doctor or lawyer until I reached 11 years old,

then I decided to become a fashion designer.

I work best when I am under stress. It forces me to create something interesting

and of good quality.

Yes, I’ve become more independent and mature.

Take it easy to get the work done and be your best at all times.

What did you want to be when you were a child?>

When do you do your best work?>

Has Paris changed you?>


Jimmy Lai Fashion Design

Canadian

Cantonese, Mandarin, English and French

FASHION DESIGN ELECTIVES

Creative Embroidery Wearable Objects Machine Knitting 1 + 2 Introduction to Textile Design Surface Treatment 1 + 2 Mixed Media Techniques Sewing TechniquesPrintmaking For Fashion


Junior Design Studio 1+2 3 3

Collection Concept Development 1+2 2 2

Fashion Drawing 3+4 2 2

Textile Identification 2 -

Textile Electives - 2

Digital Fashion Studio 1+2 2 2

Themes in Fashion History 3 3

Global Design in the 21st Century 3 -


Total Credits 17 17


Senior Design Studio 1+2 3 3

Fashion Industry 3 -

Senior Design Concepts 1 + 2 3 3

Fashion Collection Management - 3

Studio Electives or Internship 2 2


Total Credits 14 14





3D Design 1 + 2 3 3




Total Credits 18 18


3D Fashion Design 1+2 3 3

Fashion Drawing 1+2 4 4

Pattern Drafting 1+2 3 3

Fashion Research and Design Concepts 1+2 2 2

Intro to Design Studies 3 -

Art History Elective - 3


Total Credits 18 18

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Jimmy LaiSenior

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Micheline ZhouJunior

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Katie LeaverJunior

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Adelaïde VeysseireJunior

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Hyun-Yoon ShimSenior

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Jessica Hung

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Jimmy Lai Senior

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Airi NambuSenior

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Charlotte Bodum

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Sherry ChiuSenior

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Jessica Hung

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Airi NambuSenior

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Jessica Hung

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Eun-Jung MoSenior

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Yoon ShimSenior

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Saskia Nieuwenhuyse

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Charlotte BodumSenior

With Paris as its extraordinarily rich cultural setting, the Fine Arts Depart-ment promotes the acquisition and development of artistic skills, the expression of creative processes, and an informed awareness of how art practice intersects with current vi-sual, cultural and societal concerns. Fine Arts provides students with a strong foundation in the artistic tra-dition via both established and new media, thus enriching their capacity for communication and expression as a whole. The core of the program is tau-ght through the disciplines of pain-ting, drawing and sculpture, but stu-dents may also select from classes such as printmaking, photography, installation and digital imaging.

Interdisciplinary practice provokes students to pursue and develop indi-vidual artistic modes of inquiry. Cour-ses in Art History and Critical Studies, critiques, debate and tutorials, and the considerable resources available in Paris, direct students to an infor-med exploration within both histo-rical and contemporary art practice. Application of theory and criticism shapes the students' ability to work and think critically and analytically. Museum and gallery visits are an in-tegral aspect of the curriculum. The Fine Arts faculty, comprising profes-sional exhibiting artists, is comple-mented by guest lectures from visi-ting international artists and critics.

FINE ARTS

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The thing I love about Paris and all of Europe is how medieval it feels.

America is a relatively young land. The thing I will miss most is biking along

the Seine passing all the monuments. Paris has made me more independent,

more aggressive, more adventurous, more social.

My advice to a new student is to be open-minded, and receptive. The more

you listen and the more you read, the more you know.

What do you love most about Paris?>


Inspiration comes from everywhere: nature, inane conversations with friends,

books, comics…I especially love movies. Things are always tough, to stay

motivated you have to keep pushing forward. Most of the time you ruin a

dozen drawings, but every accident leads you in a new direction.

I do my best to collaborate since we are all artists. It does not matter if you

are an illustrator, fashion designer, or painter, we are all creative people so we

should all be communicating, brainstorming, and thieving ideas.

Art is important because it allows one to look at the world from a different

perspective. Images are more universal than words. I watched Pan’s Labyrinth

for the first time in Spanish with French subtitles (neither language I speak

particularly), and the film made perfect coherent sense because of the power of

the images and the sequential narrative.

Where do you find inspiration and how do you keep motivated when

things get tough?

>

Do you collaborate with students from other majors within Parsons Paris?>

Why is art important?>

Matthew Laiosa Fine Arts

American

English

STUDIO ELECTIVES

Studio ElectivesCeramic SculpturePrintmakingSilkscreenDigital ImagingVideoAnimationPhotography


Junior Painting 3 3

Junior Sculpture 3 3

Junior Drawing 3 3

Junior Studio 3 3

Art History Elective (CS) 3 -


Total Credits 18 18


Senior Thesis 3 3

Senior Studio 3 3

Senior Concentration 4 4

Studio Electives 2 -


Total Credits 15 13





3D Design 1 + 2 3 3




Total Credits 18 18


Sophomore Painting 3 3

Sophomore Sculpture 3 3

Sophomore Drawing 3 3

Studio Elective 2 2

Art Since 1900 3 3

Intro to Visual Culture 3 -


Total Credits 17 17

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Olivia PeeblesVisiting Student

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Matt Liaosa

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Olivia PeeblesVisiting Student

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Blaise Danio

Visiting Student

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Kyoung Eun ChoSenior

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Pavlina GkigkiliniSophomore

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Kyoung Eun Cho

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Sandra SeydouxCertifcate Student

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Kate Hiley

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Charisse PiperSenior

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Jackson Marlett

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Sandra SeydouxCertifcate Student

Illustration has developed in tandem with the great movements of art history, from manuscript illumina-tion and poster art to comic strips and graphic novels, and played a dynamic role in visual communica-tion and provocation, both in France and beyond. The vibrant tapestry of Parisian culture, both historical and contemporary, has continually pro-vided a rich source of inspiration for illustrators, as have the many artists such as Daumier, Toulouse-Lautrec, Doré, Chéret, Topor and Sempé, who-se illustrative works have been absor-bed into the iconography of Paris.

Students in the Illustration depart-ment learn to solve conceptual pro-blems with the city as their living textbook. The collections of the Mu-sée des Arts Décoratifs, the Musée de la Publicité, the Forum des Ima-ges, and the Centre Pompidou are invaluable as educational resources. Drawing on the wealth of the Pari-sian cinematic tradition, students also take the drawn image into space and time through projects in 2D and 3D animation. Working directly with European professionals, Illustration students at Parsons Paris learn the tools to compete effectively in the creative fields of design and commu-nication.

ILLUSTRATION

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Throughout a project things may go differently than the way the project

was initially planed. Preparing myself for obstacles and difficulties that may

occur helps me to keep my motivation at the highest level possible and able

to cope with stress when time schedules are at stake.

I always seek to first understand what message I wish to express, followed

by a rigorous refinement in which I attempt to get that message across with

the most elegant and simple image I can develop. It simply means that every

element within the illustration should help tell a very specific story. My main

source of inspiration comes from the world around me and Paris has inspired

me a lot, the flea markets, the circus, the buildings, the galleries, the museums.


Where do you find inspiration and how does this affect your process?>

Since I was a child, a big influence was children’s books’ illustrations. At that

young age, the fascinating world depicted by the pictures would make up for

my inability yet to decode the message hidden behind the words; so the detailed

pictures held all the messages and I in turn held the key to unlock them.

I love the mass transportation system, it can take you anywhere and it makes

me feel independent and flexible. I love spending time playing ping - pong in

the park. I enjoy venturing into the oldest neighborhoods to discover small

shops that deal with old-fashioned materials and conventional typography.

I’m still discovering Paris; the only thing that brings some complexity to my

life here is the language. Paris has been inspiring to me. If I leave, I will miss

everything that builds this beautiful Parisian atmosphere like the cafes, the

brasseries, the metro, the flea markets, the galleries, the museums and the

croissants for breakfast.

When did you first realize you wanted to be an artist?>

What do you love most about Paris?>

Lamprini Zachopoulou Illustration

Greek

Greek, English and some French


Junior Concepts 1 + 2 2 2

European Graphic Narrative 1 + 2 3 3

Techno-Editorial 3 -

Beyond Editorial - 3

Animation Studies 1 + 2 3 3

Art History Electives (CS) 3 3


Total Credits 17 17


Senior Concepts & Thesis 3 3

Senior Studio 3 3

Professional Practices - 3

Digital Workshop 3 -



Total Credits 14 14





3D Design 1 + 2 3 3




Total Credits 18 18


Sophomore Illustration Concepts 3 3

Typography - 3

Digital Imaging + Multimedia 3 -

Drawing 1 + 2 3 3

Painting 1 + 2 3 3


Art History Elective (CS) - 3


Total Credits 18 18

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Pauline Hersart de la Villemarque

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Jonathan RahimiSophomore

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Varvara TsepkovaSophomore

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Kayleigh Groves

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Alex MahlerJunior

Since the birth of photography in Paris in 1839, the French capital has played a pivotal role in nurturing this vibrant modern art form; today it continues to be a vital player not only on the European, but also on the global photographic stage. Drawing from this highly stimulating, crea-tive environment, the Photography program offers a rigorous technical and conceptual training that balan-ces analog and digital technologies, a solid critical understanding of the image-making process and the deve-lopment of professional skills.

Students are encouraged to think broadly about photography through coursework in the numerous areas of photographic practice: fine arts, fashion, photojournalism, documen-tary, design and advertising, etc.

PHOTOGRAPHY

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Through seminars, lectures, lab and studio courses as well as internship opportunities, students gain first- hand experience from practicing photographers and develop inno-vative approaches to photography, while learning to express their own personal vision. Studio work is enri-ched through museum visits - the Jeu de Paume, Maison Européenne de la Photographie, Centre Pompidou, Fondation Cartier-Bresson, Biblio-thèque National de France, etc.- and evaluated through individual and group critiques, under the direction of international professionals. Equipped with the latest technical skills and a critical understanding of how photography functions in to-day’s ever-changing world of art and design, students graduate from Par-sons Paris fully prepared to success-fully enter the contemporary pho-tographic industry as highly skilled image makers.

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Irving Penn (for his still lifes), Sarah Moon (the mood she conveys in her

pictures), Richard Avedon (directly influenced my portraits), August Sander

(also a direct influence for his portraits), Robert Frank (admire his use of the

camera and his framing), and Edward Weston (for his still lives)

Enormously. I became an adult here, discovered who I am, and what my

passions are. Here, I started choosing things for myself that were imposed

before. I left home a teenager and overnight I found myself living the life of

an adult with all its responsibilities.

I find inspiration anywhere, in school, going home on the metro, grocery

shopping… Being Italian, and a still life photographer, I love to photograph food.

I’m interested in anything to do with color and texture. I also love to photograph

architecture, and Italy’s rich heritage influences my tastes and choices.

What photographers have influenced you, and how?>

How has Paris changed you?>

Where do you find inspiration and does your background affect your

approach to your work?

>

Everything from a doctor to an archeologist to a dancer to a gas station

attendant because I love the smell of gasoline, but together with wanting to do

everything above, I always knew I wanted to do something creative.

One personal project I just finished…I tried to catalog the diversity of Parisians.

I stopped people in the street and asked them to pose, which was challenging…

in a good way.

I did a 3-month internship at a photo agency that highly influenced my career

choice because it’s there that I learned that I wanted to be a photographer.

Obama, and maybe Philippe Starck, Kofi Annan, Renzo Piano, Frank Gehry…

What did you want to be when you were a child and when did you

first realize you wanted to be a photographer?

>

Out of all the projects you have done at Parsons Paris, which is your favorite?>

Have you done an internship?>

Who would you most like to take a picture for?>

Giada Fried Photography

American, Italian

Italian, English, French, and Spanish

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Junior Seminar 1 + 2 3 3

Photography In Paris 1 + 2 3 3

Advanced Printing Techniques 1 + 2 2 2

Studio Electives - 2

Digital Imaging and Multimedia 3 -

Internship - 1

Topics in Photo History & Theory 3 3


Total Credits 17 17


Senior Thesis Seminar 1 + 2 3 3

Professional Business Practices 1 + 2 2 2


Professional Identity 1 + 2 3 3


Total Credits 15 13

Freshman Year FALL SPRING

Black & White Photography 1 + 2 3 3

Freshman Seminar 1 + 2 3 3

Drawing for Photography and Cinema 1 + 2 2 2

Early Forms of Photography - 2

Digital Skills and Composition 1 + 2 3 3



Total Credits 17 19


Sophomore Seminar 1 + 2 3 3

Color Photography 1 + 2 3 3

Lighting Seminar 1 + 2 2 2

Digital Photography Lab 1 + 2 3 3

Studio Elective - 2


Topics in Visual Culture or Art History - 3


Total Credits 17 19

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Laura Frangelli Visiting Student

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Rachel Cohen-Tanugi Ribas

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Palden MacgamwellSophomore

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Rachel Cohen-Tanugi RibasSophomore

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The interdisciplinary Critical Stu-dies curriculum provides students with critical-historical perspectives on art, design and culture, and the research, writing and presentation skills essential to a well–rounded ap-proach to art and design. These skills and knowledge permit students to situate contemporary visual culture within its wider geographical and historical contexts, to investigate a range of issues that impact cultu-ral production, and to discover and probe resonances with their own practice.

The curriculum has a strong art and design history and theory compo-nent, which is supplemented by ge-neral critical studies courses in the Humanities and Social Sciences. The BFA and BBA degrees require stu-dents to complete 42 Critical Studies credits overall. Within the Critical Studies requirements, a minimum number of credits in art and design history is required of all students (12 credits for the BBA track; 18 credits for the BFA track).

CRITICAL STUDIES

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In Freshman year, “Survey of World Art & Design” serves as a key initia-tion to the historical examination and critical analysis of art and design across ages and cultures. Students learn to look at, contextualize, and in-terpret images and artifacts. “Critical Reading & Writing” emphasizes crea-tive thinking, the acquisition of good writing skills, and its use as a tool for personal expression. Following this, in addition to a set of core courses de-signed for the specific majors and de-grees, a wide range of Critical Studies electives enable students to broaden and sharpen their own critical and theoretical points of view. Parsons Paris takes special advantage of its campus and location as an ideal en-vironment for observing and explo-ring social and cultural difference. Visits to studios, museums, galleries and various cultural events expose students to historical and contem-porary art and design achievements. Senior level seminars address timely and provocative issues that help stu-dents develop ideas and make critical choices that will enhance their own careers as artists and designers.

Critical Studies requirements for de-gree programs vary. Students should consult their advisor to ensure that these requirements are fulfilled ap-propriately. Under exceptional cir-cumstances, and by approval of the Critical Studies Chair, requirements may be taken out of sequence.

THE RESEARCH AND WRITING LAB

The Research and Writing Lab provi-des supplementary support for stu-dents working on written projects in the English language. Through individual appointments and perio-dic workshops, students receive coa-ching on all aspects of the writing process, from content and structu-ring to research and documentation.

LEARNING RESOURCES AND ACCESS

At Parsons Paris, we aim to provide a quality learning environment for all our students and are developing a new access initiative to address the needs of students with disabili-ties. By making resources available to students of different abilities and through methods of assessment that are flexible enough for us to adapt to students’ individual needs, we strive to aid those with learning difficulties to achieve their full potential.

American

English, French

I started teaching right after I finished my Maîtrise, starting in cultural

centers, and in municipal and private schools in Paris. After a few years,

I decided to return to school to get an MFA in Art. I taught undergraduate

classes as a TA at UCLA and also at Santa Monica Community College. Once

I got my degree I moved to Iceland, where I taught at The National School of

Fine Arts, both in Ceramics and Ceramic history. I returned to Paris for a job

teaching at the ENSA de Limoges. The same year 1993, I was hired at Parsons

Paris in ceramics and 3D design in Foundation.

Have you been teaching for a long time?>

I have been working for a year now as an artist in residence at the

Manufacture Nationale de Sevres, all the artists there work using 18th

century traditional techniques. The residency is a unique opportunity as well

as a challenge for me to work in collaboration with this famous institution.

Additionally, I recently received the Prix Bettencourt pour l’intelligence de

la main that has only been given to one other ceramist. The Prix Bettencourt

was established to highlight the works of creative artists who perpetuate, in

France, the art trades and combine the traditional techniques with constant

research work and a deep sense of innovation.

Tell us about your career as a ceramicist.>

I enjoy the exchange of ideas: it is fulfilling to share your experience with

those who are just starting out; it is also highly rewarding to be able to

make a difference in someone’s life. Teaching is a very satisfying human

interaction.

What do you like about teaching?>

Parsons Paris is special because it is in Paris, it is small and allows a close

contact with the students. The international student body is unique and

makes for an interesting mix of ideas and backgrounds in the classroom.

What would you say distinguishes Parsons Paris from the other

schools you have taught in?

>

Kristin McKirdy Faculty

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CNicole Champagnol / Design Management Interior Architect. Founder and Director of ELASTiC Interior De-sign, Paris. Previous Work History: Project Manager and Interior Designer for Idoine and Opus Certum in France; Freelance Interior Designer in the UK; Export Manager for Du Peloux in France. BA (Honors), Interior Design, Leeds College of Art and Design; Master in International Business, Sup de Co, Montpellier.Dr. Tina Chen-Visage / Critical StudiesSpecialist in comparative literature, philosophy, and gender is-sues, especially in Eighteenth Century France, and in language instruction. BA, University of California, Berkeley; MA Cornell Uni-versity; PhD, University of California, Berkeley. Victoria Chi-Combettes / Foundation / Design Management / Communication DesignSenior designer: J.P. Morgan, New York. Basel School of Design; MA, Product Design in Visual Option, North Carolina State Uni-versity.Guillaume Constantin / FoundationArtist. Exhibitions (selected) 2009/2008 "Copies Cachées" Parc Saint léger centre d'art, Pougues-Les-eaux; "Répertoire pour une Forme" la Vitrine, Paris; 'Let's Just Imitate the Real Until We Find a Better One" Galerie Bonneau-Samames, Marseille; ".../..." with Ra-phaël Zarka, Cardenas Bellanger, Paris; "A Split Single" with Claude Lévêque, Frac Haute-Normandie; "Playtime" Bétonsalon, Paris. Vi-sual arts curator, Instants Chavirés, Montreuil Sous Bois, France.

DPeters Day / Illustration Department Head / PhotographyIllustrator and Painter. Exhibitions: la Saline Royale; Arc et Senans; Galerie Contemporain, Paris; Pavillion Books, London; Watson Guptill, New York; Younkyo Publishers, Seoul; JM Laffont, Paris. Clients: The New York Times; BFA, University of Pennsylvania Le Monde, BFA, University of Pennsylvania Luc de Banville / IllustrationAnimator in the Art of Animated Film,1st assistant to Director (Animated Films & TV series), Professor in Animated Film Studio and Film Analysis., - 2008 Certified Apple trainer in Motion 3, Mil-lésime productions-M6; Darguaud Marina-TF1; LPA-La Parisienne d’Animation; Studies: Greta Ardéche - Media Cartoon & Lazennec Bretagne / Filmografo.Sony Devabhaktuni / FoundationArchitect. Practice: Dorrell Ghotmeh Tane Architects; Ateliers Jean Nouvel; Studio Andrew Todd. Exhibitions: “Three Facade Study Models” in /Mies In America/, Whitney Museum of American Art. Publications: “The Gathering” and “Study Three Times” in /Architects Draw/, Princeton University Press. Education: BA - En-glish and Political Science, Stanford University; BArch - Architec-ture, The Cooper Union for the Advancement of Science and Art; Masters(ongoing) - Etudes Indiennes, Paris 3 Sorbonne Nouvelle. Awards: American Institute of Architects Gold Medal Prize; United States Department of State J. William Fulbright Scholar to France. Véronique Dévoldère / Atelier of art Head / Fine Arts and Foun-dation / Illustration Artist. Exhibitions in Cologne: Galerie Benninger, Art Fair, Galerie B2, ADH Hammelrath. Exhibitions in Paris: Gs Art, Galerie Olga Soe, Cité Internationale des Arts, Fiac Edition. Studies: BA Fine Arts, Connecticut College; Graduate degree (MFA) of the Ecole Natio-nale Supérieure des Arts Décoratifs de Paris.Claire Downey / Critical StudiesArchitecture critic and communications consultant. Director of This City Communication. Former editor This City Paris. M Arch Georgia Institute of Technology.

A Sharam Alijani / Design ManagementAssistant Professor of Economics, Business Administration and Communications, The American University of Paris. BA, BS, The American University of Paris; DEA, University of Reims; DEA, University of Marne-la-Vallée; DEA, École Nationale des Ponts et Chaussées; Docteurés Sciences Economiques, University of Marne-la-Vallée.Yong Anderson / Fashion DesignFashion Designer and Illustator. Clients: Li Edelkoort, Madame de Paris, Sibilla Pavenstedt, Descampes, Jeu de Paume, Tokyo. Diploma LISAA, Paris.Anne Attali / FoundationScenographer and Assistant Professor of "Urban Exploration", Il-linois Institute of Technology, Paris. Regular contributor (lectures and walks) to various programs: University of Illinois-Chicago, Ecole Nat. Sup. des Arts Décoratifs (ENSAD), Design School les Ateliers (ENSCI). Theater work (set design and costumes, acting) with various companies. Graduated in textile design from l'Ecole Nat. Sup.des Arts Appliqués (ENSAA); winner of the Ville de Paris scholarship for a year study at Parsons NY; Diploma in scenogra-phy from l'ENSAD; Artist in residence at the Villa Medicis in Rome.

BRobert Bishop / PhotographyPhotographer and Editor. Exhibitions: Musée d’Art Moderne, Paris; Arles Photography Festival and Honolulu Academy of Arts. “Route 66 Revisited” photo series included in the book “Art and Technique of 70 Modern Masters.” Founding editor of parisvoice.com website and magazine. Paris photography PBS television feature “Corpus Christi”. BA, Northern Illinois University; MTS, Lutheran School of Theology.Randall Blatt / Critical StudiesProfessional Concert Pianist & Musicologist. Art director of the Honfleur Music Festival. Prix Supérieure and Prix d’Excellence of the Conservatoire Européen de Paris. Piano class of Yvonne Lefé-bure under the direction of Henry Sauget.Ivo Bonacorsi / FoundationVisual Artist and Writer. Solo Exhibitions: Chisel Gallery Milan- Ge-noa; Bordone Gallery Milan; Care/of Gallery, Milan; Galerie Arkos, Clermont–Ferrand. Group Exhibitions: Quarter/The Gesture, Flo-rence; Desideretur, Bergamo; A Noir Triennale, Milan; Art Fair Basel. Featured: Flash Art, World Art, Gran Bazaar, Picabia. Publication: il Manifesto, Arearevue, Vogue Italia. D.A.M.S., University of Bologna. Chloe Briggs / Foundation ChairArtist. Recent Projects/Events: ‘Instructions for a Drawing Class’, Experimental educational project piloted in Manchester, Glas-gow, Marseilles and Berlin, 2009 - ongoing; Visiting Artist, La Seine, École Nationale Supérieure des Beaux-Arts, Paris, 2009; ‘Ex-perimental Drawing Day’, ‘Speakeasy’ events, Wimbledon School of Art, 2008; Postgraduate Certificate in Learning and Teaching in Art and Design, University of the Arts; BA, Fine Art – Painting, Win-chester School of Art; MA, Drawing, Wimbledon School of Art.Andreas Brünglinghaus / Photography Chair / Communication Design / Foundation / Design Managment.Photographer, multi-disciplinary artist, art director & graphic designer. Clients: MoMA, Brooklyn Academy of Music, Sotheby’s NY, Addison, Wechsler Ross & Partners, Chamelion Group, MBNA, Neuberger Berman, Deutsche Bank, FashionWeek NY, Olympus, etc. AAS Parsons The New School for Design, NY, BFA City Univer-sity, NY, MFA, ICP/BARD.Martine Bruno / Design Management AssistantSNE Weil-Besançon: Collection Director for Gian Alberto Capo-rale; Vestra International: Pierre Cardin; ECCE : Arrow ; Bidermann Industries: Yves Saint Laurent; MAS Production : Calvin Klein, An-dré Balzac. DEUG in Languages, Ozenne, Toulouse.

ADMINISTRATION & FACULTY

Serge Guarino, President

ACADEMIC ADMINISTRATION

Tony Brown, Interim Academic DirectorDr. Brigitte Borja de Mozota, Director of ResearchFrédérique Krupa, Communication Design ChairDr. Vivian Rehberg, Critical Studies ChairAlice Peinado, Design Management ChairSibylle Klose, Fashion Design ChairPeter Fillingham, Fine Arts ChairChloé Briggs, Foundation ChairPeters Day, Illustration ChairAndreas Brünglinghaus, Photography ChairBruce Stadlman, Fine Arts Honorary ChairVéronique Devoldère, Atelier of Art HeadPatricio Sarmiento, Senior Fashion CoordinatorKatarina Rimarcikova, Fashion CoordinatorRaina Lampkins-Fielder, Critical Studies & Learning Resources CoordinatorRita Di Lorenzo, Design Management CoordinatorMartine Bruno, Academic Department AssistantRebecca Cavanaugh, Academic Administrator

ADMISSIONS & STUDENT LIFESara Krauskopf, Director of Admissions & Student LifeJustine Donato, Assistant Director of Admissions & Student Life Carolina Spielmann, International Affairs CoordinatorSuzy Chica, Admissions and Careers CounselorMarie Breton, Admissions AssistantAna Uzelac, Student Life Counselor

REGISTRAR’S OFFICEOlympia MacKendree, RegistrarAna-Cristina Calvillo, Registrar’s Assistant

BUSINESS OFFICE AND HUMAN RESOURCES Céline Gourlay, Financial ManagerAnne-Sophie Madoire-Rouzaud, Human Resources ManagerGaëlle Dumont, Business Office

Pierre Dreux/ Design ManagementManagement and Innovation Specialist : Founder, Dynnovation. Work history: Scientific Director, Altran Innovation Foundation; Visiting Faculty, Harvard University; Corporate Director, Altran USA Holdings; Business Director, Altran Technologies. PhD in Nuclear Physics, Ecole Centrale, Paris.

E/F/G/H/IPeter Fillingham / Fine Arts ChairSculptor. Recent Exhibitions include: Elen de Bruin Projects, Amsterdam; Galleria Cadaques Dos, Cadaques; Cell Project Space, London; International Project Space, Bournville, England and Kadist Art Foundation, Paris. Academic leadership/teaching positions at: Central Saint Martins College of Art; University of the Arts, London; University College for the Creative Arts, Kent; Goldsmiths College, University of London; Wimbledon School of Art; Leeds Metropolitan University; Bath Spa University. Guest lecturer at Tate Britain and The Institute of Contemporary Art, London. Evelyn Williams Research Fellow in contemporary drawing at Norwich School of Art and Design. Ba (Hons) Sculp-ture, Camberwell School of Arts and Crafts, London BA(HONS), MA Sculpture, Royal College of Art, London.Dr. Barbara Formis / Critical Studies Philosopher specialized in 20th and 21st century art. Former di-rector of seminar at the Collège International de Philosophie of Paris. Former teacher of the Sorbonne University, the Ecole Su-perieure Nationale des Arts de Cergy Pontoise and the American University. She recently published: Gestes à l'oeuvre (Paris, de l'Incidence, 2008). BA, Unversity Statale of Milan, MA and PhD Paris I, Panthéon-Sorbonne. Géraldine Goddat / Fashion Design Textile Designer, Embroidery Designer. Owner of KUCHI KOMI; designer for Anchor, DMC, Bergère de France; trend forecasting for Promostyl, Nelly Rodi, Li Edelkoort; costume design in adver-tising and film (MAAF, Chanel & Stravinsky); owner of SHARMILA (fashion accessories). Graduated from ENSAD with a textile de-gree and a certificate in Imaging.Guy Grember / Communication Design Freelance Art Director. Clients: Fnac, Grolier Interactive Europe, Image Force. DNAP Ecole Nationale d'Art de Cergy Christian Hoeltzer / Fashion Design Fashion and Costume Designer. Free lance costume designer for Theatre National de Chaillot, Theatre du Chatelet, Opera Natio-nal de Paris, Caraco. Free lance fashion designer for Djam, Mor-gan, Peclers Paris. Senior designer for Kookai, Naf Naf. Launched own label in 2006. Diploma Studio Berçot, Paris. Taylor Holland / Communication Design / Design Management / Photography / Foundation Art Director, Graphic Designer, Photographer, Journalist, Film Composer, and Musician. Designer: Holland Design, Austin Texas; Art Director, The Austin Chronicle, 1997-2007. Photogra-pher: Exhibited in Paris, France and Montreuil, France (2008), and Austin, Texas (2009). Film Composer: “The Winnebago Man” (2009) and “The Creek Runs Red” (2006). Musician: JagJaguwar recording artists Monroe Mustang. BA in Journalism and Mass Communication, University of Oklahoma.Zoe Inch / IllustrationAnimator and Film Director. MA Le Fresnoy National Studio of Contemporary Arts, Tourcoing, France. BA Film and Video (First Class Honors), London College of Printing, UK

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Nicolas Minvielle / Design ManagementEconomist: Assistant Professor, Audencia School of Manage-ment; Founder Groupe Design Conseil; Editorial Consultant for Design and Innovation, De Boeck; Brand Manager for Philippe Starck. Published two books on design, numerous articles in aca-demic and non academic reviews and manages the design-blog.info. Certificate of Japanese Studies, Kyushu University, Japan; Bsc in Economics, Science Po, Strasbourg; Msc and PhD in Econo-mics, EHESS, Paris; laureate of the Chancellerie des Universités de Paris.

NJoe Neill / Fine Arts / FoundationSculptor. Exhibitions include: Galerie Lelia, Murdoch, Paris; OK Harris Gallery, NYC; Alain Oudin Gallery, Paris. Featured in Art in America, The New York Times, The Village Voice. MFA, Bowling Green University.Robert Normand / Fashion Design Fashion Designer. Launched own signature fashion label in 2000. Work history: Dorothée Bis, Christophe Lemaire, Hervé Leger, Ocimar Versolato, Lanvin, Lacoste, Emilio Pucci. Diploma Studio Berçot, Paris.

PHally Pancer / Critical Studies / PhotographyPhotographer. Freelance work for major Israeli ewspapers. “Et que la nuit glisse sur le bleu de ta jupe”, EditionsThierry Magnier 2008; Exhibitions: “Open Ends”, Museum of Modern Art, NYC; “Beyond Borders,” Belgrade Kultural Centre, Belgrade; “The Golan Heights,” The Israel Museum, Jerusalem “Documenting Lifestyles,” FNAC Montparnasse,Paris; “Some Arabs and Some Jews,” Jeu de Paume, Paris. BFA, Parsons School of Design; MFA, Yale University.Ian Paterson / Foundation / PhotographyArtist. Solo exhibitions: Centre Georges Pompidou, Paris; Musée Carnavalet, Paris; Centre Canadien d’Architecture, Montreal. Current group exhibition: Clouds, Musee Malraux, Le Havre, Oct. 2009. Publications/articles: “Le Stenopé” Robert Delpire 2008, ”Anachroniques”, Daniel Arasse, Gallimard,2008. Featured in L’Histoire des Jardins. Honors BA, Trinity College, University of Toronto.Alice Peinado / Design Management ChairAnthropologist. Areas of study: education management, perso-nal development and team dynamics, multicultural theory and practice, globalization. Work history: ISM, ESC Reims, ENPC MBA, UNESCO, UNICEF. BA, Barnard College, Columbia University; MA, M.Phil, ABD, Columbia University.Delphine Pelisse / Design ManagementSpecialized consultant in Fashion Merchandising and Window display ( Christmas Cie, Cyrillus, Tartine & Chocolat, Rip Curl Europe…). Extensive teaching experience in Merchandising at ESMOD and in fashion companies. Licence, Institut Français de la Mode, Paris.Cécile Petit / Critical StudiesFrench language instructor. Master 1+2, Diplôme Universitaire Didactique des Langues, Licence LLCE Allemand, Licence Sciences du Langage, Paris III Sorbonne Nouvelle.Christophe Pradère / Design ManagementManaging Director, Absolut Reality. Work history: Johnson & Johnson; Beghin Say, Korea and France; Pentagor, France; EURO RSCG Design, France. BBA, ISG Ecole de Commerce, Paris; Univer-sity of California, Berkeley; Sophia University, Tokyo; MA, Domus Academy, Milan, Italy.

Min Kyung Lee / Critical Studies Architectural historian specializing in 19th and 20th century ur-ban planning in Europe and the Americas. Doctoral researcher at the Centre Maurice Halbwachs (CNRS-EHESS-ENS) and the Deutsches Forum für Kunstgeschichte in Paris. BA, University of Pennsylvania; MA, Northwestern University; Dual-PhD candi-date, Northwestern University and the Ecole des Hautes Etudes en Sciences Sociales.Mark Lyon / PhotographyPhotographer.2008 Graham Foundation grant recepient (www.grahamfoundation.org),PURE, Issue Books, 2004. Editorial clients: Dutch, The New Yorker, Blind Spot, Vibe,Out, Harper’s Bazaar, Rol-ling Stone, Vogue. Advertising clients: Canon, Citibank, Colum-bia Records, N.Y. City Ballet, Sony. Exhibitions: Air de Paris, Paris: Millenium de la Mode, Kyoto and Tokyo: Robert Mann Galllery, N.Y. Awards: Nikon, Communications Arts, SPD. BA, Bennington College; MFA, Yale University.

MWilliam MacKendree / Fine ArtsArtist. Exhibitions: Galerie Foex, Geneva; Center for Contempo-rary Art, St. Fons; Galerie Patricia Asbaek, Copenhagen; Gallery Thoman, Innsbruck; Gallery Vidal-St. Phalle, Paris. Featured in Le Monde, Art Press, Opus International. Collections: Museum of Modern Art, Centre Georges Pompidou, Paris; Statts Museum. BFA, MFA, Georgia State University.Rafael Mahdavi / Fine ArtsArtist. Numerous solo shows in America, Europe, Asia and Near East. Recent/upcoming exhibitions include: Joan Guaita Gallery, Palma de Mallorca; Huihao Gallery, Quangzhou, Canton; XVA Gal-lery, Dubai. BFA, Cranbrook Academy of Art. www.rafaelmahdavi.comHenri Matchavariani / Fashion DesignIllustrator, Painter – several international awards. Art Director for NCK, Havas Publicis, Young and Rubicam, Euro-Advertising. Ad-vertising campaigns for Air France, Woolmark, Lancôme, L’Oréal, France Soir. Illustrations for Vogue, Elle, Marie Claire, Donna, Ave-nue, Clarins, Montedison, Fashion Magazine (Milan). Exhibitions in Paris, Hamburg, Milan, Tokyo, Taipeh.Michael McCarthy / Photography Photographer. Recent Exhibitions: Holland Tunnel, Paros, Greece; American University in Paris; Abrons Arts Center, NY; SACI, Flo-rence; Everson Museum, Syracuse; Galerie Art 7, Nice; Print Cen-ter, Philadelphia; New York State Museum, Albany; E3 Gallery, NY; Temple University Rome. Recent Publications: Afterimage, Portland Review, Private. Education: MFA, Tyler School of Art; BA University of Vermont. www.michael-mccarthy.com.Steve McClymont / Fine ArtsPainter. Solo exhibitions: F.C. Craig, Paris; Cité Internationale des Arts, Paris; Villa Radet, Paris; Salon du TRAIT, Paris. MFA, National Art School, Sydney.Kristin McKirdy / Foundation / Fine ArtsCeramist. Exhibitions: Galerie Pierre, Paris; Movements Modernes, Paris; Funky Zen, Mairie du 6e, Paris; Espace GrandJean, Vallauris; Elementarisme, Biennale de Chateauroux, France; Faenza Bienna-le, Italy. MFA, UCLA; MA, Art and Archeology, Paris IV-Sorbonne.Leslee Katrina Michelsen / Critical StudiesArt historian and archaeologist specializing in medieval Islamic art. Has excavated and worked on conservation/curatorial pro-jects throughout Central Asia and the Middle East, with current art historical,conservation and archaeological projects in Afgha-nistan and Turkmenistan. BA, Hood College; MA and, PhD disser-tation pending in Art History at the University of Pennsylvania.

JMagdalena Jarvin / Design Management & Critical StudiesSociologist-Anthropologist. Fields of specialization : customer behaviour, youth and adolescent sociability. Clients : Bouygues Telecom, RATP, Aéroports de Paris, What If (British innovation company), IDEO (US innovation company). Assistant Professor : IRFASE, Université de Lille III, IUT de Tourcoing, Université de Pa-ris V. BA, MA in Sociology, Sorbonne University, Paris 5; PhD in Sociology, Sorbonne University, Paris 5; Post-doc University of Ottawa, Canada. Karina Jensen / Design ManagementInternational Marketing and Cross-Cultural Management Spe-cialist: Founder Global Minds Network; Visiting Professor, UC Be-rkeley Extension, Art Institute of California. Work history: Macro-media, ENPC School of International Management, NEC, SILMA, SYMANTEC. BS/BA Business Administration/Public Relations, UC San José; MBA, ENPC School of International Business, Paris; PhD in progress, ESCP-EAP European School of Management., Paris.Claire Jochum / Fashion DesignTextile Designer. Work history: Christian Lacroix, Sic Amor, Miss China, University of St. Quentin en Yvelines. Studied at Ecole de Beaux Arts de Strasbourg, Atelier d’Art Arc en Ciel, Chambre des Metiers.

KSibylle Klose / Fashion ChairDesigner. Fashion designer inter alia for Thierry Mugler, Kenzo, Chloé, Givenchy, Lacroix, Montana. Textile and interior designer inter alia for Descampes, Dorma France. International teaching. MA Fashion, Central Saint Martins College of Art and Design, London.Nena Kraguly / Critical StudiesArt historian specializing in 20th and 21st century art. Regular contributor to Beorama, Vreme and Project. Curatorial activities at the Centre Georges Pompidou, Paris. Affiliated with the Vassar-Wesleyan University in Paris. DEA, Sorbonne, Paris. Frédérique Krupa / Communication Design Chair / Design Ma-nagement Designer. Co-founder/Partner, Simple is Beautiful, Paris. Served as Assistant Editor of ID Magazine and in R&D at Virtools/Das-sault Systèmes. Has taught at Parsons The New School for Design, Rhode Island School of Design and University of the Arts in Phila-delphia. BFA in Product Design & MA in Design Criticism, Parsons The New School of Design.

LShirley Lambert / Critical StudiesInstructor of English as a Foreign Language, Critical Reading and Writing, Editor and Library Consultant. Former Vice President, Associate Publisher and Editorial Director of Scarecrow Press, a division of the Rowman & Littlefield Publishing Group, Lanham, MD. Member TESOL France, consultant for Terra Foundation Li-brary, Paris Research Center (American Art). BA (Honors and Phi Beta Kappa) Wellesley College, Wellesley MA; MLS (Lib and Info Sci, with honors) Simmons College, Boston; MBA Univ. of Colo-rado, Denver..Christine Le Bugle / Design ManagementSpecialized consultant in brand strategy in the Fashion/Tex-tile sector at the International Center of Research and Studies in Fashion (CIREM)/Extensive teaching experience in Marketing at ESMOD, Mode Estah, Espaces et Matières, Negocia, as well as in textile companies. Licence, Université Paris VIII.David Lewis / Critical Studies Critic, theorist, and historian specializing in modern and contem-porary art and aesthetics. BA Brown University; PhD expected in 2010 from C.U.N.Y. Graduate Center.

RDr. Vivian Rehberg / Critical Studies ChairArt historian/critic, specializing in modern and contemporary art. Founding editor of Journal of Visual Culture, regular contributor to frieze and Modern Painters. Former curator at ARC/Musée d’art moderne de la Ville de Paris. BA, SUNY Cortland; MA, SUNY Stony Brook; PhD, Northwestern University.Katarina Rimarcikova / Fashion Design CoordinatorFashion Designer. Launched own signature label in 2006, parti-cipated in Unique Form Charity Project, Switzerland, freelance designer for Sharon Wauchob. Worked for Gucci, Alexander Mc-Queen, London. BA (HON) Fashion, Central Saint Martins College of Art and Design, London.Francisco Rocca / Fine ArtsArtist, Printmaker. Exhibitions: National Library of Colombia, Bo-gotá; Cáceres Museum; Salon d’Automne, Paris. Graduated from School of Fine Arts, National University of Colombia; Printmaking studio: S.W. Hayter, Paris.

SPatricio Sarmiento / Fashion Design Senior CoordinatorFashion Designer. Worked for Louis Vuitton Malletier, DKNY Jeans, Calvin Klein Jeans, Celine, freelance designer for Linde, Maurizio Galante, art director for Devine Intervention Paris. BFA Parsons School of Design, New York, MA Fashion (Création) IFM, Paris.Wade Saunders / Fine ArtsSculptor. Solo exhibitions: Art Resources Transfer, Inc., New York. Musée National de la Céramique Adrien Debouché, Limoges. Diane Brown Gallery, New York. MFA, UC San Diego.Claire Scholl / Design ManagementSociologist. Independent Consultant. Directrice des Etudes, Uni-versité Paris XIII. Work history: Banque Populaire; BNP; Concept Olivier Frenoy; I’International; INA; Cité des Sciences et de l’Indus-trie; CNRI; ERCIM; INRIA; Ministère de la Culture; INA. Licence and Maîtrise, La Sorbonne; MA, University of California, Los Angeles.Susann Schweizer / Fashion Design Fashion Designer. Work History: Fabio Piras, London; Zaha Ha-did, London; Cacharel, Paris; Princesse tam.tam, Paris. Gradua-ted from College of Art and Design, CH-Basel and holds a MA in Fashion (womenswear) from Central St. Martins, London.Dr. Anne-Marie Smith-Di Biasio/ Critical Studies University teacher specializing in Modernist literature and psy-choanalysis, author of two books (Pluto press, éditions Indigo), numerous articles and translations in this field. Vice president of The Virginia Woolf Society of France, contributing author to for-thcoming Dictionnaire amoureux de la psychanalyse (Larousse 2010). BA Hons University College London, PhD Queen Mary Col-lege, London University. Bruce Stadlman / Fine Arts Honorary ChairArtist. Exhibitions: Galerie J. de Rumigny, Paris; Salon de Mai; Foundation Mona Bismark; L’Espace du Regard; Salon Grands et Jeunes, Paris. BS, Northwest Missouri State University; BFA, Kan-sas City Art Institute; MA, San Francisco State University.Karel Steiner / PhotographyPhotographer. Exhibitions : Espace Robespierre, Ivry-sur-Seine, 2007, La Maison des Sciences de l’homme, Paris 2007, Galerie Vy-sehrad, Prague; 2007 Prachenske muzeum, Pisek, CZ, 2007,Europe House, Pilsen, CZ, 2007,Embassy of the Czech Republic in Luxem-bourg, 2007,Clients: Unilever, Pilsner Urquel, Daewoo and Mazda, La Croix, International Fertilizer Association, JPG, Skoda, Maxi, Plein Ciel.AAS, Fashion Institute of Technology; BA, Hamilton College.

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Jutta Kraus, Bernhard WillhelmAvinash Kumar, designer Quicksand, New DelhiLecoanet-Hemant, house of haute couturePhilippe Lardy, illustratorYuris Lesnik, artistJérôme L’Huillier, fashion designerGriet Maes, mime artistMichel Malard, fashion consultantAriane Martinet, analyst, strategy department, Chanel, Paris Christophe Martinez, stylist, (Tank magazine)Damien Masson and Naim Ait Sidhoum, architects, Wikibivouac Randa Massot, designers’ consultantMelanie McDonald, knitwear designer (Margiela, Lanvin)David McKee, illustratorRyan Mendoza, artistEtienne Mineur, art director and founder of IncandescenceNicolas Misdariis, sound researcher, IRCAMDelphine Murat, fashion designerIrakli Nasidze, fashion designer haute couture On Aura Tout VuOrlan, artistCatherine Örmen, fashion historian and curatorPatrick Pinon, textile designerOlivier Peyricot, director (IDSland)Marie-France Pochna, author John Ribbe, fashion designerJulia Rodowicz, senior designer, knitwear, BalenciagaCarine Roitfeld, editor-in-chief, French VoguePaolo Roversi, photographerJérôme Sans, former director, Palais de Tokyo; director, Ullens Center for Contemporary Art de Beijing; Culturalcurator, Le Meridien groupMarjane Satrapi, writer, illustrator, film maker (Persepolis)Deidi von Schaewen, photographer and film directorLoic Secheresse, illustratorMijn Schatte, illustratorRichard Siegal and Hillary Goidell, choreographer and new media designer, founders of The BakeryClementine Sladden, consultant,Stratégique de Communication l'image des marquesSteven Slowik, fashion designerValerie Steele, fashion historian and authorCandice Stevens, advisor, OECD Sustainable DevelopmentTom van Lingen, fashion designerConrad Ventur & Adrien Pellentier, Useless MagazineStephen Vasilokos, painterSergei Vassiliev, fashion designer Seredin & Vassilev

Yacine Aït Kaci and Naziha Mestaoui, new media designersand founders of Electronic ShadowAnthony Anderson, filmmakerThomas Arthur, sculptorIngrid Baron, lead designer, Ideo, LondonJack Benstock, publisher (Editions Seuil)Pascal Beucler, vice-president(Publicis Consultants Worldwide)Sarah-Jane Blackman, strategic planner, BBDO ProximityErik Boulatov, artistWiliam Brui, painterDave Busch, SVP Medical Devices, Selecton Dominique Cardon, sociologist, Orange LabsDavid Carson, art director / graphic designerMarie-Christine Callet, financial analyst, ATTAC MemberKei Chae, designer (Manifere de Luxe)Michelle & Olivier Chatenet, fashion designers (E2)Jean Colonna, fashion designerStéphane Correard, curator, writer, and director (Particules)Christopher Croft, painterMatteo Delise, SVP marketing, Pininfarina Ferrari Annabelle Dos Santos, PR, CacharelMark Eames, artistSamantha Edwards, photographerHartmut Eslinger, ceo and founder, Frog DesignHelen Evans, new media designer and founder of HeHeSeamus Farel, artist, curatorKlaus Fluge, publisher (Andersen Pres)Françoise Galo, documentary filmmakerBeatrice Gisclard, founder, Les InventeursIngrid Guttormsen, Maison Martin MargielaJunichi Hakamaki, fashion designerDidier Hamey, artistMarcus Hansen, painterHenrik Harjula, environment directorate, OECDJeb Hayward, artistTara Henthorn, fashion designer Antoine Heu-Boidin, head of visual merchandisingLeo Hobaica, conceptual artistNicky Hoberman, painterMiles Hyman, illustratorMarc Jacobs, fashion designer Benoît Jacques, author, illustrator, publisherKarina Jensen, founder, Global Minds NetworkPatrick Jones, artistJoseph Kosuth, artist

GUEST LECTURERS + DESIGNER CRITICS

Bridget Strevens / FoundationIllustrator, Author and Designer. Member of the Board of the Inter-national Society of Children’s Book Writers and Illustrators. Books published with Harper Collins US, Simon & Schuster US, Bayard éditions France, Little Hare Books, UK/Australia. Other clients in-clude Bayard Presse, Milan Presse, Averbode. MA, (Hons.) King’s College, University of Cambridge. www.bridgetstrevens.com.

TShaghig Terzakian / Fashion DesignPattern Drafter. Work history: Naf Naf, Véronique Leroy Paris. University of Alep; graduated from ESMOD; studied at l’Ecole de la Chambre Syndicale de la Couture Parisienne; studied at Central Saint Martins College of Art and Design, London.Roger Thorn / Design ManagementRetired Investment Banker. Former Chairman of Thorn Lefèvre In-vestments. Former M&A Director of Banque de la Société Finan-cière Européenne. Lecturer in Corporate Finance and Corporate Development at IPAG, ISEG and ISM. M.A. French and German, Exeter College, Oxford University. Executive Program, London Business School.Nicolas Tschopp / PhotographyFine Arts and Advertising Photographer Clients: Fairchild publications,Theo Hotz Architecture, Marc Gassier for the l’Acade-mie Française, Exhibitions: 2007, “Playgame” Diatopos Contempo-rary Art Centre, Nicosia (Cyprus),2006, “Twilight”, Diatopos,Public and private collections: The National Gallery (Cyprus-Collection Zampellas), Publications: WWDFAST (March 2005), SunJet; Cy-prus Airways In-Flight Magazine (Summer 2001),Werk, Bauen + Wohnen (July/August 2000) Education: 1996 Ecole nationale Supérieure de Beaux Arts de Paris, 1992: Diploma from the School of Photography (Applied Arts) in Vevey (Switzerland).Mark Tungate / Design ManagementFreelance writer, British journalist and author. Specialist subjects: media, marketing, travel, French culture and lifestyle. Experienced reporter, editor and copywriter; publications include “Media Mo-noliths,” “Fashion Brands,” “Fifty: The Amazing World of Renzo Rosso and Diesel,” and “The Epica Book.” Copywriting clients have included Coca-Cola, MTV, Diesel and Initiative Media. Westmins-ter Press Editorial Training College, Hastings, UK.

V/W/Y/ZKai von Ahlefeld / Fashion DesignFashion designer. Founder of Bureau Paris, Paris-based design firm. Work history: Ocimar Versolato, Kooka Burra, Cerruti, Lapi-dus, Yohji Yamamoto. BFA, Parsons Paris School of Art and Design. Charlotte von Poehl / Design ManagementArtist. Selected Exhibitions: ”Break of Dawn”, Swedish Cultural Center, Paris. Flagey, Brussels. Bergman week, Farö. “The Note-piece”, The Henry Moore Institute, Leeds. “7000 Newton” Malmö Konstmuseum, Malmö. “De la representation à l’action”, Le Pla-teau, Frac Ile-de-France, Paris.BA, Fine Art, Luther College. MA, Fine Art, Goldsmiths College. Nathalie Watts / Design ManagementConsultant in Marketing & Innovation, Founder and Director of 3Blossom, a strategic and operational consultancy firm in the field of Innovation and Design. Previous work history: Consultant and Trainer in Marketing to entrepreneurs at Coach Europ in France; 15 years in senior EMEA management roles in London; Account Director with global ICT, clients include: Compaq, Fujitsu-Sie-mens, MSN at McCann-Erickson, London; European Marketing Director for 3COM Europe, London; Marketing Manager positions at Hewlett-Packard, London. DESS, International Marketing and Trade, Université de Paris, Sorbonne.

Deborah Wickham / Communication DesignFreelance Graphic Designer. Clients include: The Museum of Archaeology & Anthropology/University of Cambridge, Maison de l'Europe des Yvelines, Mairie de Chatou, Paris Voice magazine (layout & production), Association Mouvement Art Contempo-rain de Chamalières. BA (Honors) London College of Communi-cation, The University of the Arts London.Tanja Wiedner / Fashion DesignFashion Designer, Pattern Drafter. Work history: John Galliano, Zadig&Voltaire, Christian Lacroix, Valentino. Graduated from ESMOD Paris and AICP.Catherine Winsnes / FoundationGraphic Designer and Artist. Clients: Ecole des Hautes Etudes en Sciences Sociales, Office National du Tourisme de Norvège en France, Crédit Mutuel. Recent installations and films: Ecole des Hautes Etudes en Sciences Sociales, Paris; Hôpital Psychiatrique Maison Blanche, Neuilly-sur-Marne; Parsons The New School for Design. Exhibitions in France and Norway. Graduated from the Ecole Supérieure d’Arts Graphiques.Sylviane Yzet / Fashion Design Freelance fashion designer. Work history: Chloé, Carlin Inter-national, Réné Dherhy, DIM, LeJaby, Le Chat. Current clients: Galeries Lafayette, Monoprix, ETAM, Orcanta. Graduated from ESMOD, Paris.

NEW FACULTY FOR 2009-2010

Full bios can be found at www.parsons-paris.com

Ghislain Aucremanne, Critical StudiesHolly Barton, Critical StudiesMichelle Binczak, Critical StudiesAssaf Dagan, Communication DesignGabriella David, PhotographyMarion Dufour-Lahore, Design ManagementJeremy Edwards, Design ManagementDominique Foy, IllustrationAnna Gerber, Critical Studies/Communication DesignNicolas Giraud, PhotographyLoup Juillet, Critical StudiesBrigitte Kahane, Design ManagementEmmanuel Kerner, IllustrationMona Kim, Communication DesignMario La Mothe, Critical StudiesStephen Monteiro, Critical StudiesCharlotte Moth, PhotographyAlexandre Oudin, PhotographyColleen Pearl, Critical StudiesEmilie Prattico, Critical StudiesJakvina Radovanovic, PhotographyLoic Secheresse, IllustrationSara Shroukh, Critical StudiesPaul Vickers, Communication DesignVéronique Vienne, Critical Studies/Communication DesignRachel Ward, Critical StudiesAndré Wolff, Photography

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Parsons Paris offers degree programs based on the American system of education, in which students who successfully complete four years of study receive a Bachelor’s Degree. In the fields of art and design, stu-dents receive a Bachelor of Fine Arts Degree (BFA) preparing them to en-ter their profession. Students can choose Communication Design, Il-lustration, Fashion Design, Fine Arts or Photography. BFA candidates start in the Foundation Year; Photography students have the option of “direct entry” into their major starting from freshman year. Students interested in pursuing a career in business for the design industries enter the De-sign Management program as fres-hmen; upon successful completion of the four-year program these stu-dents receive a Bachelor of Business Administration degree (BBA)*, the recognized undergraduate degree in business in the USA.

ACADEMIC PROGRESS

In the American education system the first year of the Bachelor’s degree is called the Freshman Year, the se-cond is Sophomore Year, the third is Junior Year and the fourth is Senior Year. Academic Progress towards a degree is measured by 3 criteria:

Qualitative progressUndergraduate students must main-tain a minimum weighted average of all courses taken, called a Grade Point Average (GPA), of 2.0 to be considered in good standing and to qualify for fi-nancial assistance.

Quantitative progressStudents are expected to carry a full course load and to enroll in the cor-rect number of Core courses and Cri-tical Studies courses each semester.

Level review/curricular progressSatisfactory academic progress also requires that courses be completed in the appropriate sequence and that an adequate level of achievement be maintained in Core courses. Students who fail to meet this standard by per-forming poorly in or failing required courses, but who are otherwise in good academic standing, will be pla-ced on Departmental Probation and required to repeat specific classes, a semester, or academic year.

THE AMERICAN CREDIT SYSTEM

Students earn “academic credit” for courses they successfully complete. Credit load is calculated based on the number of in-class hours and the amount of homework required. Cre-dits are differentiated into: studio credits for classes that require the

creation of artwork; departmental credits for courses that contain ma-terial relevant to a student’s major; critical studies / art history credit for classes emphasizing the develop-ment of critical, analytical, and wri-ting skills. Critical Studies comprise Art and Design History, Social Scien-ces, Cultural Studies, and English. In order to obtain the Bachelor of Fine Arts degree (BFA) a student must complete 134 credits, including 92 departmental and 42 Critical Studies credits. The Bachelor of Business Ad-ministration (BBA) requires 134 cre-dits, including 79 departmental, 13 studio, and 42 Critical Studies credits. All degree students must take a mini-mum of 12 Art History credits within their Critical Studies requirements.

TRANSFER STUDENT ISSUES

Transfer applicants are evaluated on two criteria: their skills and abili-ties must be equivalent to those of Parsons Paris students at the same level and they must have sufficient credit for college courses completed elsewhere that are similar in content, purpose and standards to those offe-red at Parsons Paris. See Transfer Cre-dit Policy for more details.

To be accepted for departmental transfer into the sophomore level of the BFA program students must have completed the equivalent of Parsons Paris’ first-year Foundation Program (approximately 24 studio art credits plus 12 Critical Studies credits) or the freshman year of Photography – for Photography transfers (approxima-tely 24 photography and art studio credits plus 12 Critical Studies cre-

dits). To be accepted for departmen-tal transfer as a junior a student must have completed the equivalent cre-dits to a Parsons Paris student at that level (approximately 48 studio credits plus 18 Critical Studies credits.)

To be accepted to the BBA program for departmental transfer as a so-phomore a student will need to have completed at least 36 credits within the required course distribution; ju-nior transfers will need to have com-pleted 67 credits. Due to the unique nature of the Design Management program, transfer students will likely take courses in the freshman and so-phomore levels during their first year at Parsons Paris in order to complete the degree requirements.

RESIDENCY REQUIREMENT

Student must complete at least four semesters of their undergraduate de-gree at Parsons Paris. Students may transfer a maximum of 67 credits.

TRANSFER TO PARSONS THE NEW SCHOOL FOR DESIGN

Studying in these two great cities with faculty engaged in the art and design industries on both sides of the Atlantic provides students with a unique opportunity. Students who begin the BFA or BBA program at Par-sons Paris and are in good academic standing may apply to transfer to Parsons The New School for Design. Those accepted for admission to Par-sons The New School will be eligible to complete their degrees in that ins-titution.

DEGREE PROGRAMS

*In addition to being accredited by the Middle States Commission on Higher Education, the Bachelor of Business Administration degree meets the NASAD standards for a Bachelor of Arts - Design Management (Multi-disciplinary design).

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MANAGEMENT OF DESIGN FALL SPRINGMarketing 3 -Managing Creative Organizations - 3Design Project Management 3 -Strategic Design Management and Direction - 3Design Research Methods 3 -Marketing Strategies for Developing Brands 3 -Electives - 6The Culture of Design 3 -Art History Elective - 3Total Credits 15 15

PHOTOGRAPHIC ARTS FALL SPRINGBlack and White Photography 1+2 3 3Drawing for Photo and Cinema 1+2 2 2Digital Skills and Composition 1+2 3 3Digital Photography Lab 1 3 -Early Forms of Photography - 2Studio Electives 2 2Topics In Photo History and Theory - 3Art History Elective 3 -Total Credits 16 15

STUDIO ARTS FALL SPRINGPainting 3 3Drawing 3 3Sculpture 3 3Ceramics - 2Printmaking 2 -Silkscreen - 2Introduction to Photography 2 -Art History Elective 3 3Total Credits 16 16

ILLUSTRATION ARTS FALL SPRINGIllustration Concepts 3 3Typography - 3Drawing 1+2 3 3Digital Skills and Comp 1+2 3 3Animation Studies 1+2 3 3Art History Elective 3 -Total Credits 15 15

THE ART OF TEXTILES FALL SPRINGTextile Identification 2 -Introduction to Textile Design 2 -Surface Treatments 1+2 2 2Silkscreen Printing on Fabric 1+2 2 2Lesage Haute Couture Embroidery Studio 1 + 2 3 3Mixed Media Textiles - 2Wearable Objects - 2Independent Archive Studies Musée Art Deco 1+2 1 1Critical Studies in Fashion and Design 3 3Total credits 15 15

GENERAL FASHION STUDIES FALL SPRINGGarment Construction 1 + 2 3 33D Fashion Studio 1 + 2 3 3Digital Design Electives 2 -Basics of Fashion Drawing 1 + 2 2 2Textile Electives 2 2Style Bureau Workshop - 2Critical Studies (in Fashion and Design) 3 3Total Credits 15 15

VISUAL COMMUNICATIONS FALL SPRINGType: Core Studio & Form: Core Studio 4 4 Type: Core Lab & Form: Core Lab 2 2Digital Imaging and Multimedia 3 -Interactive Multimedia - 3Packaging 3 -Information Design 3 - Branding and Identity - 3Culture of Design - 3

Total Credits 15 15

CERTIFICATE PROGRAM OPTIONSCERTIFICATE PROGRAMStudy Abroad at Parsons Paris

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Beyond our undergraduate programs, Parsons Paris offers full-time Certificate and Visiting Student programs that are perfect for those seeking in-depth study in art or design disciplines, management of design or art history through a study abroad experience. Students in these programs also enjoy many cultural outings and field trips in Paris and beyond, as well as gain exposure to a variety of cultures through our international faculty and student body. Working side-by-side with Parsons Paris degree students, Certificate and Visiting Students have access to all studio facilities.

The intensive curriculum of the Par-sons Paris Certificate Program offers a non-degree option for those who wish to launch a career transition, re-fine a professional level design port-folio, or prepare for entering an MFA program. The Certificate Programs are ideally suited for the mature stu-dent who already has an undergra-duate degree and wishes to complete his/her education with a professional art and design concentration. These programs emphasize skill develop-ment and provide a solid foundation in the process, technology, and lan-guage of art and design. Students must complete a minimum of 30 cre-dit hours in a single discipline for the one-year Certificate Programs listed below. Studying full-time (minimum of 12 credits per semester), Certificate Students choose from the curricular suggestions on page 155 that provide a framework upon which Certificate Programs are developed. The student, along with his/her advisor, will create a final curriculum that responds to the student’s interests, abilities, and the course schedule.

NON-DEGREE PROGRAMS

2010-2011 Academic Year CurriculumThe 2011-2012 curriculum will be published on ourwebsite in July 2010: www.parsons-paris.com

Studio ConcentrationStudents investigate the medium or media of their choice and an indivi-dual’s program could include classes from any and all majors, upon final approval of the Department Heads involved.

Photography ConcentrationThis concentration is for those who wish to explore primarily the medium of photography during their time at Parsons Paris.

Management of Design ConcentrationInvestigating the intersections between management and design, Management of Design students take courses primarily in the depart-ment of Design Management.

Critical Studies ConcentrationThose interested in pursuing Critical Studies and Art History coursework apply for Critical Studies Concentra-tion.

Parsons Paris offers an extraordinary Study Abroad program for college so-phomores and juniors, or those with undergraduate degrees who wish to spend a semester or year experien-cing the art, design, and culture of Paris. Studying full-time (minimum of 12 credits per semester), Visiting Students choose classes from the Par-sons Paris departmental offerings as well as classes specifically developed for the Visiting Student community.

Depending on what types of classes a student wishes to take at Parsons Paris, he/she selects to enter the Studio, Photography, Management of Design or Critical Studies Concen-tration.

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Bates College

Brown University

California College of Arts & Crafts

City College

Clark University

Colby-Sawyer College

College of Visual Arts

Colorado State University

Columbia University

Cornell University

Georgetown University

Hamilton College

Maryland Institute College of Art

Minneapolis College of Art & Design

Oxford University

Rhode Island School of Design

Reed College

Sage College of Albany

Sarah Lawrence College

School of the Art Institute of Chicago

School of Visual Arts

Stanford University

The University of the Arts

University of Monterrey

University of California Los Angeles

University of Massachusetts

University of Michigan

University of The Arts London

Vassar College

Virginia Commonwealth University

Yale University

PART-TIME PROGRAMSVISITING STUDENT PROGRAM

• Non-Credit ClassesThroughout the year non-credit classes are offered for students of all ages, from high school to mature learners. Visit www.parsons-paris.com to request a brochure and register for classes.

• Special Part-TimeQualified students may enroll in indivi-dual, credited courses on a space-availa-ble basis. Those interested in this option can select courses for the semester for which they would like to study from our course brochure on our website. These are available approximately two months before the beginning of each semester.

SUMMER PROGRAMS

During the Summer months Parsons Pa-ris offers intensive courses in the fields of art, design, photography, fashion, management and French. To learn more visit www.parsons-paris.com or email [email protected].

STUDENTS WHO PARTICIPATE IN THIS PROGRAM COME FROM NUMEROUS COLLEGES

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ADMISSIONS CRITERIA

Parsons Paris has no set admissions formula. Each applicant is reviewed individually with regard to his or her own experience, achievement and potential for artistic growth. A large part of the Admissions Committee’s decision is based upon evaluation of the Paris Portfolio, Design Analysis Essay, and Per-sonal Statement (see pages 161-164). Parsons Paris seeks serious, responsible, and highly motivated applicants. A prospective student’s potential for artistic achievement is one of the most important criteria in evaluating candidates for admission.

ADMISSIONS DECISIONS

The Admissions Committee will make no decision on an application until all materials have been re-ceived by the Admissions Office; decisions are ren-dered and mailed to applicants within three weeks of receipt of all materials. All materials submitted to the Admissions Office, including home assign-ment, portfolio, transcripts, letters of recommen-dation, etc, become the property of Parsons Paris.

ACCEPTED APPLICANTS

When notified of acceptance, applicants receive information about housing, tuition and fees, and other matters. The Admissions Committee’s de-cision to admit an applicant is contingent upon successful completion of any ongoing studies, and on the Admissions Committee’s receipt of the final transcripts of those studies.

DEFERRING ADMISSION

Some students choose to defer their date of entry in order to travel or work. To defer entry, a letter requesting a new entry date and describing the applicant’s plans must be sent to the Admissions Office. A non-refundable tuition deposit may be requested.

SPECIAL CONDITION ADMISSIONS

In some cases, the Admissions Committee may re-quire one of the following conditions:

• English for International Students (EIS) RequiredStudents whose English proficiency test scores fall between 60 and 91 on the TOEFL Ibt or 5.5 and 6 on the IELTS will be considered for entry with En-glish for International Students (EIS) required. All students who are admitted with EIS required as an Admissions Condition, as well as those who are placed into EIS courses as a result of mandatory tes-ting administered during Orientation at Parsons Paris. Enrollment will be limited exclusively to the Studio/departmental portion of the curriculum, plus EIS courses.The student must successfully complete the EIS class in order to continue at Parsons Paris. Any student who does not complete the course with a passing grade in their first semester will receive an academic warning. Any student who has not suc-cessfully completed the course by the end of their second semester will be dismissed. Critical Studies requirements normally completed in the first year must be completed in subsequent semesters or du-ring the summer and in some cases may lengthen the time it takes to graduate.

• ProbationStudents may be admitted on academic probation as a result of substandard academic performance. Students who are accepted on probation who do not maintain a minimum GPA of 2.0 during the first semester of study at Parsons Paris will be dis-missed.

ADVANCED STANDING CREDIT

Students who have earned a French or Internatio-nal Baccalaureate, a German Abitur, or who have passed A-Levels, US Advanced Placement Exams, or equivalent university qualifying examinations, will be considered to receive appropriate transfer credits for those academic credentials. Applicants must submit official documentation in the original language and certified translations into English in order to receive credit.

TRANSFER CREDIT POLICY

All students are required to submit official trans-cripts to the Admissions Office for evaluation when applying to the school. Once admitted, students may have their first semester of attendance at Parsons Paris to submit outstanding official trans-cripts to the Registrar for evaluation for possible transfer credit. No transcripts submitted after the end of a student’s first semester of attendance will be considered for transfer credit. All transcripts submitted must be original or certified copies in order to be accepted. In addition, transcripts from schools that were not indicated on the application for admission will not be reviewed.

A grade of “C” or better must be earned to receive transfer credit. Granting of transfer credit is contin-gent upon an applicant’s capacity to maintain the same satisfactory performance level by which the student was admitted. During the first semester of attendance, students should direct their questions about transfer credit to the Registrar.

Applicants who would like to transfer academic credits earned at non-English Language institu-tions are also required to have their transcripts evaluated by World Education Services (WES). A course-by-course evaluation report must be prepa-red for each transcript. Please start the evaluation process as early as possible, including the submis-sion of all required documents to WES in order to

ensure the timely completion of the evaluation report. To contact WES go to www.wes.org; ins-truct WES to send the report to the Parsons Paris Admissions Office.

• Studio CreditTransfer credit for studio courses will be granted only for courses whose content is similar to that of Parsons Paris and after presentation of official transcripts and portfolio material demonstrating proficiency in the subject areas for which credit is sought. Credit will only be granted in 12 credit (equivalent semester) blocks.

• Critical Studies CreditParsons Paris awards a maximum of 42 Critical Stu-dies (including art history) credits for courses com-pleted elsewhere, and which correspond to Critical Studies requirements.

• Notification of CreditThe transfer credit evaluation is completed and transfers credit granted only after an applicant has been accepted and has submitted all final trans-cripts from other schools to Parsons Paris. Accepted applicants receive notification of transfer credit prior to Registration.

NO credit will be granted for “life experience.”

ADMISSIONS

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APPLYING ONLINE

Applicants apply online at: www.parsons-paris.com/apply. Applying online is the simplest, fastest, most accurate, and least expensive (no postage costs!) way to apply and submit your portfolio.

When you enter our online application you will be required to create a login and password, after which you can select the semester and program for which you are applying. You can save your applica-tion and return to it at a later time.

The site will lead you through the process of ap-plying: you will be required to provide personal and educational information, and upload your personal statement and Paris Portfolio. Students applying to the Design Management program will upload the Design Analysis Essay. The final step is to pay the $60 application fee by credit card via the site’s secure server.

You may upload images (jpg), docs (pdf) or video (mov, wmv, flv). For good image quality and fast upload, your image files should have a resolution of 72 ppi and a largest dimension around 1220px. The online portal offers additional instructions for submitting work. For technical support, contact [email protected].

Once you have submitted your application via our online portal you must send your test scores and transcripts separately to the Admissions Office, Parsons Paris 14 rue Letellier 75015 Paris France.

Applicants to the Degree and Certificate Programs must schedule a telephone or in-person interview. You must have submitted all your other required application materials before we conduct the in-terview. Email [email protected] to schedule an interview.

APPLICATION PROCEDURE APPLICATION MATERIALS

APPLYING ON PAPER

Should you be unable to access the online applica-tion you may download a paper form from our web-site. Submit artwork on cd-Rom; image files should be in .jpg or .pdf format and have a resolution of 72 ppi and a largest dimension around 1220px. Do not put adhesive labels on the cd-Rom.

ALL APPLICANTS

• SUBMIT THE PERSONAL STATEMENTWrite a 500-word statement that describes the works of an artist(s), design business(es), design manager(s), or designer(s) that inspire you and why you would like the opportunity to pursue an education in art and design.

• SUBMIT TRANSCRIPTS OF PREVIOUS STUDY All applicants must provide secondary school and/or college transcripts to the Admissions Office. Those who have already earned a bachelor’s degree prior to applying for admission to Parsons Paris are not required to submit secondary school trans-cripts. All other applicants must submit secondary school transcripts.

• SUBMIT TEST SCORES: SAT, ACT, TOEFL, IELTS All applicants for whom English is not their native language must submit results of either the TOEFL exam (the Test of English as a Foreign Language) or IELTS (International English Language Testing Sys-tem). The minimum scores required are: 92 on the TOEFL Ibt test or 6.5 band score on the IELTS. Those whose scores fall between 60 and 91 on the TOEFL Ibt or 5.5 and 6 on the IELTS will be considered for entry with English for International Students re-quired (see Special Condition Admissions section on page 158 for more information). To get informa-tion for the earliest possible test date for the TOEFL exam go to www.ets.org. Our institution code is 8217. To find testing centers and register for the IELTS go to www.ielts.org. Request that your score be sent directly to Parsons Paris. Applicants for the BFA and BBA, currently enrolled in an American high school must submit SAT or ACT exam results; use our CEEB code: 4627.

• SCHEDULE A PERSONAL INTERVIEWIn addition to the materials listed at left and the ad-ditional application materials by program, all De-gree and Certificate Program applicants must have a personal interview either in-person or by tele-phone and Visiting Student applicants are strongly encouraged to do so. Applicants must contact the Admissions Office at +33 (0)1 45 77 39 66 or [email protected], to schedule an interview well in advance of the desired appointment date. All application materials must be submitted in ad-vance of the interview. During your interview your portfolio and home assignment will be reviewed. You will be expected to discuss your work. • SUBMIT APPLICATION MATERIALS BY PROGRAMOn the following pages are the additional mate-rials you must submit by program to which you are applying.

DEADLINES

Fall 2010 / Fall 2011 All application materials must be submitted by:

Priority Deadline: March 1, 2010 / March 1, 2011 •

If you are applying for a scholarship or wish to have priority consideration.

Applications received after March 1, 2010 / •

March 1, 2011 will be reviewed as received on a space available basis.

Spring 2011 / Spring 2012 All application materials must be submitted by:

Priority Deadline: October 1, 2010 / October 1, 2011 •

If you are applying for a scholarship or wish to have priority consideration.

Applications received after October 1, 2010 / •

October 1, 2011 will be reviewed as received on a space available basis.

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FIRST YEAR ENTRY OPTIONS

BFA Freshman Foundation Applicants Complete regardless of intended major

THE PARIS PORTFOLIO Demonstrate: Drawing skills - perspective drawing, still lives, and life drawing from the figure; Conceptual skills; Individuality - work made outside of projects assigned at school; Experimentation - the ability to explore ideas and different processes and materials; Sensitivity re-garding color. Additionally, include the following works: 1. A self-portrait drawn in pencil from a mirror inclu-ding foreground and background. 2. A drawing of one of the smaller spaces in your home (bathroom, closet, attic) using a black and white medium.3. A color collage depicting the same scene as in number 2 using cut or torn paper.

Note: portfolios should not contain work specific to an intended major; work copied from a two-dimen-sional source, such as a photograph; or work crea-ted solely from the imagination. Be discriminating; submit a well-edited portfolio of your finest work.

BFA Freshman Direct-entry Photography Applicants

THE PARIS PORTFOLIO Demonstrate: Conceptual skills; Technical skills - exposure, lighting, printing, etc.; Individuality - work created outside of projects assigned at school; Experimentation - the ability to explore multiple and different processes and ma-terials; Sensitivity regarding color; Knowledge and use of composition, perspective, focus, and depth of field. Additionally, include the following works: 1. Three photographs concerning a theme of your choice. 2. A photograph representing an interpretive self-portrait. 3. A self-portrait drawn in pencil from a mirror in-cluding foreground and background.

BBA Freshman Direct-entry Design Management Applicants

THE DESIGN ANALYSIS ESSAY Write a one-page (500 word) essay analyzing a well-designed eve-ryday object or product, building, publication, ad-vertisement or software. Explain why you think this item is well designed. You may consider such issues as the purpose and effectiveness, sustai-nability and environmental impact, as well as the social implications of the object. Please include a visual reference of the object you have analyzed in the Add Media section or on a CD-Rom.

TRANSFER ENTRY OPTIONS BFA Sophomore & Junior Transfer Applicants All Majors except Photography

THE PARIS PORTFOLIO Your portfolio must display corresponding skills to students having comple-ted equivalent studies at Parsons Paris. (Please refer to the Parsons Paris course descriptions on our website for more information.) Demonstrate: Drawing skills - perspective drawing, still lives, and life drawing from the figure; Conceptual skills; In-dividuality; Experimentation - the ability to explore ideas and different processes and materials; Sensi-tivity regarding color.

Additionally, include 5 pieces of work specific to your intended major. Be discriminating; submit a well-edited portfolio of your finest work.

Photography Majors

THE PARIS PORTFOLIO Demonstrate: Conceptual skills; Technical skills - exposure, lighting, printing, etc.; Individuality - work created outside of school; Experimentation - the ability to explore multiple and different processes and materials; Sensitivity regarding color; Knowledge and use of composi-tion, perspective, focus, and depth of field. Additio-nally, include: 1. Three photographs concerning a theme of your choice. 2. A photograph representing an interpretive self-portrait. 3. A self-portrait drawn in pencil from a mirror in-cluding foreground and background.

BBA Design Management Sophomore and Junior Year Applicants

THE DESIGN ANAYSIS ESSAY Write a one-page (500 word) essay analyzing a well-designed everyday object or product, building, publication, advertise-ment or software. Explain why you think this item is well designed. You may consider such issues as the purpose and effectiveness, sustainability and environmental impact, as well as the social impli-cations of the object. Please include a visual refe-rence of the object you have analyzed in the Add Media section or on a CD-Rom.

THE PARIS PORTFOLIO Should you wish to receive studio credit for college level art course taken el-sewhere you must submit a portfolio displaying the equivalent skills achieved by students having completed the coursework at Parsons Paris for which you wish to receive credit. (Please refer to the Parsons Paris course descriptions on our website for more information.)

ADDITIONAL APPLICATION MATERIALS: DEGREE PROGRAMS

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VISITING STUDENT PROGRAM APPLICANTS

Submit a Course Request/Pre-Approval Form, ava-liable on our website, completed by the student and home institution adviser. Select courses from Parsons Paris course offerings and rank them as either essential or desired: Essential - if you must take this course to fulfill your home institution re-quirements; Desired - if you would like to take the course but it could be substituted.

Studio Concentration

THE PARIS PORTFOLIO: Submit 10-20 examples of your work that shows your readiness to undertake the studies for which you are applying. Include a minimum of 5 drawings from the figure. Your work should demonstrate drawing skills, conceptual skills, individuality, experimentation, and sensiti-vity regarding color.

Photography Concentration

THE PARIS PORTFOLIO: Demonstrate: Conceptual skills; Technical skills - exposure, lighting, printing, etc.; Individuality - work created outside of school; Experimentation - the ability to explore multiple and different processes and materials; Sensitivity regarding color; Knowledge and use of composi-tion, perspective, focus, and depth of field.

Management of Design

THE DESIGN ANAYSIS ESSAY: Write a one-page (500 word) essay analyzing a well-designed everyday object or product, building, publication, advertise-ment or software. Explain why you think this item is well designed. You may consider such issues as the purpose and effectiveness, sustainability and environmental impact, as well as the social impli-cations of the object. Please include a visual refe-rence of the analyzed in the Add Media section.

Critical Studies Concentration

No additional materials.

CERTIFICATE PROGRAM APPLICANTS

Studio Arts, Visual Communications, General Fashion Studies, Textile Arts, Illustration Arts

THE PARIS PORTFOLIO: Submit 10-20 examples of your work that shows your readiness to undertake the studies for which you are applying. Include a minimum of 5 drawings from the figure. Your work should demonstrate drawing skills, conceptual skills, individuality, experimentation, and sensiti-vity regarding color.

Photographic Arts

THE PARIS PORTFOLIO: Demonstrate: Conceptual skills; Technical skills - exposure, lighting, printing, etc.; Individuality - work created outside of projects assigned at school; Experimentation - the ability to explore multiple and different processes and ma-terials; Sensitivity regarding color; Knowledge and use of composition, perspective, focus, and depth of field.

Management of Design

THE DESIGN ANAYSIS ESSAY: Write a one-page (500 word) essay analyzing a well-designed everyday object or product, building, publication, advertise-ment or software. Explain why you think this item is well designed. You may consider such issues as the purpose and effectiveness, sustainability and environmental impact, as well as the social impli-cations of the object. Please include a visual refe-rence of the object you have analyzed in the Add Media section.

NON-ENGLISH LANGUAGE TRANSCRIPTS

All applicants who have been educated in non-En-glish language programs are required to submit an original transcript from each institution attended along with a certified English language translation. Applicants who would like to transfer academic credits earned at non-English Language institu-tions are also required to have their transcripts evaluated by World Education Services (WES). A course-by-course evaluation report must be prepa-red for each transcript. Please start the evaluation process as early as possible, including the submis-sion of all required documents to WES in order to ensure the timely completion of the evaluation re-port. To contact WES go to www.wes.org; be sure to instruct WES to send the report to:

Admissions OfficeParsons Paris14, rue Letellier75015 ParisFrance

ALL TRANSCRIPT DOCUMENTS MUST BE

• Written in English or be provided with an official

translation in English.• Printed on secure transcript paper or the lette-rhead of the school (not a copy).• Stamped with the school seal or other official

marking.• Notarized or signed by the school official (regis-trar, dean, etc.).

Information that must be provided on all official transcripts:

• Name and address of school.

• Student name (must appear on every page of the

transcript).• Dates of attendance.

• Degree awarded, if any.

• Names of individual courses completed.

• Number of contact hours per week (for the entire

term) by course.• Length of the term.

• Grade or evaluation received for each course.

• Grading scale (i.e.: A = Excellent...F = Failure) or

description of grading system.

TRANSFER STUDENTS

Please provide course descriptions for every course for which you wish to receive transfer credit.

TRANSCRIPT ISSUESADDITIONAL APPLICATION MATERIALS: NON DEGREE PROGRAMS

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Estimated Academic Year Expenses in Euros

PARSONS PARIS SCHOLARSHIP, LOANS + ON-CAMPUS INTERNSHIP PROGRAM

The Parsons Paris Scholarship Committee grants financial assistance awards on the basis of three criteria: financial need, merit, and commitment to the Parsons Paris program. A limited number of partial scholarships and loans, which defray a por-tion of tuition, are available to Parsons Paris degree and Certificate students.* Visiting Students are not eligible for Parsons Paris financial assistance. Parsons Paris loans are made for the period of education at Parsons Paris and will not be due for payment until the student has completed the Par-sons Paris degree as long as the student maintains full-time enrollment. There will no interest levied on this loan. In addition, all degree students may be chosen to participate in the on-campus internship program. Interns are assigned positions within the school for which they receive an honorarium. Scho-larships are awarded for one year. To retain their scholarships, students must remain in good aca-demic standing (a semester GPA of at least 2.5 with a full-time load of at least 12 credits, including all degree requirements). They must also reapply and show continued need. Awards may be reduced or discontinued if a student’s financial circumstances or academic performance are deemed to no longer warrant tuition assistance.Recent scholarship sponsors include Biotherm and Bibliothèque Kandinsky and the Annenberg Foun-dation.

To Apply: Applicants should download the Financial Assis-tance Application from our website and submit it with their application for admission. Applicants who would like to be considered for fi-nancial assistance should apply for admission by the Priority Deadline: • March 1, 2009 for fall entry

• October 1, 2009 for spring entry

© 2009 / AFAD / Ecole Parsons à Paris. The information published here represents the plans of the Association Franco-Américaine de Design / Ecole Parsons à Paris at the time of publication. The Association Franco-Américaine de Design / Ecole Parsons à Paris reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees, policies, degree programs, names of programs, course offerings, academic activities, academic requirements, facilities, faculty, and administrators. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration’s rights as set forth above. Published 2009 by Association Franco-Américaine de Design / Ecole Parsons à Paris

2009-2010 Tuition 23,500 Health Insurance 1128 Housing during Orientation (optional) 300 Housing 7,200 Personal / Meals 4,000 Books and supplies 1,375 Local transportation 496 TOTAL 37,199

*Please note Parsons Paris students are not eligible to receive US/FAFSA financial aid.

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CAMBRONNE(6)

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COMMERCE(10)

FELIXFAURE(8)

BOUCICAUT(8)

CHARLESMICHEL(10)

(10, RER C)

(6)

BIR-HAKEIM

JAVELANDRÉCITROËN

AVENUEEMILEZOLA

LA MOTTE-PIQUETGRENELLE

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CAMBRONNE(6)

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FELIXFAURE(8)

BOUCICAUT(8)

CHARLESMICHEL(10)

(10, RER C)

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BIR-HAKEIM

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AVENUEEMILEZOLA

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DUPLEIX

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O U R ME L B O U L E V A R D D E G R E N E L L E

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VOLTAIRE(9)

CHARONNE(9)

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SAINT-SÉBASTIENFROISSART(8)

METRO(6,8,10, RER C)

(5)

CHEMIN VERT(8)

BASTILLE(1,8)

LEDRU-ROLLIN(8)

FAIDHERBE-CHALIGNY(8)

REUILLY-DIDEROT (1,8)

RUE DES BOULETS(9)

PHILIPPE AUGUSTE(2)

RUE SAINT-MAUR(3)

MENILMONTANT(2)

PÈRE LACHAISE(3)

PARMENTIER(3)

METRO(6,8,10, RER C)

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C I M E T I È R E D UP È R E - L A C H A I S E

Voltaire CampusLetellier Campus

Designed by Be_olitik - www.beolitik.com

Printed by STIPA Imprimerie

Photography by: Olivier Combres, Michael McCarthy, Palden McGamwell

Private institution of higher education Etablissement d’enseignement supérieur privé

Parsons Paris School of Art + Design • Ecole Parsons à Paris

14 rue Letellier • 75015 Paris, France • Tel: +33 (0)1 45 77 39 66 • Fax: +33 (0)1 45 77 10 44

www.parsons-paris.com • [email protected]

parsons catalog

Documents