PRATT INSTITUTE

Graduate Bulletin
2015-2016
 Visit Pratt

All prospective students Guided Tours of Brooklyn Campus Web

Guided campus tours are scheduled Visit Pratt online at
are encouraged to visit Pratt.
Monday and Friday at 10 AM, 12 PM, and www.pratt.edu/admissions.
Here’s how:
2 PM and Tuesday through Thursday at
10 AM and 2 PM. Follow us on Twitter at
twitter.com/prattadmissions.
Schedule a tour online at
www.pratt.edu/visit Contact the Office of Admissions at
718.636.3514 or 800.331.0834 for
Arrange an appointment with your more information.
department chair.
Office of Admissions
Questions? Call us at 718.636.3514 The Office of Admissions is open
or 800.331.0834 or email us at weekdays from 9 AM to 5 PM from
visit@pratt.edu. September through May and from 9 AM to
4 PM during June, July, and August.
Manhattan Campus
Please contact your department Pratt Institute
to schedule a visit. Office of Graduate Admissions
Myrtle Hall, 2nd Floor
200 Willoughby Avenue
Brooklyn, NY 11205

tel: 718.636.3514 or 800.331.0834

fax: 718.399.4242

Produced by the Pratt Institute Office
of Communications.
© 2015 Pratt Institute.
Campus photography: © William Abranowicz;
additional photography by Josh Gerritsen, Peter
Tannenbaum, Paul Mpagi Sepuya, or provided by
the departments and individual artists.
Unless otherwise indicated, all images of art,
design, and architecture are of work created by
students while studying at Pratt.
This publication has been edited for accuracy
at the time of publication. Information contained
herein is subject to change.
Printed by Conceptual Litho Reproductions.
Opening Page: Students sketch in the
Sculpture Park
Previous Page: Students walk through
Pratt’s Brooklyn campus
 Contents
1 About Pratt Institute
11 The History of Pratt
22 How a Pratt Education Works
27 School of Architecture
31 Graduate Architecture
and Urban Design
33 Architecture
41 Urban Design
47 Programs for Sustainable
Planning and Development
51 City and Regional Planning
55 S
 ustainable Environmental
Systems
59 Historic Preservation
63 Facilities Management
67 School of Art
71 Art and Design Education
75 Arts and Cultural Management
79 Creative Arts Therapy
80 A
 rt Therapy and Creativity
Development
80 Dance/Movement Therapy
80 A
 rt Therapy with Special
Needs Children
83 Design Management
87 Digital Arts
95 Fine Arts
105 School of Design
109 Communications Design
109 Communications Design
112 Package Design
119 Industrial Design
127 Interior Design
135 School of Information and
Library Science
139 Library and Information Science
142 Library Media Specialist
151 School of Liberal Arts and Sciences
153 History of Art and Design
157 Media Studies
161 Performance and
Performance Studies
165 Writing
169 Classes in the Liberal Arts
173 Academic Degrees Overview
174 Curricula
190 Faculty
251 Graduate Admissions
263 Financial Aid
281 Tuition and Fees
289 Registration and Academic Policies
305 Student Affairs
317 Libraries
319 Library Faculty
321 Board of Trustees
323 Administration
325 Academic Calendar
333 How to Get to Pratt
335 Index

Brooklyn, New York—home
to more artists than any
other city in the world and
home to one of the best art,
architecture, and design
schools in the world.
See Page 22 for an overview of
Graduate Programs including location.
Previous Spread: Students walk through
Pratt’s Brooklyn campus
Opposite: Students walking to class
on Brooklyn campus
1
Founded in 1887, Pratt Institute As one of the world’s multicultural
prepares its 3,144 undergraduate and epicenters for arts, culture, design,
1,479 graduate students for rewarding technological innovation, and
and successful careers in art, design, business, New York City provides Pratt
architecture, information and library students with an exceptional learning
science, and liberal arts and sciences. environment that extends beyond the
With a 25-acre landscaped campus Pratt campuses. From design firms
in the historic Clinton Hill neighborhood and art galleries where students may
of Brooklyn, a creative community in the intern to museums and concert halls
midst of a renaissance, and a campus where they enjoy all of the city’s cultural
in Manhattan, students are fortunate to offerings, Pratt’s New York City location
have access to the resources of both— is unparalleled.
museums, galleries, restaurants, vintage
shops and more. Graduate programs are
located on both campuses.
Pratt’s programs are consistently
ranked among the best in the country;
its faculty and alumni include the most
renowned artists, designers, architects,
and scholars in their fields. Its programs
encourage collaboration and the
development of creative strategies for
design thinking.
 3

Why Pratt?

#1 Fine Art and Studio Consistently High Rankings Where Creative Minds are Inspired
Ranked among the top design schools Brooklyn Campus
Programs (USA
by Bloomberg Businessweek, Pratt’s
Today, 2015) Located just 25 minutes from Manhattan,
undergraduate and graduate programs
Pratt’s main Brooklyn location is the only
#1 Interior Design are consistently ranked among the top 10
New York City art and design school
(U.S. News & World or 20 in the country and the world.
with a traditional campus. A 25-acre
Report, 2013) In 2013-14, U.S. News and World
landscaped oasis, Pratt provides a visual
#2 Interior Design Report’s Best Graduate Schools included
respite in a busy city. Ryerson Walk
four of Pratt’s programs, with Interior
(DesignIntelligence, draws a path through green lawns and
Design ranked #1 and Industrial Design
2014) mature trees surrounded by 125 years of
ranked #5. Library and Information
architectural history.
#5 Industrial Design Science was ranked #11 in the Archives
Many of the Institute’s 19th-
(U.S. News & World and Preservation category, while
century buildings have been designated
Report, 2014) Communications and Package Design was
national landmarks, including the 1897
ranked #12 and Fine Arts was ranked #15.
#3 Industrial Design Renaissance Revival-style Caroline Ladd
In 2014, DesignIntelligence ranked
(DesignIntelligence, Pratt House, which serves as the official
Pratt’s graduate Interior Design program
house of the Pratt president and several
2014) #2 in the nation. Pratt’s graduate
students. The Pratt Library, which was
#12 Communications Design Industrial Design program ranked #3.
built in 1896 in a similar style, boasts an
(U.S. News & World The School of Architecture was
interior designed by the Tiffany Glass and
Report, 2013) ranked among the top schools in the
Decorating Co.
world by Archifund, and the M.Arch. first
#2 Digital Arts (Animation Beyond this rich heritage, Pratt also
professional degree was ranked eighth
has several distinctly modern buildings
Career Review, 2013, regionally by DesignIntelligence.
that have been constructed in the
Regional Rankings) The Institute was ranked #20
past decade. The 26,000-square-foot
#11 Archives and in U.S. News & World Report’s 2013
Higgins Hall Center Section, designed
Preservation, Library Guide to America’s Best Colleges in the
by Steven Holl Architects and Rogers
Regional Universities North category.
Science (U.S. News & Marvel Architects for the School of
For 2013, Pratt was ranked #1 in New
World Report, 2014) Architecture, opened in 2006. In 2007,
York City and #2 in the country in Global
the 160,000-square-foot Juliana Curran
#6 City and Regional Planning Language Monitor in the Art, Design, and
Terian Design Center opened—designed
(Planetizen Guide to Music School category. Pratt was also
by Hanrahan Meyers Architects, the firm
Graduate Urban Planning recognized as one of the country’s most
led by Thomas Hanrahan, dean of the
environmentally responsible colleges in
Programs) School of Architecture.
The Princeton Review’s 2013 Guide to 322
#15 Fine Arts (U.S. News &
Green Colleges.
World Report, 2014)
4 Why Pratt?
Myrtle Hall, a LEED Gold-certified
building designed by the firm WASA/
Studio A, was completed in 2010 and
is home to the digital arts programs.
The 120,000-square-foot building is a
testament to Pratt’s commitment
to sustainability.
The entire 25-acre campus also
comprises the celebrated Pratt Sculpture
Park, the largest in New York City,
with sculptures by artists including
internationally renowned Richard Serra
and Mark di Suvero. According to Public
Art Review it is one of the 10 best campus
art collections in the United States.
Pratt’s tree-lined neighborhood,
Clinton Hill, has a history that is intimately
interwined with the Institute. A century
ago, it was home to the elite of Brooklyn.
The expansive mansions lining Clinton
Avenue belonged to the shipping
magnates and mercantile princes of the
Gilded Age. Charles Pratt, whose fortune
derived from his partnership with John
D. Rockefeller in Standard Oil, started his
Institute on family land just a few blocks
from the family mansion.
Clinton Hill is one of New York’s
premier Victorian-era neighborhoods
and is listed on the National Register
of Historic Places. In part because of
Pratt, it boasts an extraordinary
number of creative artists, architects,
designers, illustrators, and sculptors
among its residents.
Manhattan Campus Ways to Get to Know Pratt
Request information at www.pratt.edu/
Pratt’s Manhattan campus is located at
request, and we’ll send you information
144 West 14th Street, walking distance
about events, deadlines, and programs
to Union Square, Chelsea’s art district,
based on your interests.
and many other leading educational
and cultural institutions. The seven-
Visit: www.pratt.edu/visit
story, 80,000-square-foot property
Email: admissions@pratt.edu
offers state-of-the-art facilities within
Call: 718.636.3514 or 800.331.0834
a distinctive, turn-of-the-century
Twitter: @prattadmissions
Romanesque Revival building. Pratt’s
Facebook: Pratt Institute Admissions
Manhattan-based programs benefit
from the new campus’s cutting-edge
Visit us, ask questions, and find out why
technology and its prime location.
Pratt is the first choice for so many
The Manhattan campus houses
students. Campus tours are available
the School of Information and Library
daily. Schedule your campus tour of the
Science, the Center for Continuing and
Brooklyn campus online at www.pratt.
Professional Studies, the Associate
edu/visit. Manhattan tours must be
Degree programs, the graduate programs
scheduled through the department you
in Design Management, Arts and Cultural
are applying to.
Management, Communications Design,
Most graduate departments
and the School of Architecture’s
welcome prospective students who wish
undergraduate Construction
to visit. Please contact your graduate
Management program and graduate
department for an appointment.
program in Facilities Management. The
library, exhibition space, and state-
Pratt Institute
of-the-art computer labs support the
Office of Admissions
academic programs.
Myrtle Hall, 2nd Floor
200 Willoughby Avenue
Brooklyn, NY 11205
Page 2: Students relaxing on Brooklyn campus
Opposite: Brooklyn campus
 Why Pratt? 7

Where faculty and students
are at the center of creative
exploration and innovation.
Professional Faculty
Pratt’s nearly 1,000 faculty members are
award-winning scholars who mentor their
talented students to achieve comparable
success. They are also working
professionals in the city’s creative
sector, who bring to the classroom their
experience designing buildings, creating
ad campaigns, and building furniture.
The faculty represents leaders in the art,
design, architectural, technology, and
business communities.
These faculty members impart to
students the same high standards upheld
in their professional work. With different
views, methods, and perspectives, they
all share a common desire to develop
each student’s potential and creativity to
the fullest—to turn out competent and
creative professionals who will shape the
world to come. Faculty members serve
as critical connections when students are
ready for employment or internships.
• At the Center for Sustainable Design
Studies (CSDS), green design principles
are integrated into the curricula.
The Design Incubator for Sustainable
Innovation, a project of CSDS,
supports several graduating students
each year as they develop design ideas
into marketable products.
• In Corporate-Sponsored Studios and
Projects, faculty members explore new
approaches to a design or business
problem while students gain real-world
experience. Partners have included
Barnes and Noble, Colgate-Palmolive,
General Mills, and West Elm.
• At the Pratt Center for Community
Development, faculty, staff, and fellows
work for a more just, equitable, and
sustainable city for all New Yorkers by
empowering communities to plan for
and realize their futures.

Academic Initiatives
Students and faculty move effortlessly
between traditional age-old techniques
and more contemporary digital software,
taking advantage of Pratt’s extensive
range of facilities from shops in metals,
wood, ceramics, and jewelry to labs for
animation, motion arts, and interactive
arts. From state-of-the-art facilities
to research initiatives, the Institute is
committed to providing students with
the best education possible. A Faculty
Innovation Fund allows faculty to initiate
new areas of investigation. A few
academic initiatives where faculty and
students collaborate:

Opposite: Student at work in the metal shop

8 Why Pratt?
Tools for Tomorrow
Internship and Career Support
The Center for Career and Professional
Development inspires, supports, and
educates students and alumni. The
Center offers career and internship
counseling, resume and portfolio
assistance, industry mentoring,
professional development, workshops,
entrepreneurial support, and a lifelong
job search support system.
Pratt’s New York City location
provides a distinct advantage for students
looking for internships or job experience.
Qualified students are offered challenging
on-the-job experiences in top art
galleries, publishers, architecture, and
design firms in both Manhattan and
Brooklyn, giving them firsthand work
experience as well as credit toward their
professional degree.
Six months after graduation,
89 percent of Pratt’s graduates are
employed and 84 percent of those are
employed in their field. Preparing for
a fulfilling, meaningful, and productive
career and understanding emerging
trends and the global job market is an
essential activity for Pratt students.
State-of-the-Art Technology
Pratt’s computer labs and digital
output centers have the most current
equipment available. Computer labs offer
computer workstations, color scanners,
color and black-and-white printers
and plotters, digital and analog output
centers, digital photography, video and
sound bays, multimedia video projection,
and multiple servers. From film editing
and digital animation to two- and three-
dimensional rendering, all workstations
feature the latest software for the
departments using them. Those working
in the three-dimensional realm have
access to 3-D printers, laser cutters, and
CNC milling machines. Pratt continually
upgrades lab equipment as industry
standards change.
Exhibitions
Gallery space, both on the Brooklyn
campus and at Pratt Manhattan, is
extensive, showing the work of students,
alumni, faculty, staff, and other well-
known artists, architects, and designers
throughout the academic year. Pratt
Manhattan Gallery is a public art gallery
that strives to present significant work
from around the world in the fields of
art, architecture, fashion, and design.
The Rubelle and Norman Schafler
Gallery on the Brooklyn campus mounts
faculty and student exhibitions as well
as thematic shows featuring the work of
unaffiliated artists. In addition, Pratt has
more than 15 other galleries located on
its Brooklyn and Manhattan campuses.
Opposite: Students at work
Libraries
The Pratt Library on the Brooklyn
campus is located in an 1896 landmark
building with interiors by the Tiffany
Glass and Decorating Co. Collections
and services are focused on the visual
arts, architecture, design, creative
writing, and allied fields. Additional
materials support the general education
curriculum. The library houses more
than 200,000 volumes of print materials,
including more than 600 periodicals,
rare books, and the college archives. The
library also includes a multimedia center
housing nearly 3,000 film and video titles
as well as the Visual Resources Center,
a collection of more than 120,000
circulating architecture, art, and design
digital images.
The Pratt Manhattan Center Library
supports the Pratt community as well
as visiting researchers. The library has
a growing collection of monographs,
serials, and multimedia, as well as stock
photography. It offers a wide range of
electronic resources, including general
and subject-specific databases, all of
which are available off-site.

On October 17, 1887,
12 young people climbed
the stairs of the new
“Main” building and began
to fulfill the dream of Charles
Pratt as the first students
at Pratt Institute.
The History of Pratt
Charles Pratt, one of 11 children, was born
the son of a Massachusetts carpenter in
1830. In Boston, he joined a company
specializing in paints and whale oil
products. When he came to New York,
he founded a petroleum business
which would become Charles Pratt and
Company. The concern eventually merged
with Standard Oil, the company that
made John D. Rockefeller his millions.
Pratt’s fortunes increased and he
became a leading figure in Brooklyn,
serving his community and his profession.
A philanthropist and visionary, he
supported many of Brooklyn’s major
institutions. He always regretted,
however, his own limited education and
dreamed of founding an institution where
pupils could learn trades through the
skillful use of their hands. This dream was
realized when Pratt Institute opened its
doors more than 125 years ago. To this
day, members of the Pratt family are
leading supporters of the Institute.
Opposite: Charles Pratt, founder of the Institute
11
The Institute’s success is based
largely on Charles Pratt’s philosophy of
education, which revolutionized teaching
by challenging the traditional concept of
academia as a purely intellectual exercise.
He created a school where applied
knowledge was emphasized and specific
skills were taught to meet the needs of
a growing industrial economy. Pratt has
been a pioneer in education since its
inception. Today, Pratt offers students
more than 27 undergraduate majors and
concentrations—more than most other
art and design schools in the country—
and 26 master’s degree programs.
The energy, foresight, and spirit
Charles Pratt gave to his dream remains
even today. Inscribed on the seal of the
Institute is his motto: Be True to Your
Work, and Your Work Will Be True to You.

Pratt Students
Although Pratt students come from
all over the world, they share several
characteristics. First, many have known
since childhood that they enjoy creating
things. Second, most enjoy inventive
problem solving both in and out of the
classroom. Finally, most share a deep
desire to change the world and leave
their imprint.
Pratt receives approximately 3,000
applications for its graduate class of 464,
enabling the admissions committees to
select a student body with a wide variety
of backgrounds. Thiry-four percent of
the new graduate class comes from other
countries, including China, Taiwan, India,
South Korea, Mexico, Canada, Thailand,
and Turkey. Thirty-seven percent of the
graduate enrollment comes from states
other than New York, giving Pratt a truly
national and international student body.
Although it is possible to attend
Pratt part time, 87 percent of graduate
students choose to study full time,
reflecting a high degree of commitment.
The Institute’s entire student body is
composed of 4,623 undergraduate and
graduate students—33 percent men and
67 percent women.
Student Life
Pratt students regularly attend films,
plays, lectures, art openings, and
concerts—both on campus and around
New York City. Recreational classes are
held at the Athletic Resource Center,
which has extensive workout facilities
including a 200-meter indoor track,
five indoor tennis courts, basketball and
volleyball courts, a weight room, dance/
exercise rooms, and sauna. These
cultural outings play an essential role in
the Pratt experience.
In addition to the wealth of
opportunities for exploration in the
city, on the Brooklyn campus, students
often socialize in the residence halls
and cafeteria and cafes or at the
Student Union, the Library, the Schafler
Gallery, and the Activities Resource
Center, where most sports and wellness
activities take place. In warm weather,
students often meet and sit on the
lawns amid the contemporary sculptures
that dot the campus.
Opposite: Students relaxing
on the Brooklyn Campus
13
Athletics and Recreation
The Activities Resource Center has a
200-meter indoor track, five indoor
tennis courts, basketball and volleyball
courts, a weight room, dance/exercise
rooms, and saunas.
Living on Campus
Pratt provides some apartment-style
graduate housing in Brooklyn, but most
graduate students live off-campus
in a variety of housing options from
apartments to brownstones and lofts,
sharing with other students. Many
opportunities are listed through the
Office of Residential Life. Various meal
plans are available for residential students.

Notable Alumni
What do the Chrysler
Building and Scrabble have in
common? Both were designed
by Pratt alumni. Pratt has
approximately 26,000 active
alumni, whose achievements
are a testament to the
soundness of the Institute’s
educational philosophy. Pratt
alumni have designed well-
known and award-winning
furniture, clothing, buildings,
and commercials, as well as
artworks, which are regularly
exhibited in major museums
and galleries.
William Boyer,
designer of the classic Thunderbird
Shawn Christensen,
Academy Award winner
Tomie dePaola,
children’s book author and illustrator
Jules Feiffer, cartoonist and playwright
Harvey Fierstein,
playwright and actor, Torch Song Trilogy
Steve Frankfurt, advertising innovator
Bob Giraldi, film director
Felix Gonzalez-Torres, installation artist
Michael Gross,
executive producer, Ghostbusters
Bruce Hannah, furniture designer
for Knoll, named Designer of the
Decade in 1990
Eva Hesse, sculptor and painter
Betsey Johnson, fashion designer
Ellsworth Kelly, minimalist painter
Edward Koren,
cartoonist, The New Yorker
Naomi Leff, interior designer
George Lois, advertising designer
Robert Mapplethorpe, photographer
Peter Max, pop artist
Norman Norell, fashion designer
Roxy Paine, conceptual artist
Sylvia Plachy, photographer
Opposite: Chrysler Building
by William Van Alen
15
Beverly Pepper, sculptor
Charles Pollock, furniture designer
Paul Rand,
graphic designer, created IBM logo
Robert Redford, actor and director
Robert Sabuda, illustrator
Stefan Sagmeister, graphic designer
David Sarnoff,
president, RCA Corporation
Tony Schwartz,
creator, Alka-Seltzer commercial
Annabelle Selldorf,
gallery and museum architect
Robert Siegel,
architect, Gwathmey Siegel Kaufman
Pat Steir,
contemporary painter and printmaker
William Van Alen,
architect, Chrysler Building
Tucker Viemeister,
product designer, Oxo Good Grips
Max Weber, modernist painter
Robert Wilson, avant-garde stage
director and playwright
Carlos Zapata,
residential and commercial architect
Peter Zumthor,
Pritzker Prize-winning architect
16
Cultural Partnerships in New York City
The Institute has created partnerships
with a number of major cultural
institutions so students may take
advantage of the vast opportunities
in Brooklyn and Manhattan. Students
participate in collaborative work as part
of their curriculum or simply have class
visits. On their own, Pratt students may
visit free of charge.
Close to Pratt’s Brooklyn
campus, the Brooklyn Museum has
an impressive permanent collection.
The Egyptian art collection is one
of the world’s finest. The museum’s
Asian art collection, though modest
in size, is one of the more diverse
and comprehensive in the New York
metropolitan area. The museum puts
on several contemporary—and often
local—art exhibitions each year. The
“First Saturday” of each month is a day
of special events when the museum is
free to the community.
Open year-round, the adjacent
Brooklyn Botanic Garden features one of
the most impressive Japanese gardens
outside Japan. It captures nature in
miniature: trees and shrubs, carefully
dwarfed and shaped by cloud pruning,
are surrounded by hills and a pond. The
Cranford Rose Garden features 5,000
bushes of 1,200 varieties of roses.
The Brooklyn Academy of Music,
popularly known as BAM, is at the
vanguard of theater offerings. You
can see productions ranging from
performance art and independent films
About Pratt Institute
to stylized Shakespearean productions. region. Path methodology techniques will
Pratt students can attend BAM events at be used to study topics including water
discounted rates. quality, aquatic life, water edge/coastline
In Manhattan, Pratt students also configuration, waterfront programming/
enjoy visiting these institutions where land use, waterfront architecture,
admission fees are waived: the Cooper waterfront “practices of everyday life,”
Hewitt National Design Museum, the Frick land-cover, and urban form.
Collection, Museum of Arts and Design,
the Museum of Modern Art, and the Florence Summer Program
Whitney Museum of American Art.
In partnership with Studio Art Centers
International (SACI), students study
Study Abroad Programs
Florentine art and culture, museum
Pratt’s study abroad programs combine
and library research, documentation,
the Institute’s academic excellence with
and cultural heritage conservation for
firsthand exposure to some of the most
four weeks. The program offers two
vibrant international centers of art,
3-credit courses.
design, and architecture.
London Summer Programs
Architecture in Turkey
Students have the opportunity to study
Students visit and study urban
e-publishing and digital scholarship at
conditions, historical monuments,
Kings College London for two weeks
and archaeological sites in Istanbul
in the early summer and, in a separate
and surrounding regions. This course
program, study museums’ use of digital
provides firsthand experience analyzing
media at Ravensbourne College of Design
architecture, cultural forces, and
and Communication in London for two
site conditions through architectural
weeks in July. Students can apply for one
investigations. The course focuses on
or both programs, which each offer one
international experience within the
3-credit course.
lens of two significant factors of the
21st-century metropolis: rapid change
Architecture and Urban Design in
and heterogeneity in Istanbul. Students
Rome Summer Program
look at existing ecological, urban, and
This program gives graduate Architecture
historical data in order to evaluate and
and Urban Design students the
represent information from the unique
opportunity to earn three credits
architectural perspective. This class will
studying architecture, urbanism, and
track systemic change and heterogeneity
design during the month of June. The
from past to present in order to
program is located in Rome’s famous
understand the shifting heterogeneity
that defines Istanbul and the surrounding

Trastevere district and includes
travel to Florence, Siena, and Venice.
Financial aid is typically available.
This course seeks to mine these
intensively designed environments for
contemporary principles. While the
course is fully engaged with the historical
significance of the material it presents,
it also finds excellent opportunities
to study the relational dynamics,
socio-political developments, techno-
material innovations, and manipulated
ecologies out of which such incredibly
concentrated cultural production
emerges. Course content is delivered
through lectures, discussions, tours,
visiting scholars, and projects that
perform a speculative mapping of the
city of Rome in the form of graphics,
diagrams, notation, and text.
Pratt Summer in Paris
The Pratt Summer in Paris program gives
students the opportunity to earn six
elective credits studying literature and
writing. It is available to all Pratt students,
but geared more toward undergraduate
students. The program is housed at the
Cité International Universitaire de Paris,
which is located within minutes of the
Louvre, Notre Dame, the Eiffel Tower, the
Sacré Coeur, and countless other points
of interest. The program includes two
Humanities courses. The first course, “The
American Writer in Paris”, focuses on
works by the most prominent American
writers living in or passing through Paris
during the 20th century. The second
About Pratt Institute 17
course, “Surroundings”, is a writing instructors in the course and one of the
seminar focused on encounters with two PSPD co-coordinators. All courses
provocative settings. offer three credits.
The courses involve study in
Architecture and Design in Brooklyn both before and after the
Copenhagen Summer Program excursion element. In alternating
summers, students can either travel to
The Architecture and Design in
Tokyo, Japan, for intensive research
Copenhagen program gives Architecture,
on placemaking and urban design; or
Communications Design, Fine Arts,
to Istanbul, Turkey, for a mini-studio
Industrial Design, and Interior Design
addressing urban development topics.
undergraduate and graduate students
Every January, students can
the opportunity to earn seven credits
participate in a studio in and on behalf
studying cutting-edge Scandinavian
of a South India community, where the
design. The program lasts seven
intention is to create a comprehensive
weeks, running between mid-June
sustainability, preservation, and land
and early August. The curriculum
use plan over a period of years. Every
combines interdisciplinary studio
spring break, students have the
work with an investigation and analysis
chance to travel to Sao Paolo, Brazil,
of contemporary society, politics,
in connection with work with graduate
and environment. Teachers include
students there comparing conditions
masters in the fields of architecture,
and best practices for a selected
furniture design, graphic design, interior
community sustainability topic.
architecture, and urban design. Students
also travel to Sweden, Finland, Norway, • Also in spring, students can
travel to Rome, Italy, for an intensive
and western Denmark for field trips.
introduction to Roman architecture
and the city’s unique ability to meld
Sustainable Planning Development
architectural styles and time periods.
International Workshops
• In addition, students can participate
The Programs for Sustainable Planning
in a six-week study of Scandinavian
and Development (PSPD)—Planning,
urban design, which takes place at the
Sustainable Environmental Systems,
Danish Institute for Study Abroad (DIS)
Historic Preservation, and Facilities
in Copenhagen.
Management—offer six courses that
include an international component.
In addition to PSPD graduate students,
these seven courses are open to other
graduate students, fifth-year architects,
and others with the permission of the
About Pratt
Pratt in Venice Summer Program
In Venice, students may register for six
to eight credits, selecting from courses
in: Printmaking/Drawing, Painting,
Art History of Venice, and Materials
and Techniques of Venetian Art. The
program takes place in June and July. It
is open to graduate and undergraduate
students. Pratt’s program is conducted
in collaboration with the Università
Internazionale dell’Arte at the Villa
Heriott and the Scuola Internazionale
di Grafica. With its rich artistic history
and visual appeal, Venice provides
inspiration for studio and on-site work.
Art history classes are held at various
sites and alternate with lectures that
provide a historical context for the visits.
In the graduate course in Materials and
Techniques students visit conservation
laboratories to learn from local experts
and research specific aspects of
materials and process.
For more information on individual
programs, contact Dr. Marianthi
Zikopoulos, Interim Director of Study
Abroad and International Partnerships, at
mzikopou@pratt.edu or go to www.pratt.
edu/academics/academic-resources/
study-abroad.
Opposite: Students take advantage of the
Institute’s many study abroad programs including
the Florence Summer Program.
19
Commitment to Sustainability
Higher education has a unique role in
America. No other institution in society
has the influence, the critical mass,
and the diversity of skills needed to
successfully reverse global warming.
Pratt Institute is taking a leadership
role in sustainability for schools of art,
design, and architecture nationwide.
At this critical moment, when our
environment and ways of life are at
risk, we have a responsibility to ensure
that each of our graduates has a deep
awareness of ecology, environmental
issues, and social justice.
In The Princeton Review’s 2013
Guide to 322 Green Colleges, Pratt
was recognized as one of the country’s
most environmentally responsible
colleges. As active participants in
the American College and University
Presidents’ Climate Commitment
(ACUPCC), Pratt seeks to be a carbon-
neutral campus. In 2010, Myrtle Hall, a
LEED Gold-certified building designed
by the firm WASA/Studio A, was
completed. The 120,000-square-
foot building is a testament to Pratt’s
commitment to sustainability.
About Pratt
Regardless of discipline, our
graduates must be able to integrate
best sustainable practices into
their professional lives. Within each
program, Pratt students are offered an
opportunity to learn to think in new ways
about the relationship of designer to
product, architect to built environment,
and artist to creative expression. The
Institute is continuously working to
reduce our carbon footprint, “greening”
our dorms, facilities, and classrooms and
creating an ongoing, living laboratory
from which our students can observe,
participate, and experiment.
The Institute’s Center for Sustainable
Design Studies (CSDS) is an active and
collaborative resource for sustainable
design at Pratt’s Brooklyn campus. Under
the umbrella of CSDS, the Pratt Design
Incubator for Sustainable Innovation
provides ambitious students and Pratt
alumni with a stimulating place to launch
sustainability-minded businesses,
providing office space, planning support,
and access to shop facilities. For more
information, go to csds.pratt.edu/.
Opposite: Myrtle Hall, the Institute’s sustainably
designed, LEED-certified administrative and
academic building
21
Accreditation Statement
Pratt Institute is a coeducational undergraduate
and graduate institution chartered and
empowered to confer academic degrees by the
State of New York. The certificates and degrees
conferred are registered by the New York State
Department of Education. Pratt is accredited
by the Commission on Higher Education of
the Middle States Association of Colleges and
Schools, 3624 Market Street, Philadelphia,
PA 19104, 215.662.5606. The Commission on
Higher Education is an institutional accrediting
agency recognized by the U.S. Secretary of
Education and the Commission on Recognition of
Postsecondary Accreditation.
Programs in art and design are accredited by
the National Association of Schools of Art and
Design (NASAD).
The School of Architecture’s Bachelor of
Architecture program is accredited by the
National Architectural Accrediting Board. (For
more information on NAAB accreditation, refer to
the School of Architecture section, page 25.) Pratt
is a charter member of and accredited by the
National Association of Schools of Art and Design.
The Master in Library and Information Science
program is accredited by the Committee on
Accreditation of the American Library Association.
The Master in Art Therapy is approved by the
Education Approval Board of the American Art
Therapy Association, Inc., and as such meets
the education standards of the art therapy
profession. The Graduate Dance/Movement
Therapy program has been approved by the
American Dance Therapy Association.
Programs offered by Art and Design Education
and the M.S. for Library Media Specialists (LMS)
offered by the School of Information and Library
Science are accredited by RATE.
The B.F.A. offered by the Interior Design
department is accredited by the Council for
Interior Design Accreditation (formerly FIDER).
22

How a Pratt Education Works

Department Programs and Emphasis
Graduate Architecture and Urban Design M. Architecture (first professional)
Architecture M.S. (post-professional)
Architecture and Urban Design M.S.
(post-professional)
Programs for Sustainable Planning and City and Regional Planning M.S.
Development City and Regional Planning M.S./J.D.
(with Brooklyn Law School)
Historic Preservation M.S.
Sustainable Environmental Systems M.S.
Facilities Management M.S.
Urban Placemaking and Management M.S.
Art and Design M.S. in Art and Design Education (Initial/
Education Professional and Professional Certification)
Advanced Certificate in Art and Design Education
Creative Arts Therapy Art Therapy and Creativity Development M.P.S.
Art Therapy SP/SU M.P.S.
Art Therapy with Special Needs Children M.P.S.
Dance/Movement Therapy SP/SU M.S.
Dance/Movement Therapy M.S.
Arts and Cultural Management Arts and Cultural Management M.P.S.
Communications/Package Communications Design M.F.A.
Design Package Design M.S.
Design Management Design Management M.P.S.
Digital Arts Digital Arts M.F.A.
3-D Animation and Motion Arts
Digital Imaging
Interactive Arts Combined Digital Arts/Library and
Info Science M.F.A./M.S.
Fine Arts Fine Arts M.F.A.
Painting and Drawing
Photography
Printmaking
New Forms Sculpture
History of Art and Design History of Art and Design M.S.
Combined History of Art and Design/Fine Art
M.S./M.F.A.
Combined History of Art and Design/Library
Science M.S./M.S.
Humanities and Media Studies Media Studies M.A.
Industrial Design M.I.D.
Interior Design Qualifying three-year M.F.A.
Two-year M.F.A.
Information and Library Science Library and Information Science M.S.
Library and Information Science Library Media
Specialist M.S.
Combined Library and Information Science
M.S./J.D. (with Brooklyn Law School)
Library and Information Science Advanced
Certificate
Library Media Specialist Advanced Certificate
Archives Advanced Certificate
Museum Libraries Advanced Certificate

Performance and Performance Studies Performance and Performance Studies M.F.A.

Writing Writing M.F.A.

 23

Study Abroad Campus

 rchitecture and Urban Design in Rome,
A Brooklyn
Architecture in Turkey, , Architecture and Design
in Copenhagen

Sustainable Planning Development International Brooklyn, except

Workshops Facilities Management,
which is based in
Manhattan

Brooklyn

Brooklyn

Manhattan
Architecture and Design in Copenhagen Manhattan

Manhattan
Florence Summer Program Brooklyn

Architecture and Design in Copenhagen, Pratt in Brooklyn

Venice

Pratt in Venice, Florence Summer Program Brooklyn

Pratt Summer in Paris Brooklyn

Architecture and Design in Copenhagen Brooklyn
Architecture and Design in Copenhagen Brooklyn

London Publishing Summer School, Florence Manhattan

Summer Program

Brooklyn
Pratt Institute
24

admirably f
position in the
educational sy
I am confide
will continue
of excellence
ahead.
e has
25

filled a unique
e American
ystem…
ent that Pratt
e its traditions
in the years
—President John F. Kennedy, from a
telegram sent on the occasion of Pratt’s
75th anniversary in 1962

Studies in the School of
Architecture gather from
the arts, sciences, and liberal
arts to produce works of
value that are sensitive to the
realities of life in the cultures
of the world. Graduates are
imbued with strong ethics
and an understanding of
architects’ ability to improve
the quality of life.
Dean
Thomas Hanrahan
Assistants to the Dean
Kurt Everhart
Pamela Gill
School of Architecture
Architecture
Urban Design
City and Regional Planning
Sustainable Environmental Systems
As a result, they know how to build, what
to build for whom, and how to enhance
the surrounding environment, in the city
or country, in a public works project or a
private home.
The Graduate Architecture and
Urban Design programs offer three
graduate degrees—one professional and
two post-professional.
The first-professional Master of
Architecture (M. Arch.) degree is an
84-credit, three-year professional degree
program for students holding a four-
year undergraduate degree in any field.
This program prepares students to take
the architectural licensing exam and to
become practicing architects. Students
may also receive advanced standing for
pursuing further graduate studies.
The post-professional Master of
Science in Architecture (M.S. Arch.) is
a 36-credit, three-semester (summer,
fall, spring) program for those who hold
an accredited five-year Bachelor’s of
Architecture or the equivalent. A thesis is
completed in the final semester.
Director of Production Technologies
Mark Parsons
27
Historic Preservation
Facilities Management
Urban Placemaking and Management
The post-professional Master of
Architecture and Urban Design is a
33-credit, three-semester (summer,
fall, spring) program for those who hold
an accredited five-year Bachelor’s
of Architecture or the equivalent. A
culmination project is completed in the
final semester.
Students in the M.S. Arch. and the
Urban Design programs are encouraged
to develop specialized areas of research.
The School of Architecture is
dedicated to maintaining the connection
between design theory and practice and
to extending the range of knowledge
necessary to fully understand the built
environment. The diversity of programs
within the school, and the accessibility
of other programs within the Institute,
enables students to pursue a wide range
of interests within the field. Architecture
students may take electives in fine arts,
illustration, computer graphics, industrial
design, furniture design, interior design,
and photography, as well as electives in
advanced architectural theory, design,
technology, and management.
Office
Higgins Hall North, 1st floor
Tel: 718.399.4304  |  Fax: 718.399.4315
Arch-dean@pratt.edu
www.pratt.edu/architecture
28
The school’s location in New York
City allows students immediate and
frequent access to the city’s resources.
The graduate programs also have
excellent internal resources: a strong
faculty, good facilities, and a developing
research network that connects the
department and its students to serious
national and international work in the
field. This network brings distinguished
visitors to speak to graduate students in a
research forum; invites visiting faculty to
teach studios, workshops, and seminars;
and forges extensive and thoughtful
connections with international cities and
throughout the United States.
The opportunity to learn from peers
is also an exciting part of the educational
experience at Pratt. Post-professional
degree students come from a wide range
of architectural practice, and first-
professional degree students come from
diverse fields of undergraduate study.
The student body includes many
international students, each of whom
brings a different perspective to the study
of architecture. The school encourages
transfer students to apply and will
evaluate credits from other colleges,
universities, or community colleges.
The School of Architecture
demonstrates daily that learning does not
occur solely within the classroom. This
is reflected in the annual undergraduate
and graduate lecture series, which bring
some of the most influential architects
in the world to campus; the Center
for Experimental Structures; exhibits
School of Architecture
by students and faculty that fill three
galleries on a regular basis; and the study
abroad programs in Italy and France.
The school publication, InProcess,
documents student work throughout
the year.
Pratt’s Center for Community
Development, formerly PICCED, one
of the oldest community advocacy and
technical assistance organizations in
the United States, gives students
additional opportunities to work on
real-life projects.
Students are further exposed to
the professional world through optional
internship programs that place them in
outstanding New York architectural firms,
public agencies, and nonprofit design
institutions, giving them firsthand work
experience as well as credit toward their
professional degrees.
The School of Architecture’s mission
is to educate the future leaders of the
design disciplines in the professional
fields of architecture, urban design,
city and regional planning, construction
and facilities management, and historic
preservation. This effort builds upon a
strong context of professional education
within an art and design institute that
stresses the relationship between
intellectual development and creative
activity. The school provides a broad
cultural and intellectual base in the liberal
arts and sciences while providing the
specialized knowledge unique to individual
disciplines. The importance of lifelong
School of Architecture
learning is emphasized through studio-
based curricula and research-oriented
thesis programs.
Highest Professional Standards
In the United States, most state
registration boards require a degree
from an accredited professional degree
program as a prerequisite for licensure.
The National Architectural Accrediting
Board (NAAB), which is the sole agency
authorized to accredit U.S. professional
degree programs in architecture,
recognizes two types of degrees: the
Bachelor of Architecture and the Master
of Architecture. A program may be
granted a five-year, three-year, or two-
year term of accreditation, depending
on its degree of conformance with
established educational standards.
Master’s degree programs may consist
of a pre-professional undergraduate
degree and a post-professional graduate
degree, which, when earned sequentially,
constitute an accredited professional
education. The pre-professional degree is
not, by itself, recognized as an accredited
degree, however.
The NAAB grants candidacy status
to new programs that have developed
viable plans for achieving initial
accreditation. Candidacy status indicates
that a program should be accredited
within six years of achieving candidacy, if
its plan is properly implemented.
Page 26: Work by Luke Cunnington (M.Arch. ’12)
29
The School of Architecture offers
graduate degrees in accredited and
nonaccredited programs. The M. Arch.
first professional degree program is a
three-year professional program. The
program was accredited by NAAB in
2010. The M.S. Arch. and Urban Design
programs are post-professional and
offer a three-semester Master’s degree
in Architecture and Urban Design. Post-
professional programs in the United
States are not accredited by the NAAB.
Pratt’s Graduate Planning Program is
accredited by the Planning Accreditation
Board and offers a two-year Master of
Science degree in City and Regional
Planning. The Facilities Management
program is non-accredited and offers
a two-year Master of Science degree in
Facilities Management.
Admission Requirements
Please refer to the Admissions section.
Student Work
The School of Architecture reserves
the right to temporarily retain during
the academic year, for exhibition and
classroom purposes, representative work
of any student enrolled in its programs.

Graduate Architecture
and Urban Design
The mission of the Graduate
Architecture and Urban Design
(GAUD) programs is twofold.
For the first-professional
degree program, students
develop expertise to engage
and lead complex architectural
projects in the professional
practice of architecture
through the exploration and
development of substantive
methods of design and inquiry
across the discipline. For the
post-professional programs
both in architecture and in
urban design, the mission is to
expand a student’s established
professional education into
new forms of thinking, types
of practices, and areas of
expertise. In all cases, each
program promotes a student’s
lifelong relationship with his or
her field.
Opposite: Work by Victoria Maceira (M.Arch. ’13)
and Michael Grieser (M.Arch. ’13)
Students in GAUD are immersed in an
exploratory design-studio culture. The
three distinct degrees within the two
programs—Architecture and Urban
Design—share coursework, students,
faculty, and events, thus allowing each
program to draw upon the other’s
perspectives and expertise. This
mix supports the ability to integrate
diverse theoretical and technical
knowledge in speculative design work
while emphasizing critical thinking/
critical making. Students and faculty are
engaged in the design of contemporary
experimental architectural projects and
the integration of academically rigorous
seminar courses in history and theory,
computer media, and technology.
The Graduate Architecture programs
have a diverse faculty of distinguished
educators and practicing architects,
excellent facilities, and trans-disciplinary
connections with the well-known art and
design departments of Pratt Institute.
Distinguished visitors present their
work to graduate students on a regular
basis in research forums, guest studios,
and seminars. Faculty and students in
31
both programs come from national and
international backgrounds.
A developing research area within
GAUD is the Network for Emerging
Architectural Research (NEAR), which
connects the department to national
and international work. Commensurate
with the complexities of the 21st century,
NEAR expands beyond traditional
limitations of academic research, and
establishes a space for experimentation
and development in academia,
industries, and public institutions.
The Graduate Architecture programs
at Pratt Institute’s School of Architecture
contribute to the progressive design
environment for advanced architectural
research located in New York City. The
school’s New York City location provides
immediate and frequent access to
the city’s extensive range of creative
opportunities. The international study
abroad programs extend the investigation
of the city to Rome and Istanbul with
concentrated seminars looking at both
cities and their unique contributions to
architecture and urbanity.
www.pratt.edu/grad-architecture-
urban-design

Architecture
Architecture is a cultural act.
Both the first-professional
and post-professional
programs seek to formulate
a contemporary approach
to architecture that is
“ecological” in the sense
that it provides collective
exchanges that are both
trans-disciplinary and trans-
categorical. This ecological
approach encourages
feedback, theoretical studies,
and exposure to myriad other
categories and disciplines
that are newly emerging in
contemporary culture.
Chair
William MacDonald
Assistant Chair
Philip Parker
Assistants to the Chair
Erin Murphy
Erika Schroeder
It also helps students develop
relationships with industry,
manufacturing, and political
agencies. This approach seeks
to intensify hetero­geneous
interests and agencies. In
addition, the programs see
architectural innovations in
both theory and practice
of architecture and the
interconnected phenomena out
of which the discipline emerges.
The Graduate Architecture program
offers two degrees: Master of
Architecture (M. Arch.) (first-
professional), and Master of Science
(M.S.) in architecture (post-professional).
Master of Architecture
(First-Professional)
The Master of Architecture, a first-
professional degree, is a NAAB
accredited 84-credit, three-year
Program Coordinators
Alexandra Barker, Master of Architecture
Jason Vigneri-Beane,
Master of Science, Architecture
Maria Sieira, Architecture History/Theory
Cristobal Correa, Technology
Christopher Kroner, Media
33
program that maintains a mission to train
students as leaders in the professional
practice of architecture with substantive
methods of design and inquiry. The
program is intended for students
holding a four-year undergraduate,
non-professonal degree in any field. This
program aims to establish a student’s
professional education with new forms
of thinking and practice and to help
students develop a lifelong relationship
to their respective fields.
Core design studios and seminars
in history and theory, computer media,
and building technologies in the first
three semesters prepare students for
the comprehensive architecture project
in the fourth semester. This combined
design and integrated building-systems
course integrates all related disciplines
into the single project. The final two
semesters are dedicated to advanced-
option studios and seminars where
students can explore a range of options
within all four areas of the curriculum.
Office
Tel: 718.399.4314  |  Fax: 718.399.4379
gaud@pratt.edu
www.pratt.edu/grad-architecture
34 Architecture

Master of Science, Architecture

(Post-Professional)
The 36-credit, three-semester (summer,
fall, spring) post-professional program
aims to expand a student’s previously
established professional education into
new forms of thinking and practice.
Open to students holding a five-year (B.
Arch.) or equivalent (M. Arch.) degree
in architecture, the program helps
students develop a lifelong relationship
to their specific interests in architecture.
All students are exposed to relevant
issues through rigorous history and
theory electives, lectures by prominent
scholars, computer-technology
courses emphasizing critical thinking,
and studios requiring integration of
theoretical and technical knowledge.
The program begins with an intensive
summer semester concentrating in
design, digital media, and theory. The
second semester’s advanced option
studios are integrated with those taken
by the Master of Architecture (first-
professional) students. The culmination
of the program is a thesis research and
design project in which students develop
specialized approaches to contemporary
architecture within year-long themes.

Page 32: Work by James Maldonado

(M.Arch. ’15)
Opposite: Work by Asli Agirbas
(M.S. Architecture ’13)
Above from top: Work by Megan Hurford
(M.S. Architecture ’14); Work by Katia Loizou (M.S.
Architecture ’13); Work by Megan Hurford
(M.S. Architecture ’14)
Opposite from top: Work by Chang-Kuang Chao;
Work by Megan Hurford (M.S. Architecture ’14);
Work by Lauren Burdelsky (M.S. Architecture ’12),
Alanna Kleine (M.S. Architecture ’12) and Mithila
Poojari (M.S. Architecture ’12)
Architecture
Opposite from top: Work by Jon Bucholtz,
Sana Iqbal (M.Arch. ’14) and Chris Yu (M.Arch. ’14);
Work by Taesoo Kim (M.Arch. ’14); Work by Elle
White (M.Arch. ’14)
Above from top: Work by Jenna Steinbeck
(M.Arch. ’14); Work by Eric Engdahl (M.Arch. ’12);
Work by Ching-Tsung Huang (M.S. Architecture ’13)

Urban Design
The Graduate Architecture
and Urban Design program is
a unique three-semester
program for students who
have already completed
a professional degree in
architecture. Preparing
students to take leadership
positions in the 21st century,
the program takes into
consideration the most urgent
questions confronting the
design of cities today.
Chair
William MacDonald
Assistant chair
Philip Parker
41
Guided by leading design professionals are designing civilization itself. Mirroring
and scholars, students develop powerful the complexity of the contemporary
contemporary design techniques and situation, the program is itself highly
a sophisticated conceptual outlook international. From all corners of
in order to advance new strategies the world, students converge on this
and new possibilities. As of 2010, for program in New York City, a city that
the first time in human history, the remains one of the great laboratories for
majority of the global population now urban thought and innovation.
lives in cities. As noted by the World
Health Organization, seven out of 10
people will be living in cities by the
year 2050. Given the astonishing scale
at which urbanization is taking place
today, how we are designing our cities
is becoming synonymous with how we
Coordinator Office
David Ruy Tel: 718.399.4314  |  Fax: 718.399.4379
gaud@pratt.edu
Assistants to the Chair www.pratt.edu/dept-urban-design
Erin Murphy
Erika Schroeder
42 Urban Design

Intensive and ambitious in its scope,

the program is structured around a
single urban design project that is
continuously developed by each student
across three studio semesters. Each
studio semester has a specific focus that
is supplemented by advanced seminar
topics in histories of urban design, urban
planning and zoning policies, GIS, and
digital design technologies. This year,
the program continued its speculative
investigation of producing new land
masses within the New York City estuary.
Students examined the spectacular and
problematic opportunities that come
with creating new land where none
existed before. The geo-engineering
scenarios considered how this
problem might articulate a new kind
of architectural ground leading to new
urban typologies. Projects developed
extensions of this premise into new real
estate economies, new infrastructures,
new zoning logics, and perhaps mostly
importantly, new experiences. Examining
as a precedent the astonishingly artificial
geology of New York City itself, students
were asked to consider the profound and
paradoxical coherence of a city that is
always changing.
Urban Design

Page 40: Work by Michalis Skitsas (M.S.AUD ‘14)

Above: Work by Francisco Patino (M.S.
Urban Design ’13)
Urban Design

Opposite from top: Work by Ana Maria Perez

Dobarro (M.S. Urban Design ’12), Niriti Porwal (M.S.
Urban Design ’12), and Celina Scheidt (M.S.AUD ‘12);
Work by Chun-Wen Chin, Achilleas Kakkavas, and
Aayushya Patel (M.S.AUD ‘12)
Above: Work by Michalis Skitsas (M.S.AUD ‘14)
Programs for Sustainable Planning City and Regional Planning Sustainable Environmental Systems
and Development
Chair Coordinator
Coordinator John Shapiro Jaime Stein
David Burney 718.399.4391 718.399.4328
718.399.4323 johnshapiro@pratt.edu jstein9@pratt.edu
dburn153@pratt.edu

Assistant to the Chair

Adia Ware
718.399.4340
aware@pratt.edu

Programs for Sustainable
Planning and Development
(PSPD) is an alliance of five
programs with a shared value
placed on urban sustainability—
defined by the “triple bottom
line” of environment, equity,
and economy.
Historic Preservation
Coordinator
Nadya K. Nenadich
718.399.4326
nnenadic@pratt.edu
Programs for Sustainable
Planning and Development
The five graduate Master of Science
programs are:
• City and Regional Planning
• Sustainable Environmental Systems
• Historic Preservation
• Urban Placemaking and Management
• Facilities Management
Each of the five graduate programs
maintains its independence, degree,
and depth of study. Yet with the advice
of coordinators and department chairs,
students can move between the five
programs, with the further option to
follow set tracks for specialized or
multifaceted studies. Studios bring
together students from all five graduate
programs for interdisciplinary teamwork.
PSPD also offers linkages to
the undergraduate Construction
Management program, with the
opportunity to focus on real estate
development; Brooklyn Law School,
with the opportunity for a joint
master’s/Juris Doctor; and to the Pratt
Center for Community Development,
with the opportunity to combine study
and advocacy.
Urban Placemaking and Management
Coordinator
David Burney
718.399.4340
dburn153@pratt.edu
47
The primary mission of the PSPD
is to provide a professionally oriented
education to a student body with
diverse cultural, educational, and
professional backgrounds. The PSPD
welcomes applicants with undergraduate
degrees in a wide range of disciplines.
In the application process, the PSPD
values creativity, civic engagement, and
depth of experience, in addition to
intellectual capacity.
Urbanism
In this century as in the last, the major
human force on our planet is migration
to metropolitan areas, while the major
challenge of the present and future is
addressing global warming. Prior city
planning values of aesthetics (as per the
City Beautiful movement of the late 19th
century) and new technology (as per the
City Efficient movement of the mid-20th
century) must now be augmented with
a new City Sustainable movement. The
PSPD is especially committed to realizing
this paradigm on the community as well
as the citywide basis.
Facilities Management
Chair
Regina Ford Cahill
212.647.7524
hrcahill8@pratt.edu
Assistant to the Chair
Philip Ramus
212.647.7524
fm@pratt.edu
48
Environmental Sustainability
The Sustainable Environmental Systems
program is entirely devoted to urban
environmental policy, science, and
design. “Green development” and
LEED courses augment the Facilities
Management program curriculum. The
Historic Preservation program is already
“greened,” as the most sustain­able action
is to preserve and reuse.
Social Equity and Economic Viability
True sustainability considers factors such
as social justice and financial realities.
Advocacy and participatory planning are
core principles, further propelled by
the Livable Cities and the Environmental
Justice movements. Sustainability is
not just a new set of technologies and
standards; it is also a value system.
Programs for Sustainable Planning
and Development
Professionalism and Internships
Relevant employment and internships
are an important component of the
PSPD’s educational approach. Students
entering with work in a relevant field may
earn credits through work experience/
portfolio credit. Unpaid and paid
internships are available. The resulting
variety of professional experiences
enriches seminar discussions and studio
teamwork, provides students with a
wealth of contacts in the field,
and strengthens their job qualifications.
Impact
Through internships, partnerships,
studios, demonstrations of professional
competence, and directed research,
students have ample opportunity to
work on real-world and real-time issues.
Successes are illustrated in this catalog
and in the PSPD newsletter. (Check
the websites for each program.) New
York’s history, diversity, and international
character offer a rich training ground for
planners, preservationists, developers,
and sustainability practitioners.
Students graduate equipped with
the technical know-how, collaborative
skills, and critical thinking necessary to
pursue professional careers and plan
for environmental and social justice in
urban places. Alumni play leading roles in
a broad spectrum of jobs in the public,
private, and nonprofit sectors.
PSPD courses are offered in
the evenings, except for the Historic
Preservation program’s courses, which
are concentrated on two weekdays
and evenings. This scheduling affords
students maximum flexibility to work
or intern, and affords the PSPD the
ability to tap as faculty the region’s most
accomplished professionals. These
include the founders of community
organizations, executives in development
firms, New York City commissioners,
political leaders, and more.
The Pratt Center
The PSPD collaborates closely with the
Pratt Center for Community Development
(www.prattcenter.net)—one of the nation’s
foremost university-based research and
technical assistance organizations in the
service of disadvantaged communities.
A number of courses relate to Pratt Center
projects, many students intern at the
Pratt Center, Pratt Center senior staff
teach in the PSPD, and other faculty work
closely with the Pratt Center on research
and advocacy efforts. Pratt Center’s
services include:
• Visioning to identify community needs
and workable strategies.
• Testimony and events to inform
groups and officials about community
challenges and opportunities.
• Research, recommendations for
action, and advocacy to advance
community plans.
• Neighborhood to regional
coalitions to advance specific
policy recommendations.
Programs for Sustainable Planning
and Development
The PSPD also enjoys a relationship
with the New York City Environmental
Justice Alliance (NYC-EJA) and with
Project for Public Spaces (PPS). NYC-
EJA is the city’s leading advocate for
sustainability and resiliency for poor
and working class neighborhoods
of color. PPS is the nation’s leading
proponent of placemaking, traffic
calming, public markets, and more,
with projects all around the world.
Other internship placements include the
New York City Economic Development
Corporation and other city agencies, the
Landmarks Conservancy and other civic
organizations, and other environmental
groups, and community-based
organizations throughout New York City.
Geographical Information
Systems (GIS)
With the graduate Communications
Design program, the PSPD founded SAVI—
The Spatial Analysis and Visualization
Initiative. SAVI supports PSPD studios
and research with depth in GIS analysis
with an added focus on how best to
represent data, e.g., infographics. SAVI
is also a resource for community and
civic organizations, and in 2014 launched
a certificate degree in GIS and data
visualization.
Global Practice
The PSPD is responding to the challenges
of the “global village” with courses that
run partly or entirely abroad. These
courses are as much about students
Page 46: New York City is the PSPD’s laboratory
for cross-disciplinary study and internships
49
learning global innovations and practices
as about providing opportunities for
students to study in foreign places.
For example, Pratt students have
traveled to Brazil to consider innovative
approaches to affordable housing;
studied climate change infastructure
with Dutch students and experts;
and fleshed out the community details
of a regional sustainability plan for
Goa with Indian students.
Joint Degree in Law
Pratt Institute and Brooklyn Law School
(BLS) have created an open door allowing
Pratt students to take selected courses
at BLS, and vice versa. Pratt and BLS
also sponsor a program leading to the
degrees of Master of Science in City and
Regional Planning and Juris Doctor (J.D.).
Students can also participate in BLS’s
Community Development Clinic, which
represents community development
corporations, cultural institutions, and
affordable housing providers that serve
underrepresented communities.
The joint degrees can be earned in
four to five years of full-time study—less
time and cost than if the two degrees
were pursued independently. Students
must apply and be accepted to both
schools independently. Prospective law
students must take the LSAT. The joint
degree can be pursued simultaneously
or sequentially so long as 15+ credits of
the Pratt master’s degree are completed
after matriculation at Brooklyn Law.

Since its inception 50 years
ago, the City and Regional
Planning program, located in
the School of Architecture
on the Brooklyn Campus,
has remained true to its
emphasis on an education that
stresses practice over theory,
participatory planning over
top-down policy making, and
advocacy over technocracy.
Pratt’s accredited Master of
Science in City and Regional
Planning requires 60 credits.
The schedule of classes allows
for prospective students to
enter in fall or spring, and
complete their studies in two
or two-and-a-half years.
Chair
John Shapiro
718.399.4391
johnshapiro@pratt.edu
City and Regional Planning
To promote specialized or interdiscipli­
nary study, half of the credits are in
elective seminars and studios. While by
no means required, students can focus
on one of six particular professional
specializations, corresponding to the
program’s areas of strength. These are
described on the next two pages.
Internships
Virtually every student is assured an
opportunity for an internship, and four
out of five students do so.
Studio Culture
All of the advanced planning studios are
interdisciplinary, drawing students from
the other PSPD programs: Sustainable
Environmental Systems, Facilities
Management, Historic Preservation, and
Urban Placemaking and Management. The
studios tackle real planning challenges,
in connection with a project of the Pratt
Center for Community Development or
another advocacy organization.
Assistant to the Chair
Adia Ware
718.399.4340
aware@pratt.edu
51
Community Development and
Participatory Planning
Students focus on asset-based
approaches to strengthen healthy
places and revitalize distressed ones.
They learn how to regulate land use with
neighborhood quality of life in mind,
develop affordable housing, strengthen
businesses and retain jobs, and enhance
urban environments through design
and amenities. The program’s alliance
with the Pratt Center for Community
Development provides the underpinning
for this specialization. For more
information, visit prattcenter.net/.
Physical Planning
Students develop an understanding of
the interplay among physical, social,
regulatory, cultural, and economic
considerations in creating viable
physical patterns for diverse contexts—
from large-scale development to
neighborhoods and cities. The emphasis
is on the experience of place and
economic and social vitality, rather
than on pure design or a particular
design ideology.
Office
Tel: 718.399.4340
www.pratt.edu/planning
52
Placemaking and Alternative
Transportation
In the past 10 years there has been
a paradigm shift in thinking about
urbanism, from a primary focus on
buildings to one on the spaces between
buildings and public space. Students
learn to create and manage successful,
vibrant, and equitable public spaces
from a bottom-up, people-centric
approach. (Refer to the Urban
Placemaking and Management program
for additional electives.)
Sustainability and Resiliency
In considering urban air, water, waste,
and brownfield problems and best
practices, students learn how to
promote sustainable communities
and environmental justice. With the
creation of Recovery Adaptation
Mitigation Planning (RAMP), students can
focus on climate change and disaster
planning. RAMP links multiple studios,
seminars, and workshops directed at
one neighborhood each semester, and
in cooperation with local, research,
and advocacy organizations. (Refer to
the Sustainable Environmental Systems
program for additional electives.)
City and Regional Planning
Preservation Planning
Students learn to integrate historic
preservation in the wider context of
urbanism, real estate development, and
sustainability. The National Council for
Preservation Education recognizes the
Preservation Planning specialization.
(Refer to the Historic Preservation
program for additional electives.)
Public Purpose Real Estate Development
Students can gain the full range of
knowledge associated with expertise in
real estate development, but with an
emphasis on green development,
affordable housing, adaptive reuse, and
public/private partnerships. (Refer to
the Facilities Management program for
additional electives).
Joint Degree in Law
Pratt Institute and Brooklyn Law School
sponsor a program leading to the
degrees of Master of Science in City and
Regional Planning and Juris Doctor (J.D.).
(Refer to the earlier PSPD section for
more details.)
Page 50: Student plan for retaining industry while
addressing climate change in Brooklyn
Opposite: International courses and studios run in
Copenhagen, São Paolo, Tokyo, and India

Sustainable Environmental
Systems
The Master of Science in
Sustainable Environmental
Systems is one of the
nation’s most inno­va­tive,
interdisciplinary, systems-
based sustainability programs.
Coordinator
Jaime Stein
718.399.4328
jstein9@pratt.edu
The Master of Science in Sustainable
Environmental Systems (SES), offered
on Pratt’s School of Architecture on
the Brooklyn Campus, is designed to
meet today’s increasing demand for
environmental professionals. Students
learn the interdisciplinary skills needed
to assess contemporary environmental
issues; catalyze innovative environmental
problem solving; uphold environmental
and social justice; and engage diverse
stakeholders in designing and developing
sustainable plans, policies, and
communities. Graduates are prepared to
take on a range of roles as environmental
designers, policy analysts, sustainability
consultants, low-impact developers,
researchers, and advocates, collaborating
with environmental scientists,
policymakers, and communities.
The Sustainable Environmental Systems
Program Is Unique in Its Combination of
Science, Design, and Policy.
By uniting a foundation of theoretical and
technical core courses with innovative
Assistant to the Chair
Adia Ware
718.399.4340
aware@pratt.edu
55
mini-courses, the program offers a
uniquely comprehensive curriculum
that fosters exposure to cutting-edge
practicing professionals. The program
encourages students to closely
examine the relationships between the
environment, policy, and systems design.
The Sustainable Environmental Systems
Program Is Unique in Its Emphasis on the
Urban Environment.
As integral members of the Programs for
Sustainable Planning and Development
(PSPD), students are exposed to land
use, transportation, preservation,
development, and economic planning
strategies. Through this exploration,
students understand the complexities
of the urban context and can analyze
global, federal, state, and local policies
accordingly. Students learn the
skills needed to build and preserve
sustainable urban communities. Through
the Recovery, Adaptation, Mitigation,
and Planning initiative (RAMP) the SES
program has formed an interdisciplinary
Office
www.pratt.edu/ses
56
suite of studio courses and workshops
in which students and faculty from the
School of Architecture work with local
community leaders from the region’s
most vulnerable coastal communities.
The collaborative approach of RAMP
enables focused, interdisciplinary
study and implementation of resiliency
strategies for sustainable coastal
communities.
The Sustainable Environmental
Systems program welcomes students
with a variety of undergraduate degrees,
recognizing that sustainability is most
effective when integrating a number
of disciplines. Students entering the
program with relevant professional
experience, or with a Bachelor of
Architecture or a B.S./B.E. in civil
engineering or environmental science
degree, may receive up to 10 credits of
advanced standing.
Diversity
Students learn from each other as
well as from faculty. Most students
have had (or in the course of study
will gain) work experience in the
environmental or related fields—as
architects, engineers, community
organizers, and entrepreneurs. As
the degree is particularly rewarding
for those seeking professional
development, many students have
existing professional experience.
Sustainable Environmental Systems
Internships
Virtually every student is assured
an internship with an organization,
agency, or professional practice. In
the past, interns have been placed
with the Mayor’s Office of Long Term
Planning and Sustainability, Metropolitan
Waterfront Alliance, New York Industrial
Retention Network, and Pratt’s Center
for Sustainable Design. Internship
examples include modeling energy
efficiency efforts in Bedford-Stuyvesant
with the Pratt Center for Community
Development; working with local
businesses to develop sustainability
plans; and working on LEED-certified
projects. (Refer to the earlier section on
the PSPD for details.)
Design + Build
Working alongside professionals, and
using New York City as a laboratory,
students learn a sustainability concept
and its implementation. This experience
is reflected in our Green Infrastructure
Design + Build studio as well as our Green
Infrastructure fellowships.
Career
Bringing cutting-edge New York City
sustainability practitioners into the
classroom gives students access to an
invaluable network as they enter the
professional world.
The Sustainable Environmental
Systems program is integrated with other
PSPD programs, with the option for
extended study beyond the 40-credit
Master of Science in SES, as follows:
Courses in the City and Regional
Planning program expose students to
land use, transportation, and economic
development planning strategies. Joint
studios deal with sustainability plans for
development sites, neighborhoods, and
businesses.
Courses in the Facilities
Management program allow for a focus
on green development and property
management practices.
Courses in the Historic Preservation
program allow for a focus on livability
and the recognition that often the
“least carbon footprint” approach is to
preserve and reuse.
Courses within the Center for
Continuing and Professional studies
allow for an Advanced Certificate in
Green Infrastructure, a 21-credit hour
professional training in urban green
infrastructure (www.pratt.edu/ccps).
Sustainable Environmental Systems

Page 54: Students attend a climate march

Above: Segments from final student
presentations focused on sustainability
indicators and energy systems

Historic
Preservation
Located on Pratt’s historic
Brooklyn campus, the M.S.
degree program in Historic
Preservation builds on the
energy of New York City and
Brooklyn as the place of origin
of historic preservation in
the United States and as a
place of innovation and civic
engagement.
Academic Coordinator
Nadya K. Nenadich
718.399.4326
nnenadic@pratt.edu
Historic Preservation at Pratt uniquely
addresses both the physical aspects of
preservation and the role our discipline
plays within a larger context of design,
community revitalization, redevelopment
and adaptive reuse, and sustainability.
The Historic Preservation program
resides within the Programs for
Sustainable Planning and Development
(PSPD) in the School of Architecture.
The PSPD is an alliance of programs
including City and Regional Planning,
Construction/Facility Management
(including real estate development),
Sustainable Environmental Systems, and
Urban Placemaking and Management
(including aspects of urban design); with
Assistant to the Chair
Adia Ware
718.399.4340
aware@pratt.edu
59
further relationships with Pratt’s Interior
Design program, Pratt’s new geographic
information systems lab (SAVI), and
Brooklyn Law School – allowing students
free access to the full range of urbanism-
related electives.
The PSPD’s mission is to create and
sustain a learning community of students,
faculty, and alumni that is characterized
by studio-based learning and the wealth
of internship opportunities that only
New York City has to offer. The program
attracts a “who’s who” of preservation
and urbanism practitioners as faculty. The
coursework places equal emphasis on
theory, knowledge, and best practices.
Office
www.pratt.edu/historic-preservation
60

Students spend their first year

in intensive coursework focused
on the core elements of historic
preservation practice, and their
second year specializing in a particular
aspect of urban preservation and built
environment management. For some
students this might mean focusing
on preservation-related Design,
Conservation, and Technology or Historic
Resource Management, while others
might decide to explore the other PSPD
programs through a preservation-related
focus in community planning, Main
Street revitalization, adaptive reuse and
preservation development, or the nexus
of preservation and sustainability. A
required internship in the field of historic
preservation rounds out the program
and ensures that students leave Pratt
with relevant real-world experience as
well as a network of professionals in
preservation.
Upon the successful completion
of the Historic Preservation program,
students are fully qualified preservation
practitioners with a focus that at once
deepens their expertise and broadens
their knowledge base—thus enhancing
their skills and the range of work that
they are equipped to handle as they
enter this trans-disciplinary field.

Page 58 and above: The M.S. degree in Historic

Preservation builds on the energy of New York
City as an important epicenter of historic
preservation in the United States; the program
is located in Brooklyn, a longtime bastion of civic
engagement, creativity and innovation. Dumbo,
Domino Sugar Factory, Hamptons Place, and
Masonic Temple shown.

Facilities Management
The Master of Science program
in Facilities Management
(FM) prepares graduates as
professionals and problem
solvers to assume executive
responsibilities in the
management of facilities.
Chair
Regina Ford Cahill, M.S.
rcahill@pratt.edu
Facilities management executive
responsibilities include: assurance of
a quality environment, cost-effective
capital and operating investments,
economically and environmentally
sensitive operations and the management
of facilities and equipment as assets.
Pratt’s Facilities Management
Program teaches innovative approaches
to emerging technologies, sustainable
practices, and instills ethical values,
which distinguish Pratt’s Facilities
Management alumni as they lead the
field’s efforts to advance the quality of
the built environment.
Special Admission Requirements
Undergraduate degrees in business,
architecture, construction management,
and engineering fields are preferred
for admission. Applicants receiving a
bachelor’s degree in other fields are also
eligible but may be required to take non-
credit courses in technical subjects prior
to registering for required courses.
Assistant to the Chair
Philip Ramus
fm@pratt.edu
63
Applicants must submit a statement of
purpose in essay format to support the
application for advanced studies.
The essay should indicate an interest in
or an awareness of issues addressed in
the Facilities Management program.
Interviews are recommended and
may be scheduled by contacting the
department at fm@pratt.edu. Students
are eligible for graduate assistantships
and tuition scholarships upon
acceptance into the program.
Facilities management has
emerged as a new area of expertise
as communities, corporations, and
institutions systemati­cally plan for
fiscal and ecological stewardship of
the built environment.
The Executive Facilities Management
function consists of a distinct set of
responsibilities that have proven their
value to the “C” Suite. These include:
• Strategic planning.
• Financial forecasting and budgeting.
• Real-estate acquisition
and disposal.
• Architectural and engineering planning
and design.
Office
Tel: 212.647.7524  |  Fax: 212.367.2497
www.pratt.edu/facilities-management
64
• Construction management,
maintenance, and sustainable
operations management.
• The integration of new technologies
into existing and planned facilities.
Managing these areas of responsibility
requires the integration of business
skills and technical expertise. With this
paradigm in mind, graduates of the
Facilities Management Program will
be able to:
• Understand the planning,
construc­tion, and operations framework
in which facilities are managed at local,
regional, national, and inter­national
levels; and act as liaison between the
owner and professional service agents
on building teams.
• Synthesize interdisciplinary efforts and
act across traditional administrative,
planning, and operational boundaries to
organize, coordinate, and control diverse
facilities and manage­ment activities.
• Perceive design requirements,
their impact on quality of life and
environmental issues, and their value in
the engineering of facilities.
• Analyze facilities needs and develop
planning initiatives and effective
implementation strategies that are
responsive to specific current and
projected facilities issues.
Facilities Management
• Manage the process of facility
development to complete projects
on schedule and within budget to a
specified standard of quality.
• Direct and lead the specialists,
consultants, and in-house staff, as
well as outsourcing organizations
that perform specific aspects of the
facilities management function.
• Coordinate development activities
with ongoing operations to minimize
disruptions and maintain the
continuity of facilities functions and
economic viability.
The faculty consists of professionals
actively engaged in facilities management
in the public and private sectors as well
as in the various areas of specialization.
This combination of actively practicing
faculty and students working in the
field brings a dynamic vitality to Pratt’s
Facilities Management program.
Part of Programs for Sustainable
Planning and Development (PSPD), Pratt’s
Facilities Management Program is unique
in its opportunity for enriched study,
potentially leading to careers in real-
estate development, as well as expertise
in sustainability and preservation.
Sustainability
Electives can be taken in PSPD
programs to provide depth as to a
variety of sustainability practices:
LEED certification, green roofs, energy
conservation, alternative energy sources,
construction innovation, and more.
Planning and Development
Further real estate development
expertise can be garnered through
a combination of construction
management, facilities management,
and other PSPD electives dealing
with zoning, public approvals, market
studies, adaptive reuse, real estate law,
environmental law, historic preservation
compliance, and more.
Preservation
Electives can be taken in PSPD
programs to provide extra knowledge of
architectural history, adaptive reuse, and
landmark approvals of buildings.
Work and Study
The Facilities Management courses
are offered in the evening at the Pratt
Manhattan Center, affording students
the maximum flexibility to combine work
and study. Refer to the earlier PSPD
section for more information on these
opportunities.
Facilities Management

Page 62: Site visits expose students to the typical

New York City rooftop HVAC system
Above: Students explore the architecture of New
York City in a summer course

The mission of the School of
Art is to educate those who
will make and shape our built
and mediated environment,
our aesthetic surroundings,
and our collective future.
Dean
Gerry Snyder
Assistant to the Dean
Katherine Morris
School of Art
Art and Design Education
Arts and Cultural Management
Art Therapy and Creativity Development
Dance Movement Therapy
The School of Art’s graduate programs
are dedicated to the primacy of
a professional standard and the
transformative power of creativity.
We educate leaders in the creative
professions to identify, understand,
and benefit from the challenges of a
rapidly changing world. The School of
Art is dedicated to developing creative
leadership in a world that requires it.
The School of Art’s innovative
graduate programs bring together
exceptional students who flourish in an
environment that encourages autonomy
and growth.
An internationally recognized faculty
known for its excellence in teaching
leads the graduate programs. The faculty
works individually with students and in
small seminar classes to maximize their
graduate experience.
Assistant Dean
Dianne Bellino
Director of Finance and Administration
Daisy Rivera
67
Art Therapy and Special Needs Children
Design Management
Digital Arts
Fine Arts
The School of Art has two parallel
objectives that guide every department.
One is the emphasis on professional
skills development where students gain
the techniques, skills, methodologies,
and vocabulary required for success as
productive artists, filmmakers, cultural
leaders, educators, and therapists.
The second objective—intertwined
with the first—recognizes that this
technical experience only takes root
within a complex cultural context.
Therefore, students in the School of Art
also develop the critical judgment and
historical perspective needed to become
creative problem solvers and leaders in
their respective professions.
Office
Main Building, Fourth Floor
Tel: 718.636.3619  |  Fax: 718.636.3410
art-dean@pratt.edu
www.pratt.edu/soa
68 School of Art

Programs and degrees in the

School of Art include:

Master of Fine Arts (M.F.A.)

• Digital Arts
Interactive Arts
Digital Animation & Motion Graphics
Digital Imaging
• Fine Arts
New Forms and Integrated Practices
Painting and Drawing
Photography
Sculpture
Printmaking

Master of Professional Studies (M.P.S.)

• Art Therapy and Creativity
Development
• Art Therapy with Special
Needs Children
• Arts and Cultural Management
• Design Management

Master of Science (M.S.)

• Art and Design Education
• Dance/Movement Therapy
• Dance/Movement Therapy
(Low Residency)
School of Art

Page 66: Work by Trudy Benson (M.F.A. ’10)

Above: Work by Jean Paul Gomez (M.F.A. ’13)

In 1994, Pratt inaugurated the
Master of Science in Art and
Design Education, drawing
students from the worlds of
art, design, and architecture.
The curriculum expands upon
the philosophy and practices of
our continuing undergraduate
and post-baccalaureate
programs and was one of the
first in the country to include
design education.
Director, Center for Art, Design,
and Community Engagement K-12
Aileen Wilson
awilson2@pratt.edu
718.687.5602
Acting Chair
Heather Lewis
hlewis@pratt.edu
718.636.3637
Art and Design Education
We endeavor to be progressive and
dynamic and at the forefront of our field
while providing a stimulating, challenging,
and supportive environ­ment for our
students, faculty, and staff. Our students
are passionate teachers and learners
engaged in creative individual and
community practice as artists, educators,
and researchers.
The earliest incarnation of the
current Department of Art and Design
Education was in the late 19th century,
when Pratt Institute opened its doors
in Brooklyn, New York. Opportunities
to combine theory and practice have
been an integral part of the program
ever since. Now, as then, teaching is
viewed as a creative process with studio
work enhancing and complementing
instruction rather than competing with it.
In 1897, art classes for children
were offered in cast drawing; sketching
in outline, color, light, and shade; and
freehand perspective. This was to
be the genesis of a unique student
teaching experience and resource for
the community. Beginning in 1902, the
Assistant to the Chair
Lia Wilson
lwilso13@pratt.edu
718.636.3681
Art and Design Education Office
Tel: 718.636.3637  |  Fax: 718.230.6817
adeinfo@pratt.edu
www.pratt.edu/art-design-education
71
Saturday classes were used as a vehicle
for art teacher training. The Saturday
Art School became a laboratory where
learning how to teach and researching
issues of pedagogy are modeled
upon artistic practice. Students test
ideas, develop a personal teaching
style, and explore research questions
through participation and observation.
The seminars following the Saturday
classes are forums for reflection upon
both unfinished and completed projects.
Students thus get opportunities to
work collaboratively with their peers,
community members, and professionals
in the field, while they learn to develop
lessons and construct environ­ments
that promote critical inquiry and
creative practice.
The department’s conception of
art has broadened considerably from
those first classes in the 19th century.
A range of art practices is presented
and explored, from traditional forms to
contemporary multidisciplinary works.
Our approach to art and design
education is distinguished by a
willingness to look to other disciplines
Youth Programs Coordinator
Tara Kopp
tkopp@pratt.edu
718.636.3654
Youth Programs Office
Tel: 718.636.3654  |  Fax: 718.230.6876
www.pratt.edu/youth
72
for inspiration. In recent years, we
have drawn upon the work of artists,
educators, and scholars in the fields
of literature, folklore, philosophy,
and anthropology. Narrative and
autobiography, play and performance,
meaning and memory are threads that
play an important role in our classroom
conversations and research. We ask
our students to go beyond textbook
vocabulary and style. Their plans, essays,
and research papers are developed
from their own stories and personal
knowledge. Reflective practitioners,
they are prepared to work effectively in
diverse cultural contexts and to apply
interdisciplinary perspectives in a variety
of educational settings.
Through a combination of individual
study, observation, and reflection, along
with collaborative and interactive experi­
ences, students learn how to arti­cu­late
the inexpressible, imagine the invisible,
and convey a sense of the aesthetic in
their art classrooms as well as in their
own lives and in the community at large.
The study of art and design education
leads us back to our own creativity.
Art and Design Education
The Program’s Structure
M.S. in Art and Design Education with
Initial Teacher Certification in Visual
Arts, Pre-K–12 (Brooklyn campus,
a 38-credit-hour degree)
Applicants must have completed a
four-year undergraduate program with
a minimum of 25 credit hours in the
appropriate courses in studio art and/
or the history of art from a regionally
accredited institution of higher
education, or one that is approved
by the New York State Department of
Education, or with the equivalent of the
bachelor’s degree from an international
institution of acceptable standards.
M.S. in Art and Design Education
Professional Certification (Brooklyn
campus, a 34-credit-hour degree)
Applicants must have received their
Initial Certification as a teacher of Visual
Arts and have prior teaching experience.
Advanced Certificate in Art and Design
Education (Brooklyn Campus)
This 23-credit-hour program is open to
individuals with an M.F.A. degree, or those
currently enrolled in the M.F.A. program
at Pratt. For those applicants already
holding an M.F.A. degree, the program
may be completed in two semesters.
All applicants must submit a portfolio
of 15 images of work (submit online at
pratt.slideroom.com). The required
written statement of purpose is given
significant consideration. All applicants
are contacted for a Skype interview when
all materials have been received. A TOEFL
of 600 (250 computer or 100 Internet)
is required for international students. All
applicants are encouraged to schedule a
visit to the department or attend one of
our open houses.
Certification Requirements
In order to be recommended for NYSED
Initial/Professional Certification in
Visual Arts, Pre-K–12, candidates must
also have completed the following: A
3-credit course in child and adolescent
psychology and a 3-credit course in
a foreign language are pre- or co-
requisites. These courses may be taken
at Pratt or transferred from another
post-secondary school.
Workshops
• Child Abuse Identification Workshop
• School Violence Prevention and
Intervention Workshop
• Training in Harassment, Bullying,
Cyberbullying, and Discrimination in
Schools: Prevention and Intervention
These workshops must be taken with a
provider approved by NYSED.
Passing Scores on the Following
Tests and Assessments:
• Educating All Students (EAS)
• Academic Literacy Skills Test (ALST)
• Content Specialty Test (CST)
• Education Teacher Performance
Assesment (EdTPA)
Art and Design Education

Page 70: Saturday Art School’s Sculpture Class,

Ages 9-12, with graduate student teacher
Caitlin Reller. Photo by Kevin Wick
Above: Pratt’s Saturday Art School classes

The mission of the Arts and
Cultural Management (ACM)
graduate program is to build on
Pratt Institute’s international
reputation for developing
creative leaders. Our program’s
mission is to develop leaders
able to use their creativity
strategically to foster creative
expression, build creative
community, and shape a
commerce of ideas and images
in an increasingly challenged
and mediated world. ACM
prepares participants to lead
and manage in a changing
cultural landscape that
includes new challenges,
new media, and new forms
of cultural expression. Based
in experiential learning, the
program creates a collaborative
Chair
Mary McBride, Ph.D.
Arts and Cultural Management
learning community that
sharpens critical thinking,
deepens reflective practice,
and develops strategic
leadership skills.
The program encourages participants
to consider their role in society and
their respective communities as cultural
arbiters and educators. This approach
yields arts and cultural leaders who are
equipped with the necessary theoretical,
analytical, and practical skills to respond
creatively to the changing cultural,
economic, and social environments in
which they work. The two-year Arts and
Cultural Management (ACM) Program,
created to bridge the creative disciplines
with the strategic disciplines, provides
a leadership education more focused
than an M.B.A. on the special needs
of cultural leaders managing 21st-
century creative enterprises across
the boundaries of private, nonprofit,
and government sectors. Our program
Office
Tel: 212.647.7560
acm@pratt.edu
www.pratt.edu/arts-cultural-
management
75
objective is to develop reflective
leaders who can collaborate to create
sustainable strategic advantages using
our Triple Bottom Line by Design plus
Culture (TBLD+C) strategic framework.
By expanding the coursework to
include nonprofit management
practices, public policy, and other
contemporary issues, ACM stresses
the importance of simultaneously
developing business acumen and a sense
of social responsibility. These goals are
accomplished by:
• Stretching each participant’s ability to
deal with a wide range of critical artistic,
institutional, and business problems in
practical and theoretical terms.
• Increasing the individual’s ability to
manage complex, cross-disciplinary,
and competing problems and tensions
that are inherent in arts and cultural
business environments.
• Utilizing technology and new media to
advance strategic goals.
• Providing practical skills for negotiating
organizational and artistic conflicts.
76
• Broadening outlooks on the social,
economic, and political climate and
the role of arts and cultural institutions
in society.
• Sharpening personal capacities for
understanding and solving organizational
and human relations problems.
• Developing communications skills
for the effective exchange of ideas
and information.
• Sharpening the individual’s capacities
to anticipate and effectively manage
change fueled by external forces.
• Developing the leadership capabilities
of each participant.
• Sharing the ideas and experiences of
a diverse group of promising arts and
cultural managers.
The ACM program prepares participants
for a rapidly shifting cultural, economic,
and social environment and political
context. It provides the skills necessary to
lead and manage in a changing world and
an increasingly challenged ecosystem.
Arts and Cultural Management
The ACM program provides
participants with the opportunity to:
• Join a creative learning
community of professionals with
diverse expertise.
• Develop a strategic skill set
that bridges public, for-profit, and
nonprofit sectors.
• Explore the role of art, culture, and
meaning-making in shaping equity,
economy, and ecology of place.
• Create and expand professional
networks worldwide.
• Examine trends and global challenges.
• Use technology to advance
dialogue and engagement.
• Refine communication, collaboration,
and conflict-management skills.
Lead the development of thriving cultures
and creative economies. Leadership
coaching is a key component of the Arts
and Cultural Management program. It
provides participants with an opportunity
to reflect on their leadership style
and identify strengths and stretch
steps. Coaches work one-on-one and
with participant teams and serve as
catalysts for positive change and ongoing
development related to career needs.
Coaches enable and support participants.
They assist in conducting assessments,
enabling participants to develop specific
personal and professional development
action plans, and enabling teams to
deepen their skill in managing conflict and
encouraging innovation.
Classes are offered on alternating
weekends in Manhattan to accommodate
working professionals and those who may
wish to pursue full-time internships.
The Program’s Structure
The Arts and Cultural Management
Program is a two-year, cohort-based
program. Participants are required
to take 42 credits to complete the
program and receive a Master of
Professional Studies (M.P.S.) in Arts and
Cultural Management. The program has
five required semesters—fall, spring,
summer, fall, spring. Each semester is
divided into two terms and participants
enroll in two courses per term, with
the exception of semesters three and
five. Courses are taken in order as listed
in the program curriculum. Two five-
day intensives—at the beginning and
middle of the program—provide the
opportunity for several brief, intensive
courses, including behavioral simulation
and negotiating modules.
Coursework is concentrated in
these sessions and moves at a fast pace.
Class attendance is critical, since each
alternating weekend of classes is one-
tenth of the entire course. Students are
required to complete the 42 credit hours
of the program to graduate.
 Arts and Cultural Management

Entrance Requirements

Applicants should demonstrate

substantial experience in a related field
or activity and an interest in leading
cultural enterprises. The required
statement of purpose should reflect the
applicant’s personal vision of how this
program fits in with his or her personal
and professional goals, including how the
applicant hopes to use the skills he or she
acquires in this program. The statement
should be no more than 500 words or
two pages. In some cases, volunteer
experience will be an acceptable
demonstration of interest in the field.
An interview (in person, by phone, or
by email) with the program director is
required for admission. For international
students, a minimum Test of English as a
Foreign Language (TOEFL) score of 600
is required.
Course enrollment is available to
fully matriculated Design Management
and Arts and Cultural Management
students only.

Page 74 and Above: Students make site visits to

the city’s cultural institutions

Established in 1970, Pratt’s
Graduate Department of
is one of the oldest graduate
creative arts therapy training
programs in the country.
Chair
Julie Miller
Creative Arts Therapy
Pratt offers a Master of Professional
Studies in Art Therapy and Creativity
Development, a Master of Professional
Studies in Art Therapy with Special
Needs Children, and a Master of
Science in Dance/Movement Therapy.
Students learn creative arts therapy
skills as applied to a wide variety
of patient populations, including
psychiatric inpatient and outpatient,
substance abuse, geriatric, special
education, therapeutic nurseries,
after-school programs, families,
medical rehabilitation, Child Life, eating
disorders, AIDS, the homeless, and
traumatized populations, as well as work
in prevention and wellness. At the end
of their training, students are prepared
for entry work in a broad continuum
of settings, ranging from institutions to
creative work in the community.
Our students learn to combine
personal artistry with clinical acumen
through the integration of experiential,
theoretical, and practical learning. Our
goal is to help students to be able to
Administrative Secretary
Jean Simmons
79
use a complex and open theoretical
framework that makes it possible for
them to respond to a multitude of clinical
situations. They learn to use themselves
in the most creative ways possible, while
being grounded in developmental and
diagnostic skills, group, and individual
dynamics. Each student is encouraged
to develop his or her own unique style,
informed by an experiential process.
Our philosophy stems from the
understanding of art therapy and dance/
movement therapy as experiential
therapies. Experiential learning and
process orientation are the cornerstones
of our curriculum. Every course includes
some experiential components, and the
department maintains an environment
that supports and encourages the
students’ involvement in that process.
Accordingly, we are committed to
maintaining small class sizes, to enhancing
communication between students and
faculty, and to encouraging discussion of
the learning process itself.
Office
Tel: 718.636.3428  |  Fax: 718.636.3597
adt@pratt.edu
www.pratt.edu/creative-arts-therapy
80
One of the strongest elements
of our program is the synthesis of
the theoretical and the practical.
Our program combines practicum/
internship assignments with coursework
from beginning to end, providing
graduates with a firm grounding in
the actual practice of art and dance/
movement therapy upon graduation.
Students attend two days of practicum/
internship weekly. They must complete
one practicum/internship in each of
two years. They receive weekly on-site
supervision. In addition, they engage in
weekly group and bi-monthly individual
supervision with one of our faculty.
Because Pratt is located in a large
urban center, there is a wide variety
of practicum sites with a range of
populations. Our internship coordinators
assist students in finding an appropriate
clinical placement based on the learning
needs of the student.
There is richness to be gained from
including both art therapy and dance/
movement therapy students in the
department. Students can learn about
the nature of creative arts therapy in
general and the particular strengths and
limitations of their chosen modality. A
majority of the courses are discipline
specific, although many of the classes
are taken with art and dance therapists
combined. Graduates receive discrete
degrees, in either art or dance therapy.
Knowledge of research and
professional writing skills are developed
through completion of a thesis. Students
Creative Arts Therapy
are given the option of a range of The Program’s Structure
research methods, including quantitative M.P.S. in Art Therapy and Creativity
and qualitative. The latter may include Development and M.S. in Dance/
a case study, a project implemented in Movement Therapy
the community, or descriptive methods
These programs provide a synthesis
investigating the experience of a
of creative, aesthetic, and
phenomenon or therapeutic process.
psychotherapeutic theory. Courses
The American Art Therapy
offer a thorough theoretical framework
Association has approved both art
that is then translated into personal
therapy degrees. The Dance Therapy
and practical application through an
program is approved by the American
experiential process. Artwork and/or
Dance Therapy Association. All
movement is done in every course and is
programs are licensure-qualifying
used to learn therapeutic skills. Students
and graduates automatically satisfy
focus on a wide variety of populations
educational requirements for licensure
and are required to work with a different
in New York State. For those considering
population for each of the two years of
a career in art or dance therapy or who
internship/practicum. Both programs are
want a basic introduction, we offer the
for students who want a broad
Spring Institute, which is a three-
body of skills, balanced with a strong
day set of courses in various areas of
theoretical framework.
creative arts therapy.
The Creative Arts Therapy program
M.P.S. in Art Therapy with Special
offers its degrees in two formats. The
Needs Children
Academic Year format offers classes in
The program is intended to train art
a traditional manner, with classes in fall
therapists who want to work with special
and spring semesters, for 15 weeks each
education populations, not as art
semester. The Low Residency format
teachers. The degree does not qualify
is an innovative educational program
students for a teaching license. Classes
based on a low residency adult learning
are the same as for other art therapy
model. The program is designed for
students. The main differences are:
those students who do not live near
or are otherwise unable to engage in a • In both years of the practicum
experience students must work with
traditional master’s degree format.
special education populations.
• Distinct readings are given in
some classes.
• Papers and case presentations center
on a special education population.
 Creative Arts Therapy 81

Admission Requirements (for all degrees) before starting the program. Psychology Housing is available on campus
credits must be completed before the when courses are being held in New
A bachelor’s degree is required
start of the second year. York. Courses in New Hampshire take
for admission. For the Art Therapy
Students in the academic year place in Lincoln, in the White Mountains.
program, a degree in art or psychology
format are admitted for the fall semester Students rent resort condominiums,
is preferred. For the Dance Therapy
only. Students in the low residency at reasonable prices, for the duration
program, a degree in dance or
format are admitted for the spring of their stay. The low residency format
psychology is preferred. The following
semester only. is offered to both art and dance/
prerequisites are required for all
movement therapy students.
programs: 12 credits in psychology
Academic Year Format The low residency program is
(to include coursework in general,
not considered full-time. Therefore
developmental, and abnormal psychology The cycle of classes is as follows:
international students will be ineligible
and theories of personality). students take courses and practicum/
for F-1 Visas.
For the Art Therapy program only: internship from September through May
18 credits in studio art (to include for two consecutive years.
coursework in drawing, painting, and 3-D
to include ceramics). Low Residency Format
For the Dance/Movement Therapy
The cycle of classes is as follows:
program only: coursework in anatomy/
students take one class (9 days) in mid-
kinesiology; extensive experience in at
March in New York. During the last week
least two idioms of dance, one of which
of June, they take another class (8 days),
must be modern dance; and experience
also in New York. During the first three
in mind/body modalities, such as
weeks of July, students take courses
meditation, yoga, body therapy, etc.
(over three weeks) in New Hampshire.
All prerequisite courses may be
Students complete reading
taken on an undergraduate level but must
assignments before classes and then
be taken from an accredited institution
complete their papers after classes are
to receive academic credit. Studio
over, giving them a chance to integrate
classes will be accepted for movement
class experience with readings and
experience. For the Art Therapy
practicum/internship experience. Two
program, students may start classes with
years of practicum/internship are done
half of the psychology and half of the
from September through May following
studio art credits but must complete
the first and second year of summer
all prerequisites before the start of the
classes. Supervision is completed
second year. For the Dance Therapy
through weekly phone, video, and
program, students may start classes with
online contacts that keep low residency
half of the psychology credits, but all
students consistently in touch with
other prerequisites must be completed
Pratt faculty.

Page 78: Dance/Art Therapy presentation


Design Management
Design education imparts
many things, but it does not
typically provide training in
the leadership, team building,
strategy, finance, marketing,
and operations skills necessary
to effectively lead a design
department or to run a design
business. Similarly, M.B.A.s who
are selected to lead design
functions often lack the design
experience necessary to guide
design decisions or to lead
creative people.
Chair
Mary McBride, Ph.D.
The Design Management (DM) program
was created to bridge the disci­plines
of design and business management.
Since its launch in 1995, the two-year
program has been providing an executive
education more focused than an M.B.A.
on the special needs of design leaders
managing design firms or managing
design teams in creative industries.
Design Management classes are
designed for working professionals
and delivered by working professionals
from the worlds of business and
design. Participants come from a variety
of disciplines, including industrial
design, interior design, graphic design,
fashion design, communication and
information design, interactive media
design, and architecture, engineering
and material science.
The program’s academic calendar
is modeled after successful executive
M.B.A. programs. Its schedule of
alternating weekends (Saturdays and
Sundays) allows participants to carry their
full job responsibilities while they study.
Office
Tel: 212.647.7538
dm@pratt.edu
www.pratt.edu/design-management
83
The mission of the Design
Management (DM) graduate program is
to build on Pratt Institute’s international
reputation for developing creative
leaders and to provide an educational
experience that can help shape 21st-
century strategic leaders who are able
to bridge the disciplines of design and
business to catalyze innovation. Our
program objective is to develop reflective
leaders who can collaborate to create
sustainable strategic advantage using our
Triple Bottom Line by Design plus Culture
(TBLD+C) strategic framework.
The program provides designers
with the opportunity to:
• Join a learning community of
professionals with diverse professional
and cultural backgrounds.
• Develop a strong skill set in the
discipline of business and the
management of design.
84
• Explore emerging trends and draw
from new ideas converging across
design disciplines.
• Learn to identify and manage critical
business challenges strategically.
• Practice using Triple Bottom Line by
Design plus Culture (TBLD+C) to create
strategic and sustainable advantage
and social innovation.
• Analyze key global social, economic,
environmental, technological, and
political challenges.
• Meet the challenge of managing in
team-based organizations.
• Develop leadership capabilities.
• Refine communication, negotiation,
and conflict management skills.
• Learn techniques for leading and
managing innovation.
• Use technology to aid design in
creating advantage.
• Sharpen skills in operations and
project management, finance, and
budgeting.
• Apply strategic thinking to marketing,
new product development, and brand
management.
• Create and extend professional
networks worldwide.
Leadership coaching is a key component
of the Design Management program. It
provides participants with an opportunity
to reflect on their leadership style
and identify strengths and stretch
steps. Coaches work one-on-one and
with participant teams and serve as
catalysts for positive change and ongoing
Design Management
development related to career needs.
Coaches enable and support participants.
They assist in conducting assessments,
enabling participants to develop specific
personal and professional development
action plans, and enabling teams to
deepen their skill in managing conflict and
encouraging innovation.
Graduates are prepared for
leadership roles in strategic design and
strategic management. They are able
to use design to create sustainable
strategic advantage and social innovation
and to shape the way business is
designed worldwide.
The Program’s Structure
The Design Management program
curriculum is designed to develop
strategic management skills in five
areas related to design management:
operations management, financial
management, marketing management,
organization and human resource
management, and management of
innovation and change. Courses are
relevant and offer active learning
experiences that provide participants
with an integrated focus on the role of
design in the creation and management
of strategic and sustainable advantage
and social innovation.
Offered at Pratt’s West 14th Street
campus in Manhattan, classes meet
every other weekend for two full days
or 12 hours. In addition, students attend
for a full week at the beginning and
middle of the program. This integrative
experience provides the opportunity for
several brief, intensive courses, including
behavioral simulation and negotiating
modules. These weeks establish and
maintain relationships among students
in each class, which many participants in
executive programs consider especially
valuable. The program has five required
semesters—fall, spring, summer, fall,
spring. Each semester is divided into
two terms and participants enroll in two
courses per term, with the exception
of semesters four and five. Courses are
taken in order as listed in the program
curriculum. Participants are required
to complete 42 credit hours in order to
receive the accredited academic degree
Master of Professional Studies (M.P.S.) in
Design Management.
Admissions Requirements
Design Management program applicants
should ideally have an undergraduate
degree in one of the design disciplines
and a minimum of three years’
professional experience prior to
admission. Qualified applicants without
design degrees will also be considered. All
applicants must follow the standard rules
for admission to a graduate program at
Pratt and meet those requirements. See
www.pratt.edu/apply.
Course enrollment is available to
fully matriculated Design Management
and Arts and Cultural Management
students only.
Design Management

Page 82: Join our online conversation

at www.catalystreview.net
Above: Students at work

Digital Arts
Imagine you’re an artist who Students in the M.F.A in Digital Arts
program at Pratt are immediately
knows how to use every piece
engaged in the creation of artwork
of hardware and software in
utilizing digital technologies. These artists
the world…now what? come together to study interactive arts,
digital animation and motion arts, and
digital imaging. Within a context of new
media, students use critical thinking,
creative problem solving, technical
facility, and conceptual skills to develop a
sophisticated body of work.
Studio practice is essential for
students of interactive art and imaging.
Students working in these areas of study
are provided with studio space for the
completion of their theses. This intensive
course of study is augmented by
internships, special topics courses, and
lectures and critiques by visiting artists.
Students create work with the guidance
of a faculty of professional practicing
artists and scholars, who serve as models
in the pursuit of artistic excellence.
Digital art students become part of the
thriving New York art scene, establishing
a professional network and taking
Chair Assistant to the Chair
Peter Patchen Deidre Carney
Assistant Chair Lab Managers
Carla Gannis Igor Molochevski
Phillip Allen
87
advantage of exhibition opportunities
that exist nowhere else in the country.
Graduates become leading contributors
to the digital arts with a commitment to
the cultural enrichment of their world.
The Program’s Structure
Students are able to follow one of three
tracks: interactive arts, digital animation
and motion arts, and digital imaging.
This 60-credit, full-time program is to
be completed in two calendar years.
Students complete required coursework
in their primary area of emphasis and one
year of work on a thesis, which culminates
in a thesis paper, exhibition, or screen-
ing of the completed work. Additional
degree requirements include completing
six credits of extra-departmental studio
electives, one course in art history, and
one course in liberal studies.
Office
Tel: 718.636.3411  |  Fax: 718.399.4494
dda@pratt.edu
www.pratt.edu/digital-arts-grad
88 Digital Arts

Interactive Arts Admissions Requirements Facilities

Students use computer-human inter-

Applicants must have an undergraduate • 9 digital studios
action to convey meaning in the form of
degree in art, design, or animation and • Imaging center
physical installations, interactive objects,
should submit a strong visual portfolio • Audio room
and online artworks. This includes the
demonstrating a conceptual and • Gallery/test space
combination of video, animation, text,
aesthetic focus. ­Applicants whose first • Graduate studios
language is not English must achieve a (by concentration)
audio, and imagery in an interactive
minimum score of 550 on the Test of
environment. Recommended elec-
English as a Foreign Language (TOEFL). Additional Resources
tives include courses in history of new
In addition to the TOEFL requirement, all • B/W laser printers
media, sculpture, creating exhibitions,
enrolling students whose first language • 3-D printer (ABS)
prototyping, programming, interactive is not English will be tested for English • 3-D scanner
installation, online media, robotics and proficiency unless they have a TOEFL • Color laser and inkjet printers
physical computing, electronic music, score of 600. Pending the outcome of • DVD and CD-ROM duplicator
and sound. this test, individuals may be assigned • Flatbed scanners
to ESL courses. For more information, • Slide scanner
Digital Animation and Motion Arts contact the Office of Admissions at • RAID file storage and transfer system
Students create evocative narrative and admissions@pratt.edu or the department • Plasma screen
nonnarrative films and installations using chair at 718.636.3411. • Render farm
2-D and 3-D digital animation tech- Digital Arts Graduate Assistantships • Laser cutter
are available beginning in the first
niques, live action, and motion graphics.
semester of attendance. Positions Software
Recommended electives include history
of animation, film criticism, traditional
range from assisting faculty research to • Adobe Photoshop
animation, character design and rigging,
creative or technical support. Graduate • Adobe Illustrator
lighting and rendering, audio and video,
Assistantships are awarded based on • Adobe InDesign
compositing and special effects, and
individual skills or degree goals and are • Adobe After Effects
available throughout the Digital Arts • Apple Aperture
advanced digital animation techniques.
M.F.A. degree program. • AutoDesk Maya
• Apple Final Cut Pro
Digital Imaging
• Apple Logic
This area of study employs digital and • Adobe Dreamweaver
traditional processes in the creation of • Adobe Flash
large-format digital prints, installations, • Adobe Director
artist books, and other tactile media. It • Max/Msp/Jitter
addresses critical issues and techniques in • Mental Ray
the development, printing, and presenta- • Processing
tion of digitally based art. Recommended • Quicktime Pro
electives include critical history of pho- • Syflex
tography, etching, silkscreen, lithography, and much more

and digital photography.

 Digital Arts

Imaging Center
The Digital Arts Imaging Center has
|class-related equipment and other
services available only to registered
Digital Arts students. Services include:
• Wide format 2-D printing
• 3-D printing (ABS)
• 3-D scanning
• Flatbed and slide scanning

Equipment for checkout includes

• HD digital video cameras
• Digital still cameras
• Portable lighting kits
• Digital audio recorders
• Headphones
• Microphones
• 11’ × 12’ portable
green screen
• 35mm projector
• Portable video projection screens
• Video tripods with three-way
fluid head
• Wacom tablets
• Installation computers
• Digital projectors (normal and
wide throw)
• DVD players
and recorders
• Wide array of tutorials
and much more

Page 86: Eleftherios Benetos

(M.F.A. ’14), digital print
Above: Jing Bao (M.F.A. ’14),
interactive performance
Page 90: Heidi Peelen (M.F.A. ’14),
digital imaging
Digital Arts
Digital Arts

Opposite from top: Jun Chen (M.F.A. ’14),

animation still; Jing Bao (M.F.A. ’14),
interactive performance
Above: Li Zheng (M.F.A. ’14),
interactive wearable

Fine Arts
The primary goal of the
M.F.A. program is to provide
an advanced education
for artists. To this end, we
emphasize the development of
students as thinkers, makers,
and professionals.
Chair
Deborah Bright
Assistant Chairs
Dina Weiss
Nat Meade
Centrally located in Brooklyn’s thriving
art community, Pratt’s M.F.A. program
in Fine Arts immerses students in the
culture of contemporary art, supported
by a faculty of working artists and peers.
The graduate curriculum is both rigorous
and flexible, allowing wide latitude
for interdisciplinary exploration while
fostering critical perspectives and a
deeper understanding of the histories,
issues, and cultural contexts that inform
artmaking today.
Pratt’s M.F.A. degree is in Fine
Arts rather than in a specific discipline.
Students build their program of study
in consultation with a Thesis Advisor
and departmental faculty. Graduate
instruction is offered in a wide range
of media, including painting, drawing,
printmaking, photography, video,
sculpture, and integrated practices (i.e.
installation, public art, performance).
Beyond departmental courses, M.F.A.
students may choose graduate-level
electives in any department in Pratt
Institute and concurrent dual degree
Assistants to the Chair
Lisa Banke-Humann
Technicians
Adam Apostolos
Alexia Cohen
Yasu Izaki
Caitlin Riordan
95
programs (M.S./M.F.A.) are offered in
the History of Art and in Art and Design
Education.
Students work in individual studios
and have access to shared shops and
labs, including a fully equipped wood
shop, metal shop, print shop, ceramics
studios, darkrooms, digital labs with
high-resolution scanners and printers,
as well as dedicated campus galleries.
There are many opportunities to show
work in a variety of traditional and non-
traditional spaces on campus. Each
semester, students open their studios
to the public and second-year students
mount individual thesis shows that are
also open to the public. In addition to
a regular schedule of studio visits by
faculty members, the department’s
Visiting Artist Lecture Series (VALS)
brings internationally renowned artists
and critics to give public lectures
and have individual studio visits with
graduate students. Pratt Artists League
(PAL), the graduate student club,
invites visiting artists and critics for
Jason Segall
Christopher Verstegen
Office
Tel: 718.636.3634
www.pratt.edu/fine-arts-grad
96
studio visits and funds other student-
generated programming and exhibitions.
An interdisciplinary five-week summer
course in Rome, City as Studio, offers
students the opportunity to research and
create work in an international context.
Pratt’s faculty members in Fine Arts
are distinguished by their achievements,
exhibiting internationally, as well as
receiving major awards from the
Guggenheim Foundation, National
Endowment for the Arts, Tiffany
Foundation, Joan Mitchell Foundation,
Skowhegan, Pollock-Krasner Foundation,
Creative Capital, and Art Matters. Pratt’s
graduate students in Fine Arts come
from around the world and are selected
for their promise and readiness for the
intensive, self-directed experience of
graduate study.
The Program’s Structure
The Master of Fine Arts program at Pratt
Institute offers the following areas of
emphasis: painting/drawing, printmaking,
sculpture, photography, and integrated
practices (nontraditional investigations).
Students complete two semesters of
coursework in their area of emphasis
and one year of work on a Master of Fine
Arts thesis, including a written thesis
statement and a solo exhibition in the
graduate galleries. Degree requirements
include 27 studio elective credits, nine
credits in art criticism/history, and six
credits in the liberal arts. The 27
Fine Arts
elective credits may be used for a wide
variety of interdisciplinary, studio, or
technics courses across the Institute. A
minimum of 60 credits and two years of
study are required for the Master of Fine
Arts degree. The time and number of
credits may not be reduced but may be
extended. All work for the degree must
be completed within seven calendar
years after initial registration as a
graduate student.
M.F.A./Post-Baccalaureate (Certificate
in Art and Design Education)
M.F.A./Post-Baccalaureate (Certificate
in Art and Design Education) is designed
for M.F.A. students desiring eligibility
for a Pre-K–12 teaching certificate.
Students take 20 credits in Art and
Design Education. With one additional
studio elective credit, students can
qualify for their provisional New York
State Certification to teach Fine
Arts, Pre-K–12, a certification that is
reciprocated in more than 35 states. For
specific courses, see the Art and Design
Education section of this Bulletin.
M.S./M.F.A. in Fine Arts/History of Art
Students will complete the normal
requirements for the M.F.A. (15 credits of
History of Art courses), plus 30 additional
credits of art history, including the
distribution requirements and required
courses specified for the master’s degree
in art history. Students must be accepted
by both departments and complete a
total of 75 credits.
Fine Arts
Art and Design Education Advanced
Certificate (Fall and Spring)
This 23-credit-hour program is open to
individuals with an M.F.A. degree, or those
currently enrolled in the M.F.A. program
at Pratt. For those applicants already
holding an M.F.A. degree, the program
may be completed in two semesters, and
the application requirements are the
same as those listed for the M.S. in Art
and Design Education.
Admissions Requirements
Applicants for admission to the M.F.A.
degree program in Fine Arts must have
a bachelor’s degree from an accredited
U.S. college, university or art/design
school or the equivalent degree from
a recognized international institution.
It is not required that applicants have
majored in studio art as undergraduates,
only that they demonstrate their
readiness for the challenges of M.F.A.
studies. The 60-credit M.F.A. program
in Fine Arts comprises four consecutive
15-week fall/spring semesters and begins
in the fall. We welcome visits to Pratt
at any time and interested applicants
(or potential applicants) should contact
Nat Meade, Assistant Chair of Fine Arts,
to schedule an appointment and tour
of facilities/studios (tel. 718.636.3792,
email: nmeade@pratt.edu).
Page 94: Work by Jessica Adams, M.F.A. ’14
Page 98: M.F.A. Exhibition at The
Boiler, Williamsburg
97
Application Guidelines
In addition to Pratt’s general graduate
admissions requirements, applicants
to the Fine Arts M.F.A. program must
upload the following materials to pratt.
slideroom.com:
1. A portfolio of up to 20 well-selected
images (including detail views) of works
made in the last 2-3 years.
2. Information for each image including
the work’s title, dimensions, materials
used, and date of completion. For
international applicants whose first
language is not English, a minimum
TOEFL score of 80 (Internet) is
required. Applicants who are notified
that they have reached the semi-finalist
stage of the admissions process will be
interviewed on Skype.
The Graduate Admissions Committee
is looking for work that shows the
artist’s conceptual and aesthetic
direction as well as the potential for
successful growth over the two years
of the program. Candidates whose
applications are completed and
submitted by the January 5 deadline will
be given priority consideration for merit
scholarships.
Fine Arts

Above from top: Work by YiPei Wen (M.F.A. ’14);

Work by Jean Paul Gomez (M.F.A. ’13)
Opposite: Work by Yasunari Izaki (M.F.A. ’14)
I can’t
overemphasize
the importance
of New York as
the center of the
art and design
 world; studying
in New York
at Pratt was a
very special
—John Pai, M.F.A. ’64,
experience. Internationally renowned sculptor and
former Pratt faculty member
NEED HIGH-RES IMAGE

The School of Design is home
to the most comprehensive
design education available.
Dean
Anita Cooney
Assistant to the Dean
Donna Gorsline
School of Design
Communications Design
Package Design
Two major objectives guide every
program. The first is an emphasis on
professional skills development. Students
gain the techniques, skills, methodology,
and vocabulary required for success
as productive artists, designers, and
scholars. The second objective—
imperative so that the professional
expertise is not simply technical
training—is development of the critical
judgment and historical perspective
needed to become a problem solver. Art
and design history, melded with studies
in the liberal arts and sciences, provides
the context for stimulating intellectual
and creative inquiry.
Gifted students from across the
United States and the world collaborate
and learn at Pratt, weaving creative
energy and opportunity into an
unmatched educational experience.
The faculty consists of professional
artists, designers, and practitioners,
including numerous recipients of
prestigious awards such as the Tiffany,
Fulbright, and Guggenheim fellowships.
Acting Assistant Dean
Shannon Price
Director of Finance
Jerry Risner
105
Industrial Design
Interior Design
The faculty’s works, projects, and
publications are recognized and
respected around the world.
The School of Design offers graduate
degree programs in Communications
Design, Industrial Design, Interior
Design, and Package Design. Exceptional
technical and studio resources support
all programs. Pratt’s distinguished
programs in the School of Art and the
School of Architecture also enrich the
School of Design programs.
Perhaps best of all, the school’s
disciplines are taught in the broader
cultural context of New York City. The
main campus is located in Brooklyn, the
city’s epicenter of design and culture,
and provides inspiration and opportunity
to learn from, and interact with, the
multitude of creatives who make this
borough their home.
Office
Juliana Curran Terian Design Center
Steuben 304
Tel: 718.687.5744  |  Fax: 718.687.5722
sod@pratt.edu
www.pratt.edu/sod
106 School of Design

The mission of the School of

Design is to educate those who will
make and shape our built and mediated
environment, our aesthetic surroundings,
and our collective future. We are
dedicated to the primacy of studio
practice and the transformative power
of creativity. We educate leaders in
the creative professions to identify,
understand, shape, and benefit from
the challenges of a rapidly changing
world. Our courses are designed to
develop critical thinking skills, deepen
understanding, enable practice, and
empower visionary action. The School
of Design is dedicated to developing
creative leadership in a world that
requires it.
School of Design

Page 104: Work by Xiaoping Ma (M.F.A. ’14)

Above: Work by Heidy Garay (M.I.D. ’12)

Communications Design
Pratt Institute’s Graduate
Communications Design
Department has been educating
graphic and package designers
for over 40 years. In a survey of
10,000 design professionals by
Graphic Design USA magazine,
the program is recognized as
one of the five most influential
graphic design schools of the
past 50 years and one of the
top five graphic design schools
today; the program is ranked in
the top 12 of over 200 graduate
design programs in the nation,
as reported in U.S. News &
World Report rankings.
Chair
Santiago Piedrafita
Acting Assistant Chair
Warren Bernard
Pratt offers the Master of Fine Arts
degree in Communications Design
(M.F.A., terminal degree) and the Master
of Science degree in Package Design
(M.S., initial master’s degree).
The department is located in the
Manhattan neighborhood of Chelsea at
144 West 14th Street, between Sixth and
Seventh Avenues, and our student studios
are four blocks north on West 18th Street.
The department’s faculty includes highly
regarded, award-winning professional
designers, authors, and marketing and
media specialists. The faculty serves as
important professional contacts for the
students—several have written pivotal
design books and articles, and many have
been honored with design awards from
prestigious arts and design organizations.
Our location in one of Manhattan’s
most creative areas provides a wealth
of opportunities available nowhere else.
With access to world-famous design
firms—and through the department’s
internship opportunities and professional
faculty—the students have the
Assistant to the Chair
Lauren Davis
109
opportunity to talk and work with
some of the best designers.
As a result, many students
secure industry positions even before
their graduation.
A diverse body of students from
different cultural, professional, and
educational backgrounds—over 28
countries are represented—come to
Pratt to further their careers in the
design industry, begin a journey towards
becoming a design educator, or alter a
career course. Our graduate programs
provide students the opportunity to
develop and refine their design process,
design voice, and creative skills, leading to
professional competence and leadership.
M.F.A. in Communications Design
Design plays a central and formative role
in shaping communities, technology,
and business. Never have designers
been expected to cultivate such a
diverse set of skills and knowledge. Our
M.F.A. program prepares individuals to
pursue design with passion and cultural
Office
Tel: 212.647.7573  |  Fax: 212.367.2481
des@pratt.edu
www.pratt.edu/grad-
communications-design
Communications Design

relevance. Our distinctive program
emphasizes design as a means for
communicating meaningful messages,
organizing information, creating
compelling experiences, and effecting
social change.
We believe the most intriguing
and successful designers are cultural
innovators who use media to inform,
persuade, and entertain. Our graduates
develop voices as authors and
entrepreneurs engaged in identifying and
solving design problems within cross-
disciplinary environments. We approach
design as an agent of change—a strategy
for transforming behaviors of individuals
in desirable and sustainable ways.
The program provides a framework
for both professional practice and
academic careers, while emphasizing
full-time studio practice in graphic
design—communications, identities,
objects, environments, and systems.
Graduates enter the professional world
with a confident design voice and an
outstanding body of work, prepared
to become innovative leaders in
communications design areas—i.e. print
media, typographics, identity systems
and branding, package design, design
strategy, social media and interaction
design, motion design, environmental
design, data visualization and information
design, and advertising design.
Communications Design
Applicants who hold an
undergraduate degree in graphic design,
visual communications, or the equivalent,
and/or have professional graphic design
experience, are typically able to complete
the degree requirements within two years
if attending full-time. Up to 12 credits of
qualifying courses may be required for
applicants who do not meet all entrance
standards but whose applications
indicate a strong aptitude for graduate
study. This includes those who studied
in fields such as industrial and interior
design, architecture, fine arts, media
arts, communications and journalism,
liberal arts, business, and the sciences.
Students required to take qualifying
courses can expect to complete the
degree requirements within three years
if attending full-time. A portfolio review
is required for admission. Classes are
offered both day and evening, and part-
time attendance is optional.
The components of the 62-credit
M.F.A. program include an emphasis
on studio practice, research
and scholarship, design teaching
methodologies, and academic studies
of visual media such as history, theory,
critical analysis, aesthetics, and related
humanities and social sciences. There
are seven M.F.A. Studios—courses that
investigate current practice and the
future direction of communications
design. Courses emphasize research,
critical thinking, and design strategy,
coupled with entrepreneurship and
an iterative design process. Students
Page 108: Work by Simone Simin Li (M.S. ’14)
Opposite: Work by Kristin Myers (M.F.A. ’15)
111
are invited to synthesize theory with
practice. These are intense studios
taught by resident and visiting faculty,
sharing a common foundation with
the other studios offered in a given
semester. Each student is encouraged to
search for connections and relationships
between the studio projects and thesis,
with an emphasis on discovering his
or her own design voice. A significant
proportion of the work will be self-
directed and independent, with
collaborative and community-based
projects as well. Studios will consist of
group discussions, critiques, student
presentations, individual faculty
meetings, and visits with guest designers.
These core studios are supported
by study in design process and
methodology, technology, history,
visual thinking, narrative strategy, social
interaction, visual identity systems, and
typographic and information design.
Elective opportunities include design
management and marketing, typeface/
letterform design, color studio,
advertising, and illustration. Students may
also take electives in graduate programs
across the Institute.
112
Seminars are offered as a forum
for critical analysis and discussions of
theoretical, historical, and contemporary
issues in communications design. Design
Writing will focus on core writing skills
and effective methods for researching,
analyzing, evaluating, and chronicling
design issues. Independent studies,
special projects, internships, and
portfolio development opportunities
are all available. A Teaching Practicum
is offered for those who desire to enter
post-secondary teaching.
M.F.A. candidates in Communications
Design will be required to present a thesis
and final body of work demonstrating
professional competence, which must
be approved by a thesis committee and
the department chairperson in order
to be eligible for degree conferral. The
department will support students in
frequent opportunities to present their
work both publicly and in circumstances
that develop connections with the
communication design profession.
Communications Design
Learning Outcomes of M.F.A.
Communications Design degree:
1. The ability to identify a problem
(problem seeking) and apply design
process and research methodology
towards a solution;
2. Advanced professional competence,
demonstrating depth of knowledge
and achievement, in a well-developed,
defendable, and significant body
of work;
3. The ability to demonstrate knowledge
of necessary theory and practice and
the desire for a leadership position in
the profession and academia;
4. Advanced capabilities with
technologies, demonstrated in the
creation, dissemination, presentation,
documentation, and preservation
of work.
Opposite: Work by Simone Simin Li (M.S. ’14)
M.S. Package Design
The M.S. in Package Design, a degree
first offered in 1966, educates students
from diverse cultural, professional,
and educational backgrounds in design
thinking, technical skills, collaborative
abilities, academic knowledge, and
managerial competence. While
focusing on creative problem solving,
the curriculum is pragmatic and
industry-oriented. Graduates enter the
professional world with an outstanding
body of work, prepared to become
innovative leaders in the field of
package design.
The M.S. in Package Design is
an initial master’s degree that offers
students structured courses on the
decision-making process for new
product and package development,
featuring direction in package design,
typography, brand development,
marketing, structural packaging,
packaging technology, fragrance
packaging, and the business aspects of
the package industry.
Communications Design
A minimum of 48 credits, which can
be completed within two to three years
of study, is required for the M.S. Package
Design degree program. Students
accepted into M.S. Package Design
typically hold undergraduate degrees in
graphic design or related design fields
such as industrial or interior design,
architecture, fine arts, or media arts. We
welcome applicants from non-design
fields as well, such as business, liberal
arts, and the sciences.
A qualifying program of up to an
additional six credits of prerequisite
classes may be required for applicants
whose undergraduate backgrounds
do not meet all entrance standards
but whose applications indicate a
strong aptitude for graduate study. For
students with substantial graphic design
experience, the program—with courses
ranging from structural packaging to
visual communications to marketing—
challenges their creativity to its furthest
potential. A portfolio review is required
for admission. Classes are offered
both day and evening, and part-time
attendance is optional.
Opposite from top: Works by Saana Hellsten,
(M.S. ’14); Work by In-young Bae (M.S. ’14)
115
The final stage of the curriculum is
the thesis, which provides knowledge
of the problem-solving process
through directed research and, over
the succeeding two semesters, gives
students the opportunity to develop
an extensive, innovative project. The
comprehensive thesis demonstrates
professional competence and
includes extensive research, project
formulation and production, and process
documentation. Work on the thesis is
done under the direction of a major
discipline faculty advisor.
Learning Outcomes of the M.S. Package
Design degree:
1. Advanced professional competence,
demonstrating depth of knowledge
and achievement, in a well-
developed, defendable, and
significant body of work;
2. Advanced capabilities with
technologies, demonstrated in the
creation, dissemination, presentation,
documentation, and preservation
of work;
3. The ability to think and plan
independently;
4. An awareness of current issues and
developments in communications
design and the basic desire, ability,
and potential to contribute to the
expansion of the field.
Above from top: Work by Kristin Myers (M.F.A. ’15); Opposite from top: Work by Lillian Ling (M.F.A. ’15);
Work by Miki Murata (M.S. ’15) Work by In-young Bae (M.S. ’14); Work by Kristin
Myers (M.F.A. ’15)

Industrial Design
Ultimately, design is about
human beings, individually
and collectively, supplying
propulsion to idealistic,
aesthetic, and practical ideas,
and the passion of creating,
understanding, and sharing
the work we do.
Chair
Constantin Boym
Acting Assistant Chair
Audrey Lapiner
Acting Assistant to the Chair
Ramona Allen
There are millions of people all over
the world waiting for the enlightened
and entrepreneurial participation of
designers, waiting to hear the insights
that come from our years of work and
study—real interventions that can touch
the lives of all citizens of the world
via the language of design, showing
what’s possible in life. The Industrial
Design Department at Pratt is united
in a common, rigorous pursuit of
creativity, explored through projects
large and small, and translating ideas
into a wide variety of forms, systems and
structures. With this focus, the Pratt
Master’s program in Industrial Design
(MID) is consistently ranked in the top 10
nationally by U. S. News and World Report
and DesignIntelligence.
A strong legacy feature of the MID
is that it welcomes students without
previous bachelors degrees in ID. These
students are talented not only in related
fields of architecture, engineering, and
interior design, but also fine art, biology,
economics, neuroscience, dentistry,
Technical Coordinator
Melissa Skluzacek
Shop Technicians
Gary Hou
Alejandro Morales
Julia Wheeler
119
aviation, and music. We choose an
amazingly diverse group of students and
encourage them to exploit their previous
academic pursuits and experience,
and they do so while gaining a solid
understanding of current design thinking.
Likewise, each faculty member
within the program has his or her
particular path, and there is surely an
understanding that, in the expanding
design profession, disciplines often
cross lines. As such, Industrial Design
students and faculty share an important
mission: to encourage individual
growth to its highest potential. Pratt
also maintains strong ties to industry
through corporate-supported programs,
bringing essential industry knowledge
into the classroom. Internships in design
consultancies and corporate offices
are encouraged, and have proved to
be valuable learning experiences
that cannot be duplicated in a purely
academic setting.
Office
Tel: 718.636.3631  |  Fax: 718.636.3553
id@pratt.edu
www.pratt.edu/grad-industrial-design
122
The Program’s Structure
The Master of Industrial Design degree
consists of a six-semester, 60-credit
program for all students, regardless
of previous background, to promote
collegiality and cohesion in each
incoming group of grad students. This
cohesion is absolutely essential to a
program that creates an environment
where “learning from each other” and
teamwork happen, and where
the richness of the program is enhanced
by a strong sense of community.
While our M.I.D. is admittedly a
generalist, humanist scheme designed to
support the varying skills and interests
of the students, we recognize that
professors and students alike need to be
able to comprehend and articulate the
structure and content of the program.
Therefore, we have clearly designated
these three years of study as: first
year “core” (design thinking, ideation,
process, skills); second year “research”
(methodology, topics, sources, electives,
pre-thesis); and third year “thesis”
(major individual project). In addition,
and looking to integrate the future
areas of expertise of grads, we have
grouped courses in three general areas:
“exploration” (studio, thesis, workshop);
“technology” (digital tools, form,
visualization, materials); and “context”
(seminar, special projects, business) to
give them the professional knowledge
Industrial Design
and skills, in commercial, historical,
societal and global contexts, they will
need to become successful design
professionals.
GID: Global Innovation Design Track
(2nd year option abroad)
Beginning in the 2014-2015 academic
year, a select group of ID graduate
students are offered the option to
spend their entire second year abroad
for full credit—the fall semester at Keio
University in Tokyo and spring semester
at the Royal College of Art (RCA) and
Imperial College London—in the new
Global Innovation Design (GID) program.
This groundbreaking international study
partnership will also allow students from
London and Tokyo to spend a semester
at Pratt. At Keio, studies will be devoted
to media design and culture, utilizing the
school’s advanced facilities, including
prototyping and robotics. In London,
the curriculum will focus on engineering
and invention. The Pratt component
will emphasize the core principles of
industrial design. Pratt GID students then
return to New York to complete their
final two semesters of thesis work and
required courses. In addition to their
local studies, students at each location
will collaborate globally on a large-scale
project. By capitalizing on the expertise
of each school and the distinct cultures
of the three locations, the GID program
will give students a rich academic
program and unique perspective on
global design and entrepreneurship
that no single institution could
conceivably provide.
For a more on GID, visit
http://globalinnovationdesign.org.
M.I.D. Thesis
The third-year thesis provides the
greatest possible freedom and
opportunity for investigating a selected
topic under the direction of a faculty
mentor. Candidates are expected to
demonstrate the full range of design skills
and methodology in their thesis projects.
Subjects range from consumer products
and packaging to systems and exhibition
design, and to the impact of emerging
philosophies, materials, and technologies
in a global context. Students register for
six credits of thesis over one year, which
culminates in a formal presentation of
work at the conclusion of the program.
All work for the degree must
be completed within seven calendar
years after initial registration as a
graduate student.
We invite you to have a look at
the Industrial Design Department’s
ID VIEWBOOK, an annual overview
celebrating end-of-term presentations,
the range of projects produced in the
department, and some of the results of
the hard work of amazing students and
professors.
Industrial Design

Page 118: Work by Dana Oxiles (M.I.D. ’11)

Page 120: Cappellini Showroom exhibition
of Furniture Studio designs by grad
students of Professor Mark Goetz
Above: Work by David Steinvurz (M.I.D. ’10)
Opposite: Work by Chris Richard
(M.S. Interior Design ’13)
Above from top: Work by Mahtab Pedrami
(M.I.D. ’13); Work by David Hsu (M.I.D. ’13)

Interior
Design
Beginning with the fall 2015
semester, Pratt will offer a new
Master of Fine Arts Degree
in Interior Design to replace
the current Master of Science
Degree. Interior Design at Pratt
provides the ultimate learning
environment—New York City,
an internationally recognized
center of interior design—and a
challenging course of study for
students preparing themselves
for a career in an expanding,
dynamic field.
Acting Chair
Karin Tehve
Acting Assistant Chair
T. Camile Martin
The graduate Interior Design program
was ranked first in the country by U.S.
News & World Report and second by
DesignIntelligence in 2014. Students are
drawn from all parts of the world and,
by way of the Qualifying Program, from
a variety of disciplines, which creates
an intellectually and aesthetically
stimulating environment in the studios.
These students are a select group who
come to Pratt to work hard and prepare
to enter a profession in which the
designer must be multifaceted and able
to provide innovative design solutions.
An important part of Pratt’s mission is to
prepare graduates to become leaders in
the profession; the M.F.A. will carry on
this proud tradition and expand it, thus
challenging and preparing our students
to develop to their fullest potential. The
new M.F.A. degree will focus attention
on the preparation of individuals who
are ready to contribute to the academic
discipline as well as the profession. Many
come to the program for career change,
so classroom interchange is enhanced
Assistant to the Chair
Aston Gibson
127
by the diversity of students’ interests.
For instance, the designer who comes
from a background in economics has a
very different approach from one coming
from dance, and each has something to
learn from the other.
Our faculty members are practicing
professionals who bring real-world design
experience into play in their classroom
teaching. Their varied backgrounds and
expertise allow students to explore many
avenues of design.
Building upon its reputation as
one of the top graduate programs
in the country, the graduate Interior
Design program seeks to expand its
leadership role, setting standards for
critical thought, exemplary expression,
professional aptitude, and responsible
action in transforming the human
environment. The curriculum brings the
rigor as well as broad and deep thinking
of architectural study to focus on the
scale, use, and materiality of the interior,
connecting interior design to
Office
Tel: 718.636.3630  |  Fax: 718.399.4440
int@pratt.edu
www.pratt.edu/interior-design-grad
128
larger issues of inhabitation, cities, and
society. The program instills values in its
students, not as mere competencies but
as opportunities for critical engagement
in the contemporary world. In support
of this transformative responsibility, the
program fosters an inquisitive dialogue
among its faculty and students, and open
exchange with the world of designers,
producers, and users of the built
environment. We are equally committed
to the application of current technology
to the educational experience and the
support of analysis and research that
contributes to the body of knowledge in
the discipline.
The Program’s Structure
The Graduate Interior Design Program at
Pratt, like its undergraduate counterpart,
will continue to be an architecturally
oriented program with emphasis
on spatial design as well as surface
embellishment. All aspects of space—
scale, proportion, configuration, and light
sources, as well as textures, materials,
and colors—are studied in relation to
their effect on the human spirit.
The new M.F.A. enriches the
academic experience through greater
emphasis on cultural and technological
innovation, interdisciplinary
collaboration, and theoretical and
applied research. It is a degree program
for students who wish to study interior
design as an academic discourse as well
as a professional endeavor.
Interior Design
The new curriculum will allow
for students to develop areas of
specialization with concentration options
and will encourage interdisciplinary
work and cross-disciplinary course
registration. Concentrations will
include topics in emerging technology,
sustainability and exhibition design.
Students are encouraged to take
advantage of the many courses offered
at Pratt that will enable them to fully
develop their interests and talents.
Electives may be chosen from any
department in the Institute; an enormous
menu of courses is available for the
pursuit of individual interests. The new
M.F.A. establishes a platform that draws
content from existing electives across
campus, which expands the graduate
experience and enhances the student’s
area of focus.
The program culminates in a thesis
project. The thesis provides the greatest
possible freedom and opportunity for
pursuit of a selected topic. Work is done
under the direction of thesis advisors
and is completed within one year.
Applicants with an undergraduate
degree in interior design, architecture,
or other closely related design fields
may be eligible for the 60-credit two-
year graduate program. An application
portfolio is required. A two-semester
Qualifying Program of an additional
24 credits is required for applicants
whose undergraduate backgrounds
are unrelated to interior design or
Page 126: Work by Mian Deng (M.S. Interiors ’14)
Opposite: Work by Allen J. Kim (M.S. Interiors ’14)
architecture, but whose applications
indicate a strong aptitude for graduate
study. These students complete 84
credits in three years. It should be
noted that while applicants to the
Qualifying Program are not required to
submit a portfolio, we do encourage
applicants with academic or professional
experience to submit a portfolio of
work from other disciplines such as
fine arts, fashion, industrial design, or
communications design.
Master of Fine Arts in Interior Design
The M.F.A. in Interior Design guides
students in generating creative solutions
that integrate an understanding of
craft and making, material research,
changing technologies, sustainable
practice, current issues, and a critical
understanding of the global cultural
history and context affecting the
interior environment. The program
prepares students with a high level of
critical inquiry and explorative capacity
that will establish them as leaders and
innovators in the field and, in turn, lead
to an ongoing exploration of the larger
potentials of interior design practice,
education and research.
Interior Design

Opposite from top: Work by Allen J. Kim

(M.S. Interiors ’14); Work by Marika Sorimachi
(M.S. Interiors ’14); Work by Dana Suster
(M.S. Interiors ’14)
Above: Work by Cody Leung (M.S. Interiors ’14)
Pratt was an a
132

amazing expe
life. We ha
that inspired u
foundation th
at Pratt, but I
many differen
amazing,
133

erience in my
ad top faculty
us. I use the
hat I received
take it in
nt directions.
—Samuel Botero, B.F.A.
Interior Design ’68, Renowned interior
designer; principal, Samuel Botero
Associates, Inc.

In our global digital world,
the field of library and
information science is at the
heart of human culture and
communication. Now, more
than ever, the world relies on
highly educated professionals
to design and organize
information using the latest
technology and digital tools
in ways that connect people
with one another and to ideas
and meaning.
Dean
Tula Gianinni, Ph.D., M.L.S., M.M.
infosils@pratt.edu
Assistant to the Dean for
Administrative Services
Vinette P. Thomas, M.S.L.I.S.
vthomas@pratt.edu
School of Information
and Library Science
Library and Information Science
A Real Education for the Digital World
Pratt’s School of Information and Library
Science (SILS) prepares students to
harness the latest digital technology to
design a more usable and understandable
world. At the same time, SILS also
prepares students to be leaders in the
field of library and information science
by imbuing them with the values
of the profession and teaching them to
uphold and advocate for intellectual
freedom, equal access to information,
and lifelong learning.
And, most important, students
learn and participate with an
outstanding, creative, and innovative
faculty,each on the cutting edge of his/
her area of research and teaching and
recognized internationally through
their publications and conference
papers and presentations.
Advisor for Academic Programs
Quinn Lai, M.A., M.S.L.I.S.
qlai@pratt.edu
Administrative Assistant
Katie Merlie, b.a.
mmerlie@pratt.edu
135
A Global Education in Manhattan
SILS’s graduates are uniquely prepared
for the many new and changing
opportunities available to information
professionals across a wide range
of environments, including libraries,
archives, and museums, the IT sector,
law, and health information. Our fall
2013 survey of recent graduates
showed 90 percent were working in
professional positions obtained within
a year of graduation.
LMS Coordinator
Jessica Lee Hochman, Ph.D.
jhochman@pratt.edu
Office
Tel: 212.647.7682  |  Fax: 212.367.2492
infosils@pratt.edu
www.pratt.edu/sils
136
SILS’s programs build on the
theory and research of the LIS field
and a pedagogy that offers students
an unparalleled opportunity to engage
in an immersive, hands-on educational
experience. As the only LIS school
headquartered in Manhattan — a world
capital of art and culture — we say
that Manhattan is our campus as our
students participate in collaborative and
interdisciplinary programs, partnerships,
and internships with New York’s great
cultural institutions such as the Brooklyn
Museum, the Metropolitan Museum of
Art, the Brooklyn Public Library, and
the New York Public Library. Students
carry out internships and other work-
study opportunities that can be found
nowhere else.
Students also have the unique
opportunity to learn from leaders in
the information professions who hold
key positions in academic, public,
and research libraries, and New York’s
premier cultural institutions. Finally,
SILS’s international summer programs in
Florence and London make the promise of
a global education a reality for students.
School of Information
and Library Science
Studying Library Science at a School
of Art and Design
The history of SILS dates back to
1887, the year Pratt Institute itself was
founded. SILS takes pride in being
the oldest library school in the United
States and in having our program
continuously accredited by the American
Library Association since 1924, when
accreditation was introduced. Since its
founding, Pratt has been a leading school
of design, art, and architecture, and SILS
complements and aligns with its mission.
By being part of Pratt, SILS brings
innovation and creativity to information
and library science while drawing on
Pratt’s many academic offerings in the
arts to offer unique programs blending
the arts with library and information
science, such as our dual degree
programs with the history of art and
design and with digital arts.
Page 134: SILS Annual Showcase
Opposite: Students at work
School of Information
and Library Science

Library and
Information Science
A Creative and Vibrant Community
SILS attracts students from top
universities who come to study with
leading practitioners and researchers.
Our full-time faculty members are leaders
in information research. Connecting
their research and teaching, students
benefit from a rich and immersive
learning environment that challenges
them intellectually and to think creatively.
Part-time faculty members are leaders
in practice, holding key positions across
the information professions. Students can
participate in a wide variety of student
organizations to enhance their SILS
experience. Among the organizations they
can join are: SILS Student Association
(SILSSA), and student chapters of the
American Library Association, Special
Libraries Association, Association for
Information Science and Technology, and
the Society of American Archivists.
Dean
Tula Gianinni, Ph.D., M.L.S., M.M.
infosils@pratt.edu
Asistant to the Dean for
Administrative Services
Vinette P. Thomas, M.S.L.I.S.
vthomas@pratt.edu
SILS Facilities are Designed for
Teaching and Learning
SILS features specialized learning
environments to support our in-depth
curriculum: we have labs for cultural
informatics, user experience, and the
iLab for Digital Culture and Information,
and the research/seminar lab. Each
supports learning activities with
the latest technology and software
for courses such as information
architecture and interactive design,
information visualization, research
methods in the social sciences, and
knowledge organization. Our cutting-
edge seminar/lab classrooms are
designed for participatory hands-on
learning experiences.
Advisor for Academic Programs
Quinn Lai, M.A., M.S.L.I.S.
qlai@pratt.edu
Administrative Assistant
Katie Merlie, b.a.
mmerlie@pratt.edu
139
What Makes SILS Your First
Choice for a Library and Information
Science Education?
• An outstanding job-placement rate as
a result of strong relationships with the
profession
• Partnerships with major cultural
institutions providing students venues
for experiential learning, including the
New York Public Library, the Brooklyn
Public Library, the Brooklyn Museum,
and the Metropolitan Museum of Art
• The chance to earn advanced
certificates in archives and in museum
libraries within the M.S.L.I.S. degree
• The opportunity to take courses
within overarching program concepts:
Cultural Informatics, Information Policy
and Society, LEO (Literacy Education
and Outreach) for Library Media
Specialist, and Children and Young
Adult Librarianship
• International summer partnership
programs in Florence with Studio
Art Centers International and in
London with Kings College London,
Department of Digital Humanities
LMS Coordinator
Jessica Lee Hochman, Ph.D.
jhochman@pratt.edu
Office
Tel: 212.647.7682  |  Fax: 212.367.2492
infosils@pratt.edu
www.pratt.edu/sils
140
• The opportunity to earn dual degrees,
including the M.S.L.I.S. with: a master
of science in art history, a master of
fine arts in digital arts, and law degrees
with Brooklyn Law School
• Small classes averaging 15 students
support participation and interaction
for immersive learning
• Student advisement and mentoring by
full-time faculty
• Classrooms designed as seminar/labs
to support hands-on learning, lecture,
and discussion
• Convenient class meeting times at
3:30 PM and 6:30 PM to accommodate
working students
• Courses feature teamwork, research,
and projects
The Master of Science in Library and
Information Science (M.S.L.I.S.)
Structure and Requirements
The structure of the program supports
student learning and career goals and is
built around overarching areas of study
that are at once interdisciplinary and
converging. These are expressed through
areas of concentration, advanced
certifi­cates, and dual-degree programs
that offer students a rich array of choices
and the opportunity to take a creative
approach to planning their program.
Through a wide variety of courses, the
curriculum represents the information
continuum in all media and formats,
Library and Information Science
including creation, storage and retrieval, Student Learning Assessment/Outcomes
communication, description and access, and E-Portfolio with Outcomes
selection, acquisition, organization, Assessment Program
preservation, dissemination, use, and
Entering students are required to create
management.
an e-portfolio and participate in SILS’s
e-portfolio assessment program. Working
Course and Credit Requirements
with their faculty advisors, students select
Students must complete 36 credit three to five of their assignments that best
hours with a B average or better and demonstrate mastery of the M.S.L.I.S.
meet other prescribed requirements of program-level learning objectives and
the Institute. Students entering with a outcomes. Students must demonstrate
master’s degree complete 30 credits. that they can do the following: carry
All SILS courses are 3 credits. The out and apply research; communicate
degree includes four core courses (12 effectively and create and convey
credits) and eight elective courses (24 content; use information technology and
credits). Students must complete degree digital tools effectively; apply concepts
requirements within four years from the related to use and users of information
date of registering for the first course. and user needs and perspectives;
and perform within the framework of
The Core Curriculum professional practice.
E-portfolios at Pratt run on the Mahara
All students must take the four-course
platform, open source software, and are
core curriculum that prepares them
supported by the Office of Educational
for more advanced courses and to
Technology and the Technology Advisory
pursue focused areas of study. Required
subcommittee on Teaching and Learning.
courses:
We invite you to visit the e-portfolio
LIS-651 Information Professions
website at http://eportfolio.pratt.edu/.
LIS-652 Information Services and
Sources
LIS-653 Knowledge Organization
LIS-654 Information Technologies
Prior to enrolling in LIS-654 Information
Technologies, students should possess
baseline technology skills and be able to
use the Microsoft Office suite, including
Excel, Access, and PowerPoint, and
various other Internet technologies.

Current SILS Students
Some students enroll directly from
their undergraduate degrees; others
decide to change careers after having
established themselves in other
professions such as law or teaching.
Among our entering students, about 30
percent hold subject master’s degrees
and some enter with a Ph.D. or J.D.
Program Themes: Design Your Degree
Program to Meet Your Interests and Needs
Cultural Informatics: Information Studies
at the Intersection of Culture, Digital
Technology, and Information Science
closely tied to digital culture across
libraries, archives, and museums.
Traditional library services in arts and
humanities have been transformed
through their convergence with digital
technology. Pratt’s program reflects the
field’s new directions and global reach,
as represented in an array of courses
with studies in academic, research,
and museum libraries; archives and
special collections; fine and performing
arts; digital libraries; digital collections;
exhibitions and catalogs; image
databases; Web design; and preservation
and conservation and digital humanities.
IPS (Information Policy and Society)
The IPS concentration will give students
the theoretical knowledge and practical
skills to work in today’s information
environments. You will learn about
the legal, economic, and social forces
Library and Information Science 141
that affect how we create, use, reuse, Student Learning Objectives and Outcomes
repurpose, and share information.
Viewed through the lens of information
Students will gain expertise in the nature
studies in the digital age from digital
and use of information resources of the
libraries to global networks and social
federal government and its agencies, as
media, the SILS program in learning
well as nonconventional NGO information
objectives represent what students
opportunities such as bibliographic and
learn and what skills they have acquired
statistical sources, online databases,
at the completion of their MSLIS
technical report centers, public
degree program.
information facilities, and sources of 1. Research
technical assistance. You will be able to 2. Communication
write policy briefs and reports for your 3. Technology
institution, make recommendations for 4. User-Centered Focus
information policies, locate data from 5. LIS Practice
international organizations such as the
World Bank, and much more. Courses in E-Portfolio and Assessment:
the IPS Concentration include: A Graduation Requirement
LIS-607 Digital Information Economics
All students entering the MSLIS degree
and Management
program are required to complete an
LIS-611 Information Policy
e-portfolio that must be approved
Government Information
LIS-613 
by their advisor before they will be
Sources
permitted to graduate. The e-portfolio
Business Economics and
LIS-616 
provides students with an opportunity
Statistical Sources
to showcase their best work from the
LIS-627 Online Databases: Business
courses they have taken at SILS, and an
LIS-617 Legal Research
opportunity to demonstrate they have
Methods and Law
met the learning objectives.
LIS-626 Online Databases: Law
LIS-684 Contemporary Issues in Law
LEO (Literacy, Education, and Outreach)
From public and school libraries to
For more information on the IPS program
email Professor Debbie Rabina, program museums, this area of study is supported
by our programs in Library Media
coordinator, at drabina@pratt.edu.
Specialist and Children and Young Adult
Librarianship.
142
M.S.L.I.S. with Library Media Specialist
(L.M.S.) Program Leading to NY State
Teacher Certification
LMS meets the needs of students who
wish to become school librarians. Our
LMS specialization, accredited by the NY
State Regents, leads to NY State teacher
certification. This 32-credit track,
part of the 36-credit M.S.L.I.S. degree,
prepares students for rewarding careers.
Students holding an M.S.L.I.S. degree
may complete the LMS track with the
SILS Advanced Certificate. See below for
details.
Through scholarship, fieldwork and
student teaching practice, LMS candidates
prepare for careers in New York City school
libraries. Completion of this program leads
to New York State teacher certification in
the area of LMS, which is one of two areas
in which students at Pratt can earn teacher
certification. To give students a richer
experience through collaboration and
interdisciplinary approaches, we work with
Art and Design Education to meet program
and certification requirements in the field
of education. LMS students must fill out an
additional application after acceptance to
SILS. This application includes:
• An interview with the LMS Coordinator • Two electives
• A brief application form
LMS Students must complete 100 hours
• An additional brief essay
of field observation in school libraries in
• Three recommendation letters
at least eight different schools. At least
• Undergraduate GPA of 3.5 or above
15 hours must be in schools that serve
• GRE scores, upon request
Library and Information Science
To comply with the New York State Children and Young Adult Librarianship
Education Department’s (NYSED)
Students pursuing this program area find
requirements for certification, students
rewarding positions in public libraries
must have the requisite background in
and in museum education and outreach
liberal arts and sciences, which will be
programs. They also take advantage of
determined prior to admission. In some
SILS’s strong partnerships with the New
cases, students may be able to earn
York and Brooklyn Public Libraries and
these credits as they complete their SILS
the New York City public schools.
degree. In addition, NYSED requires:
• Pedagogical core in education Program Focus Areas
(six credits of coursework,
In consultation with faculty advisers,
ED-608 Roots of Urban Education
students generally focus their elective
and ED-610 Child and Adolescent
coursework to meet individual
Development, LIS-691 Serving Students
career goals in the field of library
with Disabilities in the Library)
and information science. Within this
• Two noncredit seminars: Child Abuse
framework, we have developed areas
Recognition and Life Safety and
of emphasis based on the strengths
Violence Prevention
of our curriculum and faculty as
• Three examinations administered by
well as disciplinary and collaborative
New York State
connections with the Institute. These
• edTPA video assessment (for students
areas are described below.
beginning in Fall)
Digital Humanities
SILS Required coursework for LMS
Students includes: Reflecting the latest trends in LIS,
• Four SILS Core Courses (LIS 651, 652, SILS introduced a digital humanities
653, 654) concentration in 2011. Bringing focus to
• Six LMS Required Courses (LIS 648, 676, digital cultural heritage, data collection,
677, 680, 690, 692) data analysis, and visualization, as well
as the changing natures of scholarship
and publication in the digital age, its
foundational courses are:
LIS-657 Digital Humanities
LIS-658 Information Visualization
students with special needs. During LIS
690 and LIS 692, students will conduct 40
full days of student teaching.
For more information on LMS,
please visit www.pratt.edu/academics/
information-and-library-sciences/
degrees-and-certificates/advanced-
certificate-program/lms/.
Library and Information Science

Page 138: The Degrees of Bioethics by

Amanda Favia and Chris Alen Sula
Above: Student in Class
144
Knowledge Organization and
Cultural Heritage
Growing out of traditional studies of
cataloging and classification, database
design, storage, and retrieval, this area
has emerged as one central to the latest
developments in Internet and Web-
based information studies.
It prepares students for careers in
online services, digital collections and
libraries, Web libraries, and information
systems and networks. Recommended
electives:
LIS-608 Human Information Behavior
LIS-630 Information Science Research
LIS-662 Advanced Cataloging
LIS-663 Metadata, Description
and Access
LIS-670 Cultural Heritage
Description and Access
UX (User Experience)
The User Experience (UX) concentration
teaches students how to design usable,
useful, and desirable digital interfaces
(e.g., websites, mobile/tablet apps, etc.)
from a user-centered perspective. While
UX is a field in its own right, UX skills are
becoming increasingly important within
the LIS profession as libraries, museums,
archives, and information organizations
expand their digital offerings. Drawing
from the Human-Computer Interaction
(HCI) discipline, students in the UX
concentration will be trained in the
methods used to understand users and
their contexts and apply that knowledge
Library and Information Science
to the design and evaluation of Research and Assessment
interactive technologies. Recommended
A solid understanding of the research
electives:
process is valuable in many professional
LIS-630 Information Science Research
activities, including data management,
LIS-643 Information Architecture and
academic and medical librarianship,
Interaction Design
leadership, grant writing, scholarly
LIS-681 Community Building and
communication, research, and usability.
Engagement
Involvement in research enables an
LIS-644 Usability Theory and Practice
individual to be an effective professional
LIS-608 Human Information Behavior
and leader, and strengthens an
LIS-693 Digital Libraries
organization’s status within the larger
LIS-658 Information Visualization
professional community.
LIS-645 Management of Digital
LIS-630 Information Science Research
Content
LIS-608 Human Information Behavior
LIS-605 Digital Resources and
Preservation/Conservation
User Interaction
LIS-632 Preservation and
Conservation Law Librarianship
LIS-634 Conservation Lab, Brooklyn
Given the rapid growth of information
College Archives
services over the Internet and Web,
LIS-697 Cultural Heritage
as well as global contexts, information
Conservation, Florence,
policy and law have become a new
SACI School
and demanding area of focus for legal
LIS-655 Digital Preservation
research, adding to the field’s scope and
and Curation
influence. Law schools, law firms, court
system libraries, and corporations are
typical places of work for law librarians.
For recommended electives for this
concentration, see the section under
dual-degree programs with Brooklyn
Law School.

Health Information
The expanding role of technology in the
provision of health sciences and medical
information offers students new and
challenging opportunities. Librarians in
this field work in a wide range of settings,
from medical schools and academic
libraries to pharmaceutical firms and
hospitals. The program permits students
to take Pratt courses on site at Cornell
Medical Library, where they study the
latest theories and practices in the field.
Recommended electives:
LIS-685 Medical Librarianship
LIS-697  Contemporary Issues in
Health Information
Dual-Degree Programs
M.S.L.I.S. and M.S. in History of Art,
Design, and Architecture
This program is especially designed for
students who wish to pursue careers
in art-related fields—where art,
information, and technology converge.
Students will be prepared to work in
any number of settings from academic
libraries and museums to galleries and
auction houses, as well as other cultural
settings. The program requires 30 credits
at SILS and 30 credits in history of art, for
a total of 60 credits. Students must apply
to and be accepted as matriculated in
both programs. Application may be made
initially to the dual-degree program, or
to one of the two programs, with later
application to the other, provided that
the student has not yet graduated from
the first program entered.
Library and Information Science 145
M.S.L.I.S. and M.F.A. in Digital Arts (Digital Intellectual Property: Protection
Arts and Information) of Digital Information
International and Foreign
This three-year, 75-credit dual degree
Law Research
prepares students to work at the
intersection of digital arts and
Similarly, nine of the 86 credits required
information. It offers students the
for the J.D. may be taken at Pratt
opportunity to develop high-level
Recommended courses:
knowledge and skills in using digital
LIS-613 Government Information
tools creatively across media in such
Sources
emerging areas as virtual information
LIS-616 Business, Economics and
and learning environments for a wide
Statistical Sources
range of information settings.
LIS-617 Legal Research Methods and
Law Literature
Library and Information Science and
LIS-619 International Information
Law (Two Dual-Degree Programs With
Sources
Brooklyn Law School)
LIS-626 Online Databases: Law
M.S.L.I.S. and J.D.: 104 credits; M.S.L.I.S.
LIS-627 Online Databases: Business
and L.L.M. (Law Master’s) in Information
LIS-684 Law Librarianship:
Law and Society: 45 credits In affiliation
Contemporary Issues
with Brooklyn Law School, this program
prepares students for careers in law
librarianship and related fields. Today’s
employers often give preference to
law librarians holding a J.D. as well as
an M.S.L.I.S. The joint degree requires
completion of 86 credits for the law
degree and 36 credits for the M.S.L.I.S.
degree; nine of the 36 LIS credits
can be taken at Brooklyn Law School,
subject to the approval of the dean of
SILS. Students wishing to pursue the
M.S.L.I.S./L.L.M. must already hold a J.D.
Recommended courses:
Accounting for Lawyers
Administrative Law
American Legal History
Comparative Law
Copyright Law
Information Privacy
Library and Information Science

Above:Maker Known: Data Quilt by Deimosa

Webber-Bey (M.S. Library Science ’13)

This dual degree can be completed in
three to four years of full-time study,
or four to five years of part-time
study, including summers. To enter the
program, a student must apply separately
to Pratt and to Brooklyn Law School.
Each school processes applications
independently, without reference to
the joint degree. Upon acceptance to
both schools, a student follows the joint
degree program leading to the conferring
of both degrees. Students who have
already earned a library science or law
degree before applying to Pratt are not
eligible for the joint degree program. To
obtain a Brooklyn Law School application
and catalog contact:
Office of Admissions
Brooklyn Law School
250 Joralemon Street
Brooklyn, NY 11201
718.780.0385
SILS Certificate Programs
SILS offers several certificate programs
within the M.S.L.I.S. program, or for
people who already hold library science
degrees and wish to earn a specialization.
Advanced Certificate Programs in
Archives and in Museum Libraries
Students choose to complete one or both
12-credit certificates within the M.S.L.I.S.
(24 credits plus the 12-credit core for
the 36-credit master’s), as the program
curricula are complementary within the
contexts of cultural informatics and arts
and humanities perspectives.
Library and Information Science
Advanced Certificate in Archives (12
Credits within the M.S.L.I.S. program
or Post-Graduate)
This program can be taken within
Pratt’s M.S.L.I.S. program. It can also
be taken as a stand-alone program
by holders of an M.L.S. degree from an
ALA-accredited program.
Required courses:
LIS-625 Management of Archives and
Special Collections
LIS-698 Practicum/ Seminar
Two electives from
recommended archives
courses (6 credits)
Advanced Certificate in Museum
Libraries (12 credits within the M.S.L.I.S.
Program or Post-Graduate)
Pratt-SILS is the first and only school
of library and information science to
offer a museum libraries certificate
program. Based on four pillars of
knowledge—research/curatorial; digital
technology; education, outreach, and
field experience—it prepares students
for careers not only in museums, but
also research libraries, art libraries, and
in digital archives and humanities. This
program can be taken within Pratt’s
M.S.L.I.S. program. It can also be taken
as a post-M.L.S. certificate by holders of
an M.L.S. degree from an ALA-accredited
L.I.S. school. Students select one three-
credit course from a selection of courses
for each of the four required areas.
147
Advanced Certificate in Library
Media Specialist Program Leading to
New York State Teacher Certification
in LMS (18 credits)
To be eligible for this post-master’s
program, applicants must hold an M.L.S.
degree from an ALA-accredited program.
Required courses:
LIS-648 Library Media Centers
LIS-676 Literature and Literacy
for Children
LIS-677 Literature and Literacy
for Young Adults
LIS-680 Instructional Technology
LIS-690 Student Teaching I
LIS-692 Student Teaching II
One hundred hours of field observation in
school library media centers plus 40 full
days of student teaching (20 elementary
and 20 secondary) are required. Student
teaching is conducted in the fall or
spring terms in New York City under the
supervision of a certified LMS. Field hours
and student teaching must be completed,
documented, and submitted to the
coordinator in order to graduate.
In addition, New York State requires
a firm background in liberal arts and
sciences for all certified teachers, to be
determined prior to admission. In some
cases students may earn these credits as
they complete their SILS degree.
Required courses:
ED-608 Roots of Urban Education
ED-610 Child and Adolescent
Development
LIS-691 Serving Youth with Disabilites
148
For more information, contact Professor
Jessica Hochman, coordinator of the
Library Media Specialist Program, at
jhochman@pratt.edu.
Advanced Certificate in Library and
Information Studies (30 credits)
To meet the needs of experienced
professionals, Pratt offers a post-
master’s certificate requiring 30
credits of coursework. Of these, six
must be research-oriented independent
study. Of the remaining 24 credits,
students may take up to nine in related
subject areas. Required courses:
24 elective credits
(eight 3-credit courses)
LIS-699 Research-oriented
Independent Study (six credits)
Admissions
Students may begin their program fall,
spring or summer. Applications are
reviewed on a rolling admissions basis.
Admission as a Special Student
Students eligible for admission may begin
the program as a special student, defined
as a non-matriculated student. As such,
a student may take up to six credits. To
proceed in the program, a student must
apply for admission and be accepted as
matriculated. See www.pratt.edu/apply
for more information.
Library and Information Science
Scholarships
Merit scholarships are awarded
to entering students based on
their academic record. Continuing
scholarships are awarded to students
for their second year of study based
on their work at SILS, including student
research and international study in our
London and Florence programs and
practicum study abroad. We also award
tuition scholarships for two courses tied
to a two-semester internships program
at a NYC cultural institution such as the
Metropolitan Museum of Art.
Planning Your Program
Advisement and Mentoring
Upon entering SILS, each student
is assigned a faculty advisor to help
with course planning to meet his/her
educational and career goals as well as for
e-portfolio advisement. Whether taking
the 36-credit master’s or the 30-credit
degree for students holding a master’s in
another field, students work with their
advisors to customize their programs.
In addition, the SILS office staff,
a team of knowledgeable and caring
professionals, are ready to assist
students and to make their educational
experience at Pratt rewarding
and personally fulfilling. All students
should establish a Pratt email account
and sign up for the SILS listserv to stay
informed about school activities and
job postings.
Library and Information Science
Internships and Practicum
To gain hands-on experience studying
and working in one’s area of emphasis,
we strongly encourage students
to participate in our program of
internships and practicum. Students
select their work site based on program
interests and career goals and have the
opportunity to work in such leading
cultural organizations as the Metropolitan
Museum of Art, the New York and
Brooklyn Public Libraries, Brooklyn
Historical Society, Brooklyn Museum,
Teachers College and Brooklyn College
Library and Archives, Lesbian Herstory
Archives, Frick Reference Library,
MoMA, and Pratt libraries in addition to
numerous other academic and special
libraries in the metropolitan area in fields
such as IT, publishing, and the corporate
sector. The practicum serves to bridge
students to the professional world and
facilitate career development.
International Programs
Responding to the globalization of
information and library service, SILS’s
new program in international librarianship
offers courses in Florence and London.
Florence in partnership with Studio
Art Centers International (SACI) is a
five-week, six-credit program offering
two three-credit courses that run
concurrently and are taught by SACI
Italian faculty:
149
1. Florentine Art and Culture, Museum and
Library Research and Documentation
2. Cultural Heritage Conservation,
which focuses on paper conservation
including rare books, manuscripts, and
art on paper
London is a two-course,
six-credit program:
1. London Summer School on
E-Publishing and the Strand
Symposium in partnership with Kings
College London, Department of Digital
Humanities, is a two-week, three-
credit program. It features visits to
publishers and libraries in London,
Cambridge, and Oxford, and lectures
by noted academics.
2. Museums and Digital Media with the
Ravensbourne College of Design and
Communication
Workshops
SILS provides students with a series
of all-day workshops taught by
experts in their fields. Past workshops
included Paper Conservation, Rare
Book Cataloging, Introduction to EAD,
Introduction to Archivists Toolkit, Grant-
writing for Digitization Projects, Graphic
and Sequential Novels, and Podcasting
and Information Visualization.

School of Liberal Arts
and Sciences
The mission of the School
of Liberal Arts and Sciences
is to enable students to
explore areas of knowledge
and reflect critically and
creatively on aesthetic forms
and on intellectual and cultural
practices. Graduates can
conduct research, substantiate
arguments, and communicate
in the broadest possible
sociohistorical, literary, and
scientific contexts.
Dean
Andrew W. Barnes, Ph.D.
las-dean@pratt.edu
History of Art and Design
Media Studies
Performance and Performance Studies
The school’s primary goal is for
its students to make continuing
contributions as critical thinkers and
creative professionals. On the graduate
level, the School of Liberal Arts and
Sciences offers the M.A. in Media Studies,
the M.S. in History of Art and Design,
the M.F.A. in Writing, and the M.F.A. in
Performance and Performance Studies.
Our graduate programs are unique to
a liberal arts school located within an
art and design institution in that they
work with and interrogate social spaces
that are configured and reconfigured
using a creative lens influenced by
artists, designers, and architects. In
addition, the School of Liberal Arts
and Sciences offers graduate classes
for students majoring in the fine arts,
digital arts, communications design, and
architecture, among others.
Our faculty members in the School
of Liberal Arts and Sciences are nationally
and internationally known creative artists,
performers, writers, scholars, critics,
and scientists who have chosen to be
Assistant to the Dean
Gloriana Russell
151
Writing
Classes in the Liberal Arts
at Pratt because our inherent cross/
transdisciplinary nature gives us the
freedom to fundamentally rethink the
way we approach our given subjects.
The School of Liberal Arts and
Sciences also provides English language
support for international students in the
Intensive, full-time Certificate of English
Proficiency, and summer certificate
Programs (IEP, CEP, and SCP). The
courses in these programs help students
to prepare for academic and studio
courses by incorporating elements of
literature, as well as critical theories and
examinations of the visual arts. The
SCP is strongly recommended for
students whose TOEFL score is below
600 (PbT). Students who complete the
SCP program are not required to take
the placement exam.
Finally, our Writing and Tutorial
Center gives support to students in their
graduate thesis by giving them the tools
to better articulate and present their
final projects.
Office
Tel: 718.636.3570  |  Fax: 718.399.4586
www.pratt.edu/las

Pratt Institute is an exceptional
place to study the history of
art and design. Our landmarked
campus attracts leading artists,
designers, historians, and
theorists and is only minutes
from the studios, galleries,
private collections, libraries,
and museums that make New
York a premier center of art
and design.
Chair
Dorothea Dietrich, Ph.D.
History of Art and Design
Our faculty is composed of distinguished
scholars and mentors who focus on the
intellectual and professional growth of
our students. They bring a broad range of
expertise and different methodologies
to the classroom; in addition, about
half of our faculty also has extensive
museum and curatorial experience.
Their expertise, dedication, and original
thinking are evident in our curriculum
and in the academic opportunities
and professional connections faculty
members create for their students, and
most importantly, are reflected in the
quality of our students’ work.
Explore our degree options and you
will find students studying 17th-century
frescoes in Venice, 20th-century product
design at first-rate auction houses, and
21st-century performance art at the
Museum of Modern Art. Students come
from a wide range of backgrounds, and
leave with knowledge, experience, and a
professional network that will inform and
support their careers for many years.
Assistant chair
Gayle Rodda Kurtz, Ph.D.
Assistant to the Chair
Jill Song
153
Every graduate student’s program
includes “behind-the-scenes”
experiences, not only at exhibitions and
museums but also in the Institute itself.
Connections with other departments in
all areas of fine arts and design—interior,
industrial, communication, and fashion—
offer a unique platform for an interaction
between practitioners and theoreticians.
Our students witness the making of art
and design firsthand, which adds a real-life
perspective to their scholarly studies.
The History of Art and Design
department offers exciting lectures and
seminars on a wide range of approaches,
from connoisseurship to the most recent
theoretical approaches. Frequent
excursions and internships result from
our extensive working relationships with
the city’s museums, galleries, and cultural
organizations and are a crucial part of
the curriculum.
Office
Tel: 718.636.3598
ha@pratt.edu
www.pratt.edu/history-of-art-
design-grad
154 History of Art and Design

Graduate Degrees for the Certificate may be taken within

The Department of the History of Art the credits required for the M.S. degree.
and Design offers the M.S. degree,
requiring 36 credits as described below, Materials, Techniques, and Conservation
and a thesis.
Art’s historical concern with materials
Two dual degree programs requiring
and techniques exists naturally in
30 credits are available: History of Art
connection with studio programs in the
and Design with Fine Arts, leading to
practice of art. This is an emphasis in all
M.S/M.F.A. degrees; and History of Art
our courses, but it takes specific form
and Design with Library and Information
in our required Materials, Techniques,
Science, leading to M.S/M.S degrees.
and Conservation course, augmented by
additional courses in Conservation and
Advanced Certificate in Museum Studies
Materials. In addition, issues related to
The Certificate in Museum Studies conservation problems in Venetian art
complements the M.S. degree in the history are explored with the help of local
History of Art and Design Department experts on site in our Venice program.
by offering both a solid base in art and
design history and practical, in-depth Pratt in Venice
experience in the museum world.
Pratt in Venice is a six-week summer
History of Art and Design courses
program that takes place in June and
are augmented by Pratt’s School of
July. Art History of Venice (HA590I, 3
Information and Library Science,
credits) and Materials and Techniques
Department of Art and Design Education,
of Venetian Art (HA600I, 3 credits) are
and the Arts and Cultural Management
offered together with Painting (Art 590I,
program. Many members of our faculty
2–3 credits) and Printmaking/ Drawing
are museum professionals who bring
(Art 591I, 2–3 credits). Graduate and
their expertise and experience to the
undergraduate students enroll for six
classroom. As part of the program,
to nine credits. We collaborate with the
students do two internships at premiere
Università Internazionale dell’Arte and
New York institutions.
the Scuola Internazionale di Grafica
The Certificate is intended to give
in Venice. Group visits to Padua and
graduates an “edge” for those who
Bassano/Maser are included. The
seek museum and gallery employment.
program fosters interaction between art
The Certificate is available to graduate
history and the studio arts through group
students enrolled in the History of Art
events, faculty/student discussions,
and Design master’s program as well
visiting lecturers, and just by being there
as those in the dual programs with the
together. Participants experience the
Department of Fine Arts and the School
visual riches of Venice and have the
of Information and Library Science and is
opportunity to conduct research in
only awarded upon completion of those
extraordinary museums and libraries.
master’s degrees. Some of the courses
History of Art and Design

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Museum of Art, New York

Media Studies
The Graduate Program in
Media Studies at Pratt is
situated in the uniquely vibrant
environment of an art, design,
and architecture school.
Students who value both
the intellectual and creative
sides of media studies are
encouraged to apply.
Chair
Maria Damon, Ph.D.
mdamon@pratt.edu
Media Studies at Pratt is an intensive
program developed in relation to
Pratt’s art, design, and architecture
environment and to the burgeoning
mediascape, lively social space, and
theoretical scene of Brooklyn and New
York City. Classes are small, following
both the seminar and workshop format,
and all classes are taught by professors.
The program has been conceived
and instituted in a way that understands
that media emergence is rapidly
transforming experience, society, and
knowledge. It is designed to foster the
investigation of many of the significant
social, political, cultural, economic,
and aesthetic questions of our time by
drawing both on the historical record
with regard to media forms and on
cutting-edge theory regarding gender
and sexuality, race, nation, political
economy, aesthetic form, screen studies,
and the like.
Coordinator
Jonathan Beller, Ph.D.
jbeller@pratt.edu
Administrative Secretary
Kate Ryan
cryan4@pratt.edu
157
The Program’s Structure
The program emphasizes studies of
media in their various forms, including
film, video, television, radio, writing,
and computer-mediated forms of
convergence. Students study the logics
and logistics of media and mediation,
and they explore cultural technologies
of expression, representation, and
manipulation, along with the aesthetic,
economic, and political contexts in which
such media necessarily operate. Students
gain expertise in media history, theory
and practice, and in textual analysis,
interpretation, and semiotics.
The Master of Arts in Media Studies
graduate program consists of 30 credits
taken over three semesters and a thesis.
The program can be completed in three
semesters if the student finds a final
thesis/project topic during the first year
and prepares to complete it in the third
semester. Even so, an extra semester is
generally recommended to allow more
time to find, explore, and develop the
thesis/project that will best serve the
student’s particular interests.
Office
Tel: 718.678.5770
www.pratt.edu/grad-media-studies
Media Studies

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The core sequence for the M.A.
consists of Mediologies I and II (six credits
total) and Encounters I and II (two credits
total), Practices I and II (elective courses
totaling six credits), seminars and project
courses (electives totaling 12 credits), an
Internship course (optional) and a final
thesis with required Final Project/Thesis
Workshop (four credits total).
Mediologies courses (HMS-650A/B)
provide students with crucial critical
and theoretical tools; students take a
sequence of two required introductory
courses during their first year. These
courses are designed to address
students with substantial experience in
media studies as well as students with
less exposure.
Practices courses comprise a range
of electives, including those taught in
other programs, such as Digital Arts.
These courses enable students to acquire
basic competence in media aesthetics
and production.
Encounters courses (HMS-549 A/B)
enable students to engage directly with
others working in media fields, and with
timely issues and ideas, in an open-
discussion “salon” environment.
Media Studies
The Final Project/Thesis Workshop
(HMS-659A) offers an intensive small
support group in which students can
develop and write their thesis; students
who want more time to finish their thesis
may take HMS-659B (Thesis in Progress).
Students may also choose to
undertake an internship for academic
credit (HMS-9700, 9701, 9702, 9703) and
professional enrichment.
In addition to the core courses
described above, the program offers
a range of electives in areas of
specialization and interdisciplinary
constellations within media studies,
enabling students to develop particular
areas of concentration, first through
coursework and then in their one-on-
one work with thesis advisors. Faculty
represent areas that include New Media,
Documentary Studies, Global Media,
Media and the Urban Environment, Media
and Performance, Music/Sound Studies,
Media/Attention Economies, Media
Ecology, Archaeology of (New) Media,
and Media, Activism, and Social Change.
Elective seminars run in the format
of small discussion courses focused
on individual or team presentations
on the analysis of texts, films, objects,
themes, and theories. Elective project
courses are semester-long laboratory/
workshops in which students and one
or more faculty members—in any one of
several departments—engage a topic,
idea, interface, space, or modality,
focusing on the interface between the
theorization and production of media
159
objects. Foci will vary based upon
specific expertise and interests of
involved faculty and students.
Each year in late April, the Media
Studies Program will host a conference,
Mediologies, which will include
presentations of work and works-in-
progress by students, faculty, and
guest presenters. Seminar courses
being offered in the spring will enable
students to develop papers and
projects specifically for presentation
at Mediologies.
Admissions Requirements
Applications for admission to the Master
of Arts in Media Studies are due January
5 for the following fall; the program
accepts fall entrants only. Applicants
should have a B.A., B.S., or B.F.A. from
an accredited institution. Candidates
must submit (1) a statement of purpose
in which they describe their interest
in the program; (2) 10–20 pages of
relevant writing sample(s), with emphasis
on analytical writing about media; (3)
transcripts of undergraduate coursework;
and (4) two letters of recommendation.
All applicants must follow the standard
admission process for graduate programs
at Pratt: see www.pratt.edu/apply.

Performance and
Performance Studies
Through the simultaneous
development of practice and
study, students earning an
M.F.A. in Performance and
Performance Studies at Pratt
are grounded in creative
practices with a strong
emphasis on conceptual
framing, and develop a
theoretical foundation they can
apply directly to their work.
Chair
Maria Damon, Ph.D.
mdamon@pratt.edu
Assistant
Kate Ryan
cryan4@pratt.edu
The program is guided by a set of
principles about the integral nature and
importance of performance, community,
and politics, where students explore how
effective theater is artistically engaging
and is a catalyst for social change.
This new degree was developed
with a wide range of practitioners,
scholars, and students in mind, including
professionals in the field who are
seeking terminal career credentials;
working performers and artists who
seek to gain a more critical/theoretical
depth and background (as well as new
performance skills) for their work;
scholars with some artistic training who
seek to complement their work with
training in performance technique; and
students from other disciplines who
understand what opportunities they can
gain by focusing on the performative
dimensions of their fields.
With an M.F.A. in Performance and
Performance Studies from Pratt, artist
scholars will be able to: (1) work as artists
and performance practitioners; (2) work
Coordinator
Tracie Morris
tmorris@pratt.edu
718.636.3607
161
as teachers in colleges/universities
and other institutions in a variety of
fields—such as theater, performance
studies, art criticism, movement, creative
writing—and in community settings, arts
education and youth programs and
other venues; (3) work as curators, arts
administrators, art critics, or production
staff, and in media; and (4), pursue a
Ph.D. in a range of fields, including
performance studies, cultural studies,
theater and others.
The Program’s Structure
The goal of the M.F.A. in Performance
and Performance Studies is to prepare
students as artists and thinkers. Students
will move from a basic command of the
field of performance studies to become
active artists/scholars who contribute to
the field’s evolution.
Students in the program will take
four semesters, or 60 credits worth of
courses. Of this, 33 credit hours will
be in required courses, 27 in electives
selected based on students’ needs
Office
DeKalb Hall 316
162
and interests. Throughout, students
will combine study in performance
practice with theoretical inquiry in
performance studies. After taking a
series of foundation courses in the
first year, students will develop their
own body of work in the second year.
In their last semester the students will
focus on rounding out the competencies
they are building and on refining their
concluding academic and performance
art presentations.
We also offer opportunities for
students to work with community-based
organizations in which performance and
constructs of performativity are central.
The students will work intimately to serve
these communities in conceptual and
practical contributions to art practice
and community empowerment for
underserved populations.
The Performance and Performance
Studies program is anchored around
a series of core, required classes: (1)
Introduction to Performance Theory
(PPS 650a), where students focus on
conceptual underpinnings of the field;
(2) Introduction to Performance Practice
(PPS 651a), providing core competencies
in crucial aspects of performance
and presentation; (3) workshops with
an artist-in-residence (PPS 549a), on
cross-cultural performance (PPS 550a)
and on community-based practice
(PPS 550b); (4) a Critical Writing course
(PPS 652a) to support writing skills
increasingly vital as a component both
of creative/collaborative processes and
Performance and Performance Studies
professional practice; and (5) Thesis /
Project Workshops (PPS 659a and 659b)
to support students in developing viable
and fully realized visions and incarnations
of their own work.
Students will also take Open
Electives (totaling 27 credits), which will
be theory and practice seminars offered
by full and part-time faculty and covering
a wide range of topics and areas.
As part of the program’s community
focus, students are also strongly
encouraged to do an internship to fulfill
one of their electives. The required
second-semester workshop on
community-based practice will provide
important preparation and, in some
cases, specific venues and contacts to
accommodate a broad range of interests.
Admissions Requirements
Applicants for admission to the Master
of Fine Arts (fall entrance only) must
have either a B.A., B.S., or B.F.A. from
an accredited institution. Candidates
must submit (1) a statement of purpose
in which they describe their interest in
the program, as well as their own goals
and preparation; (2) 10-20 pages of rel-
evant writing sample(s); (3) transcripts
of undergraduate coursework; and (4)
two letters of recommendation. Collab-
orative pairs will be welcomed, but each
member must apply separately under
the above guidelines. All applicants
must follow the standard admission
process for graduate programs at Pratt:
see www.pratt.edu/apply.
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163

Writing
The Pratt M.F.A. in Writing is
a new and unique two-year
program specifically designed
to support and encourage
intellectually rigorous and
inspired writing practices that
are philosophically, culturally,
and politically informed.
Chair
Maria Damon, Ph.D.
mdamon@pratt.edu
The premise of the program is that
writing can be transformative at all scales,
from the personal to the social, and we
aim to incubate such cosmopolitan,
local, pleasure-filled, and potentially
revolutionary poetic practices.
Our approach to the M.F.A.
curriculum emphasizes interdisciplinary
group critiques (with core faculty, guest
artists, and peers engaging in weekly
discussions and presentations of student
work). Additionally, students take part in
one-on-one guided mentorships, civic
and urban exploration and fieldwork,
and seminars in Literature, Media
Studies, Performance, Experimental
Practices, Activism and Critical Theory,
to name a few.
The Pratt M.F.A. therefore offers
contemporary writers the tools and the
support they need to build a practice
that is responsive and adaptive (and
even a form of resistance) to our rapidly
evolving environmental and political
times and to the enormous shifts taking
place in media technologies. What can
Coordinator
Christian Hawkey
chawkey@pratt.edu
Administrative Secretary
Kate Ryan
cryan4@pratt.edu
165
writing become now that the landscape
for its production, distribution, and
exchange includes not only books and
journals, but also internet platforms,
digital technologies, video, audio, pdf,
blogs, and social media?
This program engages a vision of
writing that is not genre-specific, but
rather inclusive of multiple modes of
inscription—from fiction to poetry,
performance to nonfiction, translation to
cultural criticism, investigative journalism
to digital media, documentary to science
fiction. There is also a special focus
on alternate or hybrid approaches to
writing, with hybridity defined as a set of
interactive processes that can potentially
generate new social spaces. What
avant-garde experiments, what research,
what interventions, what archives, what
speech acts, what literary and artistic
traditions, what genres, what media
technologies, what theoretical frames,
what narratives, and what materials are
most suited to your artistic inquiries?
Office
Tel: 718.678.5770
www.pratt.edu/grad-writing
166
We will help you figure that out as you
begin to establish a creative practice that
is sustainable across a lifetime of change.
Our core faculty of writers is diverse
and internationally renowned. Their work
traverses and often combines numerous
disciplines: activism, performance art,
translation, media and cultural theory,
theater, fine art. Our course of study
emphasizes collaboration, radical
pedagogy, administrative transparency,
and non-hierarchical learning.
Course of Study
The Graduate Program in Writing M.F.A.
consists of several core classes and
seminars taken over four semesters
(two years), with the goal of producing
a final manuscript, performance, or
collaborative event.
There are three notable features
of the new program. First, the heart
of the program is a once-a-week core
class, the Writing Studio, which is an
open, democratic forum dedicated to
the collective critique and discussion
of student works-in-progress. Second,
each student is offered one-on-one
guided Mentorship with a chosen faculty
member. Third, the program provides
students with support and guidance to
extend their cultural productions and
research interests into the world in the
form of Fieldwork Residencies: ongoing
residencies conducted in collaboration
with an outside institution, community
organization, archive, occupational
domain, or activist group.
Writing
Other notable features of the Pratt To apply, follow the standard admission
M.F.A. in Writing include: process for graduate programs at Pratt:
• Student-led collaborative Writing www.pratt.edu/apply.
Practice Seminars that explore the
intersections of writing, research,
activism, radical pedagogy, and
critical theory.
• Sustained focus on 21st-century
modes of authorship including:
activism, transdisciplinary and cross-
genre experiment, performance,
innovative uses of new media,
investigative and research techniques,
conceptual frameworks, collaborative
methods, and site-specific
approaches.
• A course of study stressing a writing
process that takes into account the
material and technological aspects of
writing, the human body that produces
it, and the larger social, sexual,
historical, economic, racial, and cultural
contexts in which and through which all
imaginative writing takes place.
Admission Requirements
Applications for admission to the Master
of Fine Arts are due January 5 for the
following fall; the program accepts fall
entrants only. Applicants should have a
B.A., B.S., or B.F.A. from an accredited
institution. Candidates submit (1) a
statement of purpose in which they
describe how their writing interests align
with the vision of the program; (2) 10–20
pages of relevant writing samples of any
genre; (3) transcripts of undergraduate
coursework; and (4) two letters of
recommendation.
Writing

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History of Art and Design Intensive English Program Humanities and Media Studies

Chair Director Chair

Dorothea Dietrich, Ph.D. Nancy Seidler Maria Damon, Ph.D.
nseidler@pratt.edu mdamon@pratt.edu
Assistant chair
Gayle Rodda Kurtz, Ph.D. Assistant Chair
Kathryn Cullen-Dupont
Assistant to the Chair kcullend@pratt.edu
Jill Song
Assistant to the Chair
Danielle Skorzanka
hms@pratt.edu

Pratt provides a well-
rounded education in the
liberal arts that encompasses
Humanities and Media Studies,
Mathematics and Science,
Social Science and Cultural
Studies, and the History of Art
and Design. In addition, the
Institute supports international
students in gaining the English
language skills they need to
pursue their education and to
interact as vital members of
the community.
Mathematics and Science
Chair
Carole Sirovich, Ph.D.
csirovic@pratt.edu
Assistant to the Chair
Margaret Dy-So
sci@pratt.edu
Laboratory Technician
Tiffany Liu
Classes in the Liberal Arts
The Graduate Programs in the School of
Liberal Arts and Sciences are one-of-a-
kind: programs that rethink disciplinary
boundaries and take advantage of their
location within a leading art and design
institution. We do things differently here.
Master of Arts in Media Studies
The graduate program in Media Studies
offers freedom and flexibility for students
to design their program of study. We offer
exciting and challenging opportunities
for students to confront the most
pressing issues of our time: questions
around social justice, sustainability, race,
sexuality, nationalism, militarization,
economics, and celebrity. The curriculum
emphasizes studies of media in various
forms, including film, video, television,
radio, writing, smartphones, and
Social Science and Cultural Studies
Chair
Gregg M. Horowitz, Ph.D.
ghorowi2@pratt.edu
Assistant to the Chair
Sophia Straker-Babb
ss@pratt.edu
169
other computerized forms of media
convergence. Alongside their theoretical
investigations, students are also
encouraged to become media makers.
Master of Fine Arts in Writing
A new and unique two-year program,
the Pratt M.F.A. in Writing is specifically
designed to support and encourage
intellectually rigorous and inspired
writing practices that are philosophically,
culturally, and politically informed. The
premise of the program is that writing
can be transformative at all scales, from
the personal to the social, and we aim
to incubate such radically cosmopolitan,
resolutely local, pleasure-filled,
and potentially revolutionary poetic
practices. Our innovative approach
to the M.F.A. curriculum emphasizes
Certificate of English Proficiency
Coordinator
Dana Gordon
dgordon@pratt.edu
Assessment and Educational
Technology Coordinator
Rachid Eladlouni
reladlou@pratt.edu
Assistant to the Director
Fanny Lao
hlao@pratt.edu
cep@pratt.edu
170
interdisciplinary group critiques with
core faculty, guest artists, and peers
engaging in weekly discussions and
presentations of student work.
Master of Fine Arts in Performance
and Performance Studies
Through the simultaneous development
of practice and study, students
earning an M.F.A. in Performance
and Performance Studies at Pratt are
grounded in creative practices with a
strong emphasis on conceptual framing,
and develop a theoretical foundation
they can apply directly to their work. The
program is guided by a set of principles
about the integral nature and importance
of performance, community, and politics,
where students explore how effective
theater is both artistically engaging and a
catalyst for social change.
Master of Science in the History
of Art and Design
The graduate studies in the History of
Art and Design provide students with
the skills and knowledge to pursue
careers as art and design historians and
professionals in museums, galleries,
and libraries, or to pursue graduate
work at the doctoral level. Through
comprehensive study of global art and
design within historical and cultural
contexts and intensive research and
scholarship in specialized areas, students
develop a critical understanding of the
field as well as research and analytical
skills. Graduates demonstrate excellence
Classes in the Liberal Arts
in independent and critical thinking and
understanding of the historical roles
and responsibilities of art and design.
Internships at museums, libraries,
nonprofit art organizations, and galleries
provide opportunities for students
to work in professional areas of their
interests and prepare for future careers.
The department also offers two dual
degrees: M.S./M.F.A. with Fine Arts,
and the M.S./M.S. with Information and
Library Sciences.
Resources in the School of Liberal
Arts and Sciences
Intensive English Program
The Intensive English Program (IEP)
provides academic English language
instruction to matriculated graduate and
undergraduate students. In addition, two
certificate programs run under the IEP’s
umbrella: the full-time Certificate (CEP)
and Summer (SCP) programs. The mission
of all programs in the IEP is to support
successful matriculation of international
students by providing appropriate English
language instruction. Internal assessment
and advisement ensure students’ proper
placement in English language courses,
as well as successful matriculation and
degree attainment. The curriculum
includes art, design, and architecture
content and is enhanced by direct
exposure to related cultural experiences
and language-learning technology.
Pratt Institute and the School of Liberal
Arts and Sciences welcome international
students and offer an array of programs
and services to improve English-language
skills and academic readiness. All
international students with TOEFL scores
below 600 (PbT), 250 (CBT), or 100 (iBT)—
including transfer students—whose first
language is not English must demonstrate
proficiency in English by taking an English
Placement Test upon arriving at the
Institute. The Intensive English Program
(IEP) in the Language Resource Center
on Pratt’s Brooklyn campus administers
the test.
This placement test consists of
a reading test, a writing test, and a
personal interview with an IEP faculty
member. Students assessed at the
exempt level of English proficiency satisfy
their Intensive English requirement and
may enroll in all Institute courses without
restriction. Students who are assessed as
being in need of English instruction must
register in consecutive Intensive English
courses (including summer IEP classes
should they wish to take other Institute
courses during those sessions) until they
achieve exempt status based on IEP exit
proficiency criteria.

Students whose proficiency is
assessed at or below Level 5 are required
to enroll full time in the Certificate of
English Proficiency (CEP) Program. Any
graduate international student who has
been enrolled in one Intensive English
course without having expempted from
(passed) the program will be moved
to probationary status during his/her
second semester. Students who have
registered for two (fall and spring)
semesters and who do not assess at
the exempt level may be required
to withdraw voluntarily from Pratt or
register for the full-time CEP program.
Good communication skills are
essential to academic success at
Pratt Institute. Instruction in the IEP
emphasizes language use for general
academic and specific purposes in the
professions in which Pratt specializes,
namely, art, design, architecture, and
information and library science. IEP
faculty are trained and experienced in
teaching English as a second language,
as well as in integrating art and design
content into their courses. Our classes are
small (8 to 12 students per session), and
enrolled international students benefit
from their use of the Language Resource
and Writing and Tutorial Centers for
additional language learning practice.
For information on the Test of
English as a Foreign Language (TOEFL)
Classes in the Liberal Arts 171
requirements at Pratt Institute, Laboratories and Computer Facilities
please refer to the catalog listing for
The science laboratories (chemistry,
particular schools and departments.
physics, biology), located in the Activities
New international students are strongly
Resource Center, are interdisciplinary
encouraged to enroll in IEP summer
research facilities. Sophisticated
courses in order to be fully prepared
instruments and equipment are available,
for the academic requirements of their
and undergraduates are encouraged
degree programs.
to use them under faculty supervision.
Computer facilities are available for use
The Certificate of English
by all students of the Institute. Specialized
Proficiency Program
facilities are employed in the sciences.
The Certificate of English Proficiency
(CEP) program at Pratt Institute is a one- Writing and Tutorial Center
year English-language program located
The Writing and Tutorial Center provides
at our Brooklyn campus. Students whose
free tutoring for all Pratt students in
TOEFL scores fall below the admission
English, math, physics, art history,
minimums established by Institute degree
thesis preparation, and other academic
programs may apply to the CEP for full-
areas. Special assistance is provided for
time English-language instruction. At the
students for whom English is a second
end of the two-semester program of
language. Small-group and regularly
English study, those students completing
scheduled one-on-one conver­sation
CEP coursework receive a certificate of
sessions are also offered.
English language proficiency.
The Writing and Tutorial Center
Courses focus on speaking, listening,
staff consists of a director, faculty
reading, and writing within the context
and staff tutors, and trained student
of art and design, as well as TOEFL
peer tutors. The director coordinates
preparation. For more information on
scheduling and appointments in all
Pratt’s Intensive and Certificate English
areas. Any faculty member, staff
programs, contact IEP administrative
member, or adviser may recommend
offices at 718.636.3450, visit the IEP
students who need assistance.
website at www.pratt.edu/iep or email
The Writing and Tutorial Center is
IEP at cep@pratt.edu.
located in North Hall 101 (opposite the
bank). Appointments can be made by
phone, Skype IM, or in person.
Page 168: Students in class
172

Above: Students on the Brooklyn Campus

 173

Academic Degrees Overview

Undergraduate Programs Graduate Programs

School of Architecture School of Architecture School of Design
Architecture B.Arch. 0202 Architecture M.Arch. 0202 Communications Design M.F.A. 1009
(first-professional)
Construction Management B.P.S. 0201 Communications Design M.S. 0601
Architecture M.S. 0202
Construction Management B.S. 0201 Industrial Design M.I.D. 1009
(post-professional)
Building and Construction A.A.S. 5317 Interior Design M.F.A. 0201
Architecture and Urban M.S. 0205
School of Art Design (post-professional) Interior Design M.S. 0201
Digital Design and A.O.S. 5012 City and Regional Planning M.S. 0206 Package Design M.S. 1009
Interactive Media
Facilities Management M.S. 0201 School of Information and Library Sscience
Graphic Design A.O.S. 5012
Historic Preservation M.S. 0299 Library and Information M.S. 1601
Graphic Design/Illustration A.A.S. 5012 Science
Sustainable Environmental M.S. 0206
Illustration A.O.S. 5012 Systems Library and Information M.S. 0899
Painting/Drawing A.A.S. 5610 Urban Placemaking and M.S. 0206 Science: Library Media
Management Specialist
Art and Design Education B.F.A. 0831
School of Art Archives Certificate ADV. CRT. 1699
Digital Arts B.F.A. 1009 Program
Art and Design Education M.S. 0831
Film B.F.A. 1010 (init./prf. certification) Library and Information ADV. CRT. 1699
Studies
Fine Arts B.F.A. 1001 Art and Design Education M.S. 0831
(prf. certification) Library Media Specialist ADV. CRT. 0899
Photography B.F.A. 1011
Art and Design Education ADV. CRT. 0831 Museum Libraries ADV. CRT. 1699
School of Design
Arts and Cultural M.P.S. 0599 Museums and Digital M.S. 0702
Communications Design B.F.A. 0601
Management Culture
Fashion Design B.F.A. 1009
Art Therapy and Creativity M.P.S. 1099 School of Liberal Arts and Sciences
Industrial Design B.I.D. 1009 Development History of Art and Design M.S. 1003
Interior Design B.F.A. 0201 Art Therapy and M.P.S. 1099 Media Studies M.A. 0601
School of Liberal Arts and Sciences Creativity Development
(spring/summer) Museum Studies ADV. CRT. 1003
Critical and Visual Studies B.A. 4903
Art Therapy with Special M.P.S. 1099 Performance and M.F.A. 1007
History of Art and Design B.A. 1003 Needs Children Performance Studies

History of Art and Design B.F.A. 1003 Art Therapy with M.P.S. 1099 Writing M.F.A. 1599
Special Needs Children Combined Degree Programs
Writing B.F.A. 1599
(spring/summer)
Combined Degree Programs Library and Information M.S./M.F.A. 1601/
Dance/Movement Therapy M.S. 1099 Science/Digital Arts 1009
Art and Design Education B.F.A./M.S. 0831
Dance/Movement Therapy M.S. 1099 Library and Information M.S./J.D. 1601/
(spring/summer) Science/Law M.S./L.L.M. 1401
Design Management M.P.S. 0599 History of Art and M.S./M.F.A. 1009/
Digital Arts M.F.A. 1009 Design/Fine Arts 1001

Fine Arts M.F.A. 1001 History of Art and M.S./M.S. 1009/

Design/Information 1601
and Library Science
Library and Information M.S./L.L.M 1601/
Science/Information Law 1401
and Society
Planning and Law M.S./J.D. 0206/
1401
174 Curricula

School of Architecture

M.Arch. in Architecture M.S. in Architecture (Post-Professional) M.S. in Architecture and Urban Design
(First-Professional) (Post-Professional)

Semester 1 Semester 1 Semester 1

ARCH-601 Design Studio I: Fundamentals 5 ARCH-781 Pro Seminar I 3 UD-803 UD Studio I 5
ARCH-611 Computer Media I: Multimedia 3 GAUD Elective 6 UD-813 Methods and Computer 3
Applications
ARCH-631 Structures I 3 ARCH-803 Summer Design Studio VI: 5
Vertical Option UD-993 Urban Design Theory 3
ARCH-651 History and Theory I: Modern 3
History Credit subtotal 14 Credit subtotal 11
Credit subtotal 14 Semester 2 Semester 2
Semester 2 ARCH-901 Fall Design Studio 5 UD-901 UD Studio II 5
ARCH-602 Design Studio II: Context 5 ARCH-982 Pro Seminar II 3 UD-981A Culmination Project Research 3
ARCH-612 Computer Media II: Advanced 3 ARCH-988 Thesis Research 3 UD-991 Urban Design and 3
Multimedia Implementation: Case Studies
GAUD Elective 3
ARCH-632 Structures II 3 All-Institute Electives 3
Credit subtotal 14
ARCH-652 History and Theory II: 3 Credit subtotal 14
Semester 3
Architectural Theory
Semester 3
ARCH-912 Thesis 5
Credit subtotal 14
UD-902 UD Culmination Project 5
All-Institute Elective 3
Semester 3
All-Institute Elective 3
Credit subtotal 8
ARCH-703 Design Studio III: 5
Credit subtotal 8
Urban Mixed Use Total credits required 36
Total credits required 33
ARCH-753 History and Theory III: 3
Non-Western History
ARCH-761 Environmental Controls 3
ARCH-762 Material and Assemblies 3
Credit subtotal 14
Semester 4
ARCH-704 Design Studio IV: CAP 5
ARCH-861 Professional Practice 3
History/Theory Elective 3
GAUD Elective 3
Credit subtotal 14
Semester 5
ARCH-805 Design Studio V: Vertical 5
Option
ARCH-861 Professional Practice 3
History/Theory Elective 3
GAUD Elective 3
Credit subtotal 14
Semester 6
ARCH-806 Design Studio VI: Vertical 5
Option
History/Theory Elective 3
All-Institute Elective 6
Credit subtotal 14
Total credits required 84
 Curricula 175

M.S. in City and Regional Planning M.S. in Sustainable M.S. in Historic Preservation
Environmental Systems

Semester 1 Semester 1 Semester 1

PLAN-600 Fundamentals: Seminar 5 SES-633A   Environmental Law 3 PR-640 History/Theory of Preservation 3

and Studio PR-643B Architecture and Urban 3
SES-631   Sustainable Communities 3
PLAN-602 History and Theory of City 3 History I: Europe
MSCI-610   Science of Sustainability 3
Planning PR-641 Documentation/Interpretation 3
  Professional Elective Credits 5
PLAN-603 Urban Economics 3 PR-651 Building Technology 3
  Credit subtotal 14
Elective Credits 3 Credit subtotal 12
Semester 2
Credits subtotal 14 Semester 2
SES-632   Environmental Economics 3
Semester 2 PR-661 Preservation Law and Policy 3
SES-633B   Environmental Impact  
PLAN-604 Planning Law 3 PR-642A Concepts of Heritage 3
  Assessment 3
PLAN-605 Planning Methods I 3 PR-643A Architecture and Urban 3
SES-634A   Climate Change and Cities 1
Elective Credits 8 History II: United States
SES-634B   Sustainability   1
Credits subtotal 14   Indicators Preservation Elective 3

Semester 3 SES-634C   Life Cycle Analysis 1 Credit subtotal 12

PLAN-701 Planning Methods II 3 SES-635A   Solid Waste Management 1 Semester 3

PLAN-810 Studio: Sustainable SES-635B   Water Quality Management 1 PR-891 Demonstration of 3

or Communities Professional Competence
SES-635C     Urban Energy Management 1
PLAN-820 Studio: Land Use and Urban PR-652A Interventions, Alterations, and 3
   All-Institute Elective Credits 2 Adaptive Reuse
or Design
   Credit subtotal 14 Preservation Elective 3
PLAN-850 Studio: Sustainable 5
Development Semester 3 Credit subtotal 9
Elective Credits 3 PLAN-820   Land Use Studio 5 Semester 4
Credits subtotal 11 SES-660A   Demonstration of Professional    PR-840 Preservation Studio 5
  Competence 2
Semester 4 PR-670A Intro to Real Estate 1
  Elective Credits 5 Development
PLAN-810 Studio: Sustainable
or Communities   Credit subtotal 12 PR-670B Real Estate Market Analysis 1
PLAN-820 Studio: Land Use and Urban   Total credits required 40 PR-670C Preservation Tax Credit 1
or Design Projects
PLAN-850 Studio: Sustainable 5 Elective Credits 3
Development
Credit subtotal 11
PLAN-891 Directed Research 2
Total credits required 44
Elective Credits 5
Credits subtotal 12
Semester 5
PLAN-892 Demonstration of Professional 3
Competence
Elective Credits 6
Credits subtotal 9
Total credits required 60
176 Curricula

School of Art

M.S. in Facilities Management M.S in Urban Placemaking M.S. in Art and Design Education
and Management (Initial/Professional Certification)

Semester 1 Semester 1 Semester 1

FM-621 Computer Applications 3 UPM-601 History and Theory of 2 ADE-506 Literacy and Language 1
Public Place Acquisition in the Art
FM-631 Principles of Facilities 3
Classroom
Management UPM-609 Lab: Analysis of Public Space 5
ADE-616B Fieldwork in Art and Design 2
FM-633 Managerial Accounting and 3 Take 3 of 4 one -credit courses offered 3
Education (with Special
Finance as Proseminar:
Populations)
FM-663 Real Estate Development 3 UPM-602A Proseminar: Design and
ADE-616C The Inclusive Art Room 1
Infrastructure
Credit subtotal 12
UPM-602B Proseminar: Planning & Policy ADE-630 Media and Materials: from 3
Semester 2 UPM-602C Proseminar: Economics Studio to Classroom
UPM-602D Proseminar: Management
FM-632 Project Management 3 ED-608 Roots of Urban Education 3
Credit subtotal 10
FM-634 Facility Programming and 3 Credit subtotal 10
Design Semester 2
Semester 2
FM-636 Facility Maintenance and 3 UPM-621 Urban and Contextual Design 3
ADE-522 Student Teaching: 3
Operations
UPH-611 Democracy, Equity, and Public 2 Saturday Art School
­ Elective Credits 3 Space or
ADE-524 Student Teaching:
Credit subtotal 12 “Area of Focus” Electives 6
In the Galleries
Semester 3 Credit subtotal 11
ADE-619 Foundations in Art and Design 3
FM-731 Strategic Planning and 3 Semester 3 Education
Management ED-602 Survey of Art Education 3
UPM-622 Open Space and Parks 3
FM-733 Economic Evaluation of 3 Literature
UPM-612 Economics of Place 1
Facilities Credit subtotal 9
UPM-613 Place, Politics, & Management 2
FM-735 Telecommunications: 3 Semester 3
Concepts and Strategies “Area of Focus” Electives 4
ADE-521 Student Teaching: Saturday Art 3
FM-771 Legal Issues 3 Credit subtotal 10 School
Credit subtotal 12 Semester 4 or
ADE-523 Student Teaching: After School
Semester 4 UPM-699 Demonstration of Professional 3
Competence ADE-620 The Art of Teaching Art and 3
FM-798 Demonstration of Professional 4 Design
Competence UPM-698 Placemaking Workshop 5
ED-660A Thesis I 3
HMS-697A Thesis Writing I 1 UPH-614 Civic Engagement 1
Elective 2
Elective Credits 9 Credit subtotal 9
Credit subtotal 11
Credit subtotal 14 Total credits required 30
Semester 4
Total credits required 50
ADE-531A Student Teaching: 4
In the Public Schools
or
ADE-531B Student Teaching:
With Special Populations
ADE-532A Student Teaching Seminar 1
ED-660B Thesis II 3
Credit subtotal 8
Total credits required 38
(Plus courses and credits listed under
"Certification Requirements")
 Curricula 177

M.S. in Art and Design Education Advanced Certificate in

(Professional Certification) Art and Design Education

Semester 1 Semester 1 NYSED Certification Requirements

ADE-616A Fieldwork in Art and Design 2 ADE-506 Literacy and Language 1 The following requirements must be fulfilled
Education Acquisition in the Art prior to applying for New York State Education
or Classroom Department (NYSED) Initial Certification in Visual
ADE-616B Fieldwork in Art and Design Arts, Pre-K–12.
ADE-521 Student Teaching: 3
Education (with Special
Saturday Art School Academic Courses
Populations)
or
Course in Child/Adolescent Development 3
ADE-616C The Inclusive Art Room 1 ADE-523 Student Teaching: After School
Course in a Foreign Language 3
ADE-625 Play and Performance: From 3 ADE-616B Fieldwork in Art and Design 2
Childhood to Pedagogy Education with Special The courses may be taken at Pratt or
Populations transferred from another accredited
ADE-630 Media and Materials: From 3
post-secondary institution.
Studio to Classroom ADE-620 The Art of Teaching Art and 3
Design Completion of the following workshops taken
Elective 2
with a provider approved by NYSED:
ED-608 Roots of Urban Education 3
Credit subtotal 11
Child Abuse Identification Workshop 0
Credit subtotal 12
Semester 2
School Violence Prevention and Intervention 0
Semester 2
ED-602 Survey of Art Education 3 Workshop
Literature ADE-522 Student Teaching: 3
Training in Harassment, Bullying, 0
Saturday Art School
ED-605 The Teacher in Film and Fiction 3 Cyberbullying, and Discrimination in Schools:
or
Prevention and Intervention
Elective 3 ADE-524 Student Teaching:
In the Galleries Passing scores on the following tests
Credit subtotal 9
and assessments:
ADE-531A Student Teaching: 4
Semester 3 In the Public Schools Educating all Students (EAS)
ADE-517A Directed Research in Art and 2 or
ADE-531B Student Teaching: Academic Literacy Skills Test (ALST)
Design Education
or With Special Populations Content Specialty Test (CST)
ADE-517B Directed Research in Art and ADE-532A Student Teaching Seminar 1 Education Teacher Portfolio
Design Education (with Special
ADE-619 Foundations in Art and 3 Assessment (edTPA)
Populations)
Design Education
ADE-621 Special Topics in Art and 3
Design Education Credit subtotal 11

ED-660A Thesis I 3 Total credits required 23

Credit subtotal 8
Semester 4
ED-660B Thesis II 3
Elective 3
Credit subtotal 6
Total credits required 34
178 Curricula

M.P.S. in Arts and Cultural Management M.P.S. in Art Therapy and Creativity M.P.S. in Art Therapy and Creativity
Development and M.P.S. in Art Therapy Development and M.P.S. in Art Therapy
with Special Needs Children with Special Needs Children
Semester 1 (fall) Academic Year Program Low Residency Program
ACM-625 Leadership and Team Building 2 Semester 1 Year 1
ACM-627 Management Communications 2 ADT-641/ Creative Arts Therapy I/ 3 Semester 1 spring)
621 Special Ed. I
ACM-631 Behavioral Simulation 1 ADT-641/ Creative Arts Therapy I 3
ADT-645/ Group Creative Arts 3
621
ACM-641 Management of Arts and 2 625 Therapy I/ Special Ed. I
Cultural Organizations ADT-640 Development of Personality I 3
ADT-661/ Fieldwork Experience and 2
ACM-645 Art in the Urban Environment 2 671 Supervision I/Special Ed. I Semester 2 (summer)
Credit subtotal 9 TECH-634/ Materials in Creative Arts 3 ADT-642/ Creative Arts Therapy II 3
635 Therapy/Special Ed I 622
Semester 2 (spring)
Credit subtotal 11
ADT-645/ Group Creative Arts Therapy I 3
ACM-623 Financial Planning and Budget 2
Semester 2 625
Management
ADT-632/ Research and Thesis/ 3 TECH- Materials in Creative Art 3
ACM-624 Arts and Cultural Education 2 633 Research and Thesis: Special 634/635 Therapy
ACM-632 Organizational Behavior 2 Education
Semester 3 (fall)
ADT-642/ Creative Arts Therapy II/ 3
ACM-642 Nonprofit Law and Governance 2
622 Special Ed. II ADT-661/ Fieldwork Experience and 2
Credit subtotal 8 671 Supervision I
ADT-640 Development of Personality I 3
Semester 3 (summer I and summer II) ADT-647 Art Diagnosis 3 Credit subtotal 17

ACM-626 Managing Innovation 2 ADT-662/ Fieldwork Experience and 2 Year 2

and Change 672 Supervision II/Special Ed. II
Semester 4 (spring)
ACM-633 Negotiating 1 Credit subtotal 14
ADT-630 Clinical Diagnosis and 3
ACM-646 External Relations 2 Semester 3 Treatment Issues
ADT-649 Advanced Seminar I in Creative 3 ADT-662/ Fieldwork Experience and 2
ACM-652 Directed Research 1
Arts Therapy Adults 672 Supervision II
ACM-664A Capstone Planning: Advisement 1 or
ADT-651 Developmentally Disabled ADT-647 Art Diagnosis 3
Credit subtotal 7
or
Semester 5 (summer)
Semester 4 (fall) ADT-653 Children and Adolescents
ADT-632 Research & Thesis 3
ACM-621 Strategic Marketing 2 ADT-630 Clinical Diagnosis and 3
Treatment Issues ADT-649 Advanced Seminar I in Creative 3
ACM-622 Fundraising for Arts and 2 Arts Therapy Adults
ADT-663/ Fieldwork Experience and 2
Culture or
673 Supervision III/Special Ed. III
ACM-643 Art, Culture, and Social Policy 2 ADT-651 Developmentally Disabled
ADT-688 Family Art Therapy 3 or
ACM-654 Strategic Technology 2 ADT-655 Development of Personality II 3 ADT-653 Children and Adolescents
Credit subtotal 8 Credit subtotal 14 ADT-688 Family Art Therapy 3
Semester 5 (spring) Semester 4 ADT-655 Development of Personality II 3
ACM-628 Advertising and Promotion 2 ADT-646/ Group Creative Arts Therapy 3 Semester 6 (fall)
626 II/Special Ed. II
ACM-644 Cultural Pluralism: Designing 2 ADT-663/673 Fieldwork Experience and 2
Cultures of Inclusion ADT-650 Advanced Seminar II in 3
Supervision III
Creative Arts Therapy Adults
ACM-651 Finances and Financial 2 or Credit subtotal 22
Reporting for Nonprofit ADT-652 Developmentally Disabled
Managers or
ACM-664B Shaping the 21st Century: 2 ADT-654 Children and Adolescents
Integrative Capstone ADT-660 The Psychology of Intergroup 3
ACM-671 Managerial Decision-Making 1 Relations and Institutional
Process
DM-643 Intellectual Property Law 1
ADT-664/ Fieldwork Experience and 2
Credit subtotal 10 674 Supervision IV/Special Ed. IV
Total credits required 42 ­Elective 3
Credit subtotal 14
Total credits required 53
 Curricula 179

M.S. in Dance/Movement Therapy M.S. in Dance/Movement Therapy

Year 3 Academic Year Program Low Residency Program

Semester 7 (spring) Semester 1 Year 1
ADT-664/674 Fieldwork Experience and 2 DT-671 Theory and Practice of Dance 3 Semester 1 (spring)
Supervision IV Therapy I
ADT-641 Creative Arts Therapy I 3
Semester 8 (summer) DT-673 Studies in Movement 3
Behavior I DT-673 Movement Behavior I 3
ADT-643 Expressive Modalities 3
ADT-641 Creative Arts Therapy I 3­ ADT-640 Development of Personality I 3
ADT-646/ Group Creative Arts 3
ADT-645 Group Creative Arts 3 Semester 2 (summer)
626 Therapy II
Therapy I
ADT-642 Creative Arts Therapy II 3
ADT-660 Psychology of Intergroup 3
ADT-661 Fieldwork Experience and 2
Relations ADT-645 Group Creative Arts 3
Supervision I
Therapy I
ADT-650 Advanced Seminar II in 3
Credit subtotal 14
Creative Arts Therapy Adults DT-671 Theory and Practice of 3
or Semester 2 Dance Therapy I
ADT-652 Developmentally Disabled DT-672 Theory and Practice of 3
or Semester 3 (fall)
Dance Therapy II
ADT-654 Children and Adolescents ADT-661/ 671 Fieldwork Experience and 2
DT-674 Studies in Movement 3 Supervision I
Credit subtotal 14 Behavior II
Total credits required 53 Credit subtotal 20
ADT-632 Research and Thesis 3
Year 2
ADT-642 Creative Arts Therapy II 3
Semester 4 (spring)
ADT-662 Fieldwork Experience and 2
Supervision II ADT-630 Clinical Diagnosis and 3
ADT-640 Development of Personality I 3 Treatment Issues

Credit subtotal 17 DT-674 Movement Behavior II 3

Semester 3 Advanced Seminar I in Creative

Arts Therapy
ADT-649 Advanced Seminar I in Creative 3
Arts Therapy Adults ADT-649 Adults 3
or or
ADT-651 Developmentally Disabled ADT-651 Developmentally Disabled
or or
ADT-653 Children and Adolescents ADT-653 Children and Adolescents

ADT-630 Clinical Diagnosis and 3 ADT-655 Development of Personality II 3

Treatment Issues
ADT-662 Fieldwork Experience and 2
DT-675 Improvisation 3 Supervision II
ADT-663 Fieldwork Experience and 2 Semester 5 (summer)
Supervision III
ADT-632 Research & Thesis 3
ADT-655 Development of Personality II 3
DT-672 Theory and Practice of Dance 3
Credit subtotal 14 Therapy II
Semester 4
Semester 6 (fall)
ADT-646 Group Creative Arts Therapy II 3
ADT-663 Fieldwork Experience and 2
ADT-650 Advanced Seminar II in Creative 3 Supervision III
Arts Therapy Adults
or Credit subtotal 22
ADT-652 Developmentally Disabled
or
ADT-654 Children and Adolescents
ADT-660 The Psychology of Intergroup 3
Relations and Institutional
Process
ADT-664 Fieldwork Experience and 2
Supervision IV
Credit subtotal 11
Total credits required 56
180 Curricula

M.P.S. in Design Management M.F.A. in Digital Arts (3-D Animation and

Motion Arts Concentration)

Year 3 Semester 1 Semester 1

Semester 7 (spring) DM-631 Leadership Behavioral 1 DDA-606A Graduate Seminar I 3
Simulation
ADT-664 Fieldwork Experience and 2 DDA-610 Digital Arts Practicum 3
Supervision IV DM-632 Leadership and Team Building 2
DDA-617 Languages 3
Semester 8 (summer) DM-652 Design Management 2
DDA-643 Animation Studio 3
ADT-646 Group Creative Arts Therapy II 3 DM-654 Strategic Technology 2
Studio Elective 3
Advanced Seminar II in Creative DM-661 Financial Reporting and 2
Credit subtotal 15
Arts Therapy Analysis
Semester 2
ADT-660 The Psychology of Intergroup 3 Credit subtotal 9
Relations DDA-606B Graduate Seminar II 3
Semester 2
ADT-650 Adults 3 DDA-643 Animation Studio 3
DM-622 Advertising and Promotion 2
or
ADT-652 Developmentally Disabled DDA Elective 6
DM-633 Managing Innovation and 2
or Change Studio Elective 3
ADT-654 Children and Adolescents
DM-641 International Environment of 2 Credit subtotal 15
DT-675 Improvisation 3 Business
Semester 3
Credit subtotal 14 DM-651 Management Communications 2
DDA-653 Post-Production 3
Total credits required 56 Credit subtotal 8
DDA-660A Thesis I 6
Semester 3
Art History Elective 3
DM-634 Negotiating 1
DDA Elective 3
DM-653 Design Operations 2
Management Credit subtotal 15

DM-656 Directed Research 1 Semester 4

DM-662 Money and Markets 2 DDA-660B Thesis II 6

DM-673 Capstone Planning: 1 Liberal Arts Elective 3

Advisement DDA Elective 3
Credit subtotal 7 DDA Elective or Internship 3
Semester 4 Credit subtotal 15
DM-621 Strategic Marketing 2 Total credits required 60
DM-642 Business Law 2
DM-643 Intellectual Property Law 1
DM-663 Financing: Companies and New 2
Ventures
DM-671 Managerial Decision Making 1
Credit subtotal 8
­­Semester 5
DM-623 Building Entrepreneurial 2
Courage
DM-644 Design Futures: Theory and 2
Practice
DM-655 New Product Management and 2
Development
DM-672 Business Strategy 2
DM-674 Shaping the 21st Century: 2
Integrative Capstone
Credit subtotal 10
Total credits required 42
 Curricula 181

M.F.A. in Digital Arts (Interactive M.F.A. in Digital Arts M.F.A. in Fine Arts
Arts Concentration) (Digital Imaging Concentration)

Semester 1 Semester 1 Semester 1

DDA-606A Graduate Seminar I 3 DDA-606A Graduate Seminar I 3 PHIL-604 Aesthetics 3
DDA-610 Digital Arts Practicum 3 DDA-610 Digital Arts Practicum 3 Studio Major 3
DDA-617 Languages 3 DDA-617 Languages 3 Art Criticism/Analysis/History 3
DDA-622 Interactive Media I 3 DDA-645 Imaging Studio 3 Studio Electives 6
Studio Elective 3 Studio Elective 3 Credit subtotal 15
Credit subtotal 15 Credit subtotal 15 Semester 2
Semester 2 Semester 2 Studio Major 3
DDA-585 Interactive Installation 3 DDA-606B Graduate Seminar II 3 Art Criticism/Analysis/History 3
DDA-587 Art of Electronics 3 DDA-614 3-D Modeling 3 Liberal Arts 3
DDA-606B Graduate Seminar II 3 DDA-645 Imaging Studio 3 Studio Electives 6
DDA Elective 3 DDA Elective 3 Credit subtotal 15
Studio Elective 3 Studio Elective 3 Semester 3
Credit subtotal 15 Credit subtotal 15 Art Criticism/Analysis/History 3
Semester 3 Semester 3 FA-650A Thesis I 5
DDA-660A Thesis I 6 DDA-660A Thesis I 6 Studio Electives 8
DDA-646 Interactive Arts 3 DDA Electives 6 Credit subtotal 16
DDA Electives 3 Art History Elective 3 Semester 4
Art History Elective 3 Credit subtotal 15 FA-601 Thesis Statement I 2
Credit subtotal 15 Semester 4 FA-650B Thesis II 5
Semester 4 DDA-660B Thesis II 6 Studio Electives 7
DDA-660B Thesis II 6 Liberal Arts Elective 3 Credit subtotal 14
Liberal Arts Elective 3 DDA Elective 3 Total credits required 60
DDA Elective 3 DDA Elective or Internship 3
DDA Elective or Internship 3 Credit subtotal 15
Credit subtotal 15 Total credits required 60
Total credits required 60
182

School of Design

M.F.A. in Communications Design M.S. in Package Design

Semester 1 Semester 4 Semester 1

DES-710A Graduate Studio: Visual 3 DES-797 M.F.A. Thesis Production & 1 DES-618 Typography I 3
Language A Exhibition
DES-620 Visual Communications I 3
DES-720A Graduate Studio: Technology A 3 DES-799 M.F.A. Thesis II 3
DES-625 Visual Perception 3
DES-730A Graduate Studio: 3 Elective Credits 9
DES-677 Electronic Pre-press 3
Transformation Design A
DES-795A M.F.A. Thesis Resource A 1
Credit subtotal 12
DES-760A Graduate Seminar A 3
DES-795B M.F.A. Thesis Resource B 1
Semester 2
HD-641 Origins of Contemporary 3 or
Comm. Design DES-607 Portfolio Development DES-619 Typography II 3
Credit subtotal 15 Credit subtotal 15 DES-628 Structural Packaging Design 3
Semester 2 Total credits required 62 DES-630 Packaging: Graphics I 3
DES-741 Cross-Disciplinary Studio 3 Prerequisite Courses HA-601 History of Western Art 2
or
DES-751 Design Writing 3 DES-601 Design Process & Methodology 3
HD-662 History of Communications
or
DES-602 Design Technology 3 Design
DES-640 Design Management
DES-603 Design Ideation & Visualization 3 Credit subtotal 11
DES-791 Thesis Research 3
DES-604 Typography 3 Semester 3
Elective Credits 6
Credit subtotal 12 DES-629 Fragrance Packaging Research 3
Credit subtotal 15
Workshop
Semester 3
DES-631 Packaging: Graphics II 3
DES-710B Graduate Studio: Visual 3
DES-660 Directed Research 2
Language B
DES-680 Digital Design 3
DES-720B Graduate Studio: Technology B 3
Credit subtotal 11
DES-730B Graduate Studio: 3
Transformation Design B Semester 4
DES-760B Graduate Seminar B 3 DES-634 Marketing 3
or
DES-794A M.F.A. Thesis Resource A 1
DES-640 Design Management
DES-794B M.F.A. Thesis Resource B 1
DES-699A Thesis I 6
or
HMS-697A Graduate Thesis Writing Credit subtotal 9
DES-796 M.F.A. Thesis I 3 Semester 5
HD-505 History of Modern Design 2
Credit subtotal 17
or
HD-506 Concepts of Design
DES-699B Thesis II 3
Credit subtotal 5
Total credits required 48
prerequisite courses
DES-608 Design Procedures 3
DES-676 Computer Graphic Systems 3
 Curricula 183

M.I.D. in Industrial Design M.F.A. in Interior Design

Year 1 (Core) Semester 4 Semester 1

Semester 1 IND-667B   Global Research Seminar 2 INT-711 Interior Design Studio 6
or
IND-612A Industrial Design Technology I 3 INT-713 Ideation and Representation 3
IND-516   Prototypes II
(with Seminar)
INT-715 Light, Color, and Material 3
Take 3 credits from the industrial design core
IND-614A Graduate Color Workshop I 2
courses. INT-717 Interior Design Theory 3
(2-D)
INDC-620   Process/Product Studio 3 Credit subtotal 15
IND-672 3-D I 2
INDC-622   Interdepartmental Studio Semester 2
IND-694 Drawing I 2
or INDC-624   Design Methodology INT-722 Interior Design Options Studio 6
IND-515 Prototypes I
INDC-626   Design Strategies INT-724 Construction and Fabrication 3
IND-608 History of Industrial Design 2
INDC-628   Furniture Design INT-726 Environmental Technology and 3
Credit subtotal 11 Sustainable Elements
INDC-630   Exhibit Design
Semester 2 Theory Elective 3
INDC-632   Tabletop Design
IND-612B Industrial Design Technology II 3 Credit subtotal 15
INDC-660B   Directed Research II 2
(with Seminar)
Semester 3
  Elective 3
IND-614B Graduate Color Workshop II 2
(2-D) INT-731 Interior Design Options Lab 3
  Credit subtotal 10
or Elective (Graphics) INT-799A Thesis II 6
Year 3 (Thesis)
IND-673 3-D II 2 Elective 3
or Semester 5
IND-516 Prototypes II Elective 3
IND-515 Prototypes I 2
IND-543 Digital Ideation 2 or INT-9401 Internship 1
or IND-658 Special Project
Credit subtotal 16
IND-541 Solidworks I HD-668 Thesis Seminar 2
Semester 4
IND-615 Model Making 2 IND-699A Thesis I 3
or INT-799B Thesis II 6
IND-690 Industrial Design Workshop I Elective 2
INT-641 Professional Practice 2
IND-669 Business of Design for I.D. 2 Credit subtotal 9
Elective 3
Credit subtotal 13 Semester 6
Elective 3
Year 2 (Research) IND-699B Thesis II 3
Credit subtotal 14
Semester 3 Elective 3
Total credits required 60
IND-587 Sustainable Production 2 Credit subtotal 6
NYSED requirements
Methods Total credits required 60
*History of Interior Design I and II may be
IND-660A Directed Research I 2
required for students whose undergraduate
Take 3 credits from the industrial design core studies did not cover the subject matter. This
courses. will be determined by a review of an applicant’s
transcripts and an interview with the academic
IND-620 Process/Product Studio 3 advisor.
IND-622 Interdepartmental Studio
*Students accepted into the three-year M.F.A.
IND-624 Design Methodology program must complete the qualifying year
IND-626 Design Strategies classes before starting the program as described
above. The qualifying program is described under
IND-628 Furniture Design the M.S. as semesters 1 and 2.
IND-630 Exhibit Design
IND-632 Tabletop Design
IND-667A Global Research Seminar 2
or
IND-515 Prototypes I
Elective 2
Credit subtotal 11
184 Curricula

School of Information and

Library Science

M.S. in Library and Information Science M.S. in Library and Information Science: M.S. in Museums and Digital Culture
Library Media Specialist

Semester 1 Semester 1 Semester 1

LIS-651 Information Professions 3 LIS-651 Information Professions 3 LIS-679 Museums & Digital Culture: 3
Theory and Practice
LIS-652 Information Services and 3 LIS-653 Knowledge Organizations 3
Sources LIS-681 Community Building and 3
LIS-648 Library Media Centers 3
Engagement
Elective Credits 3
Credit subtotal 9
LIS-653 Knowledge Organization 3
Credit subtotal 9
Semester 2
Credit subtotal 9
Semester 2
LIS-652 Information Services and 3
Semester 2
LIS-653 Knowledge Organization 3 Resources
LIS-654 Information Technologies 3
LIS-654 Information Technologies 3 LIS-654 Information Technologies 3
LIS-655 Digital Preservation and 3
Elective Credits 3 ED-610 Child Development 3
Curation
Credit subtotal 9 LIS-691 Serving Children and Youth 3
Choose one course from the following: 3
with Disabilities
Semester 3
LIS-669 Digital Asset Management
Credit subtotal 12
Elective Credits 9
LIS-663 Metadata, Description and
Semester 3
Credit subtotal 9 Access
LIS-676 Literature and Literacy for 3
­­Semester 4 LIS-670 Cultural Heritage Access and
Children
Description
Elective Credits 9
LIS-677 Literature and Literacy for 3
LIS-663 Programming for Cultural
Credit subtotal 9 Young Adults
Heritage
Total credits required 36 Credit subtotal 6
LIS-647 Visual Resources Management
Semester 4
LIS-695 Photography Collections
LIS-690 Student Teaching: Elementary 3
Credit subtotal 9
ED-608 The Roots of Urban Education 3
Semester 3
Elective Credits 3
LIS-669 Digital Asset Management 3
Credit subtotal 9
LIS-630 Information Science Research 3
Semester 5
Elective 3
LIS-692 Student Teaching: Secondary 3
Credit subtotal 9
LIS-680 Instructional Technologies 3
Semester 4
Elective credits 3
Choose one from the following: 3
Credit subtotal 9
LIS-643 Information Architecture &
Total Credits required 45 Interaction Design

NYSED certification requirements LIS-608 Human Information Behavior

The following academic requirements must be LIS-644 Usability; Theory and Practice
fulfilled prior to applying for Initial Teaching
Elective 3
Certification. The courses or workshops may be
taken at Pratt or transferred from another post- LIS-698 Seminar/ Practicum with 3
secondary school or institution. Research Project
Course in Child/Adolescent Psychology 3 Credit subtotal 9
One semester of a foreign language 3 Total Credits required 36
Workshop in Child Abuse Prevention 0
Workshop in Life Safety and 0
Violence Prevention 0
 Curricula 185

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

Science/Digital Arts

Electives Semester 1 Semester 5

LIS-611 Information Policy LIS-651 Information Professions 3 LIS Elective Course (Electives 3
may be selected from lists of
LIS-657 Digital Humanities DDA-572 Electronic Music and Sound 3
required or recommended
or
LIS-658 Information Visualization courses.)
DDA-626 Audio for Digital Media
LIS-680 Instructional Technologies DDA-614 3-D Modeling 3
DDA-600 Digital Arts In Context 3
LIS-675 Museum and Library Education and DDA-660 Thesis I 3
DDA-610 Fundamentals of Computer 3
Outreach
Graphics Note: 6 credits of non-DDA courses required
LIS-629 Museums & Library Research at for the M.F.A. in DA degree are taken in the M.S.
DDA-616 Design for Interactive Media 3
Metropolitan LIS program from list of M.S. LIS electives with
Credit subtotal 15 asterisks (See List).
LIS-665 Projects in Digital Archives
Semester 2 DDA Electives (See List) 3
LIS-668 Projects in Moving Image and
Sound Archives LIS-652 Information Services and 3 Credit subtotal 18
Sources
Semester 6
LIS-653 Knowledge Organization 3
LIS Elective Course 3
DDA-500 Interactive Studio, or
LIS Elective Course 3
DDA-585 Interactive Installation 3
Electives may be selected from the below
DDA-622 Interactive Media 3 lists of required or recommended courses.

Credit subtotal 12 DDA-587 Physical Computing 3

Semester 3 DDA-660 Thesis II 3

LIS-654 Information Technologies 3 Credit subtotal 17

LIS Course from the list of 3 Total credits required 86

“Required Electives” (See List)
Subtotals by Degree:
DDA-620 Graphics Programming 3
M.S. in LIS 30
DDA-625 Video Editing 3
M.F.A. in DA 45
Credit subtotal 12
Elective Courses—M.F.A. in DA
Semester 4
Recommended Electives
LIS Course from the list of 3
DDA-587 Physical Computing 3
“Required Electives” (See List)
DDA-612 Digital Imaging 3
LIS Course from the list of 3
“Recommended Electives” DDA-614 3-D Modeling 3
(See List)
DDA-620 Graphics Programming 3
DDA-645 Digital Imaging Studio 3
Other Electives
DDA-650 Thesis Research 3
DDA-510 Artist Books in the Digital Age 3
Credit subtotal 12
DDA-513 3-D Lighting and Rendering 3
DDA-514 Storyboarding and Storytelling 3
DDA-584 ActionScript 3
DDA-624 3-D Computer Animation 3
DDA-630 Advanced Interactive Media 3
DDA-643 Digital Animation Studio 3
186 Curricula

Advanced Certificate in Archives Advanced Certificate in

Museum Libraries

Elective Courses—M.S. in LIS Semester 1 Four courses are needed in order to obtain
the Advanced Certificate in Museum Libraries.
Recommended Electives LIS-625 Management of Archives and 3
This certificate is for students who have already
Special Collections
Required Electives: 6 credits (two 3-credit graduated and obtained an MLS, whether from
courses) related to digital technology and Credit subtotal 3 Pratt-SILS or another accredited library school.
information; students select two courses from
Semester 2 1 course is required:
the following:
LIS Elective (See list below) 3 LIS-698 Seminar and Practicum 3
LIS-608 Human Information Behavior 3
Credit subtotal 3 Semester 1
LIS-632 Conservation and Preservation 3
Semester 3 LIS Elective from the following courses:
LIS-643 Information Architecture and 3
Interaction Design LIS Elective (See list below) 3 Curatorial:
LIS-665 Projects in Digital Archives 3 Credit subtotal 3 LIS-629 Museum Library Research 3
LIS-663 Metadata, Description and 3 Semester 4 LIS-632 Conservation and Preservation
Access
LIS-698 Seminar and Practicum 3 LIS-667 Art Librarianship
LIS-680 Instructional Technology 3
Credit subtotal 3 LIS-686 Performing Arts Librarianship
LIS-693 Digital Libraries 3
Total credits required 12 LIS-688 Map Collections
Recommended Electives: 12 credits (four 3-credit
LIS Elective courses: LIS-689 Rare Books and Special
courses). Note: “SS” indicates summer session.
Collections
Besides these elective courses, students may LIS-632 Conservation and Preservation
choose other electives such as Photography Col- LIS-697 Special Topics in Florentine Art
lections, Film and Media Collections, and Digital LIS-650 Principles of Records and Culture
Libraries. Management
Credit subtotal 3
LIS-605 Special Topics in Online Data- 3 LIS-663 Metadata
base Searching and Services Semester 2
LIS-665 Projects in Digital Archives
LIS-611 Information Policy 3 LIS Elective from the following courses:
LIS-669 Management of Electronic
LIS-618 Special Topics in the Art 3 Records Digital Technology:
World: Services and Sources LIS-686 Performing Arts Librarianship LIS-643 Information Architecture 3
LIS-621 Special Topics in Electronic 3 LIS-688 Map Collections LIS-665 Projects in Digital Archives
Collections and Sources (SS)
LIS-689 Rare Books and Special LIS-680 Instructional Technologies
LIS-623 Online Databases Humanities 3 Collections
and Social Sciences LIS-693 Digital Libraries
LIS-694 Film and Media Collections
LIS-629 Special Topics in Museum and 3 LIS-697 Special Topics in London/
Library Research LIS-695 Photography Collections E-Publishing

LIS-631 Academic Libraries and 3 LIS-634 Conservation LIS-651 Web Design

Scholarly Communication Credit subtotal 3
LIS-635 Archives Application
LIS-634 Abstracting and Indexing 3 Semester 3
LIS-655 Digital Preservation
LIS-641 Information Systems Analysis 3 LIS Elective from the following courses
LIS-668 Projects & Moving
LIS-642 Special Topics in Thesaurus 3 Museum Library Education and Outreach:
LIS-670 Cultural Heritage
Design and Construction
LIS-697 Special Topics in Research LIS-675 Museum and Library Education 3
LIS-686 Special Topics in Performing 3 Outreach
Local Histories
Arts Librarianship
LIS-697 Special Topics in Cultural Credit subtotal 3
LIS-696 Special Topics in Special 3
Heritage Conservation
Collections Institutes Semester 4

LIS-698 Practicum/Seminar 3 LIS-698 Seminar and Practicum 3

Credit subtotal 3
Total credits required 12
 Curricula 187

School of Liberal Arts

and Sciences

Advanced Certificate in Library and Advanced Certificate in Library M.S. in History of Art and Design
Information Studies Media Specialist

LIS-699 Independent Study 6 Semester 1 Semester 1

LIS Elective Courses (8) 24 LIS-648 Library Media Centers 3 HA-602 Theory and Methodology 3
(See Concentration Advisor) or
LIS-676 Literature and Literacy for 3
HA-650 Materials, Techniques, and
Credit subtotal 30 Children
Conservation
Total credits required 30 LIS-690 Student Teaching I 3
Art History (Film/Design
Credit subtotal 9 Electives) 3

Semester 2 Art History (Architecture 3

Electives)
LIS-677 Literature and Literacy for 3
Young Adults Credit subtotal 9

LIS-680 Instructional Technology 3 Semester 2

LIS-692 Student Teaching II 3 HA-602 Theory and Methodology 3

or
Credit subtotal 9
HA-650 Materials, Techniques, and
Total credits required 18 Conservation

NYSED certification requirements HA-650 Materials, Techniques, and

Conservation
The following academic requirements must be
fulfilled prior to applying for Initial Teaching Art History (Non-Western
Certification. The courses or workshops may be Electives) 3
taken at Pratt or transferred from another post-
Elective Credits 3
secondary school or institution.
Course in Child/Adolescent Psychology 3 Credit subtotal 9

One semester of a foreign language 3 Semester 3

Workshop in Child Abuse Prevention 0 Art History (Pre-Renaissance 3

Electives)
Workshop in Life Safety and 0
Violence Prevention Art History (Renaissance/
Baroque Electives) 3
Elective Credits 3
Credit subtotal 9
Semester 4
HA-605 Thesis 3
Art History (Renaissance/
Impressionism Electives) 3
Elective Credits 3
Credit subtotal 9
Total credits required 36
188 Curricula

M.S./M.S. in History of Art and Design/ M.S./M.F.A. in History of Art and M.A. in Media Studies
Library and Information Science Design/Fine Arts

Semester 1 Theory, Criticism, and History of Art, Design, Semester 1

and Architecture Requirements
LIS-651 Information Professions 3 HMS-650A Methodologies I 3
Semester 1
LIS-652 Information Services and 3 HMS-549A Encounters I 1
Sources HA-602 Theory and Methodology 3
All-Institute Electives 6
HA-602 Theory and Methodology 3 Studio Elective 3
Credit subtotal 10
or Studio Major 3
HA-650 Materials, Techniques, and Semester 2
Conservation Art Criticism/Analysis/History 3
HMS-549B Encounters II 1
Art History Elective 2 Liberal Arts Elective 3
All-Institute Electives 6
Credit subtotal 15
Credit subtotal 11
Semester 2 HMS-650B Methodologies II 3
Semester 2
HA-650 Materials, Techniques, and Credit subtotal 10
LIS-653 Knowledge Organization 3 Conservation 3 Semester 3
LIS-654 Information Technologies 3 Studio Elective 3 HMS-659A Thesis Workshop 4
HA-602 Theory and Methodology 3 Studio Major 3
or All-Institute Electives 6
HA-650 Materials, Techniques, and Art Criticism/Analysis/History 3
Credit subtotal 10
Conservation Liberal Arts Elective 3
Total credits required 30
Art History Elective 2 History of Art and Design 3
Elective
Credit subtotal 11
Credit subtotal 18
Semester 3
Semester 3
Art History Elective 6
FA-650A Thesis 1 5
Library Science Elective 6
Studio Elective 3
Credit subtotal 12
Art Criticism/Analysis/History 3
Semester 4
History of Art and Design 3
Art History Elective 6 Elective
Library Science Elective 6 Credit subtotal 14
Credit subtotal 12 Semester 4
Semester 5 FA-601 Thesis Statement I 2
Art History Elective 5 FA-650B Thesis II 5
Library Science Elective 6 Studio Elective 3
Credit subtotal 11 History of Art and Design 3
Elective
Semester 6
Credit subtotal 13
HA-605 Thesis 3
Semester 5
Credit subtotal 3
History of Art and Design
Total credits required 60 Electives 9
Credit subtotal 9
Semester 6
HA-605 Thesis 3
History of Art and Design 3
Elective
Credit subtotal 6
Total credits required 75
(For the M.S. degree—one elective in each of
the distribution requirement fields: Film/Photo/
Design, Architecture, Non-Western, Pre-
Renaissance, Renaissance through 18th Century,
19th/20th/21st Centuries)
 Curricula 189

M.F.A. in Writing Advanced Certificate in Museum Studies

Semester 1 Required core courses:

WR-600A Mentored Studies I 1 HA-560 Museology 3
WR-602A Writing Practices I 3 HA-610 Internship 6
WR-601 The Writing Studio 4 HA-610B Internship 6
Writing Elective 2 A choice of 6 elective credits from:
Credit subtotal 10 HA-600I Materials and Techniques 3
of Venice, Pratt in Venice
Semester 2
Program
WR-600B Mentored Studies II 1
ADE-524 Student Teaching in 2
WR-601 The Writing Studio 4 the Gallery

HMS Elective 3 LIS-629 Museum and Library 3

Research
Writing Elective 2
LIS-632 Conservation and 3
Credit subtotal 10 Preservation
Semester 3 ACM-621 Strategic Marketing 2
WR-601 The Writing Studio 4 ACM-622 Fundraising for the Arts 2
WR-602B Writing Practices II 3 and Culture

WR-603A Fieldwork Residency I 1 ACM-624 Arts and Cultural Education 2

Writing Elective 2 ACM-642 Nonprofit Law and 2

Governance
Credit subtotal 10
ACM-651 Finance and Financial 2
Semester 4 Reporting for Nonprofit
WR-601 The Writing Studio 4 Managers

WR-603B Fieldwork Residency II 4 Total credits required 21

WR-604A Final Thesis Project 1

Credit subtotal 9
Total credits required 39
190

Architecture Faculty Kutan Ayata Robert Cervellione

Adjunct Assistant Professor Visiting Instructor
M.Arch., Princeton; B.F.A., Architecture, B.Arch., Architecture, Roger Williams University;
Massachusetts College of Art, Boston; partner/ M.Arch., Architecture, Pratt Institute; principal
co-director of Young & Ayata, a practice of CERVER Design Studio, a multidisciplinary
Vito Acconci
dedicated to both building commissions and practice utilizing leading edge methodologies
Adjunct Associate Professor
experimental research and setting out to explore with advanced computational systems;
B.A., College of the Holy Cross; M.F.A.,Writers’
novel formal and organizational possibilities in actively involved in research that is focused
Workshop, University of Iowa; his design and
architecture and urbanism. Previously, Kutan on the advancement of digital fabrication
architecture come from another direction: a
worked at Reiser + Umemoto, where he was the and computational geometry; has worked for
background first in writing and then in art. By
lead project architect for the O-14 Tower in Dubai influential architects and designers creating work
the late ’80s his work had crossed over, and
and performed as a senior designer in a number of the highest quality that garners international
he formed Acconci Studio, whose operations
of projects and competition entries; awards: recognition; has also taught at SCI-Arc in Los
come from computer thinking and mathematical
Suzanne Kolarik Underwood Thesis Prize. Angeles and the University of Michigan.
and biological models. Acconci Studio treats
architecture as an occasion for activity and
making spaces fluid, changeable, and portable. Alexandra Barker Steven Chang, AIA
The Studio is currently working on a three-story Adjunct Assistant Professor; Coordinator, Adjunct Assistant Professor
building in Milan, a bridge-system and park near M.Architecture B.Arch., University of California at Berkeley; Eisner
Delft, and an amphitheater in Stavanger, and has B.A., Harvard University; M.Arch., Harvard Prize in Architecture; a senior associate at Polshek
other projects in Toronto and Indianapolis. University; has coordinated the M.Arch program Partnership Architects, who has worked as a senior
since 2001; grants: (with Catherine Ingraham) designer/project architect on numerous cultural
NCARB GRANT to create a seminar integrating and institutional projects, including the New York
Nick Agneta, AIA
practice and the academy; (with Nico Kienzl) Botanical Garden and the Brooklyn Museum; also
Adjunct Associate Professor
FIPSE/CSDS grant to integrate sustainable has worked in construction as a carpenter and
B.Arch., Cooper Union; R.A., New York State;
practices into the GAUD curriculum; is a traveled extensively while working at architecture
member, Queens Chapter American Institute of
principal of Barker Freeman Design Office, a offices in Portugal, Germany, and Korea.
Architects; architect and construction manager
New York practice employing material research,
in the NYC metropolitan area; awards and honors:
Suffolk County 9/11 Memorial Competition, First
fabrication technologies, and system design Cristobal Correa
as generative tools in the development of Assistant Professor
Place; Alabama School of Fine Arts Competition,
multivalent spatial solutions. B.S.C.E., Universidad de Chile; M.S.C.E.,
Second Place; achieved licensure with New York
State in 1986; has taught at New York University Massachusetts Institute of Technology; associate
and New York Institute of Technology and is the Stéphanie Bayard principal, Buro Happold, New York office; joined
technical director for Nelligan White Architects Adjunct Assistant Professor Buro Happold in 1998 and now manages teams in
in New York, N.Y.; currently teaches professional M.S., Advanced Architectural Design, Columbia the structural engineering division, dealing with,
practice and is IDP coordinator at Pratt. University; Dipl. Arch. Paris La Villette; teaches among other things, tension structures, long-
design studio and urban design seminars; span structures, and façades; notable projects
previously taught at Ohio State and Rensselaer include the Crystal Bridges Museum of American
Carlos Arnaiz
Polytechnic Institute; founded aa64 with Phillip Art in Bentonville, Arkansas; the Arena das Dunas
Adjunct Assistant Professor
Anzalone, as an experimental practice focusing in Natal, Brazil; and the Roppongi Canopies in
B.A., Philosophy, Williams College; M.Arch.,
on design, digital fabrication, and material Roppongi, Japan; serves as a member of the
Harvard University; an associate partner at
construction in the United States and Europe; board of the Structural Engineers Association of
Stan Allen Architect; previously worked for
their work has been published and exhibited at New York.
Office dA in Cambridge, Field Operations and
the AIA NY Center for Architecture.
Bumpzoid Architects in New York, and as a
founding principal for RUF studio in New York. Theo David
His experience at these offices has ranged from Professor
high-level strategic planning for cities around Meta Brunzema B.Arch., Pratt Institute; M.Arch., Yale University;
the world to project design and construction Adjunct Associate Professor practicing architect in New York City and Nicosia,
documentation on commercial and residential M.Arch., Columbia University; principal of Meta Cyprus; studied under Paul Rudolph at Yale;
projects. At Field Operations, he served as Brunzema Architect P.C., an award-winning tenured professor, former faculty president,
project manager and lead designer on the architecture and urban design practice that and chair of graduate architecture; has been
transformation of a 650-acre plot of land in the addresses contemporary spatial, environmental, awarded the 2009 Cyprus Architects Association
middle of San Juan, Puerto Rico, into the island’s and socio-political challenges in innovative ways; Prize in Architecture, the 2001 Cyprus State
largest and most important Botanical Garden. the firm specializes in carbon-neutral design; Architecture Award, the New York City Bard Honor
He led the development of all aspects of the current projects include “Park Avenue Market Award, NYSAIA Design Award, and was nominated
project including the creation of an expanded Mile” in N.Y.C. and “River Pool” in Beacon, N.Y. for the Mies van der Rohe Award; his work as
river corridor along one of San Juan’s principal Brunzema is a LEED(R) accredited professional. an architect/educator has been exhibited and
waterways. His academic research has focused published worldwide.
on the ongoing relationship between ornament
and structure in design. While at Harvard, he
collaborated with Peter Rowe on a number
of research projects investigating innovative
solutions in the planning and management of
contemporary urban regions. He has served on
juries at various institutions in the U.S.A. including
Harvard, Princeton, and the University of
Pennsylvania, where he taught advanced studios
in the Landscape Architecture Program from
2002 to 2004.

Manuel De Landa
Adjunct Professor
B.F.A., School of Visual Arts; has authored five
philosophy books: War in the Age of Intelligent Ma-
chines (1991), A Thousand Years of Nonlinear History
(1997), Intensive Science and Virtual Philosophy
(2002), A New Philosophy of Society (2006), and
Philosophy, Emergence, and Simulation (2009); also
teaches at the University of Pennsylvania, SCI-Arc
in Los Angeles, and holds the Gilles Deleuze chair
at the European Graduate School in Switzerland.
Deborah Gans
Professor
B.A., Harvard University; M.Arch., Princeton
University; design work has been published
and exhibited at IFA Paris, RIBA London, the
Guggenheim Museum, and the Venice Biennial;
currently engaged in a community-based project
in New Orleans funded initially by HUD and in a
master plan for The Graham School, Hastings-
on-Hudson, New York; publications include The
Le Corbusier Guide, now in its third edition; The
Organic Approach; and, most recently, Extreme
Sites: Greening the Brownfield.
James Garrison
Adjunct Associate Professor
B.Arch., Syracuse University; founder of Garrison
Architects, a firm founded in 1991 and located in
DUMBO, Brooklyn; since its inception, the firm
has risen to the forefront of modular building
and sustainability innovation; working across
a diverse range of project types, from private
residential to large-scale public work, Garrison
Architects pairs a research-driven approach to
design with highly refined modernist aesthetics;
the firm collaborates with designers, engineers,
and manufacturers to produce architecture that
responds to economic, cultural, technical, and
environmental challenges.
Erik Ghenoiu
Adjunct Associate Professor
B.A. Geography (cultural), Clark University,
M.A. History of Art and Architecture, Harvard
University; M.S. Geography (urban), University
of Wisconsin at Madison; Ph.D. Architecture,
Landscape Architecture, and Urban Planning,
Harvard University; works on architecture, design,
and urban planning of the 19th and 20th centuries,
with particular focus on Germany and the United
States; has taught at Pratt, Parsons, and the Uni-
versity of Wisconsin at Madison; has served as a
fellow of several research institutes on both sides
of the Atlantic and is currently involved in found-
ing a new institute in Berlin; currently a co-editor
and faculty coordinator for GAUD’s
Tarp publication.
Jose Gonzalez
Visiting Assistant Professor
M.S. Advanced Architectural Design, Columbia
University; cofounder and principal, SOFTlab, a
design studio.
Architecture Faculty
Catherine Ingraham
Professor
B.A., St. John’s College; M.A., Ph.D., The
Johns Hopkins University; chair of Graduate
Architecture, Pratt Institute, 1999–2005; editor,
Assemblage, 1991–98 and (with Marco Diani)
of Restructuring Architectural Theory; author,
Architecture, Animal, Human; Architecture and
the Burdens of Linearity; and over 50 published
articles on architectural theory and history;
recipient of New York State Council on the Arts
grant, Canadian Center for Architecture research
fellowship, Graham Foundation grants, NEA grant,
SOM research fellowship, Chicago, and four
MacDowell Colony residencies; winner, Museum
of Women’s History design competition; has given
invited lectures, seminars, and symposia at over
60 national and international universities.
Hina Jamelle
Visiting Assistant Professor
B.A., Denison University; M.Arch., University
of Michigan; co-director and a principal architect
at Contemporary Architecture Practice with
Ali Rahim.
Robert Kearns
Visiting Assistant Professor
B.A.E., M.A.E., Penn State University; educational
background emphasized integration of building
engineering disciplines with architectural design
and sustainability; has worked in construction in
Singapore and Germany; joined Buro Happold’s
New York office in 2003 as a graduate engineer
and is currently an associate; his work with Buro
Happold has explored various areas of building
power systems, energy-efficient lighting design, and
alternative energies; experience with international
projects and architects has familiarized him
with a vast array of innovative design and
construction practices.
Karel Klein
Adjunct Associate Professor
B.S. Civil Engineering, B.S. Architecture, University
of Illinois at Urbana-Champaign; M.Arch.,
Columbia University; co-director of Ruy Klein;
investigating craft, precision, and the evolution of
design expertise in the digital age, she continues
to foreground the persistence of the designer
in contemporary culture; publications include
GA Houses, The New York Times Magazine, and
Architectural Record; registered architect in
New York State.
Carisima Koenig
Visiting Instructor
B.A., Drake University; M.Arch., Iowa State
University; senior associate and LEED-accredited
professional practicing architecture at EYP
Architects & Engineers; specializes in the
renovation of modernist icons; her research
interests include the evolving relationships
between architecture, urbanism, and security
from modernism to contemporary practices; her
work also addresses gender, diversity, and politics
in architecture.
191
Mehmet Ferda Kolatan
Visiting Assistant Professor
M.S. Advanced Architectural Design, Columbia
University; Arch. Dipl. (with distinction), RWTH
Aachen; founded SU11 architecture+design
with Erich Schoenenberger as an experimental
architecture practice in New York City; firm has
since received national and international acclaim
and has been published widely; awards include
Lucille Smyser Lowenfish Memorial Prize and
the Honor Award for Excellence in Design,
Columbia University.
Sulan Kolatan
Adjunct Professor
Diploma, Technische Hochschule Aachen
Universitat; M.S., Architecture and Building
Design, Columbia University; founded KOL/MAC
Studio along with William MacDonald, in New York
City in 1988. Kolatan and MacDonald have taught
architecture as visiting professors at Barnard
College, Ohio State University, the University
of Pennsylvania, Parsons School of Design,
University of Virginia, the Institute of Advanced
Architectural Studies in Basel, Switzerland,
and Venice, Italy, and Columbia University. The
Kolatan/MacDonald Studio primarily works with
strangely shaped structures, of housing and
apartment blocks. Dubbed “Vertical Urbanism,”
the apartment structures are divided into pods
that structurally conform to the addition and
removal of other pods.
Craig Konyk
Adjunct Associate Professor
B.Arch., Catholic University; M.Arch., University
of Virginia; founder of Konyk Architecture, a self-
described creative architectural design studio,
a characteristic that is evident in all of its work,
ranging from the smaller-scale designs, such as
its Hybrid House, to its larger-scale proposals for
the Museum of Polish History; the firm creates
eye-catching structures that are rooted on the
contextual underpinnings of the site, supported
by their studies of sustainability, or constitute a
redefinition of the public realm; the firm has been
awarded two NYFA fellowships, two ACSA Design
Awards, six AIA New York Chapter Design Awards,
and has exhibited work at Parsons School of
Design, the Architectural League of New York, and
the Storefront for Art and Architecture.
Christopher Kroner
Adjunct Assistant Professor
B.S., Architecture Design, University of Virginia;
M.Arch., Columbia; senior designer at Dean/Wolf
Architects in New York City; teaches courses
in a digital design sequence, focusing on
fundamental and advanced techniques in
modeling, simulation, visualization, analysis,
scripting, and fabrication; has taught at Columbia
University GSAPP, the City College of New York,
the University of Virginia, and at the National
Building Museum in Washington, D.C.
192
Sameer Kumar
Adjunct Assistant Professor
B.Arch., CEPT, Ahmedabad; M.Arch., University
of Pennsylvania; LEED-accredited professional;
currently at KPF Associates, working on projects
in Hong Kong, China, and India; previously worked
for Heintges as building envelope consultant
with Studio Daniel Libeskind, Santiago Calatrava,
Polshek Partnership, and other New York
practices; worked for FTL Design Engineering
Studio and specialized in long-span, lightweight,
and deployable structures; is a visiting critic at
Columbia and Parsons.
Sanford Kwinter
Professor
B.I.S. University of Waterloo/University of
Toronto; D.E.A., Université de Paris; M.A., M.Phil.,
Ph.D., Columbia University; founder/editor
ZONE 1984-2001; co-director, Master of Design
Studies, Harvard University Graduate School
of Design, 2008-2014; author: Architectures of
Time: Toward a Theory of the Event in Modernist
Culture; Mutations: the American City; Far From
Equilibrium: Essays on Technology and Design
Culture; Requiem: For the City at the End of the
Millennium; recipient of Arts and Letters Award,
American Academy of Arts and Letters, 2013.
Thomas Leeser
Associate Professor
Dipl. Ing. Architect; founder and principal, Leeser
Architecture, an internationally acclaimed studio,
known as a pioneer in design that specializes
in the inclusion of new media and digital
technologies in architecture.
Carla Leitao
Adjunct Associate Professor
M.S. Advanced Architectural Design, Columbia
University; Architecture School of Lisbon;
architect (licensed in Europe), designer, and
writer; co-founder, AUM Studio (architecture
and multimedia) and Umasideia (architecture
and engineering) in Lisbon; projects include
“Visibility” (UIA Celebration of Cities competition,
2003, Lisbon, Portugal); “Suture,” a multimedia
installation; MAK Vertical Garden (competition by
invitation, 2006); awards include the Akademie
Schloss Solitude Fellowship, 2005.
John Lobell
Professor
B.Arch., M.Arch., University of Pennsylvania;
interests include architecture, cultural theory,
consciousness, Buddhism, information theory, and
generative genomics; recipient of several grants,
including one from the Graham Foundation;
author of numerous articles and several books,
including Between Silence and Light: Spirit in the
Architecture of Louis I. Kahn (Shambhala, 2008);
consults on metal fabrication with Milgo/Bufkin;
director of research, Timeship.
Architecture Faculty
Ariane Lourie-Harrison
Adjunct Associate Professor
A.B., Princeton University; M.Arch., Columbia
University; Ph.D. (modern architecture), Institute
of Fine Arts, New York University; registered
architect; principal and co-founder of Harrison
Atelier: recent projects include a theater-
pavilion at Architecture OMI (Ghent, NY, 2014)
and installation-performances VEAL (The Invisible
Dog Art Center,2013), Pharmacophore (Storefront
for Art and Architecture, 2011), and Anchises
(Bournemouth, Bristol, and New York, 2010); has
been recognized for innovative installation design
(World Stage Design, 2013); editor of an anthology,
Architectural Theories of the Environment:
Posthuman Territory (Routledge, 2013) and
contributed to a number of architectural journals
(Log, Perspecta, Speciale Z, Volume); received
fellowships from the AIA/AAF, the Marandon
Foundation, and the Mellon Foundation; has
taught at Yale and MIT.
Peter Macapia
Adjunct Assistant Professor
B.F.A., Rhode Island School of Design; M.T.S.,
Harvard University; M.A., M.Phil., Ph.D., Columbia
University; his design focuses on problems of
computation, mathematics, the geometry and
topology of matter/energy relations, and problems
of urban density; publications include Log, Monitor,
Spread, and The Cambridge Journal of Architecture;
recipient of grants for research in sustainability
and design from Columbia University and Pratt
Institute; has taught and lectured internationally in
New York (Columbia and Pratt), Los Angeles (SCI-
Arc), Paris (ESA, Malaquais), Mexico City (UNAM),
and Tokyo (TUS).
William MacDonald
Chair of Graduate Architecture and
Urban Design
M.Sc. Architecture and Urban Design, Columbia
University; B.Arch., Syracuse University; attended
the Architectural Association in London;
director, KOL/MAC, LLC, Architecture + Design,
co-founded with Sulan Kolatan; has taught as
professor, distinguished visiting professor, or
visiting chair at the University of Virginia (as acting
chair); Columbia University; the University of
Pennsylvania; Southern California Institute for
Architecture; The Ohio State University; City
University of New York; University of California
at Berkeley; and Pratt Institute; academic and
professional honors and awards include the
“40 under 40” award, Progressive Architecture
awards, AIA design awards; represented the
U.S. in the U.S. national pavilion and for the
international segment of the International
Architecture Bienniale in Venice; via KOL/MAC,
has collaborated with various leading companies,
including DuPont, AI Implant of Biotech
Industries, Alias, Merck Chemicals, Autodesk,
C-TEK, ARUP AGU, DitlevFilms, Inc.; exhibited at
MoMA, SFMoMA, Cooper-Hewitt National Design
Museum, Centre Georges Pompidou, Barbican Art
Gallery, Architekturmuseum, Mori Contemporary
Art Museum, 1st International Architecture
Biennial in Beijing, VITRA, Yale University, and the
FRAC; publications include The New York Times;
The Washington Post, CNN, Phaidon Press, Rizzoli,
GA Houses, AD Magazine, Architectural Digest,
ACTAR, Domus, Lotus International, Architectural
Record; co-author, Lubricuous Architectures with
Kari Andersen; a comprehensive monograph titled
KOL/MAC WORK BOOK is currently in preparation
for publication.
Radhi Majmuder
Adjunct Assistant Professor
B.A., Economics, M.S., Civil Engineering,
Columbia University; M.B.A., Global Executive,
London Business School; vice president of
an internationally recognized and innovative
structural engineering firm in charge of U.S. and
Caribbean operations from its office in New
York; licensed professional engineer with over
18 years of experience; has worked for various
design consultancies that specialize in the design
of buildings, bridges, marine and coastal works,
and industrial and environmental structures; has
directed many projects from the conceptual
planning and proposal stages through the entire
design, engineering, and construction cycle,
including staffing and facilities start-up.
Rosalinda Malibiran
Visiting Assistant Professor
B.Arch. Design, University of Florida; M.Arch.,
Columbia University; a visual effects artist working
for Blue Sky Studios, who has worked on feature
films such as Rio, IceAge: Dawn of the Dinosaurs,
Horton Hears a Who, IceAge: The MeltDown,
and Robots.
Elliott Maltby
Adjunct Associate Professor
B.A., Philosophy, Kenyon College; Master of
Landscape Architecture, University of California
at Berkeley; interests include how art and
design contribute to the success of the urban
experiment; current research focuses on
temporal and situational spatiality; partner,
thread collective, a multidisciplinary design
firm that explores the seams between building,
art, and landscape; a broadly defined notion of
sustainability, existing site characteristics, and
sensory experience further inform the firm’s
design process; has worked for five years with
Mary Miss, one of the most influential artists in the
public realm.

Deborah McGuinness
Visiting Associate Professor
B.S., Civil Engineering, Villanova University; joined
Robert Silman Associates in 1994 and was named
an associate with the firm in 2001; works on a
range of building types, from private residences to
university laboratories; has extensive experience
with new construction and renovation projects
for primary and secondary schools in both the
public and private sector; Professional Engineer
registered in New York State; has been on the
Board of Directors for SEAoNY as a director and
secretary and is currently active in the education
and scholarship committees.
Benjamin Martinson
Visiting Instructor
Bachelor of Music, University of Colorado,
Boulder; M.Arch., Pratt Institute; worked for the
New York office of Buro Happold as an intern;
spent two years working for KOL/MAC, LLC, a
digital design practice based in New York and
Istanbul; currently is working on starting his
own design firm with small projects in Portland,
Oregon, and Boulder, Colorado.
Bruce Nichol, ARB, RIBA
Visiting Professor
B.A. (Hons), Huddersfield Polytechnic; Graduate
Diploma, Architecture, Oxford Brookes University;
a licensed architect in the U.K. and a founding
partner of Front Inc.; formerly with Foster and
Partners and the Renzo Piano Building Workshop;
has over 25 years of architectural experience;
an exponent of protean practice and design
innovation, his built work includes the Morgan
Library and Museum, and the New York Times
Building, New York, Perez Art Museum, Miami, and
the Kimbell Art Museum expansion in Fort Worth.
Signe Nielsen
Adjunct Professor
B.A., Smith College; B.S.L.A., City College School
of Architecture; B.S., Pratt Institute; fellow,
American Society of Landscape Architects;
principal, Mathews Nielsen Landscape Architects
PC since 1979; vice president, N.Y.C. Public
Design Commission; recipient of more than two
dozen national design awards; co-author of
three books—High Performance Infrastructure
Guidelines; Cool and Green Roof; and Sustainable
Site Design—and author of Sky Gardens.
Philip Parker
Assistant Chair of Graduate Architecture and
Urban Design, Adjunct Associate Professor
B. Design in Architecture, University of Florida;
M.Arch., Yale University; principal, Phillip Parker
Architects, a practice that spans scales from
furniture and building components to urban
parks; his projects on program, matter, city,
and texts have been exhibited, published, and
reside in the permanent collection of the San
Francisco Museum of Modern Art; he has lectured
on architecture and media and taught design
studios and media theory practice at a number
of schools, including Columbia University GSAPP,
as coordinator of core visual studies; Princeton
University; The Ohio State University; and RISD.
Architecture Faculty
Brian Ringley
Visiting Assistant Professor
B.Arch., M.Arch., University of Cincinnati; design
technology platform specialist at Woods Bagot
leading global efforts on computation, fabrication,
and building analysis; has also taught at the
University of Cincinnati and the City University
of New York and led workshops at Rensselaer
Polytechnic Institute, +FARM, and ACADIA with a
focus on data-driven parametric workflows for
automated manufacturing.
David Ruy
Associate Professor
B.A., St. John’s College; M.Arch., Columbia
University; director, Ruy Klein, an award-winning
design office in New York City; firm’s work has
been extensively published and exhibited and
the firm is recognized as one of the leading
speculative practices in architecture today;
Ruy has previously held positions at Columbia,
Princeton, and was the director of research of
The Nonlinear Systems Organization (NSO), a
transdisciplinary research organization, at the
University of Pennsylvania; his research examines
design topics at the intersection of architecture,
nature, and technology; the work of his practice
has recently been exhibited at the Museum of
Modern Art, the Rhode Island School of Design,
and at Artists Space, New York City.
Richard Scherr
Director, Facilities Planning, Adjunct Professor
B.Arch., Cornell University; M.S. Architecture,
Columbia University; published in the Journal of
Architectural Education; Architectural Record;
Progressive Architecture; Journal of the American
Planning Association; Competitions; Places
Magazine; Space; Octagon Architecture; Indian
Architect and Builder; and Asian Thought and
Society; author of The Grid: Form and Process
in Architectural Design; finalist, Oklahoma City
Bombing Memorial Competition; Eidlitz Traveling
Fellowship; registered architect in New York
and Texas.
Erich Schoenenberger
Adjunct Associate Professor
B. Environ. Design, Technical School of Novia
Scotia; M.S. Advanced Architecture and Design,
Columbia University; co-founded (with Ferda
Kolatan) su11 architecture+design in New York
City in 1999; received the Swiss National Culture
Award for Art and Design and the ICFF Editors
Award for Best New Designer; 2006 finalist for the
prestigious Chernikhov Prize; 2007 chosen finalist
for the MoMA/PS1 YAP competition.
193
Paul Segal
Adjunct Professor
B.A., Princeton University; M.F.A., Princeton
University; founding partner of the internationally
published firm, Paul Segal Associates Architects,
LLP, who were recipients of 17 AIA Awards
for Design Excellence; past president of the
AIA/NYC and of the Center for Architecture
Foundation; author of the textbook, Professional
Practice: A Guide to Turning Designs into
Buildings (W.W. Norton, 2006); also an adjunct
professor and director of practice at Columbia’s
Graduate School of Architecture; holds an
NCARB certificate and is a licensed architect
in seven states.
Benjamin Shepherd
Adjunct Associate Professor
B.S.C., Environmental Science, Northland College;
M.A., Environmental Management, Yale School
of Forestry; LEED-accredited professional
and planning practice leader at international
environmental design consultant firm Atelier
10, with extensive experience with urban
ecology, renewable energy systems, and green
development assessments; has managed the
development of sustainability guidelines for a wide
range of master plans on a multitude of sectors
including commercial, university, government, and
transportation; he also teaches core courses on
environmental design and building services at Yale
School of Architecture.
Maria Sieira
Adjunct Assistant Professor
B.A., Yale University; M.Arch., University of
Pennsylvania; coordinates the GAUD Housing
Studio: Live, Work, Play and the History/Theory
sequence; teaches architecture design studios
that focus on green urban projects as well as
seminars on film and on installation art; founded
Xoguete Architecture in 2007; registered
architect in New York; has worked on the Cidade
da Cultura in Santiago de Compostela, Spain,
while at Eisenman Architects in New York and
on the Philadelphia Airport while at DPK&A in
Philadelphia ; also one of the founding members
of the Compostela Architecture program in
Santiago de Compostela, Spain.
Henry Smith-Miller
Adjunct Professor
B.A., Princeton University; M.Arch, University
of Pennsylvania; former Fulbright scholar in
architecture in Rome, Italy; received the Brunner
Award and the New York Chapter Gold Medal
for Excellence in Design with his partner, Laurie
Hawkinson; significant projects include the
Corning Museum of Glass and the North Carolina
Museum of Art Outdoor Cinema and Amphitheater
and Master Plan; recently completed projects
include the Land Ports of Entry at Champlain and
Massena, New York, and a mid-rise, multi-unit
condominium complex in Manhattan; currently
the design architect for the new River Building
for the Hospital for Special Surgery and the Bond
Hotel tower, both in New York City.
194
Roland Snooks
Adjunct Assistant Professor
B.Arch., RMIT University; B. App.Sci.Environ.
Design, University of Canberra; M.S. Advanced
Architecture and Design, Columbia University;
a design director of Kokkugia, he has previously
directed design studios and seminars at UCLA,
SCI-Arc, Pratt Institute, RMIT University, and
the Victorian College of the Arts; his current
teaching and research interests focus on
emergent design processes involving genetic
and agent-based techniques; his ongoing design
research into emergent design processes has
developed behavioral animation techniques for
the generation of architectural form; design
experience includes working in the offices of
Reiser + Umemoto; Kovac Architecture; Minifie
Nixon; and Ashton Raggatt McDougall.
Michael Szivos
Adjunct Assistant Professor
B.Arch., Louisiana State University; M.S. Advanced
Architectural Design, Columbia University; curator
of the GAUD Exihibtion; founder (in 2004) of
SOFTlab, a new media and digital design practice
specializing in the intersection of video, space,
interactivity, and branding through digital media
and emerging production; SOFTlab designed
and produced the portfolio website for the
GAUD; SOFTlab has participated in many group
exhibitions and produced digital video and
interactive media for MoMA, The Metropolitan
Museum of Art, Van Alen institute, and The New
York Times, as well as work for various artists,
architects, and designers; recipient of the Honor
Award for Excellence and Award in Visual Studies
at Columbia University.
Jeffrey Taras
Visiting Instructor
B.A., M.A., University of Michigan Ann Arbor;
M.Arch., Columbia University; currently a partner
at both Associated Fabrication and 4-pli Design
in Brooklyn, New York; professional focus has
been on bridging the gap between design and
digital fabrication.
Maria Ludovica Tramontin
Adjunct Assistant Professor
B.S., Civil Engineering, University of Cagliari, (Italy);
M.S., Columbia University GSAPP; Ph.D., University
of Cagliari (Italy); registered engineer in Italy; in
2004, cofounded ASPX, an architectural research
practice based in Italy/UK; the firm’s work has
received several awards, most recently First Prize
in a competition for a 600,000-square-foot
general hospital with a project that engages the
latest trends in renewable energy sources; while
at NOX she worked on built projects: Son-O-
house, an interactive artwork in The Nether­lands,
and Maison Folie, a cultural center in Lille.
Nanako Umemoto-Reiser
Adjunct Professor
B.A., Osaka University of Art, Japan; B.Arch.,
Cooper Union; a principal and co-founder
of Reiser + Umemoto, an internationally
recognized multidisciplinary design firm, which
has built projects at a wide range of scales: from
furniture design, to residential and commercial
structures, up to the scale of landscape, urban
design, and infrastructure; she has previously
taught at various schools in the U.S. and Asia,
including Columbia University, the University
of Pennsylvania, Hong Kong University, Kyoto
University, and the Cooper Union; and she has
lectured at various educational and cultural
institutions throughout the United States,
Europe, and Asia.
Jason Vigneri-Beane
Adjunct Associate Professor; Coordinator,
M.S., Architecture
B.P.S.Arch., SUNY at Buffalo; M.Arch., Iowa State
University; coordinator, M.S. Architecture; media
co-coordinator, M.Architecture; coordinator,
Graduate Architecture in Rome Program; founder
and principal, Split Studio; LEED-accredited
professional, who has lectured, taught, exhibited,
published in the United States, Europe, and Asia.
John Christopher Whitelaw
Visiting Instructor
B.S., Georgia Institute of Technology; M.Arch.,
Columbia University; co-coordinator of digital
media; director of research and development at
Evans & Paul, a global leader in the production of
custom architectural interiors; he has lectured
and taught in the United States and Europe; his
work seeks to accelerate the bridging between
computation and construction; while at Evans and
Paul, he has constructed a number of high profile
projects for a list of architects, including DS+R,
Herzog 7 de Meuron, Richard Meier, Asymptote,
and KOL/MAC.
Urban Design Faculty
Vito Acconci
Adjunct Associate Professor
B.A., College of the Holy Cross; M.F.A.,Writers’
Workshop, University of Iowa; his design and
architecture come from another direction: a
background first in writing and then in art. By
the late ’80s his work had crossed over, and
he formed Acconci Studio, whose operations
come from computer thinking and mathematical
and biological models. Acconci Studio treats
architecture as an occasion for activity and
making spaces fluid, changeable, and portable.
The Studio is currently working on a three-story
building in Milan, a bridge-system and park near
Delft, and an amphitheater in Stavanger, and has
other projects in Toronto and Indianapolis.
Carlos Arnaiz
Adjunct Assistant Professor
B.A., Philosophy, Williams College; M.Arch.,
Harvard University; an associate partner at Stan
Allen Architect; previously worked for Office dA
in Cambridge, Field Operations and Bumpzoid
Architects in New York, and as a founding principal
for RUF studio in New York. His experience at these
offices has ranged from high-level strategic planning
for cities around the world to project design and
construction documentation on commercial and
residential projects. At Field Operations, he served
as project manager and lead designer on the
transformation of a 650-acre plot of land in the
middle of San Juan, Puerto Rico, into the island’s
largest and most important Botanical Garden. He
led the development of all aspects of the project
including the creation of an expanded river corridor
along one of San Juan’s principal waterways. His
academic research has focused on the ongoing
relationship between ornament and structure in
design. While at Harvard, he collaborated with
Peter Rowe on a number of research projects
investigating innovative solutions in the planning
and management of contemporary urban regions.
He has served on juries at various institutions
in the U.S.A. including Harvard, Princeton, and
the University of Pennsylvania, where he taught
advanced studios in the Landscape Architecture
Program from 2002 to 2004.

Stéphanie Bayard
Adjunct Assistant Professor
M.S., Advanced Architectural Design, Columbia
University; Dipl. Arch Paris La Villette; teaches
design studio and urban design seminars;
previously taught at Ohio State and Rensselaer
Polytechnic Institute; founded aa64 with Phillip
Anzalone, as an experimental practice focusing
on design, digital fabrication, and material
construction in the United States and Europe;
their work has been published and exhibited at
the AIA NY Center for Architecture.
Meta Brunzema
Adjunct Associate Professor
M.Arch., Columbia University; principal of Meta
Brunzema Architect P.C., an award-winning
architecture and urban design practice that
addresses contemporary spatial, environmental,
and socio-political challenges in innovative ways;
the firm specializes in carbon-neutral design;
current projects include “Park Avenue Market
Mile” in N.Y.C. and “River Pool” in Beacon, N.Y.
Brunzema is a LEED® accredited professional.
Jose Gonzalez
Visiting Assistant Professor
M.S. Advanced Architectural Design, Columbia
University; cofounder and principal, SOFTlab, a
design studio.
Mehmet Ferda Kolatan
Visiting Assistant Professor
M.S. Advanced Architectural Design, Columbia
University; Arch. Dipl. (with distinction), RWTH
Aachen; founded SU11 architecture+design
with Erich Schoenenberger as an experimental
architecture practice in New York City; firm has
since received national and international acclaim
and has been published widely; awards include
Lucille Smyser Lowenfish Memorial Prize and the
Honor Award for Excellence in Design, Columbia
University.
Sulan Kolatan
Adjunct Professor
Diploma, Technische Hochschule Aachen
Universitat; M.S., Architecture and Building
Design, Columbia University; founded KOL/MAC
Studio along with William MacDonald, in New York
City in 1988. Kolatan and MacDonald have taught
architecture as visiting professors at Barnard
College, Ohio State University, the University of
Pennsylvania, Parsons The New School of Design,
University of Virginia, The Institute of Advanced
Architectural Studies in Basel, Switzerland,
and Venice, Italy, and Columbia University. The
Kolatan/MacDonald Studio primarily works with
strangely shaped structures, of housing and
apartment blocks. Dubbed “Vertical Urbanism,”
the apartment structures are divided into pods
that structurally conform to the addition and
removal of other pods.
Urban Design Faculty
Carla Leitao
Adjunct Associate Professor
M.S. Advanced Architectural Design, Columbia
University; Architecture School of Lisbon;
architect (licensed in Europe), designer, and
writer; co-founder, AUM Studio (architecture
and multimedia) and Umasideia (architecture
and engineering) in Lisbon; projects include
“Visibility” (UIA Celebration of Cities competition,
2003, Lisbon, Portugal); ”Suture,” a multimedia
installation; MAK Vertical Garden (competition by
invitation, 2006); awards include the Akademie
Schloss Solitude Fellowship, 2005.
William MacDonald
Chair of Graduate Architecture
and Urban Design
M.Sc. Architecture and Urban Design, Columbia
University; B.Arch., Syracuse University; attended
the Architectural Association in London; director,
KOL/MAC, LLC, Architecture + Design, co-founded
with Sulan Kolatan; has taught as professor,
distinguished visiting professor, or visiting chair at
the University of Virginia (as acting chair); Columbia
University; the University of Pennsylvania; Southern
California Institute for Architecture; The Ohio State
University; City University of New York; University
of California at Berkeley; and Pratt Institute; aca-
demic and professional honors and awards include
the “40 under 40” award, Progressive Architecture
awards, AIA design awards; represented the U.S. in
the U.S. national pavilion and for the international
segment of the International Architecture Bienni-
ale in Venice; via KOL/MAC, has collaborated with
various leading companies, including DuPont, AI
Implant of Biotech Industries, Alias, Merck Chem-
icals, Autodesk, C-TEK, ARUP AGU, DitlevFilms,
Inc.; exhibited at MoMA, SFMoMA, Cooper-Hewitt
National Design Museum, Centre Georges Pom-
pidou, Barbican Art Gallery, Architekturmuseum,
Mori Contemporary Art Museum, 1st International
Architecture Biennial in Beijing, VITRA, Yale Univer-
sity, and the FRAC; publications include The New
York Times; The Washington Post, CNN, Phaidon
Press, Rizzoli, GA Houses, AD Magazine, Architec-
tural Digest, ACTAR, Domus, Lotus International,
Architectural Record; co-author, Lubricuous
Architectures with Kari Andersen; a comprehen-
sive monograph titled KOL/MAC WORK BOOK is
currently in preparation for publication.
Elliott Maltby
Adjunct Associate Professor
B.A., Philosophy, Kenyon College; Master of
Landscape Architecture, University of California
at Berkeley; interests include how art and
design contribute to the success of the urban
experiment; current research focuses on
temporal and situational spatiality; partner,
thread collective, a multidisciplinary design
firm that explores the seams between building,
art, and landscape; a broadly defined notion of
sustainability, existing site characteristics, and
sensory experience further inform the firm’s
design process; has worked for five years with
Mary Miss, one of the most influential artists in
the public realm.
195
Benjamin Martinson
Visiting Instructor
Bachelor of Music, University of Colorado,
Boulder; M.Arch., Pratt Institute; worked for the
New York office of Buro Happold as an intern;
spent two years working for KOL/MAC, LLC, a
digital design practice based in New York and
Istanbul; currently is working on starting his
own design firm with small projects in Portland,
Oregon, and Boulder, Colorado.
Signe Nielsen
Adjunct Professor
B.A., Smith College; B.S.L.A., City College School
of Architecture; B.S., Pratt Institute; fellow,
American Society of Landscape Architects;
principal, Mathews Nielsen Landscape Archi-
tects PC since 1979; vice president, N.Y.C. Public
Design Commission; recipient of more than two
dozen national design awards; co-author of three
books—High Performance Infrastructure Guide-
lines; Cool and Green Roof; and Sustainable Site
Design—and author of Sky Gardens.
Philip Parker
Assistant Chair of Graduate
Architecture and Urban Design,
Adjunct Associate Professor
B. Design in Architecture, University of Florida;
M.Arch., Yale University; principal, Phillip Parker
Architects, a practice that spans scales from
furniture and building components to urban
parks; his projects on program, matter, city,
and texts have been exhibited, published, and
reside in the permanent collection of the San
Francisco Museum of Modern Art; he has lectured
on architecture and media and taught design
studios and media theory practice at a number
of schools, including Columbia University GSAPP,
as coordinator of core visual studies; Princeton
University; The Ohio State University; and RISD.
David Ruy
Associate Professor
B.A., St. John’s College; M.Arch., Columbia
University; director, Ruy Klein, an award-winning
design office in New York City; firm’s work has
been extensively published and exhibited and
the firm is recognized as one of the leading
speculative practices in architecture today;
Ruy has previously held positions at Columbia,
Princeton, and was the director of research of
The Nonlinear Systems Organization (NSO), a
transdisciplinary research organization, at the
University of Pennsylvania; his research examines
design topics at the intersection of architecture,
nature, and technology; the work of his practice
has recently been exhibited at The Museum of
Modern Art, the Rhode Island School
of Design, and at Artists Space.
196
Erich Schoenenberger
Visiting Instructor
B. Environ. Design, Technical School of Novia
Scotia; M.S. Advanced Architecture and Design,
Columbia University; co-founded (with Ferda
Kolatan) su11 architecture+design in New York
City in 1999; received the Swiss National Culture
Award for Art and Design and the ICFF Editors
Award for Best New Designer; 2006 finalist for the
prestigious Chernikhov Prize; 2007 chosen finalist
for the MoMA/PS1 YAP competition.
Nanako Umemoto-Reiser
Adjunct Professor
B.A., Osaka University of Art, Japan; B.Arch.,
Cooper Union; a principal and co-founder of
Reiser + Umemoto, an internationally recognized
multidisciplinary design firm, which has built
projects at a wide range of scales: from furniture
design, to residential and commercial structures,
up to the scale of landscape, urban design, and
infrastructure; she has previously taught at various
schools in the U.S. and Asia, including Columbia
University, the University of Pennsylvania, Hong
Kong University, Kyoto University, and the Cooper
Union; and she has lectured at various educational
and cultural institutions throughout the United
States, Europe, and Asia.
City and Regional
Planning Faculty
Moshe Adler
Visiting Associate Professor
Ph.D., University of California, Los Angeles; Adjunct
Associate Professor, Columbia University.
Caron Atlas
Visiting Assistant Professor
M.A., University of Chicago; B.A., University of
Chicago; Director, Arts Democracy Project.
Eddie Bautista
Visiting Assistant Professor
M.S.C.R.P., Pratt Institute; Executive Director,
New York City Environmental Justice Alliance.
Jennifer Becker
Visiting Assistant Professor
M.S.C.R.P., Pratt Institute; consultant, Pratt
Center for Community Development.
Bethany Bingham
Visiting Assistant Professor
M.S., Pratt Institute; B.A. University of Cincinnati;
Community Specialist, Partnerships for Parks.
Jessica Braden
Visiting Assistant Professor
M.A., Geography and Planning, University of
Toledo; B.A., University of Toledo; Director, Pratt
Center for Spatial Analysis Visualization Initiative.
David Burney
Associate Professor
M.S., University of London; Dip. Arch., Heriot
Watt University, Edinburgh; Dip. Arch., Kingston
University, London; former Commissioner, NYC
Department of Design and Construction.
Joan Byron
Visiting Assistant Professor
B.Arch., Pratt Institute; Urban and Regional Policy
Fellow, Harvard University; Director of Policy, Pratt
Center for Community Development.
Mike Flynn
Visiting Assistant Professor
University of Vermont; M.S.C.R.P, Pratt Institute;
Director of Capital Planning, NYC Department of
Transportation.
Michael Freedman-Schnapp
Visiting Assistant Professor
M.S.U.P, New York University; Director of Policy,
NYC City Council.
Adam Friedman
Visiting Assistant Professor
B.A., Haverford College; J. D., Benjamin Cardozo
School of Law; Certificate in Strategic Planning In
Non-Profit Management, Harvard Business
School; Executive Director, Pratt Center for
Community Development; founding executive
director, New York Industrial Retention Network.
Mindy Fullilove
Visiting Assistant Professor
M.S., Nutrition, M.D., Columbia University;
Co-Director, Columbia University Community
Research Group; Professor, Columbia University.
Moses Gates
Visiting Assistant Professor
M.U.P., Hunter College; Director, CHAMP,
Association for Neighborhood Housing
Development.
Eva Hanhardt
Visiting Assistant Professor
M.U.P., New York University; B.A., Brown
University; advisor to the NYC Environmental
Justice Alliance and other civic organizations.
Daniel Hernandez
Visiting Assistant Professor
M.Arch., University of California; B.S., California
State University; Director of Planning Practice,
Jonathan Rose Companies.
George Jacquemart, P.E.
Visiting Assistant Professor
M.S.U.P., Stanford University; principal,
BFJ Planning.
David Kallick
Visiting Assistant Professor
B.A., Yale University; Grundstufe, Goethe Institut;
Senior Fellow, Fiscal Policy Institute.
Nicholas Klein
Visiting Assistant Professor
Ph.D. candidate, Rutgers University; Masters in
Urban Spatial Analytics, University of Pennsylvania;
Researcher, Alan M. Voorhees Transportation
Center, Edward J. Bloustein School of Planning
and Public Policy, Rutgers University.
Raj Kottamasu
Visiting Assistant Professor
Master of City Planning with Urban Design
Certificate, Massachusetts Institute of
Technology; Certificate in Film, Video and New
Media, Art Institute of Chicago; principal, Raj
Kottamasu Video and Design.
Tanu Kumar
Visiting Assistant Professor
M.S., Cornell University; B.A., Williams College;
Senior Planner for Economic Development, Pratt
Center for Community Development.

Frank Lang, R.A.
Visiting Assistant Professor
M.Arch., University of Pennsylvania; B.Arch.,
Columbia University; Director of Housing,
St. Nick’s Alliance.
Matthew Lister
Visiting Assistant Professor
M.S., Real Estate Development, Massachusetts
Institute of Technology; Master of Suburb
and Town Design, University of Miami; Project
Manager, Jonathan Rose Companies.
Alan Mallach
Visiting Assistant Professor
B.A., Sociology, Yale University; Senior Fellow,
Center for Community Progress; Senior
Fellow, Metropolitan Policy Program, The
Brookings Institution.
Elliott Maltby
Adjunct Associate Professor
M.L.A., University of California at Berkeley;
principal, Thread Collective.
Michael Marrella
Visiting Assistant Professor
M.C.P., Certificate in Urban Design, Massachusetts
Institute of Technology; Director, Waterfront
and Open Space Planning, NYC Department of
City Planning.
Jonathan Martin
Associate Professor
Ph.D., Cornell University; M.R.P., Cornell
University; B.S.D., Arizona State University;
Associate, Buckhurst, Fish and Jacquemart,
Planning Consultants.
William Menking
Professor
Doctoral Candidate, The Graduate School of the
City University of New York; M.S.C.R.P., Pratt
Institute; M.S., University College, London; B.A.,
University of California at Berkeley; editor in chief,
The Architect’s Newspaper.
Mercedes Narciso
Adjunct Associate Professor
M.S.C.R.P, Pratt Institute; B.A., Simon Bolivar
University; formerly Senior Planner, Pratt Center
for Community Development.
Signe Nielsen
Adjunct Professor
B.L.Arch., City College of New York; B.A., Smith
College; B.S., Pratt Institute; principal, Mathews
Nielsen Landscape Architecture.
City and Regional Planning Faculty
Larisa Ortiz Pu-Folkes
Visiting Assistant Professor
M.C.P., Massachusetts Institute of Technology;
principal, Larisa Ortiz Associates.
Juan Camilo Osorio
Visiting Assistant Professor
M.S., University of Massachusetts; B.Arch.,
Universidad Nacional de Columbia; Director of
Research, NYC Environmental Justice Alliance.
Stuart Pertz
Visiting Assistant Professor
M.Arch., B.Arch., Princeton University; École
des Beaux Arts, Fontainebleu, France; former
member, New York City Planning Commission;
founding chair, Pratt Institute Graduate Urban
Design Program.
Steven Romalewski
Visiting Assistant Professor
M.S., Columbia University; Director, CUNY Mapping
Service, Center for Urban Research at The
Graduate Center/CUNY.
John Shapiro, AICP
Associate Professor
Chair, Graduate Center for Planning and the
Environment; M.S.C.R.P., Pratt Institute; formerly
principal, Phillips Preiss Shapiro Associates,
Planning Consultants.
Ronald Shiffman, FAICP, FAIA
Professor
M.S.C.R.P., Pratt Institute; B.S.Arch., Pratt
Institute; founder, Pratt Center for Community
Development.
Toby Snyder
Visiting Assistant Professor
M.Arch., Rhode Island School of Design;
Certificate, Urban Design, University of
Pennsylvania; M.S.C.R.P., University of
Pennsylvania; B.Arch., Clark University; Urban
Designer, FX Fowle Architects.
Daniel Steinberg
Visiting Assistant Professor
Doctoral Candidate, Urban Planning, Columbia
University; B.A., University of Chicago.
Samara Swanston
Visiting Assistant Professor
J.D., St. John’s University; counsel to the
Environmental Protection Committee, NYC
City Council.
197
Lacey Tauber
Visiting Assistant Professor
M.S., City & Regional Planning, M.S., Historic
Preservation, Pratt Institute; Legislative Director,
NYC City Councilmember Reynoso.
Petra Todorovich
Visiting Assistant Professor
M.S.C.R.P., Rutgers University; former Director of
America 2050, Regional Plan Association; Senior
Officer of Outreach, Amtrak.
Meg Walker
Visiting Assistant Professor
M.Arch., Columbia University; Vice President,
Project for Public Spaces.
Ben Wellington
Visiting Assistant Professor
Ph.D., M.S., Computer Science, New York
University; Quantitative Research Analyst Two
Sigma Investments; Co-Founder, Cherub Improv.
Andrew Wiley-Schwartz
Visiting Assistant Professor
Former Assistant Commissioner,
NYC Department of Transportation; consultant
at Bloomberg Associates.
Barika Williams
Visiting Assistant Professor
M.C.P., Massachusetts Institute of Technology;
B.A., Washington University in St. Louis; Policy
Director, Association for Neighborhood and
Housing Development.
Edward Perry Winston, R.A.
Visiting Assistant Professor
M.A., Harvard University; M.Arch., Rice University;
Senior Architect, MAP Architects.
Ayse Yonder
Professor
Ph.D., University of California at Berkeley;
M.C.P., University of Pennsylvania; Diploma for
Architecture, Istanbul Technical University.
198

Sustainable Environmental Tom Jost Ronald Shiffman, FAICP, FAIA

Systems Faculty
Bridget Anderson
Visiting Assistant Professor
M.P.A., Columbia University; B.A., Macalaster
College; Director, NYC Department of Sanitation
Bureau of Waste Prevention, Reuse and Recycling.
Alec Appelbaum
Visiting Assistant Professor
M.B.A., Yale University; B.A. English, Yale
University; green economy correspondent, The
Faster Times.
Jen Becker
Visiting Assistant Professor
M.S.C.K.P., Pratt Institute; B.A., University of
Wisconsin at Madison.
Michael Bobker
Visiting Assistant Professor
M.S. Energy, New York Institute of Technology;
director, Building Performance Lab, CUNY Institute
for Urban Systems.
Carlton Brown
Visiting Assistant Professor
B.Arch., Princeton University; C.O.O., Full
Spectrum.
Damon Chaky, Ph.D.
Assistant Professor, Department
of Mathematics and Science
Ph.D., Rensselaer Polytechnic Institute.
Carter Craft
Visiting Assistant Professor
M.U.P., New York University; co-founder,
Metropolitan Waterfront Alliance; managing
member, Outside New York.
Visiting Assistant Professor
M.U.D. Urban Design, Pratt Institute; B.A.
Economics, Lehigh University; senior urban
strategist, Parson Brinckerhoff.
Gavin Kearney
Visiting Assisting Professor
J.D., University of Minnesota; B.A., Lawrence
University; director, Environmental Justice
program, New York Lawyers for the Public
Interest.
Katie Kendall
Visiting Assisting Professor
L.L.M., Vermont Law School; J.D., Brooklyn Law
School; B.A., Wittenberg University; general counsel,
Mayor’s Office of Environmental Coordination for
the City of New York.
Sarah Kogel-Smucker
Visiting Assistant Professor
J.D., Boston College Law School; Senior Counsel,
New York City Law Department
Elliott Maltby
Adjunct Associate Professor
M.L.A., University of California at Berkeley; B.A.,
Kenyon College; principal, Thread Collective.
Paul Mankiewicz, Ph.D.
Visiting Associate Professor
Ph.D., City University of New York; founding
director, Gaia Institute.
Michael Marella
Visiting Assistant Professor
Director of Waterfront and Open Space Planning,
NYC Department of City Planning.
Gita Nandan
Visiting Assistant Professor
M.Arch., University of California at Berkeley;
principal, Thread Collective.
Professor
M.S.C.R.P., Pratt Institute; B.S. Arch.,
Pratt Institute.
Jaime Stein
Coordinator, Sustainable Environmental Systems
M.S., Pratt Institute; B.S., Millersville University.
Ira Stern
Visiting Assistant Professor
M.S.C.R.P., Pratt Institute; regional manager,
Bureau of Water Supply for the New York City
Department of Environmental Protection.
Gelvin Stevenson, Ph.D.
Visiting Associate Professor
Ph.D. Economics, Washington University; B.A.,
Carleton College; director, Clear Skies Solar.
Samara Swanston
Visiting Assistant Professor
J.D., St. John’s University; counsel to the
Environmental Protection Committee, New York
City Council.
Evren Uzer, Ph.D.
Visiting Assistant Professor
Ph.D., B.A. Urban Planning, Istanbul Technical
University; Founder of socially engaged
art collective “roomservices” and design
interventions initiative “imkanmekan.”
Edward Perry Winston
Visiting Assistant Professor
M.A., Harvard University; M.Arch, Rice University;
B.A., Princeton University; Senior Architect,
MAP Architects.

Adam Friedman Carolyn Schaeberle

Visiting Assistant Professor
B.A., Haverford College; J.D., Benjamin Cardozo
School of Law; Certificate in Strategic Planning In
Non-Profit Management, Harvard Business School;
executive director, Pratt Center for Community
Development; founding executive director, New
York Industrial Retention Network.
Ben Gibberd
Visiting Assistant Professor
M.A., Edinburgh University; author: New York
Waters: Profiles from the Edge (Globe Pequot
Press, 2007), and The Little Black Book of New York
(Peter Pauper Press, 2006).
Visiting Assistant Professor
M.S.I.D., Pratt Institute; B.S., Engineering Science,
Smith College; Assistant Director, Pratt’s Center
for Sustainable Design Strategies.
David Seiter
Visiting Assistant Professor
M.L.A. Landscape Architecture, University of
Pennsylvania; B.A. Art History, Vassar College;
principal, Future Green Studio.
Sarah Kogel-Smucker
Visiting Assistant Proffessor
J.D., Boston College Law School; Senior Counsel,
New York City Law Department
 199

Facilities Management Faculty Mary Matthews Edward Re

Professor Emerita
B.A., Concentration in Sociology and Education
Management, Emmanuel College; M.S. Social
Work, Boston College; M.B.A. Candidate, NYU
Lennart Andersson
Stern School of Business; consistent career
Visiting Assistant Professor
advancement specializing in safety, training,
M.Arch., Savannah College of Art and Design; M.B.
government compliance, environmental issues,
Engr., Wasa Gymnasium, Stockholm, Sweden;
and insurance programs in the construction
associate, The LiRo Group, New York, NY.
management and facilities management industries
in the public and private sector; professor and
Regina Ford Cahill former chair in the Construction Management
Chair, Associate Professor
and Facilities Management departments at
B.S., SUNY Downstate Medical Center; M.S.,
Pratt Institute.
Pratt Institute
Adjunct Associate Professor
A.A.S. Construction Technology, NYC Technical
College; B.S. Construction Management; M.S.
Facilities Management, Pratt Institute; AIA;
certified professional constructor; certified real
estate appraiser (NAREA); certified environmental
inspector (EAA); certified occupational safety and
health director; knighted, Government of Italy-
Legions of Merit; qualified continuing education
instructor, State of New York Department of
State/Division of Licensing for Architecture and
Real Estate Appraising; arbitrator, American
Arbitration Association (AAA).

Gerald F. McGowan Norman Rosenfeld

Matthias Ebinger Visiting Associate Professor Adjunct Assistant Professor
Visiting Assistant Professor
M.B.A. Management, New York University; ALM B.Arch., Pratt Institute; Norman Rosenfeld
M.S. Construction Management, New York
Media, Inc., director, Real Estate and Purchasing; Architects LLC.
University; LEED; Dipl.Ing.FH, Konstanz University
professional affiliations: IFMA, CoreNet.
of Applied Science; development cooperation
and consulting, German Foundation for International
Audrey L. Schultz
Development; public administration, University
Martin McManus Associate Professor
Visiting Assistant Professor M.S. Architecture, Concentration in Construction
of South Africa; PMP, American Project
B.B.A. Accounting, Pace University; CPA; financial Management, Virginia Polytechnic Institute
Management Institute.
princi­pal and registered representative with NASDl; and State University; Ph.D., Built Environment,
member of the NYS Society of CPAs; American Concentration in Lean Facilities Management, The
William Henry Institute of CPAs. University of Salford; FMP; Member IFMA, Lean
Visiting Assistant Professor
Construction Institute, ASC, CIB.
B.Arch., New York University; Advanced
Information Systems Institute Training,
Russell Olson
Massachusetts Institute of Technology; president
Visiting Assistant Professor Marjorie St. Elin
B.Arch., M.S. Urban Environmental Systems, Visiting Assistant Professor
and CEO of Millennium II Consulting Group, Inc.
Pratt Institute; awarded IFMA 2002 Educator B.S. Construction Management, Pratt Institute;
which he founded in 1997; 30 years of prior
of the Year Award; president and CEO of R.O.I. LEED-AP; assistant project manager, Turner
experience in the information technologies
Consulting Group; specializes in the technology Construction Co.
(IT) industry; managing principal of HENRY
aspects associated with design, construction,
Consultants, Inc., an IT services firm he co-
founded in 1994; employed at Bristol-Myers
and facilities management; responsible for Mira Tsymuk
providing staff, as well as business and technology Visiting Assistant Professor
Squibb Company 1987–1994; appointed director of
consulting for numerous Fortune 500 companies. B.S. Economics and Computer Science, University
corporate telecommunications in 1989.
of Business Management, Moscow, Russia; M.B.A.,
Stephen LoGrasso John Osborn University of Economics and Finance, Moscow,
Visiting Associate Professor Russia; M.A. Economics, CUNY Hunter; member,
Visiting Assistant Professor
B.A. Political Science and Economics, SUNY at American Economic Association and International
B.S., New York Institute of Technology; 25
New Paltz; J.D., University of South Carolina Institute of Public Finance.
years of experience in facility and construction
Law Center; John Osborn, P.C. Attorneys and
management; has provided services for various
Counselors at Law; practice areas include
clients including Goldman Sachs, CitiGroup,
environmental law, construction law, surety law,
McGraw-Hill, and Hertz.
healthcare law, commercial litigation, hospitality
law, and professional liability defense; author
Harriet Markis and frequent speaker on construction and
Adjunct Associate Professor
environmental law, risk management, and dispute
B.S., Rensselaer Polytechnic Institute; M.Eng.,
resolution; 2000 Member of the Year, Greater
Cornell University; member of IFMA, CMAA, ASCE,
New York Construction User Council.
ACI, SECB, and SEONY; partner at Dunne & Markis
Consulting Structural Engineers, PLLC since 1990; 30
years of experience as a structural designer in
a variety of projects; licensed to practice structural
engineering in the states of New York, New Jersey,
Connecticut, Delaware, New Hampshire, and
Rhode Island.
200
Historic Preservation Faculty
Lisa Ackerman
Visiting Assistant Professor
B.A., Middlebury College; M.B.A., New York
University; M.S., Pratt Institute; C.O.O., World
Monuments Fund.
Beth Bingham
Visiting Assistant Professor
M.S., Pratt Institute
Patrick Ciccone
Visiting Assistant Professor
B.A., M.S., Columbia University; Partner,
Gambit Consulting; Principal, Charles Lockwood
and Associates.
Carol Clark
Visiting Associate Professor
B.A., University of Michigan; M.S., Columbia
University; assistant commissioner, New York
City Department of Housing Preservation and
Development.
Peter Destabler
Visiting Assistant Professor
B.A., Bowdoin College; M.A., Ph.D., Institute of
Fine Arts, New York University
Pat Fisher-Olsen
Visiting Assistant Professor
B.A., Thomas Edison State College; M.S.,
Pratt Institute; coordinator, Historic
Preservation Certificate Program, Bucks
County Community College.
Eric Ghenoui, Ph.D.
Adjunct Associate Professor
B.A., Clark University; M.S., University of Wisconsin
at Madison; M. A., Ph.D., Harvard University
Bill Higgins
Visiting Assistant Professor
B.A., Boston College; M.S., Columbia University;
partner, Higgins and Quasebarth Historic
Preservation Consultants.
Anne Hrychuk, Ph.D.
Visiting Assistant Professor
B.A., University of Alberta; M.A., Ph.D.,
New York University.
Ben Margolis
Visiting Assistant Professor
B.A., University of Wisconsin at Madison;
M.P.A. Urban Policy, Columbia University;
Norman Mintz
Visiting Associate Professor
B.A., Industrial Design, Pratt Institute;
M.S., Columbia University; design director,
34th St. Partnership; founder, New York
Main Street Alliance.
Nadya K. Nenadich, Ph.D.
Academic Coordinator
B.Arch., Pratt Institute; M.S., Columbia University;
Ph.D., Polytechnic University of Cataluña
Christopher Neville
Visiting Assistant Professor
B.A., Amherst College ; M.S. Historic Preservation,
Columbia University
Theodore Prudon, Ph.D, FAIA
Adjunct Professor
M.A., M.S., Ph.D., Columbia University; M.S.,
University of Delft, the Netherlands; partner,
Prudon and Partners, LLP; president, Docomomo
U.S.; author: Preservation of Modern Architecture
(Wiley, 2008).
Lacey Tauber
Visiting Assistant Professor
B. Journalism, University of Texas at Austin;
M.S., Pratt Institute; Legislative Director
and Communications for Council Member
Antonio Reynoso.
Vicki Weiner
Adjunct Associate Professor
B.A., Drew University; M.S., Columbia University;
director of planning and preservation, Pratt
Center for Community Development.
Kevin Wolfe
Visiting Assistant Professor
B. A., Holy Cross College; B.L.A., City College
of New York; M.A., Clark University; M.Arch.,
Columbia University
Arthur Zabarkas
Visiting Assistant Professor
B. Arch, Pennsylvania State University; M.S. Urban
Planning, Columbia University; Architectural
Association, London, England
Art and Design
Education Faculty
Lisa Baumwell
Visiting Associate Instructor
B.S. Psychology, Union College; M.A. Counseling
and Guidance, New York University; Ph.D.
Developmental Psychology, New York University.
Dr. Baumwell is a research affiliate at New York
University’s Center for Research on Culture,
Development, and Education. Her work focuses
on the relational and environmental factors
influencing the development of at-risk children,
and the refinement of intervention programs
for families with infants and toddlers. She
has authored journal articles, chapters, and
entries regarding the impact of psychosocial
circumstances on children and families.
Lisa Capone
Adjunct Instructor
M.F.A. Sculpture, Pratt Institute; B.F.A. and
B.A., Marymount College, New York and Chelsea
School of Art, London, England. With an expertise
and focus on sculpture and 3-D art-making,
she has taught in a variety of private and public
educational venues throughout New York City and
was director and founder of the art program Salon
Enfants. Her most recent exhibition took place at
the Oklahoma City Museum of Art 2012 in Fusion/A
Century of Glass. Her publication features include
Interior Design Magazine, New Glass Review and
Art in America. She has received two Pratt Faculty
Development Grants for her ongoing series
Beauty and the Beast.
Mary Elmer-Dewitt
B.A., New York University; M.S., Art and Design
Education, Pratt Institute. An elementary school
art educator and mentor, Elmer-Dewitt was a
teaching artist with Studio in a School for nine
years, most recently as a research-facilitator with
Arts Achieve, a Federal i-3 research project
investigating the role of assessment in student
achievement in the arts. She has conducted
workshops for Studio in a School artists, trained
Department of Education art teachers in the
implementation of the New York City Blueprint,
and collaborated with fellow Studio in a School
artists to bring children from diverse areas of the
city together through art making. In her research
she has looked at how different materials and
processes enable young children to make their
learning visible, and what occurs when kindergar-
ten students are directed away from storytelling in
the art room. Elmer-Dewitt works across several
processes, primarily photography and painting.
Her recent works were exhibited at the Edward
Hopper House in Nyack, NY and at the MS Renzy
Gallery in Lexington, KY. She completed a
one-month painting residency at the Vermont
Studio Center in Johnson, Vermont.

Shari Fischberg
Adjunct Instructor
B.F.A., The School of The Museum of Fine Arts
Boston; B.A., Tufts University; M.F.A., CUNY Queens
College. With more than 15 years of experience as an
urban art educator in New York City, Boston, and
Oakland, Fischberg was honored by the New York
City Board of Education as Teacher of the Year in
2000. A previous director of special programs for the
Studio in a School Association, she has created
professional development programming for teaching
artists with MoMA, Queens Museum, and Asia
Society. She has conceived and implemented
grant-funded after school programs and curated
exhibitions for the Edward Hopper House Art Center.
Currently a teaching artist with the aging population
in Washington Heights and at the Anne Frank Center
USA, Fischberg continues her practice in sculpture
and encaustics at her studio in the lower Hudson
River Valley.
Borinquen Gallo
Assistant Professor
B.F.A., Cooper Union, M.F.A., Hunter College;
Ed.D. candidate, Teachers College, Columbia
University. Areas of expertise include
contemporary art practices and contemporary
art-based education, studio-based education,
and the intersections of curation and education.
Born in Rome and currently living in NYC, she has
more than 10 years of planning, development and
management experience in the education sector.
She has organized and facilitated professional
development workshops for art educators citywide
and designed curricula for a host of organizations,
including Studio in a School and the NYC
Department of Education. Widely exhibited locally
and nationally, including, most recently, at the
National Academy Museum, the Kate Shin Gallery,
and the Queens Museum of Art in New York.
Recent residencies include the Vermont Studio
Center (2013) and the Artists in the Marketplace at
the Bronx Museum of the Arts (2015).
Christopher Kennedy
Assistant Professor
B.S., Environmental Engineering, Rensselaer
Polytechnic Institute; M.A., Education, New York
University; Ph.D., Education Studies, University
of North Carolina at Greensboro. A teaching
artist and organizer, Kennedy works with schools,
youth and artists to create site-specific projects
exploring trans-disciplinary exchange, digital
storytelling, and social engagement. He has
worked as a science and art teacher in schools
across NYC, as the education curator for an
experimental residency and living museum called
Elsewhere in Greensboro, North Carolina, and has
designed curricula and programming for MoMA,
the Cooper-Hewitt, the Ackland Museum, PAFA
and a host of nonprofits. His research interests
include participatory art and public pedagogy,
experimental bookmaking, and the experience of
LGBTQ youth in the art classroom.
Art and Design Education Faculty
Tonya Leslie
Visiting Instructor
B.A, SUNY New Paltz; M.A., New York University;
Ph.D. candidate in Teaching and Learning at New
York University. Leslie is an educational consultant;
her work focuses on academic resilience and
culturally responsive pedagogy. She has worked
nationally as a researcher, editor and professional
development provider for organizations including
NYU’s Metro Center, Scholastic Inc., and the
Schomburg Center for Research and Black
Culture. She is also the author of several children’s
books including True You: Sometimes I Feel Ugly
and Other Truths about Growing Up, available
online through Dove’s Campaign for Real Beauty.
In 2014, she received a Fulbright Hays for research
in Belize.
Heather Lewis
Associate Professor
Ph.D., New York University; research explores the
intersection of urban social movements and
institutional reform in education and the arts. Her
book, New York City Schools from Brownsville to
Bloomberg: Community Control and Its Legacy, was
published by Teachers College Press in 2013. She is
currently working on a historical study of Harlem’s
community control movement as part of Columbia
University’s Educating Harlem project. As part of her
active engagement in efforts to improve teaching
and learning in higher education, she is the recipient
of a Pratt Faculty Innovation Grant to support her
Assessment by Design project.
Joshua Millis
Visiting Instructor
B.F.A.,Tyler School of Art; M.F.A., The School of
The Art Institute of Chicago; Millis has taught art
to students ranging from four to 95 years old. As a
Studio in a School teaching artist, he taught art of
various media in more than 20 schools and other
community settings; he has led workshops for
DOE art teachers in the implementation of the
NYC Blueprint for the Arts, and collaborated on
i-3 Arts Achieve, a federal innovation research
grant. Millis has designed and led summer camp at
the Queens Museum, in addition to being a
teaching artist at several of the museum’s
partnering schools. Millis has also taught adults as
a resident artist in more than six New York Public
Library branches. Since 2008, he has taught at
Pratt Institute as a Visiting Instructor. When he is
not teaching, you can find him painting in his
studio in Brooklyn.
201
Theodora Skipitares
Associate Professor
B.S., University of California at Berkeley; M.F.A., New
York University. An interdisciplinary artist, Skipitares
has exhibited work and performed throughout
Europe, Asia, and South America. She has received
grants from the NEA, NYFA, UNIMA, and the
Guggenheim, Fulbright, and Rockefeller Founda-
tions, among others; twice, The New York Times has
named her plays among the 10 best of the year, and
her production Iphigenia won two New York
Innovative Theater Awards. She has created
performances in Vietnam, Cambodia, and Korea,
and travels frequently to India to develop new
projects. She has taught workshops to diverse
populations with Hospital Audiences, Inc. and has
developed classes and performances at Rikers Island
Prison. Her most recent performances and
exhibitions include the Ionesco Project at the Long
Island University Gallery and Rituals of Rented Island:
Object Theater, Loft Performance and the New
Psychodrama—Manhattan, 1970–80 at the Whitney
Museum. Currently she is planning workshops at
Gibb Mansion, a housing facility for homeless and
chronically ill community residents, managed by
Pratt Area Community Council.
Aileen Wilson
Professor
M.A. in Printmaking, Chelsea School of Art; Ed.D.,
Art/Art Education, Teacher’s College, Columbia
University; recipient of a Fulbright specialist grant,
2011 and 2012 and a National Art Education
Foundation Research Award 2013-2014; recent
projects include Activating Design: Brokering
Change, an exhibition of work by the graduating
students in the School of Design Strategies,
Parsons The New School at the Arnold and Sheila
Aronson Gallery, 2013; and Studio Pedagogy: The
Imperative of Teaching, a group exhibition with
Kim Beck, Adam Brent, Nina Katchadourian, Sheila
Pepe and students, co-curated with Tara Kopp at
the Gallery at Bergen Community College,
Paramus, New Jersey, 2013.
202
Arts and Cultural
Management Faculty
Catherine Ashcraft
Visiting Assistant Professor
Ph.D., Urban Studies and Planning, Massachusetts
Institute of Technology
Catherine Cacho-Leary
Visiting Assistant Professor
B.A., Dance, The George Washington University;
M.B.A., Public Administration, Keller Graduate
School of Management; Cacho-Leary worked in
the Finance Department at Dia Art Foundation
and served as financial and administrative
consultant for QIIQ Productions, a literacy-based
youth theater organization. She also worked
as a budget analyst at Brooklyn Academy of
Music and was instrumental in restructuring and
advancing the internal operations of the Finance
Department. After earning her undergraduate
degree in dance, she studied at the Alvin Ailey
American Dance Center. She is the founder of
Community Arts Works, an arts management
company that provides arts management services
and brings a broader understanding of business to
emerging performing arts organizations.
Tyra Nicole Dumars
Visiting Assistant Professor
M.P.S. Design Management, Pratt Institute;
Associate Creative Director, Intermedia.net.
Kristen Earls
M.A., International Education, New York University;
Account Director, WIT Media
Richard Green
Professor
Former director of new products and joint
ventures, Citibank-Diners Club; consultant
specializing in developing organizational change
strategies and the improvement of internal
team processes.
Daniel Hayek
Director, Education and Community at Vimeo;
Leader, Vimeo Video School
Jeffrey Klein
Visiting Assistant Professor
J.D., Fordham University; Chief Development
Officer, Lesbian, Gay, Bisexual and Transgender
Community Center
Mary McBride
Professor and Chair of Arts and
Cultural Management
Ph.D., New York University; Partner, Strategies
for Planned Change, an international consulting
group specializing in creating excellence by
design; visiting professor international universities
including Esade, Spain; Koc University, Turkey;
ISG, France; European University, Russia; former
director, Management Decision Lab, Stern School
of Business, New York University.
Christina Rosan
Visiting Assistant Professor
Ph.D., City Planning and International
Development, Massachusetts Institute
of Technology
Susan Schear
Visiting Assistant Professor
Schear is the founder and president of ArtIsIn,
L.L.C. ArtIsIn focuses on business development,
management, facilitation, consulting, and coaching
services to arts and cultural organizations.
Christopher Shrum
Visiting Assistant Professor
Ph.D., Human and Organizational Development,
Fielding Graduate University
JoJo Spiker
M.P.S. Design Management, Pratt Institute;
Consultant, Proof Integrated Communications;
Practicum Professor, Boston University Center for
Digital Imaging Arts (CDIA).
Denise Tahara
Visiting Associate Professor
Ph.D., New York University Robert F. Wagner
Graduate School of Public Service; CPA, M.B.A,
New York University Leonard N. Stern School of
Business; Program Director, Health Policy and
Management MPH Program, New York Medical
College School of Health Sciences and Practice.
Kelly Kocinski Trager
Visiting Associate Professor
J.D., Brooklyn Law School; Attorney and Founder,
the Law Office of Kelly Kocinski Trager, P.C.
Alicia Whiteman
M.P.S. Design Management, Pratt Institute;
Director, Operations and International Project
Management, MRM/McCann
Creative Arts Therapy Faculty
Claudia Bader
Visiting Instructor
LCAT, LP, NCPsychA, ATR-BC; M.P.S., Pratt
Institute, licensed creative arts therapist, licensed
psychoanalyst; executive director emerita,
Institute for Expressive Analysis (2002–2008);
board member 1993–2002, IEA; courses: Art
Diagnosis; Symbolism in Art Therapy; Alchemy,
Symbolism, and Creativity; Dream Analysis;
Mandala; MARI certification, Projective Drawing
Institute Certification; private practice, Manhattan.
Joachim Boenig
Adjunct Assistant Professor
LCAT, ATR.
Shannon Bradley
Visiting Instructor
LCAT, ATR-BC; M.S. Art Therapy and Creativity
Development from Pratt Institute; Bradley
currently works at Interfaith Medical Center,
and maintains a private practice in Manhattan
where she has experience working with anxiety,
depression, trauma, life transitions, addiction,
eating disorders, mental and medical illness.
Corinna Brown
Visiting Instructor
LCAT, BC-DMT; B.A.; M.A., State University of New
York at Albany; M.S., Hunter College City University
of New York; Certified Alcoholism Counselor;
Certificate in Neo-Reichian Psychotherapy;
current vice president and former editor of the
New York State Chapter of the American Dance
Therapy Association newsletter; ADTA Research
Subcommittee; experience in addictions, adults with
multiple sclerosis, adult inpatient and outpatient
psychiatry, geriatrics, and men with AIDS/HIV;
private practice.
Kimberly Bush
Adjunct Assistant Professor
LCAT, ATR-BC; B.A., Sarah Lawrence College;
M.F.A., Parsons the New School of Design; Adv.
Cert., Pratt Institute; Adv. Cert., Westchester
Institute for Psychoanalysis and Psychotherapy;
has been working creatively with children,
teachers, and parents for over 20 years. She
is a visual artist, a NYS licensed Creative Arts
Therapist, and Certified Child Life Specialist.
In addition, she is completing her training as
psychoanalytic candidate at the Westchester
Institute for Training in Psychotherapy and
Psychoanalysis.

Jean Davis
Adjunct Associate Professor
LCAT, ATR-BC; M.P.S., Pratt Institute; private
practice; former director, Transitional Living
Community-Brooklyn Bureau of Community
Service; former clinical director, Greenwich Village
Youth Council; postgraduate training in group
therapy, environmental psychology, and gestalt
therapy; published in Art Therapy: Journal of the
American Art Therapy Association and The Arts
in Psychotherapy.
Christina Devereaux
Visiting Assistant Professor
Ph.D., LCAT, LMHC, BC-DMT; B.A., Kent State
University; M.A., University of California at Los
Angeles; Ph.D., Santa Barbara Graduate Institute;
Board of Directors, chair of Public Relations,
and Newsletter Editor, American Dance Therapy
Association; past president, Southern California
Chapter, ADTA; former Executive Board member,
California Coalition for Counseling Licensure;
experience in trauma, domestic violence,
attachment in child development, family work, and
prenatal and perinatal psychology.
Ted Ehrhardt
Adjunct Assistant Professor
LCAT, BC-DMT, CMA; M.S. Hunter College; faculty,
Laban-Bartenieff Institute of Movement Studies;
Director: Creative Arts Therapies department and
dance/movement therapist, Woodhull Medical
and Mental Health Center; private practice in NYC.
Alison Gigl-George
Adjunct Assistant Professor
LCAT, ATR-BC.
Valerie Hubbs
Visiting Instructor
LCAT, BC-DMT; B.A., Hofstra University; M.S.,
Hunter College, City University of New York;
certified group psychotherapist; founder/
director, Psychiatric Rehabilitation Therapy-North
General Hospital; approval committee, American
Dance Therapy Association; administrative,
clinical, consulting, supervisory, and teaching
experience in multiple psychiatric facilities.
Melissa Klay
Adjunct Instructor
Ph.D., LCAT, ATR-BC; B.A., Stephens College;
M.P.S., Pratt Institute; Ph.D., Pacifica
Graduate Institute; has worked with children,
adolescents, and adults in inpatient and
outpatient settings. Between 1998 and 2001 she
attended the Institute for Expressive Analysis
and participated in a number of courses in play
therapy and sandplay therapy. Currently, has a
private practice and works with adolescents at St.
Luke’s Hospital Center.
Creative Arts Therapy Faculty
Fred Landers
Visiting Instructor
Ph.D., LCAT, RDT; Landers is a licensed creative
arts therapist who publishes on the relationship
between play (as it appears in a Developmental
Transformation Drama Therapy Session) and
violent behavior outside of session. He has
worked with sexually abused children and
adolescents as well as combat veterans with PTSD
and violent behavior as a result of military service.
Ha has developed a form of activism called Urban
Play that involves mutual play with people in
public places, and has taught drama therapy in
South Korea, Thailand, China, Japan, New Zealand,
Uganda, Kenya, Canada, and the U.S.
Judith R. Levy
Visiting Instructor
LCAT, LMFT, LP, ATR-BC.
Judith Luongo
Adjunct Associate Professor
LCAT, LP, ATR.; Licensed Creative Arts Therapist
and Psychoanalyst in private practice in both
disciplines. She graduated from the Pratt Art
Therapy program in 1977 and has been on the
faculty of the Creative Arts Therapy Program
at Pratt since her graduation. She served as
chairperson for the program from 1989-1991. In
addition Judith completed her training as and
open studio facilitator in 2014 at the Open Studio
Project in Evanston Chicago, She has published
writing in the online literary journal Mr. Beller’s
Neighborhood and shown art at BWAC, an artist’s
cooperative in Brooklyn.
Julie Miller
Chair
LCSW, LCAT, BC-DMT; M.A./M.S., Hunter College
Dance Therapy Master’s Program and the Hunter
School of Social Work; maintains a private practice
in dance/movement and verbal psychotherapy
and is co-director of the New York Center for the
Study of Authentic Movement; teaching Authentic
Movement and DMT nationally and internationally
in China.
Deborah Rice
Visiting Professor
LCAT, LMHC, ATR; B.S., University of Pittsburgh,
Psychology and Studio Arts; M.P.S. Pratt
Institute, Creative Arts Therapy and Creativity
Development; faculty, Pratt Institute’s Creative
Arts Therapy Department; private practice;
clinical supervisor, Counseling In Schools; former
clinical supervisor, Artistic Noise.
Maria Romani de Goes
Visiting Instructor
LCAT, ATR; M.P.S., Pratt Institute; One-year
training in family therapy, Roberto Clemente
Center; Postgraduate training in group
psychotherapy, Eastern Group Psychotherapy
Society; Co-founder, Art of Parenting since 2008;
private practice; provides group and individual
psychotherapy; special interest in migration and
acculturation as well as parenting;
203
Sara Rothstein
Visiting Instructor
LCAT, ATR; M.P.S., Pratt Institute, Creative Arts
Therapy and Creativity Development; licensed
and registered creative arts therapist; earned
a certificate of completion from Eastern Group
Psychotherapy Society; in private practice
co-founded and co-facilitates Art of Parenting,
providing individual and group work and
psychotherapy for parents with young children
and their families.
Madeline Rugh
Visiting Associate Professor
Ph.D., ATR-BC; M.A., University of Michigan at
Ann Arbor; B.F.A., Columbus College of Art and
Design; Ph.D., University of Oklahoma; specializing
in providing healing art experiences to disabled
children and older adults and developing
programming at the interface of art, ecology and
spirituality; uses the arts to serve as the container
and primary vehicle for expressing synthesized
knowledge and for addressing the health and
healing needs of the individual or group.
Dina Schapiro
Adjunct Assistant Professor
LCAT, ATR-BC; M.P.S., Pratt Institute; Faculty in
Creative Arts Therapy Department since 2003
in both the Academic Year and Low Residency
programs, teaching Dynamics of Art Materials,
family therapy and supervision courses;
Coordinator, Fieldwork/Practicum for the Art
Therapy department placing and coordinating all
art therapy students in internships; faculty, private
practice in Sag Harbor and NYC, specializing in
eating disorders, addictions, and anxiety.
Jean Seibel
Visiting Instructor
LCAT, BC-DMT.
Linda Siegel
Director of Graduate Art Therapy Program;
Assistant Professor
LCAT, ATR-BC; Certificate in Child and Adolescent
Psychotherapy, Brooklyn Institute for Psychotherapy
and Psycho­analysis; Certificate in Parent Infant
Psychotherapy, Ani Bergaman Parent Infant Training
Program in Parent Infant Psy; previous director
of Art and Creative Therapy Program at New
Directions, out patient substance abuse program;
co-founder, Park Slope Counseling Center since
1990; exhibiting artist.
204
Jennifer Frank Tantia
Visiting Instructor
Ph.D., LCAT, BC-DMT; M.S., Pratt Institute; Ph.D.,
The Chicago School for Professional Psychology;
advanced training in somatic experiencing;
past PR chair, New York Coalition of Creative
Arts Therapies; past program director, New
York State Chapter, ADTA; current research
committee, United States Body Association for
Body Psychotherapy; published in the U.S.A.
Body Psychotherapy Journal and several ADTA
national and state chapter newsletters; national
and international conference presenter;
private practice: leading authentic movement
groups and specializing in trauma and somatic
disorders; areas of research interest: embodied
epistemology and dance/movement therapy and
somatic psychology pedagogy.
Laurel Thompson
Associate Professor
Ph.D., LCAT, ATR-BC, BC-DMT; M.P.S., Pratt
Institute; Ph.D., Union Institute and University;
board member, American Dance Therapy
Association; chair of Education, Research and
Practice; Education Committee, American
Art Therapy Association; board member, USA
Body Psychotherapy Association; editorial board
for Arts in Psychotherapy, Art Therapy: The
American Journal of Art Therapy, and Body,
Movement and Psychotherapy; numerous
publications and extensive presentations,
credentialed dance movement therapist,
credentialed art therapist, focusing trainer;
private practice specializing in eating disorders,
dissociative disorders, and trauma.
Susan Tortora
Visiting Assistant Professor
Ph.D., LCAT, BC-DMT.
Elissa White
Visiting Assistant Professor
LCAT, BC-DMT; Charter member and past
president of American Dance Therapy Association
(ADTA) and other board positions since 1964.
Former co-editor and editorial board member
of the American Journal of Dance Therapy. Co-
founder of the Dance Therapy Program at Hunter
College, CUNY; author, articles on dance therapy
and Lab analysis, extensive teaching and presenter
of Marian Chace theory and practice.
Joan Wittig
Director of Graduate Dance/Movement Therapy
Program; Associate Professor
LCAT, BC-DMT; B.S., University of Wisconsin at
Madison; M.S., Hunter College, City University of
New York; worked for New York City Health and
Hospitals Corporation for 16 years, including seven
years as director of the Creative Arts Therapy De-
partment at Woodhull Medical and Mental Health
Center. She teaches and presents widely, serves on
the Approval Committee for the American Dance
Therapy Association, is a member of the New York
State Board for Mental Health Professionals, and
has a private practice in Manhattan; co-director
of the New York Center for Authentic Movement;
co-director, teacher, IICAT program developing
DMT in Bejing, Shanghai, and Hong Kong, China.
Eva Teirstein Young
Visiting Instructor
LCAT, ATR-BC; M.F.A., School of the Art Institute
of Chicago; M.P.S. Creative Arts Therapy, Pratt
Institute; graduate, the William Alanson White
Institute’s Child and Adolescent Psychoanalytic
Psychotherapy program; has worked with chil-
dren, adolescents, and families at the New York
Foundling Hospital and Bellevue Hospital; creative
arts therapy consultant to the Young Dancemakers
Company and has a private practice in NYC.
Design Management Faculty
Catherine Ashcraft
Visiting Assistant Professor
Ph.D., Urban Studies and Planning, Massachusetts
Institute of Technology.
Laurence DeGaetano
Adjunct Assistant Professor
M.B.A., New York University; Financial Officer,
Met Life Financial Services; member, American
Institute of Certified Public Accountants.
Dyanis DeJesús
Visiting Assistant Professor
M.P.S., Design Management, Pratt Institute;
Partner/Creative Director, Prototipo.Media; former
Associate Creative Director, Leo Burnett Milan.
Tyra Nicole Dumars
Visiting Assistant Professor
M.P.S., Design Management, Pratt Institute;
Associate Creative Director, Intermedia.net.
Roger Dunbar
Visiting Professor
Ph.D., Cornell University; Professor of
Management, New York University, Stern School
of Business Administration.
Scott Fiaschetti
Visiting Associate Professor
VP, Insights & Strategy, Questus, Inc.
Larry Gibbs
Visiting Assistant Professor
Product and Technology Officer, March
Warden Consulting.
Richard Green
Professor
Former director of new products and joint
ventures, Citibank-Diners Club; consultant
specializing in developing organizational change
strategies and the improvement of internal
team processes.
Mary McBride
Professor and Chair of Design Management
Ph.D., New York University; Partner, Strategies for
Planned Change, an international consulting group
specializing in creating excellence by design;
visiting professor at international universities
including Esade, Spain; Koc University, Turkey;
ISG, France; European University, Russia; former
director, Management Decision Lab, Stern School
of Business, New York University.

Jacqueline McCormack
Adjunct Associate Professor
M.P.S., Pratt Institute; Communications Director,
Federal Reserve Bank of New York; former Chief
of Staff to New York State Banking Commissioner;
former Director of Communications and Employee
Engagement, TD Waterhouse.
James Murray
Visiting Assistant Professor
M.P.S., Pratt Institute; Vice President of Design/
Product Development/Visual Merchandising,
Simon Pearce; former Design Director, Bed, Bath
and Beyond.
Christina Rosan
Visiting Assistant Professor
Ph.D., City Planning and International
Development, Massachusetts Institute
of Technology.
Jo Ann Stonier
Visiting Assistant Professor
J.D., St. John’s University; Senior Vice President,
Global Privacy and Data Protection Officer,
MasterCard Worldwide; former Chief Privacy
Officer, American Express Company.
Marvin Waldman
Visiting Assistant Professor
M.B.A., Baruch College; President, The Shadow
Group, an advertising group specializing in
strategy for not-for-profit companies.
Denise Tahara
Visiting Associate Professor
Ph.D., New York University Robert F. Wagner
Graduate School of Public Service; C.P.A., M.B.A.,
New York University Leonard N. Stern School of
Business; Program Director, Health Policy and
Management MPH Program, New York Medical
College School of Health Sciences and Practice.
Kelly Kocinski Trager
Visiting Associate Professor
J.D., Brooklyn Law School; Attorney and Founder,
the Law Office of Kelly Kocinski Trager, P.C.
205
Digital Arts Faculty Svjetlana Bukvich-Nichols
Visiting Associate Professor
Bukvich grew up during the wildly active music
scene in Sarajevo’s ’80s, with Arabian horses and
four major religions at her doorstep. Her signature
Peter Patchen
sound weaves deconstructivist dance suites
Chair
with polymicrotonal sympho-rock tone poems,
M.F.A., University of Oregon; Peter Frank Patchen
experimental prog rock/world jazz fusions with
is a digital artist exhibiting and lecturing nationally
and internationally. He grew up in Colorado
musique concrète spirituals, and contemporary
art-song with electronica. A “concert composer/
where the natural environment had a profound
performer whose music defies boundaries,”
influence on his perception of the relationships
(ASCAP), Bukvich has appeared in the U.S.
that exist between nature, humanity, culture,
and internationally. She has received grants
and technology. In 1993, he founded the Cyber
from the Soros Foundation, the American
Arts (now New Media) program at the University
Composers Forum, ASCAP’s Buddy Baker Film
of Toledo. Recent work includes interactive
Scoring Scholarship, New England Foundation
artworks, prints, web-based art, and mixed
for the Arts, and the Institute on the Arts and
media pieces.
Civic Dialogue at Harvard University. Bukvich is
featured in the recently released book In Her
Carla Gannis
Own Words—Conversations with Composers in
Assistant Chair
the United States (University of Illinois Press). She
M.F.A., Boston University; B.F.A., University of
was artist-in-residence at Lafayette College, and
North Carolina at Greensboro; Carla Gannis is the
collaborated with Pomegranate Arts in New York
recipient of several awards, including a 2005 New
in support of Goran Bregovic and His Wedding
York Foundation for the Arts Grant in Computer
and Funeral Orchestra’s North American tour. Her
Arts, an Emerge 7 Fellowship from the Aljira Art
score Interior Designs was listed as one of the top
Center, and a Chashama AREA Visual Arts Studio
10 dance events of 2013 (The Star-Ledger) and has
Award in NYC. She has exhibited in solo and group
received the New Music USA, 2013 Live Music for
exhibitions both nationally and internationally.
Dance award. Her album EVOLUTION was released
Features on Gannis’s work have appeared in Res
on PARMA’s Big Round Records in April 2014. In
Magazine and Collezioni Edge, and her work has
July, she was an artist-in-residence at the historic
been reviewed in The New York Times, the Los
Manley-Lefevre House in Vermont. Bukvich is
Angeles Times, the Miami Herald, the Daily News,
also on the faculty at NYU, and is a 2013 New York
and the Village Voice.
Foundation for the Arts Fellow in Music/Sound.
Justin Berry
Jonathan Cohrs
Visiting Assistant Professor
Visiting Instructor
Digital Arts
Digital Arts
M.F.A., School of the Art Institute of Chicago
M.F.A., Parsons The New School of Design.
Thomas Bone
Elliot Cowan
Visiting Assistant Professor
Visiting Instructor
Professional digital and traditional animator and
Cowan was born in Melbourne, Australia, then
cartoonist with over 14 years of professional work
moved to the wilds of Tasmania, where he
experience in film, television, illustrations, web,
directed thousands of commercials for regional
advertising, and merchandising productions.
television. In 2006 he left for London where he
mostly worked with UIi Meyer animation. While in
Liubomir Borissov London he began animating the award-winning
Associate Professor Boxhead and Roundhead shorts. Now he lives in
B.S. Mathematics and Physics, California New York with all kinds of grown-up stuff like a
Institute of Technology; M.P.S. Interactive wife and child and a green card. He has recently
Telecommunications, New York University; Ph.D. completed The Stressful Adventures of Boxhead
Physics, Columbia University; Global Vilar Fellow, & Roundhead, his first feature, and he did almost
Tisch School of the Arts, NYU; exhibitions: New all of it himself in between teaching, freelance
Interfaces for Musical Expression conference, animation gigs, and his family.
Japan, 2004; Canada 2005; Lincoln Center
Summer Festival, NYC; the Kennedy Center,
Washington, D.C. Borissov has taught at
Harvestworks, Parsons School of Design and
the Columbia University Graduate School of
Architecture, Planning and Preservation.
206
Edward Darino
Adjunct Assistant Professor
Ph.D., UEU on New Technologies; M.F.A., Tisch
School of Art, New York University; designer,
on-air identification for Manhattan Cable,
HBO, Calliope, USA Networks, Con Edison, USA
Olympics, Snoopy and Superman specials; editor,
director, and special effects supervisor for
Hollywood Stars, Grand Entertainment, Disney
Entertainment, Discovery, Galavision, and many
others. Darino’s Special Effects Library is used in
62 countries worldwide.
Marianna Ellenberg
Visiting Instructor
B.A., Wesleyan University; M.A., Slade School
of Art; 2009 LMCC Swing Space residency;
exhibitions: The N.Y. Underground Film Festival,
2007, The Collectif Jeune Cinéma, 2003, LA
Freewaves, 2006; exhibitions: The Pleasure
Seekers, Chashama Gallery, NYC, 2009, Hysteria,
UC Long Beach, 2008.
Mike Enright
Adjunct Assistant Professor
B.F.A., The University of the Arts; M.F.A.,
California Institute of the Arts; curated national
and international animated shorts and features
for the Philadelphia Film Society (2002–08);
also produced animated campaigns for the
Philadelphia Film Festival and The Philadelphia
International Gay and Lesbian Film Festival; scenic
painter for theater, broadcast, and museum
installations, whose credits include work for NBC,
VH1, Anheuser Busch theme parks, and the Long
Beach Opera; his works in oil and acrylics are
held by private collectors; his independent
animated films include Moo! (1995), nominated
for a Student Academy award, and Grit!, a
10-minute, hand-processed 16mm tribute to
boxing featured at MoMA (2006).
Kay Hines
Adjunct Assistant Professor
B.A., Art History, Barnard College; Cine Golden
Eagle Award, editor of 9/11: Response and Recovery
for Signet Productions and Bovis Lend Lease, 2003;
Greenwald Foundation Grant, 1995; New York
Foundation for the Arts Grant, 1992, 1985; National
Endowment for the Arts Creative Artist Fellowship
Grant, 1981; videographer and internationally
exhibited media installation artist; co-owner/
founder of Dekart Video, est. 1981.
Kenneth Hughes
Visiting Instructor
Digital Arts Faculty
Stephen Jackett
Visiting Instructor
B.A., Dartmouth College; M.F.A., School of Visual
Arts; works include award-winning commercial
animation for J.J. Sedelmaier Productions,
with clients such as the Oxygen and Discovery
channels, Saturday Night Live, Chef Boyardee, the
Ad Council, and the Chicago Tribune; additional
work includes animated Web advertisements for
ESPN360.com for W/M Animation and an anti-
smoking 3-D animated film for the C. Everett Koop
Institute (1998–99); web-based projects include
3-D animated e-cards for online greeting card
brand MyFunCards and various popular Facebook
applications, such as the FlowerShop, My Own
Superhero, and Smiley Creator.  Visiting Instructor
Everett Kane
Assistant Professor
B.A. Religion, Princeton University; B.F.A., with
distinction, Fine Arts, M.F.A., Fine Arts, Art Center
College of Design. Kane is an artist, 3-D animator,
and technical director whose clients include
Nike, Klasky-Csupo, Reel FX, Location One,
CalTech, Sloan-Kettering, Rockefeller College,
Pixel Blocks, New York Festivals, Mirabell Films,
and DZI; exhibitions include Location One, White
Box, Animamus Art Salon, Los Angeles Arboretum,
Art Center College of Design, Hotel Grifou, Pillers
Gallery, Envoy Enterprises, Nezla Productions,
L.A. Municipal Gallery. For the last 16 years, he
has taught 3-D modeling, animation, drawing for
animation, character design, character modeling,
3-D lighting and rendering, VFX, dynamics,
programming for animators, character rigging,
technical direction, digital compositing, digital
painting, digital imaging, web design, interface
design, fine art, critical theory, and experimental
digital media.
Hyunsuk Kim
Visiting Instructor
Digital Arts
Linda Lauro-Lazin
Adjunct Associate Professor
Masters, Computer Graphics, NYIT. Lauro-Lazin
is a cross-disciplinary artist, curator, lecturer
and educator. Her work explores impermanence,
perception and vehicles of communication. She
has been using digital media in her practice since
1986 and is considered a pioneer of digital art.
Lauro-Lazin began her career as a painter and
photographer. She is a Fulbright scholar in art.
Her work is included in Art in the Digital Age by
Bruce Wands. She has been teaching for many
years and has organized and moderated many
guest lectures and panel discussions. She has
served on international art juries and has curated
some provocative exhibitions. Lauro-Lazin has a
great passion for building community and sharing
her ideas about art. She also loves a good story.
Peter Mackey
Professor
B.A., Syracuse University; M.F.A., University
of Southern California; has nearly 40 years of
experience writing and directing award-winning
films, videos, multi-image, and interactive
programs and installations for companies such as
GE, Apple, and Simon and Schuster Interactive.
He has taught and lectured in South Korea
and Turkey, writes speculative fiction, and
enjoys pushing the limits of three-dimensional
interactivity, player-mediated generative art, and
artist-friendly microelectronics.
David Mattingly
B.F.A., Colorado State University; M.F.A. Art
Center; headed the Matte Department at Walt
Disney Studios where he worked on The Black
Hole, Tron, Dick Tracy, Stephen King’s The Stand,
and I, Robot for Weta Digital in New Zealand;
has produced over 500 covers for most major
publishers of science fiction and fantasy, including
Baen, Bantam, DAW, Del Rey, Dell, Marvel, Omni,
Playboy, Signet, and Tor; for Scholastic Inc., he
painted 54 covers for K.A. Applegate’s Animorphs
series, along with the last five covers for the
Everworld series; illustrated the popular Honor
Harrington series for author David Weber; painted
the latest repackaging of Edgar Rice Burroughs’
“Pellucidar” books for Ballantine Books; two-time
winner of Magazine and Booksellers Best Cover
of the Year award, and winner of the Association
of Science Fiction Artists Chesley award; other
clients include Michael Jackson, Lucasfilm,
Universal Studios, Totco Oil, Galloob Toys, R/
Greenberg Associates, Click 3X, and Spontaneous
Combustion; author of The Digital Matte Painting
Handbook (Sybex, 2011), the first guide to digital
matte painting.
Nicholas O’Brien
Visiting Instructor
M.F.A., University of Colorado at Boulder;
O’Brien is a net-based artist, curator, and writer
whose research revolves around the exploration
of digital self and the relevance of landscape
representation within network culture. His work
has appeared internationally in Mexico, Berlin,
London, Dublin, Italy, and throughout the U.S.
He has also been featured in several publications
including ARTINFO, Art F City, Sculpture Magazine,
Dazed Digital, The Creators Project, DIS,
ilikethisart, Frieze d/e, the Brooklyn Rail, Rhizome
at the New Museum, and The New York Times. In
2011 he was awarded a Turbulence Commission
Grant funded by the NEA and curated a top 10
exhibition of 2011 as noted by Paddy Johnson
for L Magazine. Last year he premiered a new
work in collaboration with Rashaun Mitchell at
the Baryshnikov Art Center in New York as well
as mounting an exhibition at the Arti et Amicitiae
in Amsterdam. He is currently living in Brooklyn
working as a visiting artist professor and gallery
director for the Department of Digital Art at Pratt
Institute.

Genevieve Okupniak
Visiting Instructor
Digital Arts
M.F.A., California Institute of the Arts
Michael O’Rourke
Professor
M.F.A., University of Pennsylvania; Ed.M., Harvard
University; artist, author, and educator; selected
exhibitions include: Kennedy Center for the Arts,
Washington, D.C.; Musée d’Art Moderne, Paris;
Isetan Museum, Tokyo; Laumont Editions, NYC;
Hong Gah Museum, Taipei; Uma Gallery, NYC.
His artwork encompasses printmaking, murals,
sculpture, drawing, and animation, and frequently
combines digital and traditional techniques.
Recent work focuses on large-scale multimedia
murals, multimedia sculpture, and digital prints.
The interactive multimedia works combine static
imagery, drawing, video, and 3-D animation.
In the 1980s, he worked at the world-famous
NYIT Computer Graphics Lab, with many of the
pioneers and inventors of computer imaging
and animation. In the late 1980s and early 1990s,
he did extensive work for the artist Frank Stella,
producing sculptural models, graphics, and
animation. He has consulted on digital imaging
for a number of artists, including Jenny Holzer,
and is the author of two books and numerous
articles about digital art. His teaching experience
includes teaching kindergarten, conversational
French, and English as a foreign language in
Birkina-Faso, Africa.
Mira Scharf
Visiting Instructor
B.S., University of California at San Diego;
M.F.A., University of at California, Los Angeles;
animated for television programming including
Dilbert, Queer Duck, Assy McGee, Wonder Pets,
Sesame Street shorts and Pinky Dinky Doo; also
animated many webisodes for General Mills,
Postopia, and PBS Kids, and animated computer
games for Dreamworks Interactive, Knowledge
Adventure, and others; illustrated 25 educational
workbooks for U.R.J. Press and has written
copy for computer games and created story
and graphic content for computer game play
as well; her cartoons have appeared in Harvard
Business Review, Reader’s Digest, Funny Times, and
Narrative magazine.
Digital Arts Faculty 207
Claudia Tait Bryan Zanisnik
Associate Professor Visiting Instructor
M.F.A., University of Maryland Baltimore M.F.A., Hunter College; attended the Skowhegan
County; B.F.A., Ringling School of Art and School of Painting and Sculpture. He has recently
Design. She is a digital artist and media theorist exhibited and performed at PS1, Sculpture Center,
whose works explore the meaning of technology and the Queens Museum of Art; in Philadelphia
in the construction of gender. Her critical at the Fabric Workshop and Museum; in Miami
inquiries focus on the social, political, and at the De La Cruz Collection; in Chicago at the
economic role of computer programming and Museum of Contemporary Photography; in Los
contextualize technology’s languages as a form Angeles at LAXART; and internationally at the
of writing and literacy. Istanbul Museum of Modern Art, the Kunsthalle
Exnergasse in Vienna and the Futura Centre for
Katherine Torn Contemporary Art in Prague. Zanisnik’s work
Visiting Instructor has been reviewed in The New York Times, Art in
M.F.A., Chicago Institute of the Arts America, Artforum, ARTnews, Modern Painters,
Digital Arts and Time Out New York. He has completed
residencies at the Macdowell Colony, the Art
Lukas Wadya Omi International Artists Residency, the Lower
Visiting Instructor Manhattan Cultural Council Workspace Program,
Digital Arts and the Guangdong Times Museum in Guangzhou,
M.F.A., School of Visual Arts China. Currently he is an artist in residence at the
Smack Mellon Artist Studio Program in Brooklyn,
NY, and presented a commissioned project at the
Gregory Webb
Institute of Contemporary Art in Philadelphia in
Adjunct Instructor
the spring of 2014.
Daniel Weisbard
Visiting Instructor
Digital Arts
M.F.A., Rochester Institute of Technology
Elizabeth White
Visiting Instructor
B.A., Vassar College; M.F.A. Photography, Video
and Related Media, School of Visual Arts; White
is a multidisciplinary artist whose work has
been exhibited nationally and internationally,
most recently in The Balloon, a group show at
Rawson Projects curated by Jessamyn Fiore.
Other recent exhibitions include A Map is Not
the Territory at FiveMyles, the fourth annual
Artisterium International Contemporary Art
Exhibition in Tbilisi, No Soul For Sale at the Tate
Modern in London, and Surveil, a two-person
show with Anne Elizabeth Moore at the Center
for Endless Progress in Berlin. White curated
Culturehall’s Feature Issue 95, and her work was
recently published in The State (UAE). She has
been awarded residencies in Leipzig, Tbilisi,
Marfa,TX, and on Governors Island, and has
received support from CECArtsLink, the Hattie
Strong Foundation, and the Davis Educational
Foundation. She was the recipient of an Aaron
Siskind Fellowship. Based in Brooklyn, she teaches
in the graduate program in digital arts at Pratt
Institute, and at Bennington College in Vermont.
208

Fine Arts Faculty Rick Barry Mona Brody

Digital Arts, Professor Visiting Assistant Professor
Donald Pierce School of Painting; Pratt Institute; M.F.A., Vermont College of Art; M.S.,
founded Rick Barry/Desktop Studio in 1987; prior Massachusetts College of Art; B.F.A., Moore
design work at William Etsy Company, Craig Adams College of Art and Design; solo exhibitions:
David Alban
Associates, Helitzer Advertising, and Robert Aljira, Newark, N.J.; the Montclair Art Museum,
Visiting Assistant Professor
Whitehall Advertising. N.J.; Pleiades Gallery, N.Y.; group exhibitions:
B.F.A., Kansas City Art Institute; M.F.A., Cranbrook
Southwest Minnesota State University Art
Academy of Art; selected group exhibitions:
Clay Art Center, Port Chester, N.Y.; Josaphat Lisa Bateman Museum, Marshall; Kunstlerhaus, Graz, Austria;
Adjunct Associate Professor awards: Geraldine Dodge Foundation Grant;
Arts Hall & Convivium33 Gallery, Cleveland; Lill
B.F.A., East Carolina University; M.F.A., Virginia National Association for the Advancement of
Street Art Center, Chicago; Wrocław National
Commonwealth University; recent exhibition and Psychoanalysis, N.Y.; Printmaking Fellowship,
Gallery, Poland; selected grants and residencies:
curatorial projects: Location One, New York; PS1 Rutgers Center for Innovative Print and Paper;
Ksiaz Factory, Poland; Watershed Center for the
MoMA, New York; public arts projects: MTA Arts collections: Museum of Modern Art Library, New
Ceramic Arts; Panevezys Glass Works, Lithuania;
for Transit, BACA, and PACC; special projects York; the Montclair Art Museum, Montclair, N.J.;
International Ceramics Symposium, Hongik
manager, PS1 MoMA; Teme Celeste magazine; Virginia Center for the Creative Arts, Sweet Briar;
University, Seoul, Korea; Jerome Foundation
national and international exhibitions; recipient Boleshlawiec Art Museum, Poland; publications:
Grant Residency, St. John’s University; other
of Pollock-Krasner fellowship; www.lisabateman. The New York Times, Washington Art News;
professional: master kiln builder; art fabricator,
tumblr.com/post/3622546208. www.monabrody.com.
Polich Art Works, Newburgh, N.Y.; collections: The
Decorative Arts Museum, Prague; International
Museum of Ceramic Arts, Czech Republic; Michael Brennan Howard Buchwald
Ceramic Arts Museum, Poland; the Bemis Adjunct Assistant Professor Professor
Foundation; the Butler Museum of Art. M.F.A., Pratt Institute; B.A., University of Florida; M.A., Hunter College; B.F.A., The Cooper Union;
exhibited with Minus Space, Thatcher Projects, since 1971: numerous solo and group exhibitions
Lucas Schoormans, Anthony Meier Fine Arts, here and abroad; represented by Nancy Hoffman
Adam Apostolos
Yoshii Gallery, and others; exhibited internationally Gallery: www.nancyhoffmangallery.com; awards:
Sculpture Technician, Visiting Instructor
in Brussels, Paris, Shanghai, Sydney; group Gottlieb Foundation, Elizabeth Foundation,
exhibitions include PS1 MoMA, Vassar College, Pollock-Krasner Grant, National Endowment for
Karen Bachmann the Arts CAPS (Creative Artists Program Services),
St. Peter’s College; has written extensively for
Visiting Assistant Professor
The Brooklyn Rail, ArtNet, and numerous catalog Guggenheim Fellowship.
B.F.A., Pratt Institute; exhibitions: Museum of Arts
essays; reviewed in Art in America, The New York
and Design, New York; Philadelphia Museum of
Art; Oregon College of Arts and Sciences; Greene
Times, The Philadelphia Inquirer, etc.; collected in David Butler
the National Gallery of Art, Baltimore Museum of Adjunct Associate Professor
and Greene Gallery, Lambertville, N.J.; Miyo Oto,
Art, San Jose Museum of Art, American Express, M.F.A., University of Washington; B.F.A., Georgia
San Francisco; Flushing Council of the Arts and
General Dynamics; also teaches at Hunter College State University; sculptor, jeweler, designer, and
Sciences, Flushing, N.Y.; Craze Gallery, London;
and has taught at the Cooper Union; www. goldsmith; his work has been extensively exhibited
www.karenbachmanndesigns.com.
michaelbrennan.info. and is included in public and private collections;
www.davidbutlerco.com.
Lisha Bai
Adjunct Assistant Professor
Deborah Bright
B.A., Washington University in St. Louis; M.F.A,
Chair Blake Carrington
M.F.A., University of Chicago; B.A., Wheaton Visiting Instructor
Yale University; exhibitions: National Academy,
College; photographic projects have been M.F.A., Syracuse University, B.A., Indiana
New York; MCLA Gallery 51, North Adams, Mass.;
exhibited internationally, including at the Victoria University; works within the spheres of the
Bravin Lee Programs, New York; Zone Chelsea
and Albert Museum; the Museet for Fotokunst, sound, visual, and performing arts; in 2014 he
Center for the Arts, New York; Josée Bienvenu
Copenhagen; Nederlands Foto Instituut, performed with Soundwalk Collective and Patti
Gallery, New York,; Tyler Estate, New York; Musée
Rotterdam; Museum Folkwang, Essen; Canadian Smith for the French Institute/Alliance Française
d’Art Américain Giverny, Giverny, France; awards
Museum of Contemporary Photography, Ottawa; Crossing the Line Festival; staged a solo exhibition
and residencies: S.J. Wallace Truman Fund
Cambridge Darkroom; Vancouver Art Gallery; her and premiered an audiovisual performance at
Award, National Academy, New York; Vermont
photographs are included in the collections of the Contemporary Art Center New Orleans; received
Studio Center Full Fellowship, Johnson, Vt.; Terra
Whitney Museum; National Museum of American a Jerome Foundation research grant; curated
Summer Residency Fellow, Giverny, France;
Art, Smithsonian; Addison Gallery of American Art; shows for This Red Door and Dumbo Arts Festival;
publications: The New York Times; The New Yorker;
Fogg Art Museum; Boston Athenaeum; Rose Art previously he also staged solo exhibitions at the
New York Sun; www.lishabai.com.
Museum; University Art Museum at Binghamton Philadelphia Photo Arts Center and Central Utah
University; California Museum of Photography; and Arts Center, and has performed at the Musée
Hannah Barrett
the RISD Museum of Art; www.deborahbright.net. d’Art et d’Histoire du Judaïsme in Paris and
Visiting Assistant Professor
Elektra Festival in Montreal; in 2012 he completed
M.F.A., Boston University; B.A., Wellesley College;
a sound art commission for Radio del Museo
has spent a decade developing and exhibiting an
Reina Sofia in Madrid and performed in the River
oeuvre of androgynous portraiture; had solos in
to River Festival in New York; has been artist-in-
New York City at the Stephan Stoyanov Gallery
residence at LMCC’s Swing Space in New York,
and in Boston at the Childs Gallery and Howard
Rustines Lab in Montreal, Tofte Lake Center in
Yezerski Gallery; has exhibited at the Museum for
Minnesota, and Haeinsa Temple in South Korea,
Women in the Arts, Washington, and the Museum
among others; in 2011 he received a NYSCA grant
of Fine Arts, Boston; recipient of an Artadia Award
in support of his debut CD release concert at
and Travel Fellowships from the School of the
St. Patrick’s Old Cathedral in New York; born in
Museum of Fine Arts and Wellesley College.
Indiana and currently lives and works in Brooklyn.

William Carroll
Visiting Associate Professor
M.F.A., C.U.N.Y. Queens College; B.F.A., Pratt
Institute; director of the Studio Program at the
Elizabeth Foundation for the Arts; involved with
the New York art world for more than 25 years;
held prior positions at the Dia Art Foundation, the
Brooklyn Museum, and as the gallery director for
Charles Cowles Gallery and the Elizabeth Harris
Gallery; has lectured for the New York Foundation
for the Arts, Bard College, Cranbrook Academy of
Art, F.I.T., New York University, and the School of
Visual Arts.
Nanette Carter
Adjunct Associate Professor, Coordinator for
Drawing
M.F.A., Pratt Institute; B.A., Oberlin College,
studied abroad in Perugia, Italy, and traveled
through Europe and North Africa; exhibits with the
G.R. N’Namdi Gallery in Chicago, Miami, and Detroit;
works and lives in New York; had solo show in Miami
in October 2012 and in São Paulo, Brazil, in 2013 and
Havana, Cuba, in 2014; www.nanettecarter.com.
Cammi Climaco
Visiting Associate Professor
B.F.A., Kent State University, Ohio; M.F.A.,
Cranbrook Academy of Art, Mich.; Pilchuck Glass
School, Seattle; solo exhibitions: Lump Gallery,
Raleigh, N.C.; Garden Fresh, Chicago; Silo, New
York; Claude Howell Gallery, University of North
Carolina, Wilmington; Duncan Art Gallery, Stetson
University, Deland, Fla.; group exhibitions include:
Front Room, Brooklyn; Rotunda Gallery, Brooklyn;
Spaces, Cleveland; Redsaw, Newark; publications
include: The New York Times, The New York Sun,
Cleveland Plain Dealer, and flavorpill.net;
www.brightsunnyfutures.com.
Ian Cofre
Visiting Instructor
Political Science and Economics, Columbia
University; independent curator and writer based
in New York City, engaged primarily with emerging
and established artists working locally and in Latin
America; his main areas of interest are examining
the art market, alternative economies and their
modes of art production, turning the lens onto
underrepresented artists and marginalized
communities, and contextualizing artists cross-
generationally; has previously worked as director
at Sue Scott Gallery, Studio Manager for Mickalene
Thomas, and most recently as U.S. Director for
the PINTA NY art fair; recent projects include co-
curating, as one of 10 curators, the exhibition TEN
at Cindy Rucker Gallery (New York, 2014); Bigger
Than Shadows, DODGEgallery (New York, 2012) with
Rich Blint; and both Tracing the Unseen Border,
La MaMa La Galleria (New York, 2011) and Southern
Exposure at Dumbo Arts Center (Brooklyn, 2009)
with Omar Lopez-Chahoud; other shows include
South Central (2014), a co-curated review of
regional painters from the south of Chile; Behind
Closed Doors (2011), a curated solo project by
Manuela Viera-Gallo at Y Gallery; and The Doubtful
Fine Arts Faculty
Guest (2010) at Kill Devil Hill in Greenpoint, NY;
publications include an artist profile of Alberto
Borea for Arte al Día and co-writing an essay with
Lopez-Chahoud for the Bronx Museum’s Taking
AIM! The Business of Being an Artist Today (2011)
edited by Marysol Nieves; profiles and reviews of
exhibitions he has curated have appeared in The
Art Newspaper, Arte al Día International, and The
Wall Street Journal, among others.
David Cohen
Visiting Associate Professor
B.A., Hons (History of Art) University of Sussex;
M.A., (History of Art) Courtauld Institute of Art,
University of London.
Alexia Cohen-Tortoledo
Jewelry Technician, Visiting Instructor
B.F.A., Massachusetts College of Art and Design;
her art jewelry pieces have been shown with
Mobilia Gallery and Gallery Loupe, both prominent
galleries in the Art Jewelry world; recently, her
work was shown as part of the Art of Adornment:
Studio Jewelry exhibition at the Hunterdon Art
Museum in New Jersey; www.alexiacohen.com.
James Costanzo
Adjunct Associate Professor
M.A., M.F.A., University of Iowa; has shown his
work in the U.S. and in Europe; founding member
of REPOhistory, an artist collective that makes
site-specific public artwork based on issues
of race, gender, class, and sexuality; created a
multimedia installation titled datamap_2001.2
that dealt with the social and political climate and
was shown at the Annex, which is affiliated with
White Box; www.jimcostanzo.us.
Grayson Cox
Visiting Assistant Professor
M.F.A., Columbia University; B.F.A., Indiana
University; exhibitions include Exquisite Corpse
Project, Gasser Grunert Gallery, N.Y.; Short-Term
Deviation, The Elizabeth Foundation for the Arts,
N.Y.; One and Three Quarters of an Inch, curated
by Peter Clough, St. Cecilia’s Parish Art Space,
Brooklyn, N.Y.; Entropy Symphony, performance
with Zefrey Thorwell, Whitney Museum, N.Y.;
B-Sides, 6–8 Months Project Space, N.Y.; grants
and residencies include Rema Hort Mann
Foundation Nominee; Catwalk Artist Residency,
Catskill, N.Y.; Montrose Initiative for the Arts,
Artist Residency program; the Daisy Soros Prize
for Fine Arts, awarded by the American Austrian
Foundation to study in Salzburg, Austria; work
held in the collections of Fisher Landau Center
for Art; John Friedman, Easton Capital, N.Y.; Serra
Sabuncuoglu, N.Y.; www.graysoncox.com.
209
Peggy Cyphers
Adjunct Professor
B.F.A., Maryland Institute of Art; Towson State
University; M.F.A., Pratt Institute; recipient of
National Endowment for the Arts Fellowship, PS1
MoMA New York Studio Award; Ingor Foundation
Award; represented by E. M. Donahue Gallery,
New York; Solo Press, New York; Betsy Rosenfield
Gallery, Chicago; contributing writer to Arts
Magazine, Art Journal, and other publications;
www.peggycyphers.com.
Pradeep Dalal
Visiting Assistant Professor
M.F.A., International Center of Photography/
Bard College; M.S., Massachusetts Institute of
Technology in Architecture; B.Arch., Center for
Environmental Planning and Technology, 1987;
www.pradeepdalal.com.
Gregory Drasler
Adjunct Associate Professor
B.F.A., M.F.A., University of Illinois; solo exhibitions:
Betty Cunningham Gallery, New York; the Center for
Contemporary Art, Chicago; Queens Museum of Art,
N.Y., and the recent Tattoo Parlor, at California State
University at Fullerton, Santa Ana; group exhibitions
include New Museum of Contemporary Art; Whitney
Museum of Contemporary Art/Champion, New
York; Carnegie Museum of Art, Pittsburgh; awards:
Guggenheim Fellowship, National Endowment for
the Arts Fellowship, New York Foundation for the
Arts Fellowship; author of: “Painting into a Corner:
Representation as Shelter,” in The Vitality of Objects:
Exploring the Work of Christopher Bollas (Wesleyan
University Press, 2002); represented in New York by
the Betty Cunningham Gallery; www.drasler.com.
Kelly Driscoll
Assistant Professor
B.F.A., Plymouth University of England; M.F.A.,
City College, New York; exhibitions: Kristen
Frederickson Gallery, New York; International Print
Center, New York; Greater New York (2000), MoMA
PS1, N.Y.; Mark Wooley Gallery, Portland, Ore.;
D.A.P, New York; Kaosiung Museum of Fine Art,
Taiwan; artist books: Jalaluddin Mohammad Rumi
(Vincent Fitzgerald & Co, New York), and Georges
Bataille’s Story of the Eye (the Institute for Cultural
Inquiry, Calif.).
Samuel Evensen
Visisting Assistant Professor
B.F.A., Brigham Young University; M.F.A., the
New York Academy; B.F.A. from Brigham Young
University. Exhibition venues include: Fuse Gallery,
NY; Art House Gallery, Philadelphia; Mark Miller
Gallery, NY; and Sloan Fine Art, NY.
210
Brad Ewing
Visiting Instructor
M.F.A., Rhode Island School of Design; Teaching
Certificate, Brown University; B.F.A., Cornish
College of the Arts; exhibitions: IPCNY, New
York; Temple University, Rome, Italy; 193c Gallery,
Brooklyn, N.Y.; professional activities: director
and printer, the Grenfell Press, New York; printer,
Sienese Shredder Editions, New York; director and
printer, Marginal Editions, New York; printer for
artist Philip Taaffe.
Patrick Fenton
Visiting Assistant Professor
M.F.A., Stanford University; B.A., University of
California at Los Angeles. Partner and co-founder
of Swayspace, Brooklyn, a custom design studio
with an emphasis on custom printing, letterpress,
book design, interface design, and identity
design. Recent exhibitions include International
Print Center, Art Directors Club, and Governors
Island, in New York. Featured in Made in New York:
Handcrafted Works by Master Artisans.
Allen Frame
Adjunct Associate Professor
B.A., Art History and English, Harvard University;
represented by Gitterman Gallery in New York
where he had solo exhibitions in 2005 and
2009; his book Detour, a compilation of his
photographs over a decade, was published by
Kehrer Verlag Heidelberg in 2001; recipient
of grants from the Penny McCall Foundation,
the Peter Reed Foundation, Creative Time, Art
Matters, CEC Artslink and others; co-founder
of the contemporary art center Delta Axis in
Memphis in 1992, and in 1990, co-created “Electric
Blanket,” an epic slide show about AIDS, which
toured throughout the U.S. and to Norway, the
U.K., Germany, Hungary, Japan, and Russia; has
been the curator of exhibitions at Art in General,
including Darrel Ellis in 1996 and In This Place in
2004; at PS122 Gallery, including Bearings: the
Female Figure in 2006; and at the Camera Club of
New York, including Linda Salerno: A Selection of
Experimental Photographs from the Black Mirror
Series; currently serves as the president of the
board of the Camera Club of New York, and is an
executive producer of Joshua Sanchez’s feature
film Four; www.allenframe.net.
Linda Francis
Adjunct Professor
M.A., B.F.A., Hunter College; selected solo
exhibitions include Hal Bromm Gallery, Gallerie
Gislain Mollet-Vieville, PS1 MoMA, Damon Brandt
Gallery, Gallerie Per Sten, William Paterson
University, Nicholas Davies Gallery, University of
Alabama College of Arts and Sciences, Cathedral
of St. John the Divine, Minus Space; selected
group exhibitions include Aldrich Museum, Studio
La Citta, Moore College of Art, Stadische Gallerie
Im Lenbachhaus, Kunsthalle Basel, List Gallery
MIT, Nordjyllands Kunst-museum, The Kitchen,
Louisiana Museet, Leubsdorf Art Gallery at Hunter
College, Rogalund Kunstmuseum, Sydney Non
Objective, Vassar College, and Academy of Arts
and Letters Invitational.
Fine Arts Faculty
Michael Fujita
Visiting Assistant Professor
M.F.A., New York State College of Ceramics at
Alfred University; B.F.A., Ceramic Art, Kansas
City Art Institute; exhibitions include Periphery,
Philadelphia Art Alliance; Sightlines, Jane Hartsook
Gallery; Greenwich House Pottery, New York;
New Porcelain Work, Cross Mackenzie Gallery,
Washington; Artificially Flavored, the Evelyn
Shapiro Foundation Fellowship Solo Exhibition,
The Clay Studio, Philadelphia; Preserve, Master
of Fine Arts Thesis Exhibition, Schein-Joseph
International Museum of Ceramic Art, Alfred, N.Y.;
Michael Fujita, New Work, Red Star Studios, Kansas
City, Mo.; Gyeonggi International CeraMIX Biennale
International Competition, Icheon, Republic of
Korea; Strangely Familiar, NCECA, University of
South Florida School of Art, Tampa, Fla.;
Pretty Young Things, Lacoste Gallery, Concord,
Mass.; Midsummer Eve, Meredith Gallery,
Baltimore; Correlations, Red Star Studios; Small
Favors V, Philadelphia; Of This Century, The
Clay Studio; Conversations, Coincidences, and
Motivations: The Alfred Experience, Snyderman
Gallery, Philadelphia; www.michaelfujita.com.
Joseph Fyfe
Adjunct Associate Professor
B.F.A., University of the Arts, Philadelphia
College of Art; selected solo exhibitions: JG
Contemporary, New York; Ryllega Gallery, Hanoi,
Vietnam; Cynthia Broan Gallery, New York;
selected group exhibitions include Intersections,
Meyer School of Art; Paint/Not Paint, Paul
Sharpe Contemporary Art, New York; Carton
Rouge, Atelier Tampon-Ramier, Paris; selected
awards: Guggenheim Fellowship; McDowell
Fellowship; Adolph and Esther Gottlieb Award;
Pollock-Krasner Award; Fulbright Award; selected
publications: Art, das Kunstmagazin; Art in
America, Joe Fyfe at Nicholas Davies;
www.joefyfe.com.
Mariam Ghani
Visiting Associate Professor
M.F.A., School of Visual Arts; B.A., New York
University; Mariam Ghani’s research-based
practice spans video, installation, photography,
performance, and text. Her recent exhibitions
and screenings include the Rotterdam and
CPH:DOX film festivals; dOCUMENTA (13) in Kabul,
Afghanistan, and Kassel, Germany; MoMA in New
York, and the Sharjah Biennial in the United Arab
Emirates. Recent texts have been published in
Filmmaker, Mousse, the Radical History Review, The
New York Review of Books blog, and dOCUMENTA’s
100 Notes/100 Thoughts book series. Ongoing
collaborations include Index of the Disappeared
(with Chitra Ganesh), Performed Places (with Erin
Kelly), and the Afghan Films online archive (with
pad.ma). Ghani has been awarded the New York
Foundation of the Arts and Soros Fellowships,
grants from the Graham Foundation for Advanced
Studies in the Fine Arts, CEC ArtsLink, the Mid-
Atlantic Arts Foundation, and the Experimental
Television Center; and residencies at Lower
Manhattan Cultural Council, Eyebeam Atelier,
Smack Mellon, and the Akademie Schloss Solitude
in Stuttgart.
Anne Gilman
Adjunct Associate Professor
B.F.A., State University of New York at New
Paltz; M.F.A., Brooklyn College; solo exhibitions:
Palacio del Segundo Cabo, Havana, Cuba; Casa
Cristo, Guadalajara, Mexico; Sala Polivanted,
Matanzaz, Cuba; and numerous group exhibitions
and awards; collections: the New York Public
Library; Kresge Museum of Art; Brooklyn Museum;
National Museum of Women in the Arts; Colegio
de Arquitectos de Estado de Jalisco, Guadalajara,
Mexico; Library of Congress; publications: Frayed
Edges (Ediciones Vigia, Matanzas, Cuba, 2001);
Facing Eviction and Don’t Lose Heart, ISCA; www.
annegilman.com.
Jonathan Goodman
Visiting Assistant Professor
B.A., Columbia University; M.A., University of
Pennsylvania; freelance writer and editor, various
publications, including Art in America, ARTnews,
Drawing, and Art Asia Pacific.
David Gothard
Visiting Assistant Professor
B.F.A., Pratt Institute; freelance illustrator
providing conceptual images for major national
and international publications such as The Wall
Street Journal, Newsweek, Time magazine, the
Los Angeles Times, and The New York Times;
www.davidgothard.com.
Toni Greenbaum
Visiting Associate Professor
M.A., Hunter College; B.A., City College of New
York; a Brooklyn-based art historian specializing
in 20th and 21st-century jewelry and metalwork;
wrote Messengers of Modernism: American Studio
Jewelry 1940-1960, along with numerous book
chapters and essays for arts publications; has
lectured internationally at institutions such as the
Museum of Arts and Design, New York; Museum of
Fine Arts, Boston; and Pinakotheck der Moderne,
Munich, and curated exhibitions for several
institutions, including the Victoria and Albert
Museum in London.
Nancy Grimes
Adjunct Associate Professor
B.A., Indiana University; M.F.A., School of the Art
Institute of Chicago; co-founder of the artists’
space West Hubbard Gallery, Chicago; exhibited
widely nationally; author of Jared French’s Myths;
writes for Art in America and ARTnews, for which
she has been an editorial associate since 1986;
www.nancygrimes.net.

Dave Hardy
Visiting Professor
M.F.A., the Yale School of Art; B.A., Brown
University; studied at the Skowhegan School
of Painting and Sculpture; selected group
exhibitions include Make It Now at Sculpture
Center, Unbalance at Jack Shainman, and Greater
New York 2005 at PS1 MoMA. Solo exhibitions
include Art in General, 92Y Tribeca, and La Mama
Galleria in New York and Southern Exposure in
San Francisco; recipient of New York Foundation
for the Arts fellowship in 2011; had a solo show at
Regina Rex in September 2013;
www.davehardystudio.com.
Eric Heist
Visiting Assistant Professor
B.F.A., University of Delaware; Empire State
College, SUNY Studio Program in New York; M.F.A.,
Hunter College; exhibitions: Schroeder Romero
(solo exhibition), New York; Max Protetch, New
York; Islip Art Museum, East Islip, N.Y.; Ronald
Feldman Gallery, New York; Brooklyn Museum,
N.Y.; Centre of Attention, London; publications:
Contemporary magazine; The New York Times,
Village Voice; Elle; founder and director of
Momenta Art, Brooklyn, N.Y.; www.ericheist.com.
Vera Iliatova
Visiting Assistant Professor
Studied at the Sorbonne University in Paris,
France, B.A., Brandeis University; M.F.A. Painting,
Yale University; attended Skowhegan School
of Art; exhibition venues include: Monya Rowe
Gallery, NY; Schroeder Romero NY; Eleven
Rivington, NY; and Artists’ Space, NY.
Martine Kacynski
Adjunct Associate Professor
M.F.A., Parsons The New School of Design;
B.F.A., Liverpool Polytechnic, England;
exhibitions: Sculpture Space, Utica, N.Y.; Mary
Dinaburg Studios, New York; Affinity Archives,
Dublin, Ireland; Jessica Murray Projects, Brooklyn,
N.Y.; Kent Gallery, New York; Art and Idea, Mexico
City; Davis Anderson Gallery, Buffalo, N.Y.; public
sculpture: Socrates Sculpture Park, Long Island
City, N.Y.; The Rosen Sculpture Park, N.C.; Lipe
Art Park in Syracuse, N.Y.; recipient of a New
York Foundation for the Arts Fellowship;
represented by Dinaburg Arts in New York;
www.martinestudio.com.
Yael Kanarek
Visiting Assistant Professor
M.F.A., Rensselaer Polytechnic Institute; a
multidisciplinary artist; has been working with
the visual properties of languages and the
Internet, to explore the universality of human
interaction; in addition to her fine art practice
at yaelkanarek.com, she recently founded Aleph
Foundry, a company that specializes in text-based
jewelry; selected for the 2002 Whitney Biennial,
past exhibitions of Kanarek’s work also include
The Drawing Center, New York; Beral Madra
Contemporary Art, Istanbul; National Museum of
Contemporary Art, Athens; CU Museum, Boulder;
Cantor Arts Center, Stanford University; The
Fine Arts Faculty
Jewish Museum, New York; Exit Art; The Kitchen;
Museum of the Moving Image, New York; Wood
Street Galleries, Pittsburgh; bitforms gallery,
New York; in addition to a Rockefeller New Media
Fellowship and an Eyebeam Honorary Fellowship,
Kanarek is also the recipient of grants from the
Jerome Foundation Media Arts and New York
Foundation for the Arts; commissions from the
SFMoMA and Turbulence.org; residencies at
Civitella Ranieri, Harvestworks and the Ma’amuta
Art and Media Center; in 1999, she founded
Upgrade! International.
Shirley Kaneda
Professor
B.F.A., Parsons The New School of Design;
recent solo exhibitions: Danese Gallery, New
York; Bernard Jacobson Gallery, London;
Galerie Jean-Luc and Takako Richards, Paris;
Feigen Contemporary, NY; Galerie Schuster and
Scheuerman; Berlin and Frankfurt; Centre d’Art
Contemporain Roussillon-Languedoc, France;
Centre d’Art d’Ivry, Paris; publications include: Art
in America, ARTnews, Contemporary, The New York
Times, Time Out; Beauty and the Contemporary
Sublime by Jeremy Gilbert Rolfe; What is
Abstraction by Andrew Benjamin; Talking Painting:
Dialogues with 12 Contemporary Abstract Painters
by David Ryan; awards: Guggenheim Memorial
Foundation Grant, Pollock Krasner Foundation
Grant, NEA Regional Fellowship, and The Elizabeth
Foundation; contributing editor for BOMB
magazine and has published articles, catalogue
essays, and reviews for various publications and
journals since 1989; www.shirleykaneda.com.
Michael Kirk
Adjunct Professor
B.F.A., Rutgers University; M.F.A., Pratt
Institute; exhibitions: Norkse Grafikere, Oslo,
Norway; Gimpel and Wietzenhoffer, New York;
and ArtWalk, New York; collections: Brooklyn
Museum, N.Y.; Library of Congress, Washington;
Philadelphia Museum of Art; DeCordova and Dana
Museum, Lincoln, Massachusetts.
Ross Knight
Visiting Assistant Professor
B.F.A., University of Minnesota at Minneapolis;
exhibition venues include: Team Gallery, PS 1/
MoMA, Art Metropole, the Sculpture Center, Apex
Art and Richard Telles Fine Art.
Vivien Knussi
Adjunct Instructor
Ph.D., Columbia University; M.A., B.A., Tufts
University; lectured at MoMA focusing on
photography; also worked for six years as curator
and head of acquisitions for the Dreyfus Mellon
Fund; since completing her Ph.D. Knussi has
begun writing a textbook on photography.
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Peter Kruty
Visiting Assistant Professor
B.A. Geography, University of Chicago; M.A.,
M.L.S. Book Arts, Printmaking and Photography,
University of Alabama; founded Kruty Editions
in 1991 in Brooklyn, providing a studio for
collaborative artists’ books, letterpress,
printmaking, typographic design, and fine
commercial letterpress printing.
Alexander Kvares
Visiting Assistant Professor
B.F.A., Painting, University of Kansas; M.F.A.
Printmaking, University of Texas; exhibition venues
include: Mulherin + Pollard, NY, Westbeth Gallery,
NY; Beep Beep Gallery Atlanta, GA; the Atlanta
Contemporary Art Center, GA;
Benjamin La Rocco
Visiting Assistant Professor
M.F.A., Pratt Institute; B.A., Middlebury College;
represented by Janet Kurnatowski Gallery in
New York and John Davis Gallery in Hudson; has
exhibited in Europe and America; has been a
visiting professor at Rutgers University and at
Purchase College, and has lectured and been a
visiting critic at Rutgers, Montclair, Hunter, and
PS1 MoMA; currently teaches in the Fine Arts
department of Pratt Institute; participated as a
panelist at “Younger than Pontius Pilate” at The
National Academy Museum, New York; recipient
of a Marie Walsh Sharpe residency (2005–06) and
the S.J. Wallace Truman Fund Award for Painting
from the National Academy of Design Museum; is
a contributing writer and editor at large for The
Brooklyn Rail.
David Lantow
Visiting Associate Professor
M.F.A., City University of New York, Brooklyn
College; B.F.A., University of Iowa; exhibition
venues include Exit Art, Ruby Gallery, Nurture Art;
co-founded and curated exhibits at the former
Cold Fish Art Space in Brooklyn, and was the
artist liaison/Muse Fuse coordinator in 2001–02
for NURTUREart Non-Profit Inc.; from 2005–09
served as president of AGAST; since 2003 has
taught printmaking at Brooklyn College; www.
dlantow.com.
Catherine Lecleire
Adjunct Associate Professor
M.F.A., University of Southern California;
M.A.E., Art Education, Philadelphia College of
Art; B.F.A., Philadelphia College of Art; B.A.,
Political Science, Ursinus College; selected
solo and group exhibitions at Montclair Art
Museum, Hunterdon Museum of Art, William
Paterson University, College of New Jersey,
University of Wisconsin, Dana Library, Center for
Contemporary Printmaking, University Council
on the Humanities; has taught at MIT’s Visual Arts
Program, Hunter College, Bennington College,
and Maryland Institute of Art.
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Jenny Lee
Adjunct Professor
B.F.A., Sculpture, the Cooper Union for the
Advancement of Science and Art; has exhibited
extensively in galleries, arts organizations and
museums; in fall 2002, had a retrospective at
the Hoboken Historical Museum, sponsored by
the NJ State Council for the Arts and the NJ
Council for the Humanities, National Endowment
for the Humanities; in 2001, her work was featured
in the first-ever historical survey of 20th-century
welded sculpture held at the Neuberger Museum;
work is in public venues such as the Brooklyn
Museum, the Newark Museum, and the Neuberger
Museum of Art; private collections include
DeMenil and Borgenicht-Brandt;
www.ironmite.com.
Marc Lepson
Visiting Associate Professor
M.F.A., School of the Art Institute of Chicago,
1997; B.A., English Literature, State University of
New York at Albany, 1991; work has been included
in exhibitions in New York; Chicago; San Francisco;
Vienna; Berlin; and Torino, Italy, among others;
recipient of a 2001 grant from the Pollock-Krasner
Foundation; reproductions of his work have
appeared in the September and October 2004
issues of Art in America; www.lepson.info.
Frank Lind
Professor
M.F.A., Pratt Institute; B.A., Georgetown
University; selected solo exhibitions: Recent
Paintings, Gallery 210, Brooklyn, N.Y.; Ocean
Paintings from Long Island, Henry Gregg Gallery,
DUMBO, New York; selected group exhibitions:
The New Hudson River School, Riverstone Arts,
Haverstraw, N.Y.; Mermaids, Sideshow Gallery,
Williamsburg, N.Y.; www.lindpaintings.com.
Omar Lopez-Chahoud
Visiting Assistant Professor
M.F.A.,Yale University School of Art; an
independent international curator, recent
exhibitions include: Untitled Art Fair at Art
Basel Miami Beach, NY/Prague6, at Futura
Contemporary Art Center, Prague, Czech
Republic; co-curated Lush Life, which spanned
nine galleries in New York; Salon 94, Invisible
Exports, Lehman Maupin, Eleven Rivington, On
Stellar Rays, Y Gallery, Sue Scott Gallery, and
Collette Blanchard Gallery; and The Pipe and
the Flow at Espacio Minimo in Madrid, Spain; has
written essays for several publications including
the catalogs for Dynasty (2006) and Rewind/Re-
Cast/Review (2005); participated in curatorial
panel discussions at Artists’ Space, Art in General,
MoMA PS1, and The Whitney Museum of American
Art in New York City; was a guest critic at Art Omi
in 2007; exhibitions have been reviewed in The
New York Times, ArtForum, Village Voice, among
many other publications.
Fine Arts Faculty
Patricia Madeja Nat Meade
Associate Professor Assistant Chair, Visiting Instructor
B.F.A., Pratt Institute; recipient of an American M.F.A., Pratt Institute; B.F.A., University of
Vision Award, AJDC (American Jewelry Design Oregon; exhibited at Pierogi Gallery, Brooklyn,
Council), Saul Bell Award, Jewelry Arts Award, N.Y.; Spike Gallery, New York, Rogue Space, New
and Niche Award and featured in a variety of York, Froelick Gallery, Portland, Ore.; Bernabe
periodicals and books including Adorn, 500 Somoza Fine Art, Houston; Karin Clarke Gallery,
Necklaces, Art Jewelry Today, The Art and Craft Eugene, Ore.; curated Artists Registries: Pierogi
of Making Jewelry and American Couture Jewelry, Flat Files; publications: Berlin Journal, Tin House,
and most recently The New Jewelers; a strong Portland Monthly, Northwest Review;
advocate for jewelry education, she has been www.natmeade.com.
teaching in the Fine Arts Jewelry department at
Pratt Institute since 1998, was appointed jewelry
Jennifer Melby
coordinator in 2005, and received a full-time
Adjunct Associate Professor
appointment in 2011. www.patriciamadeja.com.
M.F.A., Pratt Institute; B.F.A., Arcadia University;
has taught at Yale University, LaGuardia
Ann Mandelbaum Community College, Fairleigh Dickinson University,
Adjunct Professor
the Lower East Side Printshop, and the Robert
M.A., Media Studies, The New School; M.F.A.,
Blackburn Printmaking Workshop, and has been
Pratt Institute; photographer, sculptor, and video
a guest lecturer at Brandeis University, Rhode
artist who has exhibited internationally, including
Island School of Design, Lehman College, and The
solo shows at The Grey Art Gallery, New York;
Cooper Union; currently teaches Printmaking
Center for Creative Photography, Tucson, Ariz.;
at Pratt; for more than 25 years has operated
Galerie Francoise Paviot, Paris; Galerie Anita
her own studio which specializes in intaglio
Beckers, Frankfurt, Germany; Westfalischer
editions, and has worked there with many artists,
Kunstverein, Munster, Germany; Fotomuseum,
including Donald Baechler, Brice Marden, Suzanne
Munich; Frankfurter Kunstverein, Frankfurt;
McClelland, Sean Scully, Joanne Greenbaum, Joan
Stadtgalerie Saarbruchen; Musée de l’Elysée,
Snyder, Julia Jacquette, Red Grooms, and Amy
Lausanne, Switzerland; Canal Isabel II, Madrid;
Kao; prints from her studio have been acquired
Kunsthalle Goeppingen, Germany; published in
by contemporary collections including those
three hard cover monographs: Ann Mandelbaum
of MoMA, The New York Public Library, Whitney
(1994), and Ann Mandelbaum, New Work (1999),
Museum, Houston Museum of Fine Art, and Tate
both published by Edition Stemmle, and Ann
Gallery; in 2007 she was in residence at the
Mandelbaum, Thin Skin (2005), published by Hatje
American Academy in Rome on a visiting artist
Cantz; lives in Costa Rica and New York; www.
fellowship; www.jennifermelby.com.
annmandelbaum.net.
Ann Messner
Dennis Masback Adjunct Professor
Adjunct Professor
B.F.A., Pratt Institute; Henry Moore Foundation
B.F.A., M.F.A., Washington University School of
Post Graduate Fellow; solo exhibitions: Zilkha
Art; recipient of National Endowment for the Arts
Gallery, Wesleyan University, Conn.; Dorsky
Fellowship; collections: Museum of Art, Rhode
Gallery, New York; Bath International Arts Festival,
Island School of Design; Emory University; AT&T;
UK; Fawbush Gallery, New York; Worcester
Prudential Insurance Co.; Chemical Bank; and
Art Museum, Mass.; Shoshana Wayne Gallery,
Fidelity Investments; publications: The New York
Los Angeles; numerous public projects and
Times, Artforum, ARTnews; represented by Berry-
installations include Eastern State Penitentiary,
Hill Galleries, New York; www.dennismasback.com.
Philadelphia; Grey Art Gallery, NYU; Skulptur:
Koln/Ehrenfeld, Cologne; awards: NEA Fellowship,
J. Martin Mazzora New York Foundation for the Arts, Henry Moore
Visiting Assistant Professor International Fellowship; John Simon Guggenheim
B.F.A., West Virginia University; M.F.A, American Foundation, Anonymous Was a Woman Award;
University, DC; co-founder of Cannonball Press; Gottlieb Foundation Fellowship; Bunting
coordinator of Printmaking at Parsons The New Fellowship, Radcliffe Institute for Advanced
School of Design, New York; curator/coordinator Studies, Harvard University; www.annmessner.net.
of the cross-institutional print exchange
Swaptropolis.
Dennis McNett
Adjunct Assistant Professor
M.F.A., Pratt Institute; designer of board graphics
for Anti-Hero skateboards; collaborates with
Cannonball Press; master printer at Brand X
editions; www.howlingprint.com.

Curtis Mitchell
Adjunct Associate Professor
M.F.A., Sculpture, Yale University School of Art;
M.A. Sculpture, Goddard College; solo exhibitions:
PS1 MoMA Project Room, New York; Mattress
Factory, Pittsburgh; Esso Gallery, New York;
AC Projects, New York; KX Galerie, Hamburg,
Germany; Andrea Rosen Gallery, New York;
Galerie Marc Jancou, Zurich; White Columns,
New York; selected group exhibitions: Modeling
the Photographic: The End(s) of Photography,
McDonough Museum of Art, Youngstown, Ohio;
Leslie Tonkonow Gallery, New York.; Copilandia,
Seville, Spain; Andrew Kreps Gallery, New York;
Paolo Tonin Arte Contemporanea, Turin, Italy;
Feigen Contemporary, New York; Dorsky Gallery
Curatorial Projects, Long Island City, N.Y.;
Contemporary Museum, Baltimore; essays and
article written for: M/E/A/N/I/N/G and Lusitania;
www.curtismitchellart.com.
John Monti
Professor
M.F.A., Pratt Institute; B.S., Painting, Portland
State Universit; solo exhibitions include: Synthetic
Pleasures, Bentley Projects, Phoenix, Ariz.; Fancy
and Rondo, Elizabeth Harris Gallery, New York;
Amatory Bodies, Sarah Moody Gallery of Art,
University of Alabama, Tuscaloosa, and many
group exhibitions; public art projects include
Fancy for Boston; Changing Places, Metro Tech
Center Brooklyn, N.Y.; Neuberger Museum of
Art; Munson-Williams-Proctor Institute of Art;
recipient of a Joan Mitchell Foundation Grant, the
Louis Comfort Tiffany Foundation Grant, and New
York Foundation for the Arts Fellowship Grant;
work is included in the collections of AT&T; the
Arkansas Arts Center, the Eli and Edythe Broad
Foundation, the Brooklyn Museum, the Castellini
Art Museum of Niagara University, and Chase,
among others; www.johnmonti.com.
Donna Moran
 residence at Dieu Donné Papermill, the Kohler
Professor
M.F.A., Painting/Printmaking, Pratt Institute;
B.A., Art Education, C. W. Post College;
exhibitions include Instituto Cultural Peruano
Norteamericano, Lima, Peru; Taller Galleria Forte,
Spain; McGraw Gallery; the Rabbet Gallery; Art
Source LA; collections include Noyes Museum,
New Jersey State Museum of Art, Bristol-Myers
Squibb, Hyatt Corporation, Johnson & Johnson;
various solo and group shows, corporate and
private collections; represented by the Rabbet
Gallery, Art Source, LA; visiting artist: the Victorian
College of Art, Melbourne, Australia; publications
include Monoprinting (Jackie Newell, A & C Black,
Great Britain); Water-Based Screen Printing (Steve
Hoskins & C. Black, Great Britain); The Complete
Printmaker (John Ross & Clare Romano, Free
Press); www.dlmoran.com.
Fine Arts Faculty
Robert Morgan
Adjunct Professor
Ph.D., New York University; M.F.A., University of
Massachusetts; E.D.M., Northeastern University;
B.F.A., University of Redlands.
Carlos Motta
Visiting Associate Professor
M.F.A., Milton Avery Graduate School of the
Arts at Bard College; B.F.A., School of Visual
Arts; multidisciplinary artist whose work draws
upon political history in an attempt to create
counter-narratives that recognize the inclusion of
suppressed histories, communities, and identities.
Work has been presented internationally in venues
such as Tate Modern, London; The New Museum,
the Guggenheim Museum and PS1 MoMA, New
York; Institute of Contemporary Art, Philadelphia;
Museo de Arte del Banco de la República, Bogotá;
Museu Serralves, Porto, Portugal; National Muse-
um of Contemporary Art, Athens, Greece; CCS
Bard Hessel Museum of Art, Annandale-on-Hud-
son, New York; San Francisco Art Institute, and
Hebbel am Ufer, Berlin. Pprepared a Façade
Project for the Sala de Arte Público Siqueiros
in Mexico City, was an artist in residency at the
Institute for Art, Religion and Social Justice–Union
Theological Seminary in New York in the spring
2013, and had a solo exhibition at Galeria Filomena
Soares in Lisbon, Portugal, in May 2013. Graduate
of the Whitney Independent Study Program, he
was named a Guggenheim Foundation Fellow in
2008, and he received grants from Art Matters in
2008, New York State Council on the Arts in 2010,
and the Creative Capital Foundation in 2012.
Cyrilla Mozenter
Adjunct Professor
M.F.A., B.F.A., Pratt Institute; has exhibited at
The Aldrich Contemporary Art Museum, The
Drawing Center, Brooklyn Academy of Music, and
Neuberger Museum of Art; has been artist-in-
Arts Center, and Instituto Municipal de Arte e
Cultura-Rioarte, Rio de Janeiro; recipient of
grants from NYFA and The Fifth Floor Foundation;
represented in collections of the Arkansas Arts
Center, Birmingham Museum of Art, Brooklyn
Museum, Hood Museum of Art, Walker Art Center,
and Yale University Art Gallery;
www.cyrillamozenter.com.
Dominique Nahas
Adjunct Associate Professor
M.A., Art History, Institute of Fine Arts, New
York University; B.F.A., School of Visual Arts;
independent curator and critic; contributor:
Art in America, Flash Art, d’art Int’l, Artnet,
and Trans; co-curator with artist Margaret
Evangeline in upcoming One-to-One
exhibition of contemporary work at the Rose
Art Museum; selected exhibitions curated
include: Inadmissible, HP Garcia Gallery New
York; BROOKLYN!, Palm Beach Institute of
Contemporary Art; ClenchClutchFlinch, Paul
Rodgers, New York; Paradise 8, Exit Art, New
York; Plural Speech, White Box; PopSurrealism,
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Aldrich Museum; Open Salvo, White Box, 1998;
Bypass, Kunstmuseum-Bonn, 1997; Nancy Spero:
Retrospective, New Museum of Contemporary
Art; extensive service as resident and guest
critic: RISD, Art OMI, Parsons The New School
of Design; including lectures at Reykjavik
National Museum, Iceland, and the Brooklyn
Museum; selection panelist: ArtOmi International
Residency Program and Henry Street Settlement
Residency Program.
Mario Naves
Adjunct Assistant Professor
M.F.A., Pratt Institute; B.F.A., University of Utah;
recipient of grants from the National Endowment
for the Arts, the E.D. Foundation, the Sugarman
Foundation, and the Pollock-Krasner Foundation;
his paintings and works-on-paper are represented
by the Elizabeth Harris Gallery in Chelsea and have
been covered by The New York Times, The New
York Sun, the Village Voice, ArtCritical.Com, ArtNet
and other publications; his criticism has been
published in The New York Observer, Slate, The
New Criterion, New Art Examiner, The Wall Street
Journal, and City Arts; lives and works in New York
City; www.mnaves.wordpress.com.
Ross Neher
Adjunct Professor
M.F.A., Pratt Institute; B.F.A., Washington
University School of Fine Arts; exhibitions
include Mitchell Algus Gallery, New York; Howard
Scott/M-13 Gallery, New York, NY; Through Our
Eyes: Belfast/New York, Belfast, Northern Ireland;
Painting Abstraction, New York Studio School, New
York; Preview, Howard Scott Gallery, New York;
The Fanelli Show, OK Harris Gallery, New York;
Interior Landscapes: Art from the Collection of
Clifford Diver, Delaware Art Museum, Wilmington,
Del.; www.rossneher.com.
Sarah Nicholls
Visiting Assistant Professor
B.A., Sarah Lawrence; a visual artist who makes
pictures with language, books with pictures,
prints with type, and animations with words; often
works with found language, historical research,
and metal type, combining image, visual narrative,
and time; has written a collection of self-help
aphorisms, publishes a series of free informational
pamphlets, and is currently working on a field
guide to extinct birds; ran the studio programs
at the Center for Book Arts in Manhattan for 12
years, organizing programs, publications, talks, and
events; teaching workshops in letterpress; and
running a residency program for emerging artists;
has exhibited her prints and limited-edition artist
books internationally; work is in the collections
of the Brooklyn Museum, Oberlin College, the
University of Pennsylvania, and Stanford University,
among others.
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Thirwell Nolen
Adjunct Associate Professor
M.Arch., Georgia Institute of Technology;
B.Arch., Auburn University; a studio artist
who trained as a painter and architect, whose
current body of work is composed of sculptural
objects and architectural installations in clay
and other materials; his work has been exhibited
internationally and can be found in numerous
private and public collections including the
Cooper-Hewitt National Design Museum
(Smithsonian), New York; the Newark Museum,
N.J.; the Everson Museum of Art, Syracuse, N.Y.;
the Museum of Fine Arts, Houston, and the De
Young Museum, San Francisco; other awards
include NYFA Fellowship and NEA Fellowship;
www.nolenstudios.com.
John O’Connor
Visiting Assistant Professor
Skowhegan School of Painting and Sculpture
Skowhegan; M.F.A., Pratt Institute; M.A., Theory,
Criticism, and History of Art, Pratt Institute;
B.A., Graphic Design, Westfield State College;
exhibitions include: Pierogi Gallery, Brooklyn,
NY; Sarah Lawrence College, Bronxville, NY; So
Different, So Appealing, Gramercy Park, New York;
curated by Rachel Churner, The Death Affect,
Artblog, New York; The Way Things Work, Athens
Institute of Contemporary Art, Athens, Ga.; Spiral
Bound, Notebooks from New York to San Diego, UC
San Diego, Calif.; www.johnjoconnor.net
Bethany Pelle
Visiting Assistant Professor
M.F.A., Ceramics, Tyler School of Art;
B.F.A., Ceramics, University of Miami; sculptor
and installation artist whose exhibitions include:
Give the Cat a Name, M.F.A. Thesis Exhibition,
Temple Gallery, Philadelphia; BANG, Power Plant
Productions, Philadelphia; Jumbalaya, Elkins Tyler
Galleries, Philadelphia; Four from Philly, Cedar
Crest College, Allentown, Pa.;
www.bethanypelle.com.
Sheila Pepe
Adjunct Associate Professor
M.F.A, School of the Museum of Fine Arts, Tufts
University; B.F.A., Massachusetts College of Art;
selected solo exhibitions: Istanbul International
Arts Fair; Carroll and Sons, Boston; Dust Gallery,
Las Vegas; Fluent Collaborative, Austin, Texas;
Smith College Museum of Art, Northampton,
Mass.; The Drawing Center and Susan Inglett
Gallery, New York. Selected group exhibitions:
Galleria NOPX, Turino, Italy; Participant, Inc.,
New York; Inman Gallery, Houston; Andrew
Edlin Gallery, New York; Sue Scott Gallery, New
York; Artisterium, Tbilisi, Georgia; Manheim
Kunstverein, Germany; PS1 MoMA, New York;
LACE, Los Angeles; Museum of Arts and Design,
New York; Palm Beach Institute of Contemporary
Art, Lake Worth, Florida. Grants and fellowships:
Anonymous Was a Woman Award; Art Matters
Grant; Joan Mitchell Foundation Artist Grant;
Louis Comfort Tiffany Foundation Award; Mary
Ingraham Bunting Fellowship.
Fine Arts Faculty
Catherine Redmond
Adjunct Associate Professor
Art Students League of New York; Harpur College,
SUNY; Cornell University; selected solo and group
exhibitions at David Findlay Jr., New York; M.B.
Modern, New York; Albright Knox Art Gallery,
Buffalo, N.Y.; Butler Institute of American Art,
Youngstown, Ohio; Babcock Galleries, New
York; Cleveland Museum of Art; Jerry Soloman
Gallery, Los Angeles; Jan Cicero Gallery, Chicago;
collections include: Art Students League of New
York, Butler Museum of American Art, Citibank of
New York, Cleveland Clinic Foundation, Dreyfus
Corporation, Luther College Museum, Progressive
Corporate Collection, and Reading Public
Museum; www.catherineredmond.com.
Max Reinhardt
Visiting Assistant Professor
M.F.A., The School of the Art Institute of Chicago;
B.F.A., University of Colorado at Boulder;
www.maxreinhardtart.com.
William Richards
Adjunct Associate Professor
M.F.A., University of New Mexico; M.A., University
of Iowa; B.F.A., Pratt Institute; selected solo
exhibitions: Nancy Hoffman Gallery, New York;
Allen R. Hite Art Institute, University of Louisville,
Ky.; Tomasulo Gallery, Union County College,
Cranford, N.J.; Moravian College Gallery,
Bethlehem, Pa.; selected group exhibitions:
National Academy Museum, New York; Brooklyn
Museum; Virginia Museum of Fine Arts, Richmond,
Va.; Art Institute of Chicago; Pennsylvania
Academy of the Fine Arts, Philadelphia; San
Francisco Museum of Modern Art; Kunsthalle,
Nuremberg, Germany; Salas de Exposiciones
de Bellas Artes, Madrid; NEA Grant and CAPS
Grant; awarded a gold medal by the Society
of Illustrators, 1968; Represented by Nancy
Hoffman Gallery, New York, since 1974; works in
the following public collections, among others:
Whitney Museum of American Art, Art Institute
of Chicago, National Museum of American Art,
Washington; recipient of grants from the National
Endowment for the Arts and the Creative Artists
Public Service Program, New York.
Howard Rosenthal
Adjunct Associate Professor
M.F.A., Pratt Institute; B.F.A., Rhode Island School
of Design; recipient of grants from the National
Endowment for the Arts and the Corporation
for Public Broadcasting; commissions from
Snug Harbor Cultural Center in New York and
Crosby Gardens in Toledo, Ohio; his work has
been the subject of one-person exhibitions in
New York, Los Angeles, San Francisco, Boston,
San Diego, and Tokyo, and has been included in
group exhibitions throughout the United States
and Europe; a documentary film about his work
has been broadcast nationwide by the Public
Broadcasting System, and can currently be viewed
on YouTube; reviews of his work have appeared
in The New York Times, Newsday, Artsmedia, Art
and Space Magazine, The Long Island Traveler
Watchman, The News Review, Cover Magazine, and
L Nine Magazine.
Mary Beth Rozkewicz
Adjunct Associate Professor
B.F.A., State University of New York; a studio
jeweler working in sterling silver and gold
vermeil, who frequently sandblasts intricate
patterns on the surfaces, adding a subtle but
eye-catching detail.
Stuart Sachs
Visiting Assistant Professor
Works in sculpture with metals and other
materials to create work that is sometimes
environmental, sometimes performance, and
often involves a lyrical dance with steel and
stone; also designs and creates furniture and
architectural metalwork.
Analia Segal
Visiting Assistant Professor
M.A., Studio Art, New York University; B.A.,
Graphic Design, University of Buenos Aires;
exhibitions: Gallery Kobo Chika, Tokyo, Japan;
PS1 MoMA, Long Island City, N.Y.; DPM Gallery,
Guayaquil, Ecuador; Galleri Tapper-Popermajer,
Teckomatorp, Sweden; Galeria Alberto Sendros,
Buenos Aires, Argentina; Plus Ultra Gallery,
New York; Museo de Arte Moderno, Buenos
Aires; Finesilver Gallery, San Antonio, Texas;
Weatherspoon Art Museum, Greensboro, N.C.;
Galeria Animal, Santiago, Chile; White Columns,
New York; Dumbo Arts Center, New York; Centre
de Récherche Imaginaire et Création, Chambery,
France; awards: Guggenheim Foundation, Pollock-
Krasner Foundation, New York Foundation for the
Arts; public collections: El Museo del Barrio, New
York; Blanton Museum of Art, Austin, Texas; Museo
de Arte Moderno de Buenos Aires; selected
bibliography: Restroom Design (Loft), Made
for Love (Stichting Kunstboek, Belgium, 2010);
Simply Material (Victionary, Hong Kong, 2008);
published by Die Gestalten Verlag GmbH & Co. KG
Helsingborgs Dagblad; www.analiasegal.com.
Beverly Semmes
Visiting Professor
M.F.A., Yale University School of Art; B.F.A.,
Boston Museum School; B.A., Art History,
Boston Museum School; Skowhegan School of
Art; her first exhibitions were two concurrent
project rooms at PS1 MoMA and Artist’s Space
in New York; other early exhibitions included
a large installation at the Southeastern Center
for Contemporary Art in Winston-Salem, N.C.
and a room-scale work made for the Institute of
Contemporary Art in Philadelphia; by the mid-
1990s, she was exhibiting work across the United
States and in Europe; European projects at this
time included solo shows at such major venues
as the Camden Arts Centre in London; the Pecci
Museum in Prato, Italy; and the Irish Museum of
Modern Art in Dublin; also included in several
important group shows early in her career, such
as Plastic Fantastic Lover at the Blum Helman
Warehouse in New York, Bad Girls at New York’s
New Museum, and Bad Girls West at the UCLA Art
Museum in Los Angeles; numerous solo museum
shows, including major exhibitions at the Museum
of Contemporary Art, Chicago; the Hirshhorn
Museum and Sculpture Garden, Washington;

the Virginia Museum of Art, Richmond, Va.; the
Whitney Museum Philip Morris Gallery, New York;
and the Wexner Center for the Arts, Columbus,
Ohio; exhibited large-scale projects in Japan in
1999 and in 2003; more recently, she has been
included in several international shows such as
Sonsbeek 9, Arnhem, Holland; Regarding Beauty
at the Hirshhorn Museum, Washington; Rapture
at the Barbican Museum, London, England, New
Material as New Media at the Fabric Workshop
and Museum, Philadelphia, and Dresscodes,
St. Gallen, Switzerland; participated in a major
survey exhibition called Dirt on Delight organized
by the ICA Philadelphia, which traveled to
the Walker Art Center in Minneapolis; www.
beverlysemmesstudio.com.
Carla Shapiro
Adjunct Assistant Professor
International Center of Photography; B.F.A.,
Syracuse University; Central London Polytechnic,
London England; exhibitions include: Timeless
Tasks, Texas Tech University, Lubbock Texas;
Virtual Visits, Delhi Cultural Museum, Delhi, NY;
Virtual Visits, The Eeph Gallery, Arkville, N.Y.;
Obituaries to Prayer Flags, Pace University Gallery;
Catskill Mountain Foundation Gallery, Hunter, N.Y.;
Timeless Tasks, Teahouse Gallery, Rochester, N.Y.;
DRESS, Hudson Opera House, Hudson, N.Y.; Mind/
Full, Working with artists, 910 Art Gallery, Denver;
www.carlashapiro.com.
Jean Shin
Adjunct Associate Professor
B.F.A., M.S., Pratt Institute; Shin’s work has
been widely exhibited in major national and
international museums, including in solo
exhibitions at the Scottsdale Museum of
Contemporary Art in Arizona (2010), Smithsonian
American Art Museum in Washington (2009), the
Fabric Workshop and Museum in Philadelphia
(2006), and Projects at MoMA in New York
(2004); other venues include the New Museum
of Contemporary Art and the Museum of Arts
and Design in New York; the Museum of Fine
Arts, Houston; the Museum of Fine Arts, Boston;
Asia Society and Museum, The Brooklyn Museum,
Sculpture Center, Socrates Sculpture Park, and
Frederieke Taylor Gallery in New York; site-
specific permanent installations have been
commissioned by the U.S. General Services
Administration Art in Architecture Award, New
York’s Percent for the Arts, and MTA Art for
Transit; numerous awards, including the New
York Foundation for the Arts Fellowship in
Architecture/ Environmental Structures (2008)
and Sculpture (2003), Pollock-Krasner Foundation
Grant, and Louis Comfort Tiffany Foundation
Biennial Art Award; works have been featured in
many publications, including Frieze Art, Flash Art,
Tema Celeste, Art in America, Sculpture Magazine,
ARTnews, and The New York Times;
www.jeanshin.com.
Fine Arts Faculty
Gerald Siciliano
Adjunct Associate Professor
M.S., B.F.A., Pratt Institute; on completion of his
studies at Pratt Institute, he began working in
foundries, marble, and fabrication studios in New
York and Tuscany on both his own work and that
of a broad range of international sculptors; has
maintained an ongoing record of exhibitions, sales,
and commissions as well as pursuing projects in
architecture, design, and sculpture restoration;
has been an honored guest at international
sculpture symposia in Korea and North Africa;
teaching background includes appointments
on all levels of education from elementary to
post-graduate in a broad range of two- and
three-dimensional media; class offerings include
Life Study, Foundry, and Stone Carving; www.
geraldsicilianostudio.com.
Robbin Silverberg
Adjunct Associate Professor
B.A., Sculpture and Art History, Princeton
University; founding director of Dobbin Mill, a
hand-papermaking studio, and Dobbin Books,
a collaborative artist book studio; artwork is
divided between artist books and installations;
the work conceptually focuses on word cognition
and interlinearity, with an emphasis on process
and paper as activated substrate; has exhibited
and taught extensively in the U.S., Canada, South
Africa, South Korea, Mexico, and Europe; her
artwork is found in numerous collections, such as
the Museum Meermanno, The Hague, Bibliothèque
Nationale de France, and Yale University’s Art
of the Book; on the boards of the Center for
Book Arts, Ampersand Foundation, Brooklyn
Artist Alliance; and Alma on Dobbin; www.
robbinamisilverberg.com.
Keith Simpson
Ceramics Technician, Visiting Instructor
B.F.A., Kansas City Art Institute; M.F.A., the Ohio
State University; awarded a residency at the
Archie Bray Foundation for the Ceramic Arts;
his work is about craft, material consciousness,
and taste; he contrasts fired ceramic materials
with synthetic media, allowing them to play off
one another as a type of warm-hearted cultural
critique, which works with and against his own
taste; www.keithwhitecloud.com.
Joseph Smith
Professor
M.F.A., Painting, New York University; B.F.A.,
Graphic Arts and Illustration/Fine Arts, Pratt
Institute; 1965–66: Drawing, Wagner College;
1969–71: Painting. Workshop, Art Alliance of Cent.
Pa.; 1975: Visualization Workshop, Wainwright
Center, Rye, NY; 1984: Painting, Richmond College,
London; 1987–91: Painting and Drawing, ATI,
Stocton State College, N.J.; 1990: Art Institute
of Chicago, Oxbow, Mich.; 1992–98: Painting:
MS Art Colony 2000; 2001: University of Rio
Grande, graduate Children’s Book Illustrating,
Visualization, Drawing; 1962 to present: Pratt
Institute, Undergraduate: Painting, Drawing, Figure
Drawing, Sculpture, Illustration and Symbolic
Imagery; Sr. Ind. Proj. Graduate: Drawing Seminar,
MFA Thesis Painting. 2007: Walter Gropius Master
215
Artist, Huntington Museum of Art W. Va.; 22 solo
exhibitions and over 100 group exhibitions around
the U.S.; collections: Rutgers University, University
of Mississippi; New York Stock Exchange; PAFA,
Lauren Rogers Museum, Laurel MS; Library of
Congress; Kassel Documenta Archive; Koln Ludwig
Museum; Stuttgart Staatsgalerie, Huntington
Museum of Art, W. Va.; author: The Pen & Ink Book
(Watson-Guptill); Circus Train (Abrams); The Train
a work in series, Watercolor Magazine, Spring
2006; illustrated 27 children’s books, (Hon. Men.
Orbis Pictus Award 2007); editorial illustrator for
Time, Newsweek, Harper’s, The New York Times;
Watergate courtroom artist for Newsweek; www.
josasmith.com.
Judith Solodkin
Visiting Associate Professor
Solodkin was the first woman to graduate from
the Tamarind Institute as a Master Lithographer;
she founded Solo Impression, a publisher and
printer of fine art multiples; works published
have appeared in museums and exhibitions
throughout the world, and can be found in
private and public collections such as MoMA,
the Metropolitan Museum, the Whitney Museum,
the New York Public Library Print Collection,
the Boston Museum of Fine Arts, the Library
of Congress, the National Gallery of Art, the
Bibliothèque Nationale, Paris, and the Tate
Gallery, London.
Jane South
Visiting Assistant Professor
B.A. Theater Set and Costume Design, School
of Art, London; M.F.A. Painting and Sculpture,
University of North Carolina at Greensboro;
exhibiton venues include: Spencer Brownstone
Gallery, The Aldrich Museum of Art, Sue Scott
Gallery, The Drawing Center; received grants
from the Joan Mitchelle Foundation, New York
Foundation for the Arts, and Pollock Krasner
Foundation; has been an artist in residence at
the MacDowell Colony, Dieu Donné Workspace,
and the Carmago Foundation.
Tim Spelios
Visiting Associate Professor
B.F.A., University of Illinois at Urbana-Champaign;
Brooklynite Spelios takes photos, assembles
collage, plays drums, cuts up sounds, makes
sculptures, and builds cabinets; has shown his
collage and installations at Exit Art, The Drawing
Center, Sculpture Center, Smack Mellon Studios,
Long Island University, Pierogi Gallery, and
Parkers Box among others; has also taught at the
University of Illinois, at the Phillips Collection in
Washington; as part of the Friday Gallery Talks at
the Hirshhorn Museum Spelios discussed Bruce
Nauman; has played drums internationally with the
bands No Safety and Chunk; during the burgeoning
Williamsburg art scene of the ’90s Spelios, with
Caroline Cox, co-founded and ran Flipside
Gallery from 1996–2001, showing a wide range of
innovative art forms; www.timspelios.com.
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Joseph Stauber
Adjunct Assistant Professor
M.F.A., SUNY at Purchase; B.F.A., Pratt Institute;
master printer and chromiste at Brand-X Editions,
N.Y., in collaboration with artists including: Chuck
Close, Howard Hodgkin, Robert Motherwell, and
Helen Frankenthaler; his mail art objects and
collaborations have been sent around the world.
Jason Stopa
Visiting Assistant Professor
B.F.A., Indiana University; M.F.A., Pratt Institute;
a painter, writer and curator living in Brooklyn,
NY; recent exhibitions include Junction at Ed
Thorp Gallery (New York) and The Brooklyn Zoo at
Novella Gallery (New York; contributing writer to
Art in America, Hyperallergic, Whitewall and The
Brooklyn Rail; teaches at the School of Visual Arts
and Pratt Institute.
Anthony Tammaro
Visiting Assistant Professor
M.F.A., Tyler School of Art; M.I.D., Domus
Academy, Milan; B.F.A., The University of the
Arts; a new media artist who works at the
intersection of art, design, and craft; Tammaro’s
most recognizable work leverages his expertise
with 3-D software and additive manufacturing
processes. He creates novel solutions to design
problems related to the body as site. Selected
exhibitions: Gallery Noel Guyomarch, Montreal;
Friends of Carlotta Gallery, Zurich; Alliance,
Philadelphia; Mulvane Art Museum, Topeka, Kan.;
Sungkok Art Museum, Seoul, Korea; Facere Gallery,
Seattle; Wexler Gallery, Philadelphia; CraftLand,
Providence, R.I.; Quirk Gallery, Richmond, Va.;
Velvet da Vinci Gallery, San Francisco; Sienna
Gallery, Lenox, Mass.; Luke & Elroy Gallery,
Pittsburgh, Pa.; State Museum of Pennsylvania,
Harrisburg, Pa.
Irvin Tepper
Adjunct Professor
M.F.A., University of Washington; B.F.A., Kansas
City Art Institute; NEA artist fellowship and Agnes
Bourne Fellowship Award in sculpture from the
Djerassi Foundation; exhibitions: St. Louis Art
Museum; Museum of Contemporary Art, Los
Angeles; Los Angeles County Museum of Art; and
Victoria and Albert Museum; collections: Victoria
and Albert Museum; Museum of Contemporary
Art, Los Angeles; Kunstmuseum, Bern,
Switzerland; www.irvintepper.com.
Christopher Verstegen
Studio and Gallery Supervisor, Visiting Instructor
B.A., The College of Wooster; M.F.A., Pratt
Institute; current work is mostly sculptural and
often consists of machines that perform simple
tasks; the tasks are conceived from thoughts/
observations on the role(s) of mundane repetition
in the human condition; currently lives and works
in Brooklyn, N.Y.; www.christopherverstegen.com.
Fine Arts Faculty
Emily Weiner
Visiting Assistant Professor
M.F.A., School of Visual Arts; B.A., Studio Art,
Barnard College; a painter and a writer whose art
reviews have appeared in Artforum.com, Time Out
New York, Domus, ArtSlant, ARTnews, ducts.org,
MUSEO, RES Art World/World Art (Turkey), Setup
(Vancouver), and The Visual Arts Journal, among
other publications; a guest instructor at Barnard
College, and a workshop leader at Dia:Beacon;
in 2012, she was a recipient of the Cooper Union
Teaching Artist Residency, and has been an
artist-in-residence at The Banff Centre in Alberta,
Canada, and Camac Centre D’Art in Marnay-sur-
Seine, France; www.emilyweiner.com.
Dina Weiss
Assistant Chair, Visiting Instructor
M.F.A., Parsons The New School for Design;
B.S., Studio Art, New York University; Weiss has
held many positions in nonprofit arts education
and museum education, as well as teaching and
lecturing at universities and museums such as
the Dia Art Foundation, The Drawing Center, the
New Museum, Museum of Arts and Design, and
Parsons The New School for Design; professional
practice is in a variety of media with works in the
Viewing Program slide registry at The Drawing
Center; exhibition venues include the James
Gallery at CUNY Graduate Center, New York;
San Diego Contemporary Museum of Art; Mixed
Greens Gallery, New York; City Without Walls,
Newark, N.J.; Hudson Valley Contemporary Center
for Art, Peekskill, N.Y.; The LAB, San Francisco;
Untitled Space, New Haven, Conn.; Art in General,
New York; artworks included in selected public
collections at the Brooklyn Museum and the New
York Public Library; www.dinaweiss.com.
Christopher White
Adjunct Associate Professor
B.A., Harvard University; numerous solo gallery
and museum exhibitions; works in major public
collections: Guggenheim Museum, Johnson Art
Museum, and others; honors include Tiffany
Award for Painting; nominee, National Artists
Award; visiting artist, American Academy in Rome;
criticism published in national arts journals;
instructor/lecturer, Metropolitan Museum of Art;
represented by Andre Zarre Gallery, New York;
www.kitwhiteart.com.
Rachel Wiecking
Visiting Assistant Professor
M.A., Art History, Purchase College, New York;
M.F.A., Studio Art, Purchase College, New York;
B.F.A., Book Arts, Oregon College of Art and
Craft, Portland, Ore.; B.A., American Studies,
Literature, University of California, Santa Cruz;
www.rachelwiecking.com/home.html.
Martha Wilson
Visiting Associate Professor
Wilson is a pioneering feminist artist and gallery
director, who over the past four decades created
innovative photographic and video works that
explore her female subjectivity through role-
playing, costume transformations, and “invasions”
of other people’s personae; she began making
these videos and photo/text works in the early
1970s while in Halifax, Nova Scotia, and further
developed her performative and video-based
practice after moving in 1974 to New York,
embarking on a long career that would see her
gain attention across the U.S. for her provocative
appearances and works; in 1976 she also founded
and continues to direct Franklin Furnace, an
artist-run space that champions the exploration,
promotion, and preservation of artists’ books,
installation art, and video, online and performance
art, further challenging institutional norms, the
roles artists play within society, and expectations
about what constitutes acceptable art media;
www.marthawilson.com.
Chris Wright
Adjunct Associate Professor
M.F.A., Pratt Institute; B.F.A., Pacific NW College
of Art; exhibitions: Hunter College; Martin Art
Gallery, Muhlenberg College; New York University;
Phillips de Pury and Company; Swiss Institute-
Contemporary Art; published: Contemporary
American Oil Painting (Jillin Fine Arts Publishing
House, Changchun, China); New American
Paintings (Northeastern Edition) gallery affiliation:
George Billis Gallery, New York;
www.chriswrightpaintings.com.
Robert Zakarian
Professor
B.F.A., M.F.A., Pratt Institute; exhibitions: Brooklyn
Museum; Riverside Museum; Alan Stone Gallery,
New York; Royal Mark.
Katrin Zimmerman
Visiting Assistant Professor
M.A. Chinese Art and Korean Art, School of
Oriental and African Studies, London, UK; B.A.
Chinese Art and Archaelogy (Cum Laude), School
of Oriental and African Studies, London, UK; A.A.S.
Jewelry Design, Fashion Institute of Technology;
founder and CEO of Ex Ovo Inc., a jewelry
brand which has been shown at the Museum of
Modern Art, the Guggenheim Museum, and the
Contemporary Museum of Art, Chicago.

Communications Design Faculty
Santiago Piedrafita
Chair, Associate Professor
M.S., Communications Design, Pratt Institute;
B.I.D., Universidade Estadual do Rio de Janeiro,
Brazil. Before joining Pratt, Piedrafita was
associate professor in the Department of Graphic
and Industrial Design at the College of Design,
North Carolina State University, teaching at both
undergraduate and graduate levels. From 2006
to 2012, he served as head of the department.
Piedrafita chaired the Design Department at
MCAD, Minneapolis College of Art and Design,
from 2004-2006. He was senior designer at the
Walker Art Center’s Design Department. At the
Walker, he designed a diverse array of exhibitions,
communications, and publications for the museum’s
multidisciplinary curatorial and institutional
departments. In New York, he worked in renowned
studios such as the Museum of Modern Art’s in-
house Design Department, J. Abbott Miller’s Design/
Writing/Research, and Chermayeff & Geismar Inc.
Presently a solo practitioner, from 2002 to 2012
Piedrafita worked under the name TWO, a studio
focusing on identity and editorial design projects
for various design, architecture, and art-related
cultural institutions.
Barry Berger
Visiting Associate Professor
B.I.D., Pratt Institute; founder, owner, and
creative director of Barry David Berger and
Associates, Inc., established in 1977, specializing
in merchandising, packaging, product design,
graphic design, and commercial interiors;
Fulbright Grant recipient, member of AIGA, IDSA,
and APDF; had previously taught at Pratt for many
years before taking a sabbatical.
Warren Bernard
Assistant Chair, Adjunct Assistant Professor
B.A., Hampton University; M.S., Pratt Institute;
currently freelances with Dwight Johnson Design
while maintaining his established clients; has worked
with Time Magazine and Vibe; several start-up
magazines have solicited his help in development;
has designed book covers for labels such as BET
Books and Simon & Schuster Inc.; creates corporate
identities including Abyssinian Development
Corporation; has written for the AIGA’s Journal
of Graphic Design; honored by Pratt as a
Distinguished Student.
Eric Bintner
Visiting Assistant Professor
B.F.A., Missouri State University; M.F.A., Cranbrook
Academy of Art; Eric is an animator, artist, designer,
developer and musician; has worked for the past
four years as a freelance motion graphics designer
and interactive developer in New York; client list
includes JPMorgan, Macys.com, The Rockefeller
Group, Cushman & Wakefield, and Opie & Anthony.
Jean Brennan
Adjunct Associate Professor
B.A., University of California, Santa Cruz; B.F.A.,
M.S., Pratt Institute; upon graduation from the
Graduate Communications Design program went
to work as a broadcast designer at Lee Hunt
Associates, working with clients such as PBS,
Oxygen, and Arte; continued with the LHA team
after they were acquired by Razorfish in late
1999; in 2002, became the Nick Jr. Art Director,
where she worked on in-house graphics for the
2–5 age programming of Nickelodeon; currently
freelances as an art director in broadcast, online,
and print projects.
Tom Delaney
Visiting Instructor
Senior Design with Muts&Joy& Design and
Identity Consultants; has extensive experience in
the packaging design industry, including Senior
Creative Director at EastWest Creative, Design
Director at Deskey Associates, and designer
for Charles Biondo Design Associates and ESPRIT
de Corps.
Antonio DiSpigna
Professor
B.F.A., M.S., Pratt Institute; designer at Bonder
and Carnase; Lubalin Smith and Carnase; in
1973, opened Artissimo, Inc.; in 1978 joined Herb
Lubalin Associates as vice president and partner;
in 1980 opened Tony Di Spigna, Inc.; has designed
numerous typefaces, most notably Serif Gothic
and exclusive typefaces for PBS Channel WNET
13, The Coca Cola Co., and The Louis Dreyfus
Corp.; in 2007, became co-founder and design
director of THINSTROKE, INC., a complete service
design firm.
Thomas Dolle
Adjunct Professor, CCE
B.F.A., Rhode Island School of Design; principal,
Tom Dolle Design, a strategic design, marketing, and
branding firm in New York; clients have included
Citibank, Dun & Bradstreet, ESPN, Charles Schwab,
Northern Trust, RH Donnelly, Verizon, Reed Elsevier,
and Time Warner; Tom Dolle Design is now focusing
on branding, communications, and packaging
for retail, arts, and nonprofit organizations;
recent projects include the Getty Trust, Doe Fund,
Baruch College, Foundation Center, and National
Urban Fellows.
Tyra Nicole Dumars
Visiting Instructor
B.F.A., Northwestern State University; M.P.S.,
Pratt; design editor at Northwestern State
University; brand designer at Plattform
Advertising; founder and design strategist at tyra.
nicole LLC, where her clients include American
Cancer Society, Chimp Haven, ACE, Colgate-
Palmolive, Extra Space Storage and NAACP.
217
David Frisco
Adjunct Associate Professor
B.A., University of Illinois at Chicago; M.F.A.,
Yale University; co-director of Design Corps, a
studio course that encourages the relationship
between design practice and design education,
where Communications Design students
provide pro-bono design work for nonprofit
organizations; in his independent studio practice,
has completed work for a variety of clients
in the art, architectural, cultural, and non-
profit sectors including Pratt Institute, Pace/
MacGill Gallery, The College Art Association, Yale
School of Architecture, TASC: The After-School
Corporation, and the films Lumo, Fully Awake:
Black Mountain College, The Situation, Chop Shop,
and Man Push Cart.
Kevin Gatta
Professor
B.A., Rhode Island College; M.S., Pratt Institute;
Pietrasanta Italian Studies Program, Providence
College; design director, Gatta Design & Co.,
specializing in corporate communications,
identity, and branding; design experience:
the Pushpin Group, 1981–88; David Pocknell’s
Company (Pushpin UK), 1984; Herb Lubalin
Associates, 1979–81; author of Foundations of
Graphic Design TE (Davis Publications, 1994);
co-author of Foundations of Graphic Design,
Communicating through Graphic Design (Davis
Publications, 1990, 2009); Distinguished Teacher
Award, 1997.
J. Roger Guilfoyle
Adjunct Professor, CCE
B.A., Creighton University; has appeared on
design and packaging panels in the U.S., Mexico,
and Japan; has lectured before small and large
design groups, including Carnegie-Mellon and
Cooper Hewitt National Design Museum; has
worked under grants from the NEA, the NEH,
and the New York State Council on the Arts; his
work has appeared in newspapers and magazines,
including ID, Interiors, and USAir; has been on the
Pratt faculty since 1968.
J. Graham Hanson
Adjunct Associate Professor
B.F.A., Iowa State University; Graham Hanson,
previously with Vignelli Associates, is principal
of Graham Hanson Design, an internationally
recognized multidisciplinary design agency
active in all areas of strategic design. The firm
collaborates with a diverse group of corporate
clients and cultural institutions on a wide variety
of integrated design projects. Long-time
corporate clients include Saks Fifth Avenue,
American Express, Dun and Bradstreet, and
Macklowe Properties, a New York real estate
developer. The firm works on a number of
exhibition projects for museums and cultural
organizations in the United States and abroad.
218
William Hilson
Adjunct Professor, CCE
Originally trained in architecture, but turned to
graphic design and illustration for professional
focus; introduced desktop publishing to some of
the largest ad agencies in NYC; as creative director
to the HiFi Color Project, helped introduce the
new HiFi Color printing techniques; was first to
design and print using an experimental 7-colorant
process, the first to use Pantone´s Hexachrome™ in
a commercial application, and also the first designer
to print using frequency-modulated (“stochastic”)
screening systems.
Michelle Hinebrook
Adjunct Assistant Professor
B.F.A., College for Creative Studies; M.F.A.,
Cranbrook Academy of Art; has exhibited
nationally in galleries and museums in New York,
Washington D.C., Detroit, San Francisco, Chicago,
and abroad in Copenhagen, Denmark; maintains
a studio at XØ Projects Inc., Brooklyn; currently
teaches and lectures at various institutions
around the U.S.
Allen Hori
Visiting Associate Professor
B.F.A. University of Hawaii; M.F.A. Cranbrook
Academy of Art; Fulbright recipient to study in
the Netherlands; principal at Bates Hori, New
York, a graphic design and visual research studio;
his work has earned recognition from New York
Type Directors Club, AIGA, American Center for
Design, I.D. Magazine, Emigré, Eye, IDEA, and
has appeared in many domestic and foreign
exhibitions and publications; named an I.D. Top
Forty Influential Designer; has lectured widely
at design schools and professional symposia;
currently a critic at Yale University School of Art;
2008 Frank Stanton Chair in Graphic Design at
Cooper Union.
Thomas Klinkowstein
Adjunct Professor, CCE
M.S., Syracuse University; President and Creative
Director of Media A, LLC, an internationally
recognized design and consulting group with
clients such as Condé Nast, IBM and NASA;
has spoken to over 100 business, political and
academic groups; previously was a professor
in the graphic design department at the
West Brabant Art and Design College in the
Netherlands. His work has been shown in art
centers, museums and galleries throughout the
world, including the Centre Pompidou in Paris and
the Venice Biennale in Italy.
Gusty Lange
Adjunct Professor, CCE
B.F.A., Denison University; M.S., M.P.S., Pratt
Institute; has had several professions which have
come together in her teaching in the Graduate
Communications Design Department since 1985;
her psychology background as an art therapist
and design background as a graphic designer have
unified her teaching of Visual Perception (focusing
on perception, creative process, and archetypal
symbolism in design and creativity development),
as well as advising thesis students to develop their
own vision and critical thinking.
Communications Design Faculty
Eunsun Lee
Adjunct Associate Professor
B.F.A., School of Visual Arts; M.S., Pratt
Institute; in 2004, founded CMYK+WHITE, Inc., a
multidisciplinary studio focusing on design solutions
for interiors, fashion, print, and motion graphics;
long-time corporate clients include Estée Lauder,
Reader’s Digest Association, Inc., Hearst Magazines,
Condé Nast, Hollywood Life, Fairchild Fashion
Group and Meredith; previously worked as a senior
art director at Glamour magazine, where her team
directed photo shoots and developed the visual
style of the magazine.
Alex Liebergesell
Associate Professor
B.F.A., Kent State University; M.F.A., Yale
University; principal, QNA Design, New York,
providing web, brand, and communications
solutions for corporate and institutional clients;
previously held teaching appointments in graphic
design at University of Akron and State University
of New York at Purchase.
Brenda McManus
Adjunct Assistant Professor
B.A., Rutgers University; M.S., Pratt Institute;
founding partner and creative director of the
design firm BRED; previously design manager
for Prudential Retirement, senior designer for
Skouras Design, and designer for Leibowitz
Communications, Inc.; has been recognized by
Print, Graphis and HOW Magazine and the Art
Directors Club, the Type Directors Club, the
University and College Designers Association,
the Museum Publications Design Competition,
and the Creativity Design Competition; work has
been included in the TDC46 Awards Exhibition,
Summit AIGA/NY Exhibition, the 37th ADCNJ
Awards Show, the UCDA Conference Exhibition
and the American Association of Museum Design
Exhibition; has also taught at Rutgers University
and F.I.T.
Scott Menchin
Adjunct Associate Professor
Pratt Institute; Arts Students League; as art
director worked for HOW Magazine and Seven
Days; as illustrator worked for Intel, Sun
Microsytems, Toyota, Time, Newsweek, Esquire,
Wired, GQ, Fast Company, Bloomberg, Saveur,
Rolling Stone, The New York Times, The Washington
Post and The Boston Globe; work has appeared in
American Illustration, Print Magazine, The Society
of Illustrators and The Society of Publication
Designers; his first illustrated children’s book,
Taking a Bath with the Dog and Other Things That
Make Me Happy, won the Christopher Award and
was voted “A Best Book of the Year” by The Bank
Street College.
Kelli Miller
Visiting Assistant Professor
B.F.A., College for Creative Studies; M.F.A.,
Cranbrook Academy of Art; independent art
director and designer working in motion, digital
media, and print design; work has run the gamut
of independent print publications to startup
websites to network branding; has worked on
projects for Nickelodeon, Sundance Channel,
Disney, TV Guide Network, PBS, Coke, Wrigley,
Reuters, IFC, and MTV; as design director for
Interbrand, has worked as art director for
Thornberg and Forester and as art director at
College for Creative Studies; artwork has been
shown, performed, and screened internationally;
has taught undergraduate classes at Pratt and
College for Creative Studies; has lectured at
Cooper Union, SVA, Portland State University,
SUNY at Purchase, Maryland Institute College of
Arts, and College for Creative Studies.
Katya Moorman
Adjunct Associate Professor
B.A., SUNY at Purchase; M.F.A., Cranbrook
Academy of Art; co-founder and principal
partner of Studio2k, a design and video studio
that blurs the boundaries between art and
design, materiality, and the ephemeral nature of
technology; published and received awards from
both Output06 design annual and I.D. Magazine;
widely shown at PS122 and Williamsburg Art Nexus
in New York City, as well as in Detroit, Durham,
Toronto, and the Sarai New Media Center in India.
Ann Morris
Adjunct Assistant Professor
B.A., M.A., Hunter College of CUNY; creative
director, design; worked for 16 years in corporate
America as creative director of TV Guide’s
Advertising and Marketing Department; her own
graphic design business has included a variety
of clients: The New York Philharmonic at Lincoln
Center, The Museum of the City of New York,
Columbia University, The New York City Opera,
Elizabeth Arden, The Alan Guttmacher Institute,
Dunhill Tailors, The Learning Annex, Dino Di
Laurentiis Productions, and Stanley H. Kaplan
Educational Centers.
Eric O’Toole
Adjunct Assistant Professor, CCE
B.I.D., Pratt Institute; Principal, Exhibit A Design
Group; oversees all aspects of design and
development work produced by his design firm for
a broad array of cultural institutions and national
parks across the country; his firm is the recipient
of several awards for design excellence from
professional design and museum organizations for
his exhibition design work.

Alan Rapp
Visiting Assistant Professor
M.F.A. Design Criticism, School of Visual Arts;
B.A. English, Loyola Marymount University; editor,
writer, and book developer, a former senior editor
at Chronicle Books, San Francisco, where he
acquired and developed dozens of titles in the
art, architecture, design, and photography lists;
former managing editor of the New City Reader,
whose office operated on the gallery floor of the
New Museum in fall 2010, and former U.S. editor
of DomusWeb International in 2011; has taught
at Parsons the New School of Design and leads
a graduate thesis seminar at RISD; currently, he
operates a visual book consultancy and packager,
ARstudio, where he works with authors, visual
artists, photographers, and designers to develop
visual book projects and bring them to publication.
Marc Rosen
Visiting Associate Professor
B.F.A., Carnegie Mellon University; M.S., Pratt
Institute; president, Marc Rosen Associates.
Andrew Shea
Visiting Assistant Professor
B.A., University of Pittsburgh; M.F.A. Maryland
Institute College of Art; founding partner at MANY,
a multidisciplinary graphic design studio; his
book, Designing for Social Change: Strategies for
Community-Based Graphic Design was published
by Princeton Architectural Press in 2012; has also
written about design for numerous publications,
including Core77, AIGA, Design Observer,
Entrepreneurial Magazine, Designer’s Review of
Books, and GOOD; solo and collaborative design
work has been featured by Print, Fast Company,
HOW, Communication Arts, Adbusters, and
Metropolis Magazine, among others; he regularly
speaks about design.
Ryan Waller
Adjunct Assistant Professor
B.F.A., Rhode Island School of Design; M.F.A.,
Yale; joined Pratt after returning from a research
fellowship in Switzerland on a Fulbright Award,
École Cantonale d’Art de Lausanne, and
Federal Office of Culture, Bern; received the
Mark Whistler Memorial Prize at Yale; a Design
Distinction Award from I.D. Magazine; an ADC
Young Guns Award; and was recognized by Print
magazine’s “20 Under 30”—the 20 best artists
and designers under the age of 30, selected each
year; clients have included The New York Times,
Bloomberg, Virgin Records, Yale School of Art,
Hunter-Gatherer—NYC & Co., Mother NY—Condé
Nast, Art Director’s Club, Nike, MTV, Damiani; has
taught at Pratt and held workshops at CalArts,
RISD, and Yale.
Pirco Wolfframm
Adjunct Associate Professor, C.C.E.
M.F.A., California Institute of the Arts; C.C.E. in
Visual Communication, Hochschule für Gestaltung,
Offenbach (Germany); has gathered varied
experiences to become a versatile “designist”;
has lived and worked in Frankfurt, London, New
York, and Bangkok; list of clients ranges from
corporate juggernauts to niche cultures; while
her passion and expertise lie in brand and identity
development, has applied her research-based
methodology across all media to projects from
small scale to complex in scope; recipient of a
Faculty Development Grant and her work as well
as her writings about design have been published
and exhibited internationally.
Alisa Zamir
Professor
B.A., Central School of Arts and Crafts—London;
B.F.A., M.S., Pratt Institute; Executive Vice President
and Design Director at Taylor and Ives, Inc. since
1981; having worked as a design professional in
Israel, London, and America, she has over four
decades of experience as a designer of annual
reports, corporate literature and corporate identity
programs; graduated from the Central School
of Arts and Crafts in London and earned her
post-graduate degree from Pratt Insititute, where
she has been a professor in the Graduate Design
Department since 1971.
219
Industrial Design Faculty
Harvey Bernstein
Adjunct Professor, CCE
B.F.A., M.S., Pratt Institute; design consultant
whose practice spans the disciplines of interior,
industrial, graphic, exhibit, and retail design;
clients include JCPenney, Sony, Hallmark,
Knoll, Chase, Calvin Klein, Speedo; recipient of
numerous design awards: Gold and Silver Awards
from IDSA and ID Magazine for product design,
as well as awards for lighting design, retail, office,
exhibit, and graphic design; exhibited at MoMA,
Cooper Hewitt National Design Museum, and
more; published in Architectural Record, Domus,
Abitare, International Design, ID, The New York
Times, Forbes, Journal, BusinessWeek, Metropolis,
and the Design Encyclopedia of MoMA.
Meri Bourgard-Rohrs
Visiting Professor, CCE
A.A., Suffolk Community College; B.A., Hunter
College; M.F.A., Painting, Pratt Institute; teacher
at Pratt Institute since 1985; faculty member in
the Fashion Design, Industrial Design, Interior
Design, and Architecture departments; worked
as a graphic designer and illustrator for a variety
of publications; studied and worked in a variety
of media with such artists as Charles Reid, Jean
Dobie, Louise Giles, Daniel Greene, Barbara
Necchis, Jim Jensen, Frank Mason, Frank Webb,
Lawrence Goldsmith, and Nathan Goldstein;
featured in The New York Times, Arts & Antiques
and more; has exhibited her work in galleries
around the Northeast as well as Europe.
Gina Caspi
Visiting Professor
B.A., Graphic Design, Hofstra University; M.I.D.,
Pratt Institute; Caspi has been a professor in
both Foundation 3-D and Graduate Industrial
Design since 1986; was the first recipient of
the Rowena Reed Kostellow Award, given for
excellence in teaching three-dimensional design;
participated in the Premio Internazionale di
Scultura Gioia Lazzerini in Pietrasanta, Italy, where
she was awarded a prize for her bronze and ruby
sculpture, Torre di San Francesco.
Gihyun Cho
Adjunct Professor
M.I.D., Syracuse University; industrial design
educator, professional, and writer; has held the
position of chief industrial designer at Bell Labs
and Lucent Technologies and has served as a
design consultant for Goldstar, Samsung America,
Ken Carter, Loveland Toy, and the Kohl Group;
during his time at Bell Labs he was awarded the
AT Excellence Award, Distinguished Member of
Technical Staff, Quality Award, and the Golden
Thread Award; has been a visiting professor and
lecturer at Korea National University of Art, Pratt
Institute, CIDA in Taiwan, and The New School;
holds seven design patents.
220
Kevin Crowley
Visiting Assistant Professor
B.I.D., Pratt Institute; Lowell Technical Institute,
polymer chemistry; has 40 years of experience in
the design and manufacturing of deep-sea diving
equipment, high-level radiation suits, proximity
and approach fire suits, as well as chemical
protective clothing; is also a lifelong shoe designer
having designed both performance and fashion
shoes for such companies as Converse, FILA,
Wilson, Prince, and Keds in the U.S. and Geox and
Block in Europe.
Lucia DeRespinis
Adjunct Professor, CCE
B.I.D., Pratt Institute; academic appointments:
adjunct professor, 1995-present; selected
awards, recognition, and published works:
Metropolis magazine, Vitra Design Book Cold
War Confrontations, Women Designers in the USA
1900–2000, ID Magazine Annual Review, Pratt
Manhattan and Schafler Gallery, 20 Women in
Design; Rowena Reed Kostellow Award (2007) for
excellence in teaching; Three-Dimensional Design,
Vitra Museum exhibition on George Nelson Office;
Women Designers in the USA Exhibition, High Style:
20th Century American Designers in the USA; and
High Style: 20th Century American Design, Whitney
Museum Exhibition (aluminum clock).
Peter Erickson
Visiting Instructor
A professional prop builder who lives in New York
City, works out of a garage workspace in Brooklyn;
is a professional maker of all sorts; freelance work
includes the fabrication of custom furniture and
props for advertising; teaches model-making
processes at Pratt.
Patrick Fenton
Visiting Instructor
B.A., Visual Communications, UCLA; M.F.A. Design,
Stanford University; partner at Swayspace, a
design studio that tackles a diverse array of design
projects for a wide variety of clients, collaborating
with technology companies, nonprofit
organizations, hospitals, fashion designers,
musicians, professors, artists, and publishers;
portfolio includes design logos, marketing
collateral, websites, user interfaces, books, CD
cases, software packaging, tradeshow booths, and
building signage.
Industrial Design Faculty
Colin Gentle
Visiting Assistant Professor
B. Eng., University of Connecticut; has worked with
firms like SolidWorks Corporation, Martha Stewart
Living Omnimedia, CADD Edge Inc., SA Baxter
Architectural Hardware, and Hutzler Manufacturing;
comprehensive background in 3-D CAD modeling
technology, rendering expertise, and mechanical
processes; serves as ProductSpark’s lead designer,
where he is instrumental in developing new
product lines, and providing SolidWorks 3-D CAD
consulting services; work has been published in a
variety of publications, including Array Magazine,
House Beautiful, Dwell, Interior Design, Forbes Life,
and CNBC; Certified SolidWorks Professional and a
Certified SolidWorks Instructor.
Mark Goetz
Adjunct Professor
B.I.D., Pratt Institute; design faculty since 1993; has
taught Sophomore ID Studio, and has taught the
Graduate Furniture Design Studio since 1997; he has
organized several exhibitions of student work at the
International Contemporary Furniture Fair, Cologne
Furniture Fair, as well as industry-sponsored
projects with companies such as Herman Miller
and Wilsonart; he is also the owner of TZ Design,
an industrial design firm founded in 1988, which
specializes in furniture for the retail, hospitality,
and contract furniture industry.
Bruce Hannah
Professor
B.I.D., Pratt Institute; his Hannah Desk System for
Knoll named Design of the Decade by IDSA (1990);
named first designer in residence at the Cooper-
Hewitt, National Design Museum (1992); awarded
the Bronze Apple by IDSA for conference,
Universal Design (1993); authored Access by Design
with George Covington (John Wiley and Sons,
1996); received National Design Education Award
from the IDSA (1998); Federal Design Achievement
Award for exhibition Unlimited By Design (2000)
named one of 12 most influential exhibitions by
Metropolis magazine (2006); authored Becoming a
Product Designer (John Wiley and Sons, 2004).
Kate Hixon
Adjunct Associate Professor, CCE
Design principal of Hixon Design Consultants;
teaches 3-D design fundamentals and studio
classes at Pratt; her consultancy specializes in
architectural branding, environmental design,
exhibit and event design, editorial design, and
graphic design, and has had a diverse body of
clients, including Pfizer, FAO Schwarz, Eziba, Ernst
& Young, GT Interactive, and the United Nations.
Jay Levy
Visiting Assistant Professor
B.Arch., Pratt Institute; M.Arch., Columbia
University; began his professional career working
for 12 years under two men influential in 20th-
century art and design: the New York architect,
Charles Gwathmey, and the esteemed Japanese
sculptor, Isamu Noguchi; in 1996 Jay Levy
Architects was established; the firm specializes in
residential design and has been widely published;
other personal pursuits include painting,
sculpture, and as an educator at Pratt Institute,
the study of abstract visual relationships.
Jong S. (Mark) Lim
Adjunct Professor, CCE
B.F.A., Seoul National University; M.F.A., Pratt
Institute; Jong S. Lim (a.k.a. Mark Lim); “Glomar
Explorer” ship project; First Place Award,
Orange County Engineering Council (1977/1978);
engineering specialist at Holmes and Narver
Inc.; manager of industrial design research and
development and author of design patents (U.S.
and Europe) at the Conair Corporation; has
exhibited at Gallery Korea, and Hyundai Art Gallery.
Scott Lundberg
Chair; Adjunct Associate Professor, CCE
B.S., B.Arch., North Dakota State University;
M.I.D., Pratt Institute; a designer and educator
who teaches industrial design at Pratt Institute
and exhibit design at the Fashion Institute of
Technology, he recently became IDSA section vice
chair for communicative environments; designed
the Gossner College Campanile in Bihar Ranchi,
India; a shower shelf based on DARPA technology
for Shelfworks; and a display-driven, wine-finding
experience for Bottlerocket Wine & Spirit that got
an A+ from Zagat.
Frank Millero
Visiting Assistant Professor
B.S. Molecular Cell Biology, University of
California at Berkeley; M.I.D., Pratt Institute;
has worked at the Exploratorium museum in
San Francisco (1991–2001) where he developed
numerous biology-based exhibits and programs,
similar to the way his graduate thesis explored
ways of connecting people to the natural world;
has taught courses on color and ecological
design since 2004; now a practicing designer
currently focusing on tableware and table linens.

Katrin Mueller-Russo
Associate Professor
Dipl Des, Industrial Design, Hochschule für
Bildende Künste Hamburg, Germany; has
practiced with Hoberman Associates as a design
director, working on the Hoberman Sphere
toy line, on educational applications; and as a
consultant collaborating on foldable products
for a major children‘s product manufacturer;
in 1997, she founded Specific Objects Inc., an
interdisciplinary, sustainability oriented design
practice in New York; her work as been exhibited
internationally and her awards include the
Ideas Competition Design Plus at the Frankfurt
International Fair Ambiente for her hearing aid
design; with her partner, she was chosen as a
finalist for the Newark Visitors Center competition
in 2009.
Rebeccah Pailes-Friedman
Adjunct Associate Professor
B.F.A. Fashion Design, Pratt Institute; M.I.D., Pratt
Institute; Computer Graphics and Graphic Design,
School of Visual Arts; Millinery Design, Fashion
Institute of Technology; experience as design
director of Starter for Nike; Champion Athletic
Apparel; C-9 by Champion for Target; Fila U.S.A.;
accessories designer for Liz Claiborne, art director,
Everlast, BUM Equipment, and Nautica kids;
freelance product, graphic, and interior designer;
has taught fashion and industrial design at Pratt
since 1998.
Jeanne Pfordresher
Adjunct Assistant Professor
B.F.A., Industrial Design, B.F.A., Sculpture,
Cleveland Institute of Art; experienced in teaching
product studios in the undergraduate, graduate,
and design research classes; a founding partner
of Hybrid Product Design and Development, her
projects have included housewares, consumer
electronics, personal care, medical devices, and
sustainable transportation systems.
Arthur Sempliner
Adjunct Professor, CCE
B.S. Industrial Design, University of Michigan, Ann
Arbor; M.B.A., Marketing, University of Michigan,
Ann Arbor; has taught the Production Methods
classes in the Industrial Design department for
more than 15 years; varied work experiences early
on in his career include being a designer at Dorwin
Teague and later rising to the position of vice
president; president of Construciones Sempliner
in Spain for three years, before founding Chelsea
Design Associates in New York; relationship with
Pratt Institute began in 1969 when he was the
assistant to Professor Gerald Gulotta, a visual
literacy instructor; in 1995 developed and taught
two Production Methods courses for the Industrial
Design department; is recognized for his vast
knowledge and experience in all areas of design
and manufacturing; holds over 35 U.S. patents;
winner of several awards including first prize at
the Popai Show for his Vacuum Coffee Dispensing
System; has worked on a large variety of projects
in several different fields, including architecture,
packaging design, exhibit design, point of
purchase, and industrial design.
Industrial Design Faculty
Martin Skalski
Professor
B.A., University of Toledo; M.I.D., Pratt Institute;
teaches transportation design, color theory,
three-dimensional design, and drawing; director
of Pratt Transportation Design Program; received
grants from the NEA, Ford, General Motors,
Honda, Mitsubishi, Subaru, and Daimler Chrysler;
directed design projects for Northrup Grumman,
BASF/Mearl, Black and Decker, NASA, NEC,
Corning, Nissan, Ford, and GM.
Irvin Tepper
Adjunct Professor, CCE
M.F.A., University of Washington; B.F.A., Kansas
City Art Institute; works are in many museum
collections around the world including the
Victoria and Albert Museum, London; Museum
of Contemporary Art, Kunstmuseum, Bern,
Switzerland; and the Los Angeles County Museum
of Art; work is the subject of a book, titled When
Cups Speak: Life with the Cup—A 25 Year Survey
(Silver Gate, 2002).
William Jeffrey Tolbert
Adjunct Associate Professor
B.S. Biology, Millsaps College; B.F.A., Museum Art
School; M.F.A., Yale University; a visual artist living
in Brooklyn, N.Y. who has taught at Marylhurst
College, Yale University, Parsons The New School
for Design, Pratt Institute, and The Cooper Union;
from 1993–2000, he was the president and owner
of ArtPanel Inc., which manufactured high-quality
wood supports for fine artists; since 2006, has
been project manager for the Way2Go tandem
car project; a revolutionary, lightweight, fuel-
efficient vehicle for the transportation industry;
has exhibited his work in New York and across the
country; in 2010, worked with Philip Riley at Skink
Ink Editions to create a portfolio of giclée prints,
which were featured in a group exhibition at Skink
Ink Editions.
221
Ignacio Urbina Polo
Associate Professor
M.S., Product Engineering, Universidad Federal
de Santa Catarina, Brazil; Venezuelan industrial
designer with over 20 years of experience
specializing in the field of bionics: he has
worked on consumer products, street furniture,
signage systems, exhibition design, and visual
communication systems for many companies,
manufacturers, institutions, and government
agencies; in the late 1980s worked at the
prestigious Brazilian Laboratory of Industrial
Design on Florianopolis Island where he had
the opportunity to work in many different and
diverse product design projects, as well as
support his passion of surfing the waves; in 1999,
while living in Caracas, he co-founded Metaplug,
a multidisciplinary design firm and workshop;
worked as an industrial designer in the foundation
of La Estancia Art Center in Venezuela and the
Andean Amazon Pavilion at the Aichi World
Expo 2005 in Japan; former associate professor
and director of Prodiseño, School of Visual
Communication and Design in Caracas, where he
was involved in academic projects and research in
minimal structures, consumer products, interface
and information design, and thesis projects;
co-publisher of Objetual, a website focusing on
design issues in Venezuela, he has published
design articles in both national newspapers and
specialized magazines; participates in projects
and activities as advisor member of the Ibero-
American Design Biennial in Madrid.
Rebecca Welz
Adjunct Professor, CCE
Boston Museum School; B.A., Empire State College;
is a sculptor represented by June Kelly Gallery in
New York and galleries on the west coast; recipient
of Pollock Krasner and ED Foundation grants;
recipient of a fellowship at Urban Glass; founder
of Association of Women Industrial Designers
(AWID), mounting first exhibition of product design
by women in the U.S., Goddess in the Details;
published book on exhibition.
Henry Yoo
Adjunct Professor, CCE
B.B.A., University of Wisconsin at Madison; M.I.D.,
Pratt Institute; has worked for BMW, Boeing,
Chrysler, Pepsi, Proctor and Gamble, General
Mills, Gucci, Herman Miller, McNeil Associates,
Philip-Morris, Samsung, Timex, Victoria’s Secret,
Warner Brothers, YSL, and Zegna.
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Interior Design Faculty
Doreen Adengo
Visiting Assistant Professor
B.S., Catholic University; M.Arch., Yale University;
RA; project architect, Gruzen Samton
Architects, currently working on the design and
construction of affordable housing, educational,
and government projects; one of her projects
recently won a design excellence award from the
U.S. General Services Administration; previously
worked for Robert A.M. Stern Architects of New
York City, Adjaye Associates of London, and
Ellerbe Becket of Washington, D.C. 
Goil Amornvivat
Visiting Assistant Professor
B.Arch., Carnegie Mellon University; M.Arch.,
Yale University.
Brook Anderson
Visiting Assistant Professor
B.F.A., University of Kansas.
Eric Ansel
Visiting Assistant Professor
B.F.A., Rhode Island School of Design; M.F.A.,
School of the Art Institute of Chicago; M.Arch.,
Pratt Institute; has worked as an architect at
Cooper Robertson and Partners and at Selldorf
Architects; as project architect, recently
completed a two-year renovation of a historic
two-family building in lower Manhattan; his
paintings have been exhibited in New York
and Atlanta.
Tarek Ashkar
Visiting Assistant Professor
B.A., University of California at Berkeley; M.Arch.,
Harvard University; principal, Tarek Ashkar Studio.
Francesca Bastianini
Visiting Assistant Professor
B.A., Smith College; M.S., Lesley University; M.F.A.,
Parsons The New School for Design.
Tania Branquinho
Visiting Assistant Professor
B.F.A., New York School of Interior Design;
M.Arch., Pratt Institute.
Mary Burke
Adjunct Associate Professor
B.A., Fordham University; M.S. Columbia
University; B.Arch., City College School
of Architecture; RA; directs Burke Design
& Architecture PLLC in a broad range of
architecturally based residential, hospitality,
and commercial projects; registered architect
who has practiced in the field of interior design
and architecture for over 35 years; previously
held leadership roles in prominent architecture
firms including Cetra Ruddy, Gruzen Samton
LLP, HOK, Swanke Hayden Connell, and Tihany
International; led KPF Interior Architects’
Singapore office, designing major interior spaces
for the headquarters of United Overseas Bank,
designed by Kenzo Tange; then set up her own
Singapore practice, Burke Design, providing
interior architecture services throughout Asia
and Australia; serves as vice president for design
excellence of the AIA New York Chapter, after
a five-year stint as the chair of the chapter’s
Interiors Committee; former board member of
the New York Chapter of IIDA, and is the 2012
chair of the Advisory Group for the Interior
Architecture Knowledge Community of the AIA;
serves annually as a juror in the Best of NeoCon
competition in Chicago, and is a frequent
contributor to design publications.
Tania Chau
Visiting Assistant Professor
B.A., University of Chicago; M.S., Pratt Institute;
graduate of the Pratt Interior Design MS
program; practicing Interior Design since 2005;
currently a freelance designer providing design
services directly to clients, as well as consulting
with architecture firms; prior to working
independently, was an interior designer and
project manager with 212box Architecture in
New York City, where she worked on a variety
of high-end residential, commercial and retail
projects; besides interior design, professional
experience includes custom furniture, fixture
and material design as well as construction
administration and management.
Der Sean Chou
Visiting Assistant Professor
M.S., New York University; M.S. Interior Design,
Pratt Institute; New York-based designer with
professional experience in hospitality and high-
end residential projects; currently working as
a designer at Jeffrey Beers International; past
design experience includes work at Ajemian
Design and Plan Architecture; in addition, worked
for several years in the film industry as a 3-D
and visual effects artist; graduate of Vancouver
Film School where his work received honors and
appeared in film festivals around the world.
Melissa Cicetti
Visiting Assistant Professor
B.A., M.Arch., University of Pennsylvania; RA;
principal, Studio Cicetti Architect PC; noteworthy
projects include the Reece Murphy Residence in
Cutchogue, N.Y., various projects for Richard and
Clara Weyergraf Serra, and the Brant Foundation
Art Study Center in Greenwich, Conn. (in
conjunction with Gluckman Mayner Architects),
where she was a project manager; former lead
architect on all retail projects for fashion designer
Helmut Lang, many of which won multiple awards;
also a successful photographer/artist, whose
book Marking the Land 1 (University of New Mexico
Press, 2005) is a photographic essay exploring the
interaction between land forms in the Southwest
and the human-made interventions upon
them; photographic works have been exhibited
internationally, including at Ryerson University in
Toronto and Go Fish Gallery in New York City.
James Conti
Adjunct Associate Professor
B.F.A., Youngstown State University; M.F.A., Ohio
State University; principal, Jim Conti Lightworks;
clients include the N.Y.C. Department of
Transportation, Battery Park Conservancy, Alliance
for Downtown New York, and Great Park in Orange
County, California; awards include the IES Lumen
Award, Glowing Topiary Garden, IALD, IES, AIA
award for Bronx Charter School for the Arts.
James Counts Jr.
Visiting Assistant Professor
B.Arch., Kansas State University; M.S., Columbia
University.
Annie Coggan
Visiting Assistant Professor
B.A., Bennington College; M.Arch., Southern
California Institute of Architecture.
Wendy Cronk
Visiting Assistant Professor
B.A., Washington University; M.Arch., Harvard
University, RA; the work of Wendy Cronk
Architect includes new construction, interior
design, custom furniture design, and graphic
design; her award-winning graphic design work
was published in HOW magazine and Two-Color
Graphics, and her design for a lighting fixture
made out of a re-used industrial object was
featured in the exhibition Artists Create Light;
previously worked predominantly in the offices
of Tsao & McKown and Toshiko Mori Architect;
her design contributions were most notably
recognized in A+U for the Taghkanic Residence
for Toshiko Mori Architect.
Ron Eng
Visiting Assistant Professor
B.S.A.D., M.Arch., Massachusetts Institute of
Technology; RA; director of design at Formactiv:
Architecture.Design.Technology. P.C. since 1999,
completing projects at scales ranging from retail
boutiques, galleries, and townhouses to large
mixed-use and institutional projects primarily in
the New York City area, though other sites have
ranged from the Hollywood Hills to the Bund in
Shanghai; prior to founding Formactiv, he worked
in the offices of Rafael Vinoly Architects, Davis,
Brody, Bond and Greenberg-Farrow Architects.
Philip Farrell
Adjunct Professor
B.F.A., M.S., Pratt Institute; in practice since
1978 with Farrell Design Associates, a firm that
offers a broad range of professional services in
both residential and commercial design; major
organizations that have commissioned his firm
include Citibank, Warner/Amex Communications,
MCTV, Intelligent Office Franchise, Air France,
Sony, Revlon, and AT&T; illustrated or contributed
to a number of books, including Construction
Materials for Interior Design (Watson-Guptill,
1989), Commonsense Design (Charles Scribner),
Interiors for the Handicapped (Pantheon Press),
Putting It All Together (Charles Scribner), and
Space Planning Basics (John Wiley and Sons, 1992)

David C. Foley
Visiting Professor
B.A., University of Pittsburgh; M.A., University
of Illinois, Chicago; M.Arch., University of Notre
Dame; RA; registered architect with expertise in
the luxury retail and residential markets, whose
studio, UR Design, also provides urban design
services for urban and rural communities.
Pavlina Gantcheva
Visiting Assistant Professor
B. Civil Eng., University of Architecture and
Civil Engineering, Sofia, Bulgaria; B.Arch., Pratt
Institute; M.S., Columbia University.
Nicolas Guillin
Visiting Assistant Professor
M.F.A., École Supérieure de Création Industrielle
Adam Hayes
Visiting Instructor
B.A., B.Arch, Rice University
John Heida
Visiting Assistant Professor
B.S., University of Montana; B.Arch., California
College of the Arts.
Claudia Hernandez
Visiting Assistant Professor
B.Arch., California State Polytechnical; M.S.,
Columbia University; Plain Space Inc., Architecture
and Design.
Sarah Hill
Visiting Assistant Professor
B.F.A., Parsons School of Design; M.S.,
Pratt Institute
Lindsay Homer
Visiting Associate Professor
B.A., Bates College; M.S., Pratt Institute.
Ben Howes
Visiting Assistant Professor
B.Arch., Pratt Institute; M.S., Stevens Institute
of Technology.
Latoya Nelson Kamdang
Visiting Assistant Professor
B.S. Business Administration, Georgetown
University; M.F.A., George Washington
Univeersity; M.Arch. Real Estate Development,
University of Pennsylvania; has been exploring
different typologies within the interior design
and architecture profession since 2000; has
worked on projects in commercial, government,
technology, institutional, retail, residential,
exhibit, and museum design; major projects
include U.S. Embassies overseas, National
Museum of African American History and
Culture, and Marc Jacobs International retail
stores; intermediate architect for Jaklitsch
Gardner Architects PC; coursework taught
includes Colors & Materials; Structures; Digital
Applications; Space, Tectonics, & Surfaces; and
Design Studio; Certified Interior Designer (CID),
NCIDQ Certified, and LEED AP BD+C.
Interior Design Faculty
Sheryl Kasak
Adjunct Associate Professor
B.F.A., B.Arch., Rhode Island School of Design;
M.S., Columbia University; founder, Interim Design,
an architecture and interior design practice
based upon her undergraduate thesis “An Interim
Architecture,” which addressed the 15 Year War
in Lebanon and the proceeding redevelopment
of the center of Beirut; her practice focuses
on the communication of information through
spatial design and the notion that we are all
living in an interim state, one which is constantly
evolving and reacting to our surroundings and our
lives; has worked for I.M. Pei and Rafael Vigñoly;
represents Atelier Christian de Portzamparc in
New York for U.S. projects; held the winning entry
for the international theoretical competition
Unbuilt Architecture with her Lightning House
design in 1994 and has been published several
times in Abstract, the Columbia University annual
design publication.
Ted Kilcommons
Visiting Instructor
B.A., University of Texas; designer, builder and
teacher in New York City; founded Ted K Design
(www.tedkdesign.com) in 2008 as a platform
for thought-provoking design and timeless
craftsmanship; work has appeared in Interior
Design and Popular Mechanics magazines,
where he is a contributing writer, and has been
featured on numerous Best Of lists and blogs
around the intertube; currently sits on the
Board of Directors at Yestermorrow Design/
Build School (www.yestermorrow.org) and works
as project supervisor for MG and Company
(www.mgandcompany.com), a design-savvy
construction firm that has served the NYC
hospitality industry since 1918.
Margaret Kirk
Visiting Assistant Professor
B.Arch., Syracuse University; M.Arch., Pratt
Institute.
Eugene Kwak
Visiting Assistant Professor
B.Arch., Carnegie Mellon University; M.S.,
Columbia University; LEED AP; educator, architect,
and an urban designer who works for Dattner
Architects, focusing on technology-based green
and sustainable public work including New
Housing New York Legacy Project; his entry for
the Reinventing Grand Army Plaza Competition
was selected as one of the top 30 ideas to be
included in a public exhibition, and his entry for
Intersections: The Grand Concourse Beyond 100
also earned an Honorable Mention.   place; as a designer, he has worked on a number of
Annie K. Kwon
Visiting Assistant Professor
M.S. Advanced Architectural Design, Columbia
University; GSAPP, B.S. & B.Arch., Rhode Island
School of Design
223
Jason Livingston
Visiting Assistant Professor
B.A., University of Miami; M.F.A., New York
University; LC; IES; IALD; principal, Studio T+L,
LLC and an accomplished lighting designer in
architecture and theater with over 20 years
of experience; projects range from offices
and libraries to historic buildings and unique
installations; his work has been profiled in
Lighting Design + Application and Lighting & Sound
America; awards include a Lumen Citation and an
International Illumination Design Award; he was a
2010 finalist in the ESTA Rock Our World Awards.
Chelsea Limbird
Visiting Assistant Professor
B.A., Brown University; M.Arch., Rhode Island
School of Design.
Jennifer Logun
Visiting Assistant Professor
B.A., Gettysburg College; M.Arch., University
of Florida.
Cam Lorendo
Adjunct Associate Professor
B.A., Parsons the New School for Design; design
career as a carpenter and a contractor, which
has proven invaluable in providing a working
knowledge of methods and materials to his
practice; principal work has been in the furniture
industry where he has had extensive experience
with Knoll, Herman Miller, Steelcase, Vecta, and
DesignTex for whom he has worked nationally
designing office systems display, showrooms,
market events, new product introductions,
and trade shows; commercial practice covers
a broad spectrum of projects including office
interiors, trading firms, advertising agencies, and
restaurants; residential work has spanned the
gamut from apartments to single-family homes in
numerous locations throughout the United States.
William Mangold
Adjunct Associate Professor
B.F.A., B.Arch., Rhode Island School of Design;
M.Phil., Ph.D. candidate, CUNY Graduate Center;
has taught at Pratt since 2007, and is also an
adjunct at Hunter College and Moore College of
Art; as a Ph.D. candidate in the Environmental
Psychology program at CUNY Graduate Center
his research looks at the role institutions play in
architectural production and utopian visions for
transforming the social and spatial environment; he
has had various papers accepted for publication
and is currently preparing an edited volume
bringing together key readings related to space and
renovation and adaptive reuse projects, including
the ongoing renovation of an 1872 row house where
he lives with his family.
224
T. Camille Martin
Acting Assistant Chair
B.A., Miami University; M.Arch., Washington
University; principal, TCM Studio, Brooklyn, N.Y.
Anthony Mekel
Adjunct Assistant Professor
B.Arch., Pratt Institute; professional career has
focused on corporate interior design with an
expertise in the application of digital design tools
for the process; has worked as a senior designer
and project manager at Mancini-Duffy, The Phillips
Group, and most recently at HOK.
Francine Monaco
Adjunct Associate Professor
B.Arch., University of Cincinnati; RA; registered
architect in New York, Pennsylvania and New
Jersey, whose work includes projects in the
United States and Europe; more than 25 years
of experience in architecture as well as interior
design; her early work as a project architect for
a highly respected architectural firm designing
homes and apartments was followed in 1989 by
a position as project architect for the in-house
design department of the Guggenheim Museum;
as a member of the museum’s planning team
her focus was in orchestrating several design
projects of the museum’s expansion in New York
City; she designed and supervised the creation
of administrative office space within newly
excavated space at the original Frank Lloyd Wright
museum building; over the years, she has pursued
a mixture of residential and non-residential
work; her increasing focus on the intersection
between architecture and interior design led
her to establish D’Aquino Monaco in 1997 with
Carl D’Aquino; she was inducted into the Interior
Design Hall of Fame in 2007.
John Nafziger
Visiting Assistant Professor
B.A., Franklin & Marshall College; M.Arch. II,
Yale University; principal and co-founder of
Bigprototype, a Brooklyn-based design firm
dedicated to testing, research and play; formed
in 2004, Bigprototype is a tactile, hands-on
practice that operates at the intersection
of design and building; also co-founder of
Littleprototype, a design studio focused on
product and furniture design; originally from
Jos, Nigeria, has lived and traveled extensively in
the Middle East, Caribbean and Asia and draws
on a broad range of experiences to inform his
design collaborations; exhibitions of work with
Bigprototype include Made in New York at the
Museum of the City of New York, M+D+F at
Design Within Reach, and the Bernhardt Design
Studio emerging designers exhibition.
Robert Nassar
Visiting Assistant Professor
B.F.A., Syracuse University; principal, Robert
Nassar Design, New York.
Interior Design Faculty
Joseph E. Nocella
Visiting Assistant Professor
B.S., University of Missouri; M.Arch, The
University of Kansas; RA, AIA, LEED AP; practicing
architect, focusing on BIM technologies, since
1996; previously worked for architectural firms
SOM, HOK, NBBJ, and FXFowle.
Tetsu Ohara
Visiting Assistant Professor
B.Arch., University of California at Berkeley;
Certificate of Architecture, Harvard University;
principal designer, SpatialDesignStudio, Inc.
in N.Y.C.; has engaged in design projects in both
the East and West ranging from product design,
exhibition design, interior design, to architectural
services; recently published project includes
Japan Brand Unfolding exhibition with Japanese
Ministry of Trade at Felissimo Design House
in Manhattan.
Jon Otis
Professor
B.A., Moravian College; M.S., University of
Massachusetts; principal, OlA – Object Agency,
a multidisciplinary design studio and design
strategy agency, whose work ranges from interior
architecture and design, exhibition design,
branding and visual communications, product
design and consulting; clients have included
Tandus Flooring, George Nakashima Woodworker,
Scotts Inc., Vitra Design Museum, Corning Glass,
Contract Design, Tuva Looms, and World Moto
Cross; recipient of Fulbright and Lusk fellowships
to Italy; named Most Admired Educator in Interior
Design in DesignIntelligence in 2009.
Danny Ka Ho Pang
Visiting Assistant Professor
M.S. Interior Design, Pratt Institute; upon
graduation, began working at Glen & Company as
an interior designer focusing on hospitality design;
in 2008, joined Lee H. Skolnick Architecture +
Design Partnership, where he worked on various
projects in different disciplines including interior
design, exhibit design and graphic design; in 2012,
began working in retail design by joining Saks Fifth
Avenue OFF 5TH as a manager of store planning
and design; currently the Director of Store
Planning and Design at Saks Fifth Avenue OFF 5TH.
Andrew Pettit
Adjunct Associate Professor
B.Arch., Pratt Institute; RA; principal, Andrew
L. Pettit, Architect; firm’s work encompasses
many residential and renewal projects from
single-family homes and brownstone restorations
to multi-family dwelling complexes; projects
completed or in process include renovated lofts,
commercial offices, and custom residences as
well as industrial adaptive re-use projects and
restaurants, a nightclub, and other hotel and
hospitality lifestyle designs, commercial retail
outlets, and high-end design fashion shops;
clients include several corporate groups from
General Electric Plastics Division to a major
international publishing firm, an international
insurance company, a private legal firm, and a
specialty paper goods manufacturer; restored
Memorial Hall on Pratt’s Brooklyn campus with
Philip Farrell.
J. Woodson Rainey
Visiting Assistant Professor
B.F.A., B.Arch., University of Utah.
Eduardo Rega
Visiting Assistant Professor
M.P.A.A., Polytechnic University of Madrid; M.S.,
Columbia University.
Christian Rietzke
Visiting Assistant Professor
Diplom-Ingenieur, University of Applied Sciences,
Münster, Germany; M.Arch., Pratt Institute;
project manager, McKay Architecture/Design; has
designed several single-family residences located
in the area of New Paltz, N.Y., informed by the
principles of sustainability and has managed the
construction of several full building conversions
in Lower Manhattan and Newark, New Jersey;
has worked for a variety of firms in Germany,
Sweden, and Spain on large-scale hotels, shopping
centers, and industrial complexes; work has been
published in Domus and ICON Magazine.

Rachely Rotem
Visiting Assistant Professor
B.Arch. (Cum Laude), Israel Institute for
Technology; M.S., Columbia University; leads
MODU with years of experience working at a
diverse range of project types and scales; in
2004, won the “Catch the Light” international
competition for the Athens Olympic Games; has
won several international design competitions
and awards for projects in North America,
Europe, Asia, and the Middle East; before starting
solo practice in 2009, worked for established
architecture practices in both Tel Aviv and
New York, where she was a Project Manager
for Leslie Gill Architect; at Columbia University,
she was awarded both the Lowenfish Prize
and the William Kinne Fellows Prize; currently
teaching advanced design studios at the Rhode
Island School of Design; previously taught at the
University of Pennsylvania and Cornell University;
LEED Accredited Professional in building design
and construction and Associate AIA member.
Mary-Jo Schlachter
Visiting Assistant Professor
B.S., M.Arch., University of Pennsylvania; RA;
USGBC committee member; co-founder, d3, an
organization committed to advancing innovative
positions in art, architecture, and design by
providing a collaborative environment for
artists, architects, designers, and students from
throughout New York City though a program of
exhibitions, events, competitions, and publications;
prior to independent practice as MJIT Studio,
she worked extensively in affordable housing
and high-end residential design in various New
York architectural firms including Beth Cooper
Lawrence, Raffaella Bortoluzzi, and Bruno Kearney;
her architectural and installation work has been
exhibited in Philadelphia, New York, and Savannah.

Irina Schneid
B. Arch., M.Arch., Cornell University; architect,
educator, and principal of an interdisciplinary
design lab: SCH+ARC Studio; research, teaching,
and practice are focused on activating drawing
as a generative tool in the production of spatial
relations; primarily based in New York, has
lectured and taught internationally; recent
teaching appointments include Barnard College
of Columbia University, Pratt Institute, Tyler
School of Art, and the Royal Melbourne Institute
of Technology (RMIT) in Melbourne, Australia;
work has been featured in Designboom,
Archdaily, and Possible City; SCH+ARC Studio’s
Pop-Up Playhouse was recently named finalist
by BTI in their international PLAYscapes
competition; engaged in projects of all scales,
SCH+ARC has completed the design and
construction of several collaborative retail
projects in New York and Las Vegas.
Deborah Schneiderman
Associate Professor
B.S., Cornell University; M.Arch., SCI-Arch; RA;
LEED AP; principal, deSc Architecture/Design/
Research; projects include residential design,
exhibition design such as the Empire State Building
audio tour and kiosk, and collaborative work with
the artists Kristin Jones and Andrew Ginzel on
Polarities at the Kansas City International Airport
and Metronome at Union Square in New York City;
previously taught at Parsons The New School
for Design and Arizona State University; author
of the upcoming books Inside Prefab (Princeton
Architectural Press, 2012) and Integrating
Sustainability in Design Education (with Jacques
Giard in 2013); articles have appeared in Interiors:
Design, Architecture and Culture; Design Principles
and Practices: An International Journal; Home
Cultures: The Journal of Architecture Design and
Domestic Space; and International Journal of
Environmental, Cultural, Economic and Social
Sustainability.
Corie Sharples
Visiting Assistant Professor
Founding Principal of SHoP; oversees the firm’s
Interior Design Group; in this role, she is integral
to the creation of comprehensive, integrated
solutions that consider all aspects of a design
together; from the functional and experiential
arrangements of space, the choreography
of movement throughout a building and the
character of spaces inside and out, to the design
and detailing of bespoke elements tailored to
fit the specific needs of each project; SHoP’s
interior design projects exemplify the firm’s
emphasis on “performative environments,” taking
into consideration patterns of use, material and
spatial efficiencies, all the factors of a space
that are only apparent when one is able to look
at its entire context, whole; her attention to
detailing and materiality comes from a deep
understanding and passion for craft that,
when coupled with SHoP’s expertise in digital
fabrication and construction technology, results
in smart, sophisticated and beautiful work.
Interior Design Faculty
Hazel Siegel
Visiting Assistant Professor
B.F.A., Skidmore College; M.F.A., Hunter College,
City University of New; Atelier Hazel Siegel Ltd.
Andrew Simons
Visiting Assistant Professor
B.F.A., Carnegie Mellon University; partner,
Emphasis Design.
Darius Somers
Visiting Assistant Professor
B.Arch, Pratt Institute; M.S. Architectural
Design, Columbia University; received several
prestigious awards for academic excellence,
namely; the Pratt Patron’s Scholarship, the
highest prize awarded to a student at Pratt’s
School of Architecture, and the Willam Kinnie
Fellow Prize from Columbia University; shortly
after graduating from Pratt, produced design-
focused conversations; the “Designing an
Enduring Legacy” symposium in conjunction with
the Black Alumni Association and Pratt Institute
School of Architecture, and “Design Generation
2.0” in partnership with The Architect’s
Newspaper, where he is currently an editorial
board member; worked under the leadership
of distinguished architects and educators: the
late Charles Gwathmey at Gwathmey Siegel and
Associates Architects, and David Adjaye at Adjaye
Associates in New York City; currently working at
a small practice led by architect Mario Gooden;
managing an 8,000-square-meter, mixed-use
development in Johannesburg, South Africa.
Sarah Strauss
Visiting Associate Professor
B.A., Duke University; M.Arch., Yale University;
founder, Bigprototype (2004), a practice that
operates at the intersection of design and building,
harnessing interests in making, testing, research,
and play, with offices in Brooklyn, N.Y. and Rincon,
Puerto Rico; also founded LittlePrototype, a
furniture and product design company located in
Brooklyn, and Collider, an installation art project
with Lia Halloran that travels between New York
City and Los Angeles.
Keena Suh
Adjunct Associate Professor
B.A., University of Illinois at Urbana-Champaign;
M.Arch., Columbia University; RA; architect,
Reddymade Design, New York City; professional
experience includes a broad range of
architecture and interior projects including
affordable housing, high-end residential
projects, retail, and hospitality designs.
225
Myonggi Sul
Professor
B.A., Valparaiso University; M.S., Pratt Institute;
interior designer in New York City for over 20
years; principal, Myonggi Sul Design, which
provides interior design services to corporations,
high-end residences, and major architectural
firms; previous appointments include director
of interior design at Marcel Breuer Associates,
and work as an associate at GN Associates/Carol
Groh and Associates, where her creative skills
and leadership were instrumental in the firm’s
recognition as the 1988 Designer of the Year by
Interiors magazine; has taught at both Hongik
University and Gunguk University in Seoul, Korea,
as a visiting professor.
Madeleine Taylor
Adjunct Assistant Professor
B.F.A., B.Arch., Rhode Island School of Design;
M.S., Columbia University; RA; principal, boutique
architecture and interior design studios MMTNYC,
New York City and MMTSLC, Salt Lake City; has
served as director of operations at Ace Gallery
in New York City, and worked as a designer at
Skidmore, Owings & Merrill, LLP.
Karin Tehve
Acting Chair
B.Arch., Pennsylvania State University; M.Arch.,
Harvard University RA; architect and founder,
KT3Dllc. (2001), a small interdisciplinary practice
pursuing projects in architecture, interiors,
multimedia design and site-specific art; awards
include a 2009 Building Brooklyn Award and a
2009 Lumen Citation and Regional Award (with
Linnaea Tillett) for This Way, a permanent light
installation under the Brooklyn Bridge; recent
projects include a test-kitchen for Every Day with
Rachael Ray magazine and collaboration with
Linnaea Tillett Lighting Design on a permanent
light installation in Winnipeg, Manitoba.
Jack Travis
Adjunct Assistant Professor
B.Arch., Arizona State University; M.Arch.,
University of Illinois, Urbana-Champaign; RA; since
establishing his namesake design studio in 1985,
has completed proposals or has been involved
in over 100 projects of varying scope and size; to
date, the firm has completed several residential
interiors projects for such notable clients as
Spike Lee, Wesley Snipes, and John Saunders of
ABC sports; commercial and/or retail interiors
clients have included Giorgio Armani, Cashmere
Cashmere, and the Sbarro family of the famed
pizza parlors; Travis encourages investigation into
black history where appropriate and includes
forms, motifs, materials, and colors that reflect
this heritage in his work; interests have broadened
in recent years to include design issues not only
concerning cultural content but sustainability
in environmental design as well as alternative
educational practices that seek to ensure the
entrance of more students of color into the
profession; editor, African American Architects: In
Current Practice, (Princeton Architectural Press,
226
1991) the first publication to profile the work of
black architects in the United States; in 2004, he
received his Fellowship in the AIA, and in 2006 was
inducted into the Council of Elders of the National
Organization of Minority Architects (NOMA), the
highest honor that each organization bestows
upon its individual members.
Loukia Tsafoulia
Visiting Assistant Professor
Diploma in Architecture Engineering, School
of Architecture, National Technical University
of Athens; MSAAD, Architecture, Planning and
Preservation, Columbia University; registered
architect TEE-TCG, received fellowship from
the Gerondelis Foundation; obtained her
professional degree and first M.Arch. from the
National Technical University of Athens (NTUA),
spending one year as an exchange student at the
Universidade Nova de Lisboa, Portugal; co-founder
of PLB studio based in New York as well as an
Adjunct Professor at the City University of New
York, Architectural Department of Technology;
a founder partner of Fabula & Syuzhet, a new
experimental platform based on the production
of body and space embellishments; from 2010
to 2013 led the Architectural Section for Studio
Dror, managing a variety of architectural and
urban design projects as well as architectural
competitions; also employed by LEESER
Architecture in New York City and has collaborated
with SO-IL / Solid Objectives for the construction
of Sukkah City pavilion proposal in New York; also
worked with Jorge Otero-Pailos on the research
and design development of a proposal for the
“Ancient” Acropolis Museum; from 2006 to 2009
joined the Laboratory of Urban Environment,
Department of Urban and Regional Planning (NTUA)
as a researcher for the Collaborative Environmental
Regeneration of Port Cities Eleufsina Bay and the
Mines of Aegean and Industrial Heritage Record
programs; in parallel, worked as an architect
for Karakosta E. Architectural office in Athens
for a couple of years of intense architectural
practice; work has been published and exhibited
in international design fairs, the London 3-D print
show and ICFF in New York, among others.
Kevin Walz
Visiting Associate Professor
Pratt Institute; the New York Studio School;
artist and designer; recently returning from
two decades in Rome, Walzworkinc, his design
firm is located in New York; known for his
spatial design projects, employing innovative
spatial relationships, materials and processes
borrowed from other disciplines, notably those
from industry, fine art and craft; artwork, which
focuses on perception and form; and signature
collections of products; also lectures and
teaches at university programs in Europe and
the U.S.; has designed many signature product
lines of lighting, carpets, fabrics, wall coverings,
bath fixtures and fittings, and furniture; furniture
designs begin with an interaction of fine natural
Interior Design Faculty
materials, such as hardwoods, cork, glass, metals,
which are then used with resins, carbon fiber,
new technologies and methods, allowing thin
profiles, fluid forms and tactile, resilient surfaces;
some of the materials Walz has developed have
been patented; recipient of the Rome Prize
for work in design; in the Interior Design Hall
of Fame; art and designs have been exhibited
in galleries and museums in North America
and Europe and work is regularly in design
publications.
William Watson
Visiting Assistant Professor
B.A., Princeton University; M.Arch., University
of Texas at Austin; principal, Castro Watson,
whose work includes residential and design build
projects as well as winning entries to design
competitions; Speak Up for Small Farms, Stored
Potential Competition, in Omaha, Nebraska, was
the winning entry in 2010.
Henry Weintraub
Visiting Assistant Professor
B.A., University of Michigan in Ann Arbor; M.Arch.,
Harvard University; professional work has included
residential, townhouse renovations to rooftop
additions, to office and gallery renovations for
offices such as Ennead, Spivak Architects, and
Daniel Rowen Architects.
Alexandra Griffith Winton
Visiting Associate Professor
B.A., Smith College; M.A., Bard Graduate Center
for Studies in the Decorative Arts.
Piotr Woronkowicz
Visiting Instructor
B.S. Product Design (Honors), Art Center College
of Design; an industrial designer who specializes
in 3-D technology and manufacturing as a process
to achieve unexplored design potential and
problem-solving in various disciplines of design
from furniture to Interiors; before Joining Frog
Design in 2014, worked as a senior designer at
Pentagram for Paula Scher and worked with other
studios and clients such as Jeffrey Bernett, Don
Chadwick, Jorge Pardo, Design Within Reach,
Herman Miller, Boffi, to name a few; born in
Gdansk Poland; has lived in various places around
the world including Milan, Italy, Vancouver,
Canada, Tokyo, Japan, Los Angeles, California
before finally settling down in New York City in
2007; work can be seen in galleries throughout the
country; recent recipient of a Spark award; work
has been published in international magazines and
newspapers including Wallpaper, Surface, the Los
Angeles Times, Elle Décor, and ID.
Corey Yurkovich
Visiting Assistant Professor
B.Arch., Kent State University; M.S., Harvard
University; a New York-based designer working
at the intersection of architecture, exhibition
design, product and furniture development, and
brand environments; has a wide variety of design
and production experiences—from initial creative
strategy through to construction management
and hands-on fabrication—which have provided
him the opportunity to work closely with a range
of clients and collaborators; currently seeks to
integrate traditional craft-based production
methods with advanced digital fabrication to
produce projects and experiences that are
conceptually rich, rigorously designed, and
efficiently constructed.
Edwin Zawadzki
Visiting Assistant Professor
B.A., Harvard University; M.Arch., Yale University;
before architecture school, worked at The New
Yorker magazine and later with Lazard Frères in
Paris and Moscow during the exuberant period
of perestroika; after grad school, worked at
the NY office of Perkins and Will on a variety of
educational and healthcare projects, as well as
an urban master plan for the city of Beirut in
collaboration with the offices of Fred Koetter;
in 2000 he and Mason Wickham founded In Situ
Design, recently named one of the top 50 design
firms in NYC by NY Spaces magazine; In Situ Design
specializes in boutique hotels as well as residential
work (insitudesign.com); currently teaches the
first-year graduate design studio; previously
taught in the undergraduate program
Michael Zuckerman
Adjunct Associate Professor
B.S., B.Arch., City College of New York; RA,
LEED AP; principal, G.V.Z. Architects; recent
work includes projects for Saint Ann’s School,
Enterprise Lighting Sales, Arcus Foundation,
Harlem United, The Bell House, as well as many
residential clients; prior work included designing
lobbies for residential co-ops and retail stores
and collaborating on restaurants, residences, and
offices with Judith Stockman and Associates, The
George Office, and Richard Bloch Architect; has
designed custom light fixtures and furniture during
the course of various projects; formerly, project
architect, project manager, and senior designer
with the firm of Jack L. Gordon Architects
(1974–1983), responsible for many projects of
varying scope and complexity including building
renovations and new construction.

Library and Information
Science Faculty
Selenay Aytac
Visiting Assistant Professor
Ph.D., Information Science, Long Island University,
C.W. Post Campus; M.B.A., Business and Total
Quality Management, Isik University; B.L.S.,
Istanbul University.
Virginia Bartow
Visiting Assistant Professor
M.L.S., Columbia University; B.A., William Smith
College; curator of the George Arents Collection
and head of Special Collections Cataloging, the
New York Public Library.
Carrie Banks
Visiting Assistant Professor
M.L.S., Queens College, City University of
New York; Supervising Librarian, Child’s Place
for Children with Special Needs, Brooklyn
Public Library.
Johanna Bauman
Visiting Assistant Professor
M.L.S., Queens College, City University of New
York; M.A., Ph.D., Art History, University of Virginia;
B.A., History, George Mason University; Visual
Resources Curator, Pratt Institute.
Jason Baumann
Visiting Assistant Professor
M.L.S., Queens College, City University of New
York; M.F.A., City College of New York; B.A.,
Eugene Lang College The New School for Liberal
Arts; Special Assistant to the Director, NYPL
Research Libraries.
John N. Berry III
Visiting Professor
M.S., Library Science, Simmons College; B.A.,
History, Boston University.
Helen-Ann Brown-Epstein
Visiting Assistant Professor
M.L.S., B.S., University of Maryland at College Park;
M.S., University of Pennsylvania; Education and
Outreach Head, Weill Cornell Medical Library.
Charles Cuykendall Carter
Visiting Instructor
M.S.L.I.S., Long Island University; M.F.A., Creative
Writing, New York University; B.A., English, Emory
University; Bibliographer, the Carl H. Pforzheimer
Collection of Shelley and His Circle, New York
Public Library.
Anthony Cocciolo
Assistant Professor
Ed.D., Ed.M., M.A., Communication, Computing
and Technology in Education, Teachers College,
Columbia University; B.S., Computer Science,
University of California at Riverside; research
interests are in the uses of emerging information
and communications technologies (ICTs) to
enhance libraries and education, especially in
the social, cognitive and affective dimensions of
learning and knowledge construction in digital
environments; former head of technology for
the Gottesman Libraries at Teachers College,
Columbia University.
Anthony Cucchiara
Visiting Assistant Professor
M.L.S., Pratt Institute; M.B.A., Long Island
University at Brooklyn; B.A., St. Francis College;
Archivist and Associate Librarian for Distinctive
Collections and Information Services, Brooklyn
College, CUNY.
Deirdre Donohue
Visiting Assistant Professor
M.L.S., Pratt Institute; B.A., State University of
New York at New Paltz; Librarian, International
Center of Photography.
Emily Drabinski
Visiting Assistant Professor
M.L.S., Syracuse University; M.A., Composition
and Rhetoric, Long Island University; B.A., Political
Science, Columbia University.
Terence Fitzgerald
Visiting Assistant Professor
M.S.L.I.S., Pratt Institute; B.A., English,
Iona College.
Nancy Friedland
Visiting Associate Professor
M.L.S., Rutgers University; M.A., New York
University; B.A., University of Massachusetts at
Amherst; Head, Butler Library Media Center, Butler
Library, Columbia University.
Barbara Genco
Visiting Associate Professor
M.L.S., Pratt Institute; B.A., Canisius College;
Director, Collection Development, Brooklyn
Public Library.
227
Tula Giannini
Dean of the School of Information and
Library Science
Ph.D., Bryn Mawr College; M.L.S., Rutgers
University; M.M., B.M., Manhattan School of Music;
an interdisciplinary researcher, Dr. Giannini is a
leading scholar in French woodwind instruments
and cultural heritage in the digital world across
libraries, museums and archives. Recent
publications include: 22 articles in Groves Music
Online (2013); the book Great Flute Makers of
France, published in Japanese in 2007, described
in Choice as “a model of archival research for
all graduate students”; “Core Competencies
for Art Museum Librarianship,” ARLIS; and
“Frédéric Triebert, Designer of the Modern
Oboe,” Pendragon. She is writer and project
director for two current IMLS grants partnering
with leading NYC cultural institutions (see www.
brooklynvisualheritage.org and www.nyarc.org/
content/imls-funds-pratt-and-nyarc-partnership).
Sharareh Goldsmith
Visiting Assistant Professor
M.L.S., Pratt Institute; B.A., Mt. Holyoke College;
Advanced Certificate in Library and Information
Studies, Pratt Institute.
Joshua Hadro
Visiting Instructor
M.L.S., Pratt Institute; B.A., Philosophy, Columbia
University; executive editor, digital products,
Library Journal and The Horn Book.
Alexis Hagadorn
Visiting Assistant Professor
M.L.S., Columbia University, Advanced Certificate
in Library and Archives Conservation, Columbia
University; B.A., Barnard College; head of
conservation, Columbia University Libraries.
Jessica Lee Hochman
Assistant Professor
Ph.D., Philosophy and Education and Cultural
Studies, Teachers College, Columbia University;
Diversity Fellow 2001–2003; M.A., Instructional
Technology and Media in the Program of Scientific
Foundations.
Jennifer Hoffman
Visiting Assistant Professor
Ph.D., Higher Education, M.L.S., M.A., Art History;
University of North Texas; B.A., Fine Art and
English Literature, Hardin-Simmons University.
David Alan Hollander
Visiting Assistant Professor
J.D., Fordham University; M.L.S., Pratt Institute;
Law and Legal Studies Librarian, Princeton
University Library.
228
Jennifer Hubert-Swan
Visiting Assistant Professor
M.L.S., Wayne State University; B.A., English,
Olivet Nazarene University; Library Department
chair, Little Red School House and Elisabeth Irwin
High School.
Sarah Jewell
Visiting Assistant professor
M.L.I.S., Rutgers University; B.S., Biology; The
College of New Jersey.
Jesse Karp
Visiting Instructor
M.L.S., Pratt Institute; B.A., Journalism, New York
University; early childhood and interdimensional
librarian, Little Red School House and Elisabeth
Irwin High School.
Matthew Knutzen
Assistant Professor
M.F.A., Abstract Cartography and Artists’ Books,
Pratt Institute; B.A., Geography, University of
California at Berkeley; geospatial librarian, New
York Public Library.
Elizabeth Kroski
Visiting Assistant Professor
M.S.L.I.S., Long Island University at Post; B.A.,
Anthropology, Mount Holyoke College; Manager
of Information Systems, New York Law Institute.
Tonya Leslie
Visiting assistant Professor
M.A., Education, New York University; B.A.,
Education, State University of New York at
New Paltz.
Irene Lopatovska
Assistant Professor
Ph.D., Information Science, Rutgers University;
M.L.S., University of North Texas; B.S., Kiev
State University.
Laura Lutz
Visiting Assistant Professor
M.L.S., University of Arizona; B.A., English,
Willamette University; consultant, Scholastic
Book Clubs.
Craig MacDonald
Assistant Professor
Ph.D., Information Studies, Drexel University;
M.S., Applied and Mathematical Statistics,
Rutgers University; B.A., Statistics, The College
of New Jersey.
Susan L. Malbin
Visiting Instructor
Ph.D., Comparative History, Brandeis University;
M.L.S., State University of New York at Albany;
B.A., History, Barnard College; director of library
and archives, American Jewish Historical Society.
Library and Information Science Faculty
David Marcinkowski
Visiting Associate Professor
M.A., Media Studies, The New School; B.A.,
Philosophy and Religion, Kean University;
associate professor, Associate Degree Program,
Pratt Institute; associate director of Computing
Services, Pratt Institute, Manhattan campus.
Hillias Martin
Visiting Assistant Professor
M.L.S., Pratt Institute; B.A., English and Drama,
University of Georgia; assistant director for young
adult programs, New York Public Library.
Seoud M. Matta
Dean Emeritus
D.L.S., Columbia University.
Abigail Meisterman
Visiting Instructor
M.L.S., Queens College, City University of New
York; B.A., Dance and English, Rutgers University;
metadata specialist, New York Public Library.
Matthew Miller
Visiting Assistant Professor
M.S.L.I.S., Pratt Institute; M.S., History of Art,
Pratt Institute; B.A., History of Art, The Ohio State
University.
Jacob Nadal
Visiting Assistant Professor
M.L.S., Indiana University at Bloomington; director
of library and archives, Brooklyn Historical Society,
Lisa Norberg
Visiting Assistant Professor
M.L.S., Indiana University; B.A., Political Science,
University of Wyoming; dean, Barnard Library and
Academic Information Services.
Maria Cristina Pattuelli
Assistant Professor
Ph.D., University of North Carolina at Chapel
Hill; advanced degree (master’s equivalent) in
Cultural Heritage Studies, University of Bologna,
Italy; advanced degree (master’s equivalent) in
Philosophy, University of Bologna, Italy.
Slava Polishchuk
Visiting Assistant Professor
M.F.A., B.A., Brooklyn College, City University
of New York; conservator, Library Archives and
Special Collections, Brooklyn College Library, City
University of New York.
Deborah Rabina
Associate Professor
Ph.D., Rutgers University; areas of specialization
include reference resources (general, legal,
government), information law and policy,
government and NGO information sources and
scholarly communications; research focuses on
two major areas: how democratic micro and macro
organizations form and harbor information policies
that stem from and support their perception
of democracy, and the role of evolving patterns
of scholarly communications in academic and
research environments.
Caroline Romans
Visiting Professor
M.L.S., Drexel University.
Charles Rubenstein
Professor
Ph.D., Polytechnic Institute NY; M.L.S., Pratt
Institute; M.S., Polytechnic Institute Brooklyn;
B.S., Richmond College, CUNY; visiting professor
of engineering at the Institute for Research and
Technology Transfer, Farmingdale State College
(SUNY); elected to the IEEE Board of Directors
serving as Director Elect in 2008–2009 and then
as Director 2010–2011.
Margaret Smith
Visiting Assistant Professor
M.S.L.I.S., Syracuse University; M.A., Evolutionary
Biology; B.A., Physics & Studio Art, Rice University.
Kenneth Soehner
Visiting Associate Professor
M.L.S., M.A., Columbia University; B.A., New
York University; chief librarian, Arthur K. Watson
Library, the Metropolitan Museum of Art.
Chris Alen Sula
Assistant Professor
Ph.D., Certificate in International Technology
and Pedagogy; M.Phil., Philosophy, The Graduate
Center, City University of New York; B.A.,
Philosophy and English, Augustana College.
Elise Taylor-Swee
Visiting Assistant Professor
M.S.L.I.S., Pratt Institute.
Jeremiah Trinidad-Christensen
Visiting Assistant Professor
M.L.S., Long Island University; B.A., Geography,
University of Washington.
Kyle Triplett
Visiting Instructor
M.S.L.I.S., Pratt Institute; B.S., Political Science,
Grand Valley State University; rare books librarian,
New York Public Library.

Brooke Watkins
Visiting Assistant Professor
M.L.S., Certificate in Museum Studies, Pratt
Institute; M.F.A., Creative Writing, Brooklyn
College, City University of New York; B.A., English
Literature and Creative Writing, Ohio University;
librarian, General Research Division, Steven A.
Schwarzman Building, New York Public Library.
Christopher Weller
Visiting Instructor
M.L.S., Pratt Institute; B.A., Area Studies –
Asia, Trinity College; consultant in information
architecture, UX design and linked data, Chris
Weller Consulting.
Kevin B. Winkler
Visiting Assistant Professor
M.L.S., Columbia University; M.A., Hunter
College, City University of New York; B.A., San
Diego State University.
History of Art and
Design Faculty
Sonya Abrego
Visiting Instructor
Ph.D. candidate, Bard Graduate Center
M.Phil, Decorative Arts, Design History and
Material Culture Studies, Bard Graduate Center;
a Ph.D. candidate specializing in 20th-century
fashion, currently completing a dissertation on
western wear in the postwar United States; work
focuses on the interconnections between fashion
and popular culture, specifically music and film;
she has presented papers in New York, Montreal
and San Francisco, worked with the costume
collections at the Museum of the City of New York
and the Metropolitan’s Costume Institute; she is
the recipient of graduate fellowships from the
Metropolitan Museum of Art, the Bonnie Cashin
Foundation and the Autry National Center; she is
a senior editor at Worn Fashion Journal and works
in the vintage clothing market.
Kelly Rae Aldridge
Visiting Instructor
B.A., Art History, Colorado State University;
M.A., Art History and Criticism, Ph.D. candidate,
Stony Brook University; conducts research on
the place of food in art with particular focus
on contemporary collaborative interdisciplinary
projects; currently working on a dissertation,
“Crumbs from the Revolutionary Table,” that
examines art practices that focus on the table as
a critical site of physical consumption, sensuous
encounter, social production, and material
exchange; Instructor at Stony Brook University;
was Session Chair at the Association of Art
Historians and has presented papers at CAA and
other venues.
Lisa Banner
Visiting Associate Professor
B.A., Princeton University; Ph.D., Institute of
Fine Arts, New York University; art historian
and curator; publications include Spanish
Drawings in the Princeton University Art Museum
(Yale University Press, 2013), and The Religious
Patronage of the Duke of Lerma (Ashgate, 2009);
has lectured on old master drawings at the Frick
Collection, Metropolitan Museum of Art, Morgan
Library, Courtauld Institute, and the Meadows
Museum; as a curator she has worked with the
Frick Collection (The Spanish Manner: Drawings
from Ribera to Goya, 2010-2011), the Museo del
Prado (Dibujos del Siglo de Oro en la Coleccion de
la Hispanic Society of America, 2006), the Museu
Nacional d’Art de Catalunya, and the Institute of
Fine Arts, NYU.
229
Ágnes Berecz
Visiting Assistant Professor
Ph.D., Université Paris I (Panthéon-Sorbonne);
teaches modern and contemporary art history;
Associate Professor at Christie’s Education;
lectures at the Museum of Modern Art; writings
have appeared in Art Journal, Art in America,
Artmargins and the Yale University Art Gallery
Bulletin as well as in European and US exhibitions
catalogs; recent work includes the two-volume
monographic study, Simon Hantaï, and the essay,
“The Event of Painting,” written for Judit Reigl’s
retrospective at the Ludwig Museum in Budapest;
review articles for Muérto, the Budapest-based
art monthly, include “Thomas Hirschhorn’s
Gramsci Monument,” and “American Traumspiel:
Mike Kelley”; she is working on a book titled Paint
No More: France, 1948-1982.
Sam Bryan
Adjunct Associate Professor
B.A., Dartmouth College; M.A., Howard University;
D.A., History, Carnegie-Mellon University;
filmmaker and film archivist who specializes
in documentary film and criticism; has taught
courses in film history and production at
Brooklyn College, Fordham University and at
Pratt since 1983; since 1960 he has filmed for
the International Film Foundation in Africa and
South America; his films have been shown at
the American Film Festival, at the Museum of
Modern Art and the Metropolitan Museum of
Art; past president of the New York Film Council
and executive Director of the International Film
Foundation.
Corey D’Augustine
Visiting Assistant Professor
B.A., Visual Arts and Biochemistry, Oberlin
College; M.A., Art History, Advanced Certificate
in Art Conservation, Institute of Fine Arts, New
York University; conservator of modern and
contemporary art and technical art historian;
works for the Solomon R. Guggenheim Museum
and lectures on art history conservation at New
York University, Sotheby’s Institute of Art, City
College of New York, and Museum of Modern Art;
a specialist in American and European Post-war
art, research includes 20th-century painting
materials and techniques and conservation of
monochrome paintings; selected publications:
“Taoism in the Work of Agnes Martin,” Kunst
Nu, “Laser Cleaning of a Study Painting by Ad
Reinhardt and the Analysis/Assessment of
the Surface after Treatment,” Modern Paints
Uncovered; Selected Awards: Samuel H. Kress
Foundation grant; Dedalus Foundation grant.
230
Ed DeCarbo
Adjunct Associate Professor
M.A., University of Chicago; M.A., Ph.D., Indiana
University; concentration is art and aesthetics in
post-colonial societies with foci in traditional and
contemporary arts; field research in aesthetics
in a traditional multicultural society in West
Africa and in the Pacific (Moana) in contemporary
arts; his courses survey the traditional and
contemporary arts of Africa and the Pacific, and
consider the theories and methods of analysis
that are applied to the post-colonial world; he
serves as a consultant to the College Board effort
to globalize the Advanced Placement Curriculum
in Art History; was Director of Education at the
National Museum of African Art, Smithsonian
Institution, and served as a senior university
administrator for many years.
Eva Díaz
Assistant Professor
M. A., Ph.D., Princeton University; her book
The Experimenters: Chance and Design at Black
Mountain College will soon be released by the
University of Chicago Press; the project examines
how an interdisciplinary group of artists at
Black Mountain proposed new models of art
and focuses on three Black Mountain teachers
in the late 1940s and early 1950s: Josef Albers,
John Cage, and Buckminster Fuller; writing
appears in magazines and journals such as The
Art Bulletin, Art Journal, Art in America, Cabinet,
The Exhibitionist, Frieze, Grey Room, October,
and Tate Etc. and she is a regular contributor to
Artforum; she was recently awarded a Creative
Capital/Warhol Foundation Art Writers Grant to
research for her book about Buckminster Fuller’s
work, titled The Fuller Effect: The Critique of Total
Design in Postwar Art.
Dorothea Dietrich
Chair and Professor
B.A., M.A., M.Phil., Ph.D., Yale University; primary
research areas: the Weimar Republic and post-
1945 German art and culture; publications include:
The Collages of Kurt Schwitters: Tradition and
Innovation (Cambridge U. Press) and German
Drawings of the 60s (Yale U. Art Gallery), and
numerous contributions to exhibition catalogues
and scholarly volumes in the United States and
Europe; was Chair of Arts and Humanities at
the Corcoran College of Art and Design, and
Curator of Prints and Drawings and Director of
the Morse Research Center at the Zimmerli Art
Museum at Rutgers; taught at Princeton University
and held visiting appointments at Yale, MIT,
Duke, Washington University, Boston University,
and Bryn Mawr College; recently was a Senior
Research Fellow at the Henry Moore Institute in
Leeds, England.
History of Art and Design Faculty
Mary Douglas Edwards
Adjunct Professor
M.L.S., M.A., Ph.D., Columbia University;
publications include Wind Chant and Night
Chant Sand Paintings, articles in Journal of the
Society of Architectural Historians, Studies in
Iconography, Source: Notes in the History of
Art, Il Santo: rivista francescana, Zeitschrift für
Kunstgeschichte, and elsewhere; co-edited and
wrote portions of Gravity in Art: Essays on Weight
and Weightlessness in Painting, Sculpture and
Photography; chaired sessions and read papers at
meetings of CAA; SECAC; International Congress
on Medieval Studies; awards include Samuel
H. Kress Dissertation Fellowship, NEH Travel to
Collections Grant, Delmas Foundation Grant; past
president, 14th-Century Society; former member,
Executive Council of Southeastern Medieval
Association; two-term associate, editorial board,
Medieval Perspectives.
Charles Eppley
Visiting Instructor
B.A., Art History and Music, Hiram College; M.A.,
Art History and Criticism, Ph.D. candidate, Stony
Brook University; focuses on site-specific art,
sound, and new media; completing a dissertation
on “Un-Fixed Media: Site-Specificity and Materiality
in the Work of Max Neuhaus”; has organized a panel
on Soundsites at the Southeastern College Art
Conference, and presented papers on sound art
and Max Neuhaus at various venues; also teaches at
Stony Brook University.
Diana Gisolfi
Professor
B.A., Radcliffe/Harvard; M.A., Ph.D., University of
Chicago; research focus is on Cinquecento art
in Venice and the Veneto, including religious and
political context and artistic practice; developed
and directs the Pratt in Venice program; lectures
and chairs sessions regularly at CAA and RSA
and at international conferences; contributed
essays to three international exhibitions on Paolo
Veronese: Venice 2011, Sarasota,FL 2012-13,
Verona 2014; publications include: The Rule,
The Bible, and the Council: The Library of the
Benedictine Abbey at Praglia (CAA Monograph
Series); On Classic Ground, Caudine Country
(Illustrations), and articles in: Yale University Art
Gallery Bulletin, Artibus et Historiae, Arte Veneta,
The Art Bulletin, The Dictionary of Art (Oxford
Art Online), Renaissance Quarterly, Burlington
Magazine, caareviews.org.
Dimitri Hazzikostas
Assistant Professor
M.A., Ph.D., Columbia University; has done
archeological field work in Greece and published
in the Encyclopedia of Comparative Iconography;
awards include Sears Distinguished Professor 1991,
Whiting Fellowship.
Frima Fox Hofrichter
Professor
Certificate in Fine and Decorative Art Appraisal,
Pratt Institute—in collaboration with the American
Society of Appraisers; M.A. Hunter College; Ph.D.
Rutgers University; issues of gender and class
have informed her work; she is the author of a
monograph on the 17th-century Dutch artist,
Judith Leyster; numerous articles within Dutch
art and feminist/gender studies; organized several
Dutch exhibitions; and is currently working on
the theme of old women; contributor to Janson’s
History of Art: The Western Tradition (for the
Baroque and Rococo sections); was Dutch Book
Review Editor (2008-2013) for the Historians of
Netherlandish Art (HNA); a member of the College
Art Association’s Committee on Women in the
Arts and Chair, Jury for the Distinguished Feminist
Award (2012).
Heather Horton
Visiting Assistant Professor
B.A., DePauw University; M.A., Ph.D., Institute
of Fine Arts, NYU; current research focuses on
questions of authorship, originality, and imitation,
especially in the career of the pivotal writer and
architect Leon Battista Alberti; recently published
a new interpretation of Alberti’s treatises on
painting and is completing a book manuscript
titled Leon Battista Alberti and the Renaissance
Crisis of the Author; has taught at New York
University, The City University of New York,
Purchase College, and The Cloisters Museum,
where she remains a frequent guest lecturer.
Susan Karnet
Visiting Instructor
B.F.A., The School of Visual Arts, New York City;
M.F.A., Hunter College, CUNY; a painter and
sculptor; has exhibited work in Chelsea, the East
Village, 57th Street, Brooklyn, New Jersey, Europe
and Africa; work has been reviewed in The New
York Times; has taught at a number of schools in
New York, New Jersey; and Cairo, Egypt; including
Parsons, New York University, and The School
of Visual Arts; she is interested in Modern and
Contemporary Art, sculpture, and Egyptian Art.
Dara Kiese
Visiting Assistant Professor
B.A., Modern History, University of Minnesota;
M.Phil., Art History, CUNY Graduate Center; Ph.D.,
Art History, CUNY Graduate Center; research
centers around the artistic and architectural
avant-gardes in Weimar Germany, with focus
on the Bauhaus; received a number of grants,
including a Fulbright fellowship to Berlin and
a Getty research travel grant; worked as a
Curatorial Assistant in the Architecture and
Design Department at the Museum of Modern
Art; presented papers on architectural and
design pedagogies at conferences and symposia
including the College Art Association and the
Bauhaus Universität Weimar; has published essays
on the Bauhaus.

Vivien Knussi
Adjunct Instructor
B.A., M.A.,Tufts University; Ph.D., Columbia
University; studied American Art and Photography
at Columbia University; was a Lecturer at the
Museum of Modern Art through the Department
of Photography; assembled and catalogued two
major corporate collections, The Dreyfus Fund
and McFrank and William Advertising Agency;
with the insight she gained into emerging
photographers that were featured in both,
she has specialized in teaching Contemporary
Photography at Pratt; currently writing a book
on the subject; has written catalog essays and
most recently translated a German essay on
“Deconstructed Poetry” for Les Figues Press.
Gayle Rodda Kurtz
Assistant Chair, Adjunct Associate Professor
B.A., Stanford University; M.A., Hunter College;
Ph.D., CUNY Graduate Center; specializes in 18th-
and 19th-century European art; was a contractual
lecturer at The Metropolitan Museum of Art with
a focus on the African Art Galleries from 1995 to
2013; Associate of Zeteo Journal (zeteojournals.
com) where she is a contributing editor and writer;
has presented papers at the 19th-Century Studies
Association; taught at Caldwell College, Hunter
College, and New York City College of Technology,
CUNY; received a Graduate Teaching Fellowship
from CUNY Graduate Center.
Marilyn Kushner
Visiting Professor
B.A., M.A., University of Wisconsin at Milwaukee;
Ph.D., Modern Art, Northwestern University;
Curator and Head of the Department of Prints,
Photographs and Architectural Collections at
the New-York Historical Society (2006-present);
previously was chair of the Department of Prints,
Drawings, and Photographs and Curator of Prints
and Drawings at the Brooklyn Museum (1994-
2006); has also served as Curator of Collections
at the Montclair Art Museum, New Jersey, and
Research Associate at the Whitney Museum
of American Art; has published and lectured
extensively on works on paper and has served on
juries and guest-curated exhibitions nationwide.
Thomas La Padula
Adjunct Professor
B.F.A., Parsons School of Design; M.F.A.,
Syracuse University; for more than 36 years,
he has illustrated for national and international
magazines, advertising agencies and publishing
houses; is the illustration coordinator for
the undergraduate Communication Design
Department at Pratt Institute where he teaches
both reflective and digital illustration.
History of Art and Design Faculty
Anca Lasc
Assistant Professor
B.A., History and Theory of Art and Literature,
Jacobs University Bremen, Germany; M.A.,
Art History, Ph.D., Art History, University of
Southern California; studies the invention and
commercialization of the modern French interior
and the development of the professions of
interior designer and commercial window dresser;
received numerous grants, including a NEH
Summer Institute Grant at the Bard Graduate
Center, and published essays in the Journal of
Design History and Interiors: Design, Architecture,
Culture; Designing the French Interior, coedited
with Georgina Downey and Mark Taylor, is
forthcoming from Bloomsbury Publishing in 2015;
she has presented papers at various conferences,
including the College Art Association, Society
of Architectural Historians, Society for French
Historical Studies, and Interior Design Educators
Council’s annual meetings.
Jacob Lewis
Visiting Instructor
M.A., History of Art, Williams College; Ph.D., Art
History, Northwestern University; specializes in
19th-century French photography and art; his
dissertation addressed the role of instantaneity
and reproducibility in the photography of Charles
Nègre (1820–1880) ; he is a former Coleman
Fellow in the Department of Photographs of the
Metropolitan Museum of Art, and Blum/Model
Fellow at the National Gallery of Canada.
Rael Lewis
Visiting Assistant Professor
B.A., Swarthmore College; Ph.D., Stanford
University; specialist in 19th- and 20th-century
art with a focus on fin-de-siècle visual culture;
currently writing a book on the imagery of
absinthe and intoxication in modern Paris;
before coming to Pratt, he taught at UCLA,
Bowdoin College, Villanova University, and the
Claremont Colleges.
Michele Licalsi
Visiting Assistant Professor
B.A., M.A., Institute of Fine Arts with Certificate
in Art Conservation, New York University; studied
art at the New York Academy of Art, the Art
Students’ League, and the National Academy of
Design; has been teaching drawing, color and
composition at the National Academy of Design
from 1994 to the present; taught fresco painting
at the Conservation Center, Institute of Fine Arts,
NYU from 1993 to 2005; has also worked in art
conservation at the Brooklyn Museum and the
Metropolitan Museum of Art; has worked as a
conservator on sites in Florence, Rome, Parma,
and Sardis.
231
William Lorenzo
Visiting Assistant Professor
B.F.A., Brooklyn College; independent artist,
researcher, film archivist, and programmer;
publications include museum notes and articles
in Animation Magazine, AnimaFilm, and others;
author of Lillian Friedman Astor—Pioneer Woman
Animator; Executive Board Member ASIFA-East,
The International Animated Film Association;
curator, Animation Over Broadway, Museum
of Modern Art, February 1993; other areas of
interest: film and illustration.
Elizabeth Meggs
Visiting Instructor
B.F.A., Communications Arts and Design,
Illustration, Virginia Commonwealth University;
illustrator, writer, designer of paintings,
photography and hand-bound artist books;
graphic designer (Hearst’s Victoria) and writer for
the Los Angeles Daily News; has worked at Pierogi
Gallery and taught at BBG, VCU, Pratt and NYCCT;
exhibitions include: ISE Cultural Foundation, Los
Angeles Center for Digital Art, Mariner’s Museum,
Firehouse Art Collective, Anderson Gallery, Target
Gallery/Torpedo Factory, Galapagos Art Space,
Edward Hopper House, Pratt Dean’s Gallery,
Lincoln Center, and Brooklyn Museum’s Go!
Brooklyn; selectee, NYC Center for Book Arts’
Letterpress Printing/Fine Press Publishing Seminar
for Emerging Writers; recipient, Virginia Museum
of Fine Arts Fellowship/Drawing.
Juan Monroy
Visiting Assistant Professor
B.A., Film Studies, University of California at Santa
Barbara; M.A., Cinema Studies, Ph.D. candidate,
Cinema Studies, New York University; scholar of
film, television and media studies, specializing
in history, technology, and cultural impacts of
US film and television; doctoral candidate in the
Department of Cinema Studies at NYU, writing
a dissertation on television, Latin America, and
economic development in the 1960s; teaches
film and media classes at Fordham University,
Lincoln Center, CUNY Queens College, and Pratt
Institute; since 2009, has also worked as a video
and digital media librarian and database technician
at NYU-TV.
Marsha Morton
Professor
M.A., University of Chicago; Ph.D., Institute of
Fine Arts, New York University; books include
Max Klinger and Wilhelmine Culture: On the
Threshold of German Modernism (Ashgate 2014),
the co-edited anthology The Arts Entwined:
Music and Painting in the 19th-Century (Garland
2000), and Pratt and Its Gallery: The Arts & Crafts
Years (1999); has published numerous essays on
19th-century German and Austrian art, many
with a focus on interdisciplinary topics (cultural
history, Darwinism, music, and ethnography) and
artists and critics such as Alois Riegl, Gustav Klimt,
Klinger, Alfred Kubin, Max Beckmann, and Max
Liebermann; currently serving her second term as
President of the Historians of German and Central
European Art (HGCEA).
232
Evan Neely
Adjunct Assistant Professor
B.F.A., Fine Arts, Parsons The New School of
Design; M.Phil., M.A., Ph.D., Art History, Columbia
University; studied 20th-century and Northern
European Renaissance Art, as well as post-
Enlightenment political and aesthetic theory;
most recent work investigates the relationships
between 19th-century American literature and
20th-century painting and new genres; has
taught courses at Columbia University, Parsons
School of Design, and the Museum of Modern Art,
on modern and postmodern art, the history of
ethical and political theory, and Enlightenment
aesthetics; currently Core Lecturer for Art
Humanities at Columbia University in addition to
teaching at Pratt.
Nicholas Parkinson
Visiting Instructor
B.A., Philosophy, DePauw University; M.A.,
Philosophy, Ph.D. candidate, Art History &
Criticism, Stony Brook University; Ph.D. candidate
at Stony Brook University, where is he completing
his dissertation on the popular and critical
reception of Nordic art in 19th-century France;
areas of research interest include imaginary
geographies of the 19th century, fin-de-siècle
art and culture, and the history of art criticism;
an active member of the Society for the
Advancement of Scandinavian Study; his most
recent publication, “De Chirico and the Fin-
de-Siècle,” will be printed in Symbolist Roots of
Modern Art in 2015.
Joyce Polistena
Adjunct Professor
M.A., Art History, Hunter College; Ph.D., M. Phil.,
The Graduate Center of the City University of
New York; Certificate TESOL, Columbia University;
Certificate in 19th-century British History, Oxford
University. Primary research areas are 19th- and
early 20th-century European and American
Art, with emphasis on French Romanticism;
publications include The Religious Paintings of
Eugène Delacroix (Mellen, 2008) and contributions
to scholarly volumes: NCAW; Bulletin du Société
des Amis du Musée Nationale Eugène Delacroix;
The Van Gogh Museum Journal; current research
involves artists’ activism and political prints as well
as ongoing research about French Romanticism;
appointed Visiting Assistant Professor of Art
History at The College of The Holy Cross (2014-
2015); has served on the Board of Directors of
ASCHA; has organized several symposia on 19th-
century Romantic Art.
History of Art and Design Faculty
Katarina V. Posch
Associate Professor
M.A., University of Applied Arts, Vienna, Austria;
Ph.D., Tokyo University of Fine Arts and Music,
Japan; design historian specializing in intercultural
themes; teaches and publishes on Japanese,
European and American design in a socio-
historical context; publications cover issues
relating to design and material culture, from
cross-cultural comparisons (Changing Worlds,
Changing Designs, MAK, Vienna, 2012) to feminist
approaches (“The Seen and the Hidden. [Dis]
covering the Veil,” Austrian Cultural Forum New
York, 2007; has written monographs and exhibition
catalogues and curated for major museums
including the Pompidou Center in Paris (Portrait
d’une Collection, 1995), the Vitra Design Museum in
Germany (Isamu Noguchi – Sculptural Design, 2001)
and the Noguchi Museum in New York.
Elena Rossi-Snook
Visiting Assistant Professor
B.A., Cinema, State University of New York at
Binghamton; M.A., Film Archiving, University of
East Anglia; archivist for the Reserve Film and
Video Collection of The New York Public Library;
Director of the Board, Association of Moving
Image Archivists; Chair, AMIA Film Advocacy Task
Force; selected publications include: “Persistence
of Vision: Public Library 16mm Film Collections
in America,” The Moving Image, “Continuing Ed:
Educational Film Collections in Libraries and
Archives,” Learning With the Lights Off: a Reader in
Educational Film; selected awards: 2002 recipient
of the Kodak Fellowship in Film Preservation;
Other: Producer, Why We Film 16mm series;
Documentary film We Got the Picture made official
selection of the 2005 Tribeca Film Festival.
Ann Schoenfeld
Adjunct Assistant Professor
M.A., University of Chicago; Ph.D., The Graduate
Center, City University of New York; received
a CUNY Dissertation Fellowship; work includes
Lecturer, SUNY Purchase, and Nominator for
the Joan Mitchell Foundation for Painting and
Sculpture; has published in M/E/A/N/I/N/G:
An Anthology of Artist’s Writings, Theory, and
Criticism, i-D, Eye.
Dorothy Shepard
Adjunct Associate Professor
M.A., Southern Methodist University; Ph.D.,
Bryn Mawr College; received an AAUW American
Fellowship and a Haakon Traveling Fellowship;
invited lectures include: CAA, Kalamazoo and
Medieval Academy; Symposia on History of the
Bible held at Barnard, Rutgers, and Princeton
Universities; published in Medieval Germany: An
Encyclopedia; Rutgers Art Review; The Apocalypse
in Word and Image; and Canterbury and the
Medieval Bible.
Elizabeth St. George
Visiting Instructor
B.A., Kent State University; M.A., Ph.D. candidate,
Bard Graduate Center; specializes in late 19th-
and 20th-century architecture and design;
has been an invited speaker at the Los Angeles
County Museum of Art and has served as a
research assistant for the Bard Graduate Center’s
exhibitions on Knoll textiles (2011), Artek and
Alvar Aalto (forthcoming), and the architect
and designer, William Kent (forthcoming); her
dissertation explores interwar architecture and
design and themes of modern living in the former
Czechoslovakia; she is broadly interested in how
design is used to construct modes of cultural
interaction and identity, and how modernism and
notions of modernity were used to disseminate
social, political, and cultural reform in America
and Europe.
Jack Toolin
Visiting Assistant Professor
B.F.A., Photography, Ohio University at Athens;
M.F.A., Photography, Performance, and
Installation, San Jose State University; artist
working in new media, digital imaging, and
performance; his work considers contemporary
life in light of the changing political, economic,
and technological landscape; individual and
collaborative work has been exhibited nationally
and internationally, including San Francisco
Camerawork; The Walker Art Center; the Whitney
Museum of American Art (2002 Whitney Biennial);
and the Museo Nacional de Bellas Arte, Buenos
Aires, Argentina; he has performed in the San
Francisco Bay Area, New York, Pittsburgh,
Reno, Phoenix, Hong Kong, and Linz, Austria;
commissions include the Walker Art Center and
the Whitney Museum of American Art; he has
lectured nationally and internationally. v
Alice Walkiewicz
Visiting Instructor
B.A., University of Kansas; M.Phil., Ph.D. candidate,
The Graduate Center, City University of New
York; specializes in 19th-century art from Europe
and the United States; current research focuses
on issues of gender and labor, and the way that
anxieties about these issues are addressed
through visual culture (both in fine art and popular
imagery) within a transnational (and transatlantic)
context; her dissertation explores these concerns
by examining representations of the archetypal
figure of the exploited, laboring seamstress in
England, France, and the United States in the late
19th century within the context of the rising labor
movement; has taught at Parsons The New School
for Design as well as Pratt Institute.

Bor-Hua Wang
Adjunct Assistant Professor
M.A., University of Kansas; Ph.D., Columbia
University; a specialist in Chinese painting and
calligraphy of the Song dynasty; areas of research
include: Contemporary Chinese Art; Buddhist Art
of Southeast Asia and Western art theory; curator
of Contemporary Korean Art, Abstract Chinese
Art, for Taipei Fine Art Museum; she presented
“Pan Yuliang’s Life and Art: Alienation to Freedom
of Expression,” CAA, 2001.
Sarah Wilkins
Visiting Assistant Professor
B.A., Vanderbilt University; M.S., Pratt Institute;
Ph.D., Rutgers, The State University of New Jersey;
specializes in Italian late medieval and Renaissance
art, with interests in mendicant patronage,
Angevin Naples, and the cult of the saints; awards
include a Fulbright fellowship and a Mellon
Finishing Grant; publications include “Imaging
the Angevin Patron Saint: Mary Magdalen in the
Pipino Chapel in Naples” (2012) and “Adopting and
Adapting Formulas: The Raising of Lazarus and Noli
me tangere in the Arena Chapel in Padua and the
Magdalen Chapel in Assisi” (2013); has presented
papers at conferences including Kalamazoo and
RSA; currently chair of the Italian Art Society’s
Emerging Scholars Committee.
Karyn Zieve
Visiting Assistant Professor
B.A., Wellesley College ; M.A., University of
Pennsylvania; Ph.D., Institute of Fine Arts, New
York University; specialist in 19th- and early 20th-
century art, with a focus on Eugène Delacroix,
orientalism, the history of photography and the
graphic arts; in addition to teaching at various NYC
institutions and museums, she has written about
and organized exhibitions of prints, drawings and
photographs on various topics; presently she is
working on a manuscript based on her work on
Delacroix and images of the East.
233
Media Studies Faculty and Big House / Disclosure (2014). Her conceptual
media artworks have been exhibited widely.
Her awards include a Rockefeller Media Arts
Fellowship, a postdoctoral fellowship in Race and
Ethnicity at Princeton University, and a residency
Jonathan Beller at the Tribeca Performing Arts Center.
Professor
Ph.D., Duke University, B.A., Columbia University;
Is the author of The Cinematic Mode of
Minh-Ha Pham
Assistant Professor
Production: Attention Economy and the Society
Ph.D., University of California at Berkeley; has
of the Spectacle; and Acquiring Eyes: Philippine
previously taught at NYU and Cornell University.
Visuality, Nationalist Struggle and the World Media
She has published numerous scholarly articles
System; and editor of Feminist Media Theory (a
special issue of The Scholar and Feminist Online).
including pieces in positions, Signs, and
Camera Obscura while also authoring pieces
His current book projects include The Rain of
in her capacity as a public intellectual in Salon,
Images and Computational Capital. Beller also
Huffington Post, and Ms. She curates a Tumblr
serves on the Editorial Collective of Social Text,
project, “Of Another Fashion,” a digital archive
and is the current director of The Graduate
of the fashion histories of U.S. women of
Program in Media Studies.
color, and co-writes the critical fashion blog
Threadbared. She is finishing a book titled Work
Stephanie Boluk of Art: Personal Style Blogs and the Making of DIY
Assistant Professor
Race, which analyzes what she terms the “fashion
Ph.D. University od Florida, M.A. McGill University,
media complex,” including how labor, race,
B.A. Concordia University. Pursues research
gender, and other factors create and are created
located at the intersection of game studies,
by this complex.
media archeology, and the digital humanities.
From the “audiogames” invented by blind (and
blindfolded) players to perspectival shifts in the
Ethan Spigland
Professor
spatial logic of first-person shooters and from
M.F.A., Tisch School of the Performing Arts,
the history of Super Mario modifications to the
Maîtrise University of Paris VIII; is an award-
virtual currency and player-based production in
competitive e-sports, Boluk’s forthcoming book
winning screenwriter, filmmaker, visual artist,
critic, and curator. He has written and directed
Metagames explores alternative histories of play.
numerous films including The Archive, which
See stephanieboluk.com for more information.
is currently in postproduction. He completed
two short films in collaboration with renowned
Allen Feldman architect Steven Holl. One of these, Luminosity
Visiting Professor
Porosity, formed part of an installation at the
M.A., Ph.D. New School for Social Research;
Gallery Ma in Tokyo, Japan. His ongoing project,
Internationally praised ethnographies engage
Elevator Moods, was featured in the Sundance
the embodied political subject as a media skin
Film Festival and South By Southwest, and won
shaped by a politics of light/nonlight. He is
the prestigious Webby Award in the Broadband
concerned with the affective fabric of mediatic
Category. His short film, The Strange Case of
life, nonlife and post-life as a politics of design.
Balthazar Hyppolite, won the Gold Medal in
His forthcoming book Archives of the Insensible
the Student Academy Awards, among other
interfaces the aesthetics, technicity and mediatics
honors. He collaborated with Malcolm McLaren
of power, war and resistance through the concept
on numerous short films, and on the video
of the photopolitical.
installation, Shallow, which opened at the I-20
Gallery in New York and was featured in Art Basel.
Ira Livingston
Professor
Christopher Vitale
Ph.D., Stanford University; B.A. Manchester
Associate Professor
College; Directs Poetics Lab at Pratt. His work
Ph.D. New York University; B.A. SUNY
focuses on poetics in an expanded sense,
Binghampton; Teaches the intersection of
especially via the study of emergence, complexity
philosophy, film, and media. Networkologies (Zero
and systems. He is the author of several books,
Books, 2014) links together the study of networks
most recently a digital book, Poetics as a Theory of
in a wide variety of fields, including artificial
Everything, forthcoming in 2015.
intelligence, cutting-edge ‘soft’-computation,
neuroscience, complex systems science,
Mendi Obadike economics, social and political networking,
Assistant Professor and beyond. An avid blogger on topics ranging
B.A., Spellman, Ph.D., Duke; works at the from networks to philosophy, sexuality, and
intersection of sound and language. She has politics, Chris posts his work on his website,
published four books—Armor and Flesh (2004), networkologies.wordpress.com. Courses include
Phonotype (2012), Four Electric Ghosts (2014), and Contemporary Experimental Narrative Cinema,
Big House / Disclosure (2014)—and released three Theories of Networks, Deleuze and Cinema,
albums—The Sour Thunder: An Internet Opera Bodies/ Boundaries/ Power, Psychoanalytic Film
(2004), Crosstalk: American Speech Music (2008), Theory, Modernism/ Postmodernism.
234
Performance and Performance
Studies Faculty
Donald Andreasen
Adjunct Associate Professor
M.F.A., New School; Don earned his Masters of
Fine Arts degree in Playwriting from the Actors
Studio, New School University. He has had
one-act plays produced at the HERE Theatre
and Access Theatre in New York City and was co-
writer of a short film produced by Fox Searchlab
Pictures. Don has also worked as a voice-over
artist doing various commercial work in addition
to network television.
Youmna Chlala
Associate Professor
M.F.A. California College of the Arts; B.A.
University of California at Santa Cruz; Youmna
Chlala is a writer, an artist, and the founding editor
of Eleven Eleven {1111} Journal of Literature and
Art. She is the author of the poetry manuscript
The Paper Camera, and recipient of the 2009
Joseph Henry Jackson Award. Chlala’s prose and
poetry has appeared widely, including in Guernica,
Bespoke, CURA, XCP: Journal of Cross-Cultural
Poetics, MIT Journal of Middle Eastern Studies, and
in the book Nation, Gender, and Belonging: Arab
and Arab American Feminist Perspectives. She has
exhibited at the Institute of Contemporary Arts
London, Rotterdam International Film Festival,
Camera Austria, MOCAD, and San Jose Museum of
Art and participated in the Performa Biennial and
roaming Tehran Biennale. Recent solo exhibitions
include the Cultuurcentrum, Belgium, and Art
in General, New York. Chlala has been awarded
residencies and fellowships from the Henie
Onstad Art Centre Norway, Headlands Center for
the Arts, Hedgebrook, CAMAC: Center for Art and
Technology, Fine Arts Work Center Provincetown,
Triangle Arts Fund, European Cultural Foundation,
and Goethe-Institut Cairo. She holds an M.F.A. in
Creative Writing from the California College of the
Arts. www.youmnachlala.com.
Steven Doloff
Professor; Lecturer, Intensive English
B.A., State University of New York at Stony Brook;
M.Phil., City University of New York Graduate
Center; Ph.D., City University of New York Graduate
Center; TESOL Certificate, Columbia University
Teachers College; Steven Doloff was named a
Pratt Institute Distinguished Professor (2001–02)
and received the Institute’s Student Government
Association Faculty Excellence Award in 1990.
Lisabeth During
Associate Professor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London, London, U.K.; Ph.D., Trinity
College, Cambridge University, Cambridge, U.K.
James Hannaham
James Hannaham, author of the novel God Says
No (McSweeney’s), has published stories in One
Story, Fence, Open City, The Literary Review, and
BOMB. For over 20 years, he has contributed
reviews and profiles, etc. to the Village Voice
and other publications, including Spin, Out, and
Details. He co-founded the performance group
Elevator Repair Service and worked with them
from 1992 to 2002, and he has collaborated with
Ralph Lemon, Kara Walker, Diller+Scofidio, The
Wooster Group, Clarinda Mac Low, and others.
More recently he has exhibited text-based visual
art at Samsøn Projects in Boston, Rosalux Gallery
in Minneapolis, 490 Atlantic in Brooklyn, and at the
Center for Emerging Visual Artists in Philadelphia.
His upcoming second novel is entitled Delicious
Foods. He has also taught creative writing at
The New School and Columbia University. www.
jameshannaham.com.
Ann Holder
Associate Professor, History
B.A., Hampshire College; Ph.D., Boston College
May Joseph
Professor, Global Studies
Ira Livingston
Professor
Ph.D., Stanford University; Ira Livingston’s primary
field is cultural theory. He is the author of
Between Science and Literature: An Introduction
to Autopoetics (2006) and Arrow of Chaos:
Romanticism and Postmodernity (1997), and
coeditor of Posthuman Bodies (1995, with Judith
Halberstam) and Poetry and Cultural Studies: A
Reader (2009, with Maria Damon).
Jennifer Miller
Associate Professor
Circus Amok founder and artistic director Jennifer
Miller has been working with alternative circus
forms, theater, and dance, for over 20 years. Her
work with Circus Amok was awarded a “Bessie”
in 1995 and an OBIE in 2000. Circus Amok is the
subject of a French documentary film, Un Cirque
a New York (2002) and Brazilian documentary,
Juggling Politics (2004). She has taught at California
Institute of the Arts, New York University, and the
University of California at Los Angeles.
Tracie Morris
Tracie Morris is a poet, performer and scholar.
She holds an M.F.A. in poetry from Hunter College,
a Ph.D. in Performance Studies from New York
University and has trained at the Royal Academy of
Dramatic Art (RADA). Her latest poetry collection
is Rhyme Scheme (Zasterle Press, 2012) with
several books and recordings forthcoming. Tracie
frequently tours as a sound poet/vocalist around
the country and internationally and collaborates
often with other experimental artists. She is
Professor of Performance and Performance
Studies at Pratt Institute in Brooklyn. www.
traciemorris.com.
Mendi Obadike
Mendi Lewis Obadike is an artist and scholar
who works across media. She is the author of
Armor and Flesh (Lotus Press), which won the
Naomi Long Madgett Prize, Phonotype (writings
on audio art), and the forthcoming books Big
House / Disclosure and Four Electric Ghosts (1913
Press). Mendi collaborates with her husband Keith
Obadike. Their 2001 work Blackness for Sale has
been widely cited in the press and in new media
art surveys. Recent installations include Big House
/ Disclosure, American Cypher (Studio Museum in
Harlem & Samek Art Gallery of Bucknell University),
and African Metropole (MoCADA & Pascal
Gallery of Ramapo College). Other conceptual
media artworks have been commissioned by
and exhibited at the Whitney Museum, the
New Museum, Yale University, Electronic Arts
Intermix and the New York African Film Festival,
among other institutions. Their albums include
The Sour Thunder, an Internet Opera (Bridge
Records, 2004) and Crosstalk: American Speech
Music (Bridge Records, 2008). Mendi has been
awarded a Rockefeller Media Arts Fellowship and
a postdoctoral fellowship in Race and Ethnicity
from Princeton University, as well as fellowships
from the Cave Canem Foundation for Poetry and
the New York Foundation for the Arts. Mendi is a
poetry editor at Fence Magazine and an Assistant
Professor in Humanities and Media Studies at
Pratt Institute. She earned a B.A. in English from
Spelman College and a Ph.D. in literature from
Duke University. www.obadike.com.

Writing Faculty
Youmna Chlala
Associate Professor
M.F.A., California College of the Arts; B.A.,
University of California at Santa Cruz; Youmna
Chlala is a writer, an artist, and the founding
editor of Eleven Eleven {1111} Journal of Literature
and Art. She is the author of the poetry
manuscript The Paper Camera, and recipient
of the 2009 Joseph Henry Jackson Award.
Chlala’s prose and poetry has appeared widely,
including in Guernica, Bespoke, CURA, XCP:
Journal of Cross-Cultural Poetics, MIT Journal of
Middle Eastern Studies, and in the book Nation,
Gender, and Belonging: Arab and Arab American
Feminist Perspectives. She has exhibited at
the Institute of Contemporary Arts London,
Rotterdam International Film Festival, Camera
Austria, MOCAD, and the San Jose Museum of Art
and participated in the Performa Biennial and
roaming Tehran Biennale. Recent solo exhibitions
include the Cultuurcentrum, Belgium, and Art
in General, New York. Chlala has been awarded
residencies and fellowships from the Henie
Onstad Art Centre Norway, Headlands Center for
the Arts, Hedgebrook, CAMAC: Center for Art and
Technology, Fine Arts Work Center Provincetown,
Triangle Arts Fund, European Cultural Foundation,
and Goethe-Institut Cairo. She holds an M.F.A. in
Creative Writing from the California College of the
Arts. www.youmnachlala.com.
Laura Elrick
Assistant Professor
B.A., University of Southern California; M.A., New
York University; Laura Elrick is the author of three
books of poetry, including Propagation (Kenning
Editions, 2012), Fantasies in Permeable Structures
(Factory School, 2005), and sKincerity (Krupskaya,
2003). Her psychogeographically inspired research
and performance works include the oppositional
cartography Blocks Away, exhibited at the Skybridge
Art & Sound Space in 2010, and the video-poem
Stalk, commissioned by the Positions Colloquium
in Vancouver in 2008 and exhibited in the Social-
Environmental Aesthetics Series at Exit Art (New
York, 2009) and the Rustbelt Sightsound Collision at
the SPACES gallery (Cincinnati, 2013). A sound work,
5 Audio Pieces for Doubled Voice, was commissioned
by New Langton Arts for the Performance Writing
Series in San Francisco in 2005. Her work also
appears in several anthologies, including Viz.
Inter-Arts Intervention: A Trans-Genre Anthology
(forthcoming), Against Expression: An Anthology of
Conceptual Writing, and Eco Language Reader, and
has been translated into Spanish, French, Italian
and Norwegian.
James Hannaham
Associate Professor
M.F.A., University of Austin, Texas; B.A., Yale
University; James Hannaham, author of the novel
God Says No (McSweeney’s), has published stories
in One Story, Fence, Open City, The Literary Review,
and BOMB. For over 20 years, he has contributed
reviews and profiles, etc. to the Village Voice
and other publications, including Spin, Out, and
Details. He co-founded the performance group
Elevator Repair Service and worked with them
from 1992 to 2002, and he has collaborated with
Ralph Lemon, Kara Walker, Diller+Scofidio, The
Wooster Group, Clarinda Mac Low, and others.
More recently he has exhibited text-based visual
art at Samsøn Projects in Boston, Rosalux Gallery
in Minneapolis, 490 Atlantic in Brooklyn, and at the
Center for Emerging Visual Artists in Philadelphia.
His upcoming second novel is entitled Delicious
Foods. He has also taught creative writing at
The New School and Columbia University. www.
jameshannaham.com.
Christian Hawkey
Professor
B.A., Pepperdine University; M.F.A., University
of Massachusetts at Amhurst. Has written two
full-length poetry collections: The Book of Funnels
(Wave Books, 2005) and Citizen Of (Wave, 2007);
four chapbooks: Hour Hour (Delirium Press,
2005), Petitions for an Alien Relative (Hand Held
Editions, 2009), Ulf (Factory Hollow Press, 2010),
and Sonette mit Elizabethanischem Maulwurf
(hochroth verlag, 2010); the cross-genre book
Ventrakl (2010, Ugly Duckling Presse); and (with
Uljana Wolf) Sonne from Ort, a collaborative
bilingual erasure (kookbooks verlag, Berlin,
2013); he has received a Creative Capital
Innovative Literature Award (2006) and a DAAD
Artist-in-Berlin Fellowship (2008); he translates
contemporary German-language poetry and
prose, and his work has been translated into over
a dozen languages; he is an officer of the Office of
Recuperative Strategies.
Samantha Hunt
Professor
M.F.A., Warren Wilson College; B.A., University
of Vermont; Samantha Hunt’s novel about Nikola
Tesla, The Invention of Everything Else was a
finalist for the Orange Prize and winner of the
Bard Fiction Prize. Her first novel, The Seas, won
a National Book Foundation award for writers
under 35. Hunt’s work has been published in The
New Yorker, McSweeney’s, The New York Times,
Tin House, A Public Space, Cabinet, Blind Spot,
The London Times, and in a number of other fine
publications. Her books have been translated
into 10 languages. She has performed with Jim
Jarmusch and Luc Sante at All Tomorrow’s Parties,
at Los Angeles’s Hammer Museum and REDCAT,
with the National Theater of the United States of
America (NTUSA) at PS122, in the PEN/Faulkner
Reading Series, at Seattle’s Bumbershoot Festival,
and as part of BAM’s Next Wave Festival. Her work
has been performed on WBEZ’s This American
Life and on WNYC’s Selected Shorts program.
A novel titled Mr. Splitfoot and a collection of
short fictions titled Beast and Other Stories are
forthcoming. www.samanthahunt.net.
235
Rachel Levitsky
Associate Professor
M.F.A., Naropa University; M.A., B.A., State
University of New York at Albany; Rachel Levitsky
is the author of a novel, The Story of My Accident
Is Ours (Futurepoem, 2013), two books of poetry,
Under the Sun (Futurepoem, 2003) and Neighbor
(Ugly Duckling Presse, 2009) and a number of
chapbooks including Renoemos (Delete, 2010).
She is a member of the Belladonna* Collaborative,
a feminist avant-garde hub for interventions in
writing, reading, engaged discourse, and activism.
In 2010 with Christian Hawkey, she started The
Office of Recuperative Strategies, a mobile
research unit variously located in Amsterdam,
Berlin, Boulder, Brooklyn, Cambridge, New York
City, and Leipzig. She lives in Brooklyn.
Tracie Morris
Professor
Ph.D., M.A., New York University; M.F.A., B.A.,
Hunter College; Tracie Morris is a poet, performer
and scholar. She holds an M.F.A. in poetry from
Hunter College, a Ph.D. in Performance Studies
from New York University and has trained at
The Royal Academy of Dramatic Art (RADA).
Her latest poetry collection is Rhyme Scheme
(Zasterle Press, 2012) with several books and
recordings forthcoming. Tracie frequently tours
as a sound poet/vocalist around the country
and internationally and collaborates often with
other experimental artists. She is Professor of
Performance and Performance Studies at Pratt
Institute in Brooklyn. www.traciemorris.com.
Anna Moschovakis
M.F.A., Bard College, B.A., University of California
at Berkeley. Anna Moschovakis is the author of
two books of poetry, You and Three Others Are
Approaching a Lake and I Have Not Been Able to
Get through to Everyone, and the translator of
several novels from the French, most recently
The Jokers, by Albert Cossery. She is a longtime
member of the Brooklyn-based publishing
collective Ugly Duckling Presse.
236
Mendi Obadike
Associate Professor
Ph.D., Duke University; B.A., Spelman College;
Mendi Lewis Obadike is an artist and scholar
who works across media. She is the author of
Armor and Flesh (Lotus Press), which won the
Naomi Long Madgett Prize, Phonotype (writings
on audio art), and the forthcoming books Big
House / Disclosure and Four Electric Ghosts (1913
Press). Mendi collaborates with her husband
Keith Obadike. Their 2001 work Blackness for
Sale has been widely cited in the press and
in new media art surveys. Recent installations
include Big House / Disclosure, American Cypher
(Studio Museum in Harlem & Samek Art Gallery
of Bucknell University), and African Metropole
(MoCADA & Pascal Gallery of Ramapo College).
Other conceptual media artworks have been
commissioned by and exhibited at the Whitney
Museum, the New Museum, Yale University,
Electronic Arts Intermix and the New York African
Film Festival, among other institutions. Their
albums include The Sour Thunder, an Internet
Opera (Bridge Records, 2004) and Crosstalk:
American Speech Music (Bridge Records, 2008).
Mendi has been awarded a Rockefeller Media Arts
Fellowship and a postdoctoral fellowship in Race
and Ethnicity from Princeton University, as well
as fellowships from the Cave Canem Foundation
for Poetry and the New York Foundation for the
Arts. Mendi is a poetry editor at Fence Magazine
and an Assistant Professor in Humanities and
Media Studies at Pratt Institute. She earned a B.A.
in English from Spelman College and a Ph.D. in
literature from Duke University. www.obadike.com
Liberal Arts Faculty
Andrew W. Barnes
Dean of the School of Liberal Arts and Sciences
Gloriana Russell
Assistant to the Dean
Intensive English
Channing Burt
Lecturer, Intensive English
B.A., French and Romance Philology, Columbia
University; M.A.TESOL, Teachers College,
Columbia University; over the past 15 years,
she has taught ESL to adults in academic and
university settings in Germany and New York City,
including Friedrich Schiller University, Columbia
University, and New York University; she is also
a certified Bikram yoga instructor teaching at
studios throughout Brooklyn and Manhattan.
Diane Cohen
Visiting Instructor
Maura Conley
Tutor, Writing, Thesis
Rachid Eladlouni
Assessment and Educational Technology
Coordinator; Lecturer, Intensive English
B.A., Ibn Tofail University (Morocco); M.A.,
Hunter College.
Cynthia Elmas
Lecturer, Intensive English
B.A., French Literature, Rutgers University;
M.A.,TESOL, Hunter College; graduate studies,
Art History, Rutgers University; she has over 15
years of experience teaching ESL to adults in
New York and was also Assistant Editor for the
multidisciplinary journal, RES: Anthropology and
Aesthetics for eight years; in addition to ESL, she
is also a dancer who performs regularly in the New
York area.
Nada Gordon
CEP Coordinator, Lecturer, Intensive English
M.A., University of California at Berkeley; has
almost three decades of experience teaching
English as a Foreign Language, including 11 years
in Tokyo, Japan; she is the author of seven books
of poetry, including Vile Lilt, Scented Rushes, and
Folly; she has performed her works internationally,
and her poems have been translated into several
languages including Hebrew, Icelandic, Japanese,
and Burmese.
Thomas Healy
Lecturer, Intensive English
M.A., University of Ireland; certificate in TEFL,
Galway Language Centre, Ireland; has studied
at the Takabijustu School of Art, Tokyo and the
Massachusetts Institute of Art, Boston; has taught
English in Ireland, Japan and the U.S.; since
1992, has worked on a number of curriculum
development projects, involving English for
academic purposes in Japan and Korea, English
language training for the Beijing Olympic Games
2008, and in middle schools in the People’s
Republic of China; he has conducted in-service
teacher training in Japan, Korea, Taiwan, Thailand
and Brazil; with Ken Wilson, he is the author of
First Choice, an integrated skills course book
(Oxford University Press).
Kimberly Kern
Lecturer, Intensive English
M.A., TESOL, Hunter College (CUNY); B.F.A.,
Art History, University of Texas at Austin; began
teaching ESL as a volunteer in 2003 through
an organization called Literacy Austin; after
living and working abroad in Guatemala for two
years, she was accepted into the NYC Teaching
Fellow Program to teach ESL in the NYC public
schools; six years later, she joined the State
Department as an English Language Fellow in
Tegucigalpa, Honduras where she conducted
in-service teacher training; she currently teaches
in the IEP Program at Pratt and in the Teaching
and Curriculum Department at Hunter College;
outside of the TESOL field she is a bike activist,
avid reader, and Master Composter.
Elizabeth Knauer
Visiting Assistant Professor
Fanny Lao
IEP & CEP Enrollment & Advisement Coordinator
B.A., Connecticut College; M.A., International
Education, New York University; she grew up
in Guangdong, China and has been exposed
to students from around the world since she
attended an international high school in New
York and throughout her academic career at
Connecticut College and New York University;
she studied abroad in the Czech Republic; she has
been working in the education field for more
than five years.
Darleen Lev
Lecturer, Intensive English
M.F.A., Fiction Writing, University of Iowa Writers’
Workshop; somehow this led to teaching English
in South Korea, which led to teaching English to
international students at Parsons the New School
for Design; certification in the methodology
of teaching English as a foreign language was
achieved with INTESOL in Prague in 2007; in
Spring 2012, she started teaching in the IEP at
Pratt; she has published fiction and poetry in
various journals before focusing her energies on a
novel that has gone through several incarnations,
the most recent of which is titled No Man’s Land;
winning a Bread Loaf Bakeless Camargo Residency
Fellowship in 2014 brought her that much closer
to meeting the deadline to complete it in 2015.

Allegra Marino Shmulevsky
Lecturer, Intensive English
M.A., Applied Linguistics, Teachers College,
Columbia University; B.A., French Language and
Literature, English Literature, and Studio Art,
Tulane University; in addition to studying visual art
in New Orleans, Paris and Rome, she has served as
Visual Arts editor of the Tulane Review, a literary
arts publication; she has taught French in the New
Orleans public school district, and served as a new
teacher selector for TeachNOLA TNTP Teaching
Fellows; in New York, she has worked as a mentor
for the Teachers College, Columbia University
TESOL Certificate Program, and as Program
Associate in the Art and Art Education Program
at the same institution; she has been teaching
ESL in New York since 2010, and in the IEP at Pratt
Institute since 2012; she feels fortunate to learn
more about art, architecture and design through
her talented students.
Helen McNeil
Lecturer, Intensive English
M.A., TESOL, New York University; ESL certificate,
The New School for Social Research; taught in
the summer program at Nanjing University, China
in 1993; won her M.A. in TESOL from New York
University in 1998 while teaching in their intensive
English program; has also taught at Columbia
University, LaGuardia Community College, and
Borough of Manhattan Community College; she
has been teaching at Pratt for the past 10 years
in the IEP and more recently has taught in the
CEP; she is currently singing in a chorus which
performed in Carnegie Hall in 2007; she sings in
the Park Slope Singers and performs in concerts in
and around the Brooklyn area.
Jon Pauley
Lecturer, Intensive English
Eric Rosenblum
Visiting Instructor, Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Fiction
Writing, Syracuse University; his fiction and non-
fiction have appeared in Guernica Magazine, the
Chicago Tribune and the Chicago Reader.
Nancy Seidler
Director, Intensive English
B.A., Brooklyn College; M.A.,TESOL, Monterey
Institute of International Studies; she was an
exchange student at the University of Paris and
taught at the Sichuan Union University in China;
she has been working at Pratt since 1999, where,
in addition to administering various aspects of
the IEP and CEP, she has taught in the Intensive
English Program and the English Department and
has tutored in the Writing and Tutorial Center;
during all this time, she has learned a great deal
about art, design and architecture, and has wholly
enjoyed working with the international students
at Pratt.
Liberal Arts Faculty 237
Gloria Steil Humanities and Media Studies
Adjunct Instructor
B.A., University of California at Berkeley; M.A., Dena Al-Adeeb
New York University; taught English in Tokyo for Visiting Instructor
the Japanese Ministry of Education, a summer
intensive course in English literature and
Donald Andreasen
composition in Seoul, and English literature at the
Adjunct Associate Professor
College of New Rochelle, Medgar Evers College,
M.F.A., Playwriting, Actors Studio, The New
Hostos Community College, and Borough of
School; has had one-act plays produced at the
Manhattan Community College. HERE Theatre and Access Theatre in New York
City and was co-writer of a short film produced
Sam Tomasello by Fox Searchlab Pictures; has also worked as a
Lecturer, Intensive English voice-over artist doing various commercial work in
B.F.A., Academy of Art University; CELTA, addition to network television.
University of Cambridge; book illustrator: Brooklyn
Botanic Garden’s Gardening with Children, Mother Saul Anton
Sea Turtle, and Down by the Pond; illustrator for Adjunct Assistant Professor
New York Botanical Gardens, Oxford University
Press, Macmillan/McGraw-Hill, The New York
Emily P. Beall
Times Magazine and OpEd page, BusinessWeek,
Adjunct Assistant Professor
the Washington Post, Boston Globe, Nickelodeon,
M.A., University of Washington, B.A., University of
Encyclopedia Britannica, and New York Magazine;
California at Berkeley; academic interests include
graphic design work for: Arthur Ashe Institute
20th- and 21st-century experimental poetry and
of Urban Health, Price Waterhouse, Maybelline,
poetics, with a focus on experimental writing by
M&M/Mars Inc., DeBeers, Cablevision Optimum
women; a poet herself, she is also interested in
Online, Time Warner, AT&T, and American
the intersections of poetics and modern dance,
Museum of Natural History; exhibitions: Flushing
and the ways that such intersections generate
Hall of Science; International Art and Science
concepts of space, meaning, and the body.
Collaboration Digital Print Exhibition; Guild of
Natural Science Illustrators; Brooklyn Public
Jonathan Beller
Library; awards: Print Magazine for Art Direction;
Professor
Garden Writers Association Silver Award of
B.A., Columbia University; Ph.D., Duke University;
Achievement; Avery and Jules Hopwood Award for
interests: media theory, Marxism, critical
Poetry; teach Business English at Brooklyn Public
race theory, cinema, media archaeology,
Library; taught ESL in Japan for three years; taught
decolonization, aesthetics and politics, feminism,
Visual Arts in NYC Public Schools and juvenile
third cinema, Philippine culture and politics.
detention sites in NYC for two years; taught
Citizenship and Art/ESL at Queens Public Library
for two years; taught writing to adult students Caterina Bertolotto
in reentry at College Initiative, a nonprofit Visiting Associate Professor
organization in NYC; in a parallel universe, she is a Laurea in Pedagogia, University of Turin, Italy; has
jewelry designer and spends her free time doing received eight certificates in different language
teaching methodologies in both Italy and in
Maedeup, the art of Korean knotting.
New York, as well as a Distinguished University
Teaching Award from The New School; author of
Nichole Van Beek
four books, two audio and two PowerPoint CDs;
Lecturer, Intensive English
has also taught seminars to language teachers
and undergraduates at The New School, Sarah
Lawrence College, Montclair State University,
Eugene Lang, and Baruch College.
238
Stephanie Boluk
Assistant Professor
Warren Burdine
Visiting Assistant Professor
Melissa Buzzeo
Visiting Assistant Professor
Diana Cage
Visiting Assistant Professor
Philip Carroll
Visiting Instructor
Lis Cena
Visiting Assistant Professor
Peter Chamedes
Visiting Assistant Professor
Ph.D., English Literature; a person with ‘60s values
and an abiding love of literature and art; following
a doctorate in English Literature (poetry), family
obligations redirected him into an extended
career in advertising; this was at last succeeded by
a return to scholarship and pedagogy; his students
have ranged from at-risk adolescents to aspiring
artists (including many remarkable Pratt scholars);
his consuming interests include his two babies,
poetry, contemporary art, and African art.
Youmna Chlala
Associate Professor
Diane Cohen
Visiting Instructor
Ellen Conley
Adjunct Assistant Professor
M.S., Wagner College; B.A., Pennsylvania State
University; MTMS ASCP, Jefferson Medical College;
a published writer of four books with national
reviews: The Chosen Shore (Univ. of Calif. Press),
Bread and Stones (Mercury House), Soon to Be
Immortal (St. Martin’s Press) and Soho Madonna
(Avon Original Fiction).
Kathryn Cullen-DuPont
Assistant Chair
M.F.A., Goddard College, B.A., New York
University; the author of a number of books
including, most recently, Human Trafficking (2009);
she is also the Lead Steward of the Clockhouse
Writers’ Conference and publisher of Clockhouse,
a literary journal published by the Clockhouse
Writers’ Conference in partnership with Goddard
College; she is currently working on a book about
women and religion.
Liberal Arts Faculty
Maria Damon
Chair, Humanities and Media Studies
Amanda Davidson
Visiting Assistant Professor
Pierre Alexandre de Looz
Visiting Assistant Professor
Don Doherty
Visiting Instructor; Tutor
B.A., Hunter College, City University of New York;
New York University; has been an instructor at
Pratt since 1996, teaching Freshman Composition
and Literature and English as a Second Language;
he did Foundation Year at Pratt before moving
into a Liberal Arts program at Hunter College, so
Pratt was his first home-away-from-home; his
interests include writing short fiction, writing and
producing music, video production, animation,
collage and drawing; he rides an Alien Workshop
deck with Tensor trucks and Darkstar wheels; his
YouTube account is papakilatube.
Steven Doloff
Professor; Lecturer, Intensive English
B.A., Stony Brook University; M.phil.; Ph.D.,
City University of New York Graduate Center;
TESOL Certificate, Columbia University Teachers
College; was named a Pratt Institute Distinguished
Professor (2001–02) and received the Institute’s
Student Government Association Faculty
Excellence Award in 1990.
Claire Donato
Visiting Assistant Professor
Thom Donovan
Visiting Instructor
Rachid Eladlouni
Visiting Assistant Professor; Lecturer,
Intensive English
Laura Elrick
Assistant Professor; Lecturer, Intensive
English; Tutor
B.A., Rhetoric and Communication, University of
Southern California; teaches in the English and
Humanities Department and the Intensive English
Program; she has published four books of poetry
and numerous essays on contemporary literature,
culture, and politics, and regularly performs her
work nationally; she is currently pursuing a Masters
in Liberal Studies at the CUNY Graduate Center in
Manhattan; her interests include the intersection
between poetics and the production of social
space, spatiality, and scale.
Sacha E. Frey
Adjunct Instructor
John Gendall
Visiting Instructor
Daniel Gerzog
Professor
B.A., M.A., A.B.D., New York University; has been
teaching at Pratt since 1959; he is currently
working with his second generation of fledgling
artists, designers and architects, introducing
them to the joys and stimulations of good reading
and clear expression; he also supervises thesis
corollary statements in the MFA program.
Amy Guggenheim
Adjunct Associate Professor
M.A., B.S., New York University; filmmaker and
writer; her work in theater and film focuses on
violence, intimacy, and sexuality, and has been
presented internationally with support from the
New York State Council on the Arts, the American
Embassy, Fulbright Foundation, Mellon Fund, and
others; her work has been published in American
Letters and Commentary, and in the Italian literary
journal Storie; her 2008 artistic residency in
Japan—in development for her first feature film—
relates to her work as founder of the Center for
Artistic Engagement.
Paul Haacke
Visiting Assistant Professor
Christian Hawkey
Professor
B.A., Pepperdine University; M.F.A., University of
Massachusetts; author of three award-winning
books of poetry, including The Book of Funnels
(Wave Books, 2004), which won the 2006 Kate
Tufts Discovery Award, Hour Hour (Delirium
Press, 2005), and Citizen Of (Wave Books, 2007);
his poems have appeared in Conjunctions, Volt,
Denver Quarterly, Tin House, Crowd, BOMB,
Chicago Review, and Best American Poetry; he
has received awards from the Academy of
American Poets and the Poetry Fund, and in
2006 he received a Creative Capital Innovative
Literature Award; in 2008, he was a DAAD Artist-
in-Berlin Fellow.
Kwame Heshimu
Visiting Instructor; Tutor
B.A., English (specialization in writing), New York
University; he grew up in the shadow of the Blue
Mountain; son of a Cuban expatriate, and with
a mother who was a descendant of Jamaican
maroons, he spent his childhood in one of the
most inaccessible communities on the island; his
grandfather, a saxophonist with dance bandleader
Ray Coburn, frequently accompanied Rastafarian
drummers; he not only became enthralled with
the music, but with the Rastafarian vocabulary, or
Iyaric, an intentionally created dialect of English,
reflecting their desire to take forward language
and confront Babylon system; his romance with
word, sound, and power had begun.

Jeffrey Hogrefe
Associate Professor
B.A., University of California at Berkeley; an
author, architectural critic, and coordinator of the
Pratt School of Architecture’s Writing Program:
Language/Making; he is a studio critic at Parsons
The New School for Design, The Cooper Union,
and Columbia; a contributor to Harper’s, The
New Yorker, Smithsonian, New York Observer,
Washington Post and Vanity Fair; and the author
of O’Keeffe: The Life of an American Legend,
a biography focused on the artist’s rights of
seclusion and personal identity politics.
Samantha Hunt
Professor
M.F.A., Warren Wilson College; the author of
two books, The Seas—for which she was awarded
a National Book Foundation award for writers
under 35—and The Invention of Everything Else,
a novel about the life of Nikola Tesla; her stories
have appeared in The New Yorker, McSweeney’s, A
Public Space, Cabinet, Seed Magazine and on the
radio program This American Life.
Dexter Jeffries
Adjunct Instructor
B.A., Queens College, City University of New
York; M.A., City College of New York; Ph.D., City
University of New York, Graduate Center; born
and raised in New York City; in between his
academic studies he was a taxi driver and
served in a United States Army combat engineer
battalion in West Germany; he came to Pratt in
1993, and in 1996, in conjunction with the Media
Arts department, he produced and directed
the documentary film, What’s Jazz?; in 2003,
Kensington Press published his autobiographical
memoir, Triple Exposure: Black, Jewish and Red
in the 1950s; he lives in Brooklyn.
Jeffrey T. Johnson
Visiting Instructor
Adeena Karasick
Visiting Assistant Professor
Sean Kelly
Visiting Instructor
B.A., Loyola College University of Montreal.
David D. Kim
Visiting Instructor
Elizabeth Knauer
Visiting Assistant Professor
Christoph Kumpusch
Adjunct Assistant Professor
Krystal Languell
Visiting Assistant Professor
Liberal Arts Faculty
Susan Bee (Laufer)
Visiting Associate Professor
Rachel Levitsky
Associate Professor
M.F.A., Naropa University, B.A., State University of
Albany; her first full-length volume, Under the Sun,
was published by Futurepoem books in 2003; she
is the founder and co-director of Belladonna*,
an event and publication series of feminist
avant-garde poetics; she is also the author of
five chapbooks of poetry, Dearly (a+bend, 1999),
Dearly 356, Cartographies of Error (Leroy, 1999),
The Adventures of Yaya and Grace (PotesPoets,
1999), 2(1×1) Portraits (Baksun, 1998), and a series
of poetry plays.
Ellen Levy
Visiting Associate Professor
Ira Livingston
Professor
Ph.D., Stanford University; his primary field
is cultural theory; author of Between Science
and Literature: An Introduction to Autopoetics
(2006) and Arrow of Chaos: Romanticism and
Postmodernity (1997); coeditor of Posthuman
Bodies (1995, with Judith Halberstam) and Poetry
and Cultural Studies: A Reader (2009, with
Maria Damon).
Jennifer Miller
Associate Professor
Circus Amok founder and artistic director; has
been working with alternative circus forms,
theater, and dance for more than 20 years; her
work with Circus Amok was awarded a “Bessie”
in 1995 and an OBIE in 2000; Circus Amok is the
subject of a French documentary film, Un Cirque
á New York (2002) and a Brazilian documentary,
Juggling Politics (2004); has taught at California
Institute of the Arts, New York University, and
University of California at Los Angeles.
Tracie Morris
Professor
Ph.D., Performance Studies, New York University;
M.F.A., Poetry, Hunter College, City University
of New York; an interdisciplinary poet who has
worked extensively as a sound artist, writer, and
multimedia performer; her installations have
been presented at the Whitney Biennial and the
Jamaica Center for Arts and Learning.
Cecilia Muhlstein
Adjunct Assistant Professor
M.A., B.A., California State University at Los
Angeles; born in Texas, but grew up in Los
Angeles; her work and interests reside in fiction,
critical theory, art, and eco-poetics; her current
work can be found in the pages of NYArts
magazine and in the archives of Safe-T-Gallery.
239
Uche Nduka
Visiting Assistant Professor
Mendi Lewis Obadike
Assistant Professor
Ph.D., Duke University.
Robert Obrecht
Adjunct Assistant Professor
B.A., Sarah Lawrence; TESOL Certificate, Columbia
University Teachers College; born in New York City
in 1951; compositions have premiered in New York
at Lincoln Center’s State Theater and Alice Tully
Hall, the Brooklyn Academy of Music, Merkin Hall
and LaMama E.T.C., among others; he has scored
exhibition videos for the Museum of Modern
Art, the American Museum of Natural History,
the Jewish Museum, and the Queens Museum of
Science; his theme song for the Disney/Henson
Bear in the Big Blue House is broadcast worldwide;
has been teaching at Pratt since 1988.
Kristin Pape
Adjunct Assistant Professor
Jean-Paul Pecqueur
Adjunct Assistant Professor
M.F.A., University of Washington; B.A., Evergreen
State College; a poet and writing instructor who
has published poems, critical reviews, and essays
in a number of national publications; has taught
creative writing, critical writing, and literature
courses at The University of Washington and the
University of Arizona’s Poetry Center; has been
teaching Introduction to Literary and Critical
Studies courses at the Pratt Institute since
2006; his first book of poems, The Case Against
Happiness, was the winner of Alice James Books’
Kinerth Gensler award in 2006.
Alba Potes
Visiting Assistant Professor
D.M.A. in Composition, Temple University; Alba
Potes was born in Colombia; her compositions
have been performed by the Montreal Chamber
Orchestra, National Symphony of Colombia,
Darmstadt 2000 Internationale Ferienkurse
für Neue Musik, the Institute for New Music in
Freiburg, The New York New Music Ensemble, and
by music festivals in Latin America, South Korea,
Germany, Canada, and the USA; connected to her
creative work based on Spanish literature, she
has also taught Spanish in CUNY and Columbia
University; she teaches music at the Mannes
College of Music, College Preparatory Division.
Evan Rehill
Adjunct Instructor
Eric Rosenblum
Visiting Instructor; Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Fiction
Writing, Syracuse University; fiction and non-
fiction have appeared in Guernica Magazine, the
Chicago Tribune and the Chicago Reader.
240
Eliza Schrader
Visiting Instructor
Sharon Snow
Visiting Instructor
B.A., Vassar College; M.A., French Literature,
Columbia University; spent her junior year in Paris,
and following graduation, received a fellowship to
study at the University of Lausanne, Switzerland;
after receiving her Masters in French at Columbia,
she worked at an art gallery and for the United
Nations; she taught at Manhattan’s Hewitt School
for 14 years and is now visiting instructor at Pratt
and at St. Joseph’s College.
Ethan Spigland
Associate Professor
B.A., Yale University; M.F.A., New York University;
Maîtrise, University of Paris VIII; has made
numerous films and media works including:
Luminosity Porosity, based on the work of
architect Steven Holl, Elevator Moods, featured in
the Sundance Film Festival, and The Strange Case
of Balthazar Hyppolite, which won the Gold Medal
in the Student Academy Awards.
Gloria Steil
Adjunct Instructor
B.A., University of California at Berkeley; M.A.,
New York University; taught English in Tokyo for
the Japanese Ministry of Education, a summer
intensive course in English literature and
composition in Seoul, and English literature at the
College of New Rochelle, Medgar Evers College,
Hostos Community College, and Borough of
Manhattan Community College.
Yijue Sun
Visiting Assistant Professor
Holly Tavel
Visiting Instructor
Barbara Turoff
Adjunct Assistant Professor
Ph.D., New York University; Laurea, Universita di
Bologna
Suzanne Verderber
Associate Professor
B.A., Dartmouth College; Ph.D., University of
Pennsylvania; teaching and research focus
on the relationship between subjectivity and
power, and on the relation between pre-modern
periods (medieval, Renaissance, Baroque) and
contemporary concerns; specific fields of study
include politics, literature, art, critical theory,
philosophy, religion, and psychoanalysis.
Liberal Arts Faculty
Christopher Vitale
Associate Professor
B.A., State University of New York at Binghamton;
Ph.D., New York University; areas of specialization
include continental philosophy, comparative
modernist literary and cultural studies,
psychoanalysis, queer studies, theories of race
and ethnicity, radical political thought, and film
and film theory; currently writing a book about
complexity studies and theories of networks;
has taught at New York University, University of
California at Berkeley, and Hunter College.
Elizabeth Williams
Adjunct Associate Professor
M.F.A., Columbia University; B.A.,
Middlebury College.
Thad Ziolkowski
Coordinator, The Writing Program, Professor
B.A., George Washington University; Ph.D., Yale
University; the author of a novel, Wichita, a
memoir, On a Wave, and a collection of poems,
Our Son, the Arson; his journalism has appeared
in The New York Times, Slate, Bookforum, Travel
& Leisure, and the Village Voice; among other
honors, he is the recipient of a fellowship from the
John S. Guggenheim Foundation.
Mathematics and Science
Damon Chaky
Associate Professor
B.S., Ph.D., Rensselaer Polytechnic Institute;
research focuses on the sources, transport and
fate of pollutants in the urban environment,
particularly that of New York City. He regularly
teaches Ecology for Architects, Toxics and the
elective course Science and Society. Dr. Chaky is
active in Sustainable Pratt, a group of students,
faculty and staff that works to position Pratt as a
leader in sustainable, ecologically-aware design
and architecture.
Barbara Charton
Adjunct Assistant Professor
B.A., Brooklyn College; M.S., M.L.S., Adv.
Cert., Pratt Institute; Barbara Charton is still
doing chemistry and extending it in several
new directions—into art conservation and
environmental studies.
Eleonora Del Federico
Professor
Ph.D., University of Massachusetts at Amherst;
Licenciada (equivalent to M.S. degree), University
of Buenos Aires, Argentina.
Anatole Dolgoff
Adjunct Professor
M.S., Miami University; B.S., Hunter College, CUNY.
Margaret Dy-So
Assistant to the Chair
Aman Gill
Assistant Professor
B.S., Integrative Biology and History, University of
California at Berkeley; Ph.D. candidate in Ecology
and Evolution, Stony Brook University.
Christopher Jensen
Associate Professor
B.A., Pomona College; Ph.D., Stony Brook
University; he teaches courses in Ecology, Human
Evolution, and the Biology of Cooperation. He
is active in Sustainable Pratt’s efforts to bring
ecologically conscious practices to our campus
and beyond. Those activities are complemented
by his research, which focuses on the stability of
systems of interacting organisms.
Cindie Kehlet
Associate Professor
Ph.D., M.S., University of Aarhus; teaches
Introductory Science and the Chemistry of
Pigments; her research interests are in the field of
Conservation Science.
Steve Kreis
Adjunct Associate Professor
B.S., University of Missouri; M.A., Hunter College,
City University of New York.
Richard Leigh
Visiting Professor
B.A., Oberlin College; Ph.D., Columbia University;
PE (Mechanical), New York State LEED AP;
practiced laser spectroscopy at City College of
NY and l’École Normale Supérieure (Paris); joined
Brookhaven National Laboratory and switched
to energy analysis and development of energy-
efficient technologies; taught full time at Pratt
1987–93; back to BNL, acquired NYS Professional
Engineering license; then into the nonprofit
sector first as Senior Engineer at the Community
Environmental Center, making existing and new
buildings more energy-efficient in the NYC metro
area, now as director of advocacy and research
at the Urban Green Council, (NY Chapter of the
US Green Building Council, managers of LEED),
working to improve energy efficiency in building
codes and on worker education.
Jemma Lorenat
Visiting Assistant Professor
B.A., San Francisco State University; M.A., CUNY
Graduate Center; Ph.D. candidate in History and
Math, Simon Fraser University and Université
Pierre et Marie Curie, Paris.
Tiffany Liu
Lab Technician

Ágnes Mócsy
Associate Professor
Ph.D., University of Minnesota; M.Sc., University
of Bergen, Norway; performs research on the
fundamental nature of matter, specifically on
the interactions of subatomic particles within
the nucleus of the atom; she has held research
positions at the Niels Bohr Institute, Copenhagen;
Theoretical Physics Institute, Frankfurt; and
Brookhaven National Laboratory; teaches
Introductory Physics and Astronomy.
Mark Rosin
Assistant Professor
M.S., Physics, Bristol; Ph.D., Applied Mathematics,
Cambridge University; research is in computer
algorithms for fusion energy and in mathematical
modeling for astrophysics and diodes; director
of Guerilla Science, an organization dedicated to
mixing science with art, music and play.
Carole Sirovich
Chair
B.S., Brooklyn College; M.S., Ph.D.,
New York University.
Gerson Sparer
Professor
B.S., Brooklyn College; M.S., Ph.D., Courant
Institute.
Oscar Strongin
Visiting Assistant Professor
Ph.D., Columbia University; Independent
Consulting Geologist engaged in oil/gas
development as well as environmental impact
of extraction of unconventional fossil fuel
resources; also served as Energy Consultant to
U.S. House of Representatives Committee on
Energy and Commerce.
Vincent Tedeschi
Visiting Instructor
M.S., B.A., Stony Brook University.
James Wise
Visiting Instructor
B.A., Hunter College; M.A., Brooklyn College.
Daniel Wright
Assistant Professor
Ph.D., Stanford University; M.S., University of
California at San Diego; B.S., Pennsylvania State
University.
Liberal Arts Faculty
Social Science and
Cultural Studies
Sameetah Agha
Associate Professor, History
B.A., Smith College; M.A., M.Phil., Ph.D.,
Yale University.
Dory Aghazarian
Visiting Instructor, History
B.A., Columbia University; M.A., Fordham
University; Ph.D. Candidate, Graduate Center,
City University of New York.
Alheli Alvarado-Diaz
Visiting Instructor, History
B.A., Johns Hopkins University; M.A., M.Phil.,
Ph.D., Columbia University.
Robert Ausch
Adjunct Associate Professor, Psychology
B.A., New York University; M.A., City College, City
University of New York; Ph.D., Graduate Center,
City University of New York.
Josh Blackwell
Visiting Instructor, Fashion and Design History
B.A., Bennington College; M.F.A., California
Institute of the Arts.
Francis Bradley
Assistant Professor, History
B.A., M.A., Ph.D., University of Wisconsin
at Madison.
B. Ricardo Brown
Coordinator, Critical and Visual Studies and
Professor, Cultural Studies
B.A., Simon’s Rock College of Bard; M.A., Syracuse
University; M.Phil., Ph.D., The Graduate Center,
City University of New York.
Josiah Brownell
Coordinator, World History Program and
Assistant Professor, History
B.A., Western Michigan University; M.A., London
School of Economics; J.D., University of Virginia
Law School; Ph.D. Political Science, School of
Oriental and African Studies, University of London.
Tom Buechele
Visiting Instructor, Cultural Studies
B.A., State University of New York at Purchase;
M.A., Queens College, City University of New York;
M.Phil., Ph.D. candidate, The Graduate Center,
City University of New York.
Caitlin Cahill
Assistant Professor, Politics and Geography
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., Graduate Center, City University
of New York.
241
Paul Dambowic
Adjunct Instructor
B.A., New York University; M.A., Yale University.
Mareena Dareedia
Visiting Instructor, Cinema Studies
B.F.A., York University; M.F.A., Pratt Institute.
Corey D’Augustine
Visiting Instructor, Theory and Practice
B.A., Oberlin College; M.A., Institute of Fine Arts at
New York University.
Lisabeth During
Associate Professor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London, London, U.K.; Ph.D., Trinity
College, Cambridge University, Cambridge, U.K.
Barbara Duarte Esgalhado
Visiting Instructor, Psychology
B.A., Rutgers University; Ph.D.,
Columbia University.
John Frangos
Adjunct Assistant Professor, History
B.A., M.A., Queens College; M.A., C.W. Post
Campus, Long Island University; Ph.D., New York
University.
Eric Godoy
Assistant Chair and Visiting Instructor, Philosophy
B.A., Rollins College; M.A., Ph.D. The New School
for Social Research.
P.J. Gorre
Visiting Instructor, Philosophy
B.A., Villanova University; M.A., Ph.D. candidate,
The New School for Social Research.
Monica A. Grandy
Visiting Assistant Professor, Psychology
B.A., Sarah Lawrence College; Ph.D., City
University of New York.
Mitchell Harris
Adjunct Assistant Professor, History
B.F.A., State University of New York at Purchase;
M.A., M.Phil, City University of New York.
Gabriel Hernández
Visiting Instructor, History
B.A., City College of New York; M.A., Ph.D.
candidate, State University of New York at
Stony Brook.
Ann Holder
Associate Professor, History
B.A., Hampshire College; Ph.D., Boston College.
Travis Holloway
Visiting Instructor, Philosophy
B.A., Belmont College; M.A., Boston College,
M.F.A., New York University; Ph.D., State University
of New York at Stony Brook.
242
Estelle Horowitz
Professor Emerita, Economics
Gregg M. Horowitz
Chair and Professor of Philosophy
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
May Joseph
Professor, Global Studies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Svetlana Jovic
Visiting Instructor, Psychology
B.A., M.A., University of Belgrade, Serbia; M.Phil.,
Ph.D. candidate, The Graduate Center of the City
University of New York.
Shelley Juran
Professor, Psychology
B.A., M.A., Brooklyn College; Ph.D., City University
of New York.
Marina Kaneti
Visiting Instructor, History
B.A., Columbia University; M.S., School of Social
Work, Columbia University.
Josh Karant
Adjunct Assistant Professor, Philosophy
and Food Studies
B.A., Pomona College, M.A., The New School; M.A.,
Rutgers University; Ph.D., University of Maryland.
Kathleen C. Kelley
Visiting Instructor, Philosophy
B.A., St. John’s College; M.A., Ph.D., The New
School for Social Research.
Todd Kesselman
Visiting Instructor, Philosophy
B.A., Trinity College; M.A. The New School for
Social Research.
Annie Khan
B.A., Columbia University; M.A., City College of
New York; Ph.D. candidate, State University of
New York at Stony Brook.
Hunter Kincaid
Visiting Instructor, Psychology
B.S., University of Washington; M.A.,
University of Chicago.
Elizabeth Knauer
Visiting Instructor, Cultural Studies
Ph.D. candidate, Steinhardt School of Culture,
Education, and Human Development, New York
University.
Liberal Arts Faculty
Gerald Levy
Visiting Instructor, Economics
B.A., New York University; M.A., The New School
for Social Research.
Luka Lucic
Assistant Professor, Psychology and
Diaspora Studies
B.A., City College of New York; M.Phil.,
The Graduate Center of the City University
of New York.
John McGuire
Adjunct Instructor, Philosophy
B.A., New York University; M.A., The
New School University.
Erum Naqvi
Visiting Instructor, Philosophy
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A., Ph.D. candidate,
Temple University.
Darini Nicholas
Adjunct Instructor, Anthropology
B.A., University of Louisville; M.A., Goddard
College (Kentucky); Ph.D., The New School
University.
Cheol-Soo Park
Visiting Instructor, Economics
B.A., M.A., Ph.D., Seoul National University;
Ph.D., The New School University.
Irving Perlman
Professor Emeritus, History
B.A., Brooklyn College; M.B.A., J.D.,
New York University.
Robert Richardson
Adjunct Assistant Professor, Philosophy
B.A., Wheaton College; M.A., ABD, Pennsylvania
State University.
Uzma Z. Rizvi
Assistant Professor, Anthropology and
Urban Studies
B.A., Bryn Mawr College; M.A., Ph.D.,
University of Pennsylvania.
John Santore
Professor Emeritus, History
B.A., M.A., Temple University; Ph.D.,
Columbia University.
Zachary Sapolsky
Visiting Instructor, Psychology
B.A., University of Rochester; M.A., Ph.D.,
Long Island University.
Ritchie Savage
Visiting Instructor, Sociology
B.S., Bradley University; M.A., Ph.D., The New
School for Social Research.
Michelle Standley
Visiting Instructor, History
B.A., Brigham Young University; Ph.D.,
New York University.
Jeff Surovell
Adjunct Assistant Professor, History
B.A., M.A., Ph.D., Columbia University.
Jennifer Telesca
B.A., University of Richmond; M.A., University of
Connecticut at Storrs; M.A., Ph.D.,
New York University.
Kumru Toktamis
Adjunct Assistant Professor, Sociology
B.A., Middle East Technical University, Ankara,
Turkey; M.A., Ph.D., The New School University.
Paul Schweigert
Visiting Instructor, History
B.S., North Carolina State University; M.Phil., Ph.D.
candidate, The Graduate Center, City University
of New York.
Noah Simmons
Visiting Instructor, History
Licence Histoire de l’Art et d’Archéologie, Maîtrise
Histoire de l’Art et d’Archéologie, Sorbonne Paris
IV-Université de Paris; M.A., Columbia University
School of International and Public Affairs; Ph.D.,
The Graduate Center, City University of New York.
Basil Tsiokos
Visiting Instructor, Theory and Practice
B.A., Stanford University; M.A., New York
University.
Murtaza Vali
Visiting Instructor, Art Theory
B.S., The Johns Hopkins University; M.A., Institute
of Fine Arts, New York University.
Zhivka Valiavicharska
Assistant Professor, Social and Political Theory
B.A., M.A., National Academy of Arts, Sofia,
Bulgaria; Ph.D., University of California at Berkeley.
Ron Van Cleef
Visiting Instructor, History
A.B., Syracuse University, Maxwell School of
Citizenship; M.A., City College of New York; Ph.D.
candidate, Stony Brook University .

Critical and Visual Studies
Sameetah Agha
Associate Professor, History
B.A., Smith College; M.A., M.Phil., Ph.D., Yale
University.
Josh Blackwell
Visiting Instructor, Fashion and Design History
B.A., Bennington College; M.F.A., California
Institute of the Arts.
Francis Bradley
Assistant Professor, History
B.A., M.A., Ph.D., University of Wisconsin
at Madison.
B. Ricardo Brown
Coordinator, Critical and Visual Studies and
Professor, Cultural Studies
B.A., Simon’s Rock College of Bard; M.A., Syracuse
University; M.Phil., Ph.D., The Graduate Center,
City University of New York.
Josiah Brownell
Coordinator, World History Program and
Assistant Professor, History
B.A., Western Michigan University; M.A., London
School of Economics; J.D., University of Virginia
Law School; Ph.D., Political Science, School of
Oriental and African Studies, University of London.
Tom Buechele
Visiting Instructor, Cultural Studies
B.A., State University of New York at Purchase;
M.A., Queens College; M.Phil., Ph.D. candidate,
The Graduate Center, City University of New York.
Caitlin Cahill
Assistant Professor, Politics and Geography
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., The Graduate Center, City
University of New York.
Mareena Dareedia
Visiting Instructor, Cinema Studies
B.F.A., York University; M.F.A., Pratt Institute.
Corey D’Augustine
Visiting Instructor, Theory and Practice
B.A., Oberlin College; M.A., Institute of Fine Arts at
New York University.
Lisabeth During
Associate Professor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London; Ph.D., Trinity College,
Cambridge University.
Barbara Duarte Esgalhado
Visiting Instructor, Psychology
B.A., Rutgers University; Ph.D., Columbia
University.
Eric Godoy
Assistant Chair and Visiting Instructor, Philosophy
B.A., Rollins College; M.A., Ph.D., The New School
for Social Research.
Liberal Arts Faculty
Gabriel Hernández
Visiting Instructor, History
B.A., City College of New York; M.A., Ph.D.
candidate, State University of New York at
Stony Brook.
Ann Holder
Associate Professor, History
B.A., Hampshire College; Ph.D., Boston College.
Travis Holloway
Visiting Instructor, Philosophy
B.A., Belmont College; M.A., Boston College,
M.F.A., New York University; Ph.D., State University
of New York, Stony Brook.
Gregg M. Horowitz
Chair and Professor of Philosophy
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
May Joseph
Professor, Global Studies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Shelley Juran
Professor, Psychology
B.A., M.A., Brooklyn College; Ph.D., City University
of New York.
Josh Karant
Adjunct Assistant Professor, Philosophy
and Food Studies
B.A., Pomona College, M.A., The New School; M.A.,
Rutgers University; Ph.D., University of Maryland.
Kathleen C. Kelley
Visiting Instructor, Philosophy
B.A., St. John’s College; M.A. and Ph.D. candidate,
The New School for Social Research.
Todd Kesselman
Visiting Instructor, Philosophy
B.A., Trinity College; M.A., The New School for
Social Research.
Elizabeth Knauer
Visiting Instructor, Cultural Studies
Ph.D. candidate, Steinhardt School of
Culture, Education, and Human Development,
New York University.
Luka Lucic
Assistant Professor, Psychology and
Diaspora Studies
B.A., City College of New York; M.Phil.,
The Graduate Center of the City University
of New York.
Erum Naqvi
Visiting Instructor, Philosophy
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A., Ph.D. candidate,
Temple University.
243
Darini Nicholas
Adjunct Instructor, Anthropology
B.A., University of Louisville; M.A.,
Goddard College; Ph.D. Candidate, The
New School University.
Uzma Z. Rizvi
Assistant Professor, Anthropology
and Urban Studies
B.A., Bryn Mawr College; M.A., Ph.D.,
University of Pennsylvania.
Ritchie Savage
Visiting Instructor, Sociology
B.S., Bradley University; M.A., Ph.D., The
New School for Social Research.
Jennifer Telesca
Assistant Professor
B.A., University of Richmond; M.A.,
University of Connecticut at Storrs; M.A.,
Ph.D., New York University.
Kumru Toktamis
Adjunct Assistant Professor, Sociology
B.A., Middle East Technical University, Ankara,
Turkey; M.A., Ph.D., The New School University.
Basil Tsiokos
Visiting Instructor, Theory and Practice
B.A., Stanford University; M.A.,
New York University.
Murtaza Vali
Visiting Instructor, Art Theory
B.S., The Johns Hopkins University; M.A. Institute
of Fine Arts, New York University.
Zhivka Valiavicharska
Assistant Professor, Social and Political Theory.
B.A., M.A., National Academy of Arts, Sofia,
Bulgaria; Ph.D., University of California at Berkeley.
Sal A. Westrich
Professor, History
B.A., City College of New York; M.A., University
of Wisconsin; M.A., Harvard University; Ph.D.,
Columbia University.
Rebecca Winkel
Visiting Assistant professor, Psychology
M.A. Columbia University; M.A., Gordon-Conwell
Theological Seminary; Ph.D., The New School for
Social Research
Iván Zatz Díaz
Associate Professor, Globalization
B.A., State University of New York at Purchase;
M.F.A., New York University; Ph.D., The Graduate
Center, City University of New York.
Carl Zimring
Associate Professor, History and Sustainability
B.A., University of California at Santa Cruz; M.A.,
Ph.D., Carnegie Mellon University.
244
History of Art and Design
Sonya Abrego
Visiting Instructor
Ph.D. candidate, Bard Graduate Center;
M.Phil, Decorative Arts, Design History and
Material Culture Studies, Bard Graduate Center;
a Ph.D. candidate specializing in 20th-century
fashion, currently completing a dissertation on
western wear in the postwar United States; work
focuses on the interconnections between fashion
and popular culture, specifically music and film;
she has presented papers in New York, Montreal
and San Francisco, worked with the costume
collections at the Museum of the City of New York
and the Metropolitan’s Costume Institute; she is
the recipient of graduate fellowships from the
Metropolitan Museum of Art, the Bonnie Cashin
Foundation and the Autry National Center; she is
a senior editor at Worn Fashion Journal and works
in the vintage clothing market.
Kelly Rae Aldridge
Visiting Instructor
B.A., Art History, Colorado State University;
M.A., Art History and Criticism, Ph.D. candidate,
Stony Brook University; conducts research on
the place of food in art with particular focus
on contemporary collaborative interdisciplinary
projects; currently working on a dissertation,
“Crumbs from the Revolutionary Table,” that
examines art practices that focus on the table as
a critical site of physical consumption, sensuous
encounter, social production, and material
exchange; Instructor at Stony Brook University;
was Session Chair at the Association of Art
Historians and has presented papers at CAA and
other venues.
Lisa Banner
Visiting Associate Professor
B.A., Princeton University; Ph.D., Institute of
Fine Arts, New York University; art historian
and curator; publications include Spanish
Drawings in the Princeton University Art Museum
(Yale University Press, 2013), and The Religious
Patronage of the Duke of Lerma (Ashgate, 2009);
has lectured on old master drawings at the Frick
Collection, Metropolitan Museum of Art, Morgan
Library, Courtauld Institute, and the Meadows
Museum; as a curator she has worked with The
Frick Collection (The Spanish Manner: Drawings
from Ribera to Goya, 2010-2011), the Museo del
Prado (Dibujos del Siglo de Oro en la Coleccion de
la Hispanic Society of America, 2006), the Museu
Nacional d’Art de Catalunya, and the Institute of
Fine Arts, NYU.
Liberal Arts Faculty
Ágnes Berecz
Visiting Assistant Professor
Ph.D., Université Paris I (Panthéon-Sorbonne);
teaches modern and contemporary art history;
Associate Professor at Christie’s Education;
lectures at the Museum of Modern Art; writings
have appeared in Art Journal, Art in America,
Artmargins and the Yale University Art Gallery
Bulletin as well as in European and U.S. exhibition
catalogs; recent work includes the two-volume
monographic study, Simon Hantaï, and the essay,
“The Event of Painting,” written for Judit Reigl’s
retrospective at the Ludwig Museum in Budapest;
review articles for Muérto, the Budapest-based
art monthly, include “Thomas Hirschhorn’s
Gramsci Monument,” and “American Traumspiel:
Mike Kelley”; she is working on a book titled Paint
No More: France, 1948-1982.
Sam Bryan
Adjunct Associate Professor
B.A., Dartmouth College; M.A., Howard
University; D.A., History, Carnegie-Mellon
University; filmmaker and film archivist who
specializes in documentary film and criticism;
has taught courses in film history and production
at Brooklyn College, Fordham University and
at Pratt since 1983; since 1960 he has filmed
for the International Film Foundation in Africa
and South America; his films have been shown
at the American Film Festival, at the Museum of
Modern Art and the Metropolitan Museum
of Art; past president of the New York
Film Council and executive Director of the
International Film Foundation.
Corey D’Augustine
Visiting Assistant Professor
B.A., Visual Arts and Biochemistry, Oberlin
College; M.A., Art History, Advanced Certificate
in Art Conservation, Institute of Fine Arts, New
York University; conservator of modern and
contemporary art and technical art historian;
works for the Solomon R. Guggenheim Museum
and lectures on art history conservation at New
York University, Sotheby’s Institute of Art, City
College of New York, and Museum of Modern Art;
a specialist in American and European postwar art,
research includes 20th-century painting materials
and techniques and conservation of monochrome
paintings; selected publications: “Taoism in
the Work of Agnes Martin,” Kunst Nu, “Laser
Cleaning of a Study Painting by Ad Reinhardt and
the Analysis/Assessment of the Surface after
Treatment,” Modern Paints Uncovered; selected
awards: Samuel H. Kress Foundation grant;
Dedalus Foundation grant.
Ed DeCarbo
Adjunct Associate Professor
M.A., University of Chicago; Ph.D., M.A., Indiana
University; concentration is art and aesthetics in
post-colonial societies with foci in traditional and
contemporary arts; field research in aesthetics
in a traditional multicultural society in West
Africa and in the Pacific (Moana) in contemporary
arts; his courses survey the traditional and
contemporary arts of Africa and the Pacific, and
consider the theories and methods of analysis
that are applied to the post-colonial world; he
serves as a consultant to the College Board effort
to globalize the Advanced Placement Curriculum
in Art History; was Director of Education at the
National Museum of African Art, Smithsonian
Institution, and served as a senior university
administrator for many years.
Eva Díaz
Assistant Professor
M.A., Ph.D., Princeton University; her book The
Experimenters: Chance and Design at Black
Mountain College will soon be released by the
University of Chicago Press; the project examines
how an interdisciplinary group of artists at
Black Mountain proposed new models of art
and focuses on three Black Mountain teachers
in the late 1940s and early 1950s: Josef Albers,
John Cage, and Buckminster Fuller; writing
appears in magazines and journals such as The
Art Bulletin, Art Journal, Art in America, Cabinet,
The Exhibitionist, Frieze, Grey Room, October,
and Tate Etc. and she is a regular contributor to
Artforum; she was recently awarded a Creative
Capital/Warhol Foundation Art Writers Grant to
research for her book about Buckminster Fuller’s
work, titled The Fuller Effect: The Critique of Total
Design in Postwar Art.
Dorothea Dietrich
Chair and Professor
B.A., M.A., M.Phil., Ph.D., Yale University; primary
research areas: The Weimar Republic and
post-1945 German art and culture; publications
include: The Collages of Kurt Schwitters: Tradition
and Innovation (Cambridge U. Press) and German
Drawings of the ´60s (Yale U. Art Gallery), and
numerous contributions to exhibition catalogues
and scholarly volumes in the United States and
Europe; was Chair of Arts and Humanities at
the Corcoran College of Art and Design, and
Curator of Prints and Drawings and Director of
the Morse Research Center at the Zimmerli Art
Museum at Rutgers; taught at Princeton University
and held visiting appointments at Yale, MIT,
Duke, Washington University, Boston University,
and Bryn Mawr College; recently was a Senior
Research Fellow at the Henry Moore Institute in
Leeds, England.

Mary Douglas Edwards
Adjunct Professor
Ph.D., M.L.S., M.A., Columbia University ;
publications include Wind Chant and Night Chant
Sand Paintings, articles in Journal of the Society of
Architectural Historians, Studies in Iconography,
Source: Notes in the History of Art, Il Santo: rivista
francescana, Zeitschrift für Kunstgeschichte,
and elsewhere; co-edited and wrote portions of
Gravity in Art: Essays on Weight and Weightlessness
in Painting, Sculpture and Photography; chaired
sessions and read papers at meetings of CAA;
SECAC; International Congress on Medieval
Studies; awards include Samuel H. Kress
Dissertation Fellowship, NEH Travel to Collections
Grant, Delmas Foundation Grant; past president,
14th-Century Society; former member, Executive
Council of Southeastern Medieval Association;
two-term associate, editorial board, Medieval
Perspectives.
Charles Eppley
Visiting Instructor
B.A., Art History and Music, Hiram College;
M.A., Art History and Criticism, Ph.D. candidate,
Stony Brook University; focuses on site-specific
art, sound, and new media; completing a
dissertation on “Un-Fixed Media: Site-Specificity
and Materiality in the Work of Max Neuhaus”;
has organized a panel on Soundsites at the
Southeastern College Art Conference, and
presented papers on sound art and Max
Neuhaus at various venues; also teaches at
Stony Brook University.
Diana Gisolfi
Professor
B.A., Radcliffe/Harvard; M.A., Ph.D., University of
Chicago; research focus is on Cinquecento art
in Venice and the Veneto, including religious and
political context and artistic practice; developed
and directs the Pratt in Venice program; lectures
and chairs sessions regularly at CAA and RSA
and at international conferences; contributed
essays to three international exhibitions on Paolo
Veronese: Venice 2011, Sarasota, FL 2012-13,
Verona 2014; publications include: The Rule,
the Bible, and the Council: The Library of the
Benedictine Abbey at Praglia (CAA Monograph
Series); On Classic Ground, Caudine Country
(Illustrations), and articles in: Yale University Art
Gallery Bulletin, Artibus et Historiae, Arte Veneta,
The Art Bulletin, The Dictionary of Art (Oxford
Art Online), Renaissance Quarterly, Burlington
Magazine, caareviews.org.
Dimitri Hazzikostas
Assistant Professor
M.A., Ph.D., Columbia University; has done
archeological field work in Greece and published
in the Encyclopedia of Comparative Iconography;
awards include Sears Distinguished Professor 1991,
Whiting Fellowship.
Liberal Arts Faculty
Frima Fox Hofrichter
Professor
M.A., Hunter College; Ph.D., Rutgers University,
Certificate in Fine and Decorative Art Appraisal,
Pratt Institute—in collaboration with the American
Society of Appraisers; Issues of gender and class
have informed her work; she is the author of a
monograph on the 17th-century Dutch artist,
Judith Leyster; numerous articles within Dutch
art and feminist/gender studies; organized several
Dutch exhibitions; and is currently working on
the theme of old women; co-author of Janson’s
History of Art: The Western Tradition (for the
Baroque and Rococo sections); was Dutch Book
Review Editor (2008-2013) for the Historians of
Netherlandish Art (HNA); a member of the College
Art Association’s Committee on Women in the
Arts and Chair, Jury for the Distinguished Feminist
Award (2012).
Heather Horton
Visiting Assistant Professor
B.A., DePauw University; M.A., Ph.D., Institute of
Fine Arts, New York University; current research
focuses on questions of authorship, originality,
and imitation, especially in the career of the
pivotal writer and architect Leon Battista Alberti;
recently published a new interpretation of
Alberti’s treatises on painting and is completing a
book manuscript titled Leon Battista Alberti and
the Renaissance Crisis of the Author; has taught
at New York University, the City University of New
York, State University of New York at Purchase,
and The Cloisters Museum, where she remains a
frequent guest lecturer.
Susan Karnet
Visiting Instructor
B.F.A., The School of Visual Arts, New York
University; M.F.A., Hunter College, CUNY; a painter
and sculptor; has exhibited work in Chelsea, the
East Village, 57th Street, Brooklyn, New Jersey,
Europe and Africa; work has been reviewed in
The New York Times; has taught at a number of
schools in New York, New Jersey; and Cairo,
Egypt; including Parsons, New York University,
and The School of Visual Arts; she is interested
in Modern and Contemporary Art, sculpture, and
Egyptian Art.
Dara Kiese
Visiting Assistant Professor
B.A., Modern History, University of Minnesota;
M.Phil., Art History, Ph.D., Art History, The
Graduate Center, City University of New York;
research centers around the artistic and
architectural avant-gardes in Weimar Germany,
with focus on the Bauhaus; received a number
of grants, including a Fulbright fellowship to
Berlin and a Getty research travel grant; worked
as a Curatorial Assistant in the Architecture and
Design Department at the Museum of Modern
Art; presented papers on architectural and
design pedagogies at conferences and symposia
including the College Art Association and the
Bauhaus Universität Weimar; has published essays
on the Bauhaus.
245
Vivien Knussi
Adjunct Assistant Instructor
B.A., M.A.,Tufts University; Ph.D., Columbia
University; studied American Art and Photography
at Columbia University; was a Lecturer at the
Museum of Modern Art through the Department
of Photography; assembled and catalogued two
major corporate collections, The Dreyfus Fund
and McFrank and William Advertising Agency;
with the insight she gained into emerging
photographers that were featured in both,
she has specialized in teaching Contemporary
Photography at Pratt; currently writing a book
on the subject; has written catalogue essays
and most recently translated a German essay on
“Deconstructed Poetry” for Les Figues Press.
Gayle Rodda Kurtz
Assistant Chair, Adjunct Associate Professor
B.A., Stanford University; M.A., Hunter College;
Ph.D., CUNY Graduate Center; specializes in 18th-
and 19th-century European art; was a contractual
lecturer at the Metropolitan Museum of Art with
a focus on the African Art Galleries from 1995 to
2013; Associate of Zeteo Journal (zeteojournals.
com) where she is a contributing editor and
writer; has presented papers at the 19th-Century
Studies Association; taught at Caldwell College,
Hunter College, and New York City College of
Technology, CUNY; received a Graduate Teaching
Fellowship from CUNY Graduate Center.
Marilyn Kushner
Visiting Professor
B.A., M.A., University of Wisconsin at Milwaukee;
Ph.D., Modern Art, Northwestern University;
Curator and Head of the Department of Prints,
Photographs and Architectural Collections at
the New York Historical Society (2006-present);
previously was chair of the Department of Prints,
Drawings, and Photographs and Curator of Prints
and Drawings at the Brooklyn Museum (1994-
2006); has also served as Curator of Collections
at the Montclair Art Museum, New Jersey, and
Research Associate at the Whitney Museum
of American Art; has published and lectured
extensively on works on paper and has served on
juries and guest-curated exhibitions nationwide.
Thomas La Padula
Adjunct Professor
B.F.A., Parsons School of Design; M.F.A.,
Syracuse University; for more than 36 years,
he has illustrated for national and international
magazines, advertising agencies and publishing
houses; is the illustration coordinator for
the undergraduate Communications Design
Department at Pratt Institute where he teaches
both reflective and digital illustration.
246
Anca Lasc
Assistant Professor
B.A., History and Theory of Art and Literature,
Jacobs University Bremen, Germany; M.A.,
Art History, Ph.D., Art History, University of
Southern California; studies the invention and
commercialization of the modern French interior
and the development of the professions of
interior designer and commercial window dresser;
received numerous grants, including a NEH
Summer Institute Grant at the Bard Graduate
Center, and published essays in the Journal of
Design History and Interiors: Design, Architecture,
Culture; Designing the French Interior, coedited
with Georgina Downey and Mark Taylor, is
forthcoming from Bloomsbury Publishing in 2015;
she has presented papers at various conferences,
including the College Art Association, Society
of Architectural Historians, Society for French
Historical Studies, and Interior Design Educators
Council’s annual meetings.
Jacob Lewis
Visiting Instructor
M.A., History of Art, Williams College; Ph.D., Art
History, Northwestern University; specializes in
19th-century French photography and art; his
dissertation addressed the role of instantaneity
and reproducibility in the photography of Charles
Nègre (1820–1880); he is a former Coleman
Fellow in the Department of Photographs of the
Metropolitan Museum of Art, and Blum/Model
Fellow at the National Gallery of Canada.
Rael Lewis
Visiting Assistant Professor
B.A., Swarthmore College; Ph.D., Stanford
University; specialist in 19th- and 20th-century
art with a focus on fin-de-siècle visual culture;
currently writing a book on the imagery of
absinthe and intoxication in modern Paris;
before coming to Pratt, he taught at UCLA,
Bowdoin College, Villanova University, and the
Claremont Colleges.
Michele Licalsi
Visiting Assistant Professor
B.A., M.A., Institute of Fine Arts with Certificate
in Art Conservation, New York University; studied
art at the New York Academy of Art, the Art
Students’ League, and the National Academy of
Design; has been teaching drawing, color and
composition at the National Academy of Design
from 1994 to the present; taught fresco painting
at the Conservation Center, Institute of Fine Arts,
NYU from 1993 to 2005; has also worked in art
conservation at the Brooklyn Museum and the
Metropolitan Museum of Art; has worked as a
conservator on sites in Florence, Rome, Parma,
and Sardis.
Liberal Arts Faculty
William Lorenzo
Visiting Assistant Professor
B.F.A., Brooklyn College; independent artist,
researcher, film archivist, and programmer;
publications include museum notes and articles
in Animation Magazine, AnimaFilm, and others;
author of Lillian Friedman Astor—Pioneer Woman
Animator; Executive Board Member ASIFA-East,
The International Animated Film Association;
curator, Animation over Broadway, Museum
of Modern Art, February 1993; other areas of
interest: film and illustration.
Elizabeth Meggs
Visiting Instructor
B.F.A., Communications Arts and Design,
Illustration, Virginia Commonwealth University;
illustrator, writer, designer of paintings,
photography and hand-bound artist books;
graphic designer (Hearst’s Victoria) and writer for
the Los Angeles Daily News; has worked at Pierogi
Gallery and taught at BBG, VCU, Pratt and NYCCT;
exhibitions include: ISE Cultural Foundation, Los
Angeles Center for Digital Art, Mariner’s Museum,
Firehouse Art Collective, Anderson Gallery, Target
Gallery/Torpedo Factory, Galapagos Art Space,
Edward Hopper House, Pratt Dean’s Gallery,
Lincoln Center, and Brooklyn Museum’s Go!
Brooklyn; selectee, NYC Center for Book Arts’
Letterpress Printing/Fine Press Publishing Seminar
for Emerging Writers; recipient, Virginia Museum
of Fine Arts Fellowship/Drawing.
Juan Monroy
Visiting Assistant Professor
B.A., Film Studies. University of California at Santa
Barbara; M.A., Cinema Studies, Ph.D. candidate,
Cinema Studies, New York University; scholar of
film, television and media studies, specializing in
history, technology, and cultural impacts of U.S.
film and television; doctoral candidate in the
Department of Cinema Studies at NYU, writing
a dissertation on television, Latin America, and
economic development in the 1960s; teaches
film and media classes at Fordham University,
Lincoln Center, CUNY Queens College, and Pratt
Institute; since 2009, has also worked as a video
and digital media librarian and database technician
at NYU-TV.
Marsha Morton
Professor
M.A., University of Chicago; Ph.D., Institute of
Fine Arts, New York University; books include
Max Klinger and Wilhelmine Culture: On the
Threshold of German Modernism (Ashgate 2014),
the co-edited anthology The Arts Entwined:
Music and Painting in the 19th Century (Garland
2000), and Pratt and Its Gallery: The Arts & Crafts
Years (1999); has published numerous essays on
19th-century German and Austrian art, many
with a focus on interdisciplinary topics (cultural
history, Darwinism, music, and ethnography) and
artists and critics such as Alois Riegl, Gustav Klimt,
Klinger, Alfred Kubin, Max Beckmann, and Max
Liebermann; currently serving her second term as
President of the Historians of German and Central
European Art (HGCEA).
Evan Neely
Adjunct Assistant Professor
B.F.A., Fine Arts, Parsons School of Design;
M.Phil., M.A., Ph.D., Art History, Columbia
University; studied 20th-century and northern
European Renaissance art, as well as post-
Enlightenment political and aesthetic theory;
most recent work investigates the relationships
between 19th-century American literature and
20th-century painting and new genres; has taught
courses at Columbia University, Parsons The New
School of Design, and the Museum of Modern Art,
on modern and postmodern art, the history of
ethical and political theory, and Enlightenment
aesthetics; currently Core Lecturer for Art
Humanities at Columbia University in addition to
teaching at Pratt.
Nicholas Parkinson
Visiting Instructor
B.A., Philosophy, DePauw University; M.A.,
Philosophy, Ph.D. candidate, Art History and
Criticism, Stony Brook University; Ph.D. candidate
at Stony Brook University, where is he completing
his dissertation on the popular and critical
reception of Nordic art in 19th-century France;
areas of research interest include imaginary
geographies of the 19th century, fin-de-siècle
art and culture, and the history of art criticism;
an active member of the Society for the
Advancement of Scandinavian Study; his most
recent publication, “De Chirico and the Fin-
de-Siècle,” will be printed in Symbolist Roots of
Modern Art in 2015.
Joyce Polistena
Adjunct Professor
M.A., Art History, Hunter College; Ph.D., M.Phil.,
The Graduate Center of the City University of
New York; Certificate TESOL, Columbia University;
Certificate in 19th-century British History, Oxford
University; primary research areas are 19th- and
early 20th-century European and American
Art, with emphasis on French Romanticism;
publications include The Religious Paintings of
Eugène Delacroix (Mellen, 2008) and contributions
to scholarly volumes: NCAW; Bulletin du Société
des Amis du Musée Nationale Eugène Delacroix;
The Van Gogh Museum Journal; current research
involves artists’ activism and political prints as well
as ongoing research about French Romanticism;
appointed Visiting Assistant Professor of Art
History at The College of The Holy Cross (2014-
2015); has served on the Board of Directors of
ASCHA; has organized several symposia on 19th-
century Romantic Art.

Katarina V. Posch
Associate Professor
M.A., University of Applied Arts, Vienna, Austria;
Ph.D., Tokyo University of Fine Arts and Music,
Japan; design historian specializing in intercultural
themes; teaches and publishes on Japanese,
European and American design in a socio-historical
context; publications cover issues relating to
design and material culture, from cross-cultural
comparisons (Changing Worlds, Changing Designs,
MAK, Vienna, 2012) to feminist approaches (“The
Seen and the Hidden. [Dis]covering the Veil,”
Austrian Cultural Forum New York, 2007); has
written monographs and exhibition catalogues
and curated for major museums including
the Pompidou Center in Paris (Portrait d’une
Collection, 1995), the Vitra Design Museum in
Germany (Isamu Noguchi—Sculptural Design, 2001)
and the Noguchi Museum in New York.
Elena Rossi-Snook
Visiting Assistant Professor
B.A., Cinema, State University of New York at
Binghamton; M.A., Film Archiving, University of
East Anglia; archivist for the Reserve Film and
Video Collection of the New York Public Library;
Director of the Board, Association of Moving
Image Archivists; Chair, AMIA Film Advocacy Task
Force; selected publications include: “Persistence
of Vision: Public Library 16mm Film Collections
in America,” The Moving Image, “Continuing Ed:
Educational Film Collections in Libraries and
Archives,” Learning With the Lights Off: a Reader in
Educational Film; selected awards: 2002 recipient
of the Kodak Fellowship in Film Preservation;
Other: Producer, Why We Film 16mm series;
Documentary film We Got the Picture made official
selection of the 2005 Tribeca Film Festival.
Ann Schoenfeld
Adjunct Assistant Professor
M.A., University of Chicago; Ph.D., The Graduate
Center, City University of New York; received
a CUNY Dissertation Fellowship; work includes
Lecturer, SUNY at Purchase, and Nominator for
the Joan Mitchell Foundation for Painting and
Sculpture; has published in M/E/A/N/I/N/G:
An Anthology of Artist’s Writings, Theory, and
Criticism, i-D, Eye.
Dorothy Shepard
Adjunct Associate Professor
M.A., Southern Methodist University; Ph.D.,
Bryn Mawr College; received an AAUW American
Fellowship and a Haakon Traveling Fellowship;
invited lectures include: CAA, Kalamazoo and
Medieval Academy; Symposia on History of the
Bible held at Barnard, Rutgers, and Princeton
Universities; published in Medieval Germany: An
Encyclopedia; Rutgers Art Review; The Apocalypse
in Word and Image; and Canterbury and the
Medieval Bible.
Liberal Arts Faculty
Elizabeth St. George
Visiting Instructor
B.A., Kent State University; M.A., Ph.D. candidate,
Bard Graduate Center; specializes in late 19th-
and 20th-century architecture and design;
has been an invited speaker at the Los Angeles
County Museum of Art and has served as a
research assistant for the Bard Graduate Center’s
exhibitions on Knoll textiles (2011), Artek and
Alvar Aalto (forthcoming), and the architect
and designer William Kent (forthcoming); her
dissertation explores interwar architecture and
design and themes of modern living in the former
Czechoslovakia; she is broadly interested in how
design is used to construct modes of cultural
interaction and identity, and how modernism and
notions of modernity were used to disseminate
social, political, and cultural reform in America
and Europe.
Jack Toolin
Visiting Assistant Professor
B.F.A., Photography, Ohio University at Athens;
M.F.A., Photography, Performance, and
Installation, San Jose State University; artist
working in new media, digital imaging, and
performance; his work considers contemporary
life in light of the changing political, economic,
and technological landscape; individual and
collaborative work has been exhibited nationally
and internationally, including San Francisco
Camerawork;the Walker Art Center; the Whitney
Museum of American Art (2002 Whitney Biennial);
and the Museo Nacional de Bellas Artes, Buenos
Aires, Argentina; he has performed in the San
Francisco Bay area, New York, Pittsburgh,
Reno, Phoenix, Hong Kong, and Linz, Austria;
commissions include the Walker Art Center and
the Whitney Museum of American Art; he has
lectured nationally and internationally.
Alice Walkiewicz
Visiting Instructor
B.A., University of Kansas; M.Phil., Ph.D. candidate,
The Graduate Center, City University of New
York; specializes in 19th-century art from Europe
and the United States; current research focuses
on issues of gender and labor, and the way that
anxieties about these issues are addressed
through visual culture (both in fine art and popular
imagery) within a transnational (and transatlantic)
context; her dissertation explores these concerns
by examining representations of the archetypal
figure of the exploited, laboring seamstress in
England, France, and the United States in the late
19th century within the context of the rising labor
movement; has taught at Parsons The New School
for Design as well as Pratt Institute.
Bor-Hua Wang
Adjunct Assistant Professor
M.A., University of Kansas; Ph.D., Columbia
University; a specialist in Chinese painting and
calligraphy of the Song dynasty; areas of research
include: Contemporary Chinese Art; Buddhist Art
of Southeast Asia and Western art theory; curator
of Contemporary Korean Art, Abstract Chinese
Art, for Taipei Fine Art Museum; she presented
“Pan Yuliang’s Life and Art: Alienation to Freedom
of Expression,” CAA, 2001.
247
Sarah Wilkins
Visiting Assistant Professor
B.A., Vanderbilt University; M.S., Pratt Institute;
Ph.D., Rutgers, the State University of New Jersey;
specializes in Italian late medieval and Renaissance
art, with interests in mendicant patronage,
Angevin Naples, and the cult of the saints; awards
include a Fulbright fellowship and a Mellon
Finishing Grant; publications include “Imaging
the Angevin Patron Saint: Mary Magdalen in the
Pipino Chapel in Naples” (2012) and “Adopting and
Adapting Formulas: The Raising of Lazarus and Noli
Me Tangere in the Arena Chapel in Padua and the
Magdalen Chapel in Assisi” (2013); has presented
papers at conferences including Kalamazoo and
RSA; currently chair of the Italian Art Society’s
Emerging Scholars Committee.
Karyn Zieve
Visiting Assistant Professor
B.A., Wellesley College; M.A., University of
Pennsylvania; Ph.D., Institute of Fine Arts, New
York University; specialist in 19th- and early 20th-
century art, with a focus on Eugène Delacroix,
orientalism, the history of photography and the
graphic arts; in addition to teaching at various NYC
institutions and museums, she has written about
and organized exhibitions of prints, drawings and
photographs on various topics; presently she is
working on a manuscript based on her work on
Delacroix and images of the East.
The Writing Program
Priscilla Becker
Adjunct Assistant Professor
M.F.A., Columbia University; Becker’s first book of
poems, Internal West, won The Paris Review book
prize, and was published in 2003. Her poems have
appeared in Fence, Open City, The Paris Review,
Small Spiral Notebook, Boston Review, Raritan,
American Poetry Review, Verse, and The Swallow
Anthology of New American Poets; her music
reviews in The Nation and Filter Magazine; her book
reviews in The New York Sun; and her essays in
Cabinet magazine and Open City. Her essays have
also been anthologized by Soft Skull Press, Anchor
Books, and Sarabande. She teaches poetry at Pratt
Institute, Columbia University, and in her apartment.
Her second book, Stories That Listen, was released
by Four Way Books in 2010.
Christopher Bollen
Visiting Instructor
B.A., Columbia University; Bollen is the author
of the novels Lightning People (2011) and Orient,
forthcoming in 2015. His writing has appeared in
The New York Times, Artforum, The Believer, the
Paris Review, GQ, and Details. He is currently the
editor at large of Interview magazine.
248
Gabriel Cohen
Visiting Instructor
B.A., Wesleyan University; Gabriel Cohen is
the author of five novels and a nonfiction book
and has written for The New York Times, Poets
and Writers, Shambhala Sun, Gourmet.com, Time
Out New York, and many other publications; he
has taught fiction and nonfiction writing at New
York University, mentors writing students at
the New School, and lectures and gives
workshops frequently; his website is www.
gabrielcohenbooks.com.
Jon Cotner
Visiting Instructor
B.A. Humanities, Shimer College; M.A., St. John’s
College; Ph.D. candidate in Poetics, SUNY at
Buffalo. Professor Cotner is co-author of Ten
Walks/Two Talks (Ugly Duckling Presse, 2010) and
has worked on a collaboration titled Conversations
over Stolen Food and projects for The Believer,
the BMW Guggenheim Lab, Elastic City, and the
Poetry Society of America.
Steven Doloff
Professor, Lecturer in Intensive English
B.A., Stony Brook University; was named a Pratt
Institute Distinguished Professor (2001–2002)
and received the Institute’s Student Govern­ment
Association Faculty Excellence Award in 1990.
Laura Elrick
Assistant Professor
Author of three books of poetry, including
Propogation (Kenning Editions, 2012), Fantasies
in Permeable Structures (Factory School,
2005) and sKincerity (Krupskaya, 2003). Her
psychogeographically-inspired research and
performance works include the oppositional
cartography Blocks Away, exhibited at the
Skybridge Art and Sound Space in 2010, and the
video-poem Stalk, commissioned by the Positions
Colloquium in Vancouver in 2008 and exhibited in
the Social Environmental Aesthetics Series at Exit
Art (New York, 2009) and the Rustbelt Sightsound
Collision at the SPACES gallery (Cincinnati, 2013),
A sound work, 5 Audio Pieces Doubled Voice
was commisioned by new Langton Arts for the
Performance Writing Series in San Francisco
in 2005. Her work also appears in several
anthologies, including Viz. Inter-Arts Intervention:
A Trans-Genre Anthology (forthcoming), Against
Expression: Anthology of Conceptual Writing, and
Eco Language Reader, and has been translated
into Spanish, French, Italian and Norwegian.
Wes Enzinna
Visiting Instructor
B.A., Temple University; M.A., University of
California at Berkeley; writer whose reportage and
essays appear in The New York Times Magazine,
Harper’s, London Review of Books, Mother Jones,
The Nation, and n+1; also a filmmaker who
regularly produces documentaries for Vice, where
he is a senior editor.
Liberal Arts Faculty
John Glassie
Visiting Instructor
B.A., The Johns Hopkins University; is a former
contributing editor for The New York Times
Magazine, where for several years he edited the
weekly “Lives” column; he has written for The New
York Times, The Believer, Salon, Wired, The Dallas
Morning News, and The Atlanta Journal-
Constitution, among other publications, and is the
author of a non-fiction book about a 17th-century
polymath, published in the fall of 2012; as well as
the author of a book of photographs, Bicycles
Locked to Poles (McSweeney’s, 2005).
David Gordon
Visiting Instructor
M.F.A., Writing, M.A., English and Comparative
Literature, Columbia University; David Gordon
was born in New York City. He attended Sarah
Lawrence College and has worked in film, fashion,
and publishing. His first novel, The Serialist, was
published by Simon and Schuster in March 2010.
James Hannaham
Assistant Professor
B.A., Yale University; M.F.A., University of Texas;
first novel, God Says No (McSweeney’s, 2009),
was a finalist for a Lambda Book Award, named an
honor book by the American Library Association’s
Stonewall Book Awards, a semi-finalist for a
VCU Cabell First Novelist Award, and made the
shortlist for the Green Carnation Prize in the
U.K.; his stories have been published in The
Literary Review, Open City, JMWW, One Story,
and will soon appear in Fence; his criticism and
journalism have appeared in The Village Voice,
Spin, and Salon.com, where he was on staff, and
have been reprinted in Best African American
Essays 2009 and Best Sex Writing 2009; he has
received fellowships from The MacDowell Colony,
Yaddo, The Blue Mountain Center, The Constance
Saltonstall Foundation for the Arts, Chateau de
Lavigny, Fundación Valparaíso, Bread Loaf, and a
NYFFA Fellowship in Fiction.
Ryan Fischer-Harbage
Visiting Assistant Professor
B.A., Kalamazoo College; M.F.A., Bennington
College; a literary agent who runs the Fischer-
Harbage Agency, represents several New York
Times bestselling authors and has placed books
with all major publishers in the U.S. and the U.K.;
he previously served as an editor at Simon and
Schuster, Little, Brown and Company as well as
The Penguin Group (U.S.A.).
Christian Hawkey
Professor
The author of three award-winning books of
poetry, including The Book of Funnels (Wave
Books, 2004), which won the 2006 Kate Tufts
Discovery Award, HourHour (Delirium Press, 2005),
and Citizen Of (Wave Books, 2007); his poems have
appeared in Conjunctions, Volt, Denver Quarterly,
Tin House, Crowd, BOMB, Chicago Review, and
Best American Poetry; he has received awards
from the Academy of American Poets and the
Poetry Fund, and in 2006 he received a Creative
Capital Innovative Literature Award; in 2008, he
was a DAAD Artist-in-Berlin Fellow.
Jason Helm
Visiting Assistant Professor
M.F.A., Creative Writing, Sarah Lawrence College;
first book, Exposure, a YA sci-fi fantasy novel,
is currently on the market; he is at work on
a collection of short stories about mid-’90s
gutterpunk culture in Minneapolis.
Samantha Hunt
Associate Professor
M.F.A., Warren Wilson College; second novel
The Invention of Everything Else (Houghton Mifflin
Harcourt, 2008) was a finalist for the Orange Prize
and winner of the Bard Fiction Prize; her first
novel, The Seas (Picador, 2005) won a National
Book Foundation award for writers under 35; work
has appeared in The New Yorker, McSweeney’s,
A Public Space, Cabinet, Esquire, jubilat, The
Believer, Blind Spot, Tin House, New York Magazine,
on the radio program This American Life and in a
number of other fine publications.
Mary-Beth Hughes
Visiting Assistant Professor
B.A., Marymount Manhattan College; stories have
appeared in A Public Space, Ploughshares, The
Paris Review, and are collected in the book Double
Happiness; her novel is Wavemaker II (Atlantic
Monthly Press, 2002).
Lucy Ives
Visiting Assistant Professor
B.A., Harvard; M.F.A., University of Iowa; editor
of Triple Canopy and the author of four
collections of poetry and prose; in spring 2015,
Little A will re-issue her novel, nineties.
Caitlin Kelly
Visiting Instructor
B.A., University of Toronto; author of Malled: My
Unintentional Career in Retail and Blown Away:
American Women and Guns; former reporter for
The Globe and Mail, Montreal Gazette and New
York Daily News, she has reported from the Arctic
Circle, Denmark, Sicily and Fiji; she is a winner of a
Canadian National Magazine Award for humor and
writes frequently for The New York Times; her blog,
www.broadsideblog.wordpress.com, has more
than 12,000 readers worldwide.

Sean C. Kelly
Visiting Instructor
B.A., University of Montreal; was editor of
National Lampoon and a founding editor of Heavy
Metal; he has been a staff writer for Saturday
Night Live, and as a freelance writer he has
written for numerous television productions
and for periodicals, including Bazaar, Colors,
Interview, Playboy, Spy, The Village Voice, and The
New York Times; he is the author and editor of
numerous books and anthologies.
Rachel Levitsky
Assistant Professor
M.F.A., Naropa University, B.A., State University of
Albany; her first full-length volume, Under the Sun,
was published by Futurepoem books in 2003; she
is the founder and co-director of Belladonna*,
an event and publication series of feminist
avant-garde poetics; she is also the author of
five chapbooks of poetry, Dearly (a+bend, 1999),
Dearly 356, Cartographies of Error (Leroy, 1999),
The Adventures of Yaya and Grace (PotesPoets,
1999), 2(1×1) Portraits (Baksun, 1998), and a series
of poetry plays.
Robert Lopez
Adjunct Assistant Professor
M.F.A., The New School for Social Research; is the
author of two novels, Part of the World (Calamari
Press, 2007) and Kamby Bolongo Mean River (Dzanc
Books, 2009), and a collection of stories, Asunder
(Dzanc Books, 2010); he has taught at The New
School and Columbia University and is a 2010 New
York Foundation for the Arts fellow in fiction.
Max Ludington
Visiting Instructor
M.F.A., Columbia University; B.A., University of
Minnesota; novel Tiger in a Trance was a New
York Times Notable Book; his short fiction has
appeared in Tin House, Meridian, HOW Journal,
Nerve, Outerbridge, On the Rocks, The KGB Bar
Fiction Anthology, and others.
Tracie Morris
Professor
B.A., M.F.A., Hunter College; M.A., Ph.D., New York
University; a multidisciplinary poet, performer, and
scholar who works extensively as a sound artist,
writer, bandleader, and actor; her installations
have been presented at the Whitney Biennial,
Ronald Feldman Gallery, the Jamaica Center for
Arts and Learning, and the New Museum; she
recently completed her latest poetry manuscript,
“Rhyme Scheme” and is working on an academic
work, “Who Do with Words” on the significance of
philosopher J.L. Austin; she is also developing two
audio projects: an untitled CD with music with her
band and another CD in collaboration with
composer Elliott Sharp.
Liberal Arts Faculty
Anna Moschovakis
Adjunct Assistant Professor
B.A., University of California at Berkeley; M.F.A.,
Bard College; she is the author a book of poems,
I Have Not Been Able to Get through to Everyone,
and a translator of poetry, fiction, and theory
from the French; she is also an editor, designer,
and printer at Ugly Duckling Presse, a nonprofit
publishing collective based in Brooklyn; she
is pursuing graduate studies in comparative
Literature at the CUNY Graduate Center.
Cecilia Muhlstein
Adjunct Assistant Professor, Tutor
California State University at Los Angeles; Cecilia
was born in Texas, but grew up in Los Angeles; her
work and interests reside in fiction, critical theory,
art, and eco-poetics; her current work can be
found in the pages of NYArts magazine and in the
archives of Safe-T-Gallery.
Shelly Oria
Visiting Professor
B.A., Tel Aviv University; M.F.A., Sarah Lawrence
College; fiction has appeared in McSweeney’s,
Quarterly West, cream city review, and
fivechapters; she is a recipient of the 2008
Indiana Review Fiction Prize among other awards
and curates the monthly series “Sweet! Actors
Reading Writers.” Her first novel is New York 1,
Tel Aviv 0.
Eric Rosenblum
Visiting Instructor; Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Creative
Writing-Fiction, Syracuse University; fiction and
non-fiction have appeared in Guernica Magazine,
the Chicago Tribune and the Chicago Reader.
Jonathan Santlofer
Visiting Professor
B.F.A., Boston University School of the Arts;
M.F.A., Pratt Institute; is the author of five
bestselling crime novels, short stories in many
anthologies and collections, winner of the Nero
Wolfe Award for Best Crime Novel, co-author/
contributor to The Dark End of the Street
anthology (Bloomsbury USA, 2010); recipient
of two National Endowment for the Arts grants,
Rome Prize; and on the board of directors
of Yaddo, the oldest arts community in the
United States.
249
Justin Taylor
Visiting Assistant Professor
B.A., University of Florida; M.F.A., The New School.
author of the story collection Everything Here Is
the Best Thing Ever (Harper’s Perennial, 2010) and
the novel The Gospel of Anarchy (Harper’s
Perennial, 2011); he is the editor of The Apocalypse
Reader, Come Back Donald Barthelme, and
co-editor (with Eva Talmadge) of The Word Made
Flesh: Literary Tattoos from Bookworms Worldwide
(Harper’s Perennial, 2010); with Jeremy Schmall,
he publishes The Agriculture Reader, a limited-
edition arts annual.
Holly Tavel
Visiting Instructor
B.A., The New School; M.F.A., Brown University;
recipient of a 2009 Fulbright Scholarship in
Creative Writing to the Czech Republic.
Johnny Temple
Visiting Instructor
B.A., Wesleyan College; publisher and editor-
in-chief of Akashic Books, an award-winning
Brooklyn-based independent company
dedicated to publishing urban literary fiction
and political nonfiction; he won the 2013 Ellery
Queen Award, the American Association of
Publishers’ 2005 Miriam Bass Award for Creativity
in Independent Publishing, and the 2010 Jay
and Deen Kogan Award for Excellence in Noir
Literature; teaches courses on the publishing
business at Wilkes University and Wesleyan
University and is the chair of the Brooklyn
Literary Council, which works with Brooklyn’s
borough president to plan the annual Brooklyn
Book Festival; he also plays bass guitar in the
band Girls Against Boys, which has toured
extensively across the globe and released
numerous albums on independent and major
record companies; he has contributed articles
and political essays to various publications,
including The Nation, Publishers Weekly, AlterNet,
Poets & Writers, and BookForum.
Ellery Washington
Associate Professor
D.E.U.G., Sorbonne University, Paris, France;
writing has appeared in the French publication
Nouvelles Frontières, Out Magazine, The Berkeley
Fiction Review and various literary anthologies,
including Griots Beneath the Baobab (IBWA
Press), Geography of Rage (RGB Publisher), and
State by State (Harper Collins); he is a recipient
of the PEN Center West–Rosenthal Emerging
Voices Fellowship and the IBWA Best Short
Fiction Award.
250 Liberal Arts Faculty

Uljana Wolf Writing and Tutorial Center

Visiting Instructor
Magister, Humboldt University, Berlin; a German
poet and translator based in Brooklyn and Berlin; Randy Donowitz
she has published four books of poetry in German, Director of the Writing and Tutorial Center
and three chapbooks in English translated by Terri Bennett
Nathaniel Otting (Nor By Press), Susan Bernofsky Tutor
(UDP) and Monika Zobel (Belladonna*); translates
numerous English-language poets into German, Priya Chandrasekoran
among them Matthea Harvey, Erin Mouré, John Tutor, Writing, Thesis
Ashbery, Yoko Ono, and Cole Swensen, and she also
Diane Cohen
translates into German from the Polish, Belarusian,
Assistant to the Director
Bulgarian, Slovenian, and Spanish; her own work has
been translated into more than 13 languages. Maura Conley
Tutor, Writing, Thesis
Thad Ziolkowski Brian Cook
Coordinator, The Writing Program; Professor
Tutor
B.A., George Washington University; Ph.D., Yale
University; author of a novel, Wichita, a memoir, Amanda Davidson
On a Wave, and a collection of poems, Our Son, Tutor
the Arson.; his journalism has appeared in the New
York Times, Slate, Bookforum, Travel & Leisure,
Elizabeth (Lol) Fow
Adjunct Instructor, Tutor, Thesis,
and the Village Voice; among other honors, he
Graduate Writing
is the recipient of a fellowship from the John S.
Guggenheim Foundation. Dominica Giglio
Tutor, Writing, Art History
Gina Zucker
Visiting Assistant Professor
Heather Green
Tutor, Writing, Thesis, Conversation
B.A., Washington University; M.F.A., The New
School; has published fiction and nonfiction Joseph Herzfeld
in magazines and journals such as Tin House, Lecturer Intensive English, Tutor, Writing
Salt Hill, The Chicago Sun-Times, The New York
Post, Elle, Glamour, GQ, Rolling Stone, Redbook, Kwame Heshimu
and Cosmopolitan, as well as on various online Visiting Instructor, Tutor, Writing
journals. Her writing has been anthologized in two Cecilia Muhlstein
collections: ALTARED (Vintage, 2007) and BEFORE Adjunct Assistant Professor, Tutor,
(Overlook Press, 2006); she is a recipient of a Writing, Thesis
Vermont Studio Center Fellowship and a New
School Merit Scholarship. Evan Rehill
Visiting Instructor, Tutor, Writing, Thesis

Zachary Slanger
Tutor

Graduate Admissions
Applications are welcome from all
qualified students, regardless of
age, sex, religion, race, color, creed,
national origin, or disability. Admissions
committees base their decisions on
a careful review of all credentials
submitted by the applicant. Although
admission standards at Pratt are high,
extraordinary talent may sometimes
offset a lower grade point average or
test score. If a student is not accepted,
this decision is not a negative reflection
on the student’s chances for successful
completion of similar studies at another
institution, nor does it preclude
the student’s eventual admission to
the Institute.
The Office of Graduate Admissions is
open weekdays from 9 AM to 5 PM from
September through May, and from 9 AM
to 4 PM during June, July, and August.
Vice President For Enrollment
Judith Aaron
718.636.3743
jaaron@pratt.edu
Director of Graduate and
International Admissions
Young Joo Hah
718.636.3683
yhah@pratt.edu
Guided Campus Tours
Guided campus tours of the Brooklyn
campus are scheduled Monday and
Friday at 10 AM, 12 PM, and 2 PM. Tuesday
and Thursday tours are scheduled at
10 AM and 2 PM. Schedule a campus tour
online at www.pratt.edu/visit, call the
Office of Admissions at 718.636.3779 or
800.331.0834, or email us at visit@pratt.
edu. Prospective graduate applicants or
students are encouraged to contact their
academic department directly to discuss
the program and see the facilities.
Graduate Merit-Based Scholarships
Incoming students will be evaluated by
their academic department for merit-
based scholarships upon acceptance.
Beginning with fall 2014 incoming
students, these are renewable for the
duration of the program with a 3.0. There
is no application form. Assistantships are
awarded to some second-year students.
Graduate Admissions Counselor
Russell Tyler
718.636.3551
rtyler@pratt.edu
Graduate Admissions Counselor
Brian Mulroney
718.230.6887
bmulron@pratt.edu
251
Graduate Admissions
All applicants to graduate programs at
Pratt must have received a bachelor’s
degree from an accredited institution
in the United States or have been
awarded the equivalent of the
bachelor’s degree from an international
institution of acceptable standards.
International students should see
the international student section for
additional requirements.
Deadline for Applications
Completed applications for most
programs (including letters of reference,
statement of purpose, transcripts,
and portfolio) should be submitted
by January 5 for fall entrance. Some
programs will accept applications after
the deadline if there is room. See the
department requirements section
on page 253 for specific deadline
information as well as for programs that
accept students in the spring. Applicants
Office of Admissions
Myrtle Hall, 2nd floor
Tel: 718.636.3514 or 800.331.0834
Fax: 718.399.4242
www.pratt.edu/admissions
Questions?
Ask Pratt’s “Virtual Advisor”
at www.pratt.edu/ask
252
for the spring semester must apply by
October 1 (September 1 for international
applicants). Applications received after
that time will be considered only if there
is room in a particular program.
General Credentials
Application Forms
Graduate applicants are required
to apply online at www.pratt.edu/
apply. Please use your full name on all
documents and do not use nicknames or
middle names.
Application Requirements
The online application, hosted
by College.net, as well as various
requirements, may be found at www.
pratt.edu/apply. Please note: Pratt’s
application enables applicants to request
recommendation letters and upload
transcript(s) online. Writing samples, for
those departments that require them,
will be uploaded on the application.
Visual portfolios are submitted at
https://pratt.slideroom.com. See www.
pratt.edu/apply for instructions on
submitting your application and
supporting documents.
Candidates for graduate admission
must submit the following:
1. Online graduate application with
nonrefundable $50 application fee at
www.pratt.edu/apply. (International
students must pay a $90 application
fee.) Graduate students are required
to apply online.
Graduate Admissions
2. Unofficial transcripts from all
institutions attended after graduation
from secondary school. Make sure your
manuscript contains the school name
and your name before uploading it to
the application.
International students must have
all transcripts officially translated into
English. (Both the unofficial original
and the English translated version must
be uploaded online at our application
site.) Students who have studied
outside the U.S. in an educational
structure different from the U.S.
(three-year degrees, for example) are
asked to submit a World Education
Services (WES) (www.wes.org)
evaluation to expedite their application
processing. WES evaluations do not
include translations. The documents
must be officially translated into
English before submitting to WES
or any other reputable education
evaluation service, e.g., your embassy.
3. Supporting Documents: The following
documents should be submitted
electronically on the online application
site at www.pratt.edu/apply. Please
include the following:
a. Two letters of recommendation
from employers, professors, or
others able to judge your potential
for graduate study in the specific
program. Recommendation letters
are submitted online. See www.
pratt.edu/apply. (If your references
prefer not to submit online, please
ask them to seal the envelope,
sign across the flap, and mail their
references to Pratt at Pratt Institute,
Office of Graduate Admissions, 200
Willoughby Ave, Brooklyn, NY.)
Make sure you contact your
references and request a
recommendation letter from them.
Let them know the process is online.
b. Additional writing sample (required
by City and Regional Planning, Urban
Placemaking and Management,
Sustainable Environmental Systems,
Historic Preservation, Media Studies,
Theory, Criticism, and History of
Art, Design, Architecture, and
Writing only) may be uploaded at the
application site.
c. Résumé (required for Design
Management; optional for all other
graduate programs) should be
uploaded at the application site.
d. Statement of purpose giving your
long-range goals and interest in
the chosen discipline and reason
for applying to the programs. The
statement of purpose, which must
be 250–500 words, should be
uploaded to the application site.
4. TOEFL score or IELTS score for
international applicants whose
native language is not English. Unless
otherwise indicated under each
department, the minimum required
TOEFL score is 550 (paper)/213
(computer)/79 (Internet) and the
required IELTS score is 6.5. Please
make sure that you register for a
TOEFL or IELTS test that will enable
you to submit your scores by the

application deadline. It generally takes
four to six weeks to receive the scores.
The Pratt Institute code for TOEFL
is 2669. Check www.toefl.org for
information on testing sites.
Applicants from China
In order to provide an in-person
interview opportunity for all Chinese
applicants interested in Pratt Institute
and to process your application faster,
we have partnered with Vericant.
Vericant will conduct video interviews
and short writing samples with our
applicants in Mainland China. Vericant
does not evaluate candidates but,
instead, posts the interviews online for
our admissions team to review. The
Vericant interview will form part of
your application package if you opt to
be interviewed.
Although the Vericant interview is
not mandatory, we highly recommend
it as it will give you an excellent
opportunity to showcase your skills and
professionalism to our admissions team.
To learn more about Vericant and
to schedule an interview, please visit
Vericant’s website at www.students.
vericant.com. Vericant provides
interviews in the following cities:
Beijing, Shanghai, Shenzhen as well as
Chengdu, Chongqing, Dalian, Guangzhou,
Hangzhou, Nanjing, Qingdao, Wuhan,
Xi’an, Zhengzhou.
Graduate Admissions
Mailing Documents: submit any print
documents in one envelope if possible
and mail to:
Office of Graduate Admissions
Pratt Institute
200 Willoughby Avenue
Brooklyn, NY 11205
admissions@pratt.edu
Tel: 718.636.3669 or 800.331.0834
Fax: 718.399.4242
If you plan to messenger your
documents, please do so before
December 24 or after January 2. Pratt
closes for winter break during that time.
We strongly suggest making photocopies
of all mailed forms for your own records.
Please use your full name on the
application and on all documents and
not nicknames or middle names so that
we are able to match TOEFL scores,
transcripts, etc. with your application.
Department Requirements
Graduate programs have different
professional requirements. See the
following section for particular programs’
requirements.
253
School of Architecture
Architecture First Professional M.Arch.
(Fall entrance only) Brooklyn Campus
Applicants must have received a
bachelor’s degree from an institution
in the U.S. that is accredited by a
recognized regional association or have
been awarded the equivalent of the
bachelor’s degree from an international
institution of acceptable standards.
Applicants must present a portfolio
providing evidence of their interest in
architecture or their visual sensibility
through the media of their choice—
photography, drawing, essays, videos,
etc. Portfolios must be submitted online
at pratt.slideroom.com. The GRE is
required. The GRE code is R2669. TOEFL
of 550 (79 internet) is required.
Architecture M.S. Post-Professional
(Summer entrance only)
Brooklyn Campus
This program is three semesters,
beginning in summer and ending in
spring. Applicants must have earned
a Bachelor of Architecture (five-year
B.Arch.) from an accredited school
of architecture or the international
equivalent. Applicants should submit all
materials as early as possible in order to
ensure enough time to review and make
decisions and, in the case of international
students, to get the I-20. Ideally,
applicants (particularly international
applicants) should submit all materials,
including portfolio, by December 1.
Applications will be accepted after
254
the deadline of January 5 only if there
is room. A digital portfolio should be
submitted at pratt.slideroom.com.
A TOEFL score of 550 (79 internet)
is required.
Architecture and Urban Design M.S.
Post-Professional. (Summer entrance
only) Brooklyn Campus
This program is three semesters,
beginning in summer and ending in
spring. Applicants must have earned
a Bachelor of Architecture (five-year
B.Arch.) from an accredited school
of architecture or the international
equivalent. Applicants should submit all
materials as early as possible in order to
ensure enough time to review and make
decisions and in the case of international
students to get the I-20. Ideally,
applicants (particularly international
applicants) should submit all materials
including portfolio by December 1.
Applications will be accepted after
the deadline of January 5 only if there
is room. A digital portfolio should be
submitted at pratt.slideroom.com.
A TOEFL score of 550 (79 internet)
is required.
Historic Preservation M.S. (Fall and spring
entrance) Brooklyn Campus
Applicants are welcome from all fields
of study. Applicants should have
received their bachelor’s degree from
an accredited institution in the U.S. or
the equivalent from an international
institution of acceptable standards.
Graduate Admissions
Applications will be accepted after
the deadline until the program is full.
TOEFL of 575 (90 internet) is required
for international students. Applicants
must submit, in addition to the general
application requirements: (1) a resume
and (2) an extended piece of writing to
support their application for advance
study. The writing sample may be a term
paper or report done for work depending
on the applicant’s background and is
not required to be related to historic
preservation. Applicants may also
submit additional material that they feel
contributes to their application, such
as work sample or portfolio. The GRE or
GMAT is optional; neither is required. All
documents but a visual portfolio should
be uploaded to the application. Visual
portfolio should be submitted at pratt.
slideroom.com.
City and Regional Planning M.S. (Fall and
spring entrance) Brooklyn Campus
Applicants should have received a
bachelor’s degree from an accredited
institution in the U.S., or the equivalent
from an international institution of
acceptable standards. Applicants
are welcome from all fields of study.
Applications will be accepted after
the deadline until the program is full.
TOEFL of 575 (90 internet) is required
for international students. Applicants
must submit, in addition to the general
application requirements: (1) a resume
and (2) an extended piece of writing to
support their application for advance
study. The writing sample may be a term
paper or report done for work depending
on the applicant’s background and is
not required to be related to planning.
Applicants may also submit additional
material that they feel contributes to
their application, such as work sample or
portfolio. The GRE or GMAT is optional;
neither is required. All documents but
a visual portfolio should be uploaded to
the application. Visual portfolio should
be submitted at pratt.slideroom.com.
Sustainable Environmental Systems
M.S. (Fall and spring entrance)
Brooklyn campus
Applicants are welcome from all fields
of study. Applicants should have
received their bachelor’s degree from
an accredited institution in the U.S or
the equivalent from an international
institution of acceptable standards.
Applications will be accepted after
the deadline until the program is full.
A TOEFL score of 550 (79 internet) is
required for international students.
Applicants must submit, in addition to
the general application requirements:
(1) a resume and (2) either a writing
sample or visual portfolio, depending
on their background. The writing
sample or portfolio should indicate an
interest in or awareness of issues to be
addressed in this program. The GRE or
GMAT is optional; neither is required.
Applications will be accepted after the
deadline if there is room. All documents
but a visual portfolio should be uploaded
to the application. Visual portfolio should
be submitted at pratt.slideroom.com.

Urban Placemaking and Management M.S.
(Fall and spring entrance)
Brooklyn campus
Applicants are welcome from all fields
of study. Applicants should have
received their bachelor’s degree from
an accredited institution in the U.S.,
or the equivalent from an international
institution of acceptable standards.
Applications will be accepted after
the deadline until the program is full.
TOEFL of 575 (90 internet) is required
for international students. Applicants
must submit, in addition to the general
application requirements: (1) a resume
and (2) an extended piece of writing to
support their application for advance
study. The writing sample may be a term
paper or report done for work depending
on the applicant’s background and is
not required to be related to planning.
Applicants may also submit additional
material that they feel contributes to
their application, such as work sample or
portfolio. The GRE or GMAT is optional;
neither is required. All documents but
a visual portfolio should be uploaded to
the application. Visual portfolio should
be submitted at pratt.slideroom.com.
Graduate Admissions 255
Facilities Management M.S. (Fall and In addition to Pratt’s general
spring entrance) Manhattan Campus graduate admissions requirements,
applicants to the Fine Arts M.F.A.
Applicants should have a bachelor’s
program must upload the following
degree in architecture, construction
materials to pratt.slideroom.com: 1)
management, engineering, business,
a portfolio of up to 20 well-selected
or interior design. Applicants in other
images (including detail views) of works
fields are eligible but may be required
made in the last 2-3 years; and 2)
to take non-credit courses in building
information for each image including the
technology unless they have acquired
work’s title, dimensions, materials used,
equivalent knowledge through non-
and date of completion. The Graduate
academic experience. The GRE or
Admissions Committee is looking for
GMAT is optional; neither is required.
work that shows the artist’s conceptual
Applications will be accepted after the
and aesthetic direction as well as the
deadline if there is room.
potential for successful growth over the
two years of the program. Candidates
School of Art
whose applications are completed and
Fine Art M.F.A. (Fall entrance only)
submitted by the January 5 deadline
Brooklyn Campus
will be given priority consideration for
Applicants must have a bachelor’s
merit scholarships. A TOEFL score of 550
degree from an accredited U.S. college,
(79 internet) is required for non-native
university or art/design school or the
English speakers.
equivalent degree from a recognized
international institution. It is not
Master of Fine Arts in Digital Arts (Fall
required that applicants have majored
entrance only) Brooklyn Campus
in studio art as undergraduates, only
Applicants should have an undergraduate
that they demonstrate their readiness
degree or considerable background
for the challenges of M.F.A. studies.
in the digital arts and should submit a
The 60-credit MFA program in Fine Arts
strong visual portfolio demonstrating
comprises four consecutive 15-week fall/
a conceptual and aesthetic focus.
spring semesters and begins in the fall.
No reviews are done in person, but
We welcome visits to Pratt at any time,
applicants are encouraged to arrange
and interested applicants (or potential
a visit to the department by calling
applicants) should contact Nat Meade,
718.636.3411. Applicants must submit
Assistant Chair of Fine Arts, to schedule
12–15 pieces of work in traditional or
an appointment and tour of facilities/
digital media (1) online at https://pratt.
studios (tel. 718.636.3792, email:
slideroom.com. The graduate admissions
nmeade@pratt.edu).
review committee is interested in work
256
that reflects creativity, technical facility,
and the conceptual skills to develop a
sophisticated body of work. A TOEFL
score of 550 (paper)/213 (computer)/or
79 (Internet) is required for
international students.
Art Therapy and Creativity Development
M.P.S. (Fall entrance for academic year
program and spring entrance for low
residency program), Brooklyn Campus
Applicants must have a bachelor’s
degree, preferably in studio art or
psychology. Applicants must have 18
undergraduate credits in studio art, to
include course work in drawing, painting,
and 3-D media to include ceramic/
clay work, and 12 credits in psychology,
to include course work in General,
Personality, Abnormal and Developmental
psychology. A portfolio of 12 to 15
slides or digital images (submit online
at pratt.slideroom.com) is required of
all applicants. Applicants are contacted
for an interview when all credentials
have been received. A TOEFL score of
600 or 100 Internet is required of all
international students. No TOEFL waivers
will be issued unless student’s first
language is English.
Dance/Movement Therapy M.S. (Fall
entrance for academic year program
and spring entrance for low residency
program), Brooklyn Campus
Applicants must have a bachelor’s
degree, preferably in dance or
psychology. Prerequisites are 12 credits
in psychology to include General,
Abnormal, Theories of Personality, and
Graduate Admissions
Developmental Psychology; and course
work in anatomy/kinesiology. Students
must also have extensive experience
in at least two idioms of dance, one of
which must be modern dance. Students
must have experience in body/mind
modalities, such as meditation, yoga,
and body therapy. A written synopsis
of dance training and experience must
be submitted with the application. A
personal interview will be required, part
of which will include movement. A TOEFL
score of 600 or 100 Internet is required
of all international students. No TOEFL
waivers will be issued unless student’s
first language is English.
Arts and Cultural Management M.P.S. (Fall
entrance only) Manhattan campus
Applicants must demonstrate experience
and interest in applying the arts to
shaping our shared world. The program
provides the strategic leadership skills to
enable participants to manage, market,
innovate, resource and run a creative
enterprise and to use the arts to connect
culture, community and commerce. The
required statement of purpose should
reflect the applicant’s personal vision
of how this program fits in with his/her
personal and professional goals including
how the applicant hopes to use the
skills he/she acquires in this program.
The statement should be no more than
500 words or two pages. A TOEFL score
of 600 or 100 Internet is required of
international students. The GMAT is
optional and not required.
Design Management M.P.S. (fall entrance
only) Manhattan campus
Applicants must demonstrate experience
and interest in applying design to shaping
our shared world. The program provides
the strategic leadership skills to enable
participants to manage, market, innovate,
resource and run creative enterprises
and shape sustainable strategic
advantage for their firms. The required
statement of purpose should reflect the
applicant’s personal vision of how this
program fits in with his/her personal
and professional goals including how the
applicant hopes to use the skills he/she
acquires in this program. The statement
should be no more than 500 words or
two pages. Ideally, applicants should
have an undergraduate degree in one of
the design disciplines with a minimum of
three years of professional experience.
We also consider social media managers,
engineers, material scientists and others
whose work converges with design. A
resume is also required. A TOEFL score
of 600 or 100 Internet is required of
international students. Applications will
be accepted throughout the semester.
The GMAT is optional and not required.
Art and Design Education M.S. (Initial/
Professional) (fall only) Brooklyn campus
A 38-credit program open to individuals
with a bachelor’s degree or the
equivalent with a minimum of 25 credit
hours in art, design and/or the history of
art from an accredited higher education
institution or the equivalent of the
bachelor’s degree from an international
institution of acceptable standards.

Art And Design Education (Professional)
M.S. A 34 credit hour program open to
applicants who already have their Initial
Certification as a Teacher of Visual Arts
and have prior teaching experience.
Art and Design Education
Advanced Certificate
A 24-credit hour program open to
individuals with an M.F.A. degree or those
currently enrolled in the MFA program
at Pratt.
All applicants must submit a portfolio
of 15 images of work (submit online at
pratt.slideroom.com). The required
written statement of purpose is given
significant consideration. Applicants are
contacted for a Skype interview when
all credentials have been received. A
TOEFL of 600 or 100 Internet is required
for international students. All applicants
are encouraged to schedule a visit to
the department by calling 718.636.3637
or emailing awilson2@pratt.edu, or by
attending one of our Open Houses.
The Art and Design Education
programs are New York State Education
Department (NYSED) “approved teacher
preparation programs” and meet the
new requirements for New York State
Initial Teacher Certification in Visual
Arts PreK-12. However, in order to be
recommended for New York State Initial/
Professional Certification in Visual
Arts PreK-12, candidates must also
have completed a three-credit course
in child and adolescent psychology
and a three-credit course in a foreign
language. These courses may be taken
at Pratt or transferred from another
Graduate Admissions
post-secondary school. Candidates
must also have completed the following
workshops: Child Abuse Identification
Workshop; School Violence Prevention
and Intervention Workshop; and Training
in Harassment, Bullying, Cyberbullying,
and Discrimination in Schools: Prevention
and Intervention. These workshops must
be taken with a provider approved by
NYSED. Passing scores on the following
tests and assessments, Educating all
Students (EAS); Academic Literacy Skills
Test (ALST); Content Specialty Test (CST)
and Education Teacher Performance
Assessment (edTPA), are also required.
School of Design
Industrial Design M.I.D. (Fall entrance
only) Brooklyn campus
Applicants should submit a portfolio
online at https://pratt.slideroom.
com, including both text (descriptions,
problem statement, etc.) and images
(from development sketches to finished
work). The portfolio must contain
examples of drawing as a communication
tool, three-dimensional objects, and a
basic understanding of graphic design,
executed through presentation and
layout. Showing both the process
and execution of a project, along
with problem-solving and research,
is recommended. Please include any
additional materials that tell the story of
who you are as a creative person. The
M.I.D. program is highly collaborative and
includes students from a wide variety of
backgrounds; therefore, in your written
statement, discuss aspects of your
personal character and background that
257
would contribute to and benefit from
a collaborative learning environment. A
TOEFL of 575 (paper)/233 (computer)/90
(internet) is required.
Interior Design M.F.A. (fall entrance only)
Brooklyn campus
Applicants with an undergraduate degree
in interior design or architecture may
be eligible for the 60-credit two-year
graduate program and must submit a
portfolio to pratt.slideroom.com that
demonstrates experience, sensibility
and skills from previous education and/
or professional experience. Please
make sure to attribute your specific
contributions in group projects and/or
professional work.
A two-semester Qualifying Program
of an additional 24 credits is required
for applicants whose undergraduate
backgrounds are unrelated to interior
or architecture but whose applications
indicate a strong aptitude for graduate
study. These students complete 84 credits
in three years. Applicants to the Qualifying
Program are not required to submit
a portfolio, but these applicants are
encouraged to submit a portfolio
of work from relevant disciplines such as
fine arts, fashion, industrial design,
or communications design. This portfolio
must also be submitted to pratt.slideroom.
com. We do not schedule interviews in
person but applicants are encouraged
to arrange a visit to the department by
calling 718.636.3630. A TOEFL score of
575 (paper) or 90 (Internet) is required of
international students.
258
Communications Design M.F.A. (Fall
entrance only) Manhattan campus
Applicants must be highly motivated
individuals who hold an undergraduate
degree in graphic design or related
design fields such as industrial or interior
design, architecture, fine arts, or media
arts. Exceptional individuals from other
disciplines may be admitted provisionally
and required to take design foundation
courses. All applicants must submit a
portfolio of work to be reviewed by an
Admissions Committee composed of
faculty. Work included in the portfolio
may be personal work, professional
assignments, or course assignments
done in an undergraduate or graduate
program. Your portfolio should contain
between 12 and 20 examples of your
best work in traditional or digital
media. In addition to the portfolio, the
written statement of purpose is given
significant consideration. The intent
of this portfolio review is for you to
demonstrate creative potential and
provide enough information about
you to determine whether or not this
program is appropriate for you. Most
important, the Admissions Committee
will determine if you demonstrate the
potential to successfully complete the
M.F.A. in Communications Design. Submit
online at https://pratt.slideroom.com.
For international applicants whose first
language is not English, a minimum TOEFL
score of 575 (paper)/90 (internet)
is required.
Graduate Admissions
Package Design M.S. (Fall entrance only)
Manhattan campus
Applicants should hold an undergraduate
degree in graphic design or related
design fields such as industrial or interior
design, architecture, fine arts, or media
arts, but we welcome applications from
individuals with degrees/backgrounds
from non-design fields such as business,
liberal arts, and the sciences who
demonstrate a strong aptitude for
graduate study. A qualifying program of
an additional six credits of prerequisite
classes may be required for these
applicants. All applicants must submit
a portfolio of work to be reviewed by
an admissions committee composed of
faculty. Work included in the portfolio
may be personal work, professional
assignments, or course assignments
done in an undergraduate or graduate
program. Your portfolio should contain
between 12 and 20 examples of your
best work in traditional or digital media.
In addition to the portfolio, the written
statement of purpose is given significant
consideration. The intent of this portfolio
review is for you to demonstrate
creative potential and the potential
to successfully complete the master’s
degree program in Communications or
Package Design. Submit online at https://
pratt.slideroom.com. For international
applicants whose first language is not
English, a minimum TOEFL score of 575
(paper)/233 (computer)/90 (Internet)
is required.
School of Information and
Library Science
Library and Information Science M.S.
(Fall, spring, and summer entrance)
Manhattan campus
Applicants must have a superior
scholastic record or otherwise give
evidence of ability to perform work
on the graduate level. Applicants
are expected to offer evidence of
maturity and leadership potential
for the profession. An in-person or
telephone interview may be required;
applicants will be contacted by the
School of Information and Library
Science (SILS) if an interview is deemed
necessary. Applicants may apply for
non-matriculated status and take up to
six credits. International students whose
first language is not English must submit
a TOEFL score of at least 82 Internet.
Students who are not international but
whose first language is not English must
submit the TOEFL or GRE. Students may
continue to apply after the January 5th
deadline until the department is full. SILS
accepts applications on a rolling basis.
Library and Information Science
Advanced Certificates (Fall, summer, and
spring entrance) Manhattan campus
Applicants must hold a master’s degree
in library and information science. A
TOEFL score of 600 (250 computer, 100
Internet) is required.

School of Liberal Arts and Sciences
Media Studies M.A. (Fall entrance only)
Brooklyn campus
Applicants must submit 10–20 pages of
relevant writing sample(s), with emphasis
on analytical writing on any subject.
The sample should be uploaded to the
online application. A TOEFL score of 100
Internet is required.
Writing M.F.A. (Fall entrance only)
Brooklyn campus
Applicants must submit 10 to 20 pages
of relevant writing samples of any genre
with an emphasis on creative work. We
also welcome cross-genre writing and
writing that exists in relation to theory,
activism, performance, and visual art.
Upload your writing sample with your
online application. All applicants must
follow the standard admissions process
for graduate programs at Pratt. A TOEFL
score of 100 internet is required
History of Art and Design M.S. (Fall
entrance only) Brooklyn campus
Applicants must demonstrate the skill
of observation and description, analysis
and criticism, and the potential to
successfully complete the coursework
and to design and present a graduate
thesis of merit. Undergraduate study in
art and/or design history is encouraged,
and at least an introduction in those
fields should be included in the
completed undergraduate curriculum.
The application package must contain
Graduate Admissions
a personal statement explaining the
selection of Pratt and motivation for
the degree, a writing sample (5–10
pages) that demonstrates analytic and
communication skills, and recently
earned scores from the Graduate
Record Examination (GRE code R2669).
Applicants for whom English is not their
first language must submit the results of
the TOEFL Examination and score at least
600 (250 computer or 100 Internet.)
General Requirements
Deficiencies in Undergraduate
Preparation
Domestic applicants with deficiencies in
their undergraduate preparation of not
more than six credits may be admitted,
at the discretion of the department, on a
nonmatriculating basis for not more than
18 graduate credits. These students may
become matriculated upon completion
of at least eight graduate credits with
a grade of B or better. Applicants with
deficiencies of more than six credits
should apply as special students on
the undergraduate level and may
apply on the graduate level once these
deficiencies are satisfactorily removed.
Graduate Record Examination
Although Pratt Institute does not require
the Graduate Record Examination for
most programs, students who already
have taken this examination should
have the results forwarded to the
Office of Graduate Admissions. The
GRE is required for Architecture (first
259
professional), Art History, and the
combined Art History/Library Science
and combined Art History/Fine Art
programs. Pratt’s Institutional Code
is R2669.
Accepted International Students
All enrolling international students need
to submit International Student forms
to the Office of International Affairs.
International Students include students
who need an I-20 for the F1 student
visa as well as international students in
other immigration statuses. Students will
not be permitted to register for classes
until the forms are submitted. (U.S.
permanent residents are not considered
international students.)
Requesting the I-20
To request the I-20, first submit your
enrollment deposit to the Office of
Admissions. Then you will receive your
OneKey, which is a login and password.
This can take up to seven days to receive.
After you receive your OneKey, go to
MyPratt at www.pratt.edu/mypratt. Log in
with your OneKey. Under Pratt Resources,
go to Web Services, then International
Student Forms. Submit your I-20 Request
online and print out the PDFs to send with
the supplemental documents by express
mail directly to the Office of International
Affairs. For information, go to www.pratt.
edu/oia/I20. For questions, write to
oia@pratt.edu.
260
Enrolling International Students for
Admission to Pratt
In addition to providing the TOEFL
or IELTS, for admission to Pratt, all
international students who enroll whose
first language is not English are required
to take an English examination before
they register for classes. Students who
do not pass will be required to complete
Intensive English at Pratt. Students who
are otherwise acceptable but have
low English scores on the TOEFL may
be accepted provisionally and may be
required to take only English classes
until they achieve the TOEFL score
required by their department, at which
time they may enroll in their degree
courses. These students will receive an
I-20 for English only. Students who are
accepted with a possibility of needing
English language study indicated on their
I-20 and their acceptance letter will
be tested for English when they arrive
at Pratt. Students who need to take
English will take it with their academic
program unless they do not meet the
required score.
In calculating their expenses,
students should budget the tuition
equivalent of two credits per semester
for Intensive English courses.
TOEFL requirements: Most
departments require a TOEFL score
of 550 (paper)/213 (computer)/ 79
(Internet), although some require 600
(paper)/250 (computer)/100 (Internet).
Graduate Admissions
Health Requirements to enroll in the spring semester are
required to make a deposit of US $500
All new students need to submit
by December 1 or two weeks following
documentation, in English, of
acceptance, whichever comes later.
all immunizations (including two
The full amount of this nonrefundable
measles, one mumps, and one rubella
deposit is deducted from the student’s
immunization received after the first
first-semester tuition. The US $500, if
birthday) to the health services office
not paid online, must be in the form of an
prior to registration. All students should
international money order or via credit
submit the completed Health Form,
card for international students and can
parts A and B. The form is available in
be paid on the phone by calling graduate
the Enrollment Guide and online at the
admissions. A space will not be held for
Graduate Accepted Student page at
students who do not send the deposit.
www.pratt.edu/apply. All students are
required by Pratt Institute to carry health
Other Graduate Admissions Services
insurance providing acceptable coverage.
Readmission
Some countries have health insurance
plans that are valid in the United States. Graduate students must apply for
If a student cannot present evidence readmission if they were not in
of acceptable coverage, he or she will attendance for two consecutive
be required to subscribe to a health semesters (excluding summer session).
insurance plan provided by the Institute. Master of Science students in the
To request a waiver of health insurance Graduate School of Art and Design who
or enroll for health insurance through attend four consecutive summer sessions
Pratt, use the online waiver process do not have to apply for readmission
found online at www.pratt.edu/health. each summer. If they do not attend one
session of the four sessions offered, they
Notification and Deposit must apply for readmission. Students
applying for readmission must pay a $50
Applicants for fall with complete
readmission application fee. A graduate
applications by the deadline are generally
student who wishes to register after an
notified of the decision of the admissions
absence of two or more consecutive
committee by April 1. Applicants for
semesters, excluding summer session,
spring are notified by November 15.
must apply to the Office of the Registrar
Accepted students who plan to enroll
for readmission. The form is available
in the fall semester are required to
at www.pratt.edu/admissions/apply.
make a deposit of US $500 by April 15
Deadline dates for application are August
or two weeks following acceptance,
15 for the fall semester, December 15 for
whichever comes later. Deposits should
the spring semester, and May 1 for the
be paid online at https://payments.
summer session. A graduate student who
pratt.edu. Accepted students who plan

was accepted for admission but never
registered must reapply in writing to the
Office of Graduate Admissions.
Transfer Credits
The number of credits toward the
master’s degree that may be transferred
from another recognized graduate
institution varies within the schools
and programs, but generally it will not
exceed 25 percent of the total credits
required. The First-Professional Master
of Architecture Program has a residency
requirement of 66 percent, which
permits 33 percent of transfer credits.
Students interested in receiving graduate
transfer credits should arrange for an
appointment with their department
chair. Credit will be allowed for graduate
courses that are appropriate to the
curriculum at Pratt and that have been
passed with a grade of B or better.
Transfer credit is provisional until
the student has completed at least
15 semester hours of credit at Pratt
Institute. Credit for courses taken, with
permission, at another graduate school
while matriculated at Pratt is limited to a
maximum of six credits.
Graduate Admissions
Nonmatriculated/Special Students
Non-matriculated (non-degree) students
may take courses for graduate credit,
providing the department approves
the registration, but they may not be
admitted to candidacy for a degree
without first gaining admission to a
graduate degree program. No more
than a total of 18 credits may be taken
by a student with non-matriculated/
special status (no more than six credits
per semester). The non-degree form and
procedures can be found at www.pratt.
edu/apply.
Mailing Address
Graduate Office of Admissions
Pratt Institute
200 Willoughby Avenue
Brooklyn, NY 11205
admissions@pratt.edu
Tel: 718.636.3669 or 800.331.0834
Fax: 718.399.4242
Withdrawal After Deposit
Applicants who decide not to enroll after
submitting a deposit must notify the
admissions office by email (yhah@pratt.
edu) or mail as soon as possible. Deposits
are not refundable.
261
Deferring
Students may request a deferral to the
next available term by emailing Young Hah
at yhah@pratt.edu. Only one deferral
is permitted. The deposit must be
submitted for a deferral to be approved.
Title IX Statement
It is the policy of Pratt Institute to
comply with Title IX of the Education
Amendments of 1972, which prohibits
discrimination (including sexual
harassment and sexual violence) based
on sex in the Institute’s educational
programs and activities. Title IX also
prohibits retaliation for asserting
claims of sex discrimination. Pratt
Institute has designated its Title IX
Coordinator as Mai McDonald Graves to
coordinate Pratt Institute’s compliance
with and response to inquiries
concerning Title IX.
Contact Information:
Pratt Institute
Disability Resource Center
215 Willoughby Avenue (WH-1)
Suite 117
Brooklyn, NY 11205
Tel: 718.802.3123
Fax: 718.399.4544
A person may also file a written complaint
with the Department of Education’s
Office for Civil Rights regarding an
alleged violation of Title IX by visiting
www2.ed.gov/about/offices/list/
ocr/complaintintro.html or calling
800.421.3481.
262

Financial Aid
Pratt offers various kinds of assistance,
ranging from academic merit-based
scholarships to assistantships and loans.
Entering Graduate Students
Graduate students who are interested in
applying for federal aid must complete
and submit the Free Application for
Federal Student Aid (FAFSA) to the
Department of Education electronically
by March 1.
File electronically using the FAFSA or
renewal application at www.fafsa.ed.gov
or Pratt’s website. Do not submit more
than one application!
The FAFSA should be submitted no
later than March 1 if the student wishes
to receive timely notification of financial
aid. Other documents, such as federal
tax transcripts, may be requested and
must be submitted by May 15.
If financial need has been
established and adequate funding is
available, students are considered
for federal loan programs. Graduate
students are not eligible for Federal
Pell Grants and Federal Supplemental
Educational Opportunity Grants
(FSEOGs), and Subsidized Stafford Loans.
Manhattan Campus
144 West 14th Street, 3rd Floor
New York, NY 10011
Senior Financial Aid Counselor
Sonya Chestnut
schestnu@pratt.edu
212.647.7788
263
Currently Enrolled Graduate Students Pratt Restricted Awards and Scholarships
Students who are interested in applying
What is the purpose of the program?
for federal aid must submit the FAFSA to
To provide funds derived from Institute
the Department of Education. The FAFSA
endowments and restricted gifts that
should be filed no later than March 1 if
are granted to students according to
the student wishes to be advised of aid
the wishes of the donor and on the
in a timely fashion. Documents such as
recommendation of the appropriate
IRS tax transcripts may be requested. If
dean or departmental chair.
requested, they must be submitted by
May 15.
How much are the awards?
The Office of Financial Aid, upon
The awards range from $1,000 and up for
receipt of student grades, evaluates the
the academic year, for one year only.
eligibility of each applicant and sends
email notifications of the awards to
Who can receive this money?
continuing students in early summer, if
Full-time students who have applied for
the student has applied by March 1.
aid and have demonstrated financial
need and are making satisfactory
Grant and Scholarship Programs
academic progress. Some awards
Graduate Scholarships
are based on academic merit only,
What is the purpose of the program? and all are based on departmental
To provide funds to full-time students recommendations.
based on merit. These are awarded by
academic departments; all incoming How much do I have to pay back?
students are considered. There is no No repayment is required.
application form. They are renewable
with a 3.0 cumulative GPA.
Brooklyn Campus HEOP
200 Willoughby Avenue Assistant Director of Financial Aid
Myrtle Hall, Room 6 Savior Wright
Brooklyn, NY 11206 swright@pratt.edu
718.636.3563
Financial Aid Counselor
Leonor Santillana Office of Financial Aid
lsantill@pratt.edufravja@pratt.edu
www.pratt.edu/financing
718.399.4491
www.pratt.edu/financial-aid
264 Financial Aid

How do I apply? Rights and Responsibilities of Recipients Application Procedures

There are no special application forms All students must submit the FAFSA
For assistantships or fellowships to be
for restricted and endowed scholarships. before a determination of eligibility will
awarded in successive years, the student
Each department determines its own be made. Eligible candidates will be
must make satisfactory progress toward
application process. Recipients are notified by the Office of Financial Aid of
a degree and show financial need.
selected by deans or department chairs job assignments and the forms required
Students must not owe any refunds on
based on criteria established by donors. before initiating employment.
Federal Pell Grants or any other awards
These awards are made for one year only
paid, and not be in default of any
and are based on the availability of funds Selection of Recipients and
student loan.
in any given year. Allocation of Awards
The applicant must be enrolled full
Other Pratt Programs
Pratt Assistantships/Fellowships time (nine credits) at Pratt. Pratt makes
Pratt Student Employment Program
employment reasonably available to
What is the purpose of the program?
Student employment is funded
all eligible students who demonstrate
To provide funds and professional
entirely by Pratt Institute and offers an
need as per federal guidelines. In the
experience to help meet a student’s
opportunity for qualified students to
event that more students are eligible
costs from institutional sources.
work part time on campus. Applicants
for FCWS than there are funds available,
for student employment must complete
preference is given to students who have
How much are the awards?
and submit all required financial aid
greater financial need and who must earn
The assistantship awards range from
documents in order to qualify. These
a part of their educational expenses.
approximately $500 to $7,200 for the
funds are paid directly to students for
academic year and are paid directly to
campus job assignments and are not
Schedule
the student and are not deductible from
deductible from the Bursar’s bill.
Pratt arranges jobs on campus, for up to
the Bursar’s bill. Fellowships are credited
Students are responsible for
20 hours per week. Factors considered
to the Bursar’s bill.
submitting signed time sheets
by the Office of Financial Aid in
electronically to the Office of Student
determining whether the applicant may
Who can receive this money?
Employment. Employment forms
work under this program are financial
Graduate students with demonstrated
such as the W4, I-9, and Employment
need, class schedule, academic progress,
proficiency in their area of study.
Authorization Form must be completed
and specific skills. Level of salary must
prior to working or getting paid.
be at least the minimum wage; maximum
How much do I have to repay?
wage is dependent on the nature of the
No monetary repayment is required;
Federal Programs
job and the applicant’s qualifications.
students must complete assigned tasks.
Federal College Work-Study (FCWS)
Students may work for only one
What Is FCWS? department each semester.
How do I apply?
Federal College Work-Study is a federally
Through your department chair.
assisted employment program that Rights and Responsibilities of Recipients
offers qualified students a chance to Satisfactory academic progress must
earn money to help pay for educational be maintained. Students must not owe
expenses. These funds are paid directly any refunds on Federal Pell Grants or
to students for job assignments and are any other awards paid, and not be in
not deductible from the Institute’s bill. default on any student loan. Students are

responsible for submitting signed time
sheets electronically to the Office of
Student Employment. Employment forms
such as the W4, I-9, and Employment
Authorization Form must be submitted
prior to working.
Federal Unsubsidized Stafford Loans
These loans have the same terms and
conditions as Stafford Loans, except that
the borrower is responsible for interest
that accrues during deferment periods
(including in-school) and during the six-
month grace period. Interest may
be deferred while in school but interest
will be capitalized if the student requests
a deferment.
Program is open to students who
may not qualify for subsidized Federal
Stafford Loans. (Combined total cannot
exceed Stafford limits.)
Loan Schedule
Annual Loan Limit: $20,500—graduate
and professional students (unsubsidized)
The annual loan limits for students
enrolled in a program of study for less
than one academic year in length
are prorated.
Aggregate Loan Limits: $138,500—
undergraduate and graduate combined.
1. All student loans will be disbursed in
two installments, one each semester.
2. A percentage (approximately 1 percent)
of the loan amount will be deducted
from each disbursement as an
origination fee.
Financial Aid
Origination/Insurance Fees
Borrowers pay an origination fee of
1.073 percent. Interest rate is fixed at
5.41 percent, but may change July 1.
Rights and Responsibilities of Recipients
All borrowers are required to submit a
Master Promissory Note (MPN) to apply
for a Federal Direct Loan (subsidized and
unsubsidized). The MPN is an application
for the Stafford Loan Programs and is
valid for 10 years from the time that you
originally submit. Please keep in mind
that you will still have to submit the Free
Application for Federal Student Aid
(FAFSA) each year by March 1.
The Office of Financial Aid will
notify you via your electronic financial
aid award letter of your loan eligibility. If
any changes are made to your financial
aid, a new letter with the most current
information will be emailed to your Pratt
email address. You should keep all the
letters you receive from the Office of
Financial Aid in order to keep track of any
award revisions.
Along with your electronic award
letter you will be able to gain access
to an electronic master promissory
note (MPN). Prior borrowers may have
different interest and repayment terms
based on when they borrowed their
first loan.
All borrowers must attend school
at least half time to be eligible to
borrow any type of loan. Students who
are registered for Thesis in Progress
(TIP) also have a minimum attendance
requirement. The first year of TIP,
the student is considered full time for
financial aid purposes only; the second
265
year, the student is considered half
time for financial aid; and the third, the
student must be registered for at least
six credits in the major or electives to be
eligible for aid.
Six months after ceasing to be at
least a half-time student, the borrower
must make formal arrangements
with the Department of Education
to begin repayment. The following
regulations apply:
1. The minimum monthly payment will
be $50 plus interest.
2. The maximum repayment period is
10 years.
3. The maximum period of a loan from
date of the original note may not
exceed 15 years, excluding authorized
deferments of payments.
4. Repayment in whole or part may be
made at any time without penalty.
Disbursement and Refund of
Credit Balances
The Institute credits all loan disburse­
ments for graduate level students after
the add/drop period of each semester.
Your loan funds will be credited only if
you file all your required applications
in a timely fashion. If your loan funds
do not credit to your account as
expected, please contact your financial
aid counselor or contact the Office
of Financial Aid at 718.636.3599 for
assistance. If your loan amounts exceed
your balance, then you will be written a
refund check 14 days after this credit has
been created on your account. All refund
checks are mailed to students
at the address submitted to the
Registrar’s Office.
266
If you have any questions regarding
your refund checks, please feel free
to contact the Bursar’s Office at
718.636.3799.
Sources of Outside Scholarships
In addition to the Financial Aid
Information Center notices of
outside scholarships and scholarship
workshops held each month on campus,
the Financial Aid Office has lists of
agencies to which you may also apply.
(Contact Peggy West-Barton-Feagin at
718.399.4489 for more information.)
Academic Progress and Pursuit
Financial Assistance Standards
Standards of Academic Progress
for Determining Eligibility for Pratt and
Federal Financial Aid
Pratt applies minimum academic
progress standards to all students
receiving Pratt aid, federal aid, and state
aid (including loans).
Criteria
Measurable satisfactory academic
progress for a full-time graduate
student means:
• The student must complete a minimum
of nine credits each semester (TAP
recipients must complete a minimum
of 12 credits each semester).
• The student’s cumulative grade point
average (GPA) must not fall below 3.0.
Financial Aid
• Students receiving federal and Pratt program type shown on the chart
financial aid who drop credits will requires that as you begin each
be subject to adjustments in their term shown:
financial aid package.
• You must have earned at least the
required number of credits listed; and
Review Policies
The Office of Financial Aid will • You must have achieved the minimum
GPA. Both of these requirements must
periodically review the GPA and number
be met before loan certification can
of credits earned by each financial aid
occur.
recipient using his or her academic
transcript. Credits earned include
Standards of Degree Progress
only those for courses with A through
Master’s Degree/Post-Master’s
D grades.
Certificate
A student not meeting these
standards will be placed on financial Term GPA Credits
aid warning for one semester. After the 1 na 0
grades for the warning semester are 2 3.00 12
calculated, the student’s transcript will 3 3.00 21
be reviewed. If the student fails to meet 4 3.00 30
the standards, all of his or her financial 5 3.00 39
6 3.00 48
aid will be revoked beginning with the
7 3.00 57
semester following the warning semester.
8 3.00 66
Once the student meets the minimum
9 3.00 75
standards, he or she may reapply for
financial aid.
A student may choose to continue
to study without Title IV aid if the
department grants approval. In this
instance, the student must apply and be
approved for an alternative loan prior to
getting registration approval from the
Bursar’s Office.
Standards of Academic Progress for
Determining Eligibility for Student Aid
The following chart lists Pratt Institute’s
standards of degree progress for
determining eligibility. Note that each
 Financial Aid
Out-of-State Programs Virgin Islands
Other state or commonwealth Board of Education
scholarship programs and where to PO Box 11900
apply: St. Thomas, VI 00801
340.774.4546
Maryland
Higher Education Commission Washington, D.C.
State Scholarship Administration Washington, D.C. Grant Program
Jeffrey Building Educational Assistance Office
16 Francis Street, 219 2100 Martin Luther King Jr. Avenue
Annapolis, MD 21401-1700 Suite 401
410-260-4500 Washington, D.C. 20020
202.698.2400
Rhode Island
The above state and district programs
Rhode Island State Scholarship
are available only to residents of the
560 Jefferson Boulevard
appropriate state or district. Pratt knows
Warwick, RI 02886
of no other states that make awards to
800.922.9855
students at a New York college.
Vermont
United States Bureau of Indian Affairs
Vermont Student Assistance Corporation
Aid to Native Americans Higher
PO Box 2000
Winooski, VT 05404 Education Assistance Program
Application Procedures
800.645.3177
Application forms may be obtained from
the Bureau of Indian Affairs office. An
application is necessary for each year
of study. An official needs analysis from
Pratt’s Office of Financial Aid also is
required each year.
Each first-time applicant must
obtain tribal enrollment certification
from the bureau agency or tribe which
records enrollment for the tribe.
267
Selection of Recipient and
Allocation of Awards
To be eligible, the applicant must:
1. Be at least one-fourth American
Indian, Eskimo, or Aleut.
2. Be an enrolled member of a tribe,
band, or group recognized by the
Bureau of Indian Affairs.
3. Be enrolled in or accepted for
enrollment at Pratt, pursuing at least a
four-year degree.
4. Demonstrate financial need.
Veterans Administration
Educational Benefits
Application forms are available at all
Veterans Administration (VA) offices,
active duty stations, and American
embassies. Completed forms are
submitted to the nearest VA office. (See
Veterans Assistance under Registration.)
State Education Agencies
Alaska
Alaska Commission
on Post-Secondary Education
707 A Street, Suite 206
Anchorage, AK 99567
907.269.7973
Arkansas
Student Loan Guarantee Foundation
of Arkansas
10 Turtle Creek Lane
Little Rock, AR 72202
800.622.3446
268 Financial Aid

California New Hampshire Restricted Grants and Scholarships

California Student Aid Commission New Hampshire Higher Education There are no special application forms
3300 Vinsandel Drive Assistance Foundation for restricted and endowed scholarships.
Rancho Cordova, CA 95670 4 Barrell Court Recipients are selected by deans or
888.224.7268 Concord, NH 03302 department chairs based on criteria
603.255.6612 established by the donors. These
Connecticut awards are generally made to continuing
State Scholarship Program Commission New Jersey students in the spring semester for
for Higher Education New Jersey Higher Education one year only, and are based on the
PO Box 1329 Assistance Authority availability of funds in any given year.
Hartford, CT 06115 PO Box 545 Notification of scholarship and fellowship
860.713.6543 Trenton, NJ 08625 availability will be made by individual
800.792.8670 departments in the spring of each year.
Delaware
Delaware Post-Secondary New York School of Architecture
Education Commission New York State Higher Education
Collaborative Endowment for
Carvel State Office Building Services Corporation
Architecture/Peter Schreter
820 North French Street, 5th Floor 99 Washington Avenue
Endowed Scholarship
Wilmington, DE 19801 Albany, NY 12255
This scholarship endowment provides
800.292.7935 888.697.4372
recognition and financial assistance to
undergraduate students enrolled at Pratt
Florida Pennsylvania
Institute in the School of Architecture.
Bureau of Student Financial Assistance Pennsylvania Higher Education
325 W. Gaines Street Assistance Agency
Patrick F. Corvo ’88 Memorial Scholarship
Tallahassee, FL 32399.0400 State Grant and Special Programs Division
A scholarship established by the family
850.245.0414 1200 North 7th Street
and friends of Patrick Corvo, class of
Harrisburg, PA 17102
1988, in his memory. An award is given to
Illinois 800.692.7392
a student entering the final year of study
Illinois Student Assistance Commission
in the School of Architecture who has
500 West Monroe, 3rd Floor Texas
demonstrated a serious commitment to
Springfield, IL 62704 Texas Higher Education
the field of architecture.
800.899.4722 Coordinating Board
1200 E. Anderson Lane
Massachusetts Austin, TX 78752
American Student Assistance Corporation 800.242.3062
100 Cambridge Street
Boston, MA 02114
800.999.9080

Dream Big Endowed Scholarship
The Dream Big Endowed Scholarship
awards one annual partial scholarship
to an undergraduate in the School
of Architecture based on need and
merit, with financial need as the
primary consideration.
The G+B+M Architectural Scholarship
The G+B+M Architectural Scholarship
provides a need-based scholarship to an
undergraduate architecture student.
Goodstein Development Corporation
Scholarship in Honor of Jack and
Florence Goodstein
Established by Pratt alumnus
Steven H. Goodstein, class of 1966, in
memory of his parents, this scholarship
benefits students majoring
in Construction Management.
Benjamon Goldberger Memorial
Scholarship
The Benjamin Goldberger Memorial
Scholarship was established by Beatrice
Goldberger, class of 1934, in honor of
her father, Benjamin Goldberger, class
of 1909.
William Randolph Hearst Scholarship
The William Randolph Hearst Scholarship
is a fund established by the William
Randolph Hearst Foundation for students
in architecture. Financial need and
academic merit being equal, preference
is given to minority students.
Financial Aid
Amy C. Koe Endowed Scholarship
The Amy C. Koe Endowed Scholarship
is awarded to needy and deserving
students in the School of Architecture
with demonstrated financial need.
Charles Macchi Scholarship
The Charles Macchi Scholarship provides
one or more full or partial scholarships
to academically qualified students in the
School of Architecture.
David Mandl Memorial Scholarship
A scholarship established in memory of
David Mandl, the David Mandl Memorial
Scholarship supports deserving and
academically qualified students in the
School of Architecture.
Patrons Program Scholarship
A scholarship established by Pratt
family member Edmund S. Twining III,
the Patrons Program Scholarship
provides support to outstanding
architecture students.
Planning Scholarship
The Planning Scholarship fund was
established for students in the graduate
program in City and Regional Planning.
Pratt Planning Alumni Scholarship
A fund established by Pratt Planning
Alumni for students in the Graduate
Planning Program in the School
of Architecture.
269
Frank O. Price Scholarship
This fund was established by friends
of Professor Frank O. Price, longtime
teacher in the School of Architecture,
and is awarded to a worthy student.
Edward Re Jr. Scholarship
This scholarship was established by
Professor Edward D. Re Jr. in order to
aid students studying in the School of
Architecture and the Department of
Construction Management.
Donna and Martin Rich ’63
Architecture Travel Fund
This fund provides financial assistance
to students who are accepted into the
“Pratt In Rome” travel program.
Lee and Norman Rosenfeld Award
The Lee and Norman Rosenfeld
Award provides monetary awards to
professionally motivated, academically
qualified, and/or deserving
undergraduate students in the School
of Architecture who have completed
one year of study. Preference is given to
students who are honest and honorable,
as established by academic leadership
and character, and who will use the funds
to perpetuate their educational, creative,
and professional goals.
Clyde Lincoln Rounseville Scholarship
The Clyde Lincoln Rounseville Scholarship
is awarded to deserving students in the
School of Architecture.
270
Charles and Marie Schade
Endowed Scholarship
A scholarship established by Charles
and Marie Schade, the Charles and
Marie Schade Endowed Scholarship
provides aid to students in the School
of Art, School of Design, or School
of Architecture who demonstrate
good academic standing as well as
financial need.
Thomas F. and Tess L. Schutte
Endowed Scholarship
Named in commemoration of President
and Mrs. Schutte and in honor of the
President’s 20th anniversary at the
institution, the Thomas F. and Tess L.
Schutte Endowed Scholarship provides
scholarship support for undergraduate
students in the schools of Art, Design
and Architecture.
Vincent A. Stabile Endowed Scholarship
A scholarship fund established by Vincent
A. Stabile, class of 1940, the Vincent A.
Stabile Endowed Scholarship benefits
students in the School of Architecture.
Gihei and Sato Takeuchi Memorial
Endowed Scholarship
A scholarship established by John M.
Takeuchi in honor of his parents, the
Gihei and Sato Takeuchi Memorial
Endowed Scholarship is awarded to a
full-time student in her or his
second year studying in the School
of Architecture, who shows promise
through academic achievement.
Financial Aid
Lucinda Veikos Endowed Scholarship
A fund established by William and
Elizabeth Pedersen in memory of
Lucinda Veikos, class of 1992, the Lucinda
Veikos Endowed Scholarship benefits
a deserving student in the School
of Architecture.
Veikos Travel Scholarship for Architecture
Study and Travel
A scholarship established by Kohn
Pederson Fox Associates in memory of
Lucinda Veikos, class of 1992, for travel
abroad for a deserving student in the
School of Architecture.
Winnemore Endowed Scholarship
Established by Augustine E. Winnemore,
this scholarship is awarded to
outstanding students in the School
of Architecture.
School of Art
Art Students’ Association Scholarship
A fund raised by the Art Students’
Association over a period of years, this
scholarship is awarded by competition.
Mary Pratt Barringer Scholarship
A scholarship established by Mary Pratt
Barringer, awarded annually to five
incoming Delaware College of Art and
Design students to Pratt, selected by a
joint committee of representatives from
both schools.
The Reggie Behl Drawing Award
The Reggie Behl Drawing Award provides
a financial award annually to a student in
the School of Art who exhibits excellence
in drawing.
Sandra K. Benjamin-Hannibal Scholarship
A scholarship established in honor
of Sandra K. Benjamin-Hannibal,
awarded to two first-year students
who are in the process of completing
their Foundation Year studies and are
candidates or finalists in the Foundation
Art Competition.
Raymond and Mabel Bolton Art
and Design Scholarship
A scholarship fund established in honor
of Raymond and Mabel Bolton for
deserving students in the School of Art
and the School of Design.
Alma H. Borgfeldt Scholarship
A bequest by Alma H. Borgfeldt for
scholarships for worthy female students
to be selected by the dean of the School
of Art. The scholarships are awarded to
applicants who have majored in the study
of art in a public high school located in
Kings County (Brooklyn) and who reside
in Kings County (Brooklyn).
Mary Buckley and Joseph Parriott
Endowed Scholarship
Established by Mary Buckley, a former
professor at Pratt Institute who taught
in the Foundation Art Department, this
scholarship is awarded to Foundation
students who exhibit excellence in color
work and is intended to encourage work
in that discipline.

Robert F. Calrow Memorial Scholarship
A scholarship fund established by Trudi
Calrow in memory of her husband,
Robert F. Calrow, a well-known
painter and inspirational teacher. This
scholarship is awarded annually to a
Fine Arts major on the basis of merit
and need.
Andrea M. Cella and Grace Hansen
Cella Memorial Scholarship
The Andrea M. Cella and Grace Hansen
Cella Memorial Scholarship was
established by Robert and Warren Cella
and aids students in the School of Art
and the School of Design who actively
promote the arts in their community.
John A. Dreves Art and
Design Scholarship
A scholarship established from the Estate
of John A. Dreves, class of 1935, the John
A. Dreves Art and Design Scholarship
provides support for students in the
School of Art and the School of Design
who demonstrate financial need.
Faith Ellis Art Financial Aid Scholarship
A fund established by Faith Ellis, class
of 1939, in memory of her son Rolan
R. Ellis, the Faith Ellis Art Financial Aid
Scholarship allows students to access
special training as determined by the Art
Education Department.
Financial Aid
Jacques and Natasha Gelman
Endowed Scholarship
A scholarship established by Jacques
and Natasha Gelman, awarded to
undergraduate students in studio
arts who demonstrate exceptional
talent in drawing or painting. With the
level of creative merit being equal,
preference is given to those of Mexican
or Latino descent.
Anthony Gennarelli Memorial
Sculpture Award
The Anthony Gennarelli Memorial
Sculpture Award is awarded to students
enrolled at Pratt Institute who are
studying sculpture. The award is based
on artistic and academic merit, as well as
quality of student work.
Haskell Travel Scholarship
The Haskell Travel Scholarship was
established for students in the School of
Art and the School of Design for travel
abroad within two years of graduation.
Steve Horn Art and Design Award
The Steve Horn Art and Design Award is
a scholarship established by Steve Horn,
awarded annually to one outstanding
student studying Photography, Film, or
other media arts.
271
Elaine Gluckman Popowitz
Memorial Scholarship
The Elaine Gluckman Popowitz Memorial
Scholarship was established in memory
of Elaine Gluckman, class of 1981, a
faculty member of the Graduate Art
Therapy Department. The scholarship
is awarded annually to a second-year
student in the Graduate Creative Arts
Therapy Department who has exhibited
outstanding scholarship, integrity, and
concern for others.
Charles Pratt, Jr. Award for Excellence
in Photography
Established by Pratt Institute Trustee
Mike C. Pratt in honor of his father, the
Charles Pratt, Jr. Award for Excellence in
Photography is distributed annually to a
student in the Photography Department
at Pratt Institute and is based on a
combination of academic merit and
financial need.
Walter Rogalski Scholarship
The Walter Rogalski scholarship is
awarded annually to a graduate Fine Arts
student on the basis of merit and need.
The recipient is selected by a faculty
committee that reviews candidates
who exemplify the creative ability that
characterized the work of former Pratt
professor Walter Rogalski.
Anna K. Rust Endowed Scholarship for
Students in Art and Design
A scholarship for students in the Schoolof
Art and the School of Design established
by Leo Lewis Rust in memory of his wife,
Anna Klenke Rust, class of 1938.
272
Charles and Marie Schade
Endowed Scholarship
A scholarship established by Charles
and Marie Schade, the Charles and
Marie Schade Endowed Scholarship
provides aid to students in the School
of Art, School of Design, or School
of Architecture who demonstrate
good academic standing as well as
financial need.
Dorothy G. Schmidt Scholarship
A scholarship established in honor of
Dorothy G. Schmidt, used for elementary
and junior high school teachers seeking
courses at Pratt for professional
enhancement in their work of teaching
art and related subjects in the public
schools of Brooklyn. The scholarship is to
be awarded on the basis of need. Other
factors being equal, females shall be
given preference.
Frederick J. Schuback Endowed
Scholarship
The Frederick J. Schuback Endowed
Scholarship is awarded to one Fine
Arts undergraduate each year who is
in good academic standing and who
demonstrates financial need. The
scholarship was established in memory of
Frederick J. Schuback, class of 1975.
Thomas F. and Tess L. Schutte
Endowed Scholarship
Named in commemoration of President
and Mrs. Schutte and in honor of the
President’s 20th anniversary at the
institution, the Thomas F. and Tess L.
Schutte Endowed Scholarship provides
scholarship support for undergraduate
students in the schools of Art, Design
and Architecture.
Financial Aid
James Seeman Endowed Scholarship
Established by the family and friends
of interior design leader and muralist
James Seeman, this scholarship provides
resources for dedicated Painting
students, with preference given to those
who recently moved to the United States.
Monica Shay Scholarship
Established with gifts made in memory of
Professor Monica Shay, this scholarship
is awarded to a deserving student who
meets the following criteria: a graduate
student in the Department of Design
Management and Arts and Cultural
Management with demonstrated financial
need or dedicated and exemplary service
and commitment to the Department
of Design Management and Arts and
Cultural Management.
Ruth P. Taylor Scholarship
The Ruth P. Taylor Scholarship is a fund
established by the estate of Ruth P.
Taylor, class of 1921, for students in the
School of Art and the School of Design.
Virginia Pratt Thayer Scholarship
in Fine Arts
The Virginia Pratt Thayer Scholarship
in Fine Arts is a fund created by Robert
Thayer in memory of his mother, Virginia
Pratt Thayer, and provides scholarship aid
to an outstanding student entering his or
her junior year in the Fine Arts program.
Dorothy Toole Scholarship
Created through a bequest in the
will of Mrs. Dorothy Rodgers Toole,
class of 1931, the Dorothy Toole
Scholarship is for students who
demonstrate unusual interest and
talent in the field of fashion illustration.
Max Weber Scholarship
A gift given by Mrs. Max Weber and
Miss Frances Weber in memory of the
well-known artist who was a member
of the class of 1900. It provides annual
scholarship aid for students in the School
of Art and the School of Design.
Willard Scholarship
The Willard Scholarship was established
to aid students in the School of Art and
the School of Design who are graduates
of Washington Irving High School.
Henry Wolf Scholarship
An endowed scholarship fund, the
income of which is used to award
one or more scholarships to support
economically disadvantaged students
pursuing B.F.A.s or M.F.A.s in
Photography or Communications Design.
Irma Holland Wolstein Endowed
Scholarship
The Irma Holland Wolstein Endowed
Scholarship is a scholarship fund
established by Dr. Benjamin Wolstein
and provides gifted students in the Arts
Education program with financial aid.
 Financial Aid 273

School of Design Federico Castellon Endowed Scholarship Rick Goodwin Memorial Scholarship
A scholarship established by Hilda This scholarship fund is established with
Don Ariev Memorial Term Award
Castellon in memory of her husband, gifts made in memory of Rick Goodwin, a
A term award for Pratt graduate students
Federico Castellon. This scholarship is former faculty member in the Department
enrolled in their second year in Graduate
awarded on a yearly basis to a promising of Industrial Design, and supports an
Communications Design, in memory of
student in Graphic Arts. Industrial Design student based on
Pratt Professor Don Ariev, class of 1960.
financial need and academic merit.
This award is based strictly on merit.
Andrea M. Cella and Grace Hansen
Cella Memorial Scholarship Charles L. Goslin Endowed Memorial
Ralph Appelbaum Endowed Scholarship
The Andrea M. Cella and Grace Hansen Scholarship
The Ralph Appelbaum Endowed
Cella Memorial Scholarship was The Charles L. Goslin Endowed Memorial
Scholarship is a fund established by Ralph
established by Robert and Warren Cella Scholarship provides recognition and
Appelbaum and is awarded to Industrial
and aids students in the School of Art financial assistance, based on need
Design students on the basis of need
and the School of Design who actively and merit, to students enrolled in Pratt
and merit.
promote the arts in their community. Institute’s Communications Design
program in the School of Design.
Mary Pratt Barringer Scholarship
Coyne Family Foundation Scholarship
A scholarship established by Mary Pratt
A fund established by the Richard and Richard and Anne L. Boetzel
Barringer, awarded annually to five
Jean Coyne Family Foundation for Gunn Scholarship
incoming Delaware College of Art and
students in Communications Design. The Richard and Anne L. Boetzel Gunn
Design students to Pratt, selected by a
Scholarship is awarded annually to a
joint committee of representatives from
Tomie dePaola Scholarship student majoring in Communications
both schools.
An endowed scholarship supporting Design on the basis of scholarly
students majoring in Illustration, achievement, with preference given to
Bernice Bienenstock Scholarship
established by alumnus Tomie dePaola, students majoring in Advertising Design
The Bernice Bienenstock Scholarship
class of 1956. or Illustration. The scholarship is named
is awarded to students pursuing home
for and established by alumni from the
furnishings-related studies.
John A. Dreves Art and Design Scholarship class of 1937.
A scholarship established from the Estate
Ruth Campbell Bigelow and David E.
of John A. Dreves, class of 1935, the John Haskell Travel Scholarship
Bigelow Scholarship
A. Dreves Art and Design Scholarship The Haskell Travel Scholarship was
The Ruth Campbell Bigelow and David
provides support for students in the established for students in the School of
E. Bigelow Scholarship is awarded to a
School of Art and the School of Design Art and the School of Design for travel
student in Interior Design on the basis of
who demonstrate financial need. abroad within two years of graduation.
need and academic promise.

William Fogler Endowed Scholarship

Raymond and Mabel Bolton Art and
A scholarship established in memory
Design Scholarship
of Professor William A. Fogler, class
A scholarship fund established in honor
of 1955, for promising students in
of Raymond and Mabel Bolton for
Industrial Design.
deserving students in the School of Art
and the School of Design.
274
John and Joan Herlitz Memorial
Endowed Scholarship
This scholarship provides recognition
and financial assistance, based on need
and merit, to undergraduate students
enrolled in the Industrial Design
program in the School of Design. It was
established in memory of John Herlitz,
class of 1964, and Joan Herlitz.
The Bill and Barbara Hilson Scholarship
The Bill and Barbara Hilson Scholarship
provides merit-based, renewable partial
scholarships to incoming graduate
students in Communications Design.
The Hilson Family Fund
The Hilson Family Fund was established
by the Hilson Family to enhance and
strengthen the Graduate Communications
Design program. Part of the fund is used
for scholarships for students in Graduate
Communications Design.
Industrial Design Scholarship
The Industrial Design Scholarship
consists of a number of scholarships
from a fund established by business
contributions and is awarded to students
in Industrial Design for experimental
projects in the laboratory.
Melvin K. Jung Memorial Scholarship
The Melvin K. Jung Memorial Scholarship,
named in memory of an alumnus from
the class of 1975, is awarded to a worthy
graduate student in Industrial Design.
Financial Aid
Helen of Klucharka Endowed Scholarship
The Helen of Klucharka Endowed
Scholarship was established by Pearl
K. Schwartz in honor of her mother
and is awarded to students studying
Fashion Design.
Leeds Scholarship in Interior Design
A scholarship for Interior Design students,
this scholarship was established through a
gift from the estate of Harold Leeds.
Naomi Leff Excellence in Interior
Design Scholarship
Established with a generous bequest
from Naomi Leff, class of 1973, this
full scholarship is awarded annually to
one student who exhibits excellence in
Interior Design, who is in good academic
standing, and who demonstrates
financial need.
Herschel Levit Scholarship
Founded in 1986 by a group of donors
to honor Professor Herschel Levit’s
31 years of service to Pratt, this
scholarship is given to talented Pratt
students in their sophomore or junior
year, majoring in Advertising, Graphic
Design, or Illustration.
Ted and Betsy Lewin Endowed Scholarship
This fund was established by Pratt
alumni Ted Lewin, class of 1956, and
Betsy Lewin, class of 1959, and provides
support for Illustration students.
William L. Longyear Scholarship
A fund established by students, alumni,
and friends from the business world as a
tribute to William L. Longyear, associate
dean emeritus and former chair of the
Department of Advertising Design. It is
awarded annually to Communications
Design students and to graduate
Packaging Design students on the basis
of need and scholarship. The recipients
of the scholarship are nominated by
the department chairs and two faculty
members for approval by the deans of
the School of Art and the School
of Design.
The John S. Marquardt Award in
Communications Design
An endowed scholarship fund established
by George Klauber, class of 1952, in
memory of John S. Marquardt, class
of 1989. This scholarship is awarded
annually to outstanding undergraduates
majoring in Illustration, Advertising/Art
Direction, or Graphic Design, solely on
the basis of merit.
Phyllis and Conrad Milster Endowed
Scholarship
Established by Conrad Milster, Pratt
Institute’s Chief Engineer, the Phyllis and
Conrad Milster Endowed Scholarship
provides one or more annual partial
scholarships to undergraduate or
graduate students in the Industrial Design
Department.

Gino and Clarice Nahum
Memorial Scholarship
The Gino and Clarice Nahum Memorial
Scholarship provides scholarships
to professionally motivated and
academically qualified students in
undergraduate Communications Design,
who have already completed one year of
study at Pratt. Preference will be given to
undergraduate students who show great
potential, and the scholarship will be
awarded based on merit.
Point of Purchase Scholarship
The Point of Purchase Scholarship
is funded by grants from numerous
companies with significant interest in
the design of displays used at the Point
of Purchase (POP). An annual award
is given to either undergraduate or
graduate Industrial Design students who
have demonstrated design leadership
potential in the field of POP design.
Alan Pottasch Memorial Scholarship
A scholarship established by Lisa
Pottasch, honoring Alan Pottasch,
the Alan Pottasch Memorial
Scholarship supports undergraduate
Communications Design students, with
a preference given to those who have
declared a concentration in Advertising
Art Direction and display financial need.
Lillian Pratt Fashion Scholarship
A scholarship benefiting outstanding
juniors and seniors in Fashion Design,
established by Pratt family member
Lillian Pratt.
Financial Aid
Marc Rosen Scholarship
Funded by friends and associates of
Marc Rosen, class of 1970, in his honor,
this award is made to an outstanding
graduate Communications/Packaging
Design student. The recipient is selected
by the chair and members of the
faculty of the Department of Graduate
Communications/Packaging Design.
Barbara Hauben Ross Interior
Design Award
The Barbara Hauben Ross Interior
Design Award is a fund established to
honor two outstanding Interior Design
juniors annually.
Anna K. Rust Endowed Scholarship for
Students in Art and Design
A scholarship for students in the School of
Art and the School of Design established
by Leo Lewis Rust in memory of his wife,
Anna Klenke Rust, class of 1938.
David Saylor Scholarship for Design
The David Saylor Scholarship for Design
was established to benefit undergraduate
and graduate students in the School of
Design who are studying either Industrial
Design or Interior Design. Preference is
given to students who combine the fields
of industrial design and interior design
in their studies, or who plan to do so in
their careers.
275
Charles and Marie Schade
Endowed Scholarship
A scholarship established by Charles and
Marie Schade to aid students in either
the School of Art, School of Design, or
School of Architecture who demonstrate
good academic standing as well as
financial need.
Thomas F. and Tess L. Schutte
Endowed Scholarship
Named in commemoration of President
and Mrs. Schutte and in honor of the
President’s 20th anniversary at the
institution, the Thomas F. and Tess L.
Schutte Endowed Scholarship provides
scholarship support for undergraduate
students in the schools of Art, Design
and Architecture.
Seeman-Burse Fund
The Seeman-Burse Fund is a scholarship
for students in the School of Design,
specifically Fashion Design.
Selma Seigel Memorial Scholarship
A fund created by Morton Flaum, class
of 1971, in memory of Selma Seigel, that
provides scholarship aid to Interior
Design students in the School of Design.
Starr Foundation Scholarship
A scholarship fund established by the
Starr Foundation for students in the
Department of Communications Design.
Awards are made annually to three
students majoring in Illustration, Graphic
Design, or Advertising. Academic merit
being equal, preference will be given to
Asian students.
276
Ruth P. Taylor Scholarship
The Ruth P. Taylor Scholarship is a fund
established by the estate of Ruth P.
Taylor, class of 1921, for students in the
School of Art and the School of Design.
Dorothy Toole Scholarship
Created through a bequest in the will of
Mrs. Dorothy Rodgers Toole, class
of 1931, the Dorothy Toole Scholarship
is for students who demonstrate unusual
interest and talent in the field of
fashion illustration.
Max Weber Scholarship
A gift given by Mrs. Max Weber and
Miss Frances Weber in memory of the
well-known artist who was a member
of the class of 1900. It provides annual
scholarship aid for students in the School
of Art and the School of Design.
Stephan Weiss Endowed Scholarship
Funded by Donna Karan’s Karan-Weiss
Foundation and awarded to Fine Arts
students in good academic standing, this
scholarship honors Stephan Weiss.
Willard Scholarship
The Willard Scholarship was established
to aid students in the School of Art and
the School of Design who are graduates
of Washington Irving High School.
Financial Aid
Henry Wolf Scholarship Library School Graduates’
An endowed scholarship fund, the Association Scholarship
income of which is used to award The Library School Graduates’
one or more scholarships to support Association Scholarship is a fund
economically disadvantaged students established for graduate students in
pursuing B.F.A.s or M.F.A.s in Information and Library Science.
Photography or Communications Design.
Library Science Fund
School of Information and The Library Science Fund is a scholarship
Library Science fund for graduate students in Information
and Library Science.
Beta Phi Mu Scholarship
A scholarship fund established by Beta
S.M. Matta Endowed Scholarship in
Phi Mu, an honor society for elite
Information Technology
graduates in the School of Information
A scholarship established in honor
and Library Science.
of Seoud M. Matta, former dean
of the School of Information and
Mabel Bogardus Scholarship
Library Science.
Established for graduate students in
Information and Library Science, the
Sylvia G. Mechanic Merit Award in
Mabel Bogardus Scholarship is named for
Business Librarianship
an alumna from the class of 1913.
The Sylvia G. Mechanic Merit Award in
Business Librarianship is a scholarship
Dorothy M. Cooper Endowed Fellowship
for graduate students in Information and
The Dorothy M. Cooper Endowed
Library Science.
Fellowship, named for an alumna from
the class of 1931, was established from
Pratt-Severn Student Research Award
the Dorothy M. Cooper Trust to provide
in Information Science
support for students in the School of
This annual award, funded by a bequest
Information and Library Science.
from alumnus David Severn, class of
1968, is presented to a master’s degree
Morton D. Flaum Memorial Scholarship
student selected by the American
A scholarship established by Morton D.
Society for Information Science (ASIS).
Flaum, class of 1971, through his estate,
to benefit students in the School of
Marvin Scilken Endowed Scholarship
Information and Library Science.
A fund established in memory of Marvin
Scilken, class of 1960, a former faculty
member in the School of Information and
Library Science.

George Simor Scholarship
A scholarship fund established in memory
of George Simor, a former faculty
member in the School of Information and
Library Science.
The Edmund S. Twining III and Diana
Twining School of Information and Library
Science Fellowships in Florence
This fund provides two graduate
fellowships each summer for
students studying in the School of
Information and Library Science’s
Florence Summer Program.
H.W. Wilson Scholarship
A fund established by the H.W. Wilson
Foundation for graduate students in
Information and Library Science or
Liberal Arts and Sciences.
School of Liberal Arts and Sciences
Izchak Friedman Endowed Scholarship
An endowed fund established by Pratt
alumna Estelle Friedman, class of 1969,
and her children. It is named in memory
of her husband, Pratt alumnus, professor,
and dean of the School of Liberal Arts
and Sciences, Izchak Friedman, class
of 1962. The scholarship is awarded to
students with an interest in combining
science and the arts, based on merit and
financial need.
Financial Aid
Michael M. Mahoney Writers’ Fund
Named in memory of former Pratt
student Michael Mahoney, this award is
presented to undergraduate students
majoring in writing, specifically those
interested in writing for publication and
performance media. Recipients are
chosen by the dean of the School of
Liberal Arts and Sciences.
H.W. Wilson Scholarship
A fund established by the H.W. Wilson
Foundation for graduate students in
Information and Library Science or
Liberal Arts and Sciences.
All Schools
Alumni Scholarship
The Alumni Scholarship is a fund
established in 1957 by various alumni, the
income from which is used for scholarship
assistance for worthy students.
James W. Atkinson Memorial Scholarship
A scholarship established from the trust
of Yvonne Atkinson, in memory of her
husband James W. Atkinson, class of
1938, a generous and active alumnus
and graphic designer who headed
Pratt’s alumni branch in Detroit. This
fund provides resources for general
scholarship purposes.
Dorothy P. Barrett Endowed Scholarship
A fund established by the estate of
Dorothy P. Barrett for general charitable
and educational uses.
277
William Bingham II Scholarship
A trust for charitable purposes established
by the late William Bingham II for students
from Bethel, Maine, other towns in Oxford
County, Maine, or elsewhere in the state
of Maine (in that order).
Black Alumni of Pratt Endowed
Scholarship
A fund established to provide
scholarships to students who have
completed a year at Pratt, are in good
academic standing, and demonstrate a
need for financial assistance. Academic
standing and financial need being equal,
preference will be given to students of
African and Latino descent.
Elsa K. Brooks Scholarship
Created through a charitable gift annuity
from Elsa K. Brooks, class of 1939, this
scholarship is awarded to incoming
freshman students.
Helen R. Fecke Endowed Scholarship
Awarded to students in good academic
standing who demonstrate financial
need, the Helen R. Fecke Endowed
Scholarship is named for an alumna of
the class of 1926.
Esther Brigham Fisher Scholarship
A scholarship fund established by Edward
M. Fisher, in memory of his wife, to assist
Pratt Institute students.
Lewis H. Flynn Scholarship
A fund established under the will of Lewis
H. Flynn, class of 1916, for scholarship aid.
278
Ford-EEOC Scholarship
The Ford-EEOC Scholarship is an
endowment fund established by the Ford
Motor Company to provide scholarships
for students with demonstrated financial
need. Financial need being equal,
preference will be given to minorities,
women, Ford employees, their spouses,
and their children.
General Scholarship
A fund established in 1956 through gifts
from industries made as matching
scholarships or tuition grants, the income
from the General Scholarship is used for
general scholarship purposes.
Kathleen L. Gerla Endowment Scholarship
The Kathleen L. Gerla Endowment
Scholarship is a fund established by the
Kathleen L. Gerla Charitable Trust.
Wilson Y. Hancock Endowed Scholarship
A scholarship that provides general
support for students in good academic
standing, the Wilson Y. Hancock Endowed
Scholarship was established through a
bequest from the Estate of Elizabeth
Marie Hancock in memory of her late
husband, Wilson Y. Hancock, class of 1933.
Coby Hoffman Scholarship
The Coby Hoffman scholarship was
established to support students in the
School of Art and the School of Design.
Financial Aid
Ferdinand M. Junge Memorial Scholarship
A fund established from the estate of
Ferdinand M. Junge, the Ferdinand
M. Junge Memorial Scholarship is
awarded to talented and deserving
undergraduates who demonstrate
financial need.
Herman Y. Krinsky Scholarship Fund
for Disabled Students
A fund established for disabled students
in honor of former Pratt professor
Herman Y. Krinsky.
Jacob and Gwendolyn Lawrence
Endowed Scholarship
The Jacob and Gwendolyn
Lawrence Endowed Scholarship is
a fund established for general
scholarship support.
MacDonald Scholarship
This scholarship, named in honor of
Helen Babbott MacDonald, provides
financial resources to an undergraduate
student at Pratt Institute. The award is
granted based on financial need and
academic merit.
Margaret A. Middleditch Fund
The Margaret A. Middleditch Fund is a
fund established anonymously to finance
scholarship or maintenance abroad, or
the travel itself.
Leo J. Pantas Residence Center
Scholarship
A scholarship established by Leo J.
Pantas, class of 1937, trustee emeritus,
with a matching grant from Eaton
Corporation. The scholarship is awarded
to a full-time student with financial need
living in Pantas Residence Hall.
Pratt Art Supply Product Scholarship
A fund established by the Pratt Art Supply
Shop to provide supply scholarships for
qualifying students. Scholarships will be
awarded annually during a scholarship
and fall trade show.
Charles Pratt II Memorial Scholarship
This endowed scholarship was
established by Edmund Twining III in
memory of his grandfather, Charles
Pratt II, to support any full-time
student at Pratt Institute who best
demonstrates the ideals of the founder
of Pratt Institute. These are defined
as leadership, community service, and
self-motivation. Additionally, the award
is made to a student who demonstrates
artistic achievement at the college level.
George D. Pratt Scholarship
A scholarship fund established by Vera
H. A. Pratt in memory of her husband,
George D. Pratt, for worthy students.

Richardson (Jerry) Pratt Endowed
Scholarship
Funded by gifts from the Pratt family and
established in honor of Richardson Pratt
Jr., former president of Pratt, this
scholarship is awarded to outstanding
students with demonstrated financial need.
Richardson and Mary O. Pratt Scholarship
This scholarship, made possible by
the gifts of various donors, honors
the legacies of Richardson Pratt Jr.,
former president of Pratt, and his wife,
Mary O. Pratt.
Paige Rense Scholarship
A scholarship established in honor of
Paige Rense.
Raoul Settle Scholarship
A fund established in memory of Raoul
Settle, class of 1952.
Irene C. Shea Endowed Scholarship
A fund established by Irene C. Shea,
class of 1934, for students who
demonstrate financial need and are in
good academic standing.
Katherine Pratt Twitchell Fund
A fund established in memory of
Katherine Pratt Twitchell.
Financial Aid
Utrecht Scholarships
The Utrecht Scholarships will provide
four merit-based scholarships to
support undergraduate students at
Pratt Institute.
J. Sherwood Weber Memorial Scholarship
A fund established in memory of J.
Sherwood Weber, former provost and
faculty member, to be awarded annually
to an outstanding student in any school.
The Jae Kwan Woo Scholarship
Established by former Pratt trustee and
alumnus Young S. Woo, class of 1980, the
Jae Kwan Woo Scholarship will provide
partial scholarships to Pratt Institute
undergraduate students based on merit
and need. With the level of academic
merit and financial need being equal,
preference will be given to students from
Korea or of Korean descent.
279
International Student Scholarships
The International Student Scholarship
for the academic year 2015–16 will be
available to those students who have
encountered financial hardship. Students
must demonstrate unforeseen economic
need. A Financial Aid Committee will
determine the eligibility of the applicant.
The scholarship funds are very limited.
Since the award is based only on
unforeseen economic need, there is no
application deadline. The scholarship,
if awarded, is to be used for tuition and
fees only.
You Must Follow These Guidelines:
1. You must in be in good academic
standing and must submit the latest
copy of your transcript.
2. You must have been enrolled at Pratt
for at least one academic year.
3. You must have clearance from the
Office of the Bursar. Those who have
any outstanding debts with the Bursar
will not be considered.
4. You must submit copies of bank
statements for the past six months;
telephone, utility, and rent bills; and a
budget for the academic year.
5. If you are sponsored, you must
submit proof of your sponsor’s
inability to continue with the financial
commitment.
280
6. You must submit a statement outlining
your academic goals at Pratt, as well as
what contributions you have made as
an international student to the campus
life and why you need the scholarship.
7. You must submit a letter of
recommendation.
8. If you are receiving Pratt’s financial
assistance, your travels will be
restricted.
The above-listed documents must
be submitted as proof of unforeseen
economic need to the Office of
International Affairs, attention: Jane Bush.
Financial Aid
Financial Aid Instructions and Schedule
All application materials are available
at www.pratt.edu/financing. You must
submit the following to be considered
for federal, state, and Pratt Institute
aid (including bank loans) for the next
academic year:
1. Financial aid forms for 2015–16
Free Application for Federal Student
Aid (FAFSA). You send the FAFSA to the
federal processor. We strongly suggest
it be completed and be submitted
electronically, online at www.fafsa.
ed.gov or at the financial aid section of
Pratt’s website.
2. IRS tax transcript for 2014, if
requested. If you did not file a tax
return, you must submit a notarized
letter stating your source of income.
Mail to:
Office of Financial Aid
Pratt Institute
200 Willoughby Avenue
Brooklyn, N.Y. 11205
718.636.3739 fax
Deadline: May 15, 2015, for requested
tax transcript.
3. Direct subsidized and
unsubsidized loans
Continuing students who wish to
apply for a loan should file the FAFSA
by February 1. If you filed the Master
Promissory Note (MPN) last year, you
don’t have to submit another MPN
loan application. We can only notify
students of their loan eligibility levels
in the electronic award letter, which is
sent to your Pratt email address.
4. Other information we request
A financial aid counselor may ask
for additional information and or
documentation after your application
is reviewed. Respond quickly—we can’t
finalize your aid until we receive the
requested information.
Mail early. We award financial aid only
when your file is complete! Call us with
questions at 718.636.3599 or email at
finaid@pratt.edu.
For the 2015–2016 academic year, please
refer to the financial aid section of the
Pratt website: www.pratt.edu/financing.

Costs
The following approximate costs are in
effect at the time of publication. They
are subject to change by action of the
Board of Trustees. The Institute reserves
the right to change regulations at any
time without prior notice. It also reserves
the right to change tuition and fees as
necessary. Tuition and fees are payable
in full at the time of registration.
Graduate
No flat rate. $1,591 per credit. Note:
The charge per credit for the School of
Information and Library Science is $1,278.
Fees
Fees vary according to program. For a
complete listing of fees, see next page.
Please refer to the undergraduate bulletin
for undergraduate tuition and fees.
Bursar
Yvette Mack
ymack@pratt.edu
Associate Bursar
Loretta Edwards
ledwards@pratt.edu
281
Tuition and Fees
Books and Supplies Tuition Payment
Undergraduate and graduate students
Approximately $2,500 per year,
are charged tuition according to their
depending on program.
enrollment status. An undergraduate
student taking a graduate course
Other Expenses
applicable to his or her undergraduate
For resident students (students living
degree is charged at the undergraduate
away from home in either on-campus or
rate. A graduate student taking an
off-campus housing), an estimated $600
undergraduate course is charged tuition
per month (for a nine-month period)
at the graduate rate.
should be allowed for food, housing,
clothing, and other personal needs. For
Terms of Payment
commuter students (students living at
Bills are payable by personal or certified
home), an estimated $250 per month
check, money order, VISA, MasterCard,
should be allowed for personal expenses
American Express, Discover, debit
and transportation.
cards featuring the NYCE symbol, or
Students provide their own textbooks
wire transfer in advance of each term.
and instructional and art supplies. These
Checks should be made payable to Pratt
books and supplies may be purchased
Institute. Payment is also accepted
either online or at local art supply stores.
online. Payment for fall is due August 1 for
Bookstore expenses are not chargeable to
all students. There is a 2.5% convenience
the student’s Institute tuition account. For
fee charged with each credit card
those students who have a third-party
transaction. Library fines, lost ID cards,
book voucher, they must purchase their
and fees not charged to your student
books up front and provide the voucher
account do not incur the fee. Pratt Card
with eligible copies of the receipt in order
transactions also do not incur the fee.
to be reimbursed.
E-checks are free.
Associate Bursar Manhattan Office
Madeline Vega-Mourad Tel: 718.636.3539  |  Fax: 718.636.3740
mvegamou@pratt.edu bursar@pratt.edu
282 Tuition and Fees

Available Payment Plan through Tuition Pratt Institute Graduate Fees Academic Facilities Fees
Management Systems Deferred Plan General Fees
$350 Each fall and spring term:
Option (Fall- and Spring-Based)
$50 Application fee full-time students
This deferred payment plan may be
$90 Application fee/ $195 Each fall and spring term:
implemented on a yearly basis or
international students part-time students (This fee is
semester basis. This plan enables the
$500 Acceptance deposit targeted to improve facilities,
student to pay both fall and spring*
$300 Residence deposit equipment, and materials that
over eight, nine, or 10 months, beginning
directly enhance instruction.)
with July 15 for the 10-month plan for
continuing students. The start date Activities Fees $75 International student services
of August 15 for the nine-month plan fee (This fee is targeted to
$106 Graduate activities fee each
or September 15 for the eight-month improve the quality of services
fall and spring term: full-time
plan is available for new students. available to the international
students
Brochures explaining this plan (including student.)
$84 Graduate activities fee each
an application) are available through the $195 Each summer term for
fall and spring term: part-time
Tuition Management Systems (TMS) firm. all students
students
The fee is $105 for the year. There is
also a semester-based plan for $97 each
Architecture Fees
semester. TMS will provide an easy- Technology Fees
to-use worksheet to assist the student $45 Architecture shop fee. Each fall,
$325 Each fall and spring term:
in budgeting educational expenses for spring, summer term: full-time
full-time students
the year. A semester-based plan is also and part-time students
$165 Each fall and spring term:
available. For further information, call
part-time students
or write:
$165 Each summer term for all Digital Arts Lab Fees
students $45 per All 100/200/300- level
Tuition Management Systems
171 Service Avenue, Second Floor course DDA courses
Warwick, RI 02886 $55 per All 400/500-level DDA courses
800.722.4867 course
www.afford.com/PRATT $65 per All 600-level DDA courses
course
Please notify the Bursar’s Office if you
are using TMS.

Pratt Institute
Office of the Bursar/
Student Financial Services
200 Willoughby Avenue
Brooklyn, NY 11205
Tel. 718.636.3539
bursar@pratt.edu

* The plan is not available for summer.

 Tuition and Fees 283

Fine Arts Shop Fee (per course): Health Services Fees Fine Arts Studio Refundable Deposits
Fall and Spring M.F.A. Fine Arts Refundable
$185 Each fall and spring term:
Studio Deposit
$50 All 200–600-level courses in full-time students
Sculpture $94 Each fall and spring term: $50 Deposit for the entire program
$45 All 200–600-level courses in part-time students Deposits are paid to the Bursar’s Office
Ceramics and refunded by check.
$45 All 200–600-level courses in $25 Deposit for key replacement
Miscellaneous Fees
Jewelry
$100 Shop Safety Certification Class Returned Check Fees
$45 All 200–600-level courses in
$35 Fee for issuance of
Printmaking $25 1.25 percent interest fee is
duplicate diploma
assessed on all delinquent
Students not enrolled in ceramics $55 Readmission fee
accounts one month or older
courses, but requesting use of facilities $20 Leave of absence fee
and clay: $75 $100 Portfolio/work experience
Transcript Request Fee* (Per Copy)
deposit
$383 Fee–30 percent of per-credit $7.50 By Internet,
Health Insurance Fees
charge–SILS www.pratt.edu/registrar
TBD Mandatory fee per semester.
$477 Fee–30 percent of per-credit $10 By Internet, www.pratt.edu/
May be waived with proof of
charge–graduate registrar (request leaves Pratt
personal health insurance.
within one working day of
receipt on campus)
Thesis-in-Progress Fees $15 In-person requests

Each semester of In-Progress varies by $18.50 UPS Service

academic department. All fees are charged 100 percent
when dropping classes during the add/
Late Payment Fees drop period.

a. A late fee of $80 will be charged for Auditing Courses

any unpaid balance after the initial Students and Community
disbursement of financial aid has Pay 50 percent of the published “per
been applied for each semester. credit” tuition rate for each course.

b. A late registration fee of $55 will

be charged after the first 15 days Pratt Alumni
of each semester/session for Pay 40 percent of the published “per
students who did not complete their credit” tuition rate for each course.
registration during their designated
All persons auditing courses are charged
registration period.
100 percent of all fees.

* Subject to change.
284
Zero-Credit Internships
Zero-credit internships may have billing
credits which are charged at 30 percent
of the “per credit” rate. All zero credit
internships are charged 100 percent of
all fees.
Course Withdrawal Refunds
Procedures for official withdrawals are
as follows:
Students who want to withdraw
must fill out the official withdrawal form
(available in the student’s academic
department), have the form signed by
the Office of the Bursar, and submit
it immediately to the Office of the
Registrar. Refunds are determined by
the date the add/drop or complete
withdrawal form is signed by the Office of
the Registrar.
For all students, the following course
withdrawal penalty schedules apply.
Tuition and Fees
Pratt Institute Refund Policy
Full Refund
Withdrawal prior to and including the
opening day of term
85 Percent Tuition Refund
Withdrawal from the second through
eighth day of the term
70 Percent Tuition Refund
Withdrawal from the ninth through 15th
day of the term
55 Percent Tuition Refund
Withdrawal from the 16th through 22nd
day of the term
No Refund
Withdrawal after the 22nd day of the term
Individual fees are not refundable
after the first day of the term. Once a
student’s request is received, processing
takes approximately 10 working days.
Liability is computed from the date
the form is signed by the registrar
staff. Withdrawals may not be made by
telephone. Check registration schedules
and the Institute’s calendar for exact
liability deadline dates each semester.
Withdrawal from courses does
not automatically cancel housing or
meal plans. Penalties for housing and
meal plans are calculated based on the
date the student submits a completed
Adjustment Form to the Office of
Residential Life.
Refunds for withdrawn courses are
not automatic and must be requested
from the Office of the Bursar.
Refunds on Student’s Credit Balance
A credit balance on a student’s account
after applying Title IV funds (Federal
Student Aid Funds) will be automatically
refunded and a refund will be mailed or
applied to the debit card within 14 days
of the later of any of the following dates:
1. the date the credit balance occurs.
2. the first day of classes of a payment
period of enrollment.
3. the date the student rescinds his
or her authorization to apply Title
IV funds to other charges or for the
Institute to hold excess funds.
Refund checks are valid for 90 days
from the date of the check issued. In
keeping with federal regulations, all
Title IV (Federal Student Aid) checks
not cashed within the time frame listed
above will be considered unclaimed and
will result in funds being returned to the
federal government.
Before such actions are taken,
students will be notified by email.
Banking Facilities
Arrangements have been made with a bank
on campus for students to open accounts,
making it possible to cash personal checks
with the Pratt ID (providing the student’s
available bank account balance covers the
amount of the check to be cashed) and a
primary ID (state-issued or passport). An
automated teller machine is also available
on campus.

Billing
Bills are mailed to one address. One copy
of each bill will be mailed to the address
the student lists as his or her billing
address on registration records. A billing
address may be established, changed, or
deleted at any time by writing or visiting
the Office of the Registrar. Due dates
cannot be extended because bills have
not been received.
If no billing address is specified, bills
are mailed to the permanent address.
You may also pay online at www.
www.pratt.edu/mypratt.
Billing Schedule
For those students who have registered,
fall semester bills are mailed during the
first week of July, and spring semester
bills are mailed during the first week
of December. All other bills, including
summer, are available online. Fall bills are
available online after July 1, if registration
has already occurred.
If you do not receive a bill, you may
contact the Office of the Bursar prior
to the due date to ascertain the amount
due. Please consult the costs section
and your housing license if you need
an earlier estimate. Consult the annual
Academic Calendar and Academic Guide
for exact payment deadlines.
Tuition and Fees
Late Payment Fee and Interest
A late payment fee is assessed each
semester on all bills remaining unpaid, in
whole or in part, after the due date for the
semester. An interest fee of 1.25 percent
per month is assessed on all delinquent
accounts one month or older.
Notice of IRS Filing
For any cash amount paid totaling
$10,000 or more made within a 12-month
period, the IRS form 8300 will be
completed and sent to the IRS. Please be
sure to present photo ID.
Payments
Payments must include the student’s
name and student ID number. Checks
and money orders should be made
payable to Pratt Institute in U.S. dollars
and drawn on a U.S. bank. Checks drawn
on an international bank may delay credit
to the student’s account and may be
subject to a collection fee imposed by
Pratt’s bank.
Students may pay in person and
receive a receipt by presenting the
invoice and payment to the Bursar’s
Office, Myrtle Hall 6th Floor, between
10 AM and 4 PM, Monday, Tuesday,
Wednesday, and Friday. Evening hours
are on Thursdays. Payment by mail avoids
waiting in line. Please allow five working
days for mail delivery and a minimum of
three weeks for processing.
A staff member is available for
questions in the Manhattan Campus
Wednesdays from 9 AM to 5 PM, located
on the second floor in room 207.
The office does not take any forms
of payment, nor does it distribute
refund checks.
285
Returned Checks
The Institute charges a processing fee
of up to $25 when a check is returned
by the student’s bank for any reason.
Any check in payment of an Institute
charge that is returned by the bank may
result in a late-payment charge, as well
as a returned-check charge.
Adjustments
We strongly recommend that you view
your bill online periodically. In addition,
we recommend giving parents or any
third-party payer access to the Parent
Module so they can view/pay your
bill online. A student who contests
a portion of the bill should pay the
uncontested portion by the due date
and immediately contact the appropriate
office to request an adjustment.
Adjustments should be pursued and
resolved immediately to avoid a hold on
registration or grades.
Direct Loans (Stafford, PLUS)
Loan funds are sent to Pratt by the
federal government electronically (EFT).
Funds will be disbursed in accordance
with federal regulations, and a signature
may be required.
286
Alternative Loan Checks
In some instances, lenders disburse
Alternative Loans in paper check form
which may require a signature. Loan
checks are made payable jointly to Pratt
Institute and the student. Payee must
endorse the checks before they can be
applied to the student’s account.
The student will be held responsible
for the loan portion of the balance on
his or her account whether or not he or
she receives the loan. It is the student’s
responsibility to contact the federal
government when delays occur. A
student whose Institute bills are overdue
will not be allowed to register in the
Institute, receive grades, transcripts, or
diploma, or have enrollment or degrees
confirmed until financial obligations are
paid in full.
PLUS Loan checks are sent to the
parent directly unless a parent gives
written consent to have any PLUS loan
excess returned to the student.
Registration (First Day of Class)
We reserve the right to restrict
eligibility for registration for students
with high balances.
Collection Accounts
The student will be responsible for
all collection costs associated with
delinquent accounts forwarded to
an outside collection agency because
of nonpayment.
Tuition and Fees
Pratt Prepaid Discover Debit Card
The Pratt Prepaid Discover Debit card is a
faster way for you to receive your tuition
refunds. Partnering with www.acceluraid.
com, students have the flexibility of
receiving their tuition refunds in a variety
of ways. You can now manage and receive
your funds faster than ever, plus have
the convenience of carrying a Discover
branded debit card. This card will serve as
your student refund card for the duration
of your studies at Pratt Institute. All
future student refunds will be disbursed
through it so you must be careful not to
misplace the card.
The Accelluraid ATM located in the
Design Center is the FREE ATM where
no charges are assessed for withdrawing
funds. You may use the Sovereign
Bank ATM located by the guard booth;
however, fees will apply.
You can also transfer the available
funds to your personal checking/savings
account or request a paper check be
mailed to you, at no cost.
Included with your card are
instructions on how to activate and use
it. The Acceluraid Company administers
the card. All questions regarding your
card can be answered through the
Acceluraid website, www.acceluraid.
com/pratt or for more information
regarding the debit card please see
www.pratt.edu/debitcard. If you have
not received a card and would like
one, please contact the Bursar’s office
directly at bursar@pratt.edu.
peerTransfer for International Students
Pratt Institute is always looking for ways
to accommodate the busy lives of our
students. With you in mind, Pratt Institute
has recently partnered with peerTransfer
Corporation to offer an innovative way
to streamline your international tuition
payments. Developed by an international
student, peerTransfer offers a simple,
secure, and cost-effective method for
transferring and processing education
payments in foreign currencies.
By offering favorable conversion
rates unmatched by larger financial
institutions, peerTransfer enables Pratt’s
international students to pay from any
country and any bank while saving a
significant amount of money.
Furthermore, students will be able to:
1. Track the progress of their payment
throughout the transfer.
2. Be alerted when their payment is
received.
3. Track the progress of their tuition
payments via an online dashboard and
be assured that their payments are
going to the correct account.
You can find the link to the peerTransfer
solution on the www.pratt.edu/bursar web-
site or by visiting www.peerTransfer.com.

In order to attend any course at Pratt
Institute, a student must:
1. Be formally approved for admission.
• Matriculated students will receive an
acceptance letter/email that includes
a OneKey (username) and ID number
(initial password). It may also include
additional requisites required for
admission to a program.
• All final and official college and high
school transcripts (indicating date of
graduation) must be submitted to the
Institute prior to enrollment.
• Non-matriculated students will be
provided this information once they
submit a non-matriculated student
application in the Registrar’s Office and
pay the fee. They do not have to follow
steps 2 and 3.
2. Meet with an academic advisor and
have a program of courses approved
by that advisor on Academic Tools—the
portion of www.pratt.edu/mypratt
that allows students to register for
classes, add or drop sections, view
their grades, and review their degree
audit. Your academic advisor and your
appointment dates for advisement and
registration are listed on your degree
audit. Students should contact their
advisor for assistance.
3. Register for the approved courses
online during the designated
registration period. A student’s
registration date is displayed under the
student’s name when he or she logs
in to www.pratt.edu/mypratt. Online
registration is done on Academic Tools.
Tuition and Fees
4. Pay prescribed tuition and fees to
the Bursar. Students—and persons
approved by that student via the
Parent Module—can view the bill on
www.pratt.edu/mypratt. See the
Tuition and Fees section of this Bulletin
for more information.
Students are fully responsible for tuition
and fees after they complete steps 1
through 3 above. If students do not
complete Step 4 before the first day
of class, their unpaid registrations may
be canceled according to the payment
schedule. Responsibility for a correct
registration and a correct academic
record rests entirely with the student.
Students are responsible for knowing
regulations regarding withdrawals,
refund deadlines, program changes, and
academic policies.
Instructors will not admit students
to classes in which they are not officially
registered. Proof of official registration
may be obtained in the Office of the
Registrar or through the Academic Tools.
Any student who attends a class without
valid registration (i.e., they are not on the
official class roster) will not have credits
or a grade recorded for that course.
Identification Cards and Services
As part of orientation, new students are
issued identification cards. Students
must present their PrattCard to receive
services and privileges, to gain entry
into campus buildings, and to identify
themselves to Institute officers as
necessary. People who cannot or will not
287
produce a student identification card
are not recognized as students and are
not entitled to student services. To find
out more about the PrattCard, log in at
www.pratt.edu/mypratt (the PrattCard
is on the left side of the dashboard).
The PrattCard Office is located in the
Activities and Resource Center (ARC),
Lower Level, Room A109.
Pratt Email Accounts and
My.Pratt Access
The portal www.pratt.edu/mypratt is
Pratt’s interactive student gateway. It
provides access to grades, schedules,
bills, applications for graduation, and
transcripts, as well as other academic
information. No additional applications or
activations are necessary.
All student user names are
automatically assigned by the Information
Technology Office. Pratt email and www.
pratt.edu/mypratt accounts are assigned
to all students at the time of admission.
The Admissions Office mails a letter to all
deposited students with their Pratt email
address and ID number.
288

Registration and
Academic Policies
In order to attend any course at Pratt
Institute, a student must:
1. Be formally approved for admission.
• Matriculated students will receive an
acceptance letter/email that includes
a OneKey (username) and ID number
(initial password). It may also include
additional requisites required for
admission to a program.
• All final and official college and high
school transcripts (indicating date of
graduation) must be submitted to the
Institute prior to enrollment.
• Non-matriculated students will be
provided this information once they
submit a non-matriculated student
application in the Registrar’s Office
and pay the fee. They do not have to
follow steps 2 and 3.
2. Meet with an academic advisor and
have a program of courses approved
by that advisor on Academic Tools—the
portion of www.pratt.edu/mypratt
that allows students to register for
Registrar
Lisle Henderson
lhenders@pratt.edu
Assistant Registrars
Marcia Approo
mapproo@pratt.edu
classes, add or drop sections, view
their grades, and review their degree
audit. Your academic advisor and your
appointment dates for advisement and
registration are listed on your degree
audit. Students should contact their
advisor for assistance.
3. Register for the approved courses
online during the designated
registration period. A student’s
registration date is displayed under
the student’s name when he or she
logs in to www.pratt.edu/mypratt.
Online registration is done on
Academic Tools.
4. Pay prescribed tuition and fees to
the Bursar. Students—and persons
approved by that student via the
Parent Module—can view the bill on
www.pratt.edu/mypratt. See the
Tuition and Fees section of this Bulletin
for more information.
Students are fully responsible for tuition
and fees after they complete steps 1
through 3 above. If students do not
complete Step 4 before the first day
Tashana Curtis
tcurtis6@pratt.edu
Matthew Townsend
mtownse@pratt.edu
289
of class, their unpaid registrations may
be canceled according to the payment
schedule. Responsibility for a correct
registration and a correct academic
record rests entirely with the student.
Students are responsible for knowing
regulations regarding withdrawals,
refund deadlines, program changes, and
academic policies.
Instructors will not admit students
to classes in which they are not officially
registered. Proof of official registration
may be obtained in the Office of the
Registrar or through the Academic Tools.
Any student who attends a class without
valid registration (i.e., they are not on the
official class roster) will not have credits
or a grade recorded for that course.
TAP Certification Officer/
Veterans Advisor
Charlotte Outlaw-Yorker
coutlaw@pratt.edu
Office
Tel: 718.636.3663  |  Fax: 718.636.3548
reg@pratt.edu
290
Identification Cards and Services
As part of orientation, new students are
issued identification cards. Students
must present their PrattCard to receive
services and privileges, to gain entry
into campus buildings, and to identify
themselves to Institute officers as
necessary. People who cannot or will not
produce a student identification card
are not recognized as students and are
not entitled to student services. To find
out more about the PrattCard, log in at
www.pratt.edu/mypratt (the PrattCard
is on the left side of the dashboard).
The PrattCard Office is located in the
Activities and Resource Center (ARC),
Lower Level, Room A109.
Pratt Email Accounts and
My.Pratt Access
The portal www.pratt.edu/mypratt is
Pratt’s interactive student gateway. It
provides access to grades, schedules,
bills, applications for graduation, and
transcripts, as well as other academic
information.
No additional applications or
activations are necessary.
All student user names are
automatically assigned by the Information
Technology Office. Pratt email and www.
pratt.edu/mypratt accounts are assigned
to all students at the time of admission.
The Admissions Office mails a letter to all
deposited students with their Pratt email
address and ID number.
Registration and Academic Policies
Pratt online accounts must be used
for all official Institute communication
through the Internet as an individual’s
Pratt email address is the only way
to validate the authenticity of the
requester. No official requests will be
fulfilled from any email address that does
not end with a pratt.edu suffix. Likewise,
all official Institute communications sent
electronically are emailed to this address.
Some notices are only sent electronically.
Students are responsible for the
information sent to their Pratt email.
Student Registration
New Student Initial Registration
New students should receive information
about registration in the mail once
they have paid their deposit. Each
department’s advisement office provides
detailed academic advisement and
curriculum counseling for entering new
students. Contact your department for
further information.
Continuing Student Registration
Continuing students are assigned a
registration date based on their degree
progress. Official registration dates can
be found in the Academic Calendar or
in the Academic Guide for Students
(emailed to all students each fall). To
avoid late fees, all registered students
who plan to continue in subsequent
semesters are required to register
during the open registration period. This
registration period closes at the end of
the previous semester. Failure to register
during the open registration period and
make payment in advance will both result
in late fees. Late registrations will also
severely jeopardize a student’s chances
of obtaining their preferred academic
course schedule.
Late Registration
New and continuing students who do
not complete registration during their
designated registration periods are
subject to a late fee. The amounts and
timing of these fees are described in the
Tuition and Fees section of this bulletin
and the Academic Calendar. Registration
or reinstatement after the published
add period requires a written appeal to
the Office of the Provost. Only after the
approval from the Provost will students be
registered and allowed to attend classes.
Admission to Class
It is the responsibility of each student
to obtain an official schedule (printout
of registered course, section, credit,
and time) on www.pratt.edu/mypratt
after completion of the registration
process. Students are strongly cautioned
to review and confirm all data. If any
course/section/credit correction is
necessary, the student can make advisor-
approved changes on www.pratt.edu/
mypratt through the first two weeks of
classes (drop/add period) only. Students
may also alter their schedule with the
assistance of their department or with
a Drop/Add form available in academic
offices or the Office of the Registrar.

Veterans Affairs
Pratt Institute participates in the following
Veterans Administration Benefits:
• Chapter 33 Post 9/11 GI Bill
• Chapter 30 Montgomery GI Bill (MGIB)
• Chapter 1606 Montgomery GI Bill
(MGIB-SR)
• Chapter 31 Veterans Vocational
Rehabilitation
Because the New York Regional
Veterans Administration (VA) will not
accept certification of enrollment
before the first class day of any session,
students planning to enroll under any
of the VA programs should initiate the
certification procedure by making an
appointment to see the veterans’ advisor
in the Office of the Registrar after
registration is completed. Depending on
the Chapter, students receive monthly
checks from the VA or the VA will send
the check directly to Pratt six to eight
weeks after certification. Failure to
request certification upon completion
of registration may result in a four- to
six-week delay in the receipt of the first
benefit check. As of January 1976, those
students receiving survivor’s benefits
(children of deceased veterans) are
no longer required to be certified by
the school. Appropriate forms may be
obtained at the student’s VA Regional
Office. New transfer students who have
already received educational benefits
should bring their VA claim number to the
veterans’ advisor.
Registration and Academic Policies 291
New students who have been in P.O. Box 4616
active military service must submit a Buffalo, NY 14240
certified copy of their DD 214 (discharge
papers). Students in Active Reserve The New York Regional Office is at
should be certified by their commanding 245 W. Houston Street (at Varick Street)
officer, and the signature of the Pratt New York, NY 10014
veterans’ advisor should be obtained
from the Registrar’s Office. Students Residency Requirement
who support spouses, children, or
Graduate students are expected to
parents should submit birth certificates
complete a minimum of 75 percent
or marriage certificates as appropriate.
of the program’s credits at Pratt, with
Students in the Reserve (Chapter 1606)
the exception of the first-professional
seeking to obtain educational benefits
(M.Arch.) program in Architecture that
should see their commanding officer
requires 67 percent of the credits to be
for eligibility counseling and forms and,
completed at Pratt.
if eligible, should then see the Pratt
veterans’ advisor for certification.
Transfer Credits
All students receiving benefits under
Transfer Credit Prior to Matriculation
Veterans’ Vocational Rehabilitation
Transfer credit is granted for courses
(Chapter 31) should contact their
that are appropriate to the program
counselors at the VA, who will forward an
curriculum at Pratt from a school
“authorization form” to Pratt’s veterans’
accredited by an accrediting agency or
advisor. These veterans should then go
state approval agency recognized by
to the Registrar’s Office after having
the U.S. Secretary of Education or the
been programmed by their respective
international equivalent.
departments in order to present a signed
Credits may be awarded for courses
copy of the authorization to the Office
in which (1) a grade of B or better is
of the Bursar. Only after receiving this
earned from domestic institutions (or 80
signed authorization will the Office of the
or better from international institutions
Bursar validate tuition payment. Veterans
as determined by an official international
receiving an allocation for books should
credit evaluation service) and (2) the
note that Pratt Institute does not
courses correspond to the specific
maintain the campus bookstore. The
course requirements of the applicant’s
VA should be notified accordingly. Final
program of study. Grades lower than
and official authorization cannot be
B (including B-) or less than 80 are not
forwarded to the VA until the student has
transferable. Grades of transfer credits
completed registration. Pratt Institute
are not included in the GPA.
serves only as a source of certification
The number of credits toward a
and information to the VA Regional
master’s degree that may be transferred
Office. The student must carry out
from another graduate institution
all financial transactions with the VA
may not exceed 25 percent of the
directly. All transactions are carried out
total number of credits required for
with the Buffalo Office:
292
graduation, with the exception of the
first-professional (M.Arch.) program
in Architecture, which permits up
to 33 percent of the program’s total
credits to be transferred. Courses that
have been applied toward an earned
graduate degree will not be considered
for transfer credit. Students seeking
transfer credits for professional courses
in art, design, or architecture are
required to submit a portfolio reflective
of their studio coursework completed
in a prior institution as part of the
admission application.
International students may be
required to submit additional class hour
documentation to determine a U.S.
semester hour equivalency or have their
credentials of international credit hours
evaluated by an official international
credit evaluations service. Pratt accepts
international credit evaluation performed
by any member of the National Association
of Credit Evaluation Services (NACES).
Credit evaluations will be completed
only after acceptance. Students
petitioning for transfer credit(s) must
submit to the Admissions Office an
official transcript from each college
attended prior to enrollment. Additional
transcripts will not be accepted for
transfer credit evaluation after the
beginning of the student’s first semester
at Pratt.
Registration and Academic Policies
Transfer Credit after Matriculation To apply for portfolio/work experience
credit, the following steps must be
Graduate students, once matriculated
followed.
at Pratt, are expected to complete their
degree requirements at Pratt. Students
How to Petition
who are in good academic standing may
request to take a course at another
• Petition in person at the office of
institution. These students must get
the appropriate chair before initial
permission in advance to take courses
enrollment for classes. You will be
at other institutions for transfer to their
advised as to the feasibility of your
Pratt record. Credit for courses taken,
request and given a statement of
with permission, at another institution
intent to be completed. You should
while matriculated at Pratt is limited to a
keep a copy of the document and be
maximum of six.
sure another is in your permanent file.
To be accepted for transfer credit,
the course must be recognized for • Present a copy of the Statement of
Intent to the Registrar’s Office with
graduate-level credit by the institution
a $100 deposit. The Office of the
attended and must be passed with a
Registrar will give you an application
grade of B or better. Grades lower than
form, which should be returned to
B (including B-) are not transferable.
that office after completion. When
Grades of transfer credits are not
the entire process is complete, the
included in the GPA.
Registrar’s Office will apply the deposit
to a fee schedule of 30 percent of
Portfolio/Work Experience Credit
the regular per-credit tuition rate per
Based on previous work experience and/
credit evaluated.
or portfolio, credit may be granted only
for work experience gained before initial • Submit documentation as
matriculation at the Institute. This is described above to the appropriate
available to all graduate students in the departmental chair. Please allow
School of Architecture, School of Art, one week for evaluation.
and School of Design. When applying for
• Return the application with the proper
admission the student should indicate
authorization to the Office of the
his or her intention to seek credits for
Registrar to complete the process.
work experience. Students must submit
You will be billed accordingly. Payment
the following documentation for credit
is due upon billing. Credits earned
consideration:
through this procedure are not
• Résumé included in the GPA. They will not
count toward the Institute’s minimum
• Professional portfolio
residence requirement.
• Letters from employers detailing
responsibilities and areas of expertise
 Registration and Academic Policies 293

Student Status
Full-Time Graduate
To establish full-time equivalence,
graduate students must enroll for nine or
more semester credits (or an equivalent
combination of credits and activities
recognized as applicable). Graduate
students enrolled in their thesis course
or Thesis in Progress are considered full
time. Students registered for Intensive
English are considered registered in
activities equivalent to two credits for
each section.
Part-Time Graduate
2. Click on “Academic Tools” on the
left side of the page. Click on “log in”
under “Verifications and Transcripts.”
Through the Self-Service menu, a
student may also:
• Obtain a Good Student Discount
Certificate.
• View the enrollment information
on file with the National Student
Clearinghouse. (Enrollment
information is provided to the National
Student Clearinghouse by many post-
secondary institutions. Enrollment in
those schools is included.)
In all cases where the student is not
the direct recipient, that student must
provide written permission to release
the information as well as the name and
address of the company or person that is
to receive the verification letter.
Changes and Withdrawals
Program/Major Changes
Each student must follow the program
and major for which she or he has
been admitted to Pratt. The Institute
will not recognize a change of major as
official unless the change is processed
with the appropriate approvals and

Graduate students are classified as

part time if they schedule or drop to
fewer than nine credits of registered
course work.
Attendance Policy
Faculty members are encouraged to
take attendance. There are no excused
absences or cuts. Students are expected
to attend all classes. Any absences may
affect the final grade. Three absences
may result in course failure at the
discretion of the instructor.
Enrollment Verification Letters
Students can generate a watermarked
PDF record of their periods of
enrollment and current status at Pratt
Institute online through the National
Student Clearinghouse. This service
can be accessed at any time through
www.pratt.edu/mypratt.
1. Log in with your OneKey at
www.pratt.edu/mypratt;
• View the student loan deferment recorded in the student information
notifications that the Clearinghouse system. A student who wants to change
has provided to your loan holders his or her major must first meet
(lenders and guarantors). with the department chair and then
• View the proof(s) of enrollment that notify Graduate Admissions. Course
the Clearinghouse has provided to your requirements for the new major reflect
health insurers and other providers of the current catalog year. Hence, a change
student services or products. in major may result in more credits being
required to graduate. It may also have
• Order or track a transcript. an effect on the number of transfer
• View specific information about your credits allowed.
student loans.
A student may request an enrollment
verification letter on Pratt Institute
letterhead several ways:
• Through the Academic Tools student
menu (under My Courses).
• A written request including ID number
and mailing/fax destination from a
student’s Pratt email account.
• In person at the Registrar’s Office with
a Pratt ID.
• A written request by fax with copy of
student ID and signature.
294 Registration and Academic Policies

Course/Section Changes from a registered course will receive a The date that the Complete
WF for nonattendance. Students who Withdrawal form is turned into the
The Institute recognizes no change of
stop attending a course without having Registrar’s Office is the official date used
course(s) or section(s) as official unless
officially dropped the course during for withdrawal. This date determines
the change is processed online through
the published refund period will not be eligibility for WD grades and a student’s
Academic Tools or with a drop/add form
eligible for a retroactive refund. charges for the term of withdrawal. Only
submitted to the Registrar’s Office.
Students may withdraw from a the submission of a Complete Withdrawal
Courses and course sections may be
course during the first 11 weeks of the form will deactivate your status as a
changed online during the first two weeks
fall or spring semesters. A class that is currently enrolled student. Until that
of each semester. Once this add period
dropped from a student’s schedule after time, registration and billing stay in effect
is over no courses may be added to the
the second week of the semester will and grades of WF will be issued for class
student’s schedule. Students paying by
remain on the student’s academic record absences.
the credit who drop a course on or after
with the noncredited designation of WD None of the following actions cause
the first day of the term will be charged
(withdrawal). No course withdrawal will be an official withdrawal or reduce financial
a percentage of the course fee. (See
accepted after the published deadline. liability for a semester:
refund period schedule below.)
WD grades earned via the official
• Notifying a faculty member,
Fall Spring Summer withdrawal procedure cannot be changed.
department chair,
Last day to add Sep. 4 Feb. 1 May 23 or academic advisor.
a class or change Complete Withdrawal from the Institute
sections
• Failure to pay the student account.
Last day to drop Aug. 24 Jan. 19 May 16 Students who are leaving Pratt without
a class with 100% graduating are required to fill out a • Failure to attend classes.
refund The Complete Withdrawal form must
Complete Withdrawal form in the
Last day to drop Aug. 31 Jan. 26 N/A be signed by the student, his or her
a class with 85% Registrar’s Office. This form permits the
refund department’s chair or academic advisor,
Registrar to drop or withdraw a student
Last day to drop Sep. 7 Feb. 2 N/A a financial aid counselor, the Bursar, and
from all registered classes (a student
a class with 70% the Director of Residential Life (if living in
refund cannot do this online). The form also
a residence hall). International students
Last day to drop Sep. 14 Feb. 9 May 23 serves to advise relevant offices that a
should also obtain the signature of the
a class with 55% student is no longer enrolled. Students
refund Office of International Affairs. Students
who withdraw need to be advised
who are not enrolled during either the
about any financial obligations and any
It is the responsibility of the student to fall or the spring semester and have not
academic repercussions of their actions.
officially withdraw from any registered completed a Complete Withdrawal or
They will also be required to complete an
course or section. This decision must Leave of Absence form will be officially
Exit Interview.
be completed online through Academic withdrawn from the Institute and will
Tools or by filing a properly completed need to apply for readmission.
drop/add form with the Registrar’s
Office. Failure to attend classes, to
notify the instructor, or to make or
complete tuition payment does not
constitute an official withdrawal. A
student who does not officially withdraw

Leave of Absence
A student in good academic and financial
standing may request a leave of absence
for not more than two consecutive
semesters (excluding summer sessions).
Students must apply with a Leave of
Absence Request form in the Office of
the Registrar.
• Students must apply for a leave of
absence on or before the last day
to withdraw from classes for any
given semester.
• Only students in good academic and
financial standing will be approved.
• A leave of absence will not be granted
once a student’s thesis is in progress.
• International students must obtain
authorization from the Office of
International Affairs.
• Students applying for a leave of
absence must pay a $20 processing fee.
• A student who wishes to register after
an undocumented absence must apply
for readmission.
• Students requesting leave for medical
reasons must obtain authorizations
from Health and Counseling
Registration and Academic Policies 295
Readmission Preferred Name
Pratt Institute recognizes that many
Students who do not attend Pratt for
members of the Pratt Community prefer
a semester or more without receiving an
to use names other than their legal ones
official leave of absence must apply for
to identify themselves. As long as the
readmission. Applications for readmission
use of this preferred name is not for
are available from the Registrar’s Office.
the purposes of misrepresentation, the
Those applying for readmission must
Institute acknowledges that a “preferred
submit a $55 application fee payable to
name” can and should be used where
Pratt Institute.
possible in the course of Institute
Degree requirements are updated
business and education.
to reflect the current catalog when a
Therefore, beginning in the fall
student is readmitted to a program
semester of 2015-16 any member of
(rather than the one used in the initial
acceptance).
the Pratt Community may choose to
identify a preferred name in addition to
The readmission application deadlines
their legal name. The preferred name
for each semester are below.
will be used in all Institute business,
Fall Spring Summer
except where the use of the legal name
Application Aug. 15 Dec. 15 May 1
Deadline is required. For example, some records,
such as paychecks and transcripts,
Personal Data Changes require use of a legal name; in such
All personal data changes must be made circumstances, the Institute will not
in written form only by the student. be able to use the preferred name.
Students are responsible for reporting However, whenever reasonably possible,
the following personal data changes to “preferred name” will be used.
the Office of the Registrar: Inappropriate use of the preferred
name, including but not limited to
• Change of name (requires legal
misrepresentation or attempting to
documentation)
avoid a legal obligation, may be cause for
• Change of address denying the request.
• Change of major
Note: Consult the Office of the
Registrar for procedural details on
reporting these changes.
296
Parent Module
Students can authorize parents,
guardians, or sponsors to view current
schedules, grades, degree progress,
and/or access the tuition bill to see the
current balance and make payments.
Students manage (grant or rescind) these
permissions through their Academic
Tools. Parents and sponsors can then
access the system and log in at parents.
pratt.edu. To access the module:
1. Log in with your OneKey at
www.pratt.edu/mypratt;
2. Click on “Academic Tools” on the left
side of the page, and click “log in”;
3. After the system logs you in, click on
the “Students” menu on the sidebar;
4. Through “Grant Parent/Sponsor
Rights” (listed under “My Personal
Information”), students decide which
information they allow each account to
see or rescind previously given access.
Students can request to add people
not listed on this screen by returning
to the Students menu and clicking
“Request New Parent/Sponsor” (under
“My Personal Information”). If a person
is missing an email address or other
important information, a request to
update their account can be made
through the same process.
Registration and Academic Policies
Transcripts
Unofficial Transcripts are available for
viewing and printing through the online
Academic Tools at www.pratt.edu/
mypratt.
1. Log in with your OneKey at
www.pratt.edu/mypratt;
2. Click on “Academic Tools” on left side
of page, and click “log in”;
3. After the system logs you in, click on
the “Students” menu on the sidebar;
4. Click on the “Unofficial Transcripts”
option under “My Grades and
Transcripts.”
Official Transcripts may be ordered
online by students and alumni through
www.getmytranscript.com. Official
transcripts may also be ordered in
person or by mail at the Office of the
Registrar. Records containing financial
holds will not be processed until the
hold is cleared. More information can
be found at www.pratt.edu/registrar.
Your request must have the following
information to be processed:
• Name while attending Pratt Institute.
• Nine-digit Social Security or
seven-digit student ID number.
• Date of birth.
• Telephone number.
• Dates of attendance and/or
graduation.
• Destination information where
transcript is to be mailed.
Online Orders
Official transcripts may be ordered
online through the National Student
Clearinghouse with a valid major credit
card at www.getmytranscript.com. You
will receive a confirmation sheet that
must be signed and returned by one of
the following methods:
• Fax it to 1.703.742.4238 (remember to
dial 1.703 first).
• Scan and email to transcripts@
studentclearinghouse.org (scanned
attachment must be a GIF, JPEG, BMP,
or TIFF).
• Mail it to:
National Student Clearinghouse
2300 Dulles Station Boulevard, Suite 300
Herndon, VA 20171.
Payment is by credit card only.
There is a $2.25 transaction fee per
destination. Regular service (mailed first
class from Pratt in three to five business
days) is $5 per copy. Rush service (mailed
first class from Pratt in one business day)
is $10 per copy. Express service with UPS
shipping (mailed via UPS from Pratt in one
business day) is $18.50 per copy.
Orders at the Registrar’s Office
Official transcripts may be picked
up in person or ordered for delivery
during office hours. The office can only
accept cash or checks made out to
Pratt Institute. Requests for immediate
processing and pickup are $15 per copy.
Requests to send official transcripts by
regular service (mailed first class from
Pratt in three to five business days) are
$10 per copy.

U.S. Mail Orders
To order an official transcript by mail,
please send a written request and check
or money order (no cash) to:
Pratt Institute
Office of the Registrar
Myrtle Hall, Sixth Floor
200 Willoughby Avenue
Brooklyn, NY 11205
Payment is by check or money order
only. Only regular service (mailed first
class from Pratt in three to five business
days) is available using the mail service.
The charge is $15 per copy. Records
containing financial holds will not be
processed until the hold is cleared.
General Policies on Transcripts
• The Registrar’s Office must have
the student’s written request or
authorization to issue a transcript.
Parents cannot authorize the
Registrar’s Office to mail a transcript.
• Official transcripts bear the Institute’s
seal and Registrar’s signature.
• Partial transcripts are not issued. A
transcript is a complete record of all
credit work completed at Pratt.
• Allow five business days from receipt
of the transcript request for the
transcript to be mailed. At certain
peak times, such as registration and
commencement, the processing time
may be longer.
Registration and Academic Policies 297
• Transcripts are not released Courses Numbered 600 and
until a student’s account has been above are generally for graduate
paid in full. students only. A graduate course
embraces highly developed content
• Copies of transcripts from other
that demands advanced qualitative
schools that you may have attended
and quantitative performance and
must be requested directly from those
specialization not normally appropriate
schools. We cannot release or copy
to undergraduate courses.
transcripts in our file.
Courses Numbered 900 and above
are elective internship courses.
Organization of Course Offerings
Courses Numbered 100 through 499 are
Semester Hour Credits
primarily reserved for undergraduates.
In accordance with federal regulations,
Graduate students will not receive
a credit/semester hour is the amount of
credit toward graduation for taking
work represented in intended learning
these courses.
outcomes and verified by evidence of
Courses Numbered 500 through 599
student achievement. Pratt Institute
may be open to both undergraduates
operates on a semester calendar and
with junior or senior class standing
awards credit on a semester basis. Each
and graduate students. Courses in this
semester is a minimum of 15 weeks.
range are considered either 1) Technical
One credit is awarded for at least three
Elective; 2) Qualifying; or 3) Graduate
hours of student work per week, or
courses whose content complements
the equivalent amount of work over a
advanced undergraduate studies. Credit
different amount of time. Student work
earned within the 500-numbered
may take the form of classroom time,
courses by undergraduate students
other direct faculty instruction, or out-
may not be applied toward a graduate
of-class homework, assignments, or
degree. Graduate students enrolled
other student work. A minimum of one
in 500-level courses are expected to
perform with greater productivity and
clock hour per week, or equivalent time
in variable-length courses, represents
capacity for research and analysis than
classroom or direct instruction time.
their undergraduate colleagues enrolled
To determine the appropriate
in the same courses. Significantly more is
amount of classroom time required for
expected of graduate students in course
each course, Pratt follows the standards
projects, papers, and conferences.
established by its accrediting agencies.
Typically, for each credit hour awarded
to lecture or seminar courses, the
students receive 15 clock hours of direct
298
instruction and are required to perform
an additional 30 hours of out-of-class
work. For each credit awarded to a
studio course, undergraduate students
typically receive 22.5 clock hours, and
graduate students receive 15 hours of
direct instruction and are required to
complete a minimum of 30 additional
hours of out-of-class work.
Grading System
Letter Grades That Affect
the Academic Index
A, A– excellent
The student has consistently
demonstrated outstanding ability in the
comprehension and interpretation of the
content of the course. (Numerical Value:
A = 4.0; A– = 3.7)
B+, B, B– average
The student has acquired a
comprehensive knowledge of the content
of the course. (Numerical Value: B+ = 3.3;
B = 3.0; B– = 2.7)
C+, C acceptable
The student has shown satisfactory
understanding of the content of the
course. C is the lowest passing grade
for undergraduate students. (Numerical
Value: C+ = 2.3; C = 2.0 )
D+, D less than acceptable
The student lacks satisfactory
understanding of course content in some
important respects. (Numerical Value: D+
= 1.3; D = 1)
Registration and Academic Policies
F failure
The student has failed to meet the
minimum standards for the course.
(Numerical Value: F= 0)
Note: The highest grade acceptable for
recording is A (4.0) and not A+; D (1.0),
not D–, is the only grade preceding F
(0.0). The +/– grading system went into
effect as of the fall 1989 semester and is
not acceptable for recording purposes
for prior semesters.
Grades That Do Not Affect
the Academic Index
AUD (Audit, no credit)
Students must register for courses they
plan to audit by contacting the Registrar’s
Office in person or by way of their Pratt
email account.
CR (Credit)
Grade indicates that the student’s
achievement was satisfactory to
assure proficiency in subsequent courses
in the same or related areas. The CR
grade does not affect the student’s
academic index. The CR grade is to
be assigned to all appropriately
documented transfer credits.
The CR grade is applied to credit
earned at Pratt only if:
• The student is enrolled in any course
offered by a school other than the one
in which the student is matriculated,
and had requested from the professor
at the start of the term a CR/NCR
option as a final grade for that term.
The instructor has received approval to
award CR grades from the Office of the
Provost. (This does not apply to liberal
arts courses within the School of Liberal
Arts and Sciences.)
IP (In Progress)
Designation used only for graduate
student thesis, thesis project for which
satisfactory completion is pending,
or Intensive English course for which
satisfactory competence level is pending.
INC (Incomplete)
Designation given by the instructor at
the written request of the student and
available only if the student has been
in regular attendance, to indicate the
student has satisfied all but the final
requirements of the course, and has
furnished satisfactory proof that the
work was not completed because of
illness or other circumstances beyond
his or her control. The student must
understand the terms necessary to fulfill
the requirements of the course and the
date by which work must be submitted.
If the work is not submitted by the
understood date of submission, the
incomplete will be converted to a failure.
If unresolved at the end of the following
semester, the grade is changed to failure
with a numerical grade value of 0.
NCR (No Credit)
Indicates that the student has not
demonstrated proficiency. (See CR for
conditions of use.)

NG (No Grade Reported)
Indicates that the student was properly
registered for the course but the
faculty member issued no grade. The
student should contact the professor.
Students cannot graduate with an NG
on their record.
NR (No Record)
Grade given for no record of attendance
in an enrolled course. (All NR
designations must be resolved by the
end of the following term or the grade
is changed to a letter grade of F with a
numerical value of 0.)
WD (Withdrawal from a Registered Class)
Indicates that the student was permitted
to withdraw from a course in which he
or she was officially enrolled during the
drop period for that semester.
WF (Withdrawal Failing)
Grade given to a student with a failing
grade due to lack of attendance.
Grade Reports
Grade reports are not mailed to
students. Grades may be obtained via
www.pratt.edu/mypratt (see instructions
below). Professors submit final grades
online and students are able to view their
grades as soon as the instructor enters
them. If there are any questions about
the grade received, a student should
contact the instructor immediately.
Only the instructor can change a grade
by properly completing, signing, and
Registration and Academic Policies
submitting a Change of Grade form
directly to the Office of the Registrar.
Time limits have been allotted for
resolving grade problems. Spring and
summer grades may not be changed after
the last day of the following fall semester.
Fall grades cannot be changed after the
last day of the following spring semester.
Once this time limit has passed, all INC
and NR grades will convert to Fs. To view
grades online:
1. Log in with your OneKey at
www.pratt.edu/mypratt;
2. Click on “Academic Tools” on left side
of page, and click “log in”;
3. After the system logs you in, click on
the “Students” menu on the sidebar;
4. Choose from the options offered
under “My Grades and Transcripts.”
Final Grades, Grade Disputes, and
Grade Appeal Policies
All grades are final as assigned by the
instructor. If a student feels that a grade
received is an error, or that he or she
was graded unfairly, it is the student’s
responsibility to make prompt inquiry
of the instructor after the grade has
been issued. Should this procedure not
prove to be an adequate resolution, the
student should contact the chair of the
department in which the course was
taken to arrange a meeting and appeal
the grade. If this appeal is unsuccessful,
a further and final appeal can be made
to the dean of the school in which the
course was taken. It is important to note
that the faculty member who issued
299
the grade holds the authority to change
the grade unless appeal is granted by
Department Chair or Dean. If a grade is
to be changed, the student must be sure
that the change is submitted within the
following semester. Petitions of change
of any grade will be accepted only up to
the last day of the semester following the
one in which the grade was given. Other
than resolution of an initially assigned
incomplete grade or of a final grade
reported in error, no letter grade may be
changed following graduation.
Repeated Courses
A repeated course must be the same
course as the one for which the previous
final grade was awarded. No graduate
student may choose to repeat a course
that was passed with a grade of C or
higher without specific authorization
from the chair or dean. Graduate
students must repeat all required
courses in which F is the final grade.
The initial grade will remain, but only
the subsequent grade earned will be
averaged in the cumulative index from
the point of repeat onward.
300 Registration and Academic Policies

Grade Point Average
A student’s grade point average is
calculated by dividing the total Grade
Points received by the total Credits
Earned. A Grade Point is computed
by multiplying the Credits Attempted
for each class by the Quality Points
earned for completing that class. Only
credits evaluated with letter grades that
earn quality points (see table below) are
used in GPA calculations. Each semester
has a minimum length of 15 weeks. In
courses that are passed, a credit is
earned for each period of lecture or
studio work, each week throughout one
term or the equivalent.
Total Grade Points ÷ Total Credits
Attempted = Grade Points
30 ÷ 9 = 3.33
30 (total grade points) divided by 9 (total
credits) makes a GPA of 3.33.
INC (incomplete) and NR (no record)
carry no numerical value for one semester
after the grade is given. Thereafter,
if unresolved, the INC and NR grades
convert to an F and carry a numerical
value of 0.
The following grades do not
carry numerical values and are never
calculated in the GPA:
P Pass
Institute. Students subject to academic
discipline are encouraged to take
advantage of support services available
to them, including academic advisement,
in an effort to help them meet Institute
academic standards.
All students’ records are reviewed at
the end of each semester to determine
whether any student who has failed to
remain in good standing may continue in
the program.
Good Standing
All graduate students must maintain
a cumulative GPA of at least a 3.0
(equivalent of a B) to remain in good

CR Credit standing. A graduate student whose

Quality Points
U Unsatisfactory GPA falls below a 3.0 at any time may
A = 4.00 C+ = .30 be subject to academic dismissal. The
WD Withdrawal
A– = 3.70 C = 2.00 specific conditions under which this
WF Withdrawal Failing
B+ = 3.30 C– = 1.70 policy will be invoked are as set forth
AUD Audit
B = 3.00 D+ = 1.30 by the dean of each school. Written
NCR No Credit
B– = 2.70 D = 1.00 notification will be furnished to the
IP In Progress
F = 0.00 student by the dean.
Final grades for credit transferred from
other institutions to the student’s Pratt Maximum Time for Graduate Study
(If unresolved at the end of the
record are not computed in the GPA.
following semester, INC = F = 0.00 All work for the master’s degree should
and NR = F = 0.00) be completed within seven (7) calendar
Academic Standing
years from initial registration in graduate
Pratt Institute’s policies on academic
In the Following Example the GPA is 3.33: courses as a graduate student at Pratt
standing intend to ensure that all
Grade = Quality Points × Credits Earned = Institute. The departments will not approve
students receive timely notification when
Grade Points registration after seven years without the
they are subject to academic discipline
A= 4.00 × 3 = 12.00 written approval of the provost.
or achieve academic honors.
B+= 3.30 × 3 = 9.90
Each student is responsible at
B–= 2.70 × 3 = 8.10
all times for knowing his or her own
=30.00
standing. These standings are based
on the published academic policies,
regulations, and standards of the

Degree Audits
Degree audits are computerized
checklists of graduation requirements.
These reports are similar to transcripts
because they list all academic activity.
They are different from transcripts,
however, because they organize the
coursework attempted into logical blocks
that represent what is required. They
also clearly flag what has been taken and
what has yet to be taken.
There Are Four Parts to an Audit:
1. Student Information
The top of the first page lists the
student’s name, the academic program
being evaluated, the catalog year that
the requirements are being checked
against, and the student’s anticipated
graduation date (based on the date
of admission). This section may also
contain one or many text messages
specific to the student, depending on
his or her status at Pratt.
2. Credit and GPA Information
This area lists the total credits required
for graduation, the number required to
be taken at Pratt (residency), and the
GPA required for graduation.
3. Required Course Information
This section is usually the longest. It
lists the entire range of requirements
and electives specific to the academic
program being evaluated. Fulfilled
requirements will be listed with the
grade earned (or CR for transfer
credit). Missing requirements are also
noted with credits needed.
Registration and Academic Policies 301
4. Other Courses Thesis Enrollment
Courses that usually do not count
Thesis must be completed within three
towards a program’s requirements
years, the duration of which equals the
are listed in this bottom section.
initial semester of thesis registration plus
Sometimes a course will not count
five (5) consecutive semesters of Thesis
toward graduation because it was
in Progress. Graduate students must
dropped, or carries a grade that
register without interruption and pay
makes it ineligible for consideration,
the Institute’s tuition and fees for each
such as an F or an INC. Also, some
additional semester of continued thesis
students choose to take an extra
class for additional knowledge even work following the initial semester of
though it doesn’t fulfill any particular thesis registration. Any extension beyond
degree requirement. the three-year duration is subject to an
acceptable demonstration of extenuating
circumstances from the candidate and
How to Get a Copy of a Degree Audit
a written approval from the department
Students may view or print an audit at any chair and the dean.
time using their Academic Tools.
1. Log in with your OneKey at www.pratt. First Registered Thesis Credit Semester
edu/mypratt;
Graduate students will register for their
2. Click on “Academic Tools” on left side
thesis course. If the student does not
of page, and click “log in”;
complete the thesis by the end of that
3. After the system logs you in, click on first semester, completion of the thesis
the “Students” menu on the sidebar;
is pending and the student will receive
4. Click on “Degree Audit” under “Course an IP (In Progress) grade. The student
Planning”; must enroll in Thesis in Progress the
5. In order to review an audit for the following semester.
current academic program (major),
click “OK.” In order to see what the
results would look like in a different
program, use the drop-down list of
majors next to Evaluate New Program
to select a potential major to review.
Students may go online and receive
a degree audit at any time. If you do
not have a computer or access to a
computer lab, come to the Office of the
Registrar. Students who have questions
about how to read the audit should visit
their academic advisor’s office or stop by
the Office of the Registrar during office
hours for an explanation.
302
Subsequent Semesters of Thesis
in Progress
Registration for Thesis in Progress must
be made for each consecutive semester
following enrollment in Thesis. A student
is expected to complete his or her
thesis within the next five consecutive
semesters. If at the end of five semesters
the thesis is still pending completion,
the student will be withdrawn from the
original Thesis course. Re-enrollment
in the Thesis course will only take place
with the written permission of the
department chair.
Certification of Enrollment for
Registered Thesis Work
For certification purposes, Pratt
considers students taking Thesis or
Thesis in Progress to be full time.
Thesis Submission and Final Grade
Students should refer to the latest
version of the Graduate Theses Library
Guidelines, available at the Pratt Library.
Questions concerning organization
and formatting of materials should
be discussed with the Information/
Reference department of the Pratt
Library before final typing.
Graduation File on or before:
Summer Term/October September 15
Fall Term/February January 15
Spring Term/May May 15
Students must submit their own
thesis in person, unless it is submitted
by a representative from the
academic department.
For the Pratt Libraries to accept a
thesis submittal after the deadline date,
a Late Thesis Submittal Permission form
Registration and Academic Policies
must be submitted to the Library. The
form is available at the Library Reference
desk. The department chair’s signature is
required to allow a late thesis submission.
Thesis and Thesis in Progress are
graded IP. Thesis will remain IP until the
Thesis Advisor assigns a final grade upon
completion of the thesis project. A failing
grade may be assigned if the student
fails to remain in proper progress or
communication, or fails to complete a
satisfactory thesis.
Academic Integrity Code
When a student submits any work for
academic credit, he/she makes an
implicit claim that the work is wholly his/
her own, done without the assistance
of any person or source not explicitly
noted, and that the work has not
previously been submitted for academic
credit in any area. Students are free to
study and work together on homework
assignments unless specifically asked
not to by the instructor. In addition,
students, especially international
students, are encouraged to seek the
editorial assistance they may need for
writing assignments, term papers, and
theses. Our Writing and Tutorial Center
staff is always available to clarify issues
of academic standards and to provide
writing and tutorial help for all Pratt
students. In the case of examinations
(tests, quizzes, etc.), the student also
implicitly claims that he/she has obtained
no prior unauthorized information about
the examination, and neither gives
nor obtains any assistance during the
examination. Moreover, a student shall
not prevent others from completing
their work.
Examples of violations include but are
not limited to the following:
1. The supplying or receiving of
completed papers, outlines, or
research for submission by any person
other than the author.
2. The submission of the same, or
essentially the same, paper or report
for credit on two different occasions.
3. The supplying or receiving of
unauthorized information about the
form or content of an examination
prior to its first being given, specifically
including unauthorized possession of
exam material prior to the exam.
4. The supplying or receiving of partial
or complete answers, or suggestions
for answers, of assistance in
interpretation of questions on any
examination from any source not
explicitly authorized. (This includes
copying or reading of another student’s
work or consultation of notes or other
sources during examinations.)
5. Plagiarism. (See statement following
which defines plagiarism.)
6. Copying or allowing copying of assigned
work or falsification of information.
7. Unauthorized removal or unnecessary
“hoarding” of study or research
materials or equipment intended for
common use in assigned work, including
the sequestering of library materials.
8. Alteration of any materials or
apparatus that would interfere with
another student’s work.
9. Forging a signature to certify
completion of a course assignment or
a recommendation and the like.

Plagiarism*
Plagiarism means presenting, as one’s
own, the words, the work, information,
or the opinions of someone else. It is
dishonest, since the plagiarist offers, as
his or her own, for credit, the language
or information or thought for which he or
she deserves no credit.
Plagiarism occurs when one uses the
exact language of someone else without
putting the quoted material in quotation
marks and giving its source. (Exceptions
are very well-known quotations,
from the Bible or Shakespeare, for
example.) In formal papers, the source is
acknowledged in a footnote; in informal
papers, it may be put in parentheses,
or made a part of the text: “Robert
Sherwood says...”
This first type of plagiarism, using
without acknowledging the language
of someone, is easy to understand and
to avoid. When a writer uses the exact
words of another writer, or speaker, he
or she must put those words in quotation
marks and give their source.
A second type of plagiarism is more
complex. It occurs when the writer
presents, as his or her own, the sequence
of ideas, the arrangement of material, or
the pattern of thought of someone else,
even though he or she expresses it in his
or her own words. The language may be
his or hers, but he or she is presenting as
his or her work, and taking credit for, the
work of another. He or she is, therefore,
guilty of plagiarism if he or she fails to
give credit to the original author of the
pattern of ideas.
* Reprinted with permission of Macmillan Publishing
Company from Understanding and Using English
by Newman P. Birk, 1972.
Registration and Academic Policies 303
Graduation and Degrees Graduation Procedures
Degrees are conferred by the Institute
To be eligible for a degree, the student
upon the recommendation of the dean
must satisfy all Institute, school, and
and faculty of the various schools. This
department requirements as stated
is done three times a year: October 1
in announcements. Where applicable,
(summer term), February 1 (fall term), and
students must also meet specific
June 1 (spring term).
academic requirements concerning
prerequisites, course sequences,
Commencement Ceremony
or program options as posted by
One commencement ceremony is academic departments.
held each year at the end of the spring
semester. Students who successfully Application for Graduation
complete their studies in October or
Students wishing to be considered
February are invited to attend the
for graduation must file a Graduation
ceremony that is held following their
Application. The application is available
graduation. Students who anticipate
on the student’s online Academic Tools
a Summer/October completion
available through www.pratt.edu/
date should attend the ceremony
mypratt. Applications must be filed on or
that is held the May following their
before the following deadlines:
graduation. Students who will graduate
Graduation File on or before
in Summer/October and cannot attend
Summer Term/October March 25
commencement the following spring
Fall Term/February August 25
may apply for Permission to Walk in
Spring Term/May December 15
May Commencement in the Registrar’s
Office. Their names will not appear in the
Using the application, candidates indicate:
commencement program, nor will they
1. Their anticipated graduation term.
receive their diplomas early. Attendance
2. The exact spelling and punctuation
at commencement does not guarantee
of their name as it is to appear on
graduation from the Institute.
the diploma.
Graduation with Honors 3. Their hometown and state/country
as it is to appear in the
To be graduated with distinction, a
commencement program.
graduate student must have earned a final
4. The Diploma Mailing Address to
cumulative GPA no lower than 3.85 in all
be used to mail diplomas.
work. To be considered for distinction, a
Information can be updated before the
student must have completed a minimum
application deadline by simply filling
of 50 percent of degree credits at Pratt.
out and submitting the graduation
These credits must be in semesters
evaluated with a GPA. application again. If the candidate is not
304
cleared for the announced graduation,
a new application must be filed for each
subsequently requested graduation.
Only after the application has been
submitted to the Office of the Registrar
will the candidate’s name be placed on a
tentative graduation list. At that time, the
graduation review is scheduled.
Graduation Clearance
Within the schedules mentioned earlier,
the candidate must check for clearance
at the following offices:
Office of The Bursar:
Outstanding Balance on Tuition Account
Library:
Outstanding Materials or Account
All financial indebtedness to the Institute
must be cleared prior to graduation.
Students who have completed their
academic requirements but who have
outstanding financial obligations to the
Institute will be graduated; however, the
diploma will be held and no transcript will
be released until their financial account
is cleared in full.
Registration and Academic Policies
Graduation Requirements
Final graduation requirements include
the following:
1. Grade Requirements
Graduate students must be in good
standing, with a cumulative GPA of at
least 3.0. In courses constituting the
student’s major as formally specified
in advance by his or her departmental
chair, the student must have received
a grade of B or better in each or have
a cumulative index in these courses
of at least 3.0. Any outstanding
INC, NG, or NR grades from any
previous semester(s) that are pending
resolution must be resolved by the
following deadlines:
Graduation File on or before:
Summer Term/October September 15
Fall Term/February January 15
Spring Term/May May 2
Failure to do so will result in removal
from the graduation list. When final
grades are reported for the last term
of active registration, any reported
INC or NR grade for a graduation
candidate will automatically remove
the candidate from the graduation
list. Students who have been removed
from consideration must complete
a new application for graduation in
order to be considered for another
graduation date.
2. Curriculum Requirements
Each student must fulfill all
requirements for graduation. No
credits required for graduation will be
waived. All requests for an exception to
this rule must be referred to the dean’s
office for consideration. A course
requirement in a student’s major may
be substituted by the department
chair/advisor of the department
in which the student is enrolled;
however, another course in the same
subject area must be taken.
3. Residence Requirements
Thesis work must be registered at
the Institute. The minimum residence
requirement at Pratt for the master’s
degree is 24 credits. In most cases
transferred credit does not exceed
25 percent of the total credits
required. The Professional Master of
Architecture program permits up to 33
percent of the total credits required.
4. Master’s Thesis/e-Portfolio
A thesis or e-portfolio is required in
many of the master’s degree programs.
Each student is held responsible for
meeting the precise requirements of
his or her school. Thesis candidates
should obtain the latest edition of
Regulations Concerning the Deposit
of Master’s Thesis in the Pratt Institute
Library and sample pages from their
respective departments.
Changes to This Bulletin
While every effort has been made to
make the material presented in this
Bulletin timely and accurate, the Institute
reserves the right to periodically update
and otherwise change any material,
including faculty listings, course offerings,
policies, and procedures, without
reprinting or amending this Bulletin.

Student Affairs
Life at Pratt can be intense. Often
students need assistance to cope with
challenges encountered at Pratt and in
the city of New York. The staff members
of the Office of Student Affairs are able
and willing to help each student in as
many ways as necessary and possible to
make meeting these challenges a positive
experience. In addition, the Office of
Student Affairs performs many ombud-
sperson services.
The Office of Student Affairs is
located on the ground floor of Main
Building and can be found on the
Web at www.pratt.edu/student-life/
student-affairs/. Student Affairs also
has an office in Room 207A on the Pratt
Manhattan campus. Specific hours and
services provided are posted there and
on the Student Affairs website.
Vice President
Helen Matusow-Ayres
Assistant To The Vice President
Grace Kendall
305
Student Involvement The Department of Student Involvement
coordinates and assists students to
Director plan social, cultural, educational,
Emma Legge and recreational programs. Student
activities at Pratt are planned to
Associate Director contribute to each student’s total
Meredith Crain education, as well as to meet social
and recreational needs. Students are
Assistant Director responsible for managing their own
Alex Ullman group activities, thus gaining experience
in community and social affairs and
Office Manager playing a role in shaping Institute policy.
Karen Smith Students are represented on Institute
decision-making bodies such as the
Office Board of Trustees, trustee committees,
Tel: 718.636.3422 and the Student Judiciary.
studentactivities@pratt.edu The main functions of the
www.pratt.edu/involvement Department of Student Involvement are:
• Allocation and administration
of funds collected through the
student activity fee.
• Overseeing the Student
Union complex.
• Programming of student activities.
• Promoting leadership and
professional development.
Administrative Assistant Office
Nadine Shuler Tel: 718.636.3639  |  Fax: 718.399.4239
studaff@pratt.edu
www.pratt.edu/student-affairs
306
New Student Orientation
New student orientation is an exciting
time at Pratt. In order to acclimate to
campus, graduate students have a one-
day orientation during the week before
classes begin. Brooklyn campus students
attend orientation on that campus, while
students attending Pratt Manhattan will
attend orientation at 14th Street. Grad-
uate student socials will be held at both
campuses that week.
Graduate students are invited to
attend any and all other programs hap-
pening that week, including the Broadway
show and baseball game. However, there
is no requirement to attend those events.
Detailed information will be sent to new
students beginning in June.
The orientation program is staffed
by an exemplary group of student leaders
who assist new students in any and
many ways.
Student Affairs
Parent and Family Programs Active Organizations
Cultural
The mission of Parent and Family
Programs at Pratt is to provide parents • Bako Tribe
with the resources to support and • Chinese Student Scholars Association
encourage the success of their Pratt
• Korean Student Association
student. Pratt Institute recognizes that
• Latin American Student Association
parents are valuable members of the
• Pratt International Students Association
Pratt community and have much to
contribute to Pratt. We encourage parent • Queer Pratt
involvement in the Pratt community. We
offer programs for parents including Special Interest
Parent Orientation, our Annual Family • Anime Club
Weekend, and parent blog. For further • Ceramics
information, please contact our office at
• Comic Club
718.636.3422 or email at family@pratt.
• Dance Club
edu.
• Drawing Club
Student Organizations • Games Club
Student Government Association (SGA) • Envirolutions
• Founders Entrepreneurship Club
The Student Government’s primary
• Music Club
responsibility is to represent the student
• Pratt Feminists
body’s interests and to encourage
students’ involvement in • Pratt Film Cult
the life of the Institute. • Reef Club
The Student Government has • Strive Student Mentors
an Executive Committee in which
undergraduate or graduate students Student Media
are encouraged to become involved.
The SGA can be reached by calling • The Prattler Student Newspaper
718.399.4468 or by emailing • Prattonia Yearbook
sga@pratt.edu. • Static Fish Comic Book
• Ubiquitous Arts and Literary Magazine
• WPIR Pratt Radio

Professional and Academic
• American Institute of Architecture
Students
• Art and Design Educators
• Association for Information Science
and Technology
• ComD Agency
• Communications Committee
• Diversity Initiatives Group
• Fashion Society
• Graduate ComD
• History of Art and Design Student
Association
• Industrial Design Club
• Jewelry Club
• Keyframe Animation Club
• Leadership in Environmental
Advocacy and Policy
• Painting Club
• Photo League
• Pratt Artists League
• Pratt Historical Preservation
Organization
• Pratt Institute Planning Student
Association
• Pressure Printmaking
• School of Information and Library
Sciences Student Association
• Sculpture Club
• Special Archivists’ Association
• Special Libraries Association
• Type Directors Club
• User Experience/Information
Architecture
Student Affairs 307
Greek Letter Organizations Residential Life and Housing
• Inter-Greek Council (Fraternity/Sorority
Director
Governing Body)
Christopher Kasik
• Kappa Sigma Fraternity
• Pi Sigma Chi Fraternity Associate Director
• Sigma Sigma Sigma Sorority Katherine Hale
• Theta Phi Alpha Sorority
Associate Director For Housing
Religious and Spiritual Administration
Tuan Vu
• Art/Faith Collective
• Gospel Christian Fellowship
Assistant Director North Campus
• Jewish Student Union
Christopher Ruggieri
• Newman Club
• Remnant Christian Fellowship Assistant Director South Campus
Benjamin Fabian
Community Engagement Board
Also known as C-Board, these students Assistant Director Housing
are dedicated to giving back to their Jason LeConey
community, both local and global.
Administrative Assistant
Program Board Lillian Jennas
The Program Board is a group of
Receptionist
students who plan many on- and off-
Steven Spavento
campus events.
Office
Campus Ministry
Tel: 718.399.4550
The chapel, one of the central spaces
reslife@pratt.edu
on campus, is the setting for meditation
www.pratt.edu/reslife
and for interdenominational and
denominational rites to celebrate
The mission of the Office of Residential
important events of the campus
Life and Housing is to efficiently and
community. Currently, Jewish, Catholic,
effectively administer a housing program
and Protestant (in English and Korean)
in a learning-centered environment that
services are offered on a regular basis.
challenges and supports students to:
Any group wishing to use the chapel
may contact the director of Student • Enhance self-understanding
Involvement, whose only requirement is • Value community responsibility
respect for the space and its purpose.
• Learn from their experiences
308
The Office of Residential Life and
Housing holds the belief that student
development and learning goes on
outside the classroom, as well as inside
the classroom. The policies, procedures,
and programs that are established and
encouraged by the Office of Residential
Life and Housing are those that enhance
student learning and involvement outside
the classroom.
The department takes very seriously
its role as guarantor of a residence hall
atmosphere conducive to work and study.
We also strive to provide an atmosphere
in which students are encouraged to
make informed decisions on their own,
take responsibility for their actions, and
learn from their experiences.
Leadership development
opportunities are offered to students in
the residence halls through participation
in Residence Hall Councils, the
Residence Hall Advisory Committee
(a student advisory committee to the
Office of Residential Life and Housing),
EcoReps, Dining Services Reps, and
the Connections Leadership class.
Participation in these activities exposes
students to other departments at the
Institute while helping them to gain
leadership skills.
The Residential Life staff wants
to provide a memorable, enjoyable,
and successful academic year, but
reminds students that the success
of this experience lies with all of us.
Through participation, cooperation,
understanding, and communication,
Student Affairs
all can enjoy the time spent in the The Residence Halls
residence halls at Pratt Institute.
Pratt Institute maintains two residence
The Office of Residential Life and
halls accommodating approximately
Housing at Pratt Institute is based on a
100 graduate students. The focus of our
specific set of values. These values guide
residential life program is on providing a
the expectations the department has
comfortable yet challenging environment
for itself and the students who reside on
for students to become integral members
campus and extend to the residence halls
of the campus community. This is
in many direct ways. They are:
fostered by educational approaches and
• Personal rights and responsibilities programming. Pratt residence halls offer
a variety of housing options, including
• Integrity
rooms with and rooms without kitchens,
• Respect doubles, and singles. Pratt also offers
• Fairness and justice campus meal plans for students who like
the convenience of eating on campus.
• Open communication
• Involvement Grand Avenue Residence
Grand Avenue Residence Hall is a joint
The educational mission of Pratt
venture between Pratt Institute and
Institute is actively pursued in the
a local developer resulting in a true
residence halls. An expected outcome
apartment-style graduate facility. The
of the on-campus experience is to have
building can accommodate 50 students
students learn to cope and deal with
in efficiency apartments (double and
problems that arise. Though this is not
single) and private single rooms within
always an easy task, if a student is able to
two- and three-bedroom apartments.
learn from an adverse situation, the goal
Apartments are single-sex, but floors
has been achieved. Along with this is the
are co-ed. It is important that students
ability for students to take responsibility
understand the layout of the apartments
for their choices and behaviors. If
when making their preferences known.
students make inappropriate choices,
Our cost-saving double efficiency
they should expect to be held
apartment involves two students sharing
accountable, the hope being a different
a one-room efficiency apartment.
choice will be made the next time,
Our single efficiency is a smaller
more in keeping with the community
efficiency apartment that one student
expectations set forth.
occupies. Both of these options include
a bathroom and kitchen, within the
confines of the apartment. The single
with shared bath involves each student

having a private bedroom with shared
kitchen and bath. The building is located
one block from campus. Each living
room is furnished with a sofa, club chair,
coffee table, kitchen table, and chairs.
Utilities are included, with the exception
of telephone. Internet connections
and CATV service are provided. The
building offers a garden courtyard,
laundry facilities, and lounge areas. This
residence is for 12-month occupancy and
students will be assigned for one year.
Different from other assignments, this
assignment cannot be cancelled unless a
student leaves Pratt Institute. The ability
to sublet to other Pratt Institute students
with approval from Residential Life
and Housing does exist in the summer
months; details will be available during
the spring semester.
Willoughby Hall
Willoughby Residence Hall is a former
17-story apartment coop and is the
largest residence hall. It accommodates
over 800 undergraduate and graduate
students. The building houses offices
(Residential Life and Housing, Health
and Counseling, and the Disability
Services Center) as well as a student
work room, TV lounge, convenience
store, laundry facilities, and other
common student lounge areas. Suites are
single sex, but floors are co-ed. Rooms
vary in size from 9’ x 12’ to 15’ x 18’. In
addition to the standard furniture, all
suites have a kitchen table, stove, and
refrigerator. Each resident is provided
*Graduate students, in most cases, have a
12-month contract.
Student Affairs 309
with a bookcase. All students assigned Room Assignment
to double, triple, and single spaces will
Upon acceptance to the Institute,
share kitchen and bathroom facilities
students are sent an Accepted Student
with other residents of the suite. The
Guide, which includes an application
converted apartments consist of at
and brochure describing each housing
least one double or triple that occupies
option. Students are assigned rooms in
the former living room space of the
the order their application was received.
apartment and at least one private single
Space is limited, and students are advised
room that occupies the former bedroom
to return their completed application
space of the apartment. The number of
as soon as possible. Assignment
students residing in a given suite ranges
notifications are made in June.
from two to six students (depending upon
Students who have not applied by
the size of the converted apartment—
April 15 can anticipate being assigned only
one bedroom, two bedroom, or three
if and when space becomes available. All
bedroom). Willoughby Residence Hall
correspondence should be addressed to:
remains open all year. However, residents
on certain floors might have to relocate
Residential Life and Housing
to different floors during the summer
215 Willoughby Avenue
months for the purpose of maintenance
Brooklyn, NY 11205
and upkeep. To accommodate additional
reslife@pratt.edu
graduate students, select double
rooms are converted to a semi-private
Room Rates—Graduate Options
single space. The semi-private space
occupies the former living room space Room rates vary according to the type
of the apartment, is occupied by only of accommodation. Typical costs for
one student, and shares kitchen and each residence hall for a calendar year*
bathroom facilities with other private are as follows:
single rooms in the apartment. The semi-
private option is only available to graduate Grand Avenue
students and on an as-needed basis. $14,936 (double studio)
$20,496 (single w/shared bath)
$23,528 (studio single)
Willoughby Hall
$13,101 (semi-private single)
$13,701 (single w/shared bath)
$14,314 (single w/private bath)
310 Student Affairs

Meal Plan Athletics and Recreation encircles the athletic court areas.
There are full locker room facilities with
In an effort to ensure that students
Director saunas for men and women. The second
receive options for proper daily nutritional
Dave B. Adebanjo floor houses a fully equipped and newly
requirements, Pratt Institute offers its
renovated weight and fitness room, a
students a number of meal plans. The meal
Associate Director For dance studio, and administrative offices.
plans are designed on a debit card system;
Intercollegiate Athletics Recreational and intramural
the student’s meal plan points decrease as
Ryan McCarthy activities are scheduled throughout
he or she purchases items in the main dining
the year in conjunction with PrattFit
room, convenience store, or pizza shop. A
Associate Director for programming and range from individual
meal plan point equals $1.
Wellness And Recreation to team sports and special events. Men’s
Graduate students may opt for a
Shena Faith intercollegiate athletics teams include
meal plan. Plans range from $250–2,033
basketball, cross-country, indoor and
per semester.
Assistant Director for Athletics outdoor track and field, tennis and
Students not living in mandatory
Facilities and Event Management volleyball. Women’s teams include
meal plan areas, upper-class students,
Keisha Lynch basketball, cross-country, indoor and
and commuters may opt for a mandatory
outdoor track and field, tennis and
plan or an optional plan. Three optional
Administrative Secretary volleyball. Pratt Institute is a member
plans exist to accommodate a variety
Linda Rouse of the Hudson Valley Intercollegiate
of student needs. These plans are per
Athletic Conference and fields a total of
semester only. The optional meal plan
Office 12 teams.
rates for 2015–16 are $250, $695, and
Tel: 718.636.3773  |  Fax: 718.636.3772
$1,025. Purchasing a meal plan can save
www.pratt.edu/athletics
the student almost 10 percent over
paying cash. With all meal plans, students
The Activities Resource Center (ARC)
have the option to add points online at
houses a 325 x 130-foot athletic area,
any time during the semester in amounts
the largest enclosed clear-span area
greater than $25.
in Brooklyn aside from the newly
Additional details pertaining to
constructed Barclays Center. The
the meal plans are provided in the
complex includes five regulation-size
Enrollment Guide and are available from
tennis courts, two volleyball courts, and
the Office of Residential Life
an NCAA basketball court. This same
and Housing.
area provides 650 bleacher seats for
intercollegiate basketball, volleyball,
the Colgate Women’s Games, and other
spectator sports events. This enclosed
area has a seating capacity for up to 1,000
people for special events. The four-lane,
200-meter indoor track completely
 Student Affairs 311

Career and Professional Development industry mentoring, professional your own business. Guest speakers
development resources, workshops, and and recruiters come to campus every
Director entrepreneurial education. We combine semester to speak on careers in
Rhonda Schaller an excellent academic creative creative industries, review portfolios,
experience with a lifetime job and career and hold interview sessions.
Associate Directors transition support system.
• Individual and Group Career Advising
Hera Marashian CCPD staff members stay
Individual career advising is available
Brynna Tucker abreast of changing trends and employer
to Pratt students and alumni for life.
needs, and guide Pratt students into an
All CCPD staff have backgrounds as
Assistant Director easy transition from college into the work
working creatives in major-related
Deborah Yanagisawa environment. We maintain relationships
industries. Group sessions and
with employers and internship providers
major-specific career workshops are
Assistant Director For Experiential nationally and internationally, and offer
scheduled throughout the year.
Education many ways
Laura Burrell for employers to reach and recruit from • Entrepreneurship Training
The CCPD has developed resources
the talented Pratt community.
to help students and alumni build skills
Communications Manager Professional staff work with students
and strategies to become successful
Robert Carabay on professional learning goals for
entrepreneurs. The Meditation
internship placements and career goals
Incubator project offers the Creative
Career Development and Customer for their job search and small business
Mind, Business Mind course, which
Relations Coordinator planning. Extended support is offered
teaches participants meditation,
Alex Fisher in the areas of exhibition submissions,
visualization, and self-reflection
grants, fellowships, and residencies. We
techniques to deepen their creative
Office encourage peer learning through our
process and use as business planning
Tel: 718.636.3506 Pratt Success program to expand the
tools. The Student Start-Up Center
career@pratt.edu leadership opportunities on campus.
provides resources that help students
www.pratt.edu/ccps The CCPD provides resources
and alumni pursue entrepreneurship,
designed to foster meaningful
intrapreneurship, and business
The Center for Career and Professional connections between emerging
development goals.
Development (CCPD) inspires, supports, artists and professionals through
and educates students and alumni the following services: • Industry Outreach and Pratt
about emerging trends, the job market, Pro Job Board
• Professional Development
and what it takes to be a professional CCPD manages the Pratt Pro job
Programming
creative in the workplace. We believe board—thousands of new positions
We welcome classroom visits to the
that preparing for a fulfilling, meaningful, are posted each year. We perform
Center every semester and offer
and productive career is one of the outreach to employers around the
presentations on résumé building,
most important co-curricular activities world to develop a pipeline to help
networking, interviewing skills,
for Pratt students. The CCPD augments move Pratt students and alumni into
developing an online presence,
the state-of-the art curriculum with their job openings. We visit studios
portfolio presentation, self-
career and internship counseling, and organize firm trips for students
promotion, freelancing, and starting
312
to learn about the latest industry
trends. Pratt Institute hosts numerous
portfolio reviews and thesis exhibitions
of current and graduating student
work, including multiple end-of-year
events highlighting the best work of
the graduating class. Each year, CCPD
hosts opportunity fairs, roundtable
discussions, and creative career
conferences with visiting partners,
recruiters, and industry leaders. All of
our programs are developed to educate
students and alumni as well as provide
networking opportunities with the
creative professional community.
• Developing an Online Portfolio
The CCPD professional staff can help
students develop their portfolio and
online presence. Pratt Institute and the
CCPD have partnered with Behance
to launch Pratt Institute Portfolios at
portfolios.pratt.edu. This is an exciting
opportunity for students to promote
their work under the Pratt brand. With
the Behance platform, Pratt Institute
Portfolios reaches a wide audience of
industry professionals on the lookout
for the best creative talent.
The staff of CCPD welcomes your
questions. To make an appointment
or to find out how the CCPD can help
you, contact career@pratt.edu or call
718.636.3506.
Student Affairs
Pratt Institute Internship Program professional network of contacts and build
relationships in the field, which will serve
Each Pratt graduate student has
them well as emerging professionals.
the opportunity to gain hands-on
Some key components of a Pratt
professional experience in New York
Internship are:
City and beyond through an academic
internship program supervised in • The experience is a full semester.
collaboration with department faculty.
• The experience can be paid or unpaid.
The CCPD supports students in gaining
hands-on professional experience • Internships are available to all
domestic, international, and transfer
interning at companies such as Condé
students during their time at Pratt.
Nast, Unified Field, Knoll, and many,
many more. • Internship credits vary from 0 to
Graduate internships play a crucial 3 credits based on student need,
role in developing skills and offering number of hours worked, and individual
professional perspectives. An internship departmental policy.
at Pratt is an academic opportunity
• To obtain academic credit for an
available to full-time matriculated
internship, students must be
students every semester, including
enrolled in an internship course at
summer semester. For more information
the same time they are participating
about internships such as eligibility, the
in the internship.
registration process, and deadlines,
log on to www.pratt.edu/career and
Students are required to attend one
click on “Students & Alumni,” then
of the internship information sessions
“Internship Program.” In most cases,
offered throughout the year in the
graduate students must complete one
CCPD to learn more about the internship
full semester to be eligible for academic
program, how to begin an internship
credit for an internship.
search, and how to find departmental
eligibility information.
What is an internship?
To make an appointment or to
Internships are learning experiences in
learn the dates of the next internship
the workplace that relate to a student’s
information session, contact career@
major or professional pursuits. Interns
pratt.edu or call 718.636.3506.
are able to take the skills and theories
learned in the classroom and apply them
to real-life work experience. Internships
are an opportunity to try a specific field,
organization, or company and participate
as a trainee within that site. Internships
also allow students to develop a

Disability Resource Center
Director
Mai McDonald Graves
mcdonald@pratt.edu
Learning Specialist/Counselor
Anna Riquier, L.M.H.C.
ariquier@pratt.edu
Learning Specialist
Maegan D’Amato, L.M.S.W.
maddisa@pratt.edu
Assistant to the Director
Marie A. McLaughlin
mmclaug3@pratt.edu
Office
Tel: 718.802.3123  |  Fax: 718.399.4544
drc@pratt.edu
www.pratt.edu/disability
The mission of the Disability Resource
Center (DRC) is to ensure students
with disabilities can freely and actively
participate in all facets of Pratt life.
To this end, the office provides and
coordinates services and programs
that support student development,
enable students to maximize their
educational and creative potential,
and assist students in developing their
independence to the fullest extent
possible. The DRC aims to increase the
level of awareness among all members
of the Pratt community so that students
with disabilities are able to perform at
a level limited only by their abilities, not
their disabilities.
Student Affairs
Services to Students
The DRC provides the following services
directly to students:
• Offers a full-service Center where
students can meet with professional
support staff and use computer, study,
and exam-taking areas.
• Maintains confidential records of
documentation of disability.
• Determines program eligibility for
services based upon documentation
of disability and staff assessment, and
determines appropriate, individualized
classroom accommodations and
support services.
• Responds to inquiries from prospective
students and parents.
• Coordinates support services
for students such as note taking,
tutoring, time management coaching,
and counseling.
• For deaf and hard-of-hearing students,
available services include FM units, sign
language interpreters, and remote and
in-class Computer Assisted Realtime
Translation (CART) services.
• Arranges auxiliary aids for students,
such as assistive learning software, FM
units, and books in alternative formats.
• Consults with faculty regarding the
instructional needs of students.
313
• Consults with campus department
administrators regarding specific needs
of students, such as special housing and
dietary accommodations, and access to
campus facilities.
• Collaborates with Health and
Counseling services in meeting the
needs of students with medical or
psychological conditions.
• Consults with community, local, and
regional services, such as rehabilitation
agencies on behalf of students.
• Serves as an advocate for students with
faculty and staff.
• Provides DRC program information to
the campus community.
• Assists students in monitoring
the effectiveness of services and
accommodations.
• Develops and administers appropriate
assessment tools to determine efficacy
of accommodations and services.
Students with disabilities may
utilize the DRC to receive various
support services, including attending
time-management and self-advocacy
workshops and scheduling weekly one-
on-one sessions with staff. Students may
work on writing and reading assignments
on computers containing assistive
learning technologies, and may also
arrange to take quizzes and exams in our
distraction-free study and exam room.
314 Student Affairs

To receive classroom Health and Counseling Services Case Manager and Staff Counselor
accommodations and/or support Hali Brindel, L.C.S.W.
services through the DRC we encourage Director hbrindel@pratt.edu
students to schedule an appointment Martha Cedarholm, A.R.N.P.-B.C., F.N.P.
to meet with DRC staff to discuss their mcedarho@pratt.edu Student Health Insurance Specialist
needs. Students may also be referred Josefina Soto
for formal evaluation that is conducted Associate Director For Counseling jsoto4@pratt.edu
by appropriate professionals to receive Vincent Kiefner, Ph.D.
documentation of recommended vkiefner@pratt.edu Nurses
academic support. Christine Susca, RN
For more information about Nurse Practitioner/Associate Director csusca@pratt.edu
the Disability Resource Center visit for Health
our website at www.pratt.edu/ Debbie Scott, A.R.N.P.-B.C., F.N.P. Sheriezah Shiwprashad, LPN
disabilityresourcecenter. You may also dscott2@pratt.edu sshiwpra@pratt.edu
contact the DRC at 718.802.3123 to
schedule an appointment to discuss Nurse Practitioner Administrative Aides
classroom accommodations and services Alison Altschuler, A.R.N.P.-B.C., F.N.P. Giovanni Glaize
you may need. aaltsc34@pratt.edu gglaize@pratt.edu

Consulting Physician Sandra Davis

Kristen Harvey, M.D. sdavis@pratt.edu

Staff Counselors Consulting Psychiatrist

Sarika Seth Ph.D. Jane Zirin, M.D.
sseth@pratt.edu
Psychiatric Nurse Practitioner
Victoria Chun Kwon Ph.D. Lori Neushotz, DNP
vchun20@pratt.edu lneushot@pratt.edu

Assistant Director for Counseling and Office

Staff Counselor Tel: 718.399.4542  |  Fax: 718.399.4544
Lonette Belizaire, Ph.D. health@pratt.edu
lbelizai@pratt.edu www.pratt.edu/counseling

Clinical AOD Services Coordinator

Jernee Montoya, L.C.S.W.
jmontoya@pratt.edu

Health and Counseling Services operates
both by appointment and as a walk-in clinic.
All care provided is strictly confidential and
remains separate from a student’s academic
and social conduct record. The office is
open on weekdays 9 PM to 5 pm, with the
last appointments made at 4 PM. Check the
website for updated hours and services.
The medical staff includes the director,
who is a family nurse practitioner, two nurse
practitioners, a physician attending the clinic
once a week during the academic year, and
two registered nurses. Services provided
include treatment of illnesses; first aid for
injuries; physicals, including sports and
women’s health examinations; health educa-
tion; and medical testing.
Pregnancy testing is performed in
the office for free; however, other tests
are sent to a laboratory service, which
will bill the student or the student’s
insurance provider. Some commonly
used medications (over-the-counter
and prescription) are dispensed free
or for a nominal fee. Students must
purchase all other medication at a
pharmacy. Referrals are made to local
medical resources for care not provided
on campus.*
*Numerous and varied resources are available
at the Health and Counseling page of the Pratt
website at www.pratt.edu/health.
†New York State does not require this vaccine
but does require a signed acknowledgment of
receipt and review of vaccine information.
Student Affairs
The counseling staff includes clinical
psychologists, clinical social workers, and
a consulting psychiatrist who are available
by appointment to meet with students.
Students may receive counseling on a
short-term basis for personal, emotional,
family, interpersonal, and situational
problems. Consultation is available
on campus, and referrals for specialty
services are made.
Since the Health and Counseling
Services Center is not designed to
meet the total health care needs of
students, referrals are sometimes made
to outside clinics and agencies. The staff
is committed to helping students find
the best source of health care at the
lowest cost. Hospital and medical care
beyond that provided by the Health
and Counseling Services is the financial
responsibility of the student and his
or her family. For this purpose, Pratt
Institute requires all students to carry
health and accident insurance.
315
Students are automatically enrolled
in a health and accident insurance
plan. They may waive this insurance fee,
which will be deducted from their bill,
by providing insurance information in
the online student insurance system,
Aetna Student Health, prior to the
waiver deadline, which is always the last
day to drop or add courses for the fall
semester. All students who were born
after January 1, 1957, must provide proof
of immunity against measles, mumps,
and rubella. New York State law requires
written documentation of two measles-
mumps-rubella vaccines or written
documentation of immunity to these
diseases proved by a blood test. Written
documentation is absolutely required in
order to attend classes.
Immunization against meningococcal
meningitis is strongly recommended for
students planning to live in on-campus
housing.† A complete medical history and
a comprehensive physical examination
are also required for all new students.
316 Student Affairs

International Affairs The Office of International Affairs (OIA)

welcomes about 500 new international
Director students each year. There are about
L. Jane Bush 1,329 international students from 77
countries. In addition to providing
Associate Director services to international students, the
Saundra Hampton OIA takes care of J1 Exchange Visitors
including inbound exchange students,
Assistant Director professors, and scholars. The OIA is
Mia Schleifer the office in charge of keeping Pratt
in compliance with the Department of
Sevis Coordinator Homeland Security and the Department
Silvana Grima of State.
The well-traveled and experienced
Receptionist staff members are here to help students
Zoila Dennigan make a successful transition to the Pratt
community and help address some of
Office the challenges students might encounter
Tel: 718.636.3674 during their academic program. They
oia@pratt.edu create a friendly environment, providing
www.pratt.edu/oia direct support with immigration issues,
employment authorization, financial
issues, personal issues, and cross-
cultural events.
The OIA advises the Pratt
International Student Association (PISA),
which is open for all to join.

Libraries
The Libraries are dedicated to an active
partnership in the academic process. The
Libraries’ primary mission is to support
the Institute’s academic programs by
providing materials and information
services to students, faculty, staff,
alumni, and visiting scholars. A state-
of-the-art integrated library system
interfaces with an up-to-date website
providing broad access to electronic
materials as well as information about
the Libraries. Connect to the Libraries’
website and catalog at library.pratt.edu.
The collection at the Brooklyn
Campus Library provides broad-based
coverage of the history, theory, criticism,
and practice of architecture, fine arts,
and design, while also supporting the
liberal arts and sciences. The collection
encompasses over 176,674 monographs
and bound periodicals and also maintains
776 current periodical descriptions. The
Libraries also provide students access
to 38 online resources and electronic
periodical indexes. Through these
resources over 11,474 full-text periodical
Director
Russell S. Abell
Head of Public Services
TBA
Head of Technical Services
John A. Maier
titles are accessible. The Brooklyn
Campus Library houses microfilm,
multimedia, rare books, and the
college archives. Visual and Multimedia
Resources has a collection of DVDs, VHS
tapes, and 16mm films. The department
also circulates cameras, projectors, light
kits, audio recorders, and a half dozen
laptops. The Visual Resources Center
holds a collection of 35mm slides and
provides access to over 1.3 million images
through ARTstor. Comfortable reading
and study spaces are available in this
New York City landmark building on the
Brooklyn campus.
The Pratt Manhattan Library
holds more than 17,024 monographs,
subscribes to over 170 current
periodicals and maintains a small
fiction collection. The book and
periodical collection provides support
for the following programs: Graduate
Communications Design, Information and
Library Science, Creative Arts Therapy,
Facilities/Construction Management,
Historic Preservation, Arts and Cultural
Library Services Coordinator,
Manhattan Campus
Jean Hines
Evening and Weekend Library Manager
Kate McDermott
Visual and Multimedia Resources
Director
Chris Arabadjis
317
Management, AOS/AAS Program, Design
Management, and Continuing and
Professional Studies.
Librarians at both facilities offer
instructional programs to help patrons
use information resources more
effectively. Other services offered
throughout the year include orientation;
individualized instruction; information
literacy instruction; and research
assistance and referrals to other libraries
in the metropolitan area.
All of the Library units are dedicated
not only to providing access to
information, but to assisting information
seekers in developing successful
strategies to locate, evaluate, and employ
information to meet a full range of needs.
Visual Resources Curator
Johanna Bauman
Library Audiovisual Coordinator
Mike Nemire
318

Library Faculty
Steven J. Cohen
Associate Professor/Cataloger and Librarian
B.A., Cornell University; M.S.L.S., Columbia
University; professional organization memberships
include: American Library Association, Art
Libraries Society of North America, Association
of College and Research Libraries, Association for
Library Collections and Technical Services New
York Library Club.
Cheryl M. Costello
Assistant Professor/Art and
Architecture Librarian
B.A., M.S., Library and Information Science,
University of Illinois at Urbana-Champaign;
curator of exhibit, La Gazette du Bon Ton: Art
Deco Fashion Plates from 1913-1922 at the Pratt
Library; published in ARLIS/NA Reviews; peer
reviewer for Art Documentation; professional
organization memberships include: American
Association of Museums, Art Libraries Society of
New York, Art Libraries Society of North America;
awarded the Celine Palatsky Travel Award for the
Art Libraries Society of North America Annual
Conference 2008.
Bill McMillin
Assistant Professor/Emerging
Technologies Librarian
B.F.A., Photography, Maryland Institute College
of Art and Design; M.L.S. with Digital Libraries
Specialization, Indiana University at Bloomington;
publications include “One Size Does Not Fit All: a
multi-layered assessment approach to identifying
skill and competency levels” and “Library
Technology and Applications for the Classroom”;
professional organization memberships include
ALA, ACRL, and ASIS&T.
319
Maggie Portis
Assistant Professor/Art and
Architecture Librarian
B.A., The University of Texas at Austin; M.S.
LIS, The Palmer School, Long Island University;
professional organization memberships include
ARLIS/NA and ARLIS/VRA.
Paul Schlotthauer
Associate Professor/Librarian and Archivist
B.S., Gettysburg College; M.M., Indiana University;
M.L.S., St. John’s University; publications include
“Pratt Institute: A Historical Snapshot of Campus
and Area” in Digitization in the Real World: Lessons
Learned from Small and Medium-Sized Digitization
Projects; professional organization memberships
include: Association of American Archivists, Mid-
Atlantic Regional Archives Conference, Archivists
Round Table of Metropolitan New York, New York
Library Club (board member), American Library
Association, Association of College and Research
Libraries, American Association of Museums.
Holly Wilson
Associate Professor/Research and
Instruction Librarian
B.A., Baldwin-Wallace; M.L.I.S., University of
Pittsburgh; publications include “Touch, see,
find: serving multiple literacies in the art and
design library” in The Handbook of Art and
Design Librarianship; professional organization
memberships include: American Library
Association, Association of College and Research
Libraries; Reference and User Services Association,
Art Libraries Society of North America.
320
 321

Board of Trustees

Bruce J. Gitlin Gary S. Hattem Adam D. Tihany

Chair of the Board President, Deutsche Bank Americas Foundation Principal, Tihany Design
President and CEO, Milgo Industrial Inc. and Managing Director, Deutsche Bank Community
Development Finance Group Anne H. Van Ingen
Mike Pratt Former Director, Architecture, Planning and
Vice Chair of the Board June Kelly Design Program and Capital Projects, NYSCA and
President and Executive Director, June Kelly Gallery Adjunct Assistant Professor, Graduate School
The Scherman Foundation of Architecture, Planning and Preservation,
Roelfien Kuijpers Columbia University
Robert H. Siegel Global Head of AWM Relationship Management,
Vice Chair of the Board Institutional Head of WM Relationship David C. Walentas
Founding Partner, Gwathmey Siegel & Associates Management, Americas, Deautsche Bank Founding Partner, Two Trees
Architects, LLC Management Co., LLC
David S. Mack
Thomas F. Schutte Senior Partner, The Mack Company Ellery Washington
President, Pratt Institute Faculty Trustee
Carolyn Bransford MacDonald
Dr. Joshua L. Smith Trustee, The Halycon Foundation, Trustee Susan Young
Secretary Emerita, The American Museum in Britain, Faculty Trustee
Professor Emeritus, New York University Member of the Board, The American Associates of
the National Theatre in London Michael S. Zetlin
Howard S. Stein Attorney, Zetlin & De Chiara LLP
Treasurer Katharine L. McKenna
Retired, Managing Director, Operational Risk Artist, Designer, and Owner, KLM Studios
Global Corporate and Investment Bank, Citigroup Trustees Emeriti:
Kelsey Miller
Kurt Andersen Recent Graduate Trustee
Writer Richard W. Eiger
Diane Hang Nguyen
Deborah J. Buck Recent Graduate Trustee Charles J. Hamm
Artist, Interior Designer, and Owner, Buck House
David O. Pratt Young Ho Kim
Amy Cappellazzo Not-for-Profit Consultant
Founder and Principal, Art Agency, Partners Malcolm MacKay
Ralph Pucci
Kathryn C. Chenault President, Ralph Pucci International Leon Moed
Attorney
Stan Richards Bruce M. Newman
David Cutler Principal, The Richards Group
Undergraduate Student Trustee Heidi Nitze
Kate Selden
Anne N. Edwards Graduate Student Trustee Marc A. Rosen
Arts Activisit
Mark D. Stumer
Susan Hakkarainen Principal, Mojo-Stumer Associates, P.C.
Chief Marketing Officer, Lutron Electronics, and
Chief Creative Officer, Ivalo Lighting Incorporated Juliana C. Terian
Chairman of the Rallye Group
322
 323

Administration

Dr. Thomas F. Schutte Russell Abell Anthony Gelber

President Director of Libraries Director of Administrative Sustainability

Kirk E. Pillow Sylvia Acuesta Glenn Gordon

Provost Comptroller Executive Director of Planning, Design,
Construction, and Physical Plant
Marianthi Zikopoulos TBA
Associate Provost Director of Athletics and Recreation Mai McDonald-Graves
Director of Disability Services
Judith Aaron Sinclaire Alkire
Vice President for Enrollment Director of Enrollment Marketing and Research Thomas Greene
Director of Human Resources
Helen Matusow-Ayres Nedzad Goga
Vice President for Student Affairs Director of Financial Aid Imani Griszell
Director of Events
Joseph M. Hemway Christopher Arabadjis
Vice President for Information Director of Multi-Media Services Young Hah
Technology and CIO Director of Graduate Admissions
Nicholas Battis
Nancy Walker Director of Exhibitions Lisle Henderson
Interim Vice President for Registrar
Institutional Advancement Vladimir Briller
Executive Director of Strategic Planning Dustin Liebenow
Cathleen Kenny and Institutional Research Director of Marketing Communications and
Vice President for Finance Enrollment Management
and Administration L. Jane Bush
Director of International Affairs Debera Johnson
Thomas Hanrahan Academic Director of Sustainability
Dean, School of Architecture Martha Cedarholm
Director of Health and Counseling Services Berti Jones
Gerald Snyder Director of Enterprise Systems
Dean, School of Art Randy Donowitz
Director of the Writing and Tutorial Center Christopher Kasik
Anita Cooney Director of Residential Life and Housing
Dean, School of Design Grace Kendall
Director of Special Projects/Assistant to the Emma Legge
Andrew Barnes Vice President for Student Affairs Director of Student Involvement and Parent
Dean, School of Liberal Arts and Sciences and Family Programs
Adam Friedman
Tula Giannini Director of Pratt Center for
Dean, School of Information and Community Development
Library Science
324 Administration

Ludovic Leroy Rhonda Schaller

Director of Corporate Relations Director of the Center for Career and
Professional Development
Yvette Mack
Bursar William J. Schmitz
Director of Safety and Security
John Maier
Head of Technical Services Michael Sclafani
Director of Alumni Relations
Emily Mack Marshall and Annual Giving
Director of Foundation Relations
Nancy Seidler
Ellery Matthews Director of Intensive English
Director of Academic Computing
Lorraine Smith
Patti McCall Curator, Visual Resource Center
Head of Public Services
Richard Soto
Mara McGinnis Director of Budget
Executive Director of Communications
William Swan
Emily Moqtaderi Director of Undergraduate Admissions
Executive Director, Campaign
and Major Gifts Vicki Weiner
Director of Planning
Christopher Paisley
Director of Processing and Technology Warren White
Director of HEOP
Dmitriy Paskhaver
Director of Research Bryan Wizemann
Director of the Web Group
 325

Academic Calendar

Fall 2015 Spring 2016 Summer 2016

Last day for 100% tuition refund August 24 January 19 May 16
upon withdrawal (WD)
First day of classes August 24 January 19 May 16
(See schedule of classes)
Last day to add or drop without a September 7 February 1 May 23
WD grade
Last day to withdraw (WD) from a November 13 April 8 June 27
course
Dates that classes do September 7 (Labor Day) January 18 May 30
not meet October 12–13 (Midterm Break) (Martin Luther King Day) (Memorial Day)
November 25–29 (Thanksgiving) March 14–20 July 4 (Independence
(Spring Break) Day)
Studio Days December 8–11 May 3–6
Final exams December 12–18 May 7–13
Last day of classes December 18 May 13 July 22
(See schedule of classes)
Grades due online December 22 May 17 July 26

Please note: This calendar must be considered

as informational and not binding on the Institute.
The dates listed here are provided as a guideline
for use by students and offices participating in
academic and registration related activities.
This calendar is not to be used for nonacademic
business purposes. Pratt Institute reserves the
right to make changes to the information printed
in this Bulletin without prior notice.

Important Telephone Numbers Academic Advisors

Admissions (toll-free): 800.331.­0834 International Affairs Office: 718.636.­3674 Architecture: 718.399­.4333

Admissions: 718.636.3514 Library (Circulation Desk): 718.636.3420 Art and Design: 718.636­.3611
Bursar: 718.636­.3539 Registrar: 718.636.3663 Information and Library Science:
Career Services: 718.636­.3506 Residential Life: 718.399.­4550 212.647.7682
Financial Aid: 718.636.­3599 Security: 718.636­.3540 Intensive English Program: 718.636.3450
Health and Counseling Services: Student Activities and Orientation: Writing Programs: 718.399­.4497
718.399.­4542 718.636­.3422
326 Academic Calendar

Fall 2015

Registration New Student Orientation Academic

Monday, February 2 Tuesday, August 18–Sunday, August 23 Monday, August 17
PMC SU/FA schedule due to Registrar’s New student orientation held; loan Arts and Cultural Management
Office. entrance interviews. classes begin.
Monday, February 2 Wednesday, August 19
Brooklyn SU/FA schedule due to Payment/Financial Design Management classes begin.
Registrar’s Office. Wednesday, July 1 Monday, August 24
Monday, March 2 Student loan application deadline. Classes begin.
Fall schedule goes live on the Web. Saturday, August 1 Monday, September 7.
Monday, March 9 Continuing students’ tuition payment Labor Day. No classes.
Academic advisement begins. deadline.
Monday, September 7
Monday, April 6 Saturday, August 1 Last day to add a class.
Online registration begins for continuing New students’ tuition payment deadline. Last day to drop a class without a WD
students. Sunday, August 2 grade recorded.
Friday, May 15 Late payment fee of $80 in effect for all Monday, October 12–Tuesday,
Last day of preregistration for continuing students. October 13
students. Monday, August 24 Midterm Break. No classes.
Monday, June 15–Friday, June 19 Last day for 100 percent tuition refund Friday, November 13
Tentative date for new student online upon withdrawal. Last day for course withdrawal.
registration. Wednesday, November 25– Sunday,
Housing
Monday, September 7 November 29
Last day to add a class. Tuesday, August 18 Thanksgiving. No classes.
Last day to drop a class without a WD Entering freshman, transfer, and grad­uate Offices open on 11/25 only.
grade recorded. students check in to residence halls,
Tuesday, December 8– Friday
No new registrations accepted after 9 AM to 5 PM.
December 11
this date. Friday, August 21–Saturday, August 22 Studio Days
Friday, November 13 Continuing students check i­n to
Saturday, December 12– Friday,
Last day for course withdrawal. residence halls, 9 AM to 5 PM.
December 18
Saturday, December 19 Final exams week. Fall semester ends.
Noon checkout deadline for graduating
Tuesday, December 15
students and those who cancelled spring
Last day for students to submit
residence hall license.
graduation applications to the Registrar’s
Office for May graduation. Review for
Note: Students residing on campus spring
graduation begins January 4.
2016 do not check out of their fall rooms.

Tuesday, December 22
Last day to change grades from previous
spring/summer semesters.­
Tuesday, December 22
All final grades due online by 3 PM.
Thursday, December 24–
Sunday, January 3
Winter vacation. No classes.
Institute offices closed.
International Students
Friday, August 14; Monday, August 17;
Tuesday, August 18
Mandatory compliance and check-in
workshops with OIA (choose one day on
MyPratt).
Thursday, August 13; Friday, August 14;
Saturday August 15
Mandatory English Proficiency exams
given for international students (choose
one day on MyPratt).
Saturday, August 15
New international students check i­n to
residence halls, 9 AM to 5 PM.
Sunday, August 16
Welcome dinner for all new international
students and their families
Tuesday, August 18–Sunday August 23
New student orientation.
Academic Calendar 327
Refund Schedule Late Payment Fees
Course Withdrawal Refund Schedule
Fall 2015 • A late payment fee of $80 will be
charged for any unpaid balance after
Prior to and including August 24 Full refund
the initial disbursement of financial aid
August 25–August 31 85% refund
has been applied for each semester.
September 1–September 7 70% refund
September 8–September 14 55% refund
• A late fee of $55 will be charged after
the first 15 days of each semester/
After September 14 No refund
session for students who did not
The refunds above are calculated using complete their registration during their
the date you dropped your course online designated registration period.
or submitted your completed drop/
add form to the Office of the Registrar
(Myrtle Hall 6th Floor). No penalty is
assessed for undergraduate withdrawals
when a full­-time credit load (12–18
credits) is carried before and after the
drop/add date.
Housing Cancellation Refund
Schedule Fall 2015
Please refer to the housing license
to determine the cancellation
penalty/refund.
Meal Plan Cancellation Refund Schedule
Please refer to the cancellation penalty
schedule on the back of your meal plan
contract to determine the cancellation
penalty/refund.
328 Academic Calendar

Spring 2016

Registration Payment/Financial Housing

Wednesday, August 19 Sunday, November 1 Thursday, January 14
PMC spring schedule due to Registrar’s Recommended date to file spring New international students’ resi­dence
Office. financial aid and student loan hall check-­in, 9 AM to 5 PM.
Tuesday, September 8 applications for students who did not file Thursday, January 14
Brooklyn spring schedule due to for fall term. Entering freshman, transfer, and graduate
Registrar’s Office. Friday, December 18 students’ check in to res­idence hall, 9 AM
Monday, September 21 Continuing students’ tuition pay­ment to 5 PM.
Spring schedule goes live on Web deadline for spring. Saturday, May 14
Monday, October 19 Monday, January 4 Noon check out deadline for non-­
Academic advisement begins. All continuing students should begin to graduating students and those students
file financial aid forms for financial aid without a Summer Ses­sion residence
Monday, November 2
award packages. hall license.
Continuing students’ online registration
for spring begins. Friday, January 15 Day after Commencement, TBA
New students’ tuition payment deadline. Noon checkout deadline for grad­uating
Monday, February 1
Tuesday, January 19 students the day after commencement.
Last day to add a class.
Last day to drop a class without a WD Last day for 100 percent tuition refund
upon withdrawal. Note: Students residing on campus
grade recorded.
Summer 2016 session do not check out
No new registrations accepted after Monday, February 1
of their spring room until notified by
this date. Recommended filing deadline for
their SU that summer room is ready.
Friday, April 8 financial aid applications for the next
Last day for course withdrawal. academic year.
Tuesday, April 5
New Student Orientation Recommended filing deadline for 2016/17
Thursday, January 14–Friday January 15 student loan applications.
New international student orienta­tion held.
Friday, January 15
New student orientation held.
 Academic Calendar 329

Academic Tuesday, May 17 Housing Cancellation Refund Schedule

Saturday, January 9
Graduate Design Management and Arts
and Cultural Management classes begin.
Thursday, January 14
English proficiency exam for international
students.
Last day to change grades from previous Spring 2016
fall semesters.
Please refer to the housing license
Tuesday, May 17 to determine the cancellation
All final grades due online by 3 PM. penalty/refund.
TBA
Graduation Awards Convocation. Meal Plan Cancellation Refund Schedule

Monday, January 18 TBA Please refer to the cancellation penalty

Martin Luther King Day. Commencement. schedule on the back of your meal plan
­No classes. contract to determine the cancellation
Tuesday, January 19 Refund Schedule penalty/refund.
Weekday classes begin. Course Withdrawal Refund Schedule
Spring 2016 Late Payment Fees
Monday, February 1
Last day to add a class or drop without Prior to and including January 19 Full refund • A late payment fee of $80 will be

a WD grade recorded.
Monday, February 15
Presidents’ Day. Classes meet.
Offices closed.
Monday, March 14–Sunday, March 20
Spring break.
Friday, March 25
Last day to submit a graduation
application for summer and fall
graduation.
Saturday, March 26–Sunday, March 27
Spring Holiday. No classes.
Institute closed.
Friday, April 8
Last day for course withdrawal.
Tuesday, May 3–Friday May 6
Studio Days
Saturday, May 7–Friday, May 13
Final exams week. Classes end.
January 20–January 26 85% refund charged for any unpaid balance after
January 27–February 2 70% refund the initial disbursement of financial aid
February 3–February 9 55% refund has been applied for each semester.
After February 9 No refund
• A late fee of $55 will be charged after
the first 15 days of each semester/
The refunds above are calculated using
session for students who did not
the date you completed your transaction
complete their registration during their
online or submitted your completed
designated registration period.
drop/add form to the Office of the
Registrar (Myrtle Hall, sixth floor). No
penalty is assessed for undergraduate
withdrawals when a full­-time credit load
(12–18 credits) is carried before and after
the drop/add date.
330 Academic Calendar

Summer 2016

Registration* Housing Academic

Monday, April 4
Registration for summer classes begins.
Monday, May 23
Last day to add a class.
Monday, May 23
Last day to drop summer classes without
a WD grade recorded.
No new Summer Session registrations
accepted after this date.
Monday, June 27
Last day for withdrawal from a
summer class.
*The last day to add a class, drop a class, or
withdraw from a class with a grade of WD is
dependent on the start date and length of
the class
Payment/Financial
Friday, April 8
Summer Session tuition payment
deadline for continuing students;
thereafter, an $80 late payment fee
charged to continuing students for
Summer Session.
Students check in to their residence Saturday, May 7
hall room the Sunday prior to the start Graduate Design Management and Arts
of their classes, 9 AM to 5 PM. (Consult and Cultural Management classes begin.
course schedule to determine the weeks Monday, May 16
desired for on-campus housing.) Summer classes begin.
Monday, May 23
Students check out of their residence
Last day to add a class.
hall room on the Saturday following the
Last day to drop without a WD grade
conclusion of their classes by noon.
recorded.
(Consult course schedule to determine
No new Summer Session registrations
the weeks desired for on-campus
accepted after this date.
housing.)
Monday, May 30
Memorial Day. No classes.
Note: Students residing on campus for
the last week of the Summer Session Monday, June 27
and residing on campus for the fall 2016 Last day for course withdrawal from
semester do not check out of their Summer Session.
summer room until they are notified their Monday, July 4
fall room is ready. Independence Day. No classes.
Friday, July 22
Summer classes end.
Tuesday, July 26
Summer grades due online by 3 PM.
 Academic Calendar 331

Refund Schedule
Course Withdrawal Refund Schedule
Summer 2016

Prior to and including May 16 Full refund

May 17 through May 23 55% refund
After May 23 No refund

The above refunds are calculated using the date

you dropped classes online or submitted your
completed drop/add form to the Office of the
Registrar (Myrtle Hall, sixth floor).

Housing Cancellation Refund Schedule

Please refer to the housing license

to determine the cancellation
penalty/refund.

Meal Plan Cancellation Refund Schedule

Please refer to the cancellation penalty

schedule on the back of your meal plan
contract to determine the cancellation
penalty/refund.

Late Payment Fees

• A late payment fee of $80 will be

charged for any unpaid balance after
the initial disbursement of financial aid
has been applied for each semester.

• A late fee of $55 will be charged after

the first 15 days of each semester/
session for students who did not
complete their registration during their
designated registration period.
332

B54 B54

B54 B54 B54

1. ISC Building 12. Thrift Hall 19C. Steuben Hall

2. Library 13. Pantas Hall 20. Film/Video Building
3. DeKalb Hall 14. Willoughby Hall 21. Pratt Townhouses
4. Higgins Hall 15A. Willoughby Security Booth 22. ARC building
5. North Hall 15B. Pantas Security Booth 23. Stabile Hall
6. Memorial Hall 15C. Hall Security Booth 24. Cannoneer Court
7. Student Union 16. Chemistry Building 25. Myrtle Hall
8. Main Building 17. Machinery Building 26. 100 Grand
9. East Building 18. Engineering Building 27. 248 Flushing
10. South Hall 19A. Pratt Studios 28. Newman Mall and Clock
11. Jones Hall 19B. Juliana Curran Terian Design Center

Brooklyn Campus
200 Willoughby Avenue
Brooklyn, NY 11205
By Subway
From Grand Central Station
Take the downtown 4 or 5 train to the Fulton
Street station. Take the Brooklyn-bound A or C
train to the Hoyt-Schermerhorn station. Cross
platform and take the G train (front car) to the
Clinton-Washington station. Use Washington
Avenue exit. On Washington, walk one block north
to DeKalb Avenue. Turn right onto DeKalb and
proceed one block to Hall Street/Saint James
Place to the corner gate of the Pratt campus.
From Penn Station and
Port Authority Bus Terminals
Take the Brooklyn-bound A or C train to the
Hoyt-Schermerhorn station. Cross platform and
take G train (front car) to the Clinton-Washington
station. Use Washington Avenue exit and follow
directions above to campus.
By Bus
From Downtown Manhattan
Take the B51 bus from City Hall to Fulton and
Smith streets in downtown Brooklyn. Change to
B38 bus and take it up Lafayette Avenue to the
corner of Saint James Place, which turns into Hall
Street. Entrance to the campus is one block north
on Hall Street.
How to Get to Pratt
By Car
From BQE, Heading West/South
Exit 31, Wythe Avenue/Kent Avenue. Stay straight
to go onto Williamsburg Street W., which becomes
Williamsburg Place, then Park Avenue. Turn left
onto Hall Street. Proceed two blocks to Willoughby
Avenue. Make a left on Willoughby. Campus is
on right.
From BQE, Heading East/North
Exit 30, Flushing Avenue. Bear left onto Classon
Avenue, then turn left onto Flushing Avenue. Turn
left onto Washington Avenue. Proceed two blocks
to Willoughby Avenue. Make a left on Willoughby.
Campus is on right. Myrtle Hall is across the street
from the main gate (first left parking lot).
From West Side of Manhattan
Via Manhattan Bridge
Travel east on Canal Street to Manhattan Bridge.
Exit bridge to Flatbush Avenue. Turn left onto
Myrtle Avenue. Proceed 15 blocks. Make a right
turn onto Hall Street. Go one block. Make a left
turn onto Willoughby. Campus is on right.
From East Side of Manhattan
Via Brooklyn Bridge
Travel south on the FDR Drive (also called East
River Drive) to Brooklyn Bridge exit. Exit bridge
to Tillary Street. Turn left on Tillary to Flatbush
Avenue. Turn left onto Myrtle Avenue. Proceed 15
blocks. Make a right turn onto Hall Street. Go one
block. Make a left turn onto Willoughby. Campus
is on right.
333
From Newark-Liberty Airport
After the exit, continue toward US-1/US-9/
Newark-Elizabeth (US-22.) Continue on US-1 and
9 North toward Port Newark. US-1 and 9 North
become 12th Street. Continue on Boyle Plaza,
which becomes the Holland Tunnel. Take the
tunnel toward Brooklyn/Downtown and continue
on Beach Street to Walker Street. Continue on
Canal Street to the Manhattan Bridge. Cross the
bridge to Flatbush Avenue Extension. Turn left
onto Myrtle Avenue. Proceed 15 blocks. Make a
right turn onto Hall Street. Go one block. Make a
left turn onto Willoughby. Campus is on right.
From LaGuardia Airport
Follow signs toward Airport Exit/Rental Cars.
Take ramp (right) onto Grand Central Parkway
toward Parkway West/Manhattan. At exit 4, take
ramp (right) onto BQE/ I-278 W. toward the
Verrazano Narrows Bridge. Take BQE to exit 31,
Wythe Avenue/Kent Avenue. Stay straight to go
onto Williamsburg Street W., which becomes
Williamsburg Place, then Park Avenue. Turn
left onto Hall Street. Proceed two blocks to
Willoughby Avenue. Make a left on Willoughby.
Campus is on right.
From Kennedy Airport
Take the Airport Exit on I-678 South and continue
towards Terminals 8 and 9. Go toward Terminal
9 Departures. Bear right towards the Van Wyck
Expressway/Airport Exit. Continue on the Van
Wyck/I-678 North. Take the 1B-2/Belt Parkway
exit towards the Verrazano Bridge. Take exit 1B
to North Conduit Avenue, which becomes North
Conduit Boulevard. Take Belt Parkway West
towards the Verrazano Bridge. Take the North
Conduit Avenue exit 17W. Continue on Nassau
Expressway/North Conduit Avenue. Bear left on
Atlantic Avenue. Proceed five miles. Turn right
onto Washington Avenue and go seven blocks.
Turn right onto Willoughby Avenue. Campus is
on right. Myrtle Hall is across the street from the
main gate (first left into parking lot).
334
Manhattan Campus
144 West 14th Street
New York, NY 10011
By Car
From Queens
Via 59th Street Bridge
Go south on the FDR Drive. Take 23rd Street exit.
Make a right turn onto 23rd Street. Make a left
turn on Second Avenue. Take Second Avenue to
14th Street. Make a right turn. Pratt is located
between Sixth and Seventh Avenues on the south
side of the block, closest to Seventh Avenue.
From Brooklyn
Via Brooklyn Bridge, north on FDR Drive
Drive to Houston Street exit. Take left on Houston
to Third Avenue. Make a right. Take Third Avenue
to 14th Street, and make a left turn. Pratt is
located between Sixth and Seventh Avenues
on the south side of the block, closest to
Seventh Avenue.
From New Jersey
Take the Holland Tunnel to Manhattan. Take
Exit 3 toward Brooklyn, merge onto Beach St./W.
Broadway and continue to follow W. Broadway.
Make a slight left onto Sixth Avenue/Avenue of
the Americas. Turn left onto 14th Street. Pratt
is located between Sixth and Seventh Avenues
on the south side of the block, closest to
Seventh Avenue.
From Westchester
Take the West Side Highway South. Make a left
turn onto 14th Street. Pratt is located between
Sixth and Seventh Avenues on the south side of
the block, closest to Seventh Avenue.
Parking in Manhattan
Limited street parking is available on weekdays
and weekends. Parking is available for a fee in
nearby garages.
By Subway Going from Pratt Brooklyn
Take the A, C, or E train to 14th Street/Eighth
to Pratt Manhattan
Avenue, the F or M train to 14th Street/Sixth
Avenue, the 1, 2, or 3 train to 14th Street/Seventh
Avenue, or the 4, 5, 6, N, R, or Q train to 14th
By Subway
Street/Union Square. Take crosstown buses or
Take the G train from the Clinton-Washington
the L train to travel east or west on 14th Street.
station. Go two stops to Hoyt-Schermerhorn.
Pratt is located between Sixth and Seventh
Change for the A or C train, and take it to 14th
Avenues on the south side of the block, closest
Street/Eighth Avenue. Walk east, or take the
to Seventh Avenue.
crosstown buses or L train for eastbound travel.
Pratt is located between Sixth and Seventh
Avenues on the south side of the block, closest to
By Bus
Seventh Avenue.
If uptown, take the M20 to 14th Street/Eighth
Avenue. Or take the M6 to 14th Street/Avenue of
the Americas. If downtown, take the M20 to 14th
By Bus and Subway
Street/Seventh Avenue.
Take the M38 bus to Flatbush Avenue. Exit at
Or take the M6 to 14th Street/Union Square. Take DeKalb Avenue station. Take the N, R, Q or W train
crosstown buses or the L train to travel east or to 14th Street/Union Square. Walk west, or take
west on 14th Street. Pratt is located between Sixth crosstown buses, or the L train for westbound
and Seventh Avenues on the south side of the travel. Pratt is located between Sixth and Seventh
block, closest to Seventh Avenue. Avenues on the south side of the block, closest to
Seventh Avenue.
By PATH Train
From New Jersey
Take the PATH train to 14th Street in Manhattan.
Exit at Sixth Avenue and 14th Street. Pratt is
located between Sixth and Seventh Avenues
on the south side of the block, closest to
Seventh Avenue.
Courses

School of Architecture Structures I collection technology generates for its own time,
ARCH-631 | 3 CR place and content.
This course introduces the fundamentals of
structures including statics, strength, and stability History & Theory I: Modern
of materials. Students are introduced to structural ARCH-651 | 3 CR
concepts, systems and the tracing of structural This course investigates the history of modern
Department: ARCHG loads, using basic principles, physical modeling, architecture during the 20th century. It introduc-
theoretical and analytic methods. Topics include es students to important architects, buildings,
the interrelationship between strain, stress and movements, discourses, and institutions and
ARCH/ARCHITECTURE stability, as well as the implications of tension, traces the transformations of both mainstream
compression, shear, torsion and bending. (Pre- modernism and avant-garde practices from the
requisite: minimum three credits of college-level 1920s until the 1960s. Beyond a history of canoni-
Design Studio I: Fundamentals
Physics or Calculus). cal figures and works, the course will also address
ARCH-601 | 5 CR
aspects of the history of modern architecture
This studio is an introduction to the fundamental
Structures II that have only recently been introduced into the
concepts, processes and skills required for
ARCH-632 | 3 CR study of this period.
graduate architectural design. With a series of
This course is an exploration of structural design
abstract yet non-reductive exercises, students
in building using several material palettes including History & Theory 2: Architecture Theory
will learn to create and discuss formal, spatial and
wood, steel, and concrete. This course introduces ARCH-652 | 3 CR
material relations. Through design projects and
specific structural applications of materials This is an intensive reading course in architectural
discussions with the studio critic, students will
commonly used in small-scale commercial and theory and related philosophical and critical texts
develop an understanding of fundamental design
institutional buildings. Students are introduced from the 19th and 20th centuries. The current
principles, representational techniques, and
to the design of columns, walls, joinery and state of architectural practice in relation to
analytical skills.
connections appropriate to each material type. theory is considered. Students place the readings
Theoretical, analytical, and computer simulation in relation to one another and in cultural/histori-
Design Studio 2: Context
methods are employed. cal context through class discussion and seminar
ARCH-602 | 5 CR
format, presentation, and papers.
Studio emphasis is on design that conceptually
Directed Research
and materially addresses a specific site and
ARCH-648 | 2–3 CR Independent Study
context. The study and application of building
This course is intended for students who wish to ARCH-698 | 1–5 CR
materials and technologies is explored in the
do independent research at a graduate level in Students may conduct an independent study
design of a small building (renovation and
a subject of their choice and acceptable to the project on a problem of interest or as an exten-
addition) in response to a detailed architectural
graduate faculty and the chair. sion of a regular course. The study may result in
program. Digital representation techniques are
either a paper or a physical design project. The
also explored.
International Studies: Rome topic must be approved by the chair and may be
ARCH-648A | 3 CR supervised by any faculty member.
Computer Media I: Multimedia
Students visit and study ancient Rome sites;
ARCH-611 | 3 CR
Medieval, Renaissance, and Baroque architecture; Thesis in Progress
The first media course emphasizes the integrated
and modern and contemporary projects in Rome, ARCH-700 | 0 CR
use of the computer and computer software
as well as in other prominent Italian cities and If the Thesis course is not completed in the initial
for representation, design development and
towns. This course provides firsthand experience semesters, students can continue working in
presentation. (A basic knowledge of computers
analyzing architecture, cultural forces, and urban ARCH-700 for no more than five semesters.
is required).
systems through architectural investigations.
Design Studio III: Urban Mix
Computer Media II: Advanced
International Studies: Istanbul ARCH-703 | 5 CR
ARCH-612 | 3 CR
ARCH-648B | 2–3 CR This design studio will focus on the contemporary
This course provides a framework for concep-
This course is intended for students who wish to urban condition. Specifically, the students will
tualizing the digital project in architecture. The
do independent research at a graduate level in be introduced to the interrelationships between
course is a hybrid seminar/workshop that is driven
a subject of their choice and acceptable to the urban form, land and building use, transportation,
by a single course project that, in turn, is driven
graduate faculty and the chair. and environment.
by a series of investigations. These investigations
will approach the functions of software in such
International Studies: Istanbul Research Design Studio IV: CAP
a way as to extract critical approaches to the
ARCH-648C | 3 CR ARCH-704 | 5 CR
digitization of architecture.
The seminar intends to close the existing gap This is the final studio in a series of four core
between theories and technologies of the 21st design studios. This studio emphasizes the
century metropolis and architects’ current data comprehensive nature of architectural design.
retrieval and representation methods. It will do One project, of moderate complexity, engages
this by examining the kind of knowledge each data students in a design investigation for an urban

site which includes all aspects of design
development, including documentation of typical
construction details.
Parametric Systems and Form
ARCH-711A | 3 CR
Students in this course investigate how computer
programming techniques can be used in the
generation of architectural form, in particular
three-dimensional form.
Scripting and Form
ARCH-711C | 3 CR
Students in this course investigate how computer
programming techniques can be used in the
generation of architectural form, particularly
in the generation of drawings, both still and
animated, and user-interactive systems.
Computer: Media: Augmented Systems
ARCH-711DP | 3 CR
Augmented systems will provide a unique insight
into the use of digital/physical informational
overlays to provide real time data for architectur-
al systems. We will learn how to embed and rep-
resent metadata, construction, and fabrication
data into real world objects through augmented
reality systems. We will explore ways to create,
control, and visualize the useful metadata that
is inherently created with computational design
techniques and expose that data to various end
users in a friendly and interactive way.
Digital Fabrication in Arch.
ARCH-712A | 3 CR
This course instructs students in the project
conceptualization, preparation of drawings,
and production involved in computer aided
fabrication of architectural components.
Computer Aided Construction
ARCH-712B | 3 CR
This course introduces students to new ways
architects can engage the construction industry
as a result of the computer techniques in the pro-
duction of building components and assemblies.
Integrated Comp Modeling
ARCH-712C | 3 CR
This course is an introduction to and advance-
ment of computer-aided modeling and rendering
of 3-D visuals in architecture. The emphasis of
this course is on the integrated use of various
software packages and the exploration of how
the computer can be used for the effective
generation and visualization of 3-D architectural
design concepts.
Animation in Arch. Design
ARCH-713A | 3 CR
In this course students retool digital animation
techniques into form generation devices for
architectural design. In particular, students will
focus on building interactive, performative models
for the evaluation of architectural geometries.
School of Architecture Courses
Computer Logics
ARCH-714A | 3 CR
This course emphasizes an in-depth understand-
ing of the logics of computer media employed in
architectural design. Instead of accepting the for-
mal biases of a given software package, students
are asked to explore methodologies through
which the architectural designer can customize
a set of computer design tools to correspond to
specific architectural form agendas.
Architecture Exhibition Design
ARCH-715A | 3 CR
This course teaches the design, curation and fab-
rication skills necessary to mount an architecture
exhibition. Students organize content, present
conceptual ideas, design exhibition details, build
prototypes, and develop a construction schedule
within given budget.
Theory & Practice: Architecture
Representation
ARCH-716A | 3 CR
This course gives students an overview of the
practical and theoretical aspects of architectural
representation from the 1960s to the present.
Students examine how a variety of media is
incorporated into representations of design,
and in particular how computer media is used in
contemporary architectural practice.
Computer Media: Advanced Modeling
ARCH-717A | 3 CR
The basic premise underlying this seminar is that
to better define what architecture can be and do
in a hyper-mediated world, we must turn, not to
computer paradigms, but to narrative film. To this
end, this seminar examines films as if they were
works of architecture and imagines architecture
as film. Architecture is anything but certain, and
the fiction of films, as opposed to the insistent
actuality of buildings, frees us from the pretense
of knowing with certainty. Also, in the tradition
of architecture theory at its best, looking at films
through architecture reveals them in ways not
possible through literature or theater.
Architecture Representation/Cinematic
ARCH-718A | 3 CR
Students use cinematic techniques to create
a multimedia presentation of a design studio
architectural project. This course is structured
as a workshop in which students explore
narrative techniques, and storyboard to produce
video of their project. Students will learn how
to use contemporary cinematic techniques to
explore ideas pertinent to architectural design
including lighting, building organization, and
design project development.
History/Theory 3: Non-West His
ARCH-753 | 3 CR
This course introduces the issues and
personalities that are shaping the built
environment today in much of the non-Western
world. The course situates and circumscribes
the theoretical debates that are occurring,
emphasizing common features where they occur,
such as climate, religion, ethnic composition and
social hierarchies, and also shared problems like
low-cost housing or large institutional projects.
Design Building: Community Connection
ARCH-760P | 3 CR
Part one of a three successive semester seminar
dedicated to the programming, design, and con-
struction of temporary modular pavilions to be
placed adjacent to various NYPD precinct houses
with the intention of establishing a more inviting,
transparent, and community friendly interface.
Through this seminar based course students will
conduct meetings with stakeholders including
the NYPD, community representatives and the
DDC to discuss and establish the character of
the pavilion and the program of uses that it will
provide. Through discussions and explorations
the class will present alternatives and establish a
final design for the pavilion in collaboration and
discussion with the stakeholders.
Environmental Controls
ARCH-761 | 3 CR
This course addresses the design of mechanical,
electrical, plumbing and other systems for
providing services in buildings. Heating, cooling,
electrical service, lighting, plumbing, fire pro-
tection, vertical transportation, communication
and security, acoustics, and energy conservation
techniques are covered. From physical law
to practical applications, building services for
houses, institutional and commercial structures
and communities are discussed.
Materials and Assemblies
ARCH-762 | 3 CR
Topics include assemblage of the structural types:
wood, masonry, steel, tensile structures, and
concrete; selection criteria for non-structural
materials: glass, plastics, and non-ferrous mate-
rials; building components: stairs, windows, glass,
and interior finishes, and criteria for fire, water
movement, sound, and temperature control.
Integrated Building Systems
ARCH-763 | 3 CR
This is an applied science course in which
advanced applications of scientific technology in
structures, materials, and energy are developed.
The lecture format is supplemented by exercises
and individual research projects pertinent to the
technology of design and construction.
Architecture and Business
ARCH-764 | 3 CR
This seminar is designed to build upon Pratt’s
international reputation of developing creative
leaders by bridging the gap between the
disciplines of architecture and business as well as
emphasizing innovation and entrepreneurship.
Students are provided with the tools to develop
a business plan, to better understand financial
concepts, to develop proposals and contracts,
and engage in case studies to avoid common
operating pitfalls. Students will be encouraged
to develop strategic management skills in six
study areas related to design management:

operations management; financial management;
marketing management; organization and human
resource management; management of innovation
and change; and management of local, regional,
and global suppliers, distributors, and markets.
Automation for Architectural
Manufacturing
ARCH-771AP | 3 CR
This course will give students a basic introduction
to the world of industrial robotic arms and auto-
mated manufacturing. An architectural assembly
will be proposed, simulated, and prototyped
using graphical programming in RobotStudio, the
ABB RAPID code language, and the ABB IRB 140
industrial robotic arm.
Teaching Methodologies
ARCH-781 | 3 CR
This course is intended for students who wish to
do independent research at a graduate level in
a subject of their choice and acceptable to the
graduate faculty and the chair.
Summer Design Studio: Vertical
ARCH-803 | 5 CR
Coursework studies complex architecture
and urban design problems related to various
theoretical premises; cultural, historical and
technical concepts are examined for application
and contribution to developing appropriate
architectural form and aesthetics.
Design Studio 5: Vertical Opt
ARCH-805 | 5 CR
This is a Vertical Design Studio in which students
produce a project in a paperless studio. Sites are
located within a negotiation between the building
and the Internet. The premise is to make a digital
object that, like digital processes, combines both
representation and production.
Design Studio 6: Vertical II
ARCH-806 | 5 CR
This studio provides opportunities for advanced
architectural research by graduate students.
The class investigates and elaborates powers
of conviction through architecture, taking as a
context current issues rather than a particular
physical location. Students are enabled and
encouraged to design their own strategies to carry
out the course objectives.
Multimedia & Computer Methods
ARCH-813 | 3 CR
The basic premise underlying this seminar is that
to better define what architecture can be and do
in a hyper-mediated world, we must turn, not to
computer paradigms, but to narrative film. To this
end, this seminar examines films as if they were
works of architecture and imagines architecture
as film. Architecture is anything but certain, and
the fiction of films, as opposed to the insistent
actuality of buildings, frees us from the pretense
of knowing with certainty. Also, in the tradition
of architecture theory at its best, looking at films
through architecture reveals them in ways not
possible through literature or theater.
School of Architecture Courses
Material Articulation in Architecture
ARCH-850A | 3 CR
Students research historical and contemporary
architecture precedents and identify sets of design
criteria. Students then use these criteria to fabri-
cate physical models. These models are prototypes
for ways in which technology, technique, and
material converge in architectural production.
Material Technology in Architecture
ARCH-850B | 3 CR
Students research historical and contemporary
architecture precedents and identify sets of design
criteria. Students then use these criteria to fabri-
cate physical models. These models are prototypes
for ways in which technology, technique, and
material converge in architectural production.
Elective: Architecture and
Ornament Technology
ARCH-850C H/T | 3 CR
This seminar will trace the long and often oblique
relationship between ornament and architecture.
We will explore the ways by which architecture has
become implicated in the philosophical debate
surrounding our ability to actualize a new world
through design.
Architecture in Film
ARCH-851A | 3 CR
This seminar introduces students to the schol-
arship in architecture and film as they examine
the optical and analytical devices of narrative
film within the context of architecture theory.
Students study film as if it were architecture-mak-
ing space with moving images-and architecture as
if it were film-playing up the time and psyche of
architecture.
Architecture and Geometry
ARCH-851B | 3 CR
This course examines a number of problematics
concerning the use of computation, as its use in
design work has shifted the technological and
aesthetic understanding of geometry and archi-
tecture. Students will look at specific historical
and contemporary definitions of computation as
well as its different uses in different fields related
to the discipline of architecture.
Design Intelligence
ARCH-851C | 3 CR
Design Intelligence deals with the particular
moments where established techniques of archi-
tectural affect and production shift among design
media, environments, and designed artifacts. The
course traces links between drawing-shorthand
for two-dimensional media—and building where
specific confluence, crisis, and shift occurs in
the conception and practice of each. This traffic
back and forth between architecture’s media
is examined in archival research, theoretical
discourse and actual production.
Nature and Design
ARCH-851D | 3 CR
This seminar examines how nature and design
have been considered intrinsically linked
throughout history and considers how recent
technological advancements can alter our
understanding of how this relationship can be
enacted in architectural design.
Critical Geography &
Techniques of Representation
ARCH-851E | 3 CR
This course investigates how spatial relationships
affect a range of subject areas, from the way
physical structures and natural conditions affect
populations, to the way populations in turn
shape physical spaces. Students will study the
theoretical work of critical geography through
texts by Denis Cosgrove and others, as well as the
work of the Frankfurt School, which includes the
work of Walter Benjamin. Students will develop a
mapping project that researches contemporary
relations between the social and spatial.
Composite Structures in Architecture
ARCH-853A | 3 CR
This course explores the possibilities and
limitations of composite materials in the
building industry. Students study how composite
structures take advantage of the different
properties of its constituent parts. Issues covered
in this course range from initial analysis and design
to implementation in architecture projects.
Plasticity in Architecture
ARCH-853B | 3 CR
This course is about rethinking questions of
technology in architecture. The course addresses
both historical and contemporary issues, including
cybernetics, second-order systems theory, problems
of agency and animations, theories of sustainability
and computation, in an architectural context.
History Structural Design
ARCH-853C | 3 CR
This seminar introduces students to the
history of structural design and enables them
to research theoretical and material topics
regarding structural engineering. The seminar
examines the relationship between architecture
and engineering.
Theoretical Principals of Materials
ARCH-853D | 3 CR
This course explores the theoretical principles
behind structural engineering and building
materials, and how new technology can alter
methodologies in architectural design.
Theory & Practice Architecture
ARCH-855A | 3 CR
This course enables students to make a
connection between the academy and the
profession through research and discussion of
current themes in the discipline of architecture.
Architecture and Culture
ARCH-855C | 3 CR
This course will allow for the specific exam-
ination of architecture with respect to cultural
systems, including ethical, political, legal and
property systems.

H/T Elective:100 Years of Architecture
ARCH-855DP | 3 CR
The course is a survey of architectural thought and
theory throughout the 20th century. It traces the
development of architectural discourse through the
various concepts in architecture and urban design
and aims to create a comprehensive understanding
of the relationship between design and theory.
Mass Customization in Architecture
ARCH-857A | 3 CR
This course explores the use of mass customi-
zation in architecture, both through historical
research and practical exploration. Students
examine built and theoretical work and study
how mass customization is integrated in the
practice of architecture. Students also examine
socio-political and socio-cultural aspects of mass
customization in the discipline of architecture,
particularly in relation to housing.
Architecture and Information Space
ARCH-857B | 3 CR
This course introduces students to the
problematic of designing architectural spaces with
programs related with the collection, dissemina-
tion, exchange and learning of information.
Architecture and Urban Transformation
ARCH-859A | 3 CR
This seminar explores histories and theories
of change in cities, focusing, on the role that
architectural design plays in producing, imagining,
and justifying the redistribution of spatial, material
and economic resources.
Architecture and Society
ARCH-859B | 3 CR
This course investigates the relationship between
space, social activism, and the environment
in America from the 1960s to the present. It
traces the evolution of environmental design by
looking at the complex relationships between the
American civil rights and environmental move-
ments. This seminar seeks to contextualize the
history of advocacy and grassroots architecture
and planning.
Landscape, Cityscape, Place
ARCH-859C | 3 CR
This course traces the relationship of architecture
and urban design to developments in human
geography and cultural landscape studies from the
turn of the 20th century to the present day.
Housing in Berlin and NY
ARCH-859D | 3 CR
This course surveys the history of large scale
housing projects and housing reform movements
in Berlin and New York from around 1890 to the
present day, with a focus on architects’ engage-
ment with the social and economic problems
of the modern metropolis. These two cities are
exemplary of the vast new metropolises that came
into existence with the wave of industrialization
of the late 19th century and in both we find case
studies that chronicle the constantly-renegotiated
School of Architecture Courses
relationship between architectural culture and the
modern urban situation.
Utopias and Radical Concepts
ARCH-859EP | 3 CR
This seminar looks at the history of Utopias and
radical concepts in architecture, focusing on
the cultural revolution of the 60s. The seismic
shift in culture, music and film in the 60s had
a groundbreaking and permanent impact on
architecture and on the very questions of what
constitutes architecture itself.
A Science of the Environment
ARCH-859FP | 3 CR
A review of the early foundations of 18th and
19th century ecological thought and some
contemporary developments in biological
anthropology that incorporate the systems
approach to understanding the relation between
form and behavior. The course follows a number
of aspects and implications of evolutionary theory
as well as developments in philosophy of nature
and mind to develop a wide-ranging approach to
thinking about how design and environment affect
one another.
H/T Elective: Postwar Spatial
ARCH-859GP | 3 CR
This course will support a greater understanding
of the central developments in Aesthetics in the
post-Avant-Garde era and how these events
developed out of, and had impact on, the course
of art and design practice through the late 20th
and early 21st centuries. Students will examine
underlying concepts of space, time, matter and
experience and how these topics have been
transformed by philosophy, science, and artistic
experimentation while changing the landscape in
which design today takes place.
Professional Practice
ARCH-861 | 3 CR
This course examines the profession of
architecture. What is an architect? What is the
process of licensing? What are the contractual
responsibilities of an architect? What are the stag-
es of an architectural project? These and other
questions regarding the practice of architecture
are raised and answered. The tools for starting,
maintaining and evolving an architectural practice
are presented.
Fall Design Studio for MS Architecture
ARCH-901 | 5 CR
Studio emphasis is on design that conceptually and
materially addresses a specific site and context.
The study and application of building materials and
technologies is explored in the design of a small
building (renovation and addition) in response
to a detailed architectural program. Digital
representation techniques are also explored.
Spring Thesis Design
ARCH-902 | 5 CR
Students work on the detailed design and
presentation of an approved thesis subject that
investigates—from a theoretical or pragmatic
position—a subject of sufficient complexity and
particular relevance to the thesis candidate’s
background or career orientation.
Internship (Summer Only)
ARCH-9600 | 0 CR
Master of Architecture and Master of Science
in Architecture and Urban Design students
may participate in a 90 hours a week, archi-
tectural-office summer internship in selected
architectural firms after a formal selection
process. An internship is intended to include all
phases of office experience under the supervision
of senior members of the firm. Internships may
be applied to elective credits depending on the
nature of each work assignment and the length of
the internship period.
Graduate Architecture Internship
ARCH-9601 | 1 CR
Master of Architecture and Master of Science
in Architecture and Urban Design students may
participate in a 120 hours/15 weeks (8 hours/
week or one day a week), architectural-office
summer internship in selected architectural
firms after a formal selection process. An
internship is intended to include all phases of
office experience under the supervision of senior
members of the firm. Internships may be applied
to elective credits depending on the nature of
each work assignment and the length of the
internship period.
Graduate Architecture Internship
ARCH-9602 | 2 CR
Master of Architecture and Master of Science
in Architecture and Urban Design students may
participate in a 180 hours/15 weeks (12 hours/
week) architectural-office summer internship
in selected architectural firms after a formal
selection process. An internship is intended to
include all phases of office experience under
the supervision of senior members of the firm.
Internships may be applied to elective credits
depending on the nature of each work assignment
and the length of the internship period.
Graduate Architecture Internship
ARCH-9603 | 3 CR
Master of Architecture and Master of Science
in Architecture and Urban Design students may
participate in a 240 hours/15 weeks (16 hours/
week) architectural-office summer internship
in selected architectural firms after a formal
selection process. An internship is intended to
include all phases of office experience under
the supervision of senior members of the firm.
Internships may be applied to elective credits
depending on the nature of each work assignment
and the length of the internship period.
Graduate Pro Seminar
ARCH-981 I | 3 CR
The course is intended to provide a discussion
of current theoretical issues in architecture and
urban design that will serve to support investi-
gations being carried out in the graduate design
studios. The course will place a special emphasis

on architectural issues related to New York.
The course will taught through critical readings,
discussion, and presentations of individual
research. This course is taken concurrently with
ARCH-601 and ARCH-602.
Graduate Pro Seminar II
ARCH-982 | 3 CR
This course is intended to provide a discussion
of theoretical issues in architecture and urban
design which will serve to support investigations
being carried out in the graduate design studios.
The course will place a special emphasis on
architectural issues related to New York. The
course will be taught through critical readings,
discussion, visiting lecturers, and presentations
of individual research. This course is to be taken
concurrently with ARCH-601 and ARCH-602.
Thesis Research
ARCH-988 | 3 CR
This course consists of in-depth research,
concept development, and programming of thesis
projects. Students are required to work compe-
tently between the accumulation of information
and the technical transformation of that material
into a definitive architectural project.
UD/URBAN DESIGN
Summer Design Studio I
UD-803 | 5 CR
This course focuses on the methods and
techniques for analysis of urban areas. The weekly
assignments involve site visits, the development
of land use, transportation conditions and
image maps and the studies of the constraints
and opportunities for change. A format is then
established for categorizing the issues affecting
life and business in an area and then isolating the
problems, developing alternate improvements
or solutions and weighing the benefits and costs
from varying points of view.
Methods and Computer Applications
UD-813 | 3 CR
Utilizing various computer software applications,
this course explores a variety of graphic
techniques and analytical methods used in urban
design and related to design methodology.
Fall Design Studio 2 for UD
UD-901 | 5 CR
This studio focuses on the intervention of
specific single or multi-building projects in the
existing urban fabric. Detailed analysis of an
urban context is undertaken through survey and
mapping techniques applied to a wide range of
physical criteria. In certain cases, sensitive historic
contexts will generate issues related to historic
preservation strategies. The course familiarizes
the student with program methodology and in
particular, delivering design criteria for urban
design projects. Emphasis is on principles of
design that promote fit/compatibility between
existing and new development.
School of Architecture Courses
Design Studio UD Culmination
UD-902 | 5 CR
The final design studio is based on an individual
project that is chosen and programmed by the
student. It is intended that projects synthesize
knowledge/issues explored in earlier studios and
applied to contexts or problem types related to
the student’s background or career orientation.
Culmination Project Research
UD-981A | 3 CR
This course involves in-depth programming and
research or an individual project to be designed in
the final Urban Design Studio, UD-614B. The site or
subject is to be chosen by the student and approved
by the instructor prior to initiating research.
Urban Open-Space Design
UD-981B | 3 CR
The course looks at the context of urban open
space as planning fact and architectural expres-
sion through the use of comparative examples
of Western and non-Western spaces. Typologies
of urban landscapes are developed based on
their disposition in response to a multiplicity of
influences and their perceptual qualities of spatial
definition. Key issues include new town planning,
zoning and legal constraints, regeneration of
downtowns, preservation, and change. Technical
aspects of open-space design are covered includ-
ing site construction methodology, infrastructure
systems, site feasibility, and urban ecology.
U.D. & Implementation: Case Studies
UD-991 | 3 CR
This course examines contemporary urban design
practice through the analysis of current project
case studies. The analysis focuses on the relation-
ship between design, regulatory frameworks and
financing/marketing considerations. The course
features site visits and involves speakers from the
design and development professions.
Urban Design Theory
UD-993 | 3 CR
This is an introduction to different theoretical
approaches to urban design, using both historical
and contemporary examples.
Department: FM
CM/CONSTRUCTION MANAGEMENT
Construction Management I
CM-601 | 3 CR
Covers construction project management
from conception to completion. Students
explore feasibility studies, site selection,
planning, programming, design coordination and
contracting procedures of actual construction.
Emphasis is on contractor operations, project
administration, job planning, CPM scheduling and
subcontract coordination.
Construction Management II
CM-602 | 3 CR
Covers construction project management from
conception to completion. Students explore
feasibility studies, site selection, planning, pro-
gramming, design coordination and contracting
procedures of actual construction. Emphasis is
on contractor operations, project administration,
job planning, CPM scheduling and subcontract
coordination. CM-602 applies procedures to an
actual construction project. Requisite courses:
Complete CM 601 (Required, Previous).
Project Controls II
CM-622 | 3 CR
Starting with the development of measured
program or project objectives, this course,
delivered over the Fall and Spring semesters
consecutively provides the complete step process
and project tested examples and templates of
how to establish and maintain an effective cost
and schedule management system from project
inception through to completion to ensure that
project requirements are addressed. The Spring
semester will start with the award process for
construction work, and focus on all aspects of
Project Controls during execution, completion
and start up. Requisite courses: CM-621
(Required, Previous).
Construction Safety Management
CM-640 | 3 CR
An advanced comprehensive approach to the
management of construction site safety. Federal
and state requirements are reviewed, and New
York City rules and regulations, building codes
and fire department requirements and local laws
pertaining to site safety are covered in detail.
Topics related to establishing and implementing
a site-safety program include: pre-bidding
considerations, planning and scheduling,
personnel training, orientation, and safety audits.
Students prepare a case study Site Safety Plan
for a construction site. This course is approved
by the Department of Buildings as meeting the
orientation course and the 40-hour course
requirements for certification as a site safety
manager in New York City.
Architecture of NYC
CM-651A | 2 CR
New York City is a virtual storehouse of American
architecture. The stock of buildings includes
examples of nearly every style of architecture
from colonial to postmodern. This course reviews
the various historical eras of architecture in New
York City and analyzes how they were affected by
construction technology and social and economic
forces. Lectures present the stylistic groupings
of architecture and are supplemented by visits to
the unique historic districts and architectural sites
of the city.
Architecture of NYC
CM-651B | 3 CR
New York City is a virtual storehouse of American
architecture. The stock of buildings includes
examples of nearly every style of architecture

from colonial to postmodern. This course reviews
the various historical eras of architecture in New
York City and analyzes how they were affected by
construction technology and social and economic
forces. Lectures present the stylistic groupings
of architecture and are supplemented by visits to
the unique historic districts and architectural sites
of the city.
Building Codes and Zoning
CM-661 | 2 CR
This is a study of zoning and building code
requirements. Special emphasis is placed on
the life safety and accessibility sections of the
building code and roles of building departments
and their authority. The approval and permit
process is discussed as it relates to various types
of alterations and building structures.
Restoration & Renovation
CM-662 | 3 CR
This course consists of a series of lectures
and readings to enable students to assess and
restore property damage and to recognize
and appreciate the techniques necessary to
rehabilitate and renovate old structures. The
lectures are designed in the chronological order
employed by an architect, construction manager
and/or general contractor in the restoration
and renovation of historic buildings. This course
concentrates on the construction methods, tools
and materials necessary to restore the style and
grace required to protect our housing stock and
American heritage.
FM/FACILITIES MANAGEMENT
Computer Applications for
Facilities Management
FM-621 | 3 CR
Economic analysis and evaluation of facilities to
maximize return on investment are covered in this
course. Facilities are viewed as assets to be man-
aged as a portfolio. Topics include: monitoring
market conditions and life cycle costs of existing
facilities, developing performance measurement
criteria, comparing alternatives for owned or
leased space, new or renovated facilities, optimiz-
ing the facility as an asset, analyzing the impact
of environmental, construction and marketing
issues on project facilities and formulating a
financially-viable development proposal.
Principles of Facilities Management
FM-631 | 3 CR
Introduces the role of the facilities manager
and examines facilities management through
forecasting and budgeting, architectural
planning and design, maintenance and operations
management and the integration of services. Basic
principles of business management are discussed
in the context of facilities management.
School of Architecture Courses
Project Management
FM-632 | 3 CR
Covers project management from the concept
phase through move-in, including budgeting and
cost estimating, the delivery process, program-
ming and space planning, selecting the design
team, and managing construction and occupancy.
Techniques for cost analysis, scheduling and
procedures for contracting, construction
coordination and the control of change orders are
reviewed. The impact of scheduling on contractor
claims is studied along with management report-
ing and feedback. Requisite courses: Complete
FM-631 (Required, Previous).
Managerial Accounting/Finance
FM-633 | 3 CR
Covers aspects of accounting and finance of
practical use to the facilities manager. Emphasis
is on the understanding of financial language,
statements and instruments, their application, and
the use and interpretation of accounting data as a
basis for analysis and decision-making.
Facility Programming & Design
FM-634 | 3 CR
Focusing on human/environment relations,
this course develops an awareness of the
design process and the significance of design
in facility performance. Students simulate the
planning process from programming through
the delineation of major design considerations
and quality standards. Through a combination of
lectures, seminars and group exercises in decision
making and role playing, the student experiences
the planning process as designer, owner and
manager and examines the impact of the process
on the final building project.
Facility Management/Operation
FM-636 | 3 CR
Provides a comprehensive study of maintenance
and operations management of environmental,
communications, life/safety and security systems
in buildings. Areas of study include advanced
mechanical and electrical systems, evaluation
and integration of systems, energy conservation,
upgrading systems with tenants in place, preventa-
tive maintenance and implications of maintenance
and operations for planning and design.
Healthcare Facilities
FM-642 | 3 CR
Introduction to Healthcare Facilities will provide
an overview of healthcare project development,
including terminology, project initiation, program-
ming, planning, design, and construction-related
issues. Healthcare reform legislation and our aging
population will impact the growth of the healthcare
facilities market in a variety of ways. This course will
serve as a primer for professionals requiring basic
knowledge to evaluate pursuing a career in this
challenging and robust specialty area.
Sustainable Construction Management
FM-646 | 3 CR
Sustainable Construction is no longer an option.
Issues such as, global warming, high oil prices and
a global economy have altered the construction
industries, the Federal Government and the world’s
outlook on maintaining a sustainable environment.
This course will equip students with the skills to
manage sustainable construction projects.
Real Estate Development
FM-663 | 3 CR
Focuses on economic development issues and the
principles of real estate finance. Topics covered
include property descriptions, an overview of
the real estate development process and its
participants, contract and closing procedures
and tools and tax shelters. The roles played by
the public and private sectors are examined with
an emphasis on discerning the differences in
perspective associated with each sector.
International Facility Management
FM-682 | 3 CR
This course surveys issues unique to international
facility planning and management. Topics include
comparative business practices; site selection;
project planning, organization, and management;
environmental issues; construction costs and a
comparative parity index; regional influences;
communication and information systems;
distribution networks; and facility management.
Implications of current events such as Europe
1992, business globalization and the world real
estate crisis will be examined.
Facilities Management Research
FM-690A | 1 CR
Students conduct independent research in
advanced topics in facilities management under
faculty direction. Projects result in reference
texts for the Facilities Management library, papers
for publication or grant publications for further
study. Approval of the chair is necessary.
Facilities Management Research
FM-690B | 2 CR
Students conduct independent research in
advanced topics in facilities management under
faculty direction. Projects result in reference
texts for the Facilities Management library, papers
for publication or grant publications for further
study. Approval of the chair is necessary.
Facilities Management Research
FM-690C | 3 CR
Students conduct independent research in
advanced topics in facilities management under
faculty direction. Projects result in reference
texts for the Facilities Management library, papers
for publication or grant publications for further
study. Approval of the chair is necessary.
BIM for Facilities Managers
FM-722 | 3 CR
The focus of this class is to learn the fundamental
concept of Building Information Modeling (BIM),
and how it relates to the field of Facilities
Management. The student will be learning the
basics of modeling through the revision of an
existing office building. Thereafter we will use the
office building. Thereafter we will use the office

building as a source to generate an FM model that
will be used throughout the course. Cutting edge
software will be used to modify and harvest the
embedded data from the building information
model, which are then used to inform and plan
the maintenance of the building.
Strategic Planning/Management
FM-731 | 3 CR
Focuses on strategies for management to antici-
pate and accommodate change in corporate-wide
facilities. Areas of discussion include the planning
framework, establishing goals, developing linkage
between business planning and facilities planning,
methods for information gathering, building
an information database, inventory and needs
analysis, modeling techniques, developing an
action policy and effective communication of
facilities issues to senior management.
International Business Finance
FM-732 | 3 CR
This course provides an overview of the environ-
ment, concepts, and basic differences involved
in international business and finance. Topics
included country-market differences, trade and
investment patterns, the international financial
environment, issues in business-government
relations and strategies for international business.
Economic Evaluation of Facilities
FM-733 | 3 CR
Economic analysis and evaluation of facilities to
maximize return on investment are covered in this
course. Facilities are viewed as assets to be man-
aged as a portfolio. Topics include: monitoring
market conditions and life cycle costs of existing
facilities, developing performance measurement
criteria, comparing alternatives for owned or
leased space, new or renovated facilities, optimiz-
ing the facility as an asset, analyzing the impact of
environmental, construction and marketing issues
on project facilities and formulating a financially
viable development proposal. Requisite courses:
Complete FM 633 (Required, Previous).
Telecommunications: Concepts, Strategies
FM-735 | 3 CR
This course examines the impact of telecom-
munications technology on facilities planning
and management. Topics include the design and
implementation of local and wide area voice and
data communications networks, client service
applications, groupware and business communi-
cations systems for enhancing collaborative work.
Key technical, policy and organizational issues
pertaining to the effective deployment and use of
telecommunications technologies in a managed
facility will be explored.
LEED Green Associate
FM-742A | 2 CR
The U.S. Green Building Council developed
the Leadership in Energy and Environmental
Design (LEED) rating system in response to
market demand for a common definition and
standard of measurement for green building.
Based on well-founded scientific standards,
School of Architecture Courses
LEED emphasizes state of the art strategies for
sustainable site development, water savings,
energy efficiency, materials selection, and indoor
environment quality. This LEED course will present
the history and principles of the LEED rating
system; compare LEED to other environmental
rating systems; provide specific examples of LEED
certified construction; and will prepare students
to take the LEED Green Associate exam,(a course
requirement). the USGBC’s entry level profession-
al credential. Requisite courses: Take FM-742B
(Recommended, Previous or Concurrent).
LEED Existing Building: O + M
FM-742B | 1 CR
LEED for Existing Building addresses whole-build-
ing cleaning and maintenance issues (including
chemical use), recycling programs, exterior
maintenance programs, and systems upgrades.
It can be applied both to existing buildings
seeking LEED certification for the first time and to
project previously certified under LEED for New
Construction, Schools, or Core and Shell. This class
will review in depth the requirements, synergies,
standards, core concepts, and building strategies
to achieve a LEED O + M rating. Requisite courses:
Complete FM-742A (Required, Previous).
Leading/Managing in Disaster
FM-744A | 1 CR
This course introduces students to the
multidisciplinary nature of Facilities Management
(FM) through the presentation of disaster
management theory and through practical case
studies. It discusses theories and principles of
strategic and tactical disaster response planning
and management. Topics covered will include the
societal motivation behind including the effected
community in response, pre-event planning,
training, drills and communications as well as NIMS
compliant management techniques which include
the use of the incident management system.
Legal Issues
FM-771 | 3 CR
Students review business and building law as
they pertain to the facilities manager, with
particular focus on contracts, environmental
and construction law, risk management, and
insurance. Contracts are reviewed for consultants,
construction and maintenance, procurement
and purchasing agreements. The significance of
key legal terms and clauses is examined as well
as procedures and policy implications for dealing
with construction claims and disputes, hazardous
materials and multi-state facilities.
Demonstration of Professional
Competence
FM-798 | 4 CR
As a capstone requirement of the program,
students demonstrate fulfillment of an approved
scope of work showing the analytical capacities
and creative skills expected of a professional in
this field. The demonstration may involve original
research, a work-related project or an extension
of course-related work. Students must also
register for co-requisite HMS-697A. Requisite
courses: Complete FM-632, FM-731, FM-733
(Required, Previous). Take HMS-697A (Required,
Previous or Concurrent).
Demonstration of Professional
Competence—In Progress
FM-799 | 0 CR
If the Thesis course is not completed in the initial
semesters, students can continue working in
FM-700 for no more than five semesters.
Internship
FM-9700 | 0 CR
Students wishing to combine practical experience
with facilities management study may apply for
an internship with participating companies if they
have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor
and employer, prepare a written description of
the studies to be accomplished as part of their
internship, and their relationship to the curriculum.
The application must be approved by the faculty
advisor, the chair, and the employer.
Internship
FM-9701 | 1 CR
Students wishing to combine practical experience
with facilities management study may apply for
an internship with participating companies if they
have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor
and employer, prepare a written description of
the studies to be accomplished as part of their
internship, and their relationship to the curriculum.
The application must be approved by the faculty
advisor, the chair, and the employer.
Internship
FM-9702 | 2 CR
Students wishing to combine practical experience
with facilities management study may apply for
an internship with participating companies if they
have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor
and employer, prepare a written description of
the studies to be accomplished as part of their
internship, and their relationship to the curriculum.
The application must be approved by the faculty
advisor, the chair, and the employer.
Internship
FM-9703 | 3 CR
Students wishing to combine practical experience
with facilities management study may apply for
an internship with participating companies if they
have a GPA of 3.0 and a second semester status.
Students, in conjunction with the faculty advisor
and employer, prepare a written description of
the studies to be accomplished as part of their
internship, and their relationship to the curriculum.
The application must be approved by the faculty
advisor, the chair, and the employer.

Department: GCPE
PLAN/PLANNING
Fundamentals: Seminar & Studio
PLAN-600 | 5 CR
Presents the basic principles and practices of
planning as they relate to the political planning pro-
cess. Topics include the ethical and legislative basis
for planning, approval processes, components of a
master plan, components of subdivision/site plan
regulations, zoning ordinances, special legislative
powers, environmental reviews, capital budget
processes, public participation and the role of key
government agencies.
Skills I: Introduction to GIS
PLAN-601A | 1 CR
This course introduces students to Geographic
Information Systems software as used in city
planning practice. Students become familiar with
and gain experience analyzing data and producing
professional maps. The course will be conducted
in coordination with the mini-studio project in
PLAN 656: Fundamentals of Planning.
Skills I: Writing for Planners
PLAN-601B | 1 CR
This course introduces students to professional
writing as used in city planning practices. Students
become familiar with and gain experience
producing professional written forms, such as
the planning report, the opinion piece or letter
to the editor and public testimony. They also
become familiar with synthesizing data and writing
about graphics. The course will be conducted in
coordination with the mini-studio project in PLAN
600: Fundamentals: Seminar & Studio.
Skills I: Manual Graphics
PLAN-601C | 1 CR
This mini course is designed for graduate plan-
ning students with little or no design experience
as an introduction to hand-drawn graphics
for planning and design. It strives to combines
both a critical understanding of the theories
and practice of graphical representation with
hands-on skill development.
Skills I: Computer Graphics
PLAN-601D | 1 CR
The course will consist of lectures, readings,
in-class demonstrations, and discussion based
assignments reviews. Students will be introduced
to basic graphic concepts, raster/vector graphics,
mapping, screen vs. print composition, graphic
voice, weight and emphasis, photo manipulation,
storyboarding and presentation technique.
Students may use course assignments to fulfill
requirements for the corresponding mini-studio.
Skills 1: Infographics
PLAN-601E | 1 CR
This course introduces students to methods and
tools for visual communication using information
graphics. The five-week course will review
School of Architecture Courses
information graphic types, principles of visual
reasoning, graphic design, and methods for sto-
ry-boarding. In-class exercises will demonstrate
methods for creating information graphics using
Illustrator, Photoshop, and InDesign and empha-
size the integration of these three applications as
well as Excel for effective presentation-making.
A four-part assignment of documentation and
interpretation of urban phenomena will focus on
the synthesis of various information graphics in
order to generate visual contexts for planning and
design actions.
History & Theory of City Planning
PLAN-602 | 3 CR
Theories of planning focus on the normative issues
that arise in considering why and what we plan.
Under this heading are questions of ideology,
values, purposes, and principles, including gender,
race and class. Theories of planning also involve
questions of governmental intervention and public
legitimization. Since the process of planning is
affected by changes in social, economic, and
political contexts, this course examines and
evaluates the theory of planning practice in
various historical periods.
Urban Economics
PLAN-603 | 3 CR
Presents economic theory and method through
the study of selected urban issues, including user
charges, externalities and property rights, subsi-
dies and vouchers, public services and efficiency,
and the public economy of metropolitan areas.
Readings are chosen to introduce economic
issues from distinct philosophical perspectives.
Planning Law
PLAN-604 | 3 CR
Planners must have an understanding of how the
legal system shapes the analysis, organization,
and articulation of public goals and interests. This
course covers the following subjects as they relate
to the definition and achievement of concerted
social action: the structure of government; the
scope of authority of agencies and the substantive
and procedural limits on various kinds of private
and public actions; the major concepts of the law
in which planning programs may be structured and
planning disputes resolved; the vocabulary and
procedural framework of legal dispute resolution;
the ability to read statutes and regulations, find
case law, and comprehend judicial opinions; the
concepts of constitutional law, common law, case
precedents and judicial review; and advocacy and
the adversarial process as the basic method of
dispute resolution.
Planning Methods I
PLAN-605 | 3 CR
By planners in their professional activities. It
includes a discussion of various uses and types
of data, compilation and reliability of data, pop-
ulation and housing characteristics, population
dynamics, methods for estimating population and
models for forecasting population.
Statistics: Fundamentals
PLAN-606B | 2 CR
Covers fundamental concepts and methods in
inferential statistics and basic economics most
widely used by urban planning professionals. In
the first half of the semester, students cover such
statistical techniques as elementary probability
theory, decision-tree analysis, measures of central
tendency and dispersion, hypothesis testing and
various correlation techniques. Topics covered
in economics include concepts of supply and
demand, microeconomics and discounting costs
and benefits over time. The course provides
necessary preparation for later courses in
demographics and public finance.
Planning Methods II
PLAN-701 | 3 CR
Provides students with knowledge of a range of
advanced quantitative and qualitative analytical
methods used in urban planning. This course
covers basic survey methodology, advanced land
use analysis, transportation planning methods,
global and local economic trend analysis, methods
in environmental and regional planning, advanced
demography, program evaluation, policy analysis
and policy evaluation. Readings include planning
texts and case studies.
GIS I: Fundamentals
PLAN-702A | 3 CR
Introduces students to basic concepts in data
management, spreadsheet analysis, digital
mapping and Geographic Information Systems
(GIS) within the context of planning projects. The
uses of selected spreadsheet and GIS packages
in various areas of planning, such as land use, real
estate, environmental management, transporta-
tion and infrastructure planning are investigated.
Students get hands-on experience with Excel,
MAP INFO, and dBase packages.
Advanced GIS
PLAN-702B | 3 CR
The course provides advanced instruction in
geographic information systems (GIS) for urban
planning applications. Skills covered include
database management for GIS, interactive
mapping technologies, use of maps to track
social and environmental data over space and
time, geocoding, advanced cartography, open
source computer mapping developments, and
3-D applications of GIS. Students develop the
ability to analyze data spatially and use maps
to represent complex social, geological and
environmental phenomena.
Continuing GIS
PLAN-702C | 1 CR
The purpose of this course is to introduce
students with some familiarity in the use of
mapping techniques and data analysis to the most
common processes used by professional planners
who employ Geographic Information Systems
(GIS) —a computer-based technology to aid in the
collection, analysis, output and communication
of spatial information for display in multi-layered
maps. In addition to exploring the dynamics of

the processes above, the course will focus its
assignments on the development of a mapping
project studying the land use, demographic, and/
or socio economic trends of giving community in
New York City. Requisite courses: Take Plan-601A
(Required, Previous).
Advocacy Planning & Action
PLAN-711 | 3 CR
Advocacy planning is a major force in community,
city, and regional decision-making processes. The
evolution, current status and projected role of
advocacy in the planning and design domains are
considered. Topics include citizen participation
in political and developmental activities; changing
governmental policies affecting neighborhood
housing and commercial programs; work with
established and underrepresented community
groups; the ideological premises of advocacy and
social action; and the relationship of the planner
to society and societal concerns. The course
incorporates lectures, seminar discussions, guest
presentations and student field-related projects.
It is a prerequisite for further independent study
in the advocacy field.
Housing & Community Renewal
PLAN-712A | 1 CR
Housing development, particularly affordable
housing, is a key component of planning for
sustainable cities. This course will examine the
dynamic relationships among social needs, planning
and design, financial considerations, infrastructure
and environmental issues, and political and social
factors. Students will expand their proficiency in
professional skills used in housing development,
focused on residential real estate development,
financing, and financial analysis.
Affordable Housing
PLAN-712B | 1 CR
Housing is a universal social necessity that at once
plays a critical role in our built environment and
acts as a major force in our economy. This mini
course is designed to provide a basic introduction
to residential real estate development, financing
and financial analysis for affordable housing
development. It focuses on developing critical
analysis of the various constraints which shape
housing development projects: economic,
physical, legal, tax and market concerns.
Special Needs Housing
PLAN-712C | 1 CR
This 5-week course will expand students’
understanding of affordable housing development
by focusing on housing for people with special
needs and the supportive housing model. It will
discuss the evolution and history, current policy
implications, and the design and financing of
supportive housing. Additionally, it will focus
on how we adequately and equitably plan for
supportive housing in cities and communities.
Students should have a basic knowledge of
affordable housing development and finance.
School of Architecture Courses
Community Economic Development
PLAN-713A | 2 CR
Downtowns are essential for a community’s
economic and civic health. This course explores
multi-disciplinary strategies to revitalize
downtowns, whether as small as a rural hamlet or
as large as a metropolitan center. The emphasis is
on commercial revitalization, but downtown and
mixed-use redevelopment are fully addressed. All
of the elements of a successful program are cov-
ered, including: surveys, market analyses, public
participation, access, transit, parking, pedestrians,
placemaking, streetscape, facade programs,
regulations, and “main street management.”
Downtown Economic Development
PLAN-713C | 2 CR
Downtowns are essential for a community’s
economic and civic health. This course explores
multi-disciplinary strategies to revitalize
downtowns, whether as small as a rural hamlet or
as large as a metropolitan center. The emphasis is
on commercial revitalization, but downtown and
mixed-use redevelopment are fully addressed. All
of the elements of a successful program are cov-
ered, including: surveys, market analyses, public
participation, access, transit, parking, pedestrians,
placemaking, streetscape, facade programs,
regulations, and “main street management.”
Social Planning
PLAN-714 | 3 CR
Utilizes planning techniques in the investigation
of social problems facing communities. The major
focus is cross-cutting themes, such as the social
role of government, poverty, privatization, race,
class, gender and ethnicity. Topical issues on the
public agenda are also analyzed, incorporating
issues such as welfare reform and homelessness.
Specific issues and topics are selected according
to students’ backgrounds and interests.
Land Use & Sustainable City
PLAN-722A | 3 CR
Since World War II, the spreading interstate
highway systems and home financing policies
have created the ubiquitous American suburb.
Metropolitan regions have spread out along
transportation corridors absorbing the
countryside in a reckless manner. In the 1970s,
a new network of global cities tied together
by electronic communications began to rise.
Examples include command and control centers
such as London, New York and Tokyo. Regional
growth poles such as St. Louis, Pittsburgh,
Reno and Austin began to restructure the
old dichotomy between the center and the
periphery—or between town and country—and
to re-link cities in a new global economy. This
class examines the economic, demographic,
cultural and political reformulations that have
transformed metropolitan areas into global cities
and backwater towns into new growth centers.
Land Use Regulations
PLAN-722B | 3 CR
This course presents the nuts and bolts of land
use planning as practiced in the U.S. today and
gives students the opportunity to develop/design
a land use plan for a small hypothetical city. The
focus is on what constitutes a comprehensive
plan, principles of good plan-making, where to
start, specific steps to take, information needs,
and how to choose methods to accommodate a
range of community situations.
Contextual Urban Design
PLAN-723 | 3 CR
Especially intended for students concentrating
in physical planning, this seminar provides an
introduction to the basic principles, latest
practices, and tools for three-dimensional
visualization and analysis in site planning and
design. Understanding that the context of any site
is the interrelation of social, economic, historic,
cultural and environmental factors, this course
focuses on the physical planning of the site by
drawing from contemporary practices in ecology,
landscape design, zoning, energy efficiency, and
resource management and bridging the disciplines
of engineering, landscape design, architecture, and
planning. The class provides students with both an
understanding of the broader implications of site
planning and the skills and tools for the planning
and design of a singular site and building project.
Parks & Open Space
PLAN-725A | 3 CR
This is a lecture and workshop exploring program-
ming, planning and design concepts of urban open
space. The scope of design projects becomes
progressively larger throughout the semester,
starting with small recreation areas, corporate
plazas and cultural facilities, and leading to the
programming, planning and design of pedestrian
malls, waterfront rehabilitation and civic scale
plazas. In conjunction with workshop projects,
lectures with illustrative material are given on the
specific issues of site feasibility, site programming,
site planning and design strategies.
Placemaking
PLAN-725B | 1 CR
What is Placemaking and how can it be used
to build stronger communities? How does one
evaluate a plaza, park or other public space to
see if it is serving the needs of a community? How
does one engage the community in evaluating,
transforming or creating a great public space?
While these methods can be applied to any public
space, the course focuses most on plazas and
“squares,” which have rich history of their own in
both the U.S. and abroad.
Transportation Planning
PLAN-728A | 3 CR
Provides the urban planner with a working knowl-
edge of the concepts, technologies, and practices
involved in planning, operating, and evaluating
present and future urban transportation systems.
While the primary focus is on technical transpor-
tation matters, technology-policy relationships
are noted, complementing the fuller treatment of
transportation policy in other coursework within
the curriculum.

Transit Equity
PLAN-728B | 1 CR
Students examine equity issues inherent in trans-
portation systems. The main product of the class
is a paper on a case study of transportation equity
issues in a specific place (a city or metropolitan
region, in the U.S. or elsewhere in the world). For
example, it could be an analysis of equity issues
as they manifest in a specific transportation
policy, approach, or mode (e.g. greenways,
Transit-Oriented Development, etc.); it could be
an examination of how political processes and
transportation funding and policies interact (e.g.
factors that might shape the next transportation
authorization bill).
Pedestrians & Bicycles
PLAN-728C | 2 CR
Transportation planning is about more than just
traffic counts and parking policy. This course
focuses specifically on planning for pedestrians
and cyclists, the importance of public spaces,
street design, and public safety.
Policy Planning Changes
PLAN-761 | 3 CR
Participants develop practical skills in analyzing
community change. Technical methods, such as
survey and sampling techniques and selected
topics in regional economics and demographics,
are covered in class through lectures. The class is
divided into working groups, which jointly select and
carry out a case study of a community. As part of
the group project, a community survey is developed
and administered. The group projects may be linked
to one of the department’s studio courses.
Metropolitan Regional Planning
PLAN-762A | 3 CR
An introduction to the theory and practice of
metropolitan regional planning. Lectures follow
the procedures and substantive components
of a regional plan. Where appropriate, outside
experts drawn from the region’s professional pool
supplement the course lectures. Students are
required to evaluate a plan for a region in either
the United States or abroad. This encourages
familiarity with the regional planning process and
allows comparisons between plans and planning
theory. The student also is required to assume the
role of a personality involved in a region-shaping
issue. A mock public hearing is held with each
student testifying as the chosen figure. Reports
from the student’s own perspective are required.
Policy, Law & Planning
PLAN-763 | 3 CR
This course draws on a particular city planning
issue—transportation, solid waste management,
and waterfront redevelopment are examples—to
explore the interconnections among politics,
economics and the built and natural environments
in New York City. The course is taught by
a practitioner who introduces students to
diverse issues in public sector management,
public finance, urban design, and grassroots and
electoral politics as they bear on the planning
issue under examination.
School of Architecture Courses
Shrinking Cities
PLAN-764 | 1 CR
What will be the fate of America’s older industrial
cities like Detroit or Buffalo, cities that have
been losing jobs and population for decades?
Can these cities become stronger, healthier as
well as smaller places? This course will look at the
reasons that these cities are shrinking, how job
and population loss affect their economic and
physical environment, and their prospects for the
future. We will take a particular look at the reuse
of urban land, and the opportunities to rethink
redevelopment with green land uses as open
space and urban agriculture.
Planning for Disaster
PLAN-765 | 3 CR
The frequency of natural disasters has been
increasing over the past two decades. Despite
increased investment and advances in
hazard-management technology, human and
economic losses from disasters have been rising
worldwide. This class provides an introduction to
planning for disaster mitigation. After an overview
of the changing approaches to disaster policy and
planning, local and federal planning strategies will
be discussed in depth around recent case studies.
Art & Social Change
PLAN-771A | 3 CR
Arts and culture are playing an increasing role in
the transformation of neighborhoods and cities.
This course provides students with the historical,
conceptual, and analytical background as well as
the interdisciplinary perspective needed to work
in the field of arts-based community develop-
ment. As a main focus of this class, the role of arts
in sustainable development of communities will
be investigated. Sustainability requires balancing
social, economic and ecological dimensions of
everyday life and considering the linkages of the
local to the global.
International: Physical Planning
PLAN-782A | 3 CR
This course offers students the opportunity to
travel abroad to study the international contexts
of physical planning, including urban design,
transportation, public space, infrastructure, parks
and other aspects of the built environment.
Special Topics in Planning I
PLAN-801A | 1 CR
In addition to regular course offerings, students
may take up to 12 additional credits as Directed
Research. Directed Research may consist of
independent study on a topic of interest to the
student or an extension of a regular course. Any
faculty member may supervise the student.
Special Topics in Planning II
PLAN-801B | 2 CR
In addition to regular course offerings, students
may take up to 12 additional credits as Directed
Research. Directed Research may consist of
independent study on a topic of interest to the
student or an extension of a regular course. Any
faculty member may supervise the student.
Special Topics in Planning III
PLAN-801C | 2 CR
In addition to regular course offerings, students
may take up to 12 additional credits as Directed
Research. Directed Research may consist of
independent study on a topic of interest to the
student or an extension of a regular course. Any
faculty member may supervise the student.
Special Topics in Planning IV
PLAN-801D | 1 CR
In addition to regular course offerings, students
may take up to 12 additional credits as Directed
Research. Directed Research may consist of
independent study on a topic of interest to the
student or an extension of a regular course. Any
faculty member may supervise the student.
Independent Study—Planning I
PLAN-808A | 1 CR
In addition to regular course offerings, students
may take up to 12 additional credits as Directed
Research. Directed Research may consist of
independent study on a topic of interest to the
student or an extension of a regular course. Any
faculty member may supervise the student.
Independent Study-Planning II
PLAN-808B | 2 CR
In addition to regular course offerings, students
may take up to 12 additional credits as Directed
Research. Directed Research may consist of
independent study on a topic of interest to the
student or an extension of a regular course. Any
faculty member may supervise the student.
Independent Study Planning III
PLAN-808D | 2 CR
In addition to regular course offerings, students
may take up to 12 additional credits as Directed
Research. Directed Research may consist of
independent study on a topic of interest to the
student or an extension of a regular course. Any
faculty member may supervise the student.
Studio: Sustainable Communities
PLAN-810 | 5 CR
The neighborhood (as defined by a number of
physical, political, and socioeconomic criteria)
is the level at which most planning efforts affect
citizens. Increasingly, the neighborhood has also
become the official focal point for city, state and
federal programs in both service delivery and
physical development planning and implementa-
tion. This studio introduces the student to basic
techniques in neighborhood needs analysis and
comprehensive planning. Utilizing a neighborhood
of appropriate size and type, the students, work-
ing in teams, develop an area-wide plan (based
on primary and secondary research and needs
analysis) providing for residential, commercial
and industrial land use and related services and
infrastructure. In order to maximize the usefulness
of the semester’s work, as well as to provide a
realistic assessment of plans produced by the
studio, written and graphic materials are prepared
for presentation to the “client”—usually a

locally-based nonprofit organization representing
the neighborhood under study.
Studio: Land Use & Urban Design
PLAN-820 | 5 CR
This course combines basic principles and
practices of city planning and urban design
to a specific topical project. Physical, social,
economic, cultural and political factors are
considered in order to produce a workable plan
and viable design. Projects are selected from
actual planning/design situations in urban and/or
regional contexts and require documentation and
development strategies for political discourse. In
addition to typical studio work, there are lectures,
site visits, written reports and input from official
and community representatives.
Studio: Sustainable Development
PLAN-850 | 5 CR
Each semester, this studio undertakes a
comprehensive land use planning study for a
key piece of urban property. The study tests
the physical, environmental, social and financial
feasibility of developing the area for mixed urban
uses. It examines the problems and opportunities
that are present in the area and focuses on the
development of a number of alternative plans
for both short-term (three to five years) and
long-term (15 years) futures. The layout, design
and character of proposed housing, industry,
social services and open spaces are included in
the development plan, as are issues of equitable
development and the creation of environmentally
sensitive sustainable communities.
Studio: International Planning &
Sustainability I
PLAN-880A | 3 CR
This seminar introduces and explores in depth
the urban policies and institutions of Third World
nations as they relate to the nation’s physical and
socioeconomic development. Emphasis is on the
comparative analysis of current experiences in
major metropolitan areas. Planning issues, such
as migration, homelessness, and the informal
economy are considered in both pre- and
post-industrial service societies. Experts on
international planning and design are invited as
guest lecturers.
Directed Research
PLAN-891 | 2 CR
The demonstration of an approved scope of work
showing the analytical capacities and creative
skills expected of a professional planner is the
capstone of the program. The demonstration
can involve original research, a work-related
project or an extension of course-related work.
An advisory committee of faculty members judge
the demonstration.
Demonstration of Professional
Competence
PLAN-892 | 3 CR
The demonstration of an approved scope of work
showing the analytical capacities and creative
skills expected of a professional planner is the
School of Architecture Courses
capstone of the program. The demonstration
can involve original research, a work-related
project or an extension of course-related work.
An advisory committee of faculty members judge
the demonstration.
Professional Competence in Progress
PLAN-893 | 0 CR
If the Demonstration of Professional Competence
is not completed in the initial semesters, students
can continue working in PLAN-700 for no more
than five semesters.
Internship
PLAN-9600 | 0 CR
The purpose of this course is to provide students
with a structure for experiential learning through
an internship program. This course allows for
career development through internships with
a pre-internship preparation (workshop),
professional search and selection of internship
(through Internship Faculty counseling and
career counselor advisement), an on-going live
and/or virtual forum to discuss the internship
and assignments centered around observation,
professional growth and career investigation.
Internship
PLAN-9601 | 1 CR
The purpose of this course is to provide students
with a structure for experiential learning through
an internship program. This course allows for
career development through internships with
a pre-internship preparation (workshop),
professional search and selection of internship
(through internship Faculty counseling and
career Counselor advisement), an on-going live
and/or virtual forum to discuss the internship
and assignments centered around observation,
professional growth and career investigation.
Internship
PLAN-9602 | 2 CR
The purpose of this course is to provide students
with a structure for experiential learning through
an internship program. This course allows for
career development through internships with
a pre-internship preparation (workshop),
professional search and selection of internship
(through internship Faculty counseling and
career Counselor advisement), an on-going live
and/or virtual forum to discuss the internship
and assignments centered around observation,
professional growth and career investigation.
Internship
PLAN-9603 | 3 CR
The purpose of this course is to provide students
with a structure for experiential learning through
an internship program. This course allows for
career development through internships with
a pre-internship preparation (workshop),
professional search and selection of internship
(through internship Faculty counseling and
career Counselor advisement), an on-going live
and/or virtual forum to discuss the internship
and assignments centered around observation,
professional growth and career investigation.
PR/HISTORIC PRESERVATION
Current Issues in HP
PR-600 | 1 CR
Current Issues in Historic Preservation is a five
week seminar (1 credit) taught in a lecture/
discussion format with a goal to expose Historic
Preservation and other students to the challenges
facing practitioners and academicians in the field
of preservation today.
Directed Research
PR-601 | 1–3 CR
This course is intended for students who wish to
do independent research at a graduate level in
a subject of their choice and acceptable to the
graduate faculty and the chair.
Project Management
PR-631 | 1 CR
Today historic preservation professionals find
themselves engaged in overseeing projects that
require not only strong preservation disciplines
but strong project management disciplines. The
class will examine the fundamentals of project
management and its adaptability to a broad base
of historic preservation projects regardless of
type or size. The methodology of Project Planning
and Estimation will evaluate the use of templates
in creating repeatable processes that can be
easily ported to project management software.
The value of project management methodologies
will be examined through a case study.
History & Theory of Preservation
PR-640 | 3 CR
Explores the basic concept of “What is Historic
Preservation?” through a study of the route
preservation has taken to reach the place it is
today. The course presents both the historic
development of preservation and the theoretical
and philosophical foundations of that develop-
ment. It then raises some of the fundamental
issues concerning the values, assumptions, and
practice of historic preservation.
Documentation/Interpretation
PR-641 | 3 CR
Introduces the student to methods of
documenting and interpreting the built
environment, emphasizing hands-on involvement
through the analysis of a neighborhood in New
York City. It stresses research methodology, using
library resources, public records, maps, historic
documents, images, oral histories, and folklore.
The class focuses on the documentation of a New
York City neighborhood selected by the instructor
with the collaboration of the historic preservation
faculty. Historical data is collected throughout
the first half of the semester, and students work
collaboratively to assemble a comprehensive
story of the development of the entire study area.
During the second half of the semester, students
collect oral histories and folklore from residents
of the study area, and explore the interpretations
of the history that was uncovered.

Concepts of Heritage
PR-642A | 3 CR
All historic preservation efforts take place within
the context of accepted definitions of heritage.
These definitions have changed dramatically over
time; they vary from country to country, and
are contested even within the contemporary
United States. This course provides a historical
and critical introduction to concepts of heritage.
The class will be conducted as a seminar, with
emphasis on close reading of texts and intensive
discussion. Students also have an opportunity to
write a research paper on a subject related to
current issues in the policy, politics, or philosophy
of heritage conservation.
Architecture & Urban History: U.S.
PR-643A | 3 CR
This course explores through lectures and
readings the history of American architecture
and urban/city development highlighting the
social, cultural, and technological changes that
influenced both. It is conceptualized, framed
and presented for students studying Historic
Preservation. It assumes that students have little
familiarity with history of architecture or the city
and therefore places emphasis on architectural
styles in the context of the development of the
city. This course is the second in a two-part series
that chronologically covers the broad sweep
of the history of world architecture and city
development (though each course may be taken
independently).
Architecture & Urban History: Europe
PR-643B | 3 CR
This course explores through lectures and read-
ings the history of world architecture and urban/
city development. It is conceptualized, framed
and presented for students studying Historic
Preservation. It assumes that students have little
familiarity with history of architecture or the city
and therefore places emphasis on architectural
styles in the context of the development of the
city. This course is the first in a two-part series
that chronologically covers the broad sweep
of the history of world architecture and city
development. The second semester will focus on
the architecture and urban form of the Americas
with special emphasis on the United States.
Building Technology
PR-651 | 3 CR
The student learns to look at an existing building
to understand and evaluate its performance and
to develop the necessary repair and restoration
technologies. Typical restoration problems of
various building types are studied with case studies
involving actual restorations of historic buildings.
Interventions, Additions & Alterations
PR-652A | 3 CR
Students study the complex issue of changing
historic structures and structures within historic
districts. New construction, alterations, and addi-
tions present preservationists with many challenges,
including questions of appropriateness that involve
regulatory issues, aesthetics, and preservation
School of Architecture Courses
philosophy. Adaptive re-use is a related issue, often
requiring alterations, but even when it does not
change the exterior of a building, the perception of
the building can be dramatically changed.
Preservation Law & Policy
PR-661 | 3 CR
Provide a working understanding of the legal
underpinnings of landmark regulation in the
United States and its implications, as well as inter-
relationships between historic preservations and
public policy. It raises some of the fundamental
issues concerning the values, assumptions, and
practice of historic preservation.
Introduction to Real Estate Development
PR-670A | 1 CR
The purpose of this course is to (1) introduce the
tools a developer uses in order decide whether
to undertake a project and (2) explore the public
policy implications of the developer’s perspective.
It is the presumption of this course that good
public policy requires harnessing the wealth max-
imizing instincts and objectives of the developer
and that, too often, public policy disregards or
undermines these instincts and objectives.
Real Estate Market Analysis
PR-670B | 1 CR
This course provides an overview of the
fundamentals of real estate market analysis. The
class will consider the general purposes and forms
of real estate analysis and will explore in depth
some of the specific challenges and approaches
to analysis supply and demand for specific real
estate product types.
Preservation Tax CR Projects
PR-670C | 1 CR
This course examines all aspects of historic
preservation tax credit projects, from the
application process to a detailed summary of
the National Register Criteria for Evaluation and
the Secretary of the Interior’s Standards for
Rehabilitation. The course will also review the
planning, structuring and pricing of historic tax
credit investments from a tax and financial point
of view, and will give students insight into the role
of the historic preservation consultant in real
estate development project.
Neighborhood Preservation
PR-711 | 1 CR
This course provides an introduction to neigh-
borhood preservation issues both in New York
City and in other municipalities across the United
States. The proliferation of conservation district
ordinances will be examined, along with their
administration. To provide local context, we will
look at the evolution of zoning as a development
tool in New York City. A variety of approaches to
land use controls that emphasize protecting the
integrity of neighborhoods will be discussed.
Main Street Revitalization
PR-712A | 1 CR
The traditional commercial shopping street,
whether it is in an urban neighborhood or is the
Main Street in a small or large village, represents
the heart of a community’s economic and social
life. As such, it represents a critical area of
concern for those involved in the practice of
historic preservation, planning, architecture
and urban design. Commercial or Downtown
Revitalization covers a broad spectrum of issues,
including all matters of design (urban design,
public space design, graphics, etc.), preservation,
planning, organization, economic development,
promotion, marketing, retailing, and building
a working relationship with all members of the
public and private community.
SPECIAL TOPICS: Preservation 1
PR-749A | 1 CR
This course is intended for students who wish to
do independent research at a graduate level in
a subject of their choice and acceptable to the
graduate faculty and the chair.
SPECIAL TOPICS: Preservation 2
PR-749B | 2 CR
This course is intended for students who wish to
do independent research at a graduate level in
a subject of their choice and acceptable to the
graduate faculty and the chair.
SPECIAL TOPICS: Preservation 3
PR-749C | 3 CR
This course is intended for students who wish to
do independent research at a graduate level in
a subject of their choice and acceptable to the
graduate faculty and the chair.
Public History
PR-761 | 3 CR
The field of public history offers a rich set of
tools and strategies for historic preservationists.
This course will introduce students to methods
and approaches, gaining familiarity with historical
methodology including the development of his-
torical theme, context, and narrative as well as the
use of oral history, material culture, and folklore
to gain deeper understanding of place history and
significance. It will also explore the ways in which
interpretive strategies can be employed to engage
and connect with public audiences.
International Conservation
PR-781 | 1 CR
This class provides students with an overview of
key elements in international preservation. We
look at the work of leading organizations and
contemporary case studies to demonstrate how
approaches, goals, and sustainable strategies vary.
International Charters will be addressed as well
as the World Heritage process from Indicative
and Tentative listings to Inscription or At Risk
designation. Sustainability, tourism, Modernism,
and changing landscapes are also themes that are
explored through discussions in class.
Studio I: Documentation & Interpretation
PR-839 | 5 CR
The class focuses on the documentation of a New
York City neighborhood selected by the instructor
with the collaboration of the historic preservation

faculty. Studio I is the central focus of the second
semester and builds upon the many skills acquired
by students in their first semester. This means that
history, theory, law, planning, building technology,
and materials are all part of the documentation
process of the area that students will focus on.
This course introduces the student to methods
of documenting and interpreting the built
environment, emphasizing hands-on involvement
through the analysis of a neighborhood in New
York City. It stresses research methodology, using
library resources, public records, maps, historic
documents, images, oral histories, and folklore
as well as the interpretation of those findings. Its
main goal is to provide students the necessary
skills that will allow them to read and document
buildings from several different perspectives, such
as history, design, material, and evolution through
time, through the use of the many tools that are
available to preservationists. Studio I provides an
important foundation that will be built upon in
Studio II. This course also allows students to apply
their theoretical knowledge and practice in a
real-world setting.
Preservation Studio
PR-840 | 5 CR
This studio is the program’s culmination and
provides an opportunity for students to bring
together an array of skills and knowledge to
address a specific set of challenges based on
New York neighborhoods and current issues. The
studio begins with classroom and field study and
includes meetings with experts and community
representatives. This phase of the course is
intended to ground students in the neighbor-
hood’s history, urban fabric, and current issues.
This provides a solid foundation for the second
phase, in which the students work in teams under
the guidance of an interdisciplinary group of
faculty advisors to address the major preservation
issues that have been presented. The second
phase is carried out under conditions that are
intended to simulate the actual conditions of
professional practice within the studio context.
Students work in multidisciplinary teams and are
responsible to private, government, or non-profit
clients. Exercises include resource assessments;
development analyses; preservation plans; legal,
regulatory, and political strategy; and preparing
written reports and graphics. The studio ends with
students presenting their work to the public.
Thesis I
PR-891 | 3 CR
The Historic Preservation Thesis is the capstone
project for students in the MSHP degree program
at Pratt. To receive the degree, students must
demonstrate the ability to undertake a major
preservation project or study, conduct original
research and analysis, and engage in dialogue about
their project with faculty and professionals from
the historic preservation field. Requisite courses:
Complete PR-640 PR-642A (Required, Previous).
School of Architecture Courses
Thesis II
PR-892 | 2 CR
The demonstration of an approved scope of work
showing the analytical capacities and creative
skills expected of a professional preservationist is
the capstone of the program. The demonstration
can involve original research, a work-related
project or extension of course-related work. An
advisory committee of faculty members judge the
thesis during the semester. Requisite courses:
Complete PR-891 (Required, Previous).
SES/SUSTAINABLE
ENVIRONMENTAL SYSTEMS
Sustainable Communities
SES-631 | 3 CR
Examines a range of strategies for planning
communities that minimize the use of
non-renewable energy sources, maximize
recycling and promote healthy living and working
environments. Its premise is that comprehensive
approaches that consider both human welfare
and resource limitations at the local and global
levels are required in order to build and maintain
sustainable communities. Strategies examined
include sustainable production, transportation,
infrastructure and distribution policies. Examples
are drawn from current community development
and preservation practice in urban, metropolitan
and rural areas. The course analyzes public
policies and private practices relating to the
urban environment, and investigates methods for
creating a more sustainable future.
Environmental Economics
SES-632 | 3 CR
This course will consider contemporary environ-
mental economics, applying principles of equity,
efficiency and effectiveness to environmental
issues. The course will consider several analytical
tools (e.g. marginal analysis, cost-benefit analysis,
externalities, full-cost pricing, incentives, public
goods, risk and alternatives assessment and
equity analysis). We will study when markets
work and when they don’t. Then we will consider
various policies that the public sector can use to
make markets work, and when they have to be
bypassed all together.
Environmental Law
SES-633A | 3 CR
Provides a basic framework in environmental law by
surveying critical cases, policy decisions and legal
history. Regional, national and international issues
are addressed with the focus on how inter-juris-
dictional problems are resolved. The relationship
between legal, constitutional, and political systems
in different localities is also considered.
Environmental Assessment: Impact
Statements
SES-633B | 3 CR
Examines the critical, environmental, ecological,
geological, economic, social and health-related
components that must be considered as part of
the environmental review process under national,
state and municipal environmental quality review
laws. The tools and techniques for conducting
assessments, the different models for interpreting
data and the use of mitigating measures are
presented through case analyses.
Climate Change & Cities
SES-634A | 1 CR
Global Warming and climate change represent
among the greatest challenges to global well-be-
ing and security and to the future of humans on
Earth. This course will examine the science and
history of this crisis with a focus on the various
policy initiatives and actions being taken globally
and locally to both mitigate and prepare for the
impacts of climate change. The class will look
at case studies from different cities around the
world and pay particular attention to New York’s
Plan NYC, which sets the goal of 30% reduction
from current greenhouse gas emissions by 2030.
Sustainability Indicators
SES-634B | 1 CR
Sustainability indicators measure progress toward
a sustainable economy, society and environment.
The Ecological Footprint Analysis is a type of
sustainability indicator that measures how much
biologically productive land and water area an
individual, a city, a country, or a region requires to
produce the resources it consumes and to absorb
the waste it generates. This course introduces
the principles underlying sustainability indicators,
including Ecological Footprint Analysis, and will offer
students hands-on experience with these tools.
Life Cycle Analysis
SES-634C | 1 CR
This course introduces students to the theory and
methodology and underlying life cycle analysis, a
systematic set of procedures for compiling and
examining the inputs and outputs of the materials
and energy and the associated environmental
impacts directly attributable to the functioning of a
product or service system throughout its life cycle.
Students gain practical knowledge by applying the
technique to a product or system of their choice.
Solid Waste Management
SES-635A | 1 CR
This course examines the environmental planning
implications of various practices and technologies
relating to solid waste management and prepares
planners and architects to identify and promote
more sustainable ways of managing solid waste.
Particular emphasis is placed on new innovations
in solid waste management including recycling,
reuse and reduction.
Water Quality Management
SES-635B | 1 CR
This course examines the environmental planning
implications of practices and technologies relating
to water management, and prepares planners
and architects to identify and promote more
sustainable practices for managing both drinking
water and wastewater. Particular emphasis is
placed on the science of water and on recent

innovations in water quality management including
bioremediation, watershed planning and a natural
waste water systems.
Urban Energy Management
SES-635C | 1 CR
This course examines the unique nature of energy
use and planning in urban areas. It introduces
students to key issues associated with local
energy planning: how cities use energy; the
sources of this energy; what alternatives exist;
the delivery systems that get energy to cities; the
institutional, market and regulatory environment
in which urban energy planners operate; and what
steps cities are taking to better manage their
energy use.
Demonstration of Professional
Competence
SES-660A | 2 CR
A demonstration fulfilling an approved scope
of work showing the analytical capacities and
creative skills expected of a professional in this
field serves as a capstone of the program. The
demonstration can involve original research,
a work-related project or an extension of
course-related work.
Demonstration of Professional
Competence in Progress
SES-700 | 0 CR
If the Demonstration of Professional Competence
is not completed in the initial semesters, students
can continue working in SES-700 for no more than
five semesters.
Environmental Management: Toxics and
Hazards
SES-731A | 1 CR
This course focuses on toxic and hazardous
substances in the environment, with particular
emphasis on trace metals and organic compounds
associated with construction materials and the
urban/industrial environment. It examines issues
such as urban air quality and indoor air pollution,
the persistence of toxic chemicals in the
environment, and the regulation and cleanup of
toxic substances. Case study discussion focuses
on sources and exposure to toxic substances in
the built environment in general, and the New
York City urban environment in particular.
Environmental Management:
Brownfield Remediation
SES-731B | 1 CR
This mini-course offers an introduction to
brownfields, defined as abandoned or underused
properties that are either contaminated or
perceived to be contaminated, starting with a
discussion of the history of brownfields, their
relationship to other categories of contaminated
properties, and their legal status. The remainder
of the course will focus on the practical aspects
of brownfield cleanup and redevelopment,
including government regulation, remedial
technologies and project financing, and the role
of brownfields in urban planning. There will be
particular emphasis on the environmental justice
School of Architecture Courses
issues surrounding brownfields and the strategic
use of brownfields in combating sprawl.
Productive, Performative Landscapes
SES-737A | 2 CR
Through a patchwork of productive and
performative landscape typologies s­ uch as the
ecological green roof, the phytoremediation
field, the street tree orchard and the urban
micro farm—new paradigms are being created
for urban public space that are not limited to the
prototypical landscapes of the park or garden.
This course will explore these emergent trends
in landscape design as essential components of
a developing urban green infrastructure. The
landscape typologies will be introduced through a
series of case studies with projects ranging from
Seville, Spain to Ridgewood, Queens.
Green Infrastructure Design/Building
SES-739 | 5 CR
The primary focus of this design/build course is
to provide students with the opportunity to not
only design but to understand the techniques of
construction and implementation, gaining valuable
experience and knowledge of the practical
aspects of green infrastructure design. The course
will contain, in equal parts, learning and design
modules with weekend site visits as a requirement
for the build focus.
Finance Green Infrastructure
SES-740 | 1 CR
This course will build on the experience of SES-
808A Green Infrastructure Research in analysis of
natural systems and their ability to manage storm
water. It is designed to help students formulate
meaningful research questions, and demonstrate
the knowledge to apply green infrastructure
innovations to the urban environment. The
main purpose is to advance knowledge of basic
storm water management to develop innovative
concepts of performance communication,
monitoring and maintenance.
Greening Existing Buildings
SES-755 | 2 CR
Taught by a practicing architect, this course is
based upon the growing need to understand
the details and reasoning behind rehabbing the
existing building stock and how to address “green”
design within the context of renovation at several
scales and scopes. The course of study will be
paired with a cutting edge computer design tool.
Seifara developed to help designers incorporate
sustainable approaches and explore deep
synergistic outcomes at the early conceptual
stage of design.
Green Development
SES-755B | 1 CR
Taught by a practicing high performance/green
architect/developer, this course provides students
with the philosophy, theory, history and best prac-
tices underpinning innovations in high performance
green building. Focusing on new construction, the
course offers an in-depth look at the process by
which several of the architect/developer’s buildings
were conceived, designed, and implemented with a
particular focus on the potential for affordable high
performance green development.
Watershed Planning
SES-761A | 3 CR
Focusing on the NYC Watershed, we will look at
land uses, sustainable storm water management
practices, and geology within the watershed
and examines how they are directly related to
the quantity and quality of water “produced” in
these areas.
Waterfront & Wetland Planning
SES-761B | 1 CR
This course focuses on the various uses of
urban waterfronts and wetlands, including both
the upland and the waterways. The course will
examine shoreline and water quality conditions,
and will consider waterfront developments,
working waterfronts and natural waterfronts. The
class will concentrate on NYC and New Jersey,
examining the environmental, economic and social
equity issues involved in waterfront planning,
development and preservation.
Sustainable Urban Agriculture
SES-762 | 1 CR
This course will explore the place and potential
of urban agriculture in environmental planning,
management, and development. Topics
to be covered included fundamentals of a
sustainable food system, horticultural principals
and techniques, the place of food systems in
urban planning, how urban agriculture can be
accommodated within the urban built fabric, and
contemporary examples of community gardening
and urban agriculture locally and in other parts
of the country. The principles of storm water
and solid waste management, nutrient and water
cycles, and sustainable material sourcing will be
explored as well.
Policy Writing
SES-763 | 1 CR
This skill building course will focus on the varying
formats and voices common to political and
advocacy writing. Students will gain exposure to
effective writing techniques, appropriate voice
and formats for editorials, policy briefs, letters of
support, grants and formal testimony.
Policy Advocacy & Negotiation
SES-764 | 1 CR
This is a skills building course that will discuss
strategies and tactics for advancing a policy agen-
da, including negotiation both in the context of
building coalitions and in the context of engaging
key decision-makers and stakeholders. Effective
negotiation is dependent upon developing the
leverage necessary to get other stakeholders
to the table in a meaningful way. As such, the
course will spend a significant amount of time on
issue analysis, organizing/coalition-building, and
strategy development.

UPM/URBAN PLACEMAKING
History & Theory of Public Places
UPM-601 | 2 CR
This course traces the development of concepts
of place and practices of “placemaking” and
introduces students to major theoretical and
primary sources relevant to this new field. The
course takes an interdisciplinary approach,
drawing from readings primarily in the history and
theory of urbanism, but also in urban planning,
architecture, the arts, anthropology, and
sociology. Readings, lectures, workshop activities,
and case studies illuminate the political, social,
and ethical stakes of placemaking, to familiarize
students with the history of urbanism as it relates
to placemaking and to give students the historical
and theoretical knowledge necessary to evaluate
placemaking proposals.
Proseminar: Design Infrastructure
UPM-602A | 1 CR
This proseminar helps students develop
observational, analytical, and projective abilities
to understand and map three-dimensional
urban form and how various urban systems and
infrastructures influence the character and
experience of the public realm. The course
examines the multiple public and private actors
who contribute to the city’s public realm. Finally,
the course introduces students to approaches
and tools for the integration of urban and
environmental systems to create ecologically
sustainable cities. The proseminar curriculum and
assignments complement coursework in the Lab.
Proseminar: Planning/Policy
UPM-602B | 1 CR
This course introduces students to the key tools
and methodologies used to plan, regulate, and
manage urban space. The course situates urban
planning practice today as an outcome of the
legacy and evolution of planning as a profession
in the United State since the late 19th century.
The course emphasizes how politics and political
power shape and limit what urban planning
professionals can accomplish and influence how
urban planning objectives are encoded in laws
and regulations. The course examines the role
of citizen participation and the effectiveness of
existing and potential structures for including
public constituencies in the planning process.
Proseminar: Economics
UPM-602C | 1 CR
This course provides an overview of real estate
economics and finance and the relationship of
economics to public space. The class first exam-
ines how financial value is created for property
in cities, then reviews how market analysis is
conducted, and lastly reviews how the value
of a project is understood by both the public
sector (economic impact) and the private sector
(development pro forma). The course examines
how the development process intersects with
public realm development and the ways in which
public space creates value. The curriculum and
School of Architecture Courses
assignments complement coursework in the Lab:
Observation and Analysis of Public Space.
Proseminar: Management
UPM-602D | 1 CR
The proseminar provides an overview of
project management in urban development as a
foundation for understanding the complexities
of the development of the public realm in cities.
The course also establishes a foundation of
leadership and negotiation skills that students
will use throughout the Urban Placemaking and
Management program. The proseminar curriculum
and assignments are designed to complement and
build upon coursework in the Lab: Observation
and Analysis of Public Space. Outputs of course
assignments can and should as much as possible
contribute to coursework in the lab.
Lab: Analysis of Public Space
UPM-609 | 5 CR
The workshop introduces students to methods
and techniques for analyzing the public realm in
cities and to the understanding that the design of
new public spaces and the development of public
space management strategies depend on rigorous
analyses of existing urban conditions and the
needs and activity patterns of public space users.
Students learn to observe public spaces through
the use of statistical data collection, interviews,
photography, and video. Students learn to analyze
spatial characteristics Involving use, circulation,
programming, servicing, landscape, etc. Students
learn to use conceptual diagrams, mapping, and
.architectural drawings (site plans, elevations, and
sections) to communicate findings.
Democracy, Equity & Public Space
UPM-611 | 2 CR
This course reviews the ways in which political
expression and negotiation among constituencies
occur in the public realm. The course examines
the concept of the “right to the city” as a political
ideal for the public realm and current trends such
as privatization, surveillance, and securitization
as expressions of social and economic conflict.
The course reviews “agents of change”—artists,
activists, the government, city planners, and archi-
tects ­and their strategies for pursuing a public
realm that advances an equitable and democratic
society. These debates are central to analyzing
the political dimensions of placemaking .
Economics of Place
UPM-612 | 1 CR
This course focuses on the role of the public
realm in generating economic benefits for cities
and urban populations. The course applies the
concept of place capital to a range of case studies
of public spaces in cities throughout the world.
“Place capital” refers to the process through
which shared economic wealth is created through
the creation and maintenance of public spaces in
cities. This course explores the many economic
benefits that vital public spaces—whether newly
built or restored—generate for the local economy,
as well as their wider social, environmental,
health, and quality of life impacts.
Place, Politics, Public Management
UPM-613 | 2 CR
This course provides an overview of the analytical,
planning, implementation, and management skills
that project managers use In the development of
public spaces. The course examines the role of
the project manager in the context of negotiation
among the multiple urban constituencies who
influence the development of the public realm.
The course reviews financial concepts with
an emphasis on the instruments for property
management and capital projects, including
budgets, leases, and contracts. It reviews project
management tools for development for each
stage of the project life cycle, including bidding,
RFP process, approvals, procurement, contract-
ing, leasing, project completion, maintenance,
and operations.
Civic Engagement
UPM-614 | 1 CR
The course examines and analyzes the following
questions related to citizen participation and the
design and planning of the public realm: How can
community members plan their neighborhoods
and cities? What tools can practitioners and
activists use to engage local people in complex
planning processes? What are the opportunities
and limitations of engaging the public in planning?
This course reviews approaches and tools of civic
engagement through a combination of academic
and popular readings, guest speakers, videos,
class discussion and activities, and research.
The course reviews the theoretical and practical
dilemmas of participation, through cases, in New
York and elsewhere.
Urban Placemaking/Management
UPM-621 | 3 CR
This course surveys recent prominent theories of
urban spatial design-ways of reading, understand-
ing, and designing urban space-and asks: What
works and what doesn’t, and why? It is an intro-
ductory urban design course for students from a
range of academic and professional backgrounds.
Through seminar format discussions supported
by visual media, intensive readings of progenitors’
original writings (and plans I designs), critiques by
respected urban scholars, and case study analyses,
the course exposes students to a wide variety of
urban spatial theories and typologies.
Open Space and Parks
UPM-622 | 3 CR
This course explores the programming, planning,
and design of urban open space. The course
reviews examples of open space design in New
York City at progressively larger scales—starting
with small recreation areas, corporate plazas,
and cultural facilities, and leading to pedestrian
malls, waterfront rehabilitation, and civic scale
plazas. The course combines workshop projects
with lectures on issues of site feasibility, site
programming, site planning, and design strategies.

Placemaking Workshop
UPM-698 | 5 CR
This lab combines and applies the principles and
practices of placemaking to a specific topical
project involving an actual planning and design
situation. The course considers physical, social,
economic, cultural, and political factors to
produce a viable design and ensure successful
management of a specific public place. Students
work as a team to accomplish that goal. The lab
includes lectures, site visits, written reports, and
input from official and community representatives
and stakeholders.
Demonstrate Professional Competence
UPM-699 | 3 CR
The demonstration of professional competence
is the capstone of the Urban Placemaklng and
Management program. It demonstrates the rig-
orous integration of the four knowledge streams
of the Urban Placemaking program: design and
infrastructure, planning and policy, economics,
and management. The demonstration involves the
creation of a professional quality development
proposal for the public realm with supporting
graphic documentation of planning and design,
planning and policy strategy, financial analysis, and
management plan. The project includes original
research and can be a work-related project or
extension of course-related work.
Landscape Architecture/Place
UPM-723 | 3 CR
This course examines the role that landscape
architecture plays in public space and the
elements that comprise the design palette
of landscape architecture. The course first
addresses the use of plant materials (softscape) by
examining plant forms, general characteristics, and
physical requirements. The course then addresses
hardscape elements of the landscape, including
the use of water as ornament, the ground
plane, lighting, furnishings, and structures. The
discussion of hardscape highlights use, aesthetic,
construction, and maintenance considerations.
The final part of the course addresses the
composite landscape, in which hard and softscape
elements are synthesized.
Public Security: Design/Debate
UPM-724 | 1 CR
Through readings, lectures, and case studies, the
course examines the ways in which ideas about
security and insecurity are socially, politically,
and ecologically construed with respect to
public space, infrastructure, and cities and how
the changing conceptualization of security has
influenced the practices of designers, planners,
and policymakers. The class reviews the extent
to which the privatization of endangered
public space has created a security creep that
is slowly removing vital public plazas from public
occupancy. The class examines contemporary
design, planning, and policymaking that seek to
create a safe public realm (often through the
utilization of new technologies).
School of Art Courses
School of Art and cultural backgrounds in the training and
development of a committed work team.
Managing Innovation and Change
ACM-626 | 2 CR
The shifting demographics of our cities, evolving
Department: ACM tastes and reduced resources make it necessary
for arts/cultural organizations to rethink their
programming as well as their institutions’ struc-
ACM/ARTS & CULTURAL MANAGEMENT ture. The need for innovation and change can also
be linked both to technological developments
and to an emerging understanding of the limits to
Strategic Marketing for Arts & Culture
growth. These factors combine to create a need
ACM-621 | 2 CR
to manage our human and material resources
Historical overview of how the arts and
more effectively. The course emphasizes the
cultural programs have been marketed in the
need for a strategic perspective at every level of
U.S. Examines current trends and developments
the organization.
through case studies. Topics will include theories
of marketing and the development of new
Management Communications
strategies to reach new audiences. This course
ACM-627 | 2 CR
will examine how the changing demographics
This course focuses on effective writing and
of our cities present challenges to traditional
speaking for professional success. Participants
marketing methods. Lastly, students will learn
gain competencies in persuasive writing and
how arts and cultural programs are marketed in
public presentation through an array of detailed
other nations.
business case studies.
Fundraising for Arts/Culture
Advertising & Promotion
ACM-622 | 2 CR
ACM-628 | 2 CR
This course is a survey of the field of development
This course examines approaches to developing,
as it applies primarily to nonprofit visual arts
evaluating, and managing advertising and
organizations, both large and small. It examines
promotion strategies. The course structure
functions within organizations and provides
follows that of an advertising campaign. Planning
advice, strategy, perspective and basic skill
in terms of targeting and promotions is discussed,
building. The course also offers current insights
followed by plan implementation.
and potentially helpful contacts in the field.
Behavioral Simulation
Financial Planning/Budget Man
ACM-631 | 1 CR
ACM-623 | 2 CR
The Northwood Arts Center (NAC) simulation
This course provides a structured, integrated
recreates a typical day in a nonprofit arts
plan for managing organizational financial
organization. Acting as senior management of
resources. Students examine the pros and
the NAC, students will address a variety of issues
cons of corporate sponsorship and its future in
such as artistic programming, board relations and
nonprofit cultural industries.
development, capital improvements, outreach
through education and community relations. The
Arts & Cultural Education
Crandall Museum, the New Horizons Theater and
ACM-624 | 2 CR
the NAC all offer support for the services and
In this course, students gain an understanding
staff. Participants manage the NAC as they see fit
of the historical and contemporary educational
for half a day. The remainder of the day is devoted
objectives of cultural institutions. Through
to feedback on participants’ managerial styles
readings, observations, writing and discussion,
and effectiveness as leaders, exploring how they
students consider issues such as education as
incorporated skills and knowledge acquired in
a marketing tool; modes of presentation and
coursework prior to the run of the simulation.
display as communicators of educational goals;
audience diversification; outreach and community
Organizational Behavior
involvement; and the critical relationship of
ACM-632 | 2 CR
individual artists to the museums that represent
This course is an overview of theories of
them. This course develops educational materials
organizational and group dynamics. It presents
and approaches for exhibitions and events at
situations to help students develop diagnostic
selected institutions.
and process capabilities for structuring effective
and efficient organizations. Of particular interest
Leadership and Team Building
is the external control of organizations, offering
ACM-625 | 2 CR
insight into the role of the board of directors,
This course prepares students for the challenge
government, funding sources, the audience,
of participatory management by building skills
critics, peer reviews, etc.
and providing opportunities to practice both
leadership and team building. It explores
motivation, decision making, diversity of skills

Negotiating
ACM-633 | 1 CR
Negotiation and dispute resolution skills
are developed through a mix of lecture and
interactive role playing exercises in small teams.
Management of Arts/Cultural Organizations
ACM-641 | 2 CR
This course focuses on the role and economic
definition of the nonprofit arts and cultural
organization in society. Site visits to arts and
cultural organizations in the greater New York
area, and interviews with nonprofit managers
build the skeletal framework for highlighting key
infrastructure issues.
Nonprofit Law & Governance
ACM-642 | 2 CR
This course provides a practical overview of the
legal issues affecting the operation of nonprofit
organizations in the United States. It provides the
basics of how to establish and organize a 501(c)
3 nonprofit organization. The course explores
copyright issues, reproduction rights and the
development of legal issues involved with new
communications technologies.
Art, Culture and Social Policy
ACM-643 | 2 CR
This historical overview of the interplay between
the arts, culture and public policies looks beyond
economic public policies that affect the arts and
culture to examine how policies, or lack thereof,
play a role in the production and consumption
of art and cultural programs. The course also
examines how artists shape attitudes, opinions,
and awareness of social issues.
Design Cultures of Inclusion
ACM-644 | 2 CR
The course examines the historical development
of multiculturalism and the social context
from which it grew. It demonstrates how many
organizations have responded to the call for
greater diversity, not only in what they produce
and present, but also in their employment
practices, governance, and role in their respective
communities. Using guest speakers and case
studies, the course will also examine trends in
other parts of the world and the resulting arts/
cultural practices.
Art in the Urban Environment
ACM-645 | 2 CR
Since the mid-1960s, the practice of making art
for and in the public realm has grown in stature
and importance. In the United States and most
industrialized nations, public art programs are
managed by a variety of not-for-profit and public
sector agencies. This course examines the devel-
opment of this field and looks at the management
structures that have been institutionalized to
respond to the desire for community inclusion
in the decision-making process. It explores the
relationship between artists, communities and
society-at-large within the urban environment.
School of Art Courses
External Relations for Nonprofit Managers
ACM-646 | 2 CR
Operating in several different public environ-
ments, managers of nonprofit organizations must
deal with varied constituencies. This course offers
a guide to methods and techniques for handling
public relations, advocacy, crisis management and
other external relations issues.
Finances/Financial Reporting
ACM-651 | 2 CR
Financial literacy is the goal of this course.
Considering the limited resources available to
most arts/cultural administrators, it is imperative
that they are equipped with the analytical skills
necessary to stretch their contributed and
earned dollars to the maximum while protecting
the integrity of the organizations’ programming
and/or services. Participants will become familiar
with all aspects of nonprofit accounting theories
and practices. Great attention and detail will be
focused on building budgets—both institutional
and project.
Directed Research
ACM-652 | 1 CR
This course prepares students for Thesis I and
Thesis II. Emphasis is on refining methods for
gathering and analyzing information for preparing
a case study, proposal or business plan.
Strategic Technology
ACM-654 | 2 CR
With advances in computer operating and
communication systems, the workplace has been
redefined. Managers must be familiar with the
technological tools that enable them to optimize
their hardware and software. This course provides
the framework for assessing the needs of an
organization and equips the manager to articulate
those needs in a computer-literate way.
Capstone Planning: Advisement
ACM-664A | 1 CR
This course is the capstone of the Arts & Cultural
Management program. Students conduct original
research, either through an internship, as a
consultant to a nonprofit organization, or via a
case study.
Shape 21st Century: Capstone
ACM-664B | 2 CR
This course is the capstone of the Arts & Cultural
Management program. Students conduct original
research, either through an internship, as a
consultant to a nonprofit organization, or via a
case study.
Managerial Decision Making
ACM-671 | 1 CR
In this course, students are provided with a
“tool box” of techniques to help them evaluate
alternatives and make informed managerial
decisions through the use of decision trees, basic
game theory, and break-even analysis.
Department: ADE
ADE/ART & DESIGN EDUCATION
Lit & Lang Acquisition
ADE-506 | 1 CR
Through reading a variety of texts by educators
and artists, students will develop an under-
standing of language acquisition and literacy and
the ways in which literacy promotes learning.
Working with art projects designed by ADE faculty
and students, each class member will learn to
integrate reading, writing, listening and speaking
strategies into their art lessons in ways that
meaningfully support both the NYSED visual arts
and English language standards.
Directed Research in ADE
ADE-517 | 2 CR
Through this course, students will be introduced
to current art education research methodol-
ogies. Qualitative methods will be examined,
including historical, ethnographic, case studies,
surveys, and art-based research models, along
with the role of the researcher in the process.
The problems, issues, and questions generated
in the observations, fieldwork, readings, studio
practice, and related art education coursework
will be the source of the research projects.
Graduate students will develop a preliminary
research question.
Stud Teach I: Sat Art School
ADE-521 | 3 CR
An introduction to teaching practice that pre-
cedes formal student teaching in the schools is
provided in a laboratory situation. Each student
is responsible for the planning, teaching, and
evaluation of art lessons guided by the theory
and strategies presented in ADE-619. During
a seminar immediately following each class,
common issues and problems, both classroom
and societal, are discussed.
Stud Teach II: Sat Art School
ADE-522 | 3 CR
A continuation of teaching practice and reflection
begun in ADE-521.
Student Teaching: After School
ADE-523 | 3 CR
An introduction to teaching practice that
precedes formal student teaching in the schools.
In this laboratory situation, each student is
responsible for the planning, teaching and
evaluation of art lessons, guided by the theory
and strategies presented in ADE 619. During a
seminar immediately after each class, common
issues and problems, both classroom and societal,
are discussed.
Student Teaching: Galleries
ADE-524 | 3 CR
Students are assigned to a class in one of three
local New York City public high schools. They
use exhibitions at the Pratt Manhattan gallery as

a springboard for research on the work of the
artist(s) and their contemporaries. Classes are
held at the gallery and, during pre- and post-visits,
at the schools. Weekly seminars in the gallery will
follow each class.
Student Teaching: Pre-K-HS
ADE-531A | 4 CR
This is the culminating experience in the Art and
Design Education program. With the guidance of
the cooperating teacher and college supervisor,
the student participates in a professional teaching
situation, applying the insights gained from
previous coursework, reading, observation, and
classroom practice.
Student Teach: Pre-K-HS Special
Populations
ADE-531B | 4 CR
The student is placed in a professional program
with a selected special needs population.
Students design and direct art activities for this
population, using a non-therapeutic approach.
Student Teaching Seminar
ADE-532A | 1 CR
Taken concurrently with student teaching,
this weekly seminar is designed as a forum for
reflection, analysis, and inspiration. Lesson plans
and art projects in various stages of completion,
as well as problems related to classroom
management, curriculum development, and
school culture are the subjects of discussion.
Issues arising in the New York State Teacher
Certification Examination (LAST), ATS-W, and CST
study groups are also considered.
Puppets & Performing Objects
ADE-535 | 3 CR
This studio course explores the various styles of
puppetry: performing objects, shadow figures,
Bunraku and other rod puppets, body puppets,
large-scale outdoor parade puppets, and toy
theater. The goal is to create a unique and
contemporary language of object, gesture, and
story. The class culminates with final performanc-
es in any form or combination of puppetry forms.
The Inclusive Art Room: EAS
ADE-616 | 3 CR
This course is an introduction to teaching
students (K-12) with disabilities and other special
learning needs, as seen in the context of the art
classroom. Students observe and assist art and
design educators as they work with their diverse
school-age student populations. Placements are
with art teachers who have had coursework and
extensive experience working with school-age
students with disabilities and other special
learning needs.
Fieldwork in Art/Design Ed
ADE-616A | 1–6 CR
This course is about looking and provides an
exercise in qualitative inquiry. Students will
experience the complexities of a school art
program through non-participant observation.
Photographs and other visual material will be used
School of Art Courses
to record what they have seen and later, they
will search for patterns in the data collected in
their journals. A final project will be designed in
response to their observations and readings.
Fieldwork Art/Design Ed: Spec Needs
ADE-616B | 2 CR
This course is about looking and provides an
exercise in qualitative inquiry. Students will
experience the complexities of a school art
program through non-participant observation.
Photographs and other visual material will be used
to record what they have seen, and later, they
will search for patterns in the data collected in
their journals. A final project will be designed in
response to their observations.
The Inclusive Art Room
ADE-616C | 1 CR
This course provides foundational knowledge
about practice and policy for special needs
populations. It is a co-requisite with ADE-616B,
a course in which students do required (100
hours) of fieldwork experience within broader
social, cultural, and historical contexts that shape
artistic expression and special education systems.
Students will also be familiar with multiple
perspectives- social, cultural, linguistic, family
and community- that shape teaching practice and
student learning.
The Performance of Fashion
ADE-617 | 3 CR
This studio course investigates the close
connection between the contemporary worlds of
fashion and performance art. The use of narrative
has become an important part of a fashion
concept, just as it is in performance art. In fashion
design, the body is much more than an instrument
or a means; it is our expression in the world, the
visible form of our intentions. This course explores
an expanded definition of fashion to include the
body’s presentation in the public sphere through
research on the work of historical interdisciplinary
artists, the design of objects to be worn by the
human body that are performative, and the
performance of these projects.
Contemporary Museum Education
ADE-618 | 3 CR
This class provides an in-depth theoretical and
practical understanding of the growing field of
museum education. It includes an examination
of the changes occurring in art educational
paradigms within the museum world, the
evolving nature of museums as institutions with
educational missions, along with learning and
interpretive theories unique to the museum
context. The class provides an extensive hands-on
component devoted to the special methods,
practices and skills associated with teaching with
artworks, and in designing educational projects,
programs and innovative learning experiences
within the art museum settings. The course also
explores critical issues facing the field through
theory, practice and the analysis of case studies,
including audience diversity, collaboration with
schools and communities, the rethinking of
museum missions and practices, and the use of
new technologies. In addition to the examination
of theories underlying contemporary museum
education, the course will constitute a strong
practicum preparing artists’ and designers’
museum education work. Finally, the course also
introduces the contemporary threads in the
reconceptualization of museum education as
artistic practice at the intersection of institutional
critique and participatory and social practice.
The course aims to broaden educational horizons
and critical perspectives, while equipping
students with practical strategies in new learning
environments. Many classes will be held in NYC
museums, where students will work with objects
in various collections, and where they will interact
with a variety of museum professionals.
Foundations in Art & Design Ed
ADE-619 | 3 CR
The history of art education, the literature
on children’s artistic development, and an
exploration of art materials and processes will
serve as the context for research on motivation,
classroom management, lesson planning, diverse
student populations, and assessment of learning
in art. Reflection and analysis of practice in a
teaching journal along with visual documentation
of the Saturday Art School, After-school or
Galleries class will provide opportunities for
further exploration of these topics. A research
paper is required.
Art of Teaching Art & Design
ADE-620 | 3 CR
The aesthetic dimensions of the art and design
curriculum and the spaces in which we teach
and learn are the focus for discussion. Students
will also reflect upon the questions raised during
teaching in Saturday Art School, After-school
or Galleries. An interdisciplinary approach to
research in the development curriculum, the use
of narrative to understand behavior, the value of
motivation in classroom management, assessment,
working with students with disabilities and special
needs, and some practical ways to respond to
and to analyze works of art will serve to direct
advanced research by the students.
Special Topics
ADE-621 | 3 CR
This course provides an examination of a
particular theoretical or practical issue in art or
design education. Each semester focuses on one
subject, such as the integration of art history and
studio, the art of the picture book, art education
and popular culture, or alternative sites for art
education outside the art room. The particular
topic will be announced prior to the semester it is
being offered.
College Teaching
ADE-622 | 3 CR
This course examines teaching and learning in art
and design in the context of higher education.
Students will study the theories and practices
of teaching, learning and research in art and
design, including a look at the history of studio

teaching, various contemporary and pedagogical
approaches, and the education of artists and
designers. Current debates centered on arts-
based research and practice-based research,
course and curriculum planning, assessment in
art and design, and doctorates in art or design
will also be integrated into the work. The course
builds a strong foundation for students interested
in teaching at the college-level in all art and
design majors. It will include discussion, fieldwork
research and project-based work assignments.
College Teaching: Practicum
ADE-623 | 3 CR
This course examines the theories and practice
of teaching and learning in art and design in the
context of higher education through research
and participant observation in Pratt studios
and workshops. This course focuses on studio
pedagogy, assessment criteria and methodologies,
and studio critique through observation and
direct teaching experience. The course will be
divided into two parts: a practicum that will allow
the students to observe and participate in classes
within their home department, and a seminar
that will examine contemporary pedagogical
approaches and the synthesis of theory and
practice in the studios and workshops. Faculty
in the School of Art and Design have agreed
to host a participant observer and to provide
opportunities for observation and direct teaching
experience. Student taking this class can expect
up to accumulate 15 hours of direct teaching
experience under the supervision of the mentor
teacher. As teaching is assigned, faculty assigned
to the course will observe and offer feedback. The
course builds a strong foundation for students
interested in teaching at the college level and
welcomes students from all majors. It will include
fieldwork research, discussion, and project-based
work assignments.
Art, Community & Social Change
ADE-624 | 3 CR
Art, Community and Social Change, is a hands-on
exploration of urban art and design and their
relationship to local communities. Through
research and realization of a community-based
project in Pratt’s “backyard”—Downtown
Brooklyn, Fort Greene, Clinton Hill or Bedford
Stuyvesant—students will study and work with
local community based organizations. Students
will explore the following questions as they do
their research and work on the community-based
project: How do artists, designers, planners,
architects and art educators shape and develop
a sense of social responsibility at the community
level? How do they become informed about and
learn from the communities in which they work?
How can art and design contribute to communi-
ty-based efforts to address urban issues such as
gentrification, foreclosure, community health, and
access to healthy and affordable food?
Play and Performance
ADE-625 | 3 CR
Just as play can be an important element of
creativity, attention to performance values
School of Art Courses
can transform teaching behavior. Using their
observations and memories of childhood play,
students will explore play and performance as
sources for art-making in the classroom. Play will
also be explored from a variety of theoretical,
historical, aesthetic, and cultural perspectives.
Students will analyze their performance (on video)
as teaching artists and integrate performance into
visual arts curricula. The role of play in learning
and generating creativity in the art classroom will
also be discussed.
Media and Materials
ADE-630 | 3 CR
This exploration of a central element in planning
and implementing an art curriculum begins with
the research and development of a series of
related art projects. Particular literary works
serve as subject matter for the projects and
extensive experimentation with a variety of studio
materials (photo-based media, computers,
film and video) is encouraged. The role of
technology in the making and teaching of art
will also be examined, using interactive/graphics
software to design a portfolio website. Through
reading, writing, and discussion, issues such as
age-appropriateness, teaching techniques and
learning styles are also considered.
Student Teaching: Public
ADE-631 | 6 CR
In the Public Schools, Pre-K—HS is the
culminating clinical experience of the Art and
Design Education program (ADE). Under the
guidance of a cooperating teacher and a Pratt
faculty supervisor, the student participates
in a professional teaching situation, applying
the insights gained from previous coursework,
reading, observation, and classroom practice.
In weekly seminars designed as forums for
reflection, analysis and inspiration, students
discuss their plans for teaching, as well as issues
related to curriculum delivery and assessment,
and school and classroom culture. The New
York State Teacher Certification Examinations
and Assessments-particularly the Educating
All Students (EAS) and the Education Teacher
Performance Assessment (EdTPA), which is
created, taught and submitted during the
semester—are a principle focus of this course.
Requisite courses: ADE-521 and ADE-522
(Required, Previous).
*The course meets the NYSED requirement
for undergraduate and graduate level clinical
experiences in art and design education (K-12) in
that students are in the public schools for 30 days
and attend an on-campus seminar of 1 hour and 50
minutes weekly.
Puppets and Performing Objects: Ballet of
the Hand
ADE-635 | 3 CR
This studio course examines the role of puppetry
as an educational tool, a major form in the
history of art, and a unique and contemporary
language of object, gesture, and story. The
course considers puppetry’s unique blending of
media such as painting, sculpture, costume, set,
and sound design and emphasizes puppetry’s
innovative combinations of multi-media and
narrative effects. Student projects are based on
a specific style/s of puppetry-­found/performing
objects, shadow figures, and rod puppets.
Students apply the techniques related to each
style as they expand upon their ideas about the
traditional languages and materials of art.
Puppets and Performing Objects: Hybrid
Contemporary Performance
ADE-636 | 3 CR
This studio course explores interdisciplinary to
performance and their application to contempo-
rary puppetry. Using the unique and contempo-
rary language of object, gesture, and story, the
course explores the ways in which puppetry and
performing objects can serve as elements of
hybrid contemporary performance art. This explo-
ration considers the integration of costume, set
and sound design into the performance projects.
Students work alone and in teams as they design,
write, direct and perform a final project based on
any form or a combination of the following forms
of puppetry: string puppets, hand puppets, body
puppets and masks, large-scale outdoor parade
puppets, and miniature paper/toy theater.
ED/EDUCATION
Contemporary Issues: Teaching
ED-601 | 1 CR
This course reflects the dynamic nature of
teaching and learning (K-12) and the changing
relationships between artist and teacher, schools
and communities, and ideas and institutions.
Against the background of contemporary issues in
teaching and learning and through the Department
of Art and Design Education Guest Lecture
Series, school and program site visits, and related
readings, students will reflect on the impact of
contemporary issues on schools and schooling,
and identify and discuss ideas and approaches.
Students will be encouraged to consider
themselves participants in framing new directions
for the field and partners in addressing the issues.
Survey of Art Education Literature
ED-602 | 3 CR
Against the background of historical movements,
trends, and issues in art education, the course
surveys contemporary literature in the field.
Students acquire the necessary library research
skills, identify a topic of personal interest and
develop this topic into a piece of qualitative
research in art education.
Contemporary Issues:
Museum Education
ED-603 | 1 CR
This course reflects the dynamic nature
of teaching and learning and the changing
relationships between cultural institutions, artists
and communities, and the role of education
within museums and cultural spaces. Against the
background of contemporary issues in museum

education, and through the Department of Art
and Design Education Guest Lecture Series,
site visits, and related readings, students will
reflect on the impact of contemporary issues on
museum and cultural spaces, and identify and
discuss ideas and approaches. Students will be
encouraged to consider themselves participants
in framing new directions for the field and
partners in addressing the issues.
Contemporary Issues: Social Practice
ED-604 | 1 CR
This course reflects the dynamic nature of
socially engaged art practice and the changing
relationships between artist and teacher, schools
and communities, ideas and institutions. Against
the background of contemporary issues in social
practice and through the Department of Art and
Design Education Guest Lecture Series, school
and program site visits, and related readings,
students will reflect on the impact of contempo-
rary issues on public pedagogy and participatory
art practice, and identify and discuss ideas and
approaches. Students will be encouraged to
consider themselves participants in framing new
directions for the field and partners in addressing
current issues.
NYC Youth: Historic Perspective
ED-608 | 3 CR
This course analyzes the history of youth in
New York City within the broader context of
20th century urban history. New York city’s
neighborhoods and institutions serve as a lens
to examine how educators, social activists,
public intellectuals, artists, and elected officials
framed, debated and attempted to address
racial, economic and social inequalities, especially
among its youth. The course examines the
continuities and discontinuities in the solutions
to inequality across key reform eras. By the end
of the course, students develop the capacity to
analyze, synthesize and compare historical reform
movements in urban schooling and society.
Working individually and collaboratively, students
develop confidence in their abilities to frame,
articulate, and present historical questions and
arguments and to consider different viewpoints
and perspectives.
Child & Adolescent Development
ED-610 | 3 CR
This course introduces education students to
the various cognitive, developmental, social,
cultural, and environmental factors that influence
a student’s growth. Developmental theory and
its implications for instruction are examined
through texts and fieldwork placements in local
intermediate schools. Various strategies and
issues are discussed in relation to developmental
theory. Individualized instructional strategies and
classroom management techniques that take into
account differing learning styles and special needs
and disabilities are considered.
School of Art Courses
Thesis I
ED-660A | 3 CR
The thesis project is developed from questions
raised by one or more of the following:
observations, fieldwork, reading, studio practice,
personal interest, and related art education
coursework. The research is grounded in practice
and allows students a critical examination of
their pedagogy and teaching practice through
an investigation guided by information retrieval
strategies and the APA Publication Manual. While
the project may include substantial amounts of
visual or nonverbal materials, if appropriate, a
paper with documentation is required. The first
course will include school observations, group
work, and individual conferences.
Thesis II
ED-660B | 3 CR
The second course is devoted to the development
of a written analysis of the data obtained in Thesis I.
Thesis in Progress
ED-700 | 0 CR
If the thesis is not completed in two semesters,
students can continue working in ED-700 for no
more than five semesters (not including summers).
Department: ADT
ADT/ART DANCE THERAPY
Creative Arts Therapy Special Ed I
ADT-621 | 3 CR
This course provides an overview of the history,
theory and practice of creative arts therapy.
Psycho-aesthetic diagnosis and treatment plan-
ning, creativity development, and the interface
of artistic and interpersonal communication are
explored. Students are encouraged to integrate
their practicum experiences with the assigned
readings and classroom discussions.
Creative Arts Therapy Special Ed II
ADT-622 | 3 CR
This course provides an overview of the history,
theory and practice of creative arts therapy.
Psycho-aesthetic diagnosis and treatment plan-
ning, creativity development, and the interface
of artistic and interpersonal communication are
explored. Students are encouraged to integrate
their practicum experiences with the assigned
readings and classroom discussions.
Grp Creative Art Therapy Special Ed I
ADT-625 | 3 CR
Students explore small-group dynamics in the
treatment setting. The course has experiential,
didactic, and supervisory components that combine
practical experience with didactic orientation.
Grp Creative Art Therapy Special Ed II
ADT-626 | 3 CR
Students explore small-group dynamics in the
treatment setting. The course has experiential,
didactic, and supervisory components that combine
practical experience with didactic orientation.
Clinical Diagnosis and Treatment Issues
ADT-630 | 3 CR
The objective of this course is to study a broad
range of diagnostic categories. Emphasis is placed
on patients’ verbal and non-verbal styles of
communication and their impact on the creative
arts therapy treatment process.
Research and Thesis
ADT-632 | 3 CR
This course is designed to give students an
introduction to the philosophical, conceptual,
and practical basis of qualitative and quantitative
research methodologies. Students will be exposed
to research techniques, data collection and
analysis, and ethics. Students will also be provided
with advisement to plan and complete a thesis.
Research and Thesis
ADT-633 | 3 CR
This course is designed to give students an
introduction to the philosophical, conceptual
and practical basis of qualitative and quantitative
research methodologies. Students will be exposed
to research techniques, data collection, analysis
and ethics. Students will also be provided with
advisement to plan and complete a thesis.
Development of Personality I
ADT-640 | 3 CR
The perspectives of the major developmental
theorists are integrated with current psychoan-
alytic and object relations theory. This approach
provides the student with an in-depth coverage of
the first three years of life. Emphasis is placed on
the development of play, fantasy, movement and
art. The effect of these first three years on later
personality development is also explored.
Creative Arts Therapy I
ADT-641 | 3 CR
This course provides an overview of the history,
theory and practice of creative arts therapy.
Psycho-aesthetic diagnosis and treatment plan-
ning, creativity development, and the interface
of artistic and interpersonal communication are
explored. Students are encouraged to integrate
their practicum experiences with the assigned
readings and classroom discussions.
Creative Arts Therapy II
ADT-642 | 3 CR
This course provides an overview of the history,
theory and practice of creative arts therapy.
Psycho-aesthetic diagnosis and treatment plan-
ning, creativity development, and the interface
of artistic and interpersonal communication are
explored. Students are encouraged to integrate
their practicum experiences with the assigned
readings and classroom discussions.

Expressive Modalities I
ADT-643 | 3 CR
This course introduces the student to a wide
range of expressive modes of communication that
will include visual, tactile, verbal, and auditory
experiences. The student is exposed to other
creative art therapies such as drama, music,
video, dance, poetry, Gestalt and body therapies.
The integration of these modalities with art
therapy is explored.
Grp Creative Arts Therapy I
ADT-645 | 3 CR
Students explore small-group dynamics in the
treatment setting. The course has experiential,
didactic, and supervisory components that combine
practical experience with didactic orientation.
Grp Creative Arts Therapy II
ADT-646 | 3 CR
Students explore small-group dynamics in the
treatment setting. The course has experiential,
didactic, and supervisory components that combine
practical experience with didactic orientation.
Art Diagnosis
ADT-647 | 3 CR
A grounding in fundamentals of art diagnosis is
provided by illustrating how an individual’s view of
himself/herself and his/her world is manifested
through artistic expression. Artwork from patients
is presented and discussed in-depth, as are a
variety of art therapy assessments.
Advanced Seminar Creative Arts Therapy:
Adult
ADT-649 | 3 CR
Students choose one of the above three areas to
specialize in and complete their practicum/intern-
ship with that population. The course emphasizes
advanced case presentation and explores in-depth
training in the theory and practice of creative
arts therapy. Specific reading lists are given to
students, depending on specialization.
Advanced Seminar Creative Arts Therapy:
Adult
ADT-650 | 3 CR
Students choose one of the above three areas to
specialize in and complete their practicum/intern-
ship with that population. The course emphasizes
advanced case presentation and explores in-depth
training in the theory and practice of creative
arts therapy. Specific reading lists are given to
students, depending on specialization.
Advanced Seminar Creative Arts Therapy:
DD
ADT-651 | 3 CR
Students choose one of the above three areas to
specialize in and complete their practicum/intern-
ship with that population. The course emphasizes
advanced case presentation and explores in-depth
training in the theory and practice of creative
arts therapy. Specific reading lists are given to
students, depending on specialization.
School of Art Courses
Advanced Seminar Creative Arts Therapy:
DD
ADT-652 | 3 CR
Students choose one of the above three areas to
specialize in and complete their practicum/intern-
ship with that population. The course emphasizes
advanced case presentation and explores in-depth
training in the theory and practice of creative
arts therapy. Specific reading lists are given to
students, depending on specialization.
Advanced Seminar Creative Arts Therapy:
Child
ADT-653 | 3 CR
Students choose one of the above three areas to
specialize in and complete their practicum/intern-
ship with that population. The course emphasizes
advanced case presentation and explores in-depth
training in the theory and practice of creative
arts therapy. Specific reading lists are given to
students, depending on specialization.
Advanced Seminar Creative Arts Therapy:
Child
ADT-654 | 3 CR
Students choose one of the above three areas to
specialize in and complete their practicum/intern-
ship with that population. The course emphasizes
advanced case presentation and explores in-depth
training in the theory and practice of creative
arts therapy. Specific reading lists are given to
students, depending on specialization.
Development of Personality II
ADT-655 | 3 CR
The course includes the growth of the individual as he/
she passes through tasks of life. Emphasis is placed on
creativity development throughout life stages.
The Psychology of Intergroup Relations/
Institutional Process
ADT-660 | 3 CR
This course deals with the study of how creative
arts therapists can effectively communicate their
techniques, theories, and clinical understanding
of patients to other members of the treatment
team. Special emphasis is placed on multicultural
issues and their impact on treatment. Ethics and
professionalism are explored.
Fieldwork Experience and Supervision I
ADT-661 | 2 CR
The students meet in small groups and receive
intensive supervision both in a group and individual
format. Integration of practical and theoretical
work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Experience and Supervision II
ADT-662 | 2 CR
The students meet in small groups and receive
intensive supervision both in a group and individual
format. Integration of practical and theoretical
work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Experience and Supervision III
ADT-663 | 2 CR
The students meet in small groups and receive
intensive supervision both in a group and individual
format. Integration of practical and theoretical
work is an intrinsic part of this course, through
case presentations and experiential exercises.
Fieldwork Experience and Supervision IV
ADT-664 | 2 CR
The students meet in small groups and receive
intensive supervision both in a group and individual
format. Integration of practical and theoretical
work is an intrinsic part of this course, through
case presentations and experiential exercises.
Fieldwork Experience and Supervision
Special Ed I
ADT-671 | 2 CR
The students meet in small groups and receive
intensive supervision both in a group and individual
format. Integration of practical and theoretical
work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Experience and Supervision
Special Ed II
ADT-672 | 2 CR
The students meet in small groups and receive
intensive supervision both in a group and individual
format. Integration of practical and theoretical
work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Experience and Supervision
Special Ed III
ADT-673 | 2 CR
The students meet in small groups and receive
intensive supervision both in a group and individual
format. Integration of practical and theoretical
work is an intrinsic part of this course, through case
presentations and experiential exercises.
Fieldwork Experience and Supervision
Special Ed IV
ADT-674 | 2 CR
The students meet in small groups and receive
intensive supervision both in a group and individual
format. Integration of practical and theoretical
work is an intrinsic part of this course, through
case presentations and experiential exercises.
Family Art Therapy
ADT-688 | 3 CR
Issues of the family as a system are the subject of
focus for the course. Students study art therapy
as a unit. The student will then learn how to utilize
art materials in this interaction to enhance insight
among the members of the family.
Thesis in Progress
ADT-700 | 0 CR
If the thesis is not completed in the initial
semesters, students can continue working in
ADT-700 for no more than five semesters (only
required semesters are considered).

DT/DANCE THERAPY
Theory and Practice of Dance Therapy I
DT-671 | 3 CR
This course involves the study of dance therapy
literature, history and basic psychodynamics
issues, and their relation to dance therapy
practice. Body/mind relationships will be
examined in relationship to clinical practice and
other applications.
Theory and Practice of Dance Therapy II
DT-672 | 3 CR
This course involves the study of dance therapy
literature, history and basic psychodynamics
issues, and their relation to dance therapy
practice. Body/mind relationships will be
examined in relationship to clinical practice and
other applications.
Studies Movement Behavior I
DT-673 | 3 CR
This course studies systems of movement analysis,
especially Laban analysis. Movement assessment,
evaluation, and observation are studied through
direct movement exploration and the use of videos.
The relevance of LMA to dance therapy is explored.
Studies Movement Behavior II
DT-674 | 3 CR
This course studies systems of movement analysis,
especially Laban analysis. Movement assessment,
evaluation, and observation are studied through
direct movement exploration and the use of videos.
The relevance of LMA to dance therapy is explored.
Improvisation
DT-675 | 3 CR
This course involves the study of the fundamental
nature of the improvisational process in dance
therapy. The use of improvisation in varying dance
therapy methodologies is examined.
TECH/TECHNIC
Materials in Creative Art Therapy
TECH-634 | 3 CR
Students familiarize themselves with the use of all
drawing materials, papers, paints, collage materials,
assemblages, plastic, carving and casting and their
applications to specific clinical settings. Students
also study the dimensions of form, shape, color and
texture of various materials that stimulate, structure
and organize artistic expression.
Material Creative Art Therapy Special Ed
TECH-635 | 3 CR
Students familiarize themselves with the use of all
drawing materials, papers, paints, collage materials,
assemblages, plastic, carving and casting and their
applications to specific clinical settings. Students
also study the dimensions of form, shape, color and
texture of various materials that stimulate, structure
and organize artistic expression.
School of Art Courses
Department: DDA
DDA/DIGITAL ARTS
Special Topics
DDA-500 | 3 CR
This course offers students the opportunity to
explore emerging developments in digital art
technologies and subject matter. These may
include either specialized topics or special
project opportunities. Content may be either
developmental, practical, or both, depending on
current objectives. Prerequisites for this course
vary by section. Students are required to obtain
the permission of the chair in order to register
for this course.
Artist’s Books in the Electronic Age
DDA-510 | 3 CR
This course provides students with the skills
necessary to produce an artist’s book with a
computer graphics system. The course covers
all areas of book production, including concept
development, writing of text, layout, image
making, printing, and building. This course is based
on the premise that computer technology has
revived the Renaissance model of a single indi-
vidual in charge of all aspects of book creation,
printing, and publishing.
3-D Lighting and Rendering
DDA-513 | 3 CR
In this intermediate level course, students learn
the principles and techniques of virtual 3-D
lighting and rendering. This includes utilizing
materials, textures, cameras, shadows, special
effects, and rendering tools. Students complete
projects dealing with green screen shooting,
matching live action, and rendering CG film frames
to match real footage.
Storyboarding & Storytelling
DDA-514 | 3 CR
This course targets all areas of pre-production
and design for computer animation in preparation
for hands-on modeling and animation classes.
The course focuses on the fundamental skills of
design for computer animation beginning with
basic conceptual scripting and storyboarding
techniques and ending with the development
of a complete technical breakdown ready to
be animated. The art of storytelling is explored
from logo treatments to character animation.
Students should come prepared to draw, write,
pantomime, analyze, and invent. By the end of the
course, students conceive, design and execute
their own storyboard for animation, including
a technical breakdown of timing and strategies
that can be applied in subsequent computer
animation courses.
3-D Character Design
DDA-515 | 3 CR
This class addresses the movement of the
animated character with a focus of historical
study of character design, and the techniques for
building an effective 3-D CG character model.
3-D Character Animation
DDA-517 | 3 CR
This course explores character animation using
the Maya software package as an example.
Coming into the course students should already
have some mastery of three-dimensional
modeling, rendering, and animation, be familiar
with the Maya software package, and have some
experience with character animation.
3-D Character Rigging
DDA-519 | 3 CR
This course is designed to teach the complete
rigging process for 3-D computer graphics
character models. 3-D characters will be rigged
with an Inverse Kinematics-Forward Kinematics
skeletal and control system to simplify the
animation process. Upon completion of this class
students will be prepared to do 3-D animations
with properly constructed and rigged characters.
Web Design
DDA-520 | 3 CR
This course explores the concepts and structures of
online communications, employing interactive digital
media. A variety of digital tools and procedures will
be studied, including scripting, text editing, graphics
processing, Internet access, Web browsing, file
transmission and Web page design.
Advanced Web Design
DDA-525 | 3 CR
This course focuses on Web development using
the latest in server side and CGI programming,
with an emphasis on effective interactive design.
Students learn the processes involved in the cre-
ation of a dynamic interactive site. Tools include
PHP, SSL, PERL, MySQL, Filemaker, Shockwave,
and Flash. Requisite courses: Complete DDA-520
(Required, Previous).
Subverting Digital Media
DDA-555 | 3 CR
Students learn to explore their creative and
potentially non-conformist ideas within the
context of digital media practices. Students
engage in a self-directed practical as well as
theoretical inquiry into digital media.
Electronic Music and Sound
DDA-572 | 3 CR
Students examine works of seminal figures in elec-
tronic music and incorporate the aesthetics and
structural concepts learned to original musical
compositions. Special attention is given to crafting
transparent music mixes, using reverberation,
automation, compression, and equalization. The
course is divided into two segments: hard disk
recording and MIDI-based recording. The goal is
to create music compositions that encompass the
worlds of digital audio and MIDI.

Advanced Video Editing
DDA-577 | 3 CR
This class focuses on the use of 2-D digital video
technologies in the creation of full-screen
moving video. The course begins with a review
of cinematic and analog video technology, but
focuses on the creation and manipulation of
full-screen digital video imagery. The class will
cover the process of editing video using a digital
non-linear editing system, including compositing,
keying, color correction, layering, special effects,
audio, and titling. All students enrolled in this class
must have completed CG-575 (Video Editing for
Computer Graphics) or have sufficient experience
with analog and digital video systems.
Flash for Animators
DDA-580 | 3 CR
This course is an introduction to Flash, a powerful
animation tool originally designed for the web,
and now used for broadcast as well. Essential
techniques such as special effects and camera
moves are used for creating and executing
animation for environments using Flash.
Creating Code for Digital Media
DDA-581 | 3 CR
This intermediate-level course explores
the creation and control of digital media by
custom-created computer code. The subjects
covered include low-to-high-level programming,
scripting and mark-up languages. This course
focuses primarily on one subject area in any of
four course offerings. Students may enroll up
to four times providing they do not repeat any
subject area at the same level.
Creating Code for Digital Media
DDA-582 | 3 CR
This intermediate-level course explores
the creation and control of digital media by
custom-created computer code. The subjects
covered include low-to-high-level programming,
scripting and mark-up languages. This course
focuses primarily on one subject area in any of
four course offerings. Students may enroll up
to four times providing they do not repeat any
subject area at the same level.
Code for Digital Media
DDA-584 | 3 CR
This intermediate-level course explores the
creation and control of digital media by cus-
tom-created computer code. Subjects covered
include low-to-high-level programming, scripting,
and mark-up languages. This course focuses
primarily on one subject area in any of four course
offerings. Students may enroll up to four times
providing they do not repeat any subject area at
the same level.
Interactive Installations
DDA-585 | 3 CR
This course covers the aesthetic, conceptual, and
technical aspects of creating digital installations.
Students use various software and hardware
systems to enable the production of passive and
interactive installations incorporating computer
School of Art Courses
graphics, video, audio, and sensing systems. The
class comprises lecture, demonstration, and
workshops for project development. Requisite
courses: DDA-622 (Required, Previous).
Robotics & Physical Computing
DDA-587 | 3 CR
This studio course covers the history and contem-
porary landscape of electronic art, concentrating
on those artists that are invested in a physical or
mechanical presence of technology within their
work. Students will use various electronic and
software languages to enable the production of
public-oriented electronic art.
Compositing & Special Effects
DDA-590 | 3 CR
This course focuses on the techniques required to
integrate a variety of source materials seamlessly
into a single unique image. Compositing is used to
create unusual visual effects in motion pictures,
television commercials, broadcast banding, and
network identification, as well as in video game
production. Students learn the correct use of
filters, traveling mattes, rotoscoping, layering, and
blue screen. Color theory is also addressed.
Motion Graphics
DDA-595 | 3 CR
This course focuses on the art of motion design
and compositing, including limited 2-D animation
and mixed media. Using images, graphics,
video footage, and sound, students explore
the relationships of motion, pacing, textures,
transparency, transitions, design, and composition
in space and time.
Digital Arts Boot Camp
DDA-601P | 3 CR
This seminar provides incoming MFA students with
basic digital arts skills and theory necessary for
more advanced graduate studies.
Graduate Seminar I
DDA-606A | 3 CR
This course is designed to immerse students in
the critical discourse and practice of digital art.
The students will formulate and hone their thesis
ideas and studio practice as they gain theoretical
fluency. The course format will combine seminar
sessions, guest lectures, student presentations
and field trips. Guest critics will be visiting
throughout the year. Students will begin to
consider their thesis work at the beginning of this
semester which they will continue to explore and
develop throughout the first year. Students will be
given a required summer reading list with which
they will be immediately engaged at the beginning
of the semester.
Graduate Seminar II
DDA-606B | 3 CR
This course is designed to immerse students in
the critical discourse and practice of digital art.
The students will formulate and hone their thesis
ideas and studio practice as they gain theoretical
fluency. The course format will combine seminar
sessions, guest lectures, student presentations
and field trips. Guest critics will be visiting
throughout the year. Students will begin to
consider their thesis work at the beginning of this
semester which they will continue to explore and
develop throughout the first year. Students will be
given a required summer reading list with which
they will be immediately engaged at the beginning
of the semester. In this second semester,
students continue critical and theoretical
development while assembling a body of work
and preparing to present their project) ideas to
their Thesis committee. Requisite courses: Take
DDA-606A (Required, Previous).
Digital Arts Practicum
DDA-610 | 3 CR
This course addresses the creation of conceptual
work in various digital media while building critical
discourse around contemporary digital practices.
Students bring their individual strengths to bear in
individual and group studio projects culminating in
a gallery exhibition.
Digital Imaging
DDA-612 | 3 CR
This course provides computer graphics majors
with their first exposure to hands-on two-dimen-
sional paint and image processing techniques. It
involves the use of a paint system with drawing,
coloring, and video digitizing capabilities. Projects
focus on the student’s areas of interest including
design, illustration, and photography.
3-D Computer Modeling
DDA-614 | 3 CR
The purpose of this course is to master the
fundamental concepts of three-dimensional
modeling with a computer graphics system. Topics
include concepts of three-dimensional space
and form, familiarity with hardware and software,
three-dimensional modeling, scene composition,
coloring, mapping, lighting, rendering and
recording. Students are required to design, build
and render several models.
Dimensional Printing for Artists
DDA-615 | 3 CR
This studio art course emphasizes artistic and
aesthetic creativity utilizing Digital 3-D modeling,
3-D printing and other digital output methods.
Students will apply current digital arts theory to
the creation of a personal body of work while
exploring digital and mixed media processes
unique to 3-D printing. Course goals will be
achieved through the production of artwork,
critiques, reading, and the hands on use of
state-of-the-art 3-D printers. Requisite courses:
DDA-614 (Required, Previous).
Languages
DDA-617 | 3 CR
This course is an introduction to programming
as a means of artistic expression. The focus is on
developing computer languages literacy with an
emphasis on techniques and applications to the
visual arts. A range of programming languages
will be introduced in parallel (e.g. Processing,

Phython, MaxMSP, ActionScript), underlining
fundamental principles and common approaches.
Graphics Programming
DDA-620 | 3 CR
This course introduces students to the basic
concepts of computer programming with an
emphasis on art and design. Two-dimensional
graphics and interactivity are explored through
the use of line, form and color.
Interactive Media I
DDA-622 | 3 CR
This course introduces students to the principles of
computer-based interactivity. Students combine
two-dimensional imaging and graphics authoring
as well as audio and visual technology for achieving
interactivity from multiple source media. Interface
design and scripting tools are covered.
3-D Computer Animation
DDA-624 | 3 CR
This course introduces students to the principle
of three-dimensional computer animation. Basic
3-D modeling ability is required. Students learn
how to develop storyboards as well as key frame,
interpolation and rendering techniques. Students
are required to complete a short animated piece.
Video Editing
DDA-625 | 3 CR
Introduces video editing as a creative tool for
digital arts students interested in its application
to motion graphics, animation, and interactive
genres. It offers a thorough technical under-
standing of nonlinear editing on the Final Cut Pro
system. Through editing exercises, students learn
to manipulate time, space, sound, and emotions
to create subjective narrative and experimental
works. Requisite courses: Complete DDA-610
(Required, Previous).
Audio for Digital Media
DDA-626 | 3 CR
Covers the aesthetic, conceptual, and technical
aspects of using audio and music with various
electronic media, such as 2-D/3-D animation,
video, and the World Wide Web. The course
includes lectures on the physical properties of
sound, music instruments, music notation and
musical styles, and emphasizes critique of audio
design techniques.
Advanced Interactive Media
DDA-630 | 3 CR
This course covers intermediate and advanced
techniques in interactive media including a great-
er mastery of authoring tools and techniques,
mixed media, high-level interface design and
current trends in interactive media. Students are
required to complete an original interactive work.
Requisite courses: Complete DDA-620 DDA-622
(Required, Previous).
Advanced Digital Imaging
DDA-632 | 3 CR
This course expands the boundaries of
two-dimensional computer imaging, exploring
School of Art Courses
a variety of painting, drawing and image-making
techniques on traditional and alternative media.
The development of an individual style technique
and visual “voice” is encouraged. Requisite
courses: Complete DDA-612 (Required, Previous).
Motion Dynamics
DDA-635 | 3 CR
Students explore motion dynamics animation using
the Maya software package. Students will learn the
principles and practice of rigid-body dynamics,
particle systems, and cloth dynamics. Advanced
undergraduates may enroll only by permission of the
instructor and the CGIM office. Requisite courses:
Complete DDA-624 (Required, Previous).
The Internet As Art Medium
DDA-640 | 3 CR
This course is aimed at those who wish to expand
their artistic ambition and creative vision by
exploring this new venue in the arts, and in
turn, produce substantial projects through
Internet technology. Its primary focus will be
the aesthetics arising from the advent of a Web
culture and an examination of where and how this
new medium may fit into the context of today’s
and tomorrow’s art-making. Requisite courses:
Complete DDA-520 (Required, Previous).
Digital Animation Studio
DDA-643 | 3 CR
This advanced-level course allows MFA students
in the Digital Animation and Motion Arts emphasis
to work independently on a variety of their digital
animation projects. Under the guidance of the
instructor, each student designs and realizes
either one or two animations during the course
of the semester. Students may work either
individually on their own personal animation, or
collaboratively with several other students in the
class on an animation project. Students may take
the class a maximum of four times, provided the
student receives a minimum grade of B in the
previous DDA-643 class.
Digital Imaging Studio
DDA-645 | 3 CR
This capstone course allows students in the
Digital Imaging minor to work independently on a
variety of their digital imaging projects. Under the
guidance of the instructor, each student designs
and realizes one or more substantial imaging
projects during the course of the semester.
Students must have substantial skills, both
technically and aesthetically, in the field of digital
imaging prior to enrolling in this course. Students
may take this course a maximum of four times
provided they achieve a grade of B or better in
prior sections of DDA-645.
Interactive Arts Studio
DDA-646 | 3 CR
This is a project-based Studio course in which
students may work on group projects or smaller
individual works in series in pursuit of their artistic
goals in the DDA MFA program.
Thesis Research
DDA-650 | 3 CR
Computer graphics MFA thesis candidates are
required to define the objectives of their thesis/
final project as well as the methodology they plan
to use. Students work in close collaboration with
their faculty advisor and are required to do all
the research necessary to present a coherent,
realistic and acceptable thesis proposal. Requisite
courses: Complete 27 Credits (Required, Previous).
Post Production
DDA-653 | 3 CR
This studio course covers the concepts, tools,
and techniques associated with completing
and outputting a time-based project. Students
mix animation, video audio, rendering and
compositing tools to finished projects properly.
Requisite courses: DDA-643 (Required, Previous).
Thesis I
DDA-660A | 6 CR
This is the first of two thesis courses for all MFA
candidates in Digital Arts. It is the fourth course
in the DDA MFA thesis process, following the
completion of DDA-606B Graduate Seminar II,
and it is a pre-requisite for DDA-660B Thesis II.
Students are expected to begin the production
of a significant original contribution to the field of
Digital Arts. Requisite courses: Complete DDA-606B
(Required, Previous).
Thesis II
DDA-660B | 3 CR
This is the culminating course for all MFA
candidates in Digital Arts. It is the fourth and final
course in the Digital Arts MFA thesis process,
following the completion of DDA-660A Thesis I.
Students are expected to complete and present
a significant original contribution to the field of
Digital Arts in the form of a visual project and a
written documentation of the entire process,
from research through completion. Requisite
courses: Take DDA-660A (Required, Previous).
Thesis II
DDA-660C | 6 CR
This is the third of three thesis courses for all
MFA candidates in Digital Arts. It is the fifth
course in the DDA MFA thesis process, following
the completion of DDA-606B Graduate Seminar
II. Requisite courses: Complete DDA-606B
(Required, Previous).
Thesis in Progress
DDA-700 | 0 CR
If the Thesis course is not completed in the initial
semesters, students can continue working in
DDA-700 for no more than five semesters.
DDA Internship
DDA-9600 | 0 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate

school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Digital Arts Internship
DDA-9601 | 1 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Digital Arts Internship
DDA-9602 | 2 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Digital Arts Internship
DDA-9603 | 3 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
School of Art Courses
Department: DM
DM/DESIGN MANAGEMENT
Strategic Marketing
DM-621 | 2 CR
Design plays a critical role in creating sustainable
creative advantage. This course examines the role
of strategic design intelligence in the marketing
process. Current theories and practices of
marketing are covered, including market research,
pricing, advertising and merchandising policies,
distribution and responsible package design.
Advertising and Promotion
DM-622 | 2 CR
This course examines approaches to developing,
evaluating, and managing responsible and
effective advertising and promotion strategies.
The course structure follows that of an
advertising campaign focusing on planning and
targeting of promotions, media selection, and
plan implementation.
Building Entrepreneurial Courage
DM-623 | 2 CR
In order to effectively bring creative professional
services to market, leaders must evidence
entrepreneurship, creativity, and managerial skill.
The course confronts the challenge of organizing
“creatives,” building entrepreneurial courage and
developing systems that encourage collaboration
across boundaries. It provides an opportunity
to integrate and apply learning and to refine
professional development agendas.
Leadership Behavioral Simulation
DM-631 | 1 CR
The program begins with an intensive team-build-
ing experience. Participants run a multinational
company for two days, learning about one another
and practicing leadership and team development.
The simulation is a practice field, an opportunity
for participants to build relationships that will
help them work together and sharpen their
awareness of personal strengths and development
needs. Each participant is coached to create a
professional development plan to guide them
through the two-year program.
Leadership and Team Building
DM-632 | 2 CR
In combination with the simulation practice
field, this course prepares participants to work
together as a team throughout the program.
Coursework explores the theory and practice
of leadership and the challenge of teambuilding
in design organizations. Each participant is
coached—using a variety of profiles—to deepen
understanding of the impact of leadership style
on a team. Professional development plans are
refined. The goal of the course is to prepare
self-aware leaders for the challenge of managing
in the 21st century—leaders who can use design
intelligence to help shape the future of their
organizations and our world.
Managing Innovation and Change
DM-633 | 2 CR
To maintain or achieve higher-order market
advantage, organizations must invest in innovation
in product, process and people. An emerging
solutions economy and resource productiv-
ity revolution requires that businesses adopt
sustainable practices and abandon wasteful
and environmentally-damaging processes and
products. Design managers will need to lead
change and develop skills to move new ideas
through organizations. This course helps design
managers develop the skills needed to usher new
ideas through organizations.
Negotiating
DM-634 | 1 CR
A second, intensive mini-module designed to
develop negotiation and dispute resolution skills
through a mix of lecture and role-playing exercises.
Intl Environment of Business
DM-641 | 2 CR
Design managers need to learn to effectively
operate in an increasingly international context of
competition, cooperation, and public concern.
Globalization of products, customers, suppliers,
distributors, regulators, and “watchdog” agencies is
a trend that will only intensify. This course examines
that global context and helps prepare design
managers for the changes and challenges ahead.
Business Law
DM-642 | 2 CR
This course looks at the law as it impacts design
managers. It examines the problems of negligence
and the crafting of contracts and warranties. It
provides design managers with a framework for
dealing with a wide range of design-related legal
problems in a national and global context. The
course enables design managers to anticipate
the practical and legal concerns that they will
encounter and prepares them to address them in
an ethical and socially responsible way.
Intellectual Property Law
DM-643 | 1 CR
Knowledge of Intellectual Property Law is an
integral part of design management. Trademarks
and trade dress, utility patents and design patents
and copyright law are reviewed, with emphasis on
protection and litigation against infringement.
Design Futures: Theory & Practice
DM-644 | 2 CR
This course focuses on the future and on the
role of design and design leaders in shaping that
future. It highlights the extraordinary power of
design informed by Strategic Design Intelligence
(SDI) and Sustainable Creative Advantage (SCA) to
transform. It explores how companies are using
these principles to add value and create advan-
tage, and it looks at those who are on the cutting
edge. Program participants are encouraged to
build on this class for their capstone and use it to
identify the design leaders who are creating the
future across a variety of design disciplines.

Management Communications
DM-651 | 2 CR
Effective communication is a vital leadership tool.
This course enables participants to develop and
refine skills in professional writing, speaking and
presentation. It will also explain the requirements
for completion of the Design Management
Program final capstone requirement (DM-674).
Instructors provide guidance and examples to
enable participants to ready the proposals, cases,
or research projects necessary for this graduation
requirement. Course instructors act as ongoing
advisors, continuing to work with participant
teams through the courses in Directed Research
and Capstone Planning (DM-656 and DM-673).
Design Management
DM-652 | 2 CR
Design Management is a discipline that maximizes
the contribution of Strategic Design Intelligence
(SDI) and Sustainable Creative Advantage (SCA).
These concepts will be introduced and explored
as the core contribution of the design leader in
the organization. Design management links design
and related business activities into a creative
and coordinated strategy for creating value and
sustainable advantage for the firm.
Design Operations Management
DM-653 | 2 CR
This class focuses on creating and managing
efficient processes that link design to business
operations and enable cost-effective implemen-
tation of strategic initiatives. Participants explore
tools, techniques, and best practices of design as
well as other businesses.
Strategic Tech: Issues and Challenges
DM-654 | 2 CR
Technology is no longer a support to design
businesses; it is now a tool to create critical
strategic advantage. Design managers need
to use technology strategically to create and
share information critical to the success of the
business with others inside and outside of the
organization. This course provides an overview of
strategic technology issues and challenges faced
by design managers.
New Product Management & Development
DM-655 | 2 CR
This course examines the methodology for
bringing new products to market. The complete
picture of product innovation for goods and
services is explored, from original strategy
through launch control.
Directed Research
DM-656 | 1 CR
This course continues the work to prepare
participant teams to complete the Shaping the
21st Century: The Design Management Agenda
capstone requirement for graduation. Emphasis
is on refining methods for gathering and analyzing
information for the preparation of a case study,
proposal or research project.
School of Art Courses
Financial Reporting & Analysis
DM-661 | 2 CR
Design leaders are required to understand the
way business tracks and measures financial
performance. Generally Accepted Accounting
Principles (GAAP) are introduced together with the
preparation and analysis of financial statements.
Money and Markets
DM-662 | 2 CR
This course provides an overview of macroeco-
nomic concepts relevant to understanding the
cost and use of capital in a business and the
importance of managing return on investment and
investor expectations.
Financing Companies & Ventures
DM-663 | 2 CR
This course explores strategies for funding new
ventures and for financing economic growth. It
provides a framework for risk analysis and for
examining the potential return on a new venture.
Managerial Decision Making
DM-671 | 1 CR
This course provides a tool box of techniques—
such as decision trees, basic game theory, and
break-even analysis—to help managers evaluate
alternatives and make informed decisions.
Business Strategy
DM-672 | 2 CR
The course examines the art and science of
strategic management and business planning. It
also explores the formulation, communication,
and implementation of both corporate and
business-level strategy.
Capstone Planning: Advisement
DM-673 | 1 CR
This course continues the work to complete the
21st Century Design Agenda capstone requirement
for graduation. Emphasis is on developing research
reports and cases for presentation and publication
in journals or on websites or at major conferences
or in action learning projects which apply design
management principles.
Shaping the 21st Century: Capstone
DM-674 | 2 CR
The capstone requirement is designed to
encourage and require the integration of all
course work and the creation of a contribution
to the field of Design Management. Capstone
work must be of professional quality and be able
to be submitted for publication or equivalent.
Successful completion of the capstone is required
for graduation from the program.
Department: FA
SOA/SCHOOL OF ART
Independent Study
SOA-698 | 1–4 CR
In this graduate course, work is assigned on
an individual basis under advisement by a
faculty member, and in consultation with the
department’s chair. This course provides graduate
students the opportunity to pursue a project that
goes beyond the curriculum or facilities. Requisite
courses: Take 9 credits from levels 500, 600, 700
(Required, Previous).
DRWG/DRAWING
Drawing Anatomy I
DRWG-550 | 4 CR
Through observation and knowledge of the mus-
culo-skeletal system and its functional kinetics,
the student are encouraged to express the human
form in graphic language. The study of human
structure becomes a comprehensive, informative,
visual experience, subduing copying dependency
and developing the selective force of expressive
drawing. Studies from anatomical dissections for
the artist are an integral part of this course.
Drawing Anatomy II
DRWG-551 | 4 CR
Through observation and knowledge of the
musculo-skeletal system and its functional
kinetics, students are encouraged to express
the human form in graphic language. The study
of human structure becomes a comprehensive,
informative, visual experience, subduing copying
dependency and developing the selective force
of expressive drawing. Studies from anatomical
dissections for the artist are an integral part
of this course. Requisite courses: Complete
DRWG-550 (Required, Previous).
FA/FINE ARTS
Site Idea
FA-502P | 1 CR
This is a 7 week one credit course studying the
context, form, artistic process, and experience
of locational and/or site specific art. Students
will be introduced to the history, methodologies,
and logistics of site specificity. They will write
and present a proposal for an intervention by
responding to their chosen site.
Art in the Cloud
FA-503P | 1 CR
This seven weeks one credit course introduces
students to the history of net art from the mid
1990s to the present day. During the course
students will review Internet artworks, curate
an online exhibition and respond to readings.
Students will learn image processing for the web,

and HTML+CSS and make a net artwork. Smart
phone and tablets may be used in projects.
Kinetic Sculpture
FA-507P | 2 CR
Kinetic sculpture is art in any medium that
depends on motion for its effect·; it is where art,
science and technology come together. Weekly
lectures and demonstrations will introduce
students to principles of motion involving
nature (wind, water, gravity), electricity and
human/object interactivity. Graduate students
will develop a complex 3D kinetic project for
exhibition and submit an original research paper
addressing their goals, chosen context and
methods of approach to developing their final
project. Requisite courses: FA-631, TECH-531,
TECH-433, TECH-540, TECH-541 (Required,
Previous or concurrent).
*Actual or physical motion as opposed to virtual
motion as in animation, film or video.
Directed Research
FA-511 | 1–5 CR
This course focuses on direct research related
to previously taken formal courses of study with
the instructor in question. To pursue Directed
Research, permission of both the faculty member
and the Fine Arts chair is required.
Machine Sewing & Needle Arts
FA-514 | 2 CR
This is a graduate-only elective course in machine
sewing and needle arts. The course will introduce
fundamental sewing techniques needed to execute
textile based fine arts, soft sculpture and soft
industrial design projects. Students who complete
the course will be certified to use basic sewing
machinery in designated Fashion Design studios.
Seminar: Art Criticism
FA-600 | 3 CR
This graduate-level seminar explores concepts
and problems of recent art as developed and
articulated by contemporary artists and critics.
Thesis Statement I
FA-601 | 2 CR
This course is focused on producing written doc-
umentation to accompany studio work completed
in FA-650A/B, Thesis I and II. Requisite courses:
Complete 30 Credits (Required, Previous). Take
FA-650A (Required, Previous or concurrent).
Multimedia Installation
FA-602 | 3 CR
This course explores the integration of diverse
elements such as video, photography, objects,
performance and traditional studio media
(drawing, painting, and sculpture) into environ-
mental installation. Students are expected to
have working proficiency with these media and
be willing to experiment with their possibilities on
both a visual and conceptual level.
School of Art Courses
Expanded Documentary
FA-604 | 3 CR
This course explores new approaches to social
documentary photography, making use of
techniques such as appropriation and digital
manipulation, and conceptual and self-reflexive
strategies, including the autobiographical, the
fictive and the performative. The class will consider
the work of contemporary artists whose work
exemplifies these directions. There will be regular
critiques of the students’ work and efforts at creat-
ing their own innovative documentary projects.
Art Criticism/Analysis
FA-605 | 3 CR
This course is for students pursuing contemporary
art criticism, analytic photography issues,
or non-traditional critical approaches to
contemporary art. Using the analytical tools they
have acquired, students will produce an original
work of criticism in this course.
Kinetic Sculpture
FA-607 | 3 CR
FA-607 Kinetic Sculpture (3.00 cr.) Kinetic
sculpture is art in any medium that depends on
motion for its effect·; it is where art, science
and technology come together. Weekly lectures
and demonstrations will introduce students to
principles of motion involving nature (wind,
water, gravity), electricity and human/object
interactivity. Graduate students will develop a
complex 3D kinetic project for exhibition and
submit an original research paper addressing
their goals, chosen context and methods of
approach to developing their final project.
Requisite courses: FA-631, TECH-531, TECH-433,
TECH-540, TECH-541 (Required, Previous or
concurrent).
*Actual or physical motion as opposed to virtual
motion as in animation, film or video.
Graduate Symposium
FA-609F | 3 CR
In this course for second-year MFAs, students
will consider the relationship of cultural context
and personal history to their studio practice and
work, and its public reception. The fall semester
concludes with a brief illustrated lecture by each
student and the selection process for the spring
term’s seven participants. Those seven students,
chosen by an external critic, continue during the
spring semester to present lectures and exhibit
their work in a series of public events.
Graduate Symposium
FA-609S | 3 CR
In this course for second year MFAs, students
will consider the relationship of cultural context
and personal history to their studio practice and
work and its public reception. The fall semester
concludes with a brief illustrated lecture by each
student and the selection process for the spring
term’s seven participants. Those seven students,
chosen by an external critic, continue during the
spring semester to present lectures and exhibit
their work in a series of public events. Requisite
courses: Advisor Approval (Required, Previous).
Directed Research
FA-611 | 1–3 CR
This course focuses on direct research related to
previously taken formal courses of study with the
instructor in question. The permission of both the
faculty member and the Fine Arts chair is required
to pursue Directed Research.
First Yr. MFA Printmaking Seminar
FA-612F | 3 CR
This course will provide first year Printmaking MFA
students with a forum for discussion and critique
of their work. Artists/curators and members of
the professional printmaking world will make guest
visits and the class will visit printmaking facilities in
the NYC area.
First Yr. MFA Printmaking Seminar
FA-612S | 3 CR
This course will provide first year Printmaking MFA
students with a forum for discussion and critique
of their work. Artists/curators and members of
the professional printmaking world will make guest
visits and the class will visit printmaking facilities in
the NYC area.
Introduction to Glass
FA-613 | 3 CR
This course, taught by instructors at Urban
Glass in Brooklyn, offers a broad survey of glass
techniques that introduce students to the major
areas of glass fabrication including kiln-forming,
kiln-casting, cold-working, flame-working, and
glassblowing. Students are expected to complete
a series of projects utilizing techniques from each
of the areas taught. Requisite courses: FA-631,
FA-671, IND-507, IND-612A, IND-610 (Required,
Previous or concurrent).
Painting & Drawing
FA-613A | 3 CR
Students independently explore advanced studio
work discussed in seminar, group and individual
critique. Students are expected to develop their
work and clarify their direction by engaging in
a dialogue that provides both art historical and
contemporary contexts.
Painting & Drawing
FA-613B | 3 CR
Students independently explore advanced studio
work discussed in seminar, group and individual
critique. Students are expected to develop their
work and clarify their direction by engaging in
a dialogue that provides both art historical and
contemporary contexts.
Painting & Drawing
FA-614A | 3 CR
This course examines the relationship between
drawing and painting through group seminars,
individual critiques, and studio practice. Drawing
sessions featuring poses of varying duration
will allow the student to study gesture, contour,
composition and modeling. The drawing seminar
will alternate with four-hour painting problems
from the figure and from the landscape.

Painting & Drawing
FA-614B | 3 CR
This course examines the relationship between
drawing and painting through group seminars,
individual critiques, and studio practice. Drawing
sessions featuring poses of varying duration
allow the student to study gesture, contour,
composition and modeling. The drawing seminar
will alternate with four-hour painting problems
from the figure and from the landscape.
Drawing
FA-617 | 3 CR
In this course students explore advanced
studio problems in drawing with an emphasis on
independent creative work along with seminar
discussion and criticism.
Site Ideas
FA-618 | 1 CR
This one credit course explores site-specific
art making through the lens of place. Drawing
on methodologies for site research as well as
theories of place, students will research a given
location in the metro area and develop a proposal
for a work of art that responds to that site in its
historical, cultural and material complexity. As well
as documenting their research and methodol-
ogy in a written paper, students will present an
illustrated proposal for their installation to a panel
of invited guests.
Painting
FA-621 | 3 CR
This course is designed for graduate students
who wish to expand their vocabularies of
painterly techniques and possibilities. The course
emphasizes monochromatic underpainting and
glazing to achieve effects not possible with direct
painting. The course is based on figure painting.
There will be multi-week poses with a live model,
three hours per week, with demonstrations,
readings and lectures on both contemporary
and historical practice. Regular class discussions
and critiques will develop critical thinking and
self-evaluation skills.
Photo Methods: Experimental
FA-625 | 3 CR
This course offers students experience with
non-silver photographic processes (platinum,
gum bichromate, etc.) and their extension into
non-traditional photographic presentation.
Students will experiment with construction
techniques and object making in both studio
conditions and in daylight, sometimes using
models. Incorporation of other media is stressed
in both group and individual projects.
Digital Projects
FA-627 | 3 CR
Digital Photography introduces graduate students
to the ideas and skills of digital imaging. The
objective of the course is to integrate technical
aspects of digital photography with aesthetic
concerns so that students feel confident using
this technology for their work.
School of Art Courses
Professional Practices
FA-630 | 3 CR
This course introduces graduate students to the
multifaceted professional art world. Students will
interact directly with various participants in that
world, including professional artists, curators,
critics, and gallery directors. Through these
encounters, discussions and assignments students
will acquire the strategies and preparedness
necessary for promoting a body of work in the
art marketplace and maintaining a career as a
professional artist.
Sculpture
FA-631 | 3 CR
In this course students pursue advanced
studio problems and projects in sculpture while
developing their independent creative work.
Research as Practice
FA-636FP | 3 CR
In this course students will develop skills to pursue
research-based projects; conceiving of the initial
ideas, to strategizing processes of research and
synthesizing a final project. The course should be
viewed as complementing and extending from the
rigors of studio practice through the introduction
of information gathering, the utilization of
multiple platforms of knowledge through an
interdisciplinary approach and long-term single
project inquiry.
Research as Practice
FA-636SP | 3 CR
Building on the fall semester in this course
students will continue to further develop their
skills for their research-based projects; from
re-assessing ideas to refining strategies to
process their research and synthesize it into a
final public project. This course is a continued
extension of the rigors of the studio practice
through the processing information by utilizing
an interdisciplinary approach to see a long-term
single project through to completion.
Ceramics
FA-641 | 3 CR
In this course, students pursue advanced
studio problems and projects in ceramics while
developing their independent creative work.
Artist As Curator
FA-646 | 3 CR
This course will be an introduction to the practical
concerns of working as an independent art
curator. Whether as a career path or a means to
advance one’s own visual arts practice, students
will learn to identify and examine the skills
required to develop and stage exhibitions from
inception to actualization. Students will explore
curating from a “maker’s” point of view, as the
artist as curator, learning the most appropriate
means to present and install artworks—processes
that include and go beyond theorizing concepts,
themes, and formal considerations.
Drawing Into Sculpture Seminar
FA-648 | 3 CR
In this course students explore the relationships
between drawing and sculpture within a
conceptual framework.
Art & Culture Seminar
FA-649 | 3 CR
This seminar is organized around bi-weekly
interdisciplinary dialogues between artists and
anthropologists, psychoanalysts, sociologists,
philosophers and others. These dialogues will be
complemented by class discussions and assigned
readings. Students will be required to produce a
final paper.
Thesis I
FA-650A | 5 CR
In Thesis I students establish a rigorous studio
practice. Individual and group critiques and a
public review will offer clarity and focus going into
their final semester. Students pursue a consistent
and focused body of work in preparation for
review. Requisite courses: Complete 30 Credits
(Required, Previous).
Thesis II
FA-650B | 5 CR
This course culminates with a Thesis exhibition of
creative work. The approval of the Graduate Fine
Arts Faculty Committee is required. Requisite
courses: Complete 30 Credits (Required, Previous).
Art and Business: Communication
FA-651P | 1 CR
This one credit course explores the art and
theory of oral and written communication and
presentation skills for artists. Students will
research methods of business storytelling drawing
on their research to verbally and in writing,
Interpret and demonstrate their ability to connect
with their audience through a series of polished
professional presentations. Graduate Students will
develop a strategic communications plan and final
project that is a public presentation TED style
demonstrating the art of authentic persuasion.
Art and Business: Strategy
FA-652P | 1 CR
This one credit course explores the strategies
and career streams of artists through the study
of theories and methods of cultural entrepre-
neurship. Students will develop an in-depth
application of the visioning process and draw on
their research to develop strategies for launching
a studio, collective or individual project, learning
the methods and tools they need to build basic
business knowledge into their arts education.
Graduate students will develop a final project
that is an in-depth plan and presentation of
their chosen market and submit and present an
original research brief addressing their vision,
target audience, market segment, and methods to
approach Implementing their plan.

Sound Art
FA-655P | 1 CR
This seven-week one credit course introduces
students to the history of sound art from the
mid-1990s to the present day. During the course
students will review sound works, develop their
skills to create sound works and respond to
related readings. Student will gain an introduction
to sound design programs that are utilized today
as well as the variety of conceptual ways artists
utilize sound as a art and in art.
Theories of the Avant-garde
FA-657 | 3 CR
Theories of the Avant-garde focuses on the
history and practice of time-based works such as
film, video and performance since the late 1950s.
The course will begin with Fluxus Happenings,
Environments and Body Art of the 1960s as well as
the rise of early Video Art. Performance art of the
1970s and 1980s focuses on political movements of
the era, including anarchism, feminism, simulation-
ism, and multiculturalism. These developments will
be investigated historically, theoretically, ironically,
poignantly and—most of all c ­ ritically.
Lens, Sculpture & Performance
FA-660 | 3 CR
This class explores the camera as a thread that
connects all of the visual and performing arts.
Students will create sculptures, installations
and performance and document these in still or
moving images.
Intaglio Printmaking
FA-661 | 3 CR
This course explores a wide range of intaglio
techniques, including dry point, line etching,
soft ground and aquatint. Students will explore
both traditional and experimental materials and
methods. Regular critiques and discussions will be
held during class.
Relief Printmaking
FA-662 | 3 CR
Students in this course will explore relief
printmaking, the oldest and most direct form
of printing images on surfaces. Instruction will
include carving and printing images from wood,
linoleum, and birch plywood, among other
surfaces. Techniques will include reduction,
multiple block and experimental printing.
Silkscreen Printmaking
FA-663 | 3 CR
This course offers students instruction in silk-
screen printmaking. Techniques covered include
photo-emulsion stencil, hand drawn stencil mono-
printing and printing on experimental surfaces.
Artistic and commercial uses of silkscreen will be
discussed, including digital applications.
Lithography Printmaking
FA-665 | 3 CR
This course offers students instruction in the
traditional and contemporary processes of
lithography, including stone, plate and mylar
printing. The course begins with photo litho
School of Art Courses
techniques using various methods of image
making, including photographic, hand drawn on
mylar, computer generated and/or manipulated
and found objects. Stone lithography concludes
the course and focuses on preparing the stone,
materials and methods of drawing on the stone,
the stone etching process and printing.
Contemporary Photo Seminar
FA-669 | 3 CR
In this seminar students will investigate contem-
porary photographic work and critical issues
through current museum and gallery exhibitions,
magazine reviews and recently published books.
Emphasis will be on developing a critical viewpoint
and vocabulary, but relevant technical issues will
not be slighted. In addition to oral and written
reports, students may expect assignments in
techniques and procedures not generally used
but which are employed by certain contemporary
photographers.
Project Print
FA-670 | 3 CR
This graduate-level course offers students the
opportunity to engage in a researched-based,
in-depth, large scale print project. Faculty will
work collaboratively with students to facilitate
project research/development and technical
instruction. The course welcomes diversity of
practice, innovation, and experimentation and
students new to printmaking are welcome.
Integrated Practices
FA-671 | 3 CR
This studio course offers students a critical
investigation of new media, hybrid processes and
combinations, and non-traditional strategies of
art making.
Materials and Methods
FA-675P | 3 CR
This project-based course emphasizes material
logic in the development of an individualized
studio practice within a 2-D format. The course
promotes an understanding of contemporary and
historical material precedents, applications and
investigations. Through research and experimental
investigation students will further their intellectual
and creative expression.
Contemporary Abstraction
FA-678 | 3 CR
This course investigates the various themes,
movements, artists and tendencies in abstract art.
Contemporary Art (1960-Pres)
FA-680 | 3 CR
In this seminar, students examine the major
developments in art since 1960, including lyrical
abstraction, pop, minimalism, conceptual art, earth-
works, post-minimalism, and other movements.
Photography
FA-681 | 3 CR
In this course students pursue advanced work in
their areas of interest, developing their concepts,
research skills and techniques. Students are
expected to develop ideas into suitably presented
bodies of work.
Photography for Non-Majors
FA-685 | 3 CR
Photography for Non-Majors is designed for
students who have an interest in learning basic
photography techniques and concepts in the
context of their major areas of emphasis. The
course will explore both traditional darkroom
techniques and digital photography methods. The
class will culminate in portfolio presentations/
critiques and a research paper.
Critical History of Photography
FA-688 | 3 CR
This course introduces students to the critical
issues surrounding the invention of photog-
raphy and its development as a medium and a
phenomenon during the 19th century. The course
will focus on photography’s relationship to the
other arts as well as to the events it recorded.
The Artist as Provocateur
FA-689P | 3 CR
Activist avant-garde artists have historically
ignored national boundaries as well as aesthetic
ones, taking regular people to be their audience
and any subject or material under the sun to
be appropriate to their means. Contemporary
activist visual art performance practitioners
view this avant-garde legacy as their own,
incorporatiing musical, theatrical, literary, dance,
film and technological elements in their work
in order to address the pressing issues of our
time. This course will focus on critical examples
of performance art from the last century to
today to analyze how artists have positioned
themselves in relation to current standards of
artistic production and developed techniques of
provocation to activate the audience.
Painting and Drawing IA
FA-691A | 3 CR
In this studio course students pursue work in their
chosen area of emphasis. Through group and
individual critiques with faculty, students will test
their expressive concepts, research methods and
technical possibilities. Instruction is rooted in the
investigation of drawing and painting with their
specific language and history. The course encour-
ages an investigative approach and interpretation,
innovation, and experimentation. Requisite
courses: FA-691B (Required, Concurrent).
Painting and Drawing IB
FA-691B | 3 CR
This studio course continues to foster the
student’s individual development while focusing
on the relationship of one’s own artistic practice
to the greater cultural environment. Students
will sharpen their practice by engaging in critical
dialogues about their work with peers, faculty
and visiting artists. In this particular section a
special emphasis will be placed on learning the
paradigms and cultural context of contemporary
painting and drawing. We will examine the variety
of practices that are available to contemporary

painters and drawers. Requisite courses: FA-691A
(Required, Concurrent).
Painting and Drawing II
FA-691C | 3 CR
In this studio course students continue to pursue
advanced work in their chosen area of emphasis.
Through group and individual critiques students
will further refine their concepts, research and
technical capabilities. Students should be working
toward the creation of a consistent and focused
body of work in preparation for Survey and
Thesis the following year. Instruction is rooted
in the investigation of drawing and painting with
their specific language and history. In the area
of painting and drawing there will be individual
tutorials with an emphasis on personal style and
advanced inquiry into the language of painting
and drawing. Requisite courses: FA-691A, FA-691B
(Required, Previous).
Integrated Practices IA
FA-692A | 3 CR
In this studio course students pursue work in
their chosen area of emphasis. Through group
and individual critiques with faculty, students will
test their expressive concepts, research methods
and technical possibilities. The area of Integrated
Practices fosters an interdisciplinary approach to
creative inquiry, studio, and post-studio practice
that provides space for investigating emerging and
unconventional forms of visual and conceptual
expression. Students will be challenged to
work across multiple disciplines and fields of
knowledge, both visual and non-visual. Requisite
courses: FA-692B (Required, Previous).
Integrated Practices IB
FA-692B | 3 CR
This studio course continues to foster the
student’s individual development while focusing
on the relationship of one’s artistic practice to
the larger cultural environment. Students will
sharpen their practice by engaging in critical dia-
logues about their work with peers, faculty and
visiting artists. The area of Integrated Practices,
fostering social exchange through interactive
media such as installation, site-specific and
research driven processes, digital and web-based
media, and collaborative or community oriented
projects, offers a critical examination of the
interrelations between artists, their works, and
their intended audiences. Requisite courses:
FA-692A (Required, Concurrent).
Integrated Practices II
FA-692C | 3 CR
In this studio course students continue to pursue
advanced work in their chosen area of emphasis.
Through group and individual critiques students
will further refine their concepts, research
and technical capabilities. Students should be
working toward the creation of a consistent and
focused body of work in preparation for Survey
and Thesis the following year. In the area of
Integrated Practices students will continue to
work across multiple disciplines and fields of
knowledge, utilizing different systems of inquiry
School of Art Courses
both visual and non-visual in the development of
practice. Requisite courses: FA-692A, FA-692B
(Required, Previous).
Sculpture IA
FA-693A | 3 CR
In this studio course students pursue work in
their chosen area of emphasis. Through group
and individual critiques with faculty, students
will test their expressive concepts, research
methods and technical possibilities. Though a
series of studio prompts, readings and exploratory
writing, emphasis will be placed on challenging
the student’s pre-conceived understanding of
sculptural concepts and methods. Requisite
courses: FA-693B (Required, Concurrent).
Sculpture IB
FA-693B | 3 CR
This studio course continues to foster the
student’s individual development while focusing
on the relationship of one’s artistic practice to the
larger cultural environment. Students will sharpen
their practice by engaging in critical dialogues
about their work with peers, faculty and visiting
artists. We will examine the various paradigms,
cultural and contemporary contexts in which the
student’s sculptural practice operates. Requisite
courses: FA-693A (Required, Concurrent).
Sculpture II
FA-693C | 3 CR
In this studio course students continue to pursue
advanced work in their chosen area of emphasis.
Through group and individual critiques students
will further refine their concepts, research and
technical capabilities. Students should be working
toward the creation of a consistent and focused
body of work in preparation for Survey and
Thesis the following year. Sculpture students will
continue to deepen and broaden the advances
made during the first semester. Through group
and individual critiques students will further
refine their concepts, research and technical
capabilities. Requisite courses: Take FA-693A and
FA-693B (Required, Previous).
Printmaking IA
FA-694A | 3 CR
In this studio course students pursue work in their
chosen area of emphasis. Through group and
individual critiques with faculty, students will test
their expressive concepts, research methods and
technical possibilities. The area of Printmaking will
focus on the complex historical perspective of
prints / printed matter and the expanding role of
printmaking in contemporary practice. Students
will be challenged to investigate the medium(s)
with creative inquiry, innovation, experimentation,
and conceptual understanding. Requisite courses:
FA-694B (Required, Concurrent). ).
Printmaking IB
FA-694B | 3 CR
In this studio course students pursue work in their
chosen area of emphasis. Through group and
individual critiques with faculty, students will test
their expressive concepts, research methods and
technical possibilities. In the area of Printmaking,
students will explore perspectives and paradigms
of prints and printed matter and how it informs
their practice. Requisite courses: FA-694A
(Required, Concurrent).
Printmaking II
FA-694C | 3 CR
In this studio course students continue to pursue
advanced work in their chosen area of emphasis.
Through group and individual critiques students
will further refine their concepts, research
and technical capabilities. Students should be
working toward the creation of a consistent and
focused body of work in preparation for Survey
and Thesis the following year. In the area of
Printmaking, students will focus their practice and
begin alignment of their material and conceptual
investigations. Requisite courses: FA-694A and
FA-694B (Required, Previous).
Photography IA
FA-695A | 3 CR
In this studio course students pursue work in their
chosen area of emphasis. Through group and
individual critiques with faculty, students will test
their expressive concepts, research methods and
technical possibilities. In the area of Photography,
the world of the still photo will be opened
up to include time, sound, sculpture space,
and installation. Requisite courses: FA-695B
(Required, Concurrent).
Photography IB
FA-695B | 3 CR
This studio course continues to foster the
student’s individual development while focusing
on the relationship of one’s own artistic practice
to the greater cultural environment. Students
will sharpen their practice by engaging in critical
dialogues about their work with peers, faculty
and visiting artists. In this particular section a
special emphasis will be placed on learning the
paradigms and cultural context of contemporary
photography. We will examine the variety of
practices that are available to contemporary
photography. Requisite courses: FA-695A
(Required, Concurrent).
Photography II
FA-695C | 3 CR
In this studio course students continue to pursue
advanced work in their chosen area of emphasis.
Through group and individual critiques students
will further refine their concepts, research and
technical capabilities. Students should be working
toward the creation of a consistent and focused
body of work in preparation for Survey and Thesis
the following year. In the area of Photography,
the critiques will take place in smaller groups,
with an emphasis on editing, sequencing and
presentation. Requisite courses: FA-695A and
FA-695B (Required, Previous).
Symposium I
FA-699A | 3 CR
Symposium I is the first course of a required
two-semester sequence that prepares students
 School of Art Courses

to situate and present their work in contemporary
critical and public contexts. Students will research
and analyze their art practice in relation to
movements and ideas in contemporary art, their
work’s art historical references and broader
social and cultural contexts. This course prepares
emerging artists for the professional world by
giving critical feedback on how they present
their work to an external audience, whether
in peer settings with faculty, or in more formal
professional environments. Students will develop
their narrative and oral presentation skills as
well as their capacities in research and critical
perception. In Symposium I, students will create
effective strategies for their Survey review as
well as engage in a critical assessment of the
second-year students’ MFA Thesis exhibitions.
Requisite courses: FA-691A, FA-692A, FA-693A,
FA-694A, FA-695A, FA-691B, FA-692B, FA-693B,
FA-694B and FA-695B (Required, Previous).
Symposium II
FA-699B | 3 CR
Symposium II is the second course of a required
two-semester sequence that prepares students
to situate and present their work in contemporary
critical and public contexts. Students will research
and analyze their art practice in relation to
movements and ideas in contemporary art, their
work’s art historical references and broader
social and cultural contexts. This course prepares
emerging artists for the professional world by
giving critical feedback on how they present
their work to an external audience, whether
in peer settings with faculty, or in more formal
professional environments. Students will develop
their narrative and oral presentation skills as
well as their capacities in research and critical
perception. In Symposium II, students will focus
on creating effective strategies for their Public
Critique and prepare a formal Artist Talk to be
given in a designated public forum. Requisite
courses: FA-699A (Required, Previous).
Thesis in Progress
FA-700 | 0 CR
If the Thesis course is not completed in the initial
two semesters, students can continue working
on the Thesis in FA-700 for a maximum of five
additional semesters. Requisite courses: Take
FA-650B (Required, Previous).
Experiential Ed Internship
FA-9601 | 1 CR
Internships are learning experiences in the work
place that relate to your major and career goals.
Interns are able to take the skills and theories
learned in the classroom and apply them to real-
life work experience. You have the opportunity to
learn new skills and concepts from professionals in
the field and test career goals and explore career
options. Students also gain a more objective
understanding of the experience through corollary
meetings and by recording their observations and
completing exploratory assignments.
Experiential Ed Internship
FA-9602 | 2 CR
Internships are learning experiences in the work
place that relate to your major and career goals.
Interns are able to take the skills and theories
learned in the classroom and apply them to real-
life work experience. You have the opportunity to
learn new skills and concepts from professionals in
the field and test career goals and explore career
options. Students also gain a more objective
understanding of the experience through corollary
meetings and by recording their observations and
completing exploratory assignments.
Experiential Ed Internship
FA-9603 | 3 CR
Internships are learning experiences in the work
place that relate to your major and career goals.
Interns are able to take the skills and theories
learned in the classroom and apply them to real-
life work experience. You have the opportunity to
learn new skills and concepts from professionals in
the field and test career goals and explore career
options. Students also gain a more objective
understanding of the experience through corollary
meetings and by recording their observations and
completing exploratory assignments.
PRNT/PRINTMAKING
Art and the Computer I
PRNT-561 | 2 CR
In this course students learn basic computer
software to generate artwork for printmaking
and book art classes. The course is offered as
an elective for all graduate and undergraduate
students. For undergraduate Printmaking majors,
the course is required with a prerequisite of one
semester of printmaking.
Art and the Computer II
PRNT-562 | 2 CR
This course continues study of computer tools
to generate artwork for printmaking and book
art classes. The course is offered as an elective
for all graduate and undergraduate students. For
undergraduate Printmaking majors, the course
is required with a prerequisite of one semester
of printmaking. Requisite courses: Complete
PRNT-561 (Required, Previous).
SCJ/SCULPTURE
Metal Sculpture II
SCJ-503 | 2 CR
In this course students explore metal as a
sculptural material and the techniques available
to its working. They experience the material in its
varying states ranging from rock hardness through
plasticity to fluid, molten conditions. This ability
to assume many forms—along with the immediacy,
power, and versatility of the oxy-acetylene torch,
electric arc welder, forge and a myriad of other
metalsmithing tools—provides students with a
rich and varied context for exploring sculptural
concepts. Requisite courses: Complete SCJ-501
(Required, Previous).
TECH/TECHNIC
Companion Forms: Artist’s Book
TECH-500 | 3 CR
This studio course, offered jointly by the School
of Liberal Arts and Sciences and the School of Art
and Design, explores the relationships between
visual and literary forms through the arts of
the book. Students are exposed to historical
precedents for collaborations between artists
and writers of various cultures. Taught jointly
by faculty from visual and literary disciplines,
students will produce their own books and shorter
forms with both visual and literary elements.
Anatomy I
TECH-501 | 2 CR
In this course students study the structure of
the human form in movement, equilibrium,
and motion. Students are encouraged to make
drawings from anatomical dissections for artists at
a well-known medical school.
Anatomy II
TECH-502 | 2 CR
In this course students deepen their exploration
of motion, expression and body language through
the study of skeletal and kinetic muscular masses.
Students are encouraged to make drawings from
anatomical dissections for artists at a well-known
medical school. Requisite courses: Complete
TECH-501 (Required, Previous).
Painting Processes
TECH-507 | 2 CR
This course is required for painting majors and
covers the technical aspects of painting, including
the chemistry of paints, pigments, and finishes
and their applications. The course includes
discussions, lectures, demonstrations, and
research assignments.
Introduction to Glass
TECH-513P | 2 CR
This course, taught by instructors at Urban
Glass in Brooklyn, offers a broad survey of glass
techniques that introduce students to the major
areas of glass fabrication including kiln-forming,
kiln-casting, cold-working, flame-working, and
glassblowing. Students are expected to complete
a series of projects utilizing techniques from each
of the areas taught. Requisite courses: Complete
any of the following courses: SCJ-305, SCJ-315,
FAU-342, FAU-347P, IND-311, IND-507, FA-671,
IND-612A, IND-610 (Required, Previous).
Clay & Glazes
TECH-515 | 2 CR
Course description pending. Prerequisites:
Basic Ceramics knowledge (SCJ-207 or 208 for
Undergraduate students and FA-641 for Graduate
students.) (Required, Previous).

Woodworking I
TECH-519 | 2 CR
This course introduces students to an array of
woodworking and related fabrication techniques
and processes. The use of hand, power and
machine tools is taught through lectures,
demonstrations and hands-on experience.
Topics include basic woodworking techniques,
safety procedures, wood identification, joinery,
construction methods, shaping, turning, and
finishing. Assigned and independent projects
allow exploration while applying specific
processes and techniques. Whether functional
or sculptural, the goal of this course is to give
students the knowledge to conceive and realize
ideas in wood.
Woodworking II
TECH-520 | 2 CR
Building upon the experience of Woodworking I,
this course provides students with the continued
opportunity to improve their skills in an array of
woodworking and related fabrication techniques
and processes. Through lectures, demonstrations
and hands-on direct experience students will learn
advanced techniques in the use of hand, power
and machine tools, as well as joinery, construction
methods, shaping, turning, and finishing. Assigned
and independent projects will allow students to
explore and apply specific and more advance
processes and techniques. Whether functional
or sculptural, the goal of this course is to give
students the knowledge to conceive and realize
highly developed ideas in wood. Prerequisites:
TECH-519 (Required, Previous).
Plastics I
TECH-525 | 2 CR
This course covers thermoplastics: orientation;
cutting and joining; forming; vacuum, drape, and
blow injection; foams; thermosetting plastics;
casting. Students are required to produce a
document of work for departmental evaluation.
Plastics II
TECH-526 | 2 CR
This course is a continuation of TECH-525.
Students explore advanced work in synthetics
for application in painting, graphics, sculpture
and design. Students investigate light, color,
texture and form in a wide variety of plastics and
composites. Prerequisites: TECH-525 (Required,
Previous).
Casting and Moldmaking I
TECH-527 | 2 CR
The objective of this class is to give students
the knowledge and the tools to be able to
professionally reproduce an object from one
material into another such as plaster, plastic,
cement, clay and other non-metallic materials.
Instruction and exercises are given on basic
mold-making principles beginning with piece
mold construction to the applications and
uses of various contemporary flexible molding
components. The waste mold technique will close
the semester exercises.
School of Art Courses
Casting and Moldmaking II
TECH-528 | 2 CR
The objective of this class is to give students
the knowledge and the tools to be able to
professionally reproduce a object from one
material into another such as plaster, plastic,
cement, clay and other non-metallic materials.
Instruction and exercises are given on basic
mold-making principles beginning with piece
mold construction to the applications and
uses of various contemporary flexible molding
components. The waste mold technique will close
the semester exercises. Prerequisites: TECH-527
(Required, Previous).
Foundry I
TECH-529 | 2 CR
The aim of Foundry I and II is to teach students
the technology and process required to cast an
artwork in bronze using the lost wax process.
Students are taken step-by-step through the
various components of the process with lectures,
demonstrations and exercises to a final point of
casting their own class projects. Prerequisites:
TECH-531.
Foundry II
TECH-530 | 2 CR
The aim of Foundry I and II is to teach students
the technology and process required to cast an
artwork in bronze using the lost wax process.
Students are taken step by step through the
various components of the process with lectures,
demonstrations and exercises to a final point of
casting their own class projects. Prerequisites:
TECH-529 (Required, Previous).
Metal Fabrication, Welding, & Forge
TECH-531 | 2 CR
This hands-on course introduces the fundamen-
tals of direct metal fabrication. Instruction and
demonstrations are offered in basic processes
such as welding, brazing, cutting, and shaping
using the oxy-acetylene torch, shielded electric
arc (MIG, TIG, Stick), plasma, various machine
tools, and the forge.
Welding and Forge II
TECH-532 | 2 CR
This course continues exploration of welding and
cutting, brazing and soldering, spray, arc welding
and forge tempering. Prerequisites: TECH-531
(Required, Previous).
Machine Shop Practice: Lathe
TECH-540 | 2 CR
This course offers students the opportunity to
improve their skills in metal fabricating techniques
through lecture, demonstrations and hands-on
experience with the metal-turning lathe. Topics
covered include basic operation and safety,
face plate turning, taper turning, boring, drilling.
Assigned projects will be evaluated on the basis of
procedures achieved in meeting existing industry
standards. This course is recommended for
sculpture and industrial design majors.
Machine Shop Practice II: Mill
TECH-541 | 2 CR
This course offers students the opportunity to
improve their skills in metal fabricating techniques
through lecture, demonstrations and hands-on
experience using the vertical milling machine.
Topics covered include basic operation and safety,
flying cutting, power-fed boring, drilling and tapping
on the mill. Assigned projects will be evaluated on
the basis of precision achieved in meeting existing
industry standards. This course is recommended
for sculpture and industrial design majors.
Art of the Book I
TECH-545 | 2 CR
This hands-on intensive class explores an array
of traditional and experimental book structures
essential to the production of conventional
editions as well as complex, unique sculptural
books. Students will create their own books based
on the study of historic book structures and
hands-on examination of numerous contemporary
artist books. Central to this studio class is an
emphasis on both technique and innovation so
that students may explore the conceptual and
material basis of the artist book.
Art of the Book II
TECH-546 | 2 CR
Building on the knowledge and skills acquired
in Art of the Book I, students will explore the
conceptual basis of the genre while producing
a complex, unique artist book and a small artist
book edition. In a focused environment, students
will be offered more in-depth instruction to
achieve personal project goals. The prerequisite
for this course is Art of the Book I. However,
students with comparable experience may
request approval from the Fine Arts Department
to waive this requirement. Prerequisites:
TECH-545 (Required, Previous). Take FA-001
(Recommended, Previous or Concurrent).
Department: PHOTO
PHOT/PHOTOGRAPHY
Special Studies
PHOT-500 | 2 CR
This is an elective course for supervised
research. This course will enable a graduate
student to pursue learning media and developing
projects: design, technique, production and
post-production. Graduate students may use
this course at various levels.
 School of Design Courses

School of Design courses: Take COMD-202, COMD-212, and effectively in communications design. Students
COMD-216 (Required, Previous). analyze and explore current and emerging tech-
nologies, with an emphasis on effective research,
Web Design II-Development visualization, and production techniques.
COMD-525 | 2 CR
This course extends the application of website Design Ideation and Visualization
Department: COMD design principles learned in Web Design, COMD DES-603 | 3 CR
520, through the process of coding websites into This course develops the designer’s visualization
fully functioning entities. The class will entail an and ideation skills through the medium of
COMD/COMMUNICATIONS DESIGN exhaustive study of HTML, CSS and introduce PHP drawing combined with critical writing. The
scripting. Projects include designing and hand ability for the designer to visualize and ideate
coding websites using simple text editors. The utilizing image and word is essential. Students
Imaging: Photoshop & Graphics
course will also touch on alternative development use writing as a form of sketching and drawing as
COMD-508 | 2 CR
tools such as Ajax, HTML5, CSS3, Flash, and Perl. a form of language, combining word and image
This course is an intensive workshop in the
This class is highly recommended for those with to both communicate and discover new ideas.
creation of realistic and surrealistic pictures
a serious interest in web programming. Requisite The course includes an introduction to the basic
using the preeminent software application for
courses: Take COMD-520 (Required, Previous). principles of drawing towards an understanding
digital image manipulation. Classes are held
of perspective, the dynamics of objects in space,
in computer labs equipped with Macintosh
Pop-Up Paper Engineering and graphic translation.
computers. One major assignment will extend
TECH-516 | 2 CR
over the entire semester—to make a creative
This course covers the fundamentals of paper Typography
photo montage from one’s own photographs. The
structure and movements as a 3-D and 4-D way to DES-604 | 3 CR
final presentation must include final artwork as
illustrate images or ideas. Pop-ups, or movables An introduction to communication problem
well as original source photographs. The course
as they are historically called, have remained solving through the visual medium of language, the
goal is to provide a thorough understanding of
popular since the 18th century, because the fundamentals of typographic design are explored
the techniques that can be used to create a
viewer is required to be an active participant in in experimental and practical projects. Both
convincing photo montage. Requisite courses:
the process. Because the artwork develops as historical and contemporary forms of alphabetic
Take COMD-212, COMD-216, and COMD-232
the viewer opens the card or book in which the communication are addressed.
(Required, Previous).
construction has been placed, the viewer feels
that he/she takes part in the creation of art. Portfolio Development
Advanced Imaging in Photoshop
DES-607 | 1 CR
COMD-509 | 2 CR
This course offers an intensive investigation of
This class will help students improve their
the design of a portfolio, including marketing
rudimentary understanding and proficiency in the
techniques, format and binding, layout and
manipulation of representational digital media. It Department: DES reproduction. Students design and lay out
is designed to take the student to the next level of
their portfolios and begin final preparation. A
creativity through the use of complex digital tools
follow-up session is available for final portfolio
and techniques that will expand the student’s DES/GRADUATE COMMUNICATION review by professionals in the field. Requisite
understanding of the program, while at the same
time maximizing their performance. It will allow
DESIGN AND PACKAGE DESIGN courses: Complete 35 credits from 600, 700 level
(Required, Previous).
the students to take the boring or mundane and
give it some punch. Requisite courses: Complete
Special Studies Color Workshop
COMD-508 or COMD-211 (Required, Previous).
DES-600 | 2–6 CR DES-614A | 3 CR
This course will allow students to explore advanced This course explores color and light phenomenol-
Sequential Art & Graphic Novel
areas of electronic imaging, publishing, digital ogy in the three-dimensional world. Relationships
COMD-511 | 2 CR
color, and creative thinking, all of which will enable between color and light as they affect our visual
This course emphasizes visual storytelling in all its
students to enhance their design skills. Requisite perception of size, shape and proportion are
complexities—from the psychological reasoning
courses: Complete DES-620 (Required, Previous). explored from both practical and aesthetic
behind the arrangement of panels to mold time
perspectives. Projects examine color and light on
to the pacing, camera angles, balloon placement,
Design Process and Methodology forms such as product and packaging as well as
composition dynamics, and lettering that make a
DES-601 | 3 CR color and light in space, as for display and interiors.
story come alive. In addition to the traditional forms
This course introduces students with little or
of print-based sequential illustration, this course
no background in design to the fundamentals Typography I
also provides an excellent foundation for the
of two-dimensional composition and Gestalt, DES-618 | 3 CR
creative process in video animation and computer
three-dimensional form and structure and color This class is an introduction to the concrete and
interactive multi-media productions. Requisite
theory. Students explore the interrelationships conceptual aspects of typography as a visual medi-
courses: Take COMD-222 (Required, Previous).
between form, function, and content in commu- um. The first half of the semester will deal with
nications design, with an emphasis on critical and the technical requirements of typography. The
Web Design
conceptual analysis, creative visualization, and second half will deal with abstract compositional
COMD-520 | 3 CR
understanding of context. Students utilize both uses for typography, integrating hand skills and the
This course teaches the concepts and structure
digital and non-digital production techniques for computer as a way to render type. Historical and
of World Wide Web-based communications
image and form construction. current forms of alphabetic communications will
employing interactive digital media. A variety of
be explored, along with the relationship to modern
digital tools and procedures will be employed,
Design Technology image-based communications.
including HTML scripting, text editing, graphics
DES-602 | 3 CR
processing, Internet access, Web browsing, file
This course introduces the essential tools, skills
transmission, and Web page design. Requisite
and techniques for best practices utilizing digital
technology to solve problems creatively and

Typography II
DES-619 | 3 CR
This advanced class deals with virtually all
aspects of typography. Typographic applications
encompass historic and contemporary viewpoints.
Course projects involve the effective use of
type and letterforms in order to creatively solve
communications problems. Use of Macintosh
systems incorporating design, production, text,
and display type is required as a prerequisite for
this class. Requisite courses: Complete DES-618
(Required, Previous).
Visual Communications I
DES-620 | 3 CR
This course offers a disciplined, systematic
approach to concept development and the
problem-solving process applied to graphic
design. Use of the grid system, figure and ground
relationships, typography, and symbolism are
covered in relationship to setting priorities and
utilizing information. Students are engaged in a
wide range of assignments in order to apply design
principles and broaden creative experiences.
Visual Communications II
DES-621 | 3 CR
A systematic and conceptual approach is
utilized to solve a multi-faceted design project
in this course. It involves reviewing methods of
analyzing and classifying solutions to communi-
cations problems. The projects dealt with are
of a two- and three-dimensional nature and
involve all elements and concepts of graphic
design. Each student is expected to develop a
unique and creative approach to design/project
solutions. Requisite courses: Complete DES-620
(Required, Previous).
Communications Seminar
DES-624 | 3 CR
This course introduces the student to the
influential role that graphic design plays in the
evolution of style and ritual within our society.
The semester-long assignment will focus on
the realization of an idea involving publication
design. The class will be broken down into teams
of students who will form a company and work
collaboratively in the development of ideas,
design, layout, scheduling, production and
share of expense of the project. The role of the
designer, art director, illustrator and production
artist is played out by team members. Guest
lecturers may visit the class during the semester.
Studio tours may be scheduled during class time.
Requisite courses: Complete DES-642, DES-646
(Required, Previous).
Visual Perception
DES-625 | 3 CR
After an introduction to the physiological and
historical perspectives of visual perception, the
course develops a conceptual awareness of the
organization and perception of two- and three-di-
mensional design through selected readings.
Symbols, archetypes and the creative process of
problem solving are explored as aids in approaching
practical and relevant design problems.
School of Design Courses
Technological advances of computer graphics are
explored as issues affecting perception. The course
includes readings, presentations, discussions,
papers and visiting lecturers.
Structural Packaging Design
DES-628 | 3 CR
This course teaches the use of multiple
production materials, manufacturing and assembly
processes. The course addresses the standards,
rules and language of retail merchandising in
multiple venues, with a focus on presentation
skills that will allow students to utilize and
maximize their creativity abilities. Students
will design retail packages that are practical,
affordable and competitive.
Fragrance Packaging Research
DES-629 | 3 CR
This course takes a focused view of cosmetic
packaging through a workshop format and the
development of a term project. Selection and
development of projects are augmented by
ongoing and individual critiques and consultations.
Requisite courses: Complete DES-628, DES-630
(Required, Previous).
Packaging: Graphics I
DES-630 | 3 CR
Packaging design combines marketing, graphics,
and three-dimensional design. Emphasis is on the
application of graphic design elements to various
forms of packaging. Packages are analyzed and
positioned from a marketing point of view. Brand
marks, visual graphics and color schemes are
developed for individual products and extended
product lines. Typical assignments include food,
pharmaceutical, and mass market products.
Packaging Graphics Design II
DES-631 | 3 CR
Packaging design is an extremely viable field that
combines marketing, graphics and three-dimen-
sional design. Emphasis is on the application
of graphic design elements to various types of
products. Packages are analyzed and positioned
from a marketing point of view. Brand marks,
visual graphics and color schemes are developed
for individual products and more sophisticated
related product lines. Typical assignments include
food, pharmaceutical and mass market products.
Requisite courses: DES-630 (Required, Previous).
Packaging Tech I: Materials and Methods
DES-632 | 3 CR
This is a study of methodologies and scien-
tific methods employed in research, analysis,
synthesis, and evaluation in comprehensive
design problems. The course reviews information
on packaging materials properties; material
compatibility; and production methods including:
blow molding, injection molding, vacuum forming,
blister packing, and paperboard construction.
Requisite courses: Complete DES-628, DES-630
(Required, Previous).
Typographics
DES-635 | 3 CR
This course seeks to promote problem-solving
concepts, emphasizing the use of type and
the letterforms as visual communications
tools—prompting the student to think as opposed
to producing mere layout. It encourages students
to work in terms of client-designer relationships,
simulating actual working conditions. Assignments
are critiqued using professional standards. Upon
approval of ideas, students follow through with
client presentations, developing portfolio pieces
as the ideal final result. These pieces are due for
review at the end of each semester. Requisite
courses: Complete DES-619 (Required, Previous).
Visual Communications III
DES-636 | 3 CR
This is an advanced course for students who
successfully complete Visual Communications
I and II. It offers students an opportunity to
develop, analyze and research specific problems
and to devise a graphics program on topics of
public concern. A case study approach is used,
allowing each student to select eight to ten
projects matching his/her field of interest (i.e.
corporate identity, advertising, packaging or
editorial design). Requisite courses: Complete
DES-646 (Required, Previous).
Design Management
DES-640 | 3 CR
This course deals with management methods
within large corporations, design consulting firms,
advertising agencies, and multi-media production
companies. Each student receives a broad
perspective as a manager and employee within the
context of the professional world. Guest lectures
include management experts from the worlds of
business and design. Requisite courses: 15 credits
from the 600, 700 level (Required, Previous).
Marketing for Designers
DES-641 | 3 CR
This course covers marketing strategies in areas
of packaging and graphic design, multi-media,
industrial design and Urban Environmental
Systems Management. Lectures deal with consum-
er need evaluation; media research; pre-testing
and product development; advertising; product
distribution methodology; and environment for
product merchandising. Guest speakers include
leaders in marketing, advertising and media.
Requisite courses: 15 credits from the 600, 700
level (Required, Previous).
Typographic + Info Design
DES-642 | 3 CR
This advanced class deals with virtually all
aspects of typography. Typographic applications
encompass historic and contemporary viewpoints.
Course projects involve the effective use of
type and letterforms in order to creatively solve
communications problems. Use of Macintosh
systems incorporating design, production, text,
and display type is required as a prerequisite
for this class. Requisite courses: Take DES-604
(Required, Previous).

Editorial Typography
DES-644 | 3 CR
This course provides students with exposure
to advanced concepts and procedures that are
required in preparing art and designs for profes-
sional printing. Topics include color calibration
and control, color management, advanced
electronic layout, digital color separation, project
management and file preparation, digital proofing,
process printing and coverage of emerging trends
in digital printing and variable-data printing. A
particular emphasis is placed on the relationship
between the desires of graphic design and the
realities of print production. Requisite courses:
Take DES-604 (Required, Previous).
Visual Communications Studio
DES-646 | 3 CR
A systematic and conceptual approach is
utilized to solve a multi-faceted design project
in this course. It involves reviewing methods of
analyzing and classifying solutions to communi-
cations problems. The projects dealt with are
of a two- and three-dimensional nature and
involve all elements and concepts of graphic
design. Each student is expected to develop a
unique and creative approach to design/project
solutions. Requisite courses: Complete DES-620
(Required, Previous).
Motion Design Studio
DES-647 | 3 CR
Designing for film and other kinetic media has
grown from underground artists’ efforts in the
1950s to a major role for both directors and
designers. The look of a film, video or digital
presentation’s opening sequence sets the tone
for what follows. This course will examine how
and why this look is achieved. Requisite courses:
Complete DES-683 (Required, Previous).
Embedded Media Design
DES-648 | 3 CR
The course introduces graduate Communications
Design students to the core ideas and
technologies surrounding image-making, sound
and time-dependent media. To form challenging
visual narratives there is an emphasis placed on
broadcast quality image compositing, typography,
and audio. The primary focus in this class is on the
learning process, which puts more emphasis on
the conceptual thinking behind each assignment
than on the finished products.
Interaction Design Studio
DES-649 | 3 CR
This course focuses on the advanced planning,
conceptualizing, designing and building of an
interactive project. Students review contemporary
designers’ solutions to complex media projects,
and using this knowledge as a foundation, develop
their own innovative solutions. The emphasis is
on developing an individualized approach to new
media. Examples of potential projects include
interfaces for mobile devices, electronic books,
and interactive branding. Requisite courses:
DES-681 (Required, Previous).
School of Design Courses
Exhibition and Wayfinding Studio
DES-650 | 3 CR
This course focuses on skills and strategies for
developing communication solutions in the built
environment. Particular emphasis will be given
to designing and strategically applying design
language systems that are unique and appropriate
to a given environmental context. Requisite
courses: Complete 15 Credits from the 600, 700
level (Required, Previous).
Color Studio
DES-651 | 3 CR
This course explores color and light phenomenol-
ogy in the three-dimensional world. Relationships
between color and light as they affect our visual
perception of size, shape and proportion are
explored from both practical and aesthetic
perspectives. Projects examine color and light on
forms such as product and packaging as well as
color and light in space, as for display and interiors.
Illustration
DES-652 | 3 CR
Through weekly sessions that combine drawing
exercises, critiques and field trips to professional
workplaces, this course teaches students how to
work as illustrators. Thoughtfully solving assign-
ments and discovering one’s own visual vocabulary
will be the primary aims. Students develop skills
in any style or medium they choose, including the
computer. The course emphasizes the importance
of the collaboration between the illustrator and the
designer/art director. Requisite courses: 9 credits
from the 600 level (Required, Previous).
Advertising Design
DES-653 | 3 CR
This course is a rational approach to the creative
process in advertising design. Students develop
concepts with “roughs” and explore the use of
copy, typography, photography and illustration.
Students carry assignments from concept to
conclusion. Requisite courses: Complete DES-619
DES-620 (Required, Previous).
Special Projects
DES-656 | 1 CR
Coursework and/or special projects are assigned
on an individual basis with the approval of and in
consultation with the department chair. Requisite
courses: Complete 15 Credits from Level 600, 700
(Required, Previous).
Special Projects
DES-657 | 3 CR
Coursework and/or special projects are assigned
on an individual basis with the approval of and in
consultation with the department chair. Requisite
courses: Complete 24 Credits from Level 600,
700 (Required, Previous).
Special Projects
DES-658 | 3 CR
Coursework and/or special projects are assigned
on an individual basis with the approval of and in
consultation with the department chair. Requisite
courses: Take 35 Credits from Level 600, 700
(Required, Previous).
Special Projects
DES-659 | 3 CR
Coursework and/or special projects are assigned
on an individual basis with the approval of and in
consultation with the department chair. Requisite
courses: Take 35 Credits from Level 600, 700
(Required, Previous).
Directed Research
DES-660 | 2 CR
This course involves individual or team
investigations related to the thesis project.
Problem-solving and research techniques are
explored. The objective of the class is to identify
a subject and to formulate a viable hypothesis,
bibliography, and plan of action for the final thesis.
Requisite courses: Complete 24 credits from
Levels 600, 700 (Required, Previous).
Interactive Design I
DES-681 | 3 CR
This course is an introduction to the designer’s
role in planning and producing non-linear media
such as websites, interactive installations, DVDs
and CD-ROMs. Using web layout and animation
software, students learn to conceive, develop,
design, and produce websites and related media.
The similarities and differences with traditional
media are discussed as they pertain to typography,
color, branding, and layout. This course is of
interest to students in all design and image-relat-
ed disciplines (computer graphics, photography,
film, video, and the visual arts). Requisite courses:
Complete DES-648 (Required, Previous).
Motion Design I
DES-683 | 3 CR
This course aims to develop students’ fluency in
working with motion and time-based media. This
class deconstructs the concept of motion by
referencing how things move in the real world, as
well as by exploring elements, such as space and
time, that create motion. The traditional design
attributes—color, composition, shape, depth,
tension, and contrast—are used and combined
with time-based attributes such as pace,
rhythm, sequence, and repetition—to evaluate
work. Requisite courses: Complete DES-648
(Required, Previous).
Thesis Resource
DES-698 | 0 CR
This non-credit course provides students with
opportunities to work with faculty members with
specific areas of expertise who serve as additional
thesis advisors to their Thesis I and II teachers.
Requisite courses: Complete 24 Credits from
Level 600, 700 (Required, Previous).
Thesis I
DES-699A | 6 CR
Independent research based on individual
thesis proposals, submitted by the candidate
and approved by the thesis advisor, is under-
taken. Projects must represent a meaningful

contribution to the field of design and show
a mature correlation between design and
supportive documentation. Communications and
packaging design students must have a portfolio
review before entering thesis. Requisite courses:
Complete DES-660 (Required, Previous).
Thesis II
DES-699B | 3 CR
Independent problems based on individual
thesis proposals, submitted by the candidate and
approved by the thesis advisor, are undertaken.
Projects must represent a meaningful contri-
bution to the field of design and show a mature
correlation between design and supportive
research. Communications and packaging design
students must have a portfolio review before
entering thesis. Requisite courses: Complete
DES-699A (Required, Previous).
Thesis in Progress
DES-700 | 0 CR
If the thesis is not completed in two semesters,
students can continue working in DES-700 for no
more than five semesters (not including summers).
Requisite courses: DES-699B minimum grade IP
(Required, Previous).
Graduate Studio: Visual Language A
DES-710A | 3 CR
This studio will focus on strategies to utilize design
as a means for communication. Students will apply
self-directed creative design strategies employing
typography, image, and sound to explore the
principles and methodologies associated with the
development of communication design as a visual
language. Students will utilize design process—how
form, function and content interrelate to create
meaning in the communication of ideas, messages,
and information through print and digital media,
artifacts, information, environments, and systems.
710A is the first semester and 710B is the second
semester of this two-semester studio course.
Graduate Studio: Visual Language B
DES-710B | 3 CR
This studio will focus on strategies to utilize design
as a means for communication. Students will apply
self-directed creative design strategies employing
typography, image, and sound to explore the
principles and methodologies associated with the
development of communication design as a visual
language. Students will utilize design process how
form, function and content interrelate to create
meaning in the communication of ideas, messages,
and information through print and digital media,
artifacts, information, environments, and systems.
710A is the first semester and 710B is the second
semester of this two-semester studio course.
Requisite courses: Complete DES-741, DES-710A
(Required, Previous).
Graduate Studio: Technology A
DES-720A | 3 CR
Students will critically analyze and explore the
tools, skills, and production methods of current
and emerging technologies in design media,
with an emphasis on effective and appropriate
School of Design Courses
creative visualization, analysis and utilization.
Students will investigate technology trends within
a historical context, in order to better understand
and extrapolate emerging technology systems.
720A is the first semester and 720B is the second
semester of this two-semester studio course.
Graduate Studio: Technology B
DES-720B | 3 CR
Students will critically analyze and explore the
tools, skills, and production methods of current
and emerging technologies in design media,
with an emphasis on effective and appropriate
creative visualization, analysis and utilization.
Students will investigate technology trends within
a historical context, in order to better understand
and extrapolate emerging technology systems.
720A is the first semester and 720B is the second
semester of this two-semester studio course.
Requisite courses: Complete DES-741, DES-720A
(Required, Previous).
Transformation Design A
DES-730A | 3 CR
This studio will focus on strategies to utilize design
as a means for transformation. With an emphasis
on a human-centered, holistic, and empathic
approach, students will apply “design thinking”
methodologies to problems and issues in an
attempt to transform the behaviors of individuals
in desirable and sustainable ways, while creating
meaningful experiences and interactions for
people with communications media, artifacts,
environments, organizations, services, systems,
and each other. Emphasizing that people are
participants rather than simply users, students
will study ergonomics, usability, and human
factors—cognitive, physical, linguistic, social and
cultural behaviors. 730A is the first semester and
730B is the second semester of this two-semester
studio course.
Transformation Design B
DES-730B | 3 CR
This studio will focus on strategies to utilize design
as a means for transformation. With an emphasis
on a human-centered, holistic, and empathic
approach, students will apply “design thinking”
methodologies to problems and issues in an
attempt to transform the behaviors of individuals
in desirable and sustainable ways, while creating
meaningful experiences and interactions for
people with communications media, artifacts,
environments, organizations, services, systems,
and each other. Emphasizing that people are
participants rather than simply users, students will
study ergonomics, usability, and human factors,
cognitive, physical, linguistic, social and cultural
behaviors. 730A is the first semester and 730B is
the second semester of this two-semester studio
course. Requisite courses: Complete DES-741,
DES-730A (Required, Previous).
Cross-Disciplinary Studio
DES-741 | 3 CR
This course introduces the student to com-
munications design as it interfaces with, and is
influenced by, other design disciplines. It will
emphasize collaboration and cross-disciplinarity
while encourage students to seek and solve design
problems and issues that focus on community
and social outreach. The studio will typically be
team-taught by a faculty member from within
the department and a professional from another
discipline. Requisite courses: Take DES-710A,
DES-720A, DES-730A (Required, Previous).
Design Writing
DES-751 | 3 CR
This studio course will focus on core writing skills
and effective methods for researching, analyzing,
evaluation and chronicling design issues. Students
will address both critical thinking about design
issues and practical considerations through
writing and public discourse. This course allows
students to develop a voice through writing
prior to beginning their thesis project. Requisite
courses: Complete 15 Credits from the 600, 700
level (Required, Previous).
Graduate Seminar A
DES-760A | 3 CR
Combining lectures, discussions, small groups, and
collaboration, seminar is a forum for critical anal-
ysis and discussions of theoretical, historical and
contemporary issues in communications design.
Effective speaking, presentation and writing skills
will be addressed. Assigned faculty and guest
lecturers will serve as instructors. Topics will vary.
760A is the first semester and 760B is the second
semester of this two-semester course.
Graduate Seminar B
DES-760B | 3 CR
Combining lectures, discussions, small groups, and
collaboration, seminar is a forum for critical anal-
ysis and discussions of theoretical, historical and
contemporary issues in communications design.
Effective speaking, presentation and writing skills
will be addressed. Assigned faculty and guest
lecturers will serve as instructors. Topics will vary.
760A is the first semester and 760B is the second
semester of this two-semester course. Requisite
courses: Take DES-760A Departmental Permission
(Required, Previous).
Communications Design Teaching
Practicum
DES-771 | 3 CR
Intended for those who desire to enter teaching
at the college level, students will explore and
observe multiple teaching pedagogies/strategies,
design education methodologies, and evaluation
techniques in order to develop a knowledge
base for curricular and project development, as
well as techniques for effective and appropriate
course preparation and instruction. Course,
program and student assessment processes will
be introduced and discussed. Evaluation given by
participating faculty will serve to assist students
in preparation for post-secondary teaching. This
course may be repeated.

MFA Thesis Research
DES-791 | 3 CR
Students will explore various research methods
with the goal of identifying a problem or issue that
will become the basic of a thesis topic. Students
will be expected to formulate a viable hypothesis,
bibliography, and plan of action. How to best
utilize public and private archives, collections and
libraries, as well as online and database research,
will be addressed. Requisite courses: Complete 15
Credits from Level 600, 700 (Required, Previous).
MFA Thesis I Resource A
DES-794A | 1 CR
Thesis Resource I offers the student the
opportunity for individual guidance on their Thesis
Research and development during Thesis I. A
student’s thesis committee comprises one primary
advisor and a minimum of two secondary advisors.
The course MFA Thesis I Resource A represents
advisement from the first secondary advisor.
Requisite courses: Take DES-791 Departmental
Permission (Required, Previous). Take DES-794B,
DES-796 (Required, Concurrent).
MFA Thesis I Resource B
DES-794B | 1 CR
Thesis Resource B offers the student the
opportunity for individual guidance on their Thesis
Research and development during Thesis I. A
student’s thesis committee comprises one primary
advisor and a minimum of two secondary advisors.
The course MFA Thesis I Resource B represents
advisement from the first secondary advisor.
Requisite courses: Take DES-791 Departmental
Permission (Required, Previous). Take DES-794A
DES-796 (Required, Concurrent).
MFA Thesis II Resource A
DES-795A | 1 CR
Thesis Resource offers the student the
opportunity for individual guidance on their
Thesis research and development during Thesis
II. A student’s thesis committee comprises one
primary advisor and a minimum of two secondary
advisors. The course MFA Thesis II Resource
A represents advisement from the second
secondary advisor. Requisite courses: Completed
DES-796 (Required, Previous). Take DES-795A and
DES-799 (Required, Concurrent).
MFA Thesis II Resource B
DES-795B | 1 CR
Thesis Resource offers the student the
opportunity for individual guidance on their
Thesis research and development during Thesis
II. A student’s thesis committee comprises one
primary advisor and a minimum of two secondary
advisors. The course MFA Thesis II Resource
B represents advisement from the second
secondary advisor. Requisite courses: Completed
DES-796 (Required, Previous). Take DES-795A
DES-799 (Required, Concurrent).
MFA Thesis I
DES-796 | 3 CR
Working under the advisement of a thesis
committee, students undertake independent
School of Design Courses
research through self-directed projects that rep-
resent a coherent voice and make a meaningful
contribution to the field of design. The thesis is
not a single project, but rather a body of work
consisting of multiple projects/visual explorations
based on a single topic/subject area sharing a
common methodology. Requisite courses: Take
DES-791 (Required, Previous).
MFA Thesis Prod & Exhibition
DES-797 | 2 CR
Students are required to present and defend their
thesis and body of work in a public venue, and
submit a written document. This course will allow
the student to work with faculty and peers in the
design and development, production and exhibition
of the written and visual components of the
Thesis. Requisite courses: Take DES-796 (Required,
Previous). Take DES-799 (Required, Concurrent).
MFA Thesis II
DES-799 | 3 CR
Taken in the final semester of the student’s
study, students complete their thesis under the
advisement of the thesis committee. In addition
to demonstrating professional competence and
persistent ideas consistently applied within a
body of work culminating in a public exhibition,
students are also expected to complete a written
documentation of the Thesis. Requisite courses:
Take DES-796 (Required, Previous).
MFA Thesis in Progress
DES-799A | 0 CR
Taken in the final semester of the student’s
study, students complete their thesis under the
advisement of the thesis committee. In addition
to demonstrating professional competence and
persistent ideas consistently applied within a
body of work culminating in a public exhibition,
students are also expected to complete a
written documentation of the Thesis. Requisite
courses: Complete DES-799 minimum grade IP
(Required, Previous).
Internship (Summer Only)
DES-9 | 0 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting, while
obtaining new knowledge and skills in preparation
for professional work or graduate school. Students
experience the application of coursework lessons
into a real-life context, thus enriching their
education. They deepen their knowledge about
important applied aspects of their discipline,
enhance their professional skills in a real-world
context, build their professional network, and
inform their career choices. Additional faculty-su-
pervised activities provide the opportunity for an
in-depth reflection on the internship experience.
Requisite courses: Complete 18 Credits from
Levels 600, 700 (Required, Previous).
Internship
DES-9601 | 1 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting, while
obtaining new knowledge and skills in preparation
for professional work or graduate school. Students
experience the application of coursework lessons
into a real-life context, thus enriching their
education. They deepen their knowledge about
important applied aspects of their discipline,
enhance their professional skills in a real-world
context, build their professional network, and
inform their career choices. Additional faculty-su-
pervised activities provide the opportunity for an
in-depth reflection on the internship experience.
Requisite courses: Complete 18 credits from
Levels 600, 700 (Required, Previous).
Internship
DES-9602 | 2 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting, while
obtaining new knowledge and skills in preparation
for professional work or graduate school. Students
experience the application of coursework lessons
into a real-life context, thus enriching their
education. They deepen their knowledge about
important applied aspects of their discipline,
enhance their professional skills in a real-world
context, build their professional network, and
inform their career choices. Additional faculty-su-
pervised activities provide the opportunity for an
in-depth reflection on the internship experience.
Requisite courses: Complete 18 credits from
Levels 600, 700 (Required, Previous).
Internship
DES-9603 | 3 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting, while
obtaining new knowledge and skills in preparation
for professional work or graduate school. Students
experience the application of coursework lessons
into a real-life context, thus enriching their
education. They deepen their knowledge about
important applied aspects of their discipline,
enhance their professional skills in a real-world
context, build their professional network, and
inform their career choices. Additional faculty-su-
pervised activities provide the opportunity for an
in-depth reflection on the internship experience.
Requisite courses: Complete 18 credits from
Levels 600, 700 (Required, Previous).

Department: FASD
FASD/FASHION DESIGN
Special Topics
FASD-500 | 2 CR
Provides both undergraduates and graduates the
opportunity to be introduced to various areas of
study within the Fashion Industry. The course of
study will incorporate studio visits and workshops
as well as lectures on each given course. The
curriculum varies as determined by the chair.
Department: IND
ART/INDUSTRIAL DESIGN IN
COPENHAGEN
Special Studies (Copenhagen)
ART-693 | 3 CR
This study abroad program is a seven- or
nine-week summer program consisting of a
three-credit lecture series on various aspects of
the history, theory and practice of Scandinavian
design and the philosophical, economic and
political factors that are affecting the practice of
design in a global context.
Special Studies
ART-693K | 3 CR
Special Studies
ART-694K | 4 CR
Special Studies (Copenhagen)
ART-696 | 6 CR
This study abroad program is a seven- or nine-
week summer program consisting of a six-credit
Architecture Design, Interior Design, Graphic
Design or Urban Design Studio course, plus a
three-credit lecture series on various aspects of
the history, theory and practice of Scandinavian
design and the philosophical, economic and
political factors that are affecting the practice of
design in a global context.
IND/INDUSTRIAL DESIGN
Applied Space Methodology
IND-510 | 2 CR
This course is directed toward the understanding
of the concept of negative volume (space) in
relation to interior and exterior environmental
situations. The first semester is devoted to a series
of abstract visual experiences designed to develop
awareness of space and of the relationship of
forms to a particular negative volume. In the
second semester, the student applies theory to
a project (shop, restaurant, outdoor theater,
School of Design Courses
exhibition space, or some other area of our
environment) and brings it to finished model form.
Prototypes I
IND-515 | 2 CR
This course is offered to seniors who wish to pur-
sue their own special talents or inventive faculties.
The resulting forms must be designed and built as
complete, full-size, and useful prototypes—that
is, the first of a series. The only restrictions on
form are simple and logical: to be able to execute
the project with available materials, tools and
personal finance. Furniture, mass production
ceramics, lighting, portable structures, and textiles
are potential projects.
Prototypes II
IND-516 | 2 CR
This course is offered to seniors who wish to pur-
sue their own special talents or inventive faculties.
The resulting forms must be designed and built as
complete, full-size, and useful prototypes—that
is, the first of a series. The only restrictions on
form are simple and logical: to be able to execute
the project with available materials, tools and
personal finance. Furniture, mass production
ceramics, lighting, portable structures, and textiles
are potential projects.
Toy Design
IND-517 | 2 CR
This course deals with design techniques related
to toy design, encompassing building, color,
graphics, simple mechanics, and drafting. These
will be applied through use of plastic, wood,
foam, wire, paint, pencils, markers and vacuum
forming. Special consideration is given to the
understanding of the child. The safety concerns as
well as the educational and fun value of the toy will
be considered. Children will judge the student’s
toy at the end of the semester.
CAID I: Alias
IND-539 | 2 CR
Through a series of hands-on exercises,
students learn to design in both 2-D planes and
in 3-D space using point, line, curve and line
drawing elements to create both simple and
complex wireframes of a product design. Image
manipulation and color also are taught. The
product is then redesigned using solids modeling
geometry employing Boolean operations. Shading,
color, and rendering studies are performed on
the 3-D model.
CAID II
IND-540 | 2 CR
Students learn how to develop a 3-D electronic
mock-up of a product, using both simple and
complex surface modeling techniques. Color,
texture, patterning, lighting and relativity of
surface are employed to create realistic images
of the product. Transference of files through a
neutral format such as IGES to drafting/plotting
software and devices is also covered. Requisite
courses: IND-539 (Required, Previous).
CAID: Solid Works
IND-541 | 2 CR
A thorough overview of Computer-Aided
Industrial Design (CAID), from simple software
programs for PC-type hardware to high-end,
state-of-the-artwork stations. Field trips and
guest lecturers provide in-depth presentations
about this newly developing area of industrial
design. CAID is evaluated in relation to traditional
industrial design methodologies. Students are
introduced to desktop CAID with PC-type
hardware and a product-drafting program.
CAID II: Solid Works/Pro E.
IND-542 | 2 CR
Students learn an advanced, two-dimensional
drafting software program running on high-end,
PC-type equipment. Differences between
product and environmental drafting are reviewed.
Students learn to develop a library of component
parts and patterns which are used as standard
symbols for material specification. In addition to
producing a complete set of product drawings,
text formatting, specification layout, technical
documentation, and presentation manuals relating
to the draftings are covered. Requisite courses:
IND-541 (Required, Previous).
Digital Ideation
IND-543 | 2 CR
Digital Ideation provides students with theoretical
principles and practical examples of a wide
variety of digital technology, tools, software and
methods which designers are likely to encounter
in current practice. These include solid and
surface modeling, 3-D rendering, animation, and
output for rapid prototyping. This course will
afford students the ability to make the best use
of digital tools and methods suited to a particular
project. Emphasis is places on ideation skill in the
digital environment, bringing initial concepts to
sophisticated realization.
Drawing Forum
IND-547 | 2 CR
This course uses the student’s current design
classes as a point of reference for furthering
drawing skills. Emphasis is placed on drawing as
an integral part of the design process. Each work
session focuses on the student’s individual needs
in the areas of ideation scrolling, developing
design ideas on paper, rendering techniques, and
graphic design.
Production Methods I
IND-585 | 2 CR
This is a survey of materials—metals, polymers,
elastomers, glass, ceramics, paper and other
engineering materials—and a discussion of
processes—forming, casting, cutting, joining, and
finishing. The survey, which at times includes
field trips, demonstrations and the preparation
of written reports, is conducted from a
product design point of view. The objective of
the course is to give the student a comprehensive
understanding of the above and an approach to a
continuing study of the subject.

Production Methods II
IND-586 | 2 CR
This is a survey of materials—metals, polymers,
elastomers, glass, ceramics, paper and other
engineering materials—and a discussion of
processes—forming, casting, cutting, joining, and
finishing. The survey, which at times includes
field trips, demonstrations and the preparation
of written reports is conducted from a product
design point of view. The objective of the course
is to give the student a comprehensive
understanding of the above and an approach to a
continuing study of the subject.
Industrial Design Tech I
IND-612A | 3 CR
The objective of this course is to convey the
information required in the design of products.
A manufacturing process is analyzed and used as
the basis of design. During the semester, students
review specific materials and processes. Course
includes guest lectures, field trips, and video
presentations. A project report will be required.
Industrial Design Tech II
IND-612B | 3 CR
The objective of this course is to convey the
information required in the design of plastic
products. A plastic product is analyzed and
designed. During the semester project, students
review specific materials and processes related
to the development of a design; assess alternative
processes; and discuss a number of topics related
to industrial design through guest lectures, field
trips, and video presentations. A project report
will be required. Requisite courses: IND-612A
(Required, Previous).
Graduate Color Workshop I (2D)
IND-614A | 2 CR
This course is an analysis of human perception
and the modes and attributes of light and color.
The study of simultaneous contrast, or the way we
perceive color changes as a continuous physical
and psychological process, will be the key to
the controlled experimental studies. Various
media will be used in the process of developing
creative methods for exploring ways we can
manipulate the various aspects of color and light
that affect our psycho-physiological equilibrium
in challenging ways. Color vocabulary and glossary
will accompany stages in development.
Graduate Color Workshop II (3-D)
IND-614B | 2 CR
The course explores color and light phenomenol-
ogy in the three-dimensional world. Relationships
between color and light as they affect our visual
perception of size, shape, and proportion are
explored from both practical and aesthetic
perspectives. Projects examine color and light on
forms such as product and packaging as well as in
space, as in display and interiors.
Model Shop
IND-615 | 2 CR
This is an accelerated design shop course
presenting the use of tools and the processes of
School of Design Courses
forming, cutting, joining, and finishing. Subjects
covered will also include the description of
models—soft, presentation, and working. The
student will be expected to work on group
and individual projects, utilizing appropriate
tools, materials, and processes. All work will be
photographed, and a presentation document of
all projects will be required.
Process and Product Studio
IND-620 | 3 CR
An industrial designer’s work is a crossing of art,
engineering and commerce. They study society’s
needs, wants, wishes and dreams. They use the
language of analysis as well as function, form and
feeling as a palette for creating useful objects
that help in the humanization of technology,
the conservation of resources and in creation
of observable meaning and beauty. This is a
studio/lecture/presentation class that develops
students’ designing and process skills. Students
will decide if they wish to complete one of several
in-depth projects for the semester. They will
produce portfolio-quality appearance models
and drawings. The creative brain is like a muscle;
it needs exercise to work well. A primary goal of
this course is to practice using this resource to
enhance students’ inventive, creative and critical
thinking abilities. Students will learn and practice
some traditional and novel ideation process
“movement” techniques and apply them to
creating project-appropriate research, concepts,
solutions and presentations. They will become
more comfortable working with design program
complexity and ambiguity and will improve
their self-esteem. The course will encourage
questioning, divergent thinking and daring. The
class will help them become better self-directed
conceptual learners and allow their left logical
judging brain and their right creative artist brain to
work better together. A designer plays in a world
of information and ideas. Collecting, organizing,
understanding, manipulating and applying the
results of this play is the work. Demonstrations,
examples and studio projects will emphasize
the dual role of sequential linear thinking as
well as non-linear thinking and how both are
necessary tools of the designer. The class syllabus
will include project defining, programming
and information gathering and analysis as well
as strategies using intuition, inspiration and
other inventive stimulations. Students will use
“ideatoons” to help process a design concept and
will produce finished models and or drawings of
their projects. Requisite courses: Take IND-612A
(Required, Previous).
Interdepartmental Studio
IND-622 | 3 CR
This class teams students from Architecture,
Industrial Design, Interior Design, and ComD,
and other departments. Final, semester-long
team projects will include the analysis and
design of an imagined or existing company as
well as its products, packaging, inventions, and
interior environments. Students from different
departments will become part of a cross-dis-
ciplinary team and will develop a group-chosen
comprehensive design program for their projects,
working electronically and in studio. They will
explore different ways of thinking for product,
environmental and graphic design, marketing and
branding, and other solutions; new presentation
techniques will also be explored. Students can
take this class with permission from the Industrial
Design Department.
Design Methodology
IND-624 | 3 CR
The class will investigate creative processes and
methodologies for designing, communicating and
manufacturing products. The focus will be on
three different products through which students
will explore design considerations, and visual
communication and analysis tools. The results will
be implemented in their final designs. Requisite
courses: Take IND-612a (Required, Previous).
Design Strategies
IND-626 | 3 CR
This class helps students understand: A) business
bottom lines and objectives; B) how to establish
the business strategies to achieve the bottom
lines; and C) how to combine design skills with
branding/marketing tools. This class will discuss
topics such as market size, penetration rate,
market share, market segmentation, competitive
analysis, product lineup, differentiation and
design language. The above topics will be
applied to products chosen by the instructor
or individual student, which will result in a set of
marketing strategies and design skills. The final
deliverables will include marketing/branding plans,
concept sketches, presentation renderings and
prototypes of three products chosen from their
product lineup. Requisite courses: Take IND-612A
(Required, Previous).
Furniture Design
IND-628 | 3 CR
This course presents several fundamental areas
of furniture design in the form of lectures, class
discussions, and studio assignments, with the goal
of exploring furniture design through participation
in a major project. This studio stresses active
education through design work and conceptual
development. Models and sketches are used to
explore design options, followed by fabrication of
a full-size working prototype. A well-considered
written proposal describing the proposed project
is also required. Requisite courses: Take IND-612A
(Required, Previous).
Exhibit Design
IND-630 | 3 CR
This course explores exhibit design as it applies
to museum (institutional) and commercial instal-
lations as a major discipline in the arts. Students
study unique expressions of content and media
that can be used to create exciting environmental
spaces, focusing on the design of special places
made for the celebration of the human spirit and
on how three-dimensional design principles relate
to architectural scaled space and human behavior.
Visits to museums, commercial installations and
exhibit manufacturers act as points of departure

for the study of contemporary space design
issues, exhibit content development, environ-
mental graphic design and exhibit production
techniques. The semester concludes with a
team-based project guided by a sponsor from a
museum or commercial organization. Requisite
courses: Take IND-612A (Required, Previous).
Tabletop Design
IND-632 | 3 CR
Students research the cuisine of a country other
than their own and choose a specific location in
New York where a restaurant would be opened
serving the student’s ethnic choice. The interior
concept is presented in written form, based on
researching the cultural and social aspects of
food preparation and consumption in and outside
the home, its icons, colors and visual language,
geography and climate, history and economic
and political structure. With this information
students design six tabletop pieces for their
restaurant, considering function, aesthetics of the
tabletop landscape and the cultural relationship
to the venue. Finally, a record of the process,
developmental sketches, mechanical drawings,
computer renderings and the research are
assembled into a book, presented along with
the six finished models. Requisite courses: Take
IND-612a (Required, Previous).
Special Projects
IND-656 | 1–6 CR
Course work and/or special projects are assigned
on an individual basis. A variety of topics are
offered. Refer to specific registration schedule of
courses for offerings and to appropriate bulletins
for descriptions.
Special Projects
IND-657 | 1–6 CR
Course work and/or special projects are assigned
on an individual basis. A variety of topics are
offered. Refer to specific registration schedule of
courses for offerings and to appropriate bulletins
for descriptions.
Special Projects
IND-658 | 1–6 CR
Course work and/or special projects are assigned
on an individual basis. A variety of topics are
offered. Refer to specific registration schedule of
courses for offerings and to appropriate bulletins
for descriptions.
Special Projects
IND-659 | 1–6 CR
Course work and/or special projects are assigned
on an individual basis. A variety of topics are
offered. Refer to specific registration schedule of
courses for offerings and to appropriate bulletins
for descriptions.
Directed Research I
IND-660A | 2 CR
Individual or team investigations are conducted
and related to selected topics under faculty
direction. Students develop thesis proposals in
second semester.
School of Design Courses
Directed Research II
IND-660B | 2 CR
Individual or team investigations are conducted
and related to selected topics under faculty
direction. Students develop thesis proposals in
second semester.
Global Research Seminar I
IND-667A | 2 CR
This course will consider the field in terms of pro-
fessional practice and interdisciplinary research,
taking into account the diverse backgrounds and
skills of the students.
Global Research Seminar II
IND-667B | 2 CR
This is part two and a continuation of IND
667A, building on the necessity of positioning
industrial design in a global context. This course
will consider the field in terms of professional
practice and interdisciplinary research, taking
into account the diverse backgrounds and skills
of the students.
Thesis Seminar
IND-668 | 2 CR
This seminar is a forum for students to present
and critique each other’s thesis work in progress,
with particular emphasis on integration design
knowledge, professional practice, entrepreneur-
ship, presentation, and the broadest possible
perspective of industrial design.
Business of Design
IND-669 | 2 CR
Entrepreneurship is a complex process that
requires broad knowledge and detailed planning.
This course will provide the information and
resources concerning protection of intellectual
property and business structures that are com-
mon to new ventures that seek to bring innovative
consumer products to market.
Graduate 3D I
IND-672 | 2 CR
Students are introduced to an ordered sequence
of purely visual experiences to develop a
recognition of the abstract elements in any
design situation. The goal is to become so
familiar with the principles of abstraction that one
automatically thinks of a visual problem in terms
of organized relationships.
Graduate 3D II
IND-673 | 2 CR
Students are introduced to an ordered sequence
of purely visual experiences to develop a
recognition of the abstract elements in any
design situation. The goal is to become so
familiar with the principles of abstraction that one
automatically thinks of a visual problem in terms
of organized relationships.
Graduate 3D III
IND-674 | 2 CR
This advanced course in 3-D asks the student to
consider how understanding the language and
process of abstraction informs the designing of
the familiar. There are two, three-dimensional
exercises exploring the human form through
abstraction, and the human condition (senses)
as they relate to product design; thus closing the
knowledge gap between abstract visual relation-
ships introduced in Graduate 3-D I and developed
in Graduate 3-D II and product development.
Industrial Design Workshop I
IND-690 | 2 CR
Workshops are offered in two distinct areas:
process and concept. Both strive to develop one’s
individual vision as a designer and enhance prob-
lem-solving abilities. Process workshops focus on
research, priorities, and understanding context
and dialogue as a part of the design process.
Students step through project development,
including sketching, model making, fabrication,
and formal presentations. Concept workshops
follow an abstract and often lateral creative
process designed to expand the students’ visual,
aesthetic, and conceptual framework. Resulting
projects are typically sculptural in nature and
become expressions of the relationship between
the individual, the artist, and the designer.
Drawing I
IND-694 | 2 CR
General drawing is based on perception of
form in natural growth: cellular, geometric, and
organic. In the analytical learning process, drawing
as a thinking tool serves to reveal the dynamic
relationships between natural and man-made
systems. Exercises in drawing stress the intuitive,
visual, and analytical learning processes.
Drawing II
IND-695 | 2 CR
Intensified drawing studies in natural and
man-made forms, including the figure, still life,
and structures. Advanced techniques involving
concepts of mechanical objects rendering, delin-
eation, and graphics are covered. Employment of
different drawing media encourages professional
flexibility. Requisite courses: Complete IND-694
(Required, Previous).
Advanced Design Drawing
IND-696 | 2 CR
This course refines and extends the scope of the
students’ design drawing skills through demanding
skill-building exercises, the repetition of drawings,
the use of the human figure in design drawings,
and intensive classroom drawing sessions. A
complete set of concept, development and
presentation drawings for a new or existing
student design is executed and developed.
Drawing techniques for the design of portfolio
layouts are introduced, resulting in a developed
portfolio design for a project previously done by
each student.
Thesis I
IND-699A | 3 CR
Independent problems based on individual
thesis proposals, submitted by the candidate and
approved by the thesis advisor. Projects must
represent a meaningful contribution to the field

of design and must show mature correlation
between all phases of design and construction
based on supportive research. Requisite courses:
IND-660B (Required, Previous).
Thesis II
IND-699B | 3 CR
Independent problems based on individual
thesis proposals, submitted by the candidate and
approved by the thesis advisor. Projects must
represent a meaningful contribution to the field
of design and must show mature correlation
between all phases of design and construction
based on supportive research. Requisite courses:
IND-699A (Required, Previous).
Thesis in Progress
IND-700 | 0 CR
If the thesis course is not completed in the
initial semesters, students can continue working
in IND-700 for no more than five semesters.
Requisite courses: Complete IND-699B
(Required, Previous).
Internship
IND-9600 | 0 CR
The internship is a learning experiences at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Internship
IND-9601 | 1 CR
The internship is a learning experiences at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Internship
IND-9602 | 2 CR
The internship is a learning experiences at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
School of Design Courses
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Internship
IND-9603 | 3 CR
The internship is a learning experiences at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Department: INT
INT/INTERIOR DESIGN
Furniture Design
INT-517 | 2 CR
This is an introduction to the concepts, functions,
materials and construction techniques of
furniture design. It also is a review of design
theory development in two- and three-dimen-
sional forms of a basic furniture concept or
design. Lectures and field trips prepare students
to solve furniture design problems in drawing and
model techniques.
Sustainable Design
INT-525 | 2 CR
This undergraduate level course is an introduction
to and critical evaluation of, the concepts,
principles, and methodologies of environmentally
responsible interior design. Through lectures
and discussion, students undertake a systematic
exploration of the fundamental issues affecting
and influencing sustainably designed interiors.
Research and analysis of case studies and
innovative design solutions for interiors will
be enhanced by field trips to green sites and
discussions with practitioners and experts, leading
students to develop a solid rationale for making
environmentally sensitive design decisions.
Textiles for Interiors
INT-532 | 2 CR
The purpose of this course is to provide a thor-
ough study of textiles, wall covering, and carpet
as it relates to the aesthetics, application, and
function in corporate, healthcare, institutional,
and residential interiors. A great portion of this
course will be devoted to practical application.
These sessions will be held in environments where
students would go to obtain products for their
“real” projects.
CADD I: AutoCAD
INT-560 | 2 CR
This first course in Computer-Aided Design and
Drafting (CADD) covers the basic concepts and
techniques encountered in today’s microcom-
puter-based CAD systems. Major commands,
defining a drawing and editing techniques are
mastered. Basic prototype drawings are created
and recorded on hard copy.
CADD II: 3D Max
INT-561 | 2 CR
Using specialized software, students learn to
prepare detailed and rendered perspective
drawings for presentation purposes.
CADD III: Revit
INT-562 | 2 CR
This course will cover the use of Revit
Architecture, a leading Building Information
Modeling (BIM) software that is quickly becoming
the industry standard for design professionals.
The goal of this course is to get students familiar
with Revit in particular, and the BIM design
process on a more general scale. We will focus
on how these tools can enhance student work
using design studio/thesis examples, as well
as how these tools are used in a professional
environment using complex large-scale projects
as case studies.
Qualifying Design I
INT-601 | 6 CR
These are basic design courses dealing with
people’s relation to space, architecture and the
environment in a broad sense. Emphasis is on
human factors, scale, materials and structures.
The course progresses from the abstract to
problem solving through analysis and includes
consideration of professional design problems of
moderate scope.
Qualifying Design II
INT-602 | 6 CR
These are basic design courses dealing with
people’s relation to space, architecture and the
environment in a broad sense. Emphasis is on
human factors, scale, materials and structures.
The course progresses from the abstract to
problem solving through analysis and includes
consideration of professional design problems of
moderate scope. Requisite courses: Take INT-601
(Required, Previous).

Qualifying Construction
INT-604 | 2 CR
This is an introduction to structural principles and
construction practices in design and architecture.
Emphasis is on the relation of basic structures
to the needs of interior design. Consideration
of problems and solutions of small-scale
construction are explored. Construction drawings
and details are reviewed together with lecture
and discussion.
Qualifying Arch Drawing
INT-606 | 2 CR
Drafting techniques, perspective construction and
lettering are taught as well as delineation, media
and application. Advanced problems in rendering
and presentation techniques are introduced.
Sustainable Design
INT-607 | 2 CR
This graduate-level course is an introduction
to and critical evaluation of, the concepts,
principles, and methodologies of environmentally
responsible interior design. Through lectures
and discussion, students undertake a systematic
exploration of the fundamental issues affecting
and influencing sustainably designed interiors.
Research and analysis of case studies and
innovative design solutions for interiors will
be enhanced by field trips to green sites and
discussions with practitioners and experts, leading
students to develop a solid rationale for making
environmentally sensitive design decisions.
Taste
INT-609 | 2 CR
The course investigates a series of histories and
theories of the domestic interior by looking at it
from within and from the outside, its contents
and its representations. It engages history and
theory by allowing course participants to create
their own body of scholarship through a series of
focused case study investigations of the changing
cultural forces and how they directly affect the
form of the interior and its representations of the
past and present.
Interior Design Theory
INT-610 | 2 CR
Through the investigation and analysis of various
readings in philosophy, architectural theory, and
other diverse yet parallel areas such as sociology,
anthropology, poetry, and cultural studies,
this course functions to introduce students to
theory related to the specifics of inhabitation,
body awareness and tactility, as well as sensory
awareness critical to the development of interior
design sensibility, and the important and critical
role that interior design plays in the physical
realization of contemporary society.
Design I
INT-621 | 6 CR
Studio assignments deal with unique and
prototypical large-scale interior problems. These
include office environments, hotels, restaurants,
exhibitions and health and educational facilities.
Every attempt is made to simulate office working
School of Design Courses
conditions with real sites and requirements.
Programming and space planning are central
issues in solving these design problems.
Design II
INT-622 | 6 CR
Studio assignments deal with unique and
prototypical large-scale interior problems. These
include office environments, hotels, restaurants,
exhibitions and health and educational facilities.
Every attempt is made to simulate office working
conditions with real sites and requirements.
Programming and space planning are central
issues in solving these design problems. Requisite
courses: Take INT-621 (Required, Previous).
Construction I
INT-623 | 2 CR
An examination of construction methods and
techniques, as well as the full range of contract
documents, including working drawings,
schedules and specifications and the role they
play in design practice. Students produce working
drawings for cabinet construction as well as
full-scale building projects.
Construction II
INT-624 | 3 CR
An examination of construction methods and
techniques, as well as the full range of contract
documents, including working drawings,
schedules and specifications and the role they
play in design practice. Students produce
working drawings for cabinet construction as well
as full-scale building projects. Requisite courses:
Take INT-623 (Required, Previous).
Presentation Techniques
INT-625 | 2 CR
A study of presentation techniques is presented
starting with a brief review of perspective drawing
methods. The course develops the understanding
of texture, tone, and color. Students focus on
techniques of their own and develop varied
rendering styles, including the incorporation of
digital drawing and rendering techniques.
Color and Materials I
INT-631 | 2 CR
This course is an overview of color theory and
color phenomenology as it relates to interior
design. With a broad introduction to color theory,
students manipulate visual phenomena in two-
and three-dimensional exercises. The final project
applies these principles to a given interior using
color and materials on architectural surfaces,
furniture, and furnishings.
Color and Materials II
INT-632 | 2 CR
Architectural and interior finishing materials are
examined in relation to function and appropriate-
ness. Where possible, material choices relate to
concurrent studio design assignments in INT-601
and INT-621. Field trips to manufacturing facilities
and installations are a part of the course.
Lighting Design I
INT-633 | 2 CR
This is a survey of theoretical, technical and
creative concepts of lighting as elements of com-
mercial and institutional design. Lecture topics
include color, light sources, measurement and
control as they affect the interior environment.
Students are required to solve and document
typical lighting design problems.
Professional Practice
INT-641 | 2 CR
The practice of interior design involves both
office and project management. This course
examines the legal, financial, personnel, marketing
and communications responsibilities of a design
principal in the field. It introduces the graduate
student to the complexities of managing the
execution of a contract interior project, including
experience at a job site in progress.
Neo Con: Chicago
INT-643 | 3 CR
An immersion into the field of interiors and
product design as they relate to the Contract
Design industry. Students spend 7 days in
Chicago, listening and talking to designers and
manufacturers about their spaces and products.
In addition, students will tour Frank Lloyd Wright
and Mies van der Rohe designed buildings around
Chicago, and will also have the opportunity to
see and experience other great architecture and
design in Chicago.
Special Projects
INT-656 | 1–6 CR
Coursework and/or special projects are assigned
on an individual basis.
Special Projects
INT-657 | 1–6 CR
Coursework and/or special projects are assigned
on an individual basis.
Special Projects
INT-658 | 1–6 CR
Coursework and/or special projects are assigned
on an individual basis.
Special Projects
INT-659 | 1–6 CR
Coursework and/or special projects are assigned
on an individual basis.
Exhibition Design Intensive I
INT-671 | 5 CR
The EDI is a two-semester immersion into the
design and study of exhibitions of all kinds and
is an alternative to traditional thesis work. It is
intended for students who are interested in
specializing in exhibition design or in exploring one
aspect of interior design intensively as it relates to
exhibition design. Design projects are supple-
mented by field trips and discussion sessions, and
project critiques with exhibit design professionals.

Exhibition Design Intensive II
INT-672 | 5 CR
The EDI is a two-semester immersion into the
design and study of exhibitions of all kinds and
is an alternative to traditional thesis work. It is
intended for students who are interested in
specializing in exhibition design or in exploring
one aspect of interior design intensively as it
relates to exhibition design. Design projects
are supplemented by field trips and discussion
sessions, and project critiques with exhibit design
professionals. Requisite courses: Take INT-671
(Required, Previous).
Directed Research
INT-698 | 2 CR
Offers instruction in and discussion of design
programming and design methodology. It consists
of the preparation of a design program for the
thesis to be prepared the following two-se-
mesters. The first six weeks are spent in lecture
and seminar sessions, providing instruction
in program development and in discussion of
programming techniques and the selection of
a thesis project, including the thesis site. The
remainder of the semester is spent primarily
in individual and/or small group discussions,
providing guidance in the detailed development
of individual thesis design programs.
Thesis I
INT-699A | 3 CR
Independent problems based on individual
thesis proposals, submitted by the candidate and
approved by the thesis advisor are undertaken.
Projects represent design solutions of significant
scope and complexity and must show mature
correlation between all phases of design and
construction based on supportive research.
Requisite courses: Take INT-622, INT-698
(Required, Previous).
Thesis II
INT-699B | 3 CR
Independent problems based on individual
thesis proposals, submitted by the candidate and
approved by the thesis advisor are undertaken.
Projects represent design solutions of significant
scope and complexity and must show mature
correlation between all phases of design and con-
struction based on supportive research. Requisite
courses: Take INT-699A (Required, Previous).
Thesis in Progress
INT-700 | 0 CR
If the thesis course is not completed in the initial
semesters, students can continue working in
INT-700 for no more than five semesters.
Interior Design Studio
INT-711 | 6 CR
This studio will Introduce students to the critical
issues In the design of the Interior through a
series of projects that conceptually and materially
address program, site and cultural context.
School of Design Courses
Ideation and Representation
INT-713 | 3 CR
This class covers the basics of 3-D Max Design and
introduces students to the concepts of digital
model making, rendering and animation. New
workstations will be explored for enhanced design
production addressing the seamless transition
from 2-D to 3-D, digital to physical models,
conceptual to realistic design options and their
visual representations. The course will discuss the
software in the context of the design practice as a
generative, interactive and production tool.
Light, Color and Material
INT-715 | 3 CR
This course is an exploration of light, color and
materials in the design of the interior used as
a means of expression through three larger
investigative modules: 1) integration of seeing; 2)
integration of experience; and 3) integration of
application. The course will address sustainable
practice, material research, environmental quality,
aesthetics, and changing technologies as applied
to light, color and materials.
Interior Design Theory and Criticism
INT-717 | 3 CR
This course examines the ways in which interior
designers and theorists express and conceptualize
the multi-dimensional field of interior Design
and will include topics in social sciences, design
history, taste, sustainability and ethical design.
Interior Design Options Studio
INT-722 | 6 CR
Studio assignments provide opportunities
for focused investigations within the interior
environment via unique or prototypical projects,
of varying scales and typologies, and in response to
considerations of social context, site and program.
The studio emphasizes a holistic, three-dimen-
sional approach to problem solving including
spatial manipulations and integrated investigations
of materials, structures, light and color.
Construction and Fabrication
INT-724 | 3 CR
This course will study the construction docu-
mentation process through the production of
working drawings, models and schedules. Through
a series of iterative steps, the evolution of a
design from the concept through the model and
drawings to the final fabrication and construction
phase will be understood. Students will explore
new technologies in design documentation and
fabrication, putting together a documentation set
using BIM (an acronym that stands for “Building
Information Modeling”) and exploring digital
fabrication techniques.
Environmental Tech/Sustainable
INT-726 | 3 CR
Students will learn how the natural and construct-
ed interior environment affects human comfort.
Students will explore the science and technology
for measuring and maintaining comfort conditions
and ecological balance within buildings, with
an emphasis on sustainable design and systems
integration. Through the use of software and 3-D
modeling students will learn to develop sustainable
design strategies for the ambient environment.
Interior Options Lab
INT-731 | 3 CR
The Interior Options Lab provides the opportu-
nity for further hands-on studio exploration in
selected areas of interest. Projects will explore
detail areas of interior design rather than full
interior environments. Each options lab section will
uniquely address issues and practices relative to
the interior design graduate concentration areas.
Teaching Practicum
INT-733 | 1 CR
Intended for those who desire to enter teaching
at the college level, students will explore and
observe multiple teaching pedagogies and
strategies, design education methodologies,
and evaluation techniques in order to develop a
knowledge base for curricular and project devel-
opment, as well as techniques for effective and
appropriate course preparation and instruction.
MFA Thesis I
INT-799A | 6 CR
Students undertake independent problems
based on individual thesis proposals, submitted
by the candidate and approved by the thesis
advisor. Projects represent design solutions of
significant scope and complexity and must show
mature correlation between all phases of design
and construction based on supportive research.
Students may also elect to pursue an academic
research-oriented approach to study emerging
issues in the interior built environment.
MFA Thesis II
INT-799B | 6 CR
In this second semester of thesis, students
continue their investigations of Independent
problems based on individual thesis proposals,
submitted by the candidate and approved by
the thesis advisor. Projects represent design
solutions of significant scope and complexity
and must show mature correlation between all
phases of design and construction based on
supportive research. Students may also elect
to pursue an academic research-oriented
approach to study emerging issues in the
interior built environment.
Grad Internship
INT-9600 | 0 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.

Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Graduate Internship
INT-9601 | 1 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Graduate Internship
INT-9602 | 2 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Graduate Internship
INT-9603 | 3 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
School of Liberal Arts & Sci Courses
SOD/SCHOOL OF DESIGN
Independent Study
SOD-699 | 1–6 CR
In this graduate course, work is assigned on
an individual basis under advisement by a
faculty member, and in consultation with the
department’s chair. This course provides
undergraduate students with the opportunity to
pursue a project that goes beyond the existing
curriculum or facilities.
School of Liberal Arts & Sci
Department: HA
ART/HISTORY OF ART IN VENICE
Painting (Venice)
ART-590I | 2–10 CR
This course involves studio work (outdoors as
well as in), lectures, special projects, individual
critiques and instruction, with particular emphasis
on the interaction of light and color. Sketchbooks
and journals will be required. There will be
portfolio reviews in Venice, and work submitted
for the Pratt in Venice show will be reviewed.
The course will be supported by and integrated
with courses in drawing, printmaking, art history,
special studies, and materials and techniques.
Drawing/Non-Acid Printmaking (Venice)
ART-591I | 2–10 CR
This course consists of studio and site work,
independent projects, group and individual
critiques, and field trips to use landscapes as
subjects. At least six sessions will be devoted to
expanding drawing concepts through printmaking,
and the use of drypoint, collagraph, monotype,
and relief print techniques. The world-class
print workshop of the Scuola Internazionale della
Grafica on the Grand Canal is the location for
this work. Individual development is stressed and
a body of work comprising drawings, prints, and
notations, including a journal, is required and is to
be submitted for the Pratt in Venice show.
HA/HISTORY OF ART
Renaissance Art
HA-501 | 3 CR
Students consider 15th and 16th century art in
Italy: the innovations of Donatello, Brunelleschi,
and Masaccio; the High Renaissance of Raphael,
Leonardo and Michelangelo; the emergence and
decline of Mannerism; the late Renaissance in
Venice (Titian, Tintoretto and Veronese).
Asian Art
HA-502 | 3 CR
An introduction to the art history of the East.
Emphasis is on Chinese art, including ritual
bronzes and masterpieces of landscape painting.
Students study the influence of Indian art on
Chinese Buddhist sculpture and transformations
of the Chinese tradition in Japanese art.
Aegean & Greek Art
HA-504 | 3 CR
Explores the art and architecture of mainland
Greece, Crete, and the Cycladic Islands from the
Bronze Age to Roman times. Painting, sculpture,
pottery, the minor arts, and architecture are

discussed in stylistic terms and as expressions
of evolving social attitudes, mythical traditions,
religious beliefs, and historical developments.
Particular attention is given to the legacy and
iconography of Classical art.
Art by Women: 15th Century-Present
HA-507 | 3 CR
This is a seminar on art by women from the
Renaissance to the present time, including
Renaissance artists such as Sofonisba Anguissola;
Baroque painters, such as Artemisia Gentileschi
and Judith Leyster; Angelica Kauffmann in the 18th
century; Rosa Bonheur and the impressionists
Mary Cassat and Berthe Morisot in the 19th
century; and artists in all media in this century,
such as Nevelson and Hepworth, O’Keeffe and
Frankenthaler, Kollwitz and Kasebier. The course
includes discussion of women as artists in relation
to their roles in the societies in which they lived.
Impressionism/Post-Impression
HA-509 | 3 CR
Students examine the development of realism and
the reaction against it in late 19th century paint-
ing. French Impressionism, Post-Impressionism
and Symbolism are studied, including figures such
as Degas, Monet, Morisot, Cezanne, Van Gogh,
Gaugin, Munch and Ensor.
Chinese Landscape Painting
HA-510 | 3 CR
Surveys landscape painting in China from
T’ang through Early Ch’ing dynasties (eighth
through 17th centuries). It investigates the
philosophical ideas embodied in the subject and
stylistic changes from the classical balance of
Northern Sung landscape to the Expressionism
of Confucian scholar painters and mad monk
painters. Requisite courses: Take HA-115, HA-116,
ENGL-102 and ENGL-103 (Recommended,
Previous or concurrent).
African Art
HA-512 | 3 CR
This course considers the art of sub-Saharan
Africa. It focuses on the sculpture from the
principal stylistic regions of West and Central
Africa. The artworks will be discussed in their
social context.
David to Delacroix
HA-513 | 3 CR
The development of French painting from
Neoclassicism through Romanticism (c.1780-1845)
is examined in this course, with consideration
also given to contemporary schools of realism
in France. International manifestations of these
styles, especially in England and Germany, are
explored as they relate to French art. Students
study such painters as David, Gericault, Girodet,
Gros, Boilly, Ingres and Delacroix. It is recom-
mended that undergraduate students complete
HA-215 and HA-216 prior to taking this course.
School of Liberal Arts & Sci Courses
Film Criticism
HA-514 | 3 CR
An introduction to methods of film analysis.
The course studies the writings of some of the
best exponents of film theory, aesthetics and
criticism in popular and scholarly forms: e.g.
Arnheim, Eisenstein, Bazin, Vertov, Kael and Sarris.
Screenings include narrative fiction, documentary
and experimental films. It is recommended that
undergraduate students complete HA-115, HA-116,
HA-215 and HA-216 prior to taking this course.
Southern Baroque Art
HA-515 | 3 CR
The church answers Protestant austerity with the
glorious spectacle of Baroque painting, sculpture
and architecture. Naturalism and realism, the
classical revival, and the uses of space, time and
light are examined through such masters of the
17th century as Caravaggio, the Caracci, Bernini,
Cortona, Borromini, Ribera and Velazquez.
Baroque subjects brought about by the Catholic
Reformation such as visions, ecstasy, martyrdom
and mysticism will be analyzed.
Northern Renaissance Art
HA-516 | 3 CR
Examines early painting in Flanders, as well as in
France, the Netherlands, Germany and England
from 1400 to 1600. The altarpieces and portraits
of Jan Van Eyck, the prints of Albert Durer and the
peasant scenes of Pieter Bruegel the Elder are
highlights of the course.
Documentary Film
HA-517 | 3 CR
Students examine and discuss the earliest
one-reelers, Cinéma Vérité, experimental and
art films as well as recent feature-length motion
pictures and videos. Filmmakers as diverse as the
Lumière Brothers, Thomas Edison, Diziga Vertov,
Robert Flaherty, Leni Riefenstahl, Frederick
Wiseman and D.A. Pennybaker are included.
Drawings/Prints Seminar
HA-519 | 3 CR
Participants study the history of drawings and
prints from the 15th to the 20th centuries.
Emphasis is on key figures such as Pisanello,
Durer, Leonardo, Michelangelo, Raphael,
Rembrandt, Goya, Degas and Picasso.
American Art 1770-1940
HA-520 | 3 CR
This condensed course examines American art
and its major themes and issues c. 1770—1940.
Students study painting, sculpture, photography,
and to a lesser extent, architecture. Instruction
will focus on the interrelationship between
American themes and national identity (for
example, the Hudson River School and western
landscape tradition); the link between the
production and reception of art works; and the
achievement of well-known artists. American Art
begins with colonial portraiture and continues,
covering Antebellum genre painting, American
impressionism, “The Ash Can School,” regionalism,
and World War II propaganda art.
Pre-Columbian Art
HA-522 | 3 CR
This survey course introduces students to the art
of the geographic area which includes Mexico,
Central and South America, and the Spanish-
speaking Caribbean. Brazilian cultural expressions
are also presented. The course begins with
Pre-Columbian Peru in 1500 BC and continues
to 1492. The focus is on art in various media and
architecture of Pre-Columbian cultures.
Native American Art
HA-526 | 3 CR
This course focuses on the art and architecture
of the woodlands, plains, southwest, northwest
coast, and arctic Native American peoples.
Collections of Native American art in local
museums are studied.
Roman Art
HA-529 | 3 CR
Explores Etruscan and Roman art and architecture
in its cultural, political and social context. Students
study monuments in Rome and elsewhere in the
Empire and examine questions of stylistic change,
acculturation, patronage, and religion.
Medieval Art I
HA-531 | 3 CR
Students explore the architecture, painting,
mosaics, sculpture and the minor arts of the Early
Christian, Byzantine, Migration, and Carolingian
periods that make up the Early Middle Ages.
Emphasis is placed on the evolution of form and
style, as well as iconography and symbolism.
Considerable attention is given to the social,
religious and intellectual context of each work.
Students do research on selected topics and
develop critical thinking skills.
Medieval Art II
HA-532 | 3 CR
This course examines the creation, form and
impact of the richly varied arts of the South Seas
and the Pacific Islands, including Easter Island,
Papua-New Guinea, Hawaii, and New Zealand. It
also covers the islands of Polynesia, Melanesia
and Micronesia where the arts mark, motivate and
contain a significant portion of everyday life.
Oceanic Art
HA-533 | 3 CR
This course examines the creation, form and
impact of the richly varied arts of the South Seas
and the Pacific Islands, including Easter Island,
Papua-New Guinea, Hawaii, and New Zealand. It
also covers the islands of Polynesia, Melanesia
and Micronesia where the arts mark, motivate and
contain a significant portion of everyday life.
Issues in Art History
HA-551 | 3 CR
Provides both advanced undergraduate and
graduate students the opportunity to study in
depth a particular research problem or theme
in art history. The format consists primarily of
lectures with follow-up discussions. The course

topics vary as determined by the instructor and
the department chair.
Women in Photography
HA-552 | 3 CR
This class explores the work of women
photographers from c.1840 to the present, and
the complex role gender plays in their work and
the response of their audience. Photography has
proven open to women on both the amateur and
the professional level to an extent unknown in
the so-called fine arts. The primary emphasis is
on images made by women artists and the ways
they have been chronicled and discussed in both
traditional and feminist history and art criticism.
Dada and Surrealism
HA-553 | 3 CR
This course covers Dada and Surrealist art, film,
and literature, focusing on its sources in idealism,
materialism, and psychoanalysis. Emphasis
is placed on issues of paternal authority and
transgressive sexuality; the role of women not only
as the subject matter of art, but also as artists in
their own right; as well as how Dada and Surrealism
radicalized our understanding of painting,
sculpture, film, photography, text and collage.
Museology
HA-560 | 3 CR
Museums in New York City serve as a learning lab
for the study of museum methodology. Classes
are held at various collections in the city as
well as at Pratt. The course covers registration,
curatorial procedures, educational programs
and conservation programs. Issues of how
contemporary museums meet the needs of a
changing society are explored.
Special Topic: Exhibition
HA-561 | 1 CR
Students analyze a current exhibition in terms
of its museological approach. Field trips to the
exhibition provide an in-depth understanding
of the objects, the subject and the museum’s
curator’s underlying concept in structuring
the show. Alternative modes of organizing the
exhibition are considered and discussed in
class. This course can be linked to other related
theoretical or practical courses to provide insight
into an actual exhibition.
Art History of Venice (Venice)
HA-590I | 3 CR
On-site study of painting, architecture, sculpture,
and drawing of Venice is the prime purpose of this
course. Classes held on site will alternate with lec-
tures and discussions that place the material in its
art historical context. Study of ancient Byzantine
and Gothic art in Venice will precede discussion
of Renaissance art with its rich crosscurrents of
influence from Byzantium, Northern Europe and
Central Italy. Technical innovations of Venetian
Renaissance artists and later developments in the
Baroque will be considered. Students will carry
out visually based assignments, including papers
that analyze and compare art works in Venice. The
Marciana Library will serve as a resource.
School of Liberal Arts & Sci Courses
Directed Research
HA-599 | 1–3 CR
Direct research is related to previously taken or
currently enrolled formal courses in the History of
Art and Design department. To pursue Directed
Research, the permission of both the faculty
member and the chair is required.
Materials/Techniques of Venice
HA-600I | 3 CR
Students participating in Pratt in Venice are
introduced to issues and bibliography relating
to this subject. Through the good offices of the
Universita Internazaionale dell’Arte, students visit
the main restoration studio of the Soprintendenza
in Venice as well as current restoration sites and
the laboratory of the Kress Foundation. The Cini
Foundation Library provides abundant support.
Each participant selects a problem in Venetian
materials and techniques to study through early
descriptions and restorers’ journals and, to the
extent possible, experiments with the material/
technique in the studio. This course may be
taken twice (in succeeding summers) by degree
candidates in art history.
Art History: Western Art
HA-601 | 3 CR
Designed for the graduate student who has not
studied Western art history, this survey course helps
students master the subject matter by reading
historical writing on art of the major periods.
Theory and Methodology
HA-602 | 3 CR
Students are introduced to key figures in the
history of art and design via their writings. Further
readings for discussion exemplify a range of
methodologies represented in the discipline
and also chronological and geographical range.
Students are expected to participate actively and
critically in the weekly discussions. An annotated
bibliography of a key scholar or method and a cat-
alogue raisonné of an object in Pratt’s permanent
collection complete the course requirements.
Thesis
HA-605 | 3 CR
Serves as a thesis course for the graduate student
who minors in art history and for the master’s
candidate in art history. Proposed topics are
submitted in writing to a faculty committee. After
approval of the proposal, the student works on
an individual basis with the appropriate faculty
advisor. Theses conform to the requirements
established by the Library and are filed there as
well as with the Department of Art History.
Picasso/Matisse Seminar
HA-611 | 3 CR
Follows the evolution of these two pioneers of
modern art from their training to their late years.
Students investigate topics such as the influence
of Cezanne and the Nabis on Matisse; the
importance of late Impressionism and Primitive
art to Picasso; and the role of sculpture in the
work of each artist.
Dutch Art Seminar
HA-623 | 3 CR
Graduate students will study a specific theme in
the complex and vibrant world of Dutch Art in the
15th-17th centuries. The topic, introduced by the
instructor, will follow a seminar format of oral and
written presentations by students.
Contemporary Art Seminar
HA-627 | 3 CR
Beginning with the varied responses to abstract
expressionism around 1960, this course explores
the gradual unfolding of American painting,
sculpture and alternative art forms such as video
and performance over the last three decades.
Course material is approached critically and
historically, focusing on issues of post-modernism
in regard to its feminist counterpart among other
developments. There are regular gallery, museum
and studio visits. Course requirements include
active participation of registrants, a seminar
report and a paper.
Michelangelo Seminar
HA-630 | 3 CR
Students are introduced to topics and issues
in Michelangelo studies. Through readings and
discussions, students examine the religious,
intellectual, and political climate in which
Michelangelo lived and worked. Research topics
are developed on themes chosen by the group.
Making Medieval Manuscripts
HA-631 | 3 CR
This course explores the ways medieval manu-
scripts were produced and illuminated. Students
study the stylistic evolution of manuscripts and
their importance as a resource for understanding
medieval painting. Changes in the choice of texts
and subjects throughout the Middle Ages, and the
artists’ motivations, are other major areas of study.
Venetian Renaissance Seminar
HA-632 | 3 CR
This course looks in depth at the visual riches of
the Renaissance in Venice. An introduction to
Venetian Renaissance culture and to late 15th
and 16th century art and architecture from the
Bellini, Coducci and Lombardi to Giorgione,
Titian, Sansovino, Tintoretto, Veronese, Palladio is
provided along with selected readings, followed
by a quiz. Participants choose a focus for research
and collaborate by sharing bibliographies. Each
student selects a topic related to the focus and
presents the results of research in a seminar
report to the group and in a final written version
of the report.
9th Century German Art and Culture
HA-633 | 3 CR
This course examines the development of art in
Germany from the spiritualism of Romanticism
(Caspar David Friedrich and the Nazarenes) to
explorations of sexuality, Darwinian theory, and
the unconscious (Arnold Bocklin and Max Klinger)
during the emergence of a modern urban society
in the Wilhelmine Empire. Topics to be considered
include shifting definitions of national identity,

responses to industrialization and socialism, and
the interchange of art with music, literature,
mythology and fairy tales, and philosophy. Popular
visual culture as well as the fine arts will be
emphasized. Requisite courses: Complete HA-215
(Required, Previous).
The Beginnings of Abstract Art
HA-634 | 3 CR
At the turn of the 20th century, non-figurative
imagery emerged for the first time in the history
of art. This course explores the development
of abstraction in art and theory in Europe and
the United States from 1900 through the 1920s.
Emphasis is placed on the defining moments of
transition from representation to the non-ob-
jective within each artist’s oeuvre. Abstraction
will be considered in conjunction with essential
inter-disciplinary influences from science,
spiritualism, politics, music and dance, and folk
and decorative arts.
Creating Exhibitions
HA-635 | 3 CR
This course offers an introduction to the process
of planning, curating, execution, publicizing, and
finding of art or design exhibitions. This course
prepares the student for participation in small or
large presentations of commercial or educational
exhibitions within an organization or school,
or in galleries, museums, or large commercial
expositions and fairs.
Bernini & Baroque Seminar
HA-636 | 3 CR
Gianlorenzo Bernini’s (1598–1680) dynamic,
innovative sculpture, monumental tombs and
breathtaking architecture will be the focus of
this seminar. His work for the papacy and for
private patrons formed the essence of the Roman
Baroque. Competition in Rome with Borromini
in architecture and Algardi in sculpture, among
others and across Europe, will also be explored.
Performance Art
HA-642 | 3 CR
Activist avant-garde artists have historically
ignored national boundaries as well as aesthetic
ones, taking regular people to be their audience
and any subject or material under the sun to
be appropriate to their means. Contemporary
activist visual art performance practitioners
view this avant-garde legacy as their own,
incorporating musical, theatrical, literary, dance,
film and technological elements in their work in
order to address the pressing issues of our time.
This course will focus on critical examples of
performance art from the last century to today to
analyze how artists have positioned themselves in
relation to current standards of artistic produc-
tion and developed techniques of provocation
to activate the audience. Course work includes
readings of primary and critical texts, class
discussion, presentations, and a 15-page research
paper, and will culminate in collaborative visual
art performances to be presented collectively in
small groups to the entire class.
School of Liberal Arts & Sci Courses
The Artist as Provocateur
HA-642P | 3 CR
Activist avant-garde artists have historically
ignored national boundaries as well as aesthetic
ones, taking regular people to be their audience
and any subject or material under the sun to
be appropriate to their means. Contemporary
activist visual art performance practitioners
view this avant-garde legacy as their own,
incorporation musical, theatrical, literary, dance,
film and technological elements in their work
in order to address the pressing issues of our
time. This course will focus on critical examples
of performance art from the last century to
today to analyze how artists have positioned
themselves in relation to current standards of
artistic production and developed techniques of
provocation to activate the audience.
Materials/Techniques/Conservation
HA-650 | 3 CR
Historic materials and techniques in the various
media are studied through the examination
of examples, early descriptions and restorers’
journals. Students experiment in various
techniques that are not current practice and learn
of the technology that allows individuals to analyze
the materials and technique of a given artist or
object. The expertise of restorers is included
through classes held in the Brooklyn Museum and
guest lecturers.
Problems in Art History
HA-651 | 3 CR
Offered primarily to graduate students and
focused on in-depth study of problems in art
history. (The department may allow advanced
undergraduate students to enroll under special
circumstances.) The seminar format of the course
may also include lectures, class discussions
and student presentations. Course topics will
vary as determined by the instructor and the
department chair.
Architecture/Ancient Americas
HA-652 | 3 CR
An investigation of the monumental architecture
and urbanism of the Pre-Columbian civilizations
of the Andes and Mesoamerica, with particular
consideration to the relationship of the built
environment to the natural landscape and the
ways it served to reflect and reproduce social,
political, and cosmological structures.
The Current Season
HA-670 | 3 CR
This course offers a direct engagement with
contemporary art on view in New York City during
the semester. It seeks to incorporate a broad
range of works, styles and media, and will involve
various approaches to art and art criticism. The
course involves extensive looking, reading and
writing, and requires students to compose several
short pieces of art criticism based on works and
exhibitions viewed throughout the semester.
Critical Models/1965–Present
HA-671 | 3 CR
This course seeks to consider the interrelationship
between contemporary art and critical theory.
Taking up key methodologies elaborated over the
past decades such as post-structuralism, psy-
choanalytic theory, post-colonialism, and critical
modernist studies, this course will re-examine art
practices since 1965, institutional critique most
centrally, in the light of its close connections to
theory. Art historical texts in dialogue with the
methodologies under consideration will be read
in class, and films by the artists under study will be
screened, when relevant.
Intro Painting Conservation
HA-681 | 3 CR
This course will examine the principal materials
and techniques used in Western paintings from
the 13th century to the present. Emphasis will
be placed on technical innovations such as
the advent of oil painting, the expansion of the
modern palette, and the recent development
of synthetic paints. To better understand the
materiality of painting, each student will prepare a
small panel painting using egg tempera and gilding
techniques. In addition, this course will introduce
basic painting techniques and other conservation
strategies used during a work’s treatment,
exhibition, and storage. Students will also explore
the analytic techniques used to assess a painting’s
condition, including X-radiography, Infrared
Reflectography, and Ultraviolet Fluorescence. No
previous painting experience required.
Technical Issues/Art Historian
HA-682 | 3 CR
This course introduces the materials and tech-
niques used to make works of art, ethnographic
objects, and other historical artifacts. Emphasis
will be placed on the identification of materials
and historical alternations that have taken place
since the time of the object’s completion. In addi-
tion, students will explore the analytic techniques
used to assess the condition and authenticity of
these objects, as well as conservation strategies
used during the treatment, exhibition, and storage
of works of art.
Origins/Color Artist Pigments
HA-683 | 3 CR
This course explores the history of art through the
lens of color. From the wall paintings of antiquity
to synthetic paints of today, the role of pigments
will be highlighted as a means to connect the
aesthetics of a given age with the painting
materials available at the time. The impact of
specific pigments will be described from the
perspectives of both artist and connoisseur as
this interdisciplinary course investigates the
subject through historical lectures, museum visits,
studio sessions, and laboratory experiments.
No previous painting experience or scientific
background is necessary.

Independent Study
HA-699 | 3 CR
Independent study in art history is available to
graduate students who develop a contract with
the appropriate professor in art history to do
research in an area not covered in the courses
offered or that grows out of and goes beyond
work already done in a 500-level art history
course. The professor chosen must be an expert
in the material to be studied and the contract
must specify regular advisement sessions. The
paper must be the product of the research. No
student may take HA-699 more than once.
Thesis in Progress
HA-700 | 0 CR
If the thesis course is not completed in the
initial semesters, students can continue working
in HA-700 for no more than five semesters.
Requisite courses: Complete HA-605 HA-605B
(Required, Previous).
Internship
HA-9600 | 0 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Internship
HA-9602 | 2 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Internship
HA-9603 | 3 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
School of Liberal Arts & Sci Courses
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
Internship
HA-9603B | 3 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting,
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on the
internship experience.
HD/HISTORY OF DESIGN
Survey Design History (1750-Pres)
HD-501 | 3 CR
This lecture course concentrates on the history
of mass-produced designs, from the Industrial
Revolution to the present, with an emphasis
on the general tendencies of the periods and
the social contexts in which the designs were
conceived. Examples representing links between
design disciplines are compared and analyzed for
a better understanding of the cross influences
and interactions taking place.
History of Modern Design
HD-505 | 2 CR
The design of useful objects, interior design, and
graphic design are surveyed in chronological
order. The early beginnings of modern design
are examined briefly. Developments since 1850
are treated in greater depth with a focus on the
evolution of modernism leading to current practice.
Concepts of Design
HD-506 | 2 CR
Contemporary design has its roots in the
development of theories about what good
design is or should be. This course explores the
theories of pioneer and recent modern designers
and critics from Ruskin to William Morris to the
post-moderns currently in practice. Students
read selected materials and meet in seminar
discussion groups to review and evaluate the
ideas they have studied. The aim is to encourage
the student to develop a philosophical direction.
History of Illustration
HD-511 | 2 CR
After a brief survey of early examples of
illustration and the effects of new reproductive
techniques on the development of illustration,
this course explores significant illustrations
from the 18th through 20th centuries. Beginning
with the social and narrative commentaries
of William Hogarth, through to the present,
successive styles, trends, subjects and advances in
reproductive techniques are explored. Students
examine and discuss the work of major artists
and illustrators, focusing on how an awareness of
the legacy of the past can be an influence on the
present and future of illustration.
Issues in Design History
HD-551 | 3 CR
This course provides both advanced undergrad-
uate and graduate students the opportunity to
study in depth a particular research problem or
theme in design history. The format used will be
primarily lectures with follow-up discussions.
The course topics will vary as determined by the
instructor and the department chair.
Problems in Design History
HD-561 | 1 CR
Offered to graduate students and focused on
the in-depth study of problems in design history.
The seminar format of the course may also
include lectures, class discussions, and student
presentations. Course topics vary as determined
by the instructor and the department chair.
Concepts of Design II
HD-606 | 3 CR
In this seminar course, students study theories
and concepts of design. Issues important to all
fields of design will be discussed in the historical
context based on original writings and theories
of the most influential thinkers/ designers of
the 19th and 20th centuries. Individual examples
of design, including students’ own designs, will
be considered in relation to these theories.
Field trips will provide opportunities to explore
libraries and to apply the theories to practical
examples. Requisite courses: Complete HD-506
(Required, Previous).
History of Industrial Design
HD-608 | 2 CR
Students will study pre-industrial beginnings
in primitive and ancient design. Medieval and
Renaissance preludes to design in the Industrial
Revolution and its development to the present
time are reviewed. Products, transportation, pack-
aging and graphics from 1850 to the present will be
emphasized. The course will include slide lectures,
seminar sessions and research assignments.
History of Interior Design I
HD-609 | 2 CR
This course presents interior design in relation
to its architectural context, from primitive and
prehistoric beginnings to the Renaissance. Interior
spaces, furniture and other interior elements in
typical uses are studied. Class format includes

slide lectures, seminar sessions, assigned reading
and research assignments.
History of Interior Design II
HD-610 | 2 CR
This course presents interior design and its rela-
tionship to architecture from the 18th century to
the present, with a special emphasis on design since
the beginning of the Industrial Revolution. Furniture,
textiles and other interior elements and related
products in typical uses are studied. The leaders
of the modern movement are examined in terms
of their works, writing and theories. Class format
includes slide lectures, seminar sessions, assigned
reading and research assignments. Requisite
courses: Take HD-609 (Required, Previous).
Aspects of Japanese Design
HD-640 | 3 CR
Students are introduced to Japanese designs
of recent production in the fields of graphics,
fashion, products, and interiors. These designs
are investigated as examples of major aesthetic
principles that have developed over the past
millennia in Japan, and are still fundamental to
the understanding of today’s material culture
in this Far-Eastern country. Thus, the social,
philosophical, and religious history as reflected
in Japanese designs of all ages are examined and
discussed. In the end, students are led to actively
interpret the designs from both historic and
contemporary viewpoints. This course is open to
graduate students only, but welcomes students
from all majors.
Origins of Contemporary Comm.
HD-641 | 3 CR
This course will investigate the relevance of major
historical movements in relation to contemporary
communications design practice, not simply
as legacy, but as a means to understand the
contexts and formal principles that drive design
today. The course will cover major design
concepts developed during the 19th, 20th and
21st centuries.
Problems in Design History
HD-651 | 3 CR
Offered to graduate students and focused on
the in-depth study of problems in design history.
The seminar format of the course may also
include lectures, class discussions, and student
presentations. Course topics vary as determined
by the instructor and the department chair.
History of Communications Design
HD-662 | 2 CR
This course provides students with a view of
the history of communications design and the
designers who influenced it. The course includes
analytical and critical examinations of modernist
and post-modernist developments through class
lectures. Readings and videos emphasize the
diverse roles that designers have played in their
complex social and cultural environments.
School of Liberal Arts & Sci Courses
History of Interior Design II Department: HMS
HD-665 | 3 CR
This course is the second in a two-semester
sequence that presents the history of interior CHI/CHINESE
design from Antiquity to the present. Focusing
on design since the beginning of the Industrial
Revolution in the 18th century, it observes Elementary Chinese I
the relation between interiors and the social, CHI-501 | 3 CR
political, and economic contexts in which they This is a course in conversational Mandarin,
were born. Requisite courses: Take HD-609 including basic grammar and basic functional
(Required, Previous). vocabulary of the Chinese language, and aspects
of Chinese culture.
Daughters of Eve
HD-667 | 3 CR Chinese II
This course provides a historical understanding CHI-503 | 3 CR
of the interplay between fashion and interiors as This is a course in conversational Mandarin,
they have interacted with and influenced each including basic grammar and basic functional
other throughout time. Furniture makers around vocabulary of the Chinese language, and aspects
the world produced wide chairs mindful of ladies’ of Chinese culture.
spatially-expanding attires, while lower-back
seats were designed to accommodate the Chinese I
towering hairdos often sported at the court of CHI-521 | 3 CR
Marie Antoinette. Colorful robes were preferred This is the first semester of an intermediate
to better set off their wearers against one course in conversational Mandarin, including basic
particular background or another, while late grammar and basic functional vocabulary of the
19th-century Gesamtkunstwerk theories dictated Chinese language; speaking, reading, and writing;
that female inhabitants—through their clothes and aspects of Chinese culture.
and posture—become one with their interiors.
Twentieth-century fashion designers are known Chinese II
for their interior decoration schemes, and many CHI-523 | 3 CR
couture houses are now incorporating interior This is the second semester of an intermediate
design offices. Daughters of Eve: Glamorized course in conversational Mandarin, including basic
Femininity, Fashion, and Interiors from Versailles grammar and basic functional vocabulary of the
to Today attempts to understand the central role Chinese language; speaking, reading, and writing;
that style and glamor have played in everyday life and aspects of Chinese culture.
from the Renaissance to today and to question
long-held beliefs that have held decoration and
physical adornment as ‘minor arts,’ subservient
FREN/FRENCH
to architecture.
French Conversation
Leisure in the Empire City
FREN-533 | 3 CR
HD-668 | 3 CR
This course is about communicating in spoken
This course introduces students to the new
French. It is for undergraduate and graduate
decorative themes and modern interior design
students who have completed Intermediate
practices developed in the public spaces of
French I and II (or have equivalent skills) and who
entertainment that were born in large cities such
wish to acquire oral proficiency. Conducted
as Paris, London, Berlin, and New York beginning
entirely in French, classes are devoted to directed
in the second half of the 19th century. From
conversation and role-playing as well as learning
cafes and cabarets to restaurants, movie palaces,
strategies for communication on the fly.
dance halls, and amusement parks, the residents
of large metropolitan areas liked to party. We
Francophone Literatures
will explore the architecture and interior design
FREN-538 | 3 CR
of nightlife spaces in parallel with the glamorous
This course introduces to advanced-intermediate
architecture and interior displays of museums,
students a variety of poems, folktales, stories and
hotels, railroad cars, and large shopping centers.
passages from novels by eminent French-speaking
Using New York as our laboratory, we will meet
authors from countries outside of France. A
on campus for half of our classes while spending
historical consideration of each country’s conflu-
the other half in the city. Some of the sites that
ence or conflict with French language and culture
we will visit include: the Four Seasons restaurant,
provides a context for better understanding of its
the Waldorf Astoria hotel, the Bergdorf Goodman
literature and people.
department store, the Coney Island Museum, and
Radio City Music Hall.

GER/GERMAN
Reading German I
GER-601 | 3 CR
This course is designed to develop German
reading skills and a vocabulary in the context of
the study of art history. This is a two-semester
course, for which credit is achieved only on the
successful completion of both semesters. Open
only to graduate students in art history.
Reading German II
GER-602 | 3 CR
This course is designed to develop German
reading skills and a vocabulary in the context of
the study of art history. This is a two-semester
course for which credit is achieved only on the
successful completion of both semesters. Open
only to graduate students in art history. Requisite
courses: Complete HMS-101A or HMS-101B with a
grade of C or better (Required, Previous).
HMS/HUMANITIES AND MEDIA
STUDIES
Religion in 20C Novel
HMS-500B | 3 CR
This course covers a range of authors whose
fictional works involve questions of modern
religious faith. Novels exploring aspects of
Eastern theology, mysticism and Catholicism
are investigated for their spiritual responses to
contemporary social and political events and
conditions, as well as for their stylistic elements.
SPECIAL TOPICS: Literary Studies
HMS-500S | 3 CR
This course is designed to enable students
to explore special topics in literary studies
in a concentrated way. See HMS website for
descriptions of topics being offered in a given
semester. Students will learn contemporary
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
SPECIAL TOPICS: Modern/Contemporary
HMS-501S | 3 CR
This course is designed to enable students to
explore special topics in modern and contem-
porary literature and culture in a concentrated
way. See HMS website for descriptions of topics
being offered in a given semester. Students will
learn contemporary theories and methods via an
in-depth exploration of the topic at hand. May be
repeated for credit as topic changes.
SPECIAL TOPICS: World Literature/Culture
HMS-503S | 3 CR
This course is designed to enable students to
explore special topics in world literature and
culture in a concentrated way. See HMS website
for descriptions of topics being offered in a
given semester. Students will learn contemporary
School of Design Courses
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
SPECIAL TOPICS: Literary/Cultural Theory
HMS-530S | 3 CR
This course is designed to enable students to
explore special topics in literary and cultural
theory in a concentrated way. See HMS website
for descriptions of topics being offered in a
given semester. Students will learn contemporary
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
SPECIAL TOPICS: Literary/Cult Studies
HMS-531S | 3 CR
This course is designed to enable students to
explore special topics in literary and cultural
studies in a concentrated way. See HMS website
for descriptions of topics being offered in a
given semester. Students will learn contemporary
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
Poetics of Cinema
HMS-540E | 3 CR
This course investigates relationships between
image and narrative in cinema. Weekly creative
assignments—informed by close readings of film
excerpts and text—will culminate in the design of
a short, poetic film project. We will view visionary
work by innovative filmmakers, and engage in close
reading, followed by active discussion, to deepen
our understanding of artistic choices—in the use
of metaphor, point of view, association, montage,
image/action, frame, composition, time, space,
kinetics, transformation, multiple perspectives,
reflexivity, gesture and the body, non-linear
narrative, amongst others—in the act of visual
storytelling central to the cinematic enterprise.
Women in International Cinema
HMS-540F | 3 CR
This course considers the vision of prominent
and pioneering films, with particular attention to
the gaze, subjectivity, ambivalence, multiplicity
of perspective, identification and disruption, as
cinematic vocabulary and subject. We will look at
films—in the works of artists such as Agnes Varda,
Lois Weber, Claire Denis, Marguerite Duras and
Alain Renais, Julie Taymor, Susanna Bier, Rainer
Fassbinder, Wong Kar Wai, Ang Lee and Todd
Haynes—with an emphasis on identity, sexuality
and gender.
Semiotics of Media
HMS-540G | 3 CR
This class will explore the semiotics of cinema as
elaborated by Deleuze in his books Cinema 1 and
Cinema 2. Deleuze develops a taxonomy of cin-
ematic signs that displaces both linguistic-based
semiotics and psychoanalytic approaches. How
can we extend Deleuze’s categories to incorporate
innovations in digital and new media?
Film Theory in Practice
HMS-540H | 3 CR
This course is an introduction to some of the key
concepts in the history of film and media theory.
However, rather than merely reading about these
theories, students will also experiment with and
apply these theories in practical exercises involving
writing, photography, video and other media.
Film Sound
HMS-540I | 3 CR
Is film a visual medium? This course explores some
of the theoretical concerns in designing the sound
of a film, including the creation of soundtracks,
the use of original scoring, and voice-overs.
Key Concepts in Net Art
HMS-540J | 3 CR
Net Art is an interdisciplinary field with roots in
a number of other practices—conceptual art,
performance art, video art, video games, poetry,
and mail art, to name a few. We will study works
of art on the internet and the practices of making
and presenting art that precede them. Alongside
works of art and art criticism, we will read works
about the nature of the Internet as a medium. Key
concepts include: transmission, narration/narra-
tive, presence, interactivity, identity, instrument,
gaming, digital vs. analog, medium and mediation.
SPECIAL TOPICS: Cinema/Media Studies
HMS-540S | 3 CR
This course is designed to enable students to
explore special topics in cinema and media
studies in a concentrated way. See HMS website
for descriptions of topics being offered in a
given semester. Students will learn contemporary
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
Global Cinema
HMS-541A | 3 CR
In iconic films selected from contemporary global
cinema, we will examine how the invention of new
cinematic language is used to evoke poignant
insight into human experience, and potentially
influence our perceptions of reality. Modules
organized by genre will consist of screenings,
supplemented by guest filmmaker(s), seminar
discussions, readings, research and student
creative projects.
Media Studies Encounters 1
HMS-549A | 1 CR
Media Studies Encounters 1, offered during
Fall Semester, gives students a program of
events, including speakers, films, presentations,
performances, outings, and various other
activities designed to introduce a widely varied
set of media practices and theories in an informal
setting. Discussions will also be held during weeks
in which events are not scheduled. Some ongoing
writing is required, but because the course is only
for one credit, it will only meet for eight sessions
at various points throughout the semester.

Media Studies Encounters 2
HMS-549B | 1 CR
Media Studies Encounters 2, offered during
Spring Semester, gives students a program of
events, including speakers, films, presentations,
performances, outings, and various other
activities designed to introduce a widely varied
set of media practices and theories in an informal
setting. Discussions will also be held during weeks
in which events are not scheduled. Some ongoing
writing is required, but because the course is only
for one credit, it will only meet for eight sessions
at various points throughout the semester.
Performance Studies
HMS-560S | 3 CR
This course is designed to enable students
to explore special topics in performance and
performance studies in a concentrated way. See
HMS website for descriptions of topics being
offered in a given semester. Students will learn
contemporary theories and methods via an
in-depth exploration of the topic at hand. May be
repeated for credit as topic changes.
Electro-Acoustic Music
HMS-590A | 3 CR
This course acquaints students with the history of
electronics in music/audio art, gives them some
measure of technical competence with current
tools in analog and digital audio, and presents
them with exercises that will promote original,
creative work.
The Idea of Black Music
HMS-590B | 3 CR
Do we know black music when we hear it? When
we hear it as part of narrative (i.e.: in film, opera,
or commercials), how does black music function
symbolically? What challenges does sound pose
to the accepted wisdom in semiotics? In addition
to listening to music by black performers and
composers, we will be reading critical works
about music across fields such as musicology, film
theory, black studies, and literature.
SPECIAL TOPICS: Music & Sound Studies
HMS-590S | 3 CR
This course is designed to enable students to
explore special topics in music and sound studies
in a concentrated way. See HMS website for
descriptions of topics being offered in a given
semester. Students will learn contemporary
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
The Artist’s Book
HMS-591A | 3 CR
This course develops critical frameworks for
interpreting and creating artists’ books; that is,
artworks in which the book is a medium. We will
study such books alongside histories of the field,
theoretical writings, and critical commentaries.
These studies will inform our endeavors to
create, catalogue, and/or critique artists’ books
in which visual, verbal, and material elements
are interwoven. Advanced students from various
School of LIberal Arts & Sci Courses
fields are encouraged to use and expand
their own disciplinary perspectives. Visits to
collections around New York City will supplement
Pratt’s resources.
Animation Narrative
HMS-592A | 3 CR
This course focuses on the fundamentals of
narrative theory and practice, with an emphasis
on how to employ strong narrative elements in
visual work, especially animation and film, and
on translating theory into practice. As a starting
point, the course examines traditional stories
and their underlying structures, looking closely at
ancient mythologies from various world cultures
and the common narrative elements they share
while comparing visual representations that
correspond to these elements. The course
advances to less traditional narrative structures
(i.e. nonlinear, antiheroic, sensory, etc.), the more
complex and often abstract visual representations
these structures have evoked, and the narrative
theories that engage them.
SPECIAL TOPICS: Literary Studies
HMS-600S | 3 CR
This course is designed to enable students to
explore special topics in literary studies in an
intensive graduate seminar setting. See HMS web-
site for descriptions of topics being offered in a
given semester. Students will learn contemporary
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
SPECIAL TOPICS: Contemporary
Art/Theory
HMS-630A | 3 CR
This course will focus on analyzing how contem-
porary artists and those that write about their
work, engage with the problems and possibilities
of representing history. Students will investigate
the various ways contemporary artists attempt
to engage with and represent history. When
do artists look to the past and for what artistic,
critical, and political purposes? What does artwork
that engages history tell us about how history can
be thought, represented, imagined? What does
contemporary art tell us about the relationships
among history, images, and visual culture?
SPECIAL TOPICS: Literary/Cultural Theory
HMS-630S | 3 CR
This course is designed to enable students to
explore special topics in literary and cultural
theory in an intensive graduate seminar setting.
See HMS website for descriptions of topics being
offered in a given semester. May be repeated for
credit as topic changes.
SPECIAL TOPICS: Cultural Studies
HMS-631S | 3 CR
This course is designed to enable students to
explore special topics in cultural studies in an
intensive graduate seminar setting. See HMS web-
site for descriptions of topics being offered in a
given semester. Students will learn contemporary
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
SPECIAL TOPICS: Cinema/Media Studies
HMS-640S | 3 CR
This course is designed to enable students to
explore particular special topics in cinema/media
studies in a intensive graduate seminar setting.
May be repeated for credit as topic changes.
Mediologes I
HMS-650A | 3 CR
This course introduces students to the logics
of mediation in their varied forms, including
print, visual (photography, cinema, video), audio,
technological, and social forms of media.
Mediologes II
HMS-650B | 3 CR
This course will build on the work of Mediologies
I, introducing students to methods of interpreting
a variety of media objects/artifacts—books, pho-
tographs, films, everyday objects, video games,
websites, sounds/music, and other specific
artifacts of media process—while situating these
objects in relation to critical, social, historical, and
cultural contexts.
Media Studies Thesis Workshop
HMS-659A | 4 CR
This course will work to help students prepare for
the production of a final project or thesis. The
class will be run as a workshop for student work,
facilitated by a faculty member. Students will
engage with readings on the topic of producing
a final project or thesis; examine relevant
critical texts as well as workshop the process of
selecting a thesis advisor; assemble an annotated
bibliography, a precise and literature review;
prepare outlines and preliminary or preparatory
statements of purpose, and begin the work at
hand. Instructor and peers will respond to work
in progress and help the student reach the point
at which they can take the project or thesis
to fruition during the class semester, or in the
following semester.
Media Studies Thesis Progress
HMS-659B | 0 CR
This course is for students who have taken the
Media Studies Final Project/Thesis Workshop
and are in the process of producing a final
project/thesis.
Writing as Photography
HMS-693A | 3 CR
This graduate course explores ways in which a
range of poetic and critical writing can recreate
and investigate innovative and rigorous modes
of photography. Writing and photography are
at a point of potential interchangeability, where
both are tools for utilitarian communication and
poetic forms. This course will enact the historic
and contemporary overlap between writing
and photography in methodology and effect.
Class time be will be split between seminar style
discussions, at time led by graduate students,

on extensive weekly readings and workshops on
writing exercises in poetry and critical essays.
Conceptual Art and Writing Practices
HMS-694A | 3 CR
In this conceptual art-and-writing course,
students will design, carry out, and document
a “cultural expedition” designed to recuperate
cultural lineages, dimensions of experience,
and kinds of knowledge that are at risk of being
lost. We will explore how poetics can expand
our notions of sustainability to include cultural
recovery and reanimation and we will learn to use
specific writing and investigative (action-based)
procedures, such as sustained liking practices,
note-taking and commonplace books, audio
recording and transcription, archive assembly
and investigation, and site-specific research
and performance. Be ready to step out of the
classroom and into a more flexible, open, and
versatile way of looking at writing, at the past, and
at how we can, out of that past, construct a more
diverse and desired world.
Writing for AD Practice
HMS-696A | 1 CR
This course is a one credit, graduate-level writing
workshop designed to teach artists how to write
through and about artistic practice. Through a
series of readings and exercises, students are
provided with creative approaches to meet
writing required of them in school and more
generally. Students will read and write about visual
art, design, dance, money, news and politics,
science and poetry. They will also write first
person essays and collaborative texts about their
own practice of making. Students will complete
weekly assignments and cooperatively review
work in class. For a final assignment, students will
prepare a writing portfolio that includes a revised
artist’s statement, reading journals and an essay
that makes textual citation to the course reader
and outside texts. Students will be given the
opportunity and support to publish their writing
portfolio as an artist’s book.
Graduate Thesis Writing
HMS-697A | 1 CR
This course explores the writing and critical skills
necessary for the successful completion of a
graduate thesis. In a workshop setting, students
will engage in free writing followed by critical and
structural evaluation, revision, and final editing,
with a focus on introductory paragraphs and
thesis statements. Students will also examine
techniques for structuring a complex discussion;
develop an understanding of what assertions and
claims need evidentiary support; and consider the
elements of a successful and insightful conclusion.
Graduate Thesis Writing II
HMS-698A | 1 CR
This course continues HMS 697A’s exploration
of the conceptual, critical, and writing skills
necessary for the successful completion of the
graduate thesis, with sensitivity to the differing
requirements of Pratt’s various major depart-
ments. Students will engage in the critical and
School of LIberal Arts & Sci Courses
structural evaluation, revision, and final editing relevant to their studies and career paths. The
of their graduate thesis in a workshop setting. proposed assignment and a specific program of
Students will also critique assigned readings and hours and supervision have to be approved by the
prepare a process paper detailing the creative, internship coordinator.
critical and editorial choices made during the
final revision and editing of their graduate thesis.
Individual conferences will be scheduled for each
PLAB/POETICS LAB
student, and they are a required and integral part
of this course.
Poetics Lab
PLAB-699 | 2 CR
Media Studies Internship
The Poetics Lab course is an intensive faculty/
HMS-9600 | 0 CR
student seminar, play-space and trans-disciplinary
This course allows Media Studies MA Students to
thinktank involving a small group of faculty and
work as interns in venues relevant to their studies
students from across the Institute. Selected
and career paths, and for the internship to appear
faculty and students explore various aspects of an
on their transcripts. The proposed assignment and
announced topic, thinking and creating together
a specific program of hours and supervision have
on a range of relevant problems and provocations.
to be approved by the internship coordinator.
Enrollment is by permission only; a selection
process takes place during the semester before
Media Studies Internship
the class: please see advisor for details.
HMS-9601 | 1 CR
This course allows Media Studies MA students to
work, for academic credit, as interns in venues PPS/PERFORMANCE AND
relevant to their studies and career paths. The
proposed assignment and a specific program of
PERFORMANCE STUDIES
hours and supervision have to be approved by the
internship coordinator.
Workshop with Visiting Artist
PPS-549A | 3 CR
Media Studies Internship
In this course, students of performance and
HMS-9602 | 2 CR
performance studies will have the opportunity
This course allows Media Studies MA students to
to work with a visiting artist for a 5-week session
work, for academic credit, as interns in venues
during the fall or spring semester, and for the
relevant to their studies and career paths. The
remainder of the semester on 1) studying the
proposed assignment and a specific program of
work of the visiting artist and other relevant work
hours and supervision have to be approved by the
prior to the visit, and 2) developing relevant
internship coordinator.
performance and/or critical work of their own.
This class will consist of lectures, seminars, studio
Media Studies Internship
work and studio visits. May be repeated for
HMS-9603 | 3 CR
credit with new visiting artists; Performance and
This course allows Media Studies MA students to
Performance Studies MFA students are required
work, for academic credit, as interns in venues
to take three semesters.
relevant to their studies and career paths. The
proposed assignment and a specific program of
Performance Across Cultures
hours and supervision have to be approved by the
PPS-550A | 3 CR
internship coordinator.
This class is designed to introduce students to
theater and dance companies in New York City
Media Studies Intern Workshop
performing in a wide range of international styles
HMS-9701 | 1 CR
and traditions. The course is meant to offer
This course allows Media Studies MA students to
students wide knowledge—across a range of
work, for academic credit, as interns in venues
cultures and communities—of what performance
relevant to their studies and career paths. The
is. We will look at traditional forms as well as
proposed assignment and a specific program of
contemporary work. Most classes will feature
hours and supervision have to be approved by the
lectures and demonstrations by guest artists. We
internship coordinator.
will watch samples from their work, hear about
their process and be led in some embodied
Media Studies Intern Workshop
work of our own. Students will participate in
HMS-9702 | 2 CR
workshops and complete weekly readings and
This course allows Media Studies MA students to
independent projects.
work, for academic credit, as interns in venues
relevant to their studies and career paths. The
Approach Comm-Based Perform
proposed assignment and a specific program of
PPS-550B | 3 CR
hours and supervision have to be approved by the
Community-based theater includes a variety of
internship coordinator.
theater-making practices defined by their interac-
tion with the communities from which they grow,
Media Studies Intern Workshop
including theater performed in or for communities
HMS-9703 | 3 CR
other than the self-selected audience that comes
This course allows Media Studies MA students to
into a theater. In this class, we will look at histories
work, for academic credit, as interns in venues

and theories of community-based work as well
as projects on the contemporary landscape. The
class will consist of viewings, weekly readings,
and discussion as well as embodied work. We
will learn and practice exercises to create a
sense of trust and openness in community work,
gathering approaches to collecting stories and
strategies for working collaboratively. We will
pay particular attention to the power dynamics
involved in community-based art practices. What
does it means to be a professional working with
community members, and what strategies can
we use to negotiate the challenges of being an
outsider in a leadership position? This course
also serves to prepare students for internships in
community-based theater.
Performance Across Cultures
PPS-649B | 3 CR
This class is designed to introduce students to
theater and dance companies in New York City
performing in a wide range of international styles
and traditions. The course is meant to offer students
wide knowledge—across a range of cultures and
communities—of what performance is. We will look
at traditional forms as well as contemporary work.
Most classes will feature lectures and demonstrations
by guest artists. We will watch samples from their
work, hear about their process and be led in some
embodied work of our own. Students will participate
in workshops and complete weekly readings and
independent projects.
Approach Community Based Performance
PPS-649C | 3 CR
Community-based theater includes a variety of
theater-making practices defined by their interac-
tion with the communities from which they grow,
including theater performed in or for communities
other than the self-selected audience that comes
into a theater. In this class, we will look at histories
and theories of community-based work as well
as projects on the contemporary landscape. The
class will consist of viewings, weekly readings,
and discussion as well as embodied work. We
will learn and practice exercises to create a
sense of trust and openness in community work,
gathering approaches to collecting stories and
strategies for working collaboratively. We will
pay particular attention to the power dynamics
involved in community-based art practices. What
does it means to be a professional working with
community members, and what strategies can
we use to negotiate the challenges of being an
outsider in a leadership position? This course
also serves to prepare students for internships in
community-based theater.
Workshop with Artist-In-Residence
PPS-649S | 3 CR
In this course, students of performance and
performance studies will have the opportunity
to work with a visiting artist for a 5-week session
during the fall or spring semester, and for the
remainder of the semester on 1) studying the
work of the visiting artist and other relevant work
prior to the visit, and 2) developing relevant
performance and/or critical work of their own.
School of LIberal Arts & Sci Courses
This class will consist of lectures, seminars, studio
work and studio visits. May be repeated for
credit with new visiting artists; Performance and
Performance Studies MFA students are required
to take three semesters.
Introduction to Performance Studies
PPS-650A | 3 CR
This course provides a comprehensive introduc-
tion to performance studies and theory. We will
develop basic theoretical, critical, literary and
performance skills that will improve understanding
of creative work in performance studies and
cultural studies. We will put theories into practice
by presenting performed work every other week.
This class Is foundational for the Performance and
Performance Studies program.
Introduction to Performance Practice
PPS-651A | 3 CR
This class explores the art, play, technique
and rigorous fun involved In bringing a strong
presence to the unique space of performing. The
class begins with a focus on physical and vocal
training, moving through improvisation, generating
material, and working with prepared material.
Time and timing, space, tenderness, chaos,
intention, perception, lying, and the imaginary are
examples of the kinds of ideas we will be using as
tools to move us into exploratory spaces.
Critical Writing for Performance
PPS-652A | 3 CR
In this course, we will examine and practice
the analytical, critical, and writing skills needed
to compose essays suitable for publication. In
workshops we will engage in writing exercises,
peer evaluation, revision, and editing with a focus
on completing one review essay and journal
article for publication. We will learn how to create
pressing arguments, to integrate textual and other
evidence, and to engage in sustained reflection.
We will review relevant readings in Performance
Studies in order to participate in current debates
within the field. By doing so, we will learn how to
make important disciplinary Interventions in the
field of Performance Studies through writing.
Thesis/Project Workshop I
PPS-659A | 3 CR
This course will help students prepare for the
production of a final project or thesis. The
class will be run as a workshop for student work,
facilitated by a faculty member. Students will
engage with readings relevant to their topics;
examine relevant critical texts; select a thesis
advisor; assemble an annotated bibliography, a
precise and literature review; prepare outlines
and preliminary or preparatory statements of
purpose, and begin the work at hand. Instructor
and peers will respond to work in progress and
help the student reach the point at which they
can take the project or thesis to fruition during
the current or following semester.
Thesis/Project Workshop II
PPS-659B | 3 CR
This course enables Performance and
Performance Studies MFA students to work
closely with a faculty mentor while preparing
and completing their final performance project
and written thesis.
SPECIAL TOPICS: Performance Studies
PPS-660S | 3 CR
This course is designed to enable students to
explore special topics in performance studies
in a concentrated way. See PPS website for
descriptions of topics being offered in a given
semester. Students will learn contemporary
theories and methods via an in-depth exploration
of the topic at hand. May be repeated for credit
as topic changes.
Improvisation for Performer
PPS-661S | 3 CR
This course is designed to enable students to
explore special topics in performance practice in
a concentrated way. See PPS website for descrip-
tions of topics being offered in a given semester.
May be repeated for credit as topic changes.
Perform Studies Internship
PPS-9600 | 0 CR
This course allows Performance and Performance
Studies MFA students to work as interns in venues
relevant to their studies and career paths, and for
the internship to appear on their transcripts. The
proposed assignment and a specific program of
hours and supervision have to be approved by the
internship coordinator.
Perform Studies Internship
PPS-9601 | 1 CR
This course allows Performance and Performance
Studies MFA students to work as interns in venues
relevant to their studies and career paths, and for
the internship to appear on their transcripts. The
proposed assignment and a specific program of
hours and supervision have to be approved by the
internship coordinator.
Perform Studies Internship
PPS-9602 | 2 CR
This course allows Performance and Performance
Studies MFA students to work as interns in venues
relevant to their studies and career paths, and for
the internship to appear on their transcripts. The
proposed assignment and a specific program of
hours and supervision have to be approved by the
internship coordinator.
Perform Studies Internship
PPS-9603 | 3 CR
This course allows Performance and Performance
Studies MFA students to work as interns in venues
relevant to their studies and career paths, and for
the internship to appear on their transcripts. The
proposed assignment and a specific program of
hours and supervision have to be approved by the
internship coordinator.

Internship (Summer Only)
PPS-9700 | 0 CR
This course allows Performance and Performance
Studies MFA students to work as interns in venues
relevant to their studies and career paths, and for
the internship to appear on their transcripts. The
proposed assignment and a specific program of
hours and supervision have to be approved by the
internship coordinator.
Internship
PPS-9701 | 1 CR
This course allows Performance and Performance
Studies MFA students to work as interns in venues
relevant to their studies and career paths, and for
the internship to appear on their transcripts. The
proposed assignment and a specific program of
hours and supervision have to be approved by the
internship coordinator.
Internship
PPS-9702 | 2 CR
This course allows Performance and Performance
Studies MFA students to work as interns in venues
relevant to their studies and career paths, and for
the internship to appear on their transcripts. The
proposed assignment and a specific program of
hours and supervision have to be approved by the
internship coordinator.
Internship
PPS-9703 | 3 CR
This course allows Performance and Performance
Studies MFA students to work as interns in venues
relevant to their studies and career paths, and for
the internship to appear on their transcripts. The
proposed assignment and a specific program of
hours and supervision have to be approved by the
internship coordinator.
SPAN/SPANISH
Conversational Spanish I
SPAN-501 | 3 CR
This is a conversational Spanish course designed
to prepare Art and Design Education majors
(undergraduate and graduate) for the practicum
in New York City schools. Conversational exer-
cises will be oriented to classroom interactions.
This is a two-semester course for which credit
is achieved only on the successful completion
of both semesters. (Open only to students in
Art and Design Education.) Requisite courses:
Complete ENGL-103 with a grade of C or better
(Required, Previous).
Conversational Spanish II
SPAN-502 | 3 CR
This is a conversational Spanish course designed
to prepare Art and Design Education majors
(undergraduate and graduate) for the practicum
in New York City schools. Conversational exercises
will be oriented to classroom interactions. This
is a two-semester course for which credit is
achieved only on the successful completion of
both semesters. (Open only to students in Art and
School of LIberal Arts & Sci Courses
Design Education.) Requisite courses: Complete
SPAN-501 (Required, Previous).
LAS/LIBERAL ARTS AND SCIENCES
Independent Study
LAS-698 | 1–6 CR
In this graduate course, work is assigned on an
individual basis under advisement by a faculty
member, and in consultation with the department’s
chair. This course provides graduate students with
the opportunity to pursue a project that goes
beyond the existing curriculum or facilities.
Department: SCI
MSCI/MATH AND SCIENCE
Toxics in the Environment
MSCI-536 | 1 CR
This course focuses on toxic and hazardous
substances in the environment, with particular
emphasis on trace metals and organic compounds
associated with construction materials and the
urban/industrial environment. It examines issues
such as urban air quality and indoor air pollution,
the persistence of toxic chemicals in the
environment, and the regulation and cleanup of
toxic substances. Case study discussion focuses
on sources and exposure to toxic substances in
the built environment in general, and the New
York City urban environment in particular.
Special Studies in Science
MSCI-590 | 1–3 CR
Special studies courses cover a variety of new or
experimental topics for graduate students. The
subject matter changes from semester to semester,
depending on student and faculty interests.
Science of Sustainability
MSCI-610 | 3 CR
The Brundtland Commission in 1987 defined “sus-
tainability” as “meeting the needs of the present
generation without compromising the ability of
future generations to meet their own needs.” The
Science of Sustainability course explores some of
the major scientific issues behind our understand-
ing of sustainability. Through lectures, readings,
and discussions, the class will explore such issues
as biodiversity, population, food and water
resources, climate change, energy, public health,
and the overall forecast for the environment and
the human condition for the next several decades.
Students will gain a greater appreciation of how
science can inform the policies and practices that
will shape a more sustainable future.
The Science of Light
MSCI-620 | 3 CR
This course introduces Pratt graduate students
to light and optical phenomena in nature and
technology and will acquaint them with various
physical aspects of light. We will delve into
optical effects in nature such as the formation
of rainbows, the colors of the sky and bubbles,
mirages, the formation of images by our eyes and
reception of those images by the rods and cones
of our retinas. The use of light in technology will
be explored by examining topics such as fiber
optics, light sources (from the sun to light bulbs to
pixels), one-way mirrors, 3-D movie glasses, and
image formation with pinholes, lenses and mirrors.
Special attention will be paid to the operating
principles and functioning of cameras, including
lenses, viewfinders, apertures, and filters.
Degradation of AD Materials
MSCI-633P | 3 CR
In this course students will gain an understanding
of how art and design materials degrade and how
they can be preserved. Dirt plays a major role in
the deterioration of materials, therefore optimal
cleaning methods are a necessity. Scientific
methods are important for the study of art
and design materials. The use of multi-spectral
imaging and polarized light microscopy for
characterization of art and design materials will
be discussed. We will cover how to determine
realistic goals for treatments. Students will choose
an art or design material and get a chance to sci-
entifically characterize, clean, degrade, and apply
a treatment allowing for a deeper understanding
of the materials they use in their practices.
SCI/SCIENCE
Special Studies in Science
SCI-590 | 1–3 CR
Special studies courses cover a variety of new or
experimental topics for graduate students. The
subject matter changes from semester to semester,
depending on student and faculty interests.
Department: SS
PHIL/PHILOSOPHY
Beyond Aesthetics
PHIL-565P | 3 CR
This course approaches contemporary aesthetics
through notions like embodiment, performativity,
trauma and shock, abjection and the sensuous-
ness of pain, heterogeneity and networks, natural
and artificial life, and mimicry and defacement.
Recent work in philosophy will be consulted for
relevance to a range of objects and examples
from the visual and performing arts to literature,
cinema, and everyday life.
Aesthetics
PHIL-604 | 3 CR
Presents the main studies in the philosophy of
art and criticism through both a historical and an

analytic lens. It looks at the classical arguments of
Plato, Kant, Hegel, and Dewey, as well as current
conceptual frameworks for identifying what
makes for a work of art. Emphasis is placed on
the significance of these theories to the art of the
20th century.
Art and Gender
PHIL-606P | 3 CR
This course examines how the arts operate as
spaces for the articulation and contestation of
gender norms. Through readings in aesthetic
theory, gender and sexuality studies, and art
history and criticism, we will explore how a variety
of subject positions are marked out in relation
to art and we will consider how each of these
positions both demands and produces certain
kinds of gendered subjects. At each class meeting,
students will be invited to pair artworks with
theoretical and historical readings in order to
explore how art both entrenches gender norms
and opens up new possibilities of gendered
self-fashioning.
Philosophy of Love and Desire
PHIL-607P | 3 CR
As far back as Plato’s “erotic” dialogues, love
and desire have been seen as fundamental to
philosophical thinking. This course explores
the ways in which the passionate conditions of
thinking have been formulated throughout the
history of philosophy-from Plato and Augustine,
to Nietzsche and Freud-in order to consider
the role of love and desire in this history, and to
better understand what we mean when we use
these terms.
Studies in Phenomenology
PHIL-608P | 3 CR
Phenomenology is a 20th century movement
dedicated to the belief that the proper study of
philosophy is experience, and experience must
be understood from the first person point of
view. Phenomenology investigates the nature
and structure of experience, consciousness, and
intentionality; it looks at the self’s relation to
itself, the world and others, the body, emotions,
aesthetic experiences, time, space and memory.
Key figures in Phenomenology include Edmund
Husserl, Maurice Merleau-Ponty, Martin Heidegger,
Jean-Paul Sartre, and Gaston Bachelard.
Beyond Aesthetics
PHIL-609P | 3 CR
This course approaches contemporary aesthetics
through notions like embodiment, performativity,
trauma and shock, abjection and the sensu-
ousness of pain, heterogeneity and networks,
natural and artificial life, mimicry and defacement.
Recent work in philosophy will be consulted for
its relevance to a range of objects and examples
from the visual and performing arts to literature,
cinema, and everyday life.
Sublimity, Monstrosity, Disgust
PHIL-612P | 3 CR
This course aims to investigate the way that
basic affective orientations—such as attraction
School of LIberal Arts & Sci Courses
and repulsion—influence and inform aesthetic be conceptualized, with particular attention to
experience. We will begin by investigating the the question of power—how it is to be thought of,
strange mixture of beauty, terror, and repulsion questioned, desired, and resisted.
that occurs in Greek tragedy, and then proceed
to explore disgust, abjection, and the uncanny Art Worlds
in detail. Finally, we will conclude with a brief SS-601 | 3 CR
history of the concept of the sublime, in order to Students examine the social dimension of art, archi-
trace the transformation of negative affects into tecture, and design. The course addresses both
aesthetic experience. the historical contextualization of art in society and
traces the political, economic and cultural forces
that bear upon the organization of creative activity.
SS/SOCIAL SCIENCE Various instances of art, monuments and urban
design are studied for the insights they provide into
the broader dynamics of society.
Capitalism and Socialism
SS-508 | 3 CR
Ways of Knowing: Research Methods
Various types of modern socioeconomic systems
SS-602 | 3 CR
are reviewed, including an examination of general
Provides the social-scientific foundations for
questions such as goals and values of different
graduate thesis research projects. It takes
systems, degree of popular control over socioeco-
what we know and then links particular ways of
nomic decisions and extent of economic inequality.
generating an understanding of the world to
U.S, Russia, and other societies are compared with
various research methodologies available in the
respect to institutional arrangements, economic
social sciences. It provides students with ways in
performance, and consistency to ideology.
which to reflect on conceptual and ethical issues
in social research.
Controversies in Cultural Theory
SS-510 | 3 CR
African Cinema
This is an interdisciplinary seminar that explores
SS-604 | 3 CR
theoretical and conceptual issues of common
This is a course on African modernity through
concern to both architecture and liberal arts. It
an exploration of African Cinema and globalizing
focuses on bodies of 20th century cultural and
African cities. Using African cinema as our entrée,
social theory that can be said to have developed
we will explore the idea of the postcolonial
an ideology of space, viewed both as a notion of
city and the impact of modernization on urban
habitat and as a vision of urban utopianism.
Africa. How has the circulation of people, capital
and commodities affected urban life in African
Art, Culture and Community Development
societies? In turn, how is African cosmopolitanism
SS-512 | 3 CR
transforming spaces within national borders,
This course will provide students with the
as well as outside Africa? Aesthetics, national
historical, conceptual, and analytical background
identity, ecology, migrancy, cultural citizenship
as well as the interdisciplinary perspective
and political imaginaries are some of the areas
that they would need to work in the field of
of investigation the course undertakes through
arts-based community development. The first
the critical analysis of African cinema. Graduate
part of the class will be devoted to reviewing the
students taking this course will be expected to
historical role of arts in social movements and
watch films, do all the readings, participate in class
urban planning efforts. Then the focus will be on
discussions and write a substantial term paper.
evaluating and analyzing the divergent roles of arts
and design in contemporary urban and community
Concepts of Materiality
development using case studies.
SS-611 | 3 CR
Drawing on distinct but overlapping art historical
Globalization: Contemporary Economics
and archaeological methodologies, intersecting
SS-537 | 3 CR
with philosophy, anthropology, and the history
Examines the current processes and features of
of science, this seminar examines the many ways
global integration and division. It focuses on the
that objects, things and matter are thought to
emergence over the past decade of what has been
hold meaning, memory and history. Tracing the
called the “new world order.” Particular attention is
evolution of the concept of materialism through
paid to the differential impact across regions and
time and across various, the course will focus on
nations of international, political, and economic
the idea of the immanent and nonlinear nature
institutions and arrangements; and on work,
of materialisms as well as the ways in which
governments, social movements, and public life.
embodied subjectivities can be conceptualized
and materialized. This course will hesitate in the
Spaces, Movements, Identities
space between the formations of these theories,
SS-560 | 3 CR
particularly in light of new materialisms, and,
Concentrates on some of the most important
matter itself, never inert or static but always in the
contemporary writings on space, new social
process of becoming.
movements, identity, and the body. The readings
are drawn from sociology, geography, architec-
ture, cultural studies, and feminism. It uses these
perspectives to understand how the present can

Department: WR
WR/WRITING
Special Topics in Fiction
WR-500S | 2 CR
This course explores special topics in fiction
writing and in relevant theory and criticism. May
be repeated for credit as topic changes.
Visiting Writer/Collective
WR-577 | 2 CR
The class will be a semester-long praxis led by
the visiting writer or visiting collaborative group
currently in residence. The visiting writer/visiting
collaborative group will work with students to plan,
research, develop, and execute an on-campus or
off-campus collaborative project, intervention,
performance, or excursion. This section is for
graduate students only.
Ecopoetics
WR-593 | 3 CR
Human language use is an inherently ecological
practice in that it participates in forming the way
we think, write, and act in regard to the world we
share with other living things. As such, language can
be used as a force for imagining and establishing
new ways of living together, but it must also be
scrutinized for the ways in which our past and
present linguistic concepts and strategies have
contributed to a history of unsustainable attitudes
and practices. In this course, we will read across
a broad spectrum of poetry, philosophy, and
history—as well as looking at a number of works in
other media (film, video, image, and earth-
works)—in order to contextualize contemporary
ecolinguistic practices. We will also write: in the
spirit of experiment and serious play, our poems
and essays will test some of the ideas, concepts
and orientations we discover along the way.
Mentored Studies I
WR-600A | 1 CR
Mentored Studies (I and II) is one of the core
sequences in the graduate Writing Program. This
course, Mentored Studies I, allows students to
work closely over the semester with their chosen
writing mentor. Through 4–5 targeted meetings,
the Mentored Studies class is designed to provide
a student with one-on-one contact, advisement,
and in-depth creative engagement with their
selected mentors.
Mentored Studies II
WR-600B | 1 CR
Mentored Studies (I and II) is one of the core
sequences in the graduate Writing Program. This
course, Mentored Studies II, allows students to
work one-on-one over the semester with their
chosen writing mentor in order to seek advice,
share knowledge, and receive feedback and
guidance on their writing.
School of LIberal Arts & Sci Courses
The Writing Studio creative collaborations. Students may also found
WR-601 | 4 CR a collaborative group and work together on this
The Writing Studio is the core class of the MFA in Fieldwork project. Requisite courses: WR-603A
Writing. It is offered every semester and aims to (Required, Previous).
provide students with an opportunity to have their
creative work-in-process critiqued in an engaged, Final Thesis/Project
dialogic, and collaborative setting by experts in WR-604A | 4 CR
the field. All first and second year MFA students This course will be run as a workshop and
are required to participate. In addition, full-time knowledge-sharing seminar, for students who are
and participating part-time faculty members will completing their MFA thesis. In class, students
be invited to attend along with affiliated writers, will share their work-in-progress and receive
critics, artists, activists, and designers, who will be critical feedback on ways to improve the final
invited as guest critics. thesis. The faculty member running the seminar
will guide the discussion of the work-in-progress,
Writing Practices I suggest resources (other writings, critical/
WR-602A | 3 CR theoretical work, authors, artists, etc.) to improve
This is a first year, first-semester foundational the thesis, and help to keep the student on track
reading and discussion-based seminar covering to completion.
the history and theory of collaborative and
engaged writing practices. Students will explore Final Thesis/Project
various critical and creative lines of inquiry related WR-604B | 0 CR
to collaborative and expansive writing practices. This course is for students who have taken WR
604A: Final Thesis/Project and are in the process
Writing Practices II of producing a final thesis/project.
WR-602B | 3 CR
This is a second year, first-semester foundational
reading and discussion-based seminar that
links to and extends Writing Practices I. Under
the guidance of a faculty member second year
students will collaboratively work with each other
and with the professor to suggest texts, speakers,
and pedagogical approaches that explore and
thematize the history and theory of collaborative
and expansive writing practices. The course
aims to give students a strong sense of how the
theory and tradition behind such approaches can
be shared, enacted, and transmitted. Requisite
courses: Take WR-602A (Required, Previous).
Fieldwork Residency I
WR-603A | 1 CR
This is a second-year hands-on practice and
development residency stretching over two-se-
mesters that will oversee students’ independent
and self-directed and/or group-directed
creative and social engagement with an outside
organization that complements or inspires their
writing and research practices. Guided by a
faculty member, students identify an outside
community group, activist group, institution,
or community willing to host the student as a
Writer in Residence. The student, in turn, will
collaborate with this organization to develop a
range of creative cross-media interventions and
collaborations, which will be carried out in the
following semester (Fieldwork Residency II).
Fieldwork Residency II
WR-603B | 1 CR
This is the second of two Fieldwork sequences.
It is designed, like the first, as a hands-on
practice and development class that will oversee
students’ creative and social engagement with
an outside organization that complements and
feeds their writing and research practices. In
this class, students collaborate with their outside
community group, activist group, institution,
or community in order to create and carry out

School of Information
and Library Science
Department: LIS
LIS/LIBRARY AND INFORMATION
SCIENCES
Digital Resources/Interaction
LIS-605 | 3 CR
The course introduces students to a wide range
of digital resources and communities involved
in their creation and use. The course covers
topics related to the content and design of open
access and proprietary information systems and
successful evaluation strategies. Students learn
about the ethical issues involved in conducting
research. Exercises are designed to offer
hands-on experience with various types of digital
resources and advance student research skills.
Information Economics & Management
LIS-607 | 3 CR
This course covers topics related to digital
information management. Students will gain an
understanding of macro- and micro-economic
issues involved in the production, distribution,
and use of information, information products
and services. Historical evolution of information
media and ethical as well as policy issues involved
in information availability and consumption will
also be examined.
Human-Information Behavior
LIS-608 | 3 CR
This course examines the concepts of information,
information needs, and the process of seeking
information. Models of information behavior and
major theories, paradigms, and perspectives
related to information seeking are addressed.
Characteristics of information seeking behavior
are explored as they relate to individuals and
groups in various social roles, demographic areas
and occupations as well as issues related to
user-centered service and system design.
Information Policy
LIS-611 | 3 CR
The course will be concerned primarily with
access to and dissemination of information.
Students will discuss the range and scope of
information policies as they affect society today,
among them freedom of information, intellectual
property, privacy, and government information.
Students will be shown how tensions between
conflicting laws and policies are resolved on a
legal and pragmatic level and will rely on both
primary and secondary source materials, including
statutes, case law, law reviews, scholarly journal
articles, books and popular press.
School of Information and Library Science Courses
Government Information Sources
LIS-613 | 3 CR
Publications of federal and certain state and local
governments and their selection, acquisition, use
and administration are discussed. Practical exer-
cises in printed tools and electronic databases are
required. Requisite courses: Complete LIS 651 and
LIS 652 (Required, Previous).
Graphic Novel-Narrative
LIS-615 | 3 CR
Sequential art is the structured imagery that
illustrates comic books and graphic novels. For
many years, the art form has been marginalized in
the U.S. as being unsophisticated and immature.
It is only recently that, particularly in the form of
graphic novels, it has garnered critical attention,
in-depth academic analysis and a place on library
shelves. This course will examine the history of the
form, from a prototypical structure before the
birth of the comic book through the development
of the graphic novel and its impact on other
media, highlighting the manner in which the form
reflects the social and cultural development
of the country itself. Sequential art from other
cultures, including manga, will also be explored.
This course will also explore the graphic novel’s
place in publishing, libraries, and schools, both in
its efficacy as entertainment and its possibilities
as a tool of education.
Legal Research Methods and Law
Literature
LIS-617 | 3 CR
This course is an analysis of the systematic
approach used in the legal profession and law
libraries to find the law through the use of printed
materials and electronic information sources. An
introduction to the legal process and the basic
principles of American law are included. Requisite
courses: LIS-652 (Required, Previous).
International Information Sources
LIS-619 | 3 CR
This course will emphasize the place and
importance of international documents to the
global economy and to international collaborative
research. Students will be instructed on access to
and bibliographic control of materials in print, and
to electronic formats produced by international
non-governmental organizations and foreign
governments, a few examples being the United
Nations system, the European Union, the World
Bank, World Trade Organization, and British
parliamentary documents.
Management of Archives and Special
Collections
LIS-625 | 3 CR
An examination of the nature of archives and the
principles underlying their management. The
acquisition and processing of archival material;
appraisal principles and techniques; conservation
of textual and non-textual materials, including
control of the physical environment; use of
archival materials; and administration of archival
repositories are studied in depth. Requisite
courses: LIS-653 (Required, Previous).
Data Librarianship
LIS-628 | 3 CR
The world of data is seemingly a new frontier for
libraries, yet in some ways, data and data sets
are comparable to other print and electronic
resources that librarians historically have been
charged with locating, teaching, collecting,
organizing, and preserving. This course asks how
best we can serve the needs of a burgeoning
community of data users/producers while meeting
the new challenges that data present to our
existing skill sets, workflows, and infrastructure.
Topics will include data reference and literacy;
archives and repositories; formats and standards;
ethics and policy. Statistical/GIS software and
research data management are also explored.
Museums & Library Research
LIS-629 | 3 CR
Working with the Watson Library and other units
of the Metropolitan Museum of Art, students
learn how works of art communicate meaning,
ideas, and information from a research and
cross-cultural perspective. Literature, exhibitions,
digital collections, databases in the arts, programs
and events, films and other media are examined
from the point of view of access, organization, and
management of museum collections. Requisite
courses: LIS-652 (Required, Previous).
Research Design & Methods
LIS-630 | 3 CR
This course introduces topics in information and
library science research. Students will learn to
apply theories as well as qualitative and quantitative
methods to the development of original research;
to identify research questions, design studies,
collect and analyze data, and to publish.
Academic Libraries and Scholarly
LIS-631 | 3 CR
This course will provide a survey of scholarly
communication past and present with a
particular emphasis on the changes in scholarly
communication in the past ten years. Students
will examine the interaction between society,
technology and scholarly communication, the
theory and practice of the communication of
knowledge in academic and research environ-
ments and how these trend developments of
publishing and communication are affecting
changes in scholarly communications.
Conservation and Preservation
LIS-632 | 3 CR
An introduction to the preservation of library
and archival materials using a comprehensive
approach that includes theoretical, technical,
and practical aspects of preservation. It covers
the historical development of preservation in
libraries and archives, including permanence
and durability, ideas that support preservation
of cultural material and preservation methods
such as conservation treatments, preservation
microfilming, digitization, and other types
of reformatting. Students also examine
holdings maintenance and rehousing techniques,
preservation selection, conditions and needs

of assessment surveys, handling and storage
techniques, environmental controls, and disaster
planning and salvage methods. Requisite courses:
LIS-651 (Required, Previous).
Strategic Leadership
LIS-633 | 3 CR
While management has been taught in schools of
information and library science (SILS) for decades,
classes on leadership are extremely rare. Yet the
ability to think strategically and to lead change
has never been more engaged in information
management. This course is a seminar designed
to equip SILS students with the skills, perspective
and frameworks for creating and implementing a
vision. Topics include exerting influence at every
level through strategy, organizational design,
organizational culture and change management.
Over the course of the semester, this course will
delve into the roles and tasks of strategic leaders
and the contribution of strategy to building
organizations that achieve lasting impact.
Conservation Lab
LIS-634 | 3 CR
It is essential for today’s archival professional to
have a comprehensive understanding of tech-
niques and tools available to them to preserve the
unique holdings under their management. Working
in tandem with the conservator in the library’s
conservation laboratory, students will handle,
analyze, and treat original material—thereby
gaining invaluable hands-on experience. Students
will be introduced to the varied treatments
of paper-based materials available to protect
and ensure that historic records survive for the
generations of researchers.
Archives Appraisal
LIS-635 | 3 CR
This course wrestles with some key issues that
pertain to archival collection policy. Students will
explore why materials are being accepted or solic-
ited for an archive; how society or an organization
is “Documented”. How archival materials will be
used; who will use archival materials and why.
Students should be able to design an appraisal or
acquisition policy for a collecting institution that
will serve the archives’ larger mission at the end
of the course. Requisite courses: Take LIS-625
(Required, Previous).
Web Design Production
LIS-637 | 3 CR
This course is designed to provide a fundamental
understanding of web design techniques and
technologies. Students will be using the following
tools: Adobe Fireworks, Dreamweaver and Flash
specifically, students will learn about HTML and
XHTML, graphic and multimedia formats, web
design software, site planning, server integration,
and the tools and techniques commonly used
when designing for the internet, kiosks, and other
interactive media. Requisite courses: Take LIS-654
(Required, Previous).
School of Information and Library Science Courses
Information Architecture and Interaction
Design
LIS-643 | 3 CR
This course provides students with practical
knowledge and hands-on experience designing
digital interfaces from a user-centered perspec-
tive through an exploration of the dual practices of
information architecture and interaction design.
Students will go through the entire user-centered
design life cycle, from concept to prototype, and
in the process will 1) learn about and employ a
variety of design methods aimed at understanding
users and their contexts and 2) learn about
and use appropriate tools and media to create
a range of design deliverables that effectively
communicate design insights. At the conclusion
of this course, students will have a foundation of
knowledge and skills that will prepare them to do
practical design work in a variety of settings and
organizations. Requisite courses: Take LIS-653,
LIS-654 (Required, Previous).
Usability Theory & Practice
LIS-644 | 3 CR
This course provides the theoretical and practical
foundations for evaluating digital interfaces from
a user-centered perspective. Through lectures,
in-class activities, readings and individual and
group assignments, students will learn and apply
usability principles and gain hands-on experience
with several common usability evaluation
methods, including traditional user testing plus
inspection- and field-based methods. Because
the goal of evaluation is always to improve
the underlying usability of an interface, the
course will focus on effectively communicating
evaluation results. At the conclusion of this
course, students will possess the knowledge
and skills necessary for successfully planning,
conducting, and leading usability evaluations in a
variety of settings and organizations.
Advanced User Experience Design
LIS-646 | 3 CR
This course is designed to introduce students
to advanced practices and tools of the User
Experience (UX) profession. While topics may
vary to reflect current and emerging trends in
the profession, the core focus of the course
consists of three broad themes: information
design principles, understanding and defining
user behaviors, and designing for cross-channel
experiences. As a whole, the course will expose
students to state-of-the-art, advanced UX tools
and techniques and prepare them to make
meaningful contributions to digital projects across
a wide variety of contexts, including libraries,
archives, museums, and beyond. Requisite
courses: Take LIS-643 (Required, Previous).
Visual Resources Management
LIS-647 | 3 CR
This course will cover all aspects of visual
resources management, description, access, and
curatorship. Keeping in mind how best to serve
the needs of users for discovery and access of
visual materials, particularly in digital formats,
the course will be geared toward the acquisition
of practical knowledge and cover such topics
as: managing legacy collections and metadata in
analog and digital formats; collection develop-
ment; metadata schemas, content standards and
authorities for art and non-art images; interface
and database design considerations; digital
asset management and preservation workflows;
and the history and future of careers in visual
resources readings, lectures, and discussion will
be augmented with hands-on assignments using
actual image resources and cataloging tools, as
well as a final project of a larger scope that can
either take a theoretical or practical approach to
the material covered in the course.
Library Media Centers
LIS-648 | 3 CR
Topics range from the professional roles and
responsibilities of school library media specialists
to the programs and services offered through
the school library media center as they pertain
to delivering direct instruction and classroom
management, student learning processes and
working with students with disabilities, curriculum
planning and collection development, and
teacher evaluation and student assessment.
The course examines the relationship between
the AASL Information Learning Standards and
the Common Core State Standards (CCSS), how
they relate to the schools’ programs at various
developmental levels, PreK-12, and introduces
some of the learning tasks and language of edTPA.
25 hours of field experiences are required along
with a weekly seminar.
Information Professions
LIS-651 | 3 CR
Introduces the fields of librarianship and
information professions. Course material
covers the evolving role of libraries in society,
the legal and ethical aspects of the profession
and the impact of rapidly changing information
environments. Also included are the principles
of management, development of policies and
procedures, effective communication skills,
types of libraries and information centers, and
organizational and staffing structures. Three hours
of field observation is required.
Info Services & Resources
LIS-652 | 3 CR
Covers concepts of reference service in real
and virtual environments. The course introduces
the selection and evaluation of resources in
all formats, the development of searching
techniques, strategies for user-centered service,
matching user needs to resources and the
provision of information services in changing
technological environments. Six hours of field
observation is required.
Knowledge Organization
LIS-653 | 3 CR
Covers basic concepts of knowledge/information
organization and subject analysis. The material
includes basic principles and application of
descriptive cataloging and classification, authority
control and types and forms of catalogs. Also

covered are the use of MARC records and
meta-data, strategies for user-centered cata-
loging and classification, principles of abstracting
and indexing and the rapidly changing knowledge
organization systems.
Information Technologies
LIS-654 | 3 CR
This course introduces the fundamental concepts
of computing and networking, with an emphasis
on the role these technologies play in creating,
manipulating, storing, and accessing information.
Topics essential to the work done by information
professionals will be highlighted: web technol-
ogies, database concepts, markup languages,
data management, and design and accessibility.
Students will conduct frequent hands-on activities
to acquire skills that are immediately applicable to
working with information technologies. The course
will explore recent trends in technology within
information organizations, preparing students
for their roles as information professionals and
providing the foundation for future technolo-
gy-related coursework.
Digital Preservation/Curation
LIS-655 | 3 CR
This course will provide a historical foundation
and critical framework for evaluating digital
information. The class incorporates computer
history, digital preservation theory, and strategic
planning methods to provide students with the
tools and knowledge that are critical for running
libraries, archives and museums. Requisite
courses: take LIS-654 (Required, Previous).
Digital Humanities I
LIS-657 | 3 CR
This course examines the history, theory, and
practice of digital humanities, paying special
attention to the ways in which digital humanities
are transforming research, disciplines, and even
the academic itself. Topics include contrasts
and continuities between traditional and digital
humanities; tools and techniques used by digital
humanists; the processes of planning, funding,
managing, and evaluation digital humanities proj-
ects; ways in which the digital humanities impact
scholarly communication and higher education;
and the special roles of libraries and information
professionals in this growing movement.
Information Visualization
LIS-658 | 3 CR
This course examines the art, science and
practice of information visualization. Particular
emphasis is placed on the ways in which position,
shape, size, brightness, color, orientation, texture,
and motion influence perception of information
and facilitate comprehension and analysis
of large and complex bodies of information.
Topics include cognition and visual perception;
the aesthetics of visual media; techniques for
processing and manipulating information for
the purpose of visualization; studies of spatial,
relational, multivariate, time-series, interactive,
and other visual approaches; and methods for
School of Information and Library Science Courses
evaluating information visualizations. Requisite
courses: LIS-654 (Required, Previous).
Digital Humanities II
LIS-659 | 3 CR
This course explores advanced methods and
tools in the digital humanities, including digital
curation and preservation, databases and content
management systems, text encoding and analysis,
geospatial analysis, network analysis, usability, and
open content creation and publishing platforms.
Particular emphasis is placed on formulating
research questions, critically evaluating data
quality and project design, and disseminating
knowledge artifacts for diverse audiences.
Requisite courses: LIS-657 (Required, Previous).
Collection Development
LIS-660 | 3 CR
A study of methods and techniques for the
development of a collection policy and practice
to meet the needs of diverse user groups. The
course includes collection policy development,
censorship, methodology of user group identifica-
tion, standards, budget allocations, selection,
media and weeding.
Advanced Cataloging/Classification
LIS-662 | 3 CR
Students study advanced theory and practice in
cataloging and classification with an emphasis on
the Library of Congress classification schedules
and cataloging of non-book media, and metadata
for Web-based sources. Requisite courses:
LIS-653 (Required, Previous).
Metadata: Description & Access
LIS-663 | 3 CR
Students will explore the principles of archival
description with an overview of metadata
applications such as Dublin Core, Text Encoding
Initiative (TEI), Metadata Object Description
Schema (MODS), Encoded Archival Description
(EAD), VRA Core, Categories for the Description
of Works of Art (CDWA) and Cataloging Cultural
Objects (CCO). The overview includes metadata
formats, descriptive detail for different forms of
material, choice and form of entry for creators,
provision of authority control for creators, subject
analysis and thesauri. Requisite courses: Take
LIS-653 (Required, Previous).
Program for Cultural Heritage
LIS-664 | 3 CR
This course examines the emerging field of linked
open data and its application in the world of
digital and/or physical libraries and museums.
The overall objective for the classroom as a whole
is to ideate and then create a linked open data
project. This will require not only reading and
research on existing projects and standards but
also the acquisition of software and programming
skills needed to make the project work. Students
will be required to learn a computer programming
language (Python), this course will not serve as a
general introduction to programming or computer
science, but using it in the context of the class
will serve as an excellent starting point for further
study. Requisite courses: take LIS-654, LIS-653
(Required, Previous).
Projects in Digital Archives
LIS-665 | 3 CR
This class is a combination of theoretical, practical
and hands-on approaches to digital library
creation. Topics will include metadata creation,
image capture, archival storage and Web pre-
sentation. Students will learn about the theories
behind the practices that they will implement, and
will gain an understanding about the administrative
issues associated with the successful implemen-
tation of a digitization project. Requisite courses:
LIS-654, LIS-653 (Required, Previous).
Art Librarianship
LIS-667 | 3 CR
This course examines a wide range of information
in the history of art, including printed and
online resources. Course will explore the unique
characteristics of art publications and the basics
of art book publishing and the art book trade
topics, including overview of various kinds of art
and design libraries. It will include a wide range of
information resources relating to the history of
art, including print and online resources.
Moving Image/Sound Archives
LIS-668 | 3 CR
From film, video, to born-digital, moving image
and sound recordings have compelled users since
their advent in the late 19th century. Today, many
archives housed at universities or non-profit
institutions act to preserve the moving image
record. However, the fragility of this medium
(particularly the magnetic media that hold sound
and video), combined with the preservation
needs of today’s born-digital works (such as
independent documentaries), are questioning
our collective ability to preserve this work. This
class will work to combat this trend by focusing on
the theoretical and practical aspects related to
archiving moving image and sound recording, with
a particular focus on digitization and born-digital
assets. Requisite courses: take LIS-654, LIS-653
(Required, Previous).
Digital Asset Management
LIS-669 | 3 CR
This course includes the study of the
organizational transitions and culture changes
required for successful program implementation,
multiple types of technology and their roles in
the management of electronic records, current
practices in the management of electronic
records in business applications, e-mail, instant
messaging, websites, and desktop computers and
preservation of digital records. Also covered are
electronic record system inventories and imple-
mentation of retention and disposition systems
for documentation management repositories,
databases, e-mail, and Web content. Requisite
courses: LIS-653, LIS-654 (Required, Previous).

Cultural Heritage Descriptions and Access
LIS-670 | 3 CR
This course examines principles and practices for
enhancing access to cultural heritage materials
and making digital content easier to find and use.
Students will be provided the opportunity to
explore, analyze, and evaluate state-of-the-art
and emerging trends in the description and
access of digital heritage collection in libraries,
archives, and museums. The goal of this course is
to introduce students to the range of theoretical
and practical issues relates to heritage data
organization. Requisite courses: Take LIS-653,
LIS-663 (1612) (Required, Previous).
Tween Media Literacy
LIS-671 | 3 CR
This course explores the social and psychological
needs and attitudes of pre-adolescents, aged
10-13, and the media created especially for this
demographic. The primary focus of this class is
the media practices if ‘Tween”-Agers and the
evaluation, selection and activation of print,
online and non-print materials available to them.
Special attention is paid to the developmental
tasks of this age group with an eye towards
media literacy. Discussion topics will include
popular literature for tween readers, literacy and
technology, the media and popular culture as it
applies to this age group, non-print materials,
and the use of specialized selection materials to
develop collections in school and public libraries.
Literacy & Instruction
LIS-673 | 3 CR
This course examines literacy theories, including
critical literacy, digital literacy, media literacy,
information literacy and trans literacy. Students
will explore the implementation of literacy-related
programs in public libraries, academic libraries,
archives, museums and other cultural institutions
with a focus on assessing patron needs and using
culturally relevant pedagogy. Requisite courses:
Complete LIS 652 (Required, Previous).
Researching Local History
LIS-674 | 3 CR
Local history is history central to a geographic
location and Is generally researched and written
by both amateur and professional historians. Local
history exists all around us—in buildings, parks,
popular culture, media, and in a wide range of
documents and records. This course will provide
a comprehensive overview of topics and related
resources for the study of cities, towns and local
histories. The course will question how and why
we study cities and towns and how that study
compares across disciplines in the humanities,
social sciences and sciences.
Museum & Library Ed Outreach
LIS-675 | 3 CR
The design and implementation of outreach
programs to educational communities by
libraries and museum will be studied in this
course. Attention will be paid to the ways in
which currents in museum education can be
applied to librarianship. Topics covered include
School of Information and Library Science Courses
contemporary pedagogical and curatorial
theory, the relationships between libraries and
museum with education in the current funding
environment, the provision of online educa-
tional materials, and the diversity of education
communities and their needs.
Lit & Literacy for Children
LIS-676 | 3 CR
A study of print and non-print materials for
children from pre-school through primary grades
and their relationship to the elementary-level
state learning standards. Emphasis is on the
developmental aspects of the child in society. The
history of children’s materials, criteria for selection
and methods for promoting use are examined.
Lit/Literacy for Young Adults
LIS-677 | 3 CR
A study of print and non-print materials for
adolescents from grades 7 through 12 and their
relationship to intermediate- and commence-
ment-level state learning standards. Emphasis
is on the developmental aspects of adolescents
in society. The history of young adult materials,
criteria for selection and methods for promoting
use are examined.
Bldg. Youth Comm & Collections
LIS-678 | 3 CR
An overview of library services for children and
teens, school and public libraries that emphasizes
hands-on experience and practical application
of programming and collection development
philosophies and directives.
Museums/Digital Culture:
LIS-679 | 3 CR
This required course introduces students to
the theory and practice of museums and digital
culture and to current research in the field .
Students learn how digital culture is transforming
museums across the full range of museum
functions and activities and become familiar with
the digital tools and technologies that engage
and inform museum visitors. The course gives a
broad overview of field’s development, which
importantly is grounded in information science
and the related fields of museum informatics
and digital cultural heritage, fields that find com-
monalties of practice with libraries and archives.
The course examines the issues and challenges
museums face today and moving into the future.
It surveys digital culture across the museum from
the perspectives of digital technology and social
contexts including digital information behavior
user experience, digital exhibitions and museums
on the Web. Students experience and engage with
museum digital culture through lectures, engaging
with museum professionals, field observation,
and by doing a final digital project drawn from
coursework and class presentation.
Instructional Technologies
LIS-680 | 3 CR
Covers the selection and uses of technology,
software, and other media i­ncluding instructional
and assistive technologies—as they are used
to acquire information, to communicate, and
to teach and learn. The role of information
professionals as leaders in innovative uses of
technologies is emphasized. Requisite courses:
LIS-654 (Required, Previous).
Community Bldg. & Engagement
LIS-681 | 3 CR
This course examines the notion of community
within cultural heritage institutions and the larger
framework of cultural Informatics. Particular
emphasis is placed on social media as a tool for
communication, engagement, and action. Topics
include communities and digital commons, user
studies, diverse populations, media studies, digital
identity, social networks, information ecologies,
social media adoption and use, community
building, social advocacy and activism, and
technology in the service of democracy.
Projects in Information Experience Design
LIS-682 | 3 CR
With a theoretical foundation that combines
aspects of information science and user
experience (UX) design, this course covers
practical, hands-on approaches for working with
information organizations to conceptualize and
implement user centered tools, services, and/
or information spaces. Throughout the course,
students will explore and apply theories and
principles of the emerging field of Information
Experience Design (IXD) through applied,
collaborative projects with partner institutions
(e.g., libraries, archives, museums, or similar
organizations). Topics will include design thinking,
research and discovery, and project planning and
implementation, with an emphasis on designing an
information experience that meets the needs of
both internal and external stakeholders. Requisite
courses: Take LIS-643 (Required, Previous).
Medical & Health Informatics
LIS-683 | 3 CR
Computers, mobile devices, and other
technologies are essential for the management
of medical and health information in today’s
networked world. A variety of informatics tools will
be covered, as well as methods for understanding
and keeping up-to-date with medical literature.
Medical Librarianship
LIS-685 | 3 CR
An introduction to medical librarianship as a
profession and the role of the medical library
in health care institutions. Use and application
of medical reference tools and modern access
systems is studied. Analysis of medical literature,
retrieval systems and centers and remote
bibliographic sources through interactive
terminals are studied.
Performing Arts Librarianship
LIS-686 | 3 CR
Students will explore the intersection of
performing arts librarianship and research by pro-
ducing a guide to a specific collection. Through
presentations, consultations, and individual study,
students will consider how the organization and

description of collections conveys meaning
about their subjects, how copyright law impacts
scholarship, and why the interaction between
researcher and reference librarian is crucial to
success. Students will explore catalogs and finding
aids, examine the challenges in working with
various formats, and consider how programs and
exhibitions can “animate” collections. Requisite
courses: Take LIS-652 (Required, Previous).
GIS
LIS-687 | 3 CR
Geographic Information Systems (GIS) is
system comprised of software, hardware, data
for creating, storing, managing, manipulating,
analyzing and displaying geographically referenced
information. This course is meant to provide a
strong foundation and overview of many of the
underlying concepts in GIS as well as a strong
practical skill set utilizing GIS software and data
through a mixture of lectures, readings, hands-on
assignments and discussions. The course will also
introduce spatial metadata standards and best
practices for long term preservation. We will
mainly use QGIS software but will also use ArcGIS,
GRASS, Google Earth as well as web mapping tools
including JavaScrip-based tools such as Leaflet.
Institute on Map Collections
LIS-688 | 3 CR
Maps are the most efficient deliverers of
information, dealing with the spatial dimension
of events in time. Ecology, history, property,
archaeology, events in the news—all can be
clarified by the cartographer’s artistic and/or
scientific hand or computer graphic file. This
institute is an introduction to maps as information
tools. We will examine maps, atlases and globes;
their collection in local and national libraries and
by private collectors; and their impact on library
map collections. Map librarianship as practiced
today will be examined via presentations by
NYPL librarians, visits to local map stores and
antiquarian dealers. Participants will draw upon
this information and experience to investigate and
evaluate specific research areas and topics.
Rare Books and Special Collections
LIS-689 | 3 CR
The course serves as an integral part of the
special collections concentration with a particular
focus on bibliography and the printed book. It is
an overview to gain an understanding of issues
related to reference, cataloging, exhibitions,
acquisitions and conservation in rare books
and special collections libraries. Of particular
interest will be the special collections at New York
Public Library, with emphasis on the Rare Book
Division. Planned visits include The Grolier Club
and NYU Fales Collection, as well as enriching
guest speakers. Students will engage actual
special collections materials to gain a first-hand
understanding of proper handling, basic care, and
preservation techniques in rare book collections
as well as practical knowledge of reference
sources and rare book reading room policies.
School of Information and Library Science Courses
Student Teaching: 1–6
LIS-690 | 3 CR
This course consists of 20 days of full-time
experience in Grade 1–6 level library media
centers in a variety of communities where
library media specialists interact with classroom
teachers, parents/caregivers, and students who
are socio-economically disadvantaged, English
language learners, disabled, or have special needs.
Students attend a weekly seminar in which the
needed knowledge base in the state learning
standards is related to library media programs
and services for various developmental stages
of children, and how the library media specialist
can enhance and support student growth and
learning. Emphasis is on the techniques for build-
ing collaborative learning environments wherein
the learning and independence of students with
disabilities and the listening, speaking, reading
and writing skills of all students at the childhood
level are enhanced. Requisite courses: Complete
LIS 651, LIS 652, LIS 653, LIS 654 and 100 hours of
NYS field observation with a minimum GPA 3.25
(Required, Previous).
Children with Disabilities
LIS-691 | 3 CR
The course will provide an overview of service to
children and teens with disabilities in public, school
and specialized libraries. Students will learn about
the needs of youth with disabilities and the barriers
they experience in the library. By the end of the
semester they will be able to evaluate, plan and
implement barrier-free library services for children
and teens with all types of disabilities. Topics to
be addressed include types of disabilities, legal
issues, special education services, assessment of
existing library services, the theoretical framework
and practical guidelines for inclusion, community
needs assessment, the literature of disability,
assistive technology, program planning, best
practices, community partnerships and the library
as a family resource center.
Student Teaching: 7–12
LIS-692 | 3 CR
This course consists of 20 days of full-time
experience in Grade 7–12 level library media
centers in a variety of communities where
library media specialists interact with classroom
teachers, parents/caregivers, and students who
are socio-economically disadvantaged, English
language learners, disabled, or have special needs.
Students attend a weekly seminar in which the
needed knowledge base in the state learning
standards is related to library media programs
and services for various developmental stages of
adolescents, and how the library media specialist
can enhance and support student growth and
learning. Emphasis is on the techniques for build-
ing collaborative learning environments wherein
the learning and independence of students with
disabilities and the listening, speaking, reading
and writing skills of all students at the adolescent
level are enhanced. Requisite courses: Complete
LIS 651, LIS 652, LIS 653, LIS 654 and 100 hours of
NYS field observation with a minimum GPA 3.25
(Required, Previous).
Digital Libraries
LIS-693 | 3 CR
This course will examine the current state of
digital libraries in a new context. We will look at
the history and background of digital libraries;
particular areas of digital librarianship including
digitization, preservation and subscription; and
other third party resources. Finally we look at
communities of practice that can be served by
digital libraries, with emphasis on the shifting
world of learning, scholarship and play. Requisite
courses: LIS-654 (Required, Previous).
Film and Media Collections
LIS-694 | 3 CR
The course will provide an introduction to
building and maintaining collections and services
related to visual media, primarily moving images,
sound and ephemera. Discussions will survey key
components such as the history of film and media
in library collections, collection development,
access, equipment, copyright, emerging technolo-
gies and management of non-print formats.
Photography Collections
LIS-695 | 3 CR
This course will survey the important issues in
the field, look at case studies, and visit existing
collections in order to have a sense of the variety
of strategies employed to organize photographs
and make them retrievable. The class will employ
practical exercises to enforce key principles of
photography organization and cataloging, drawing
upon the surveyed collection practices, and
exploring best practices.
Special Topics
LIS-697 | 3 CR
Covers current issues and topics. New or experi-
mental courses are taught several times to assess
the need for them in the regular curriculum.
Practicum
LIS-698 | 3 CR
Consists of a seminar and a 150-hour practicum
of supervised observation and practice in a library
or other information service setting selected by
the school. Students gain experience in a wide
variety of functions. Students maintain journals of
systematic observation and are given readings and
other assignments. Only students who have met
the criteria for participation can enroll. Requisite
courses: Complete 12 credits or permission from
department (Required, Previous).
Independent Study
LIS-699 | 3 CR
This course includes study of the organizational
transitions and culture changes required for suc-
cessful program implementation, multiple types
of technology and their roles in the management
of electronic records, current practices in the
management of electronic records in business
applications, e-mail, instant messaging, websites,
and desktop computers and preservation of
digital records. Also covered are electronic
record system inventories and implementation of
retention and disposition systems for document
 School of Information and Library Science Courses

management repositories, databases, e-mail, and

Web content. Requisite courses: Complete 12
credits or faculty approval (Required, Previous).

Independent Study
LIS-799 | 3–6 CR
Research studies dealing with a problem of
particular interest to the student and related
to his/her area of specialization are completed
under the direction of a member of the
faculty. Six credits required; may be taken as
one unit or in two, three credit units. Requisite
courses: Complete 12 credits or faculty approval
(Required, Previous).
 335

Index

A City and Regional Planning, 51–53 description, 1–5

Academic calendar, 325–331 curriculum descriptions, 174–176 directions to, 333
Academic integrity code, 302–303 degrees offered, 27, 29, 31, 33, 34, 49, 55, 173 libraries, 317, 319
Academic policies. see Registration and Facilities Management, 62–65 map, 332
academic policies faculty, 190–200 Schools and departments (list), 22–23
Academic standing, 300 general information, 27–29 tours, 4, 251
Academic Year format, Creative Arts Therapy Graduate Architecture and Urban Design Brooklyn Law School, 49, 144
program, 80, 81 (GAUD), 31–32 Bulletin, changes to, 304
Accreditation. see also Teacher certification Historic Preservation, 58–61
Accreditation Statement, 21 professional standards, 29
School of Architecture, 21, 29 Programs for Sustainable Planning and C
Development, 46–49 Calendar, academic, 325–331
School of Art, 72, 80
scholarships, 268–270, 277–279 Campuses. see Brooklyn campus; Manhattan
School of Design, 21
Study Abroad programs, 16–17 campus
School of Information and Library Science,
Sustainable Environmental Systems, 54–57 Campus Ministry, 307
21, 136
Urban Design, 41–45 Career support, 8
School of Liberal Arts and Sciences, 21
Art, School of, 66–103 Center for Career and Professional Development
Activities Resource Center (ARC), 13, 310
accreditation, 21, 72, 80 (CCPD), 311–312
Administration, 323–324
admission requirements, 72, 77, 81, 84, 88, Center for Sustainable Design Studies (CSDS), 7, 21
Admission requirements, 251–261
97, 255–257 Certificate programs
applications, 251–253, 259–260
Art and Design Education, 70–73 Advanced Certificate in Archives, 147
obtaining information about, 4
Arts and Cultural Management (ACM), 74–77 Advanced Certificate in Library and
Office of Graduate Admissions, 251
Creative Arts Therapy, 78–81 Information Studies, 148
readmission, 260–261
curriculum descriptions, 176–181 Advanced Certificate in Library Media
School of Architecture, 29, 47, 63, 253–255
Dance/Movement Therapy, 79-81 Specialist Program, 142, 147–148
School of Art, 72, 77, 81, 84, 88, 97, 255–257
degrees offered, 68, 71, 72, 76, 79, 80, 81, Advanced Certificate in Museum Libraries, 147
School of Design, 111, 115, 128, 257–258
84, 87, 95, 96, 97, 173 Advanced Certificate in Museum Studies, 154
School of Information and Library Science,
Design Management (DM), 82–85 Certificate in Art and Design Education
142, 145, 147, 148, 258
Digital Arts, 86–93 (M.F.A./Post-Baccalaureate), 96
School of Liberal Arts and Sciences, 159,
faculty, 200–226 Intensive English Program (IEP), 151, 170, 171
162, 166, 259
Fine Arts, 94–103 Certification. see Teacher certification
transfer credits, 261, 291–292
general information, 67 Children and Young Adult Librarianship, 142
transfer students, 261
refundable deposits (Fine Arts Studio), 283 China, applicants from, 253
Advanced Certificates
(see also Tuition and fees) City and Regional Planning, 51–53, 196–197
Archives, 147
scholarships, 270–272, 277–279 College.net, 252
Art and Design Education, 72, 97
Study Abroad programs, 16-19 Combined degrees and certificates
Library and Information Studies, 148
Art and Design Education Certificate in Art and Design Education
Library Media Specialist Program, 142, 147–148
Advanced Certificate, 72, 97 (M.F.A./Post-Baccalaureate), 96
Museum Libraries, 147
faculty, 200–201 City and Regional Planning (M.S./J.D.), 49
Museum Studies, 154
general information, 70–73 Digital Arts and Information (M.S.L.I.S./M.F.A.),
American Art Therapy Association, Inc., 21, 80
Arts and Cultural Management (ACM), 74–77, 202 145
American Dance Therapy Association, 21, 80
Art Therapy and Creativity Development, 79, 80 Fine Arts/History of Art (M.S./M.F.A.), 96
American Library Association, 21, 136
Art Therapy with Special Needs Children, 80 History of Art, Design, and Architecture
Applications
Assistantships, 264 (M.S.L.I.S./M.S.), 145
credentials needed for, 252–253, 259
Auditing courses, 283 History of Art and Design (M.S./M.F.A.), 154
deadlines for, 251–252
History of Art/Art and Design Education
international applicants, 252, 259, 260
(M.S./M.F.A.), 95, 96
international applicants, from China, 253
notification and deposit, 260
B Library and Information Science and Law
Banking facilities, 284 (M.S.L.I.S./J.D.), 144, 145
Architecture, School of, 27–65
Billing, 285 overview of all degrees, 173
accreditation of, 21, 29
Board of Trustees, 321 Commission on Higher Education of the Middle
admission requirements, 29, 47, 63, 253–255
Brooklyn campus States Association of Colleges and Schools, 21
Architecture (department), 33–40
cultural partnerships, 16 Communications Design, 108–117, 217–219
336
Computer facilities, 171
Copenhagen, Study Abroad programs, 17
Council for Interior Design Accreditation, 21
Course offerings, organization of, 297
Creative Arts Therapy, 78–81, 202–204
Credits
portfolio/work experience credit, 292
semester hour credits, 297–298
transfer credits, 261
Curricula
School of Architecture, 174–176
School of Art, 176–181
School of Design, 182–183
School of Information and Library
Science, 184–187
School of Liberal Arts and Sciences, 187–189
D Communications Design, 217–219
Dance/Movement Therapy, 79-81
Dance Therapy Association, 80
Deadlines, for applications, 251–252
Deferral, 261
Degrees. see also Advanced Certificates;
Certificate programs; Combined degrees and
certificates; Curricula; Teacher
certification; individual names of
Master degrees
admission requirements, by degree, 253–259
degree audits, 301
graduation and degrees, 303–304
overview, 173
Denmark, Study Abroad programs, 17
Department of Student Involvement, 305
Deposit, for enrollment, 260
Design, School of, 105–133
accreditation, 21
admission requirements, 111, 115, 128, 257–258
Communications Design, 108–117
curriculum descriptions, 182–183
degrees offered, 109–115, 119, 122, 127, 128, 173
general information, 105–106
Industrial Design, 118–125
Interior Design, 126–133
scholarships, 273–276, 277–279
Study Abroad program, 122
Study Abroad programs, 16-17
Design Management (DM) (School of Art),
82–85, 204–205
Digital Animation and Motion Arts
(School of Art), 88
Digital Arts (School of Art), 86–93, 205–207
Digital Humanities (School of Information
and Library Science), 142
Digital Imaging (School of Art), 88
Directions
Brooklyn campus, 333
Manhattan campus, 334
map (Brooklyn campus), 332
Disability Resource Center, 261, 313–314
Discrimination, 261
E Fine Arts, 94–103, 208–216, 283
Email accounts, 290
Employment program, for students, 264
England, Study Abroad programs, 16, 149
English language proficiency
Intensive English Program (IEP), 151, 170, 171
international applicants, 252–253, 260
Enrollment verification letters, 293
Exhibitions, 8
F Graduate Architecture and Urban Design
Facilities Management, 62–65, 199
Faculty
Architecture, 190–194
Art and Design Education, 200–201
Arts and Cultural Management, 202
City and Regional Planning, 196–197
Creative Arts Therapy, 202–204
Design Management, 204–205
Digital Arts, 205–207
Facilities Management, 199
Fine Arts, 208–216
general information, 7
Historic Preservation, 200
History of Art and Design, 229–233
Industrial Design, 219–221
Interior Design, 222–226
Liberal Arts, 236–250
libraries, 319
Library and Information Science, 227–229
Media Studies, 233
Performance and Performance Studies, 234
Sustainable Environmental Systems, 198
Urban Design, 194–196
Writing and Tutorial Center, 250
Writing (School of Liberal Arts and
Sciences department), 235–236
Federal College Work-Study (FCWS), 264
Fees. see Tuition and fees
Fellowships, 264
Financial aid, 263–280
academic progress and pursuit, 266
assistantships/fellowships, 264
FAFSA, 263, 264, 265, 280
federal programs, 264–266
general information, 263
grant and scholarship programs, 263–264
instructions and schedule, 280
loan funds, 285, 286
out-of-state programs (scholarships), 267
restricted grants and scholarships, 268
scholarships, all Schools, 277–279
scholarships, by individual Schools, 268–277
scholarships, international students, 279–280
state education agencies, 267–268
student employment program, 264
United States Bureau of Indian Affairs Aid
to Native Americans Higher Education
Assistance Program, 267
Veterans Administration (VA) educational
benefits, 267
Florence, Study Abroad programs, 16, 149
France, Study Abroad programs, 17
Free Application for Federal Student Aid
(FAFSA), 263, 264, 265, 280
G
Global Innovation Design (GID), 122
Grade point average (GPA), 300
Grading system, 298–299
(GAUD), 31
Graduate Assistantships
Digital Arts, 88
Facilities Management, 63
Graduate Record Examination (GRE), 259
Grant programs, 263–264, 268. see also
Financial aid
H
Health and Counseling Services Center, 314–315
Health Information (School of Information
and Library Science), 145
Health requirements, for enrollment, 260
Historic Preservation, 58–61, 200
History of Art and Design (School of Liberal
Arts and Sciences), 152–155, 170, 229–233
History of Art/Art and Design Education
(M.S./M.F.A.), 95, 96
Housing, 81, 307–310
I
Identification cards and services, 287, 290
IELTS, 252–253, 260
I-20 forms, 259
Industrial Design, 118–125, 219–221
Information and Library Science, School of
(SILS), 134–149
accreditation, 21, 136
admission requirements, 142, 145, 147, 148, 258
certificate programs, 147–148
curriculum descriptions, 184–187
degrees offered, overview, 173
dual-degree programs, 145–147
faculty, 227–229
history of, 136
M.S.L.I.S. with Library Media Specialty (LMS)
program, 142, 147–148
program focus areas, 142–145
scholarships, 276–279
Study Abroad programs, 149
Information Policy and Society (IPS), 141
Intensive English Program (IEP), 151, 170, 171
Interactive Arts (School of Art), 88
Interior Design, 126–133, 222–226
Internal Revenue Service (IRS), 285
International students
from China, 253
forms required for enrollment by, 259
Intensive English Program (IEP), 151, 170, 171
Office of International Affairs, 316

peerTransfer for international students, 286
scholarships for, 279–280
TOEFL and IELTS scores, 252–253, 260
Internships
Arts and Cultural Management, 76
City and Regional Planning, 51
Communication Design, 109, 112
Creative Arts Therapy, 80, 81
Digital Arts, 87
Industrial Design, 119, 122
overview, 8
Pratt Institute internship program, 312
Programs for Sustainable Planning and
Development, 48
School of Information and Library Science,
136, 149
Sustainable Environmental Systems, 56
zero-credit internships, 284
Italy, Study Abroad programs, 16–19, 149, 154
J History of Art/Art and Design Education
Japan, Study Abroad programs, 17, 122
Juris Doctor (J.D.) combined degrees
Library and Information Science and
Law (M.S.L.I.S./J.D.), 144, 145
Master of Science in City and Regional
Planning and Law (M.S./J.D.), 49
K Art Therapy and Creativity Development, 79, 80
Knowledge Organization and Cultural
Heritage, 144
L Digital Arts and Information (M.S.L.I.S./
Laboratories, 171
Late payment, 285, 286
Law Librarianship, 144
Leave of absence, 295
Liberal Arts and Sciences, School of, 151–171
accreditation, 21
admission requirements, 159, 162, 166, 259
curriculum descriptions, 187–189
degrees offered, 154, 157–159, 161, 165–166,
169–170, 173
faculty, 229–250
general information, 151
History of Art and Design, 152–155
Media Studies, 156–159
Performance and Performance Studies,
160–163
resources, 170–171
scholarships, 277–279
Study Abroad programs, 154
Writing, 164–167
Libraries, 8, 317, 319
Literacy, Education, and Outreach (LEO), 141
Loans. see also Financial aid
receiving loan funds, 285, 286
Stafford loans, 265
London, Study Abroad programs, 16, 149
Low Residency format, Creative Arts Therapy
program, 80, 81
M Merit-based scholarships, 251
Manhattan campus
cultural partnerships, 16
description and tours of, 4
directions to, 334
libraries, 317, 319
Schools and departments (list), 22–23
Map (Brooklyn campus), 332
Master in Industrial Design (M.I.D.), 119, 122
Master of Architecture (M. Arch.), 29, 33
Master of Arts in Media Studies, 157–159, 169
Master of Fine Arts (M.F.A.)
Certificate in Art and Design Education
(M.F.A./Post-Baccalaureate), 96
Communications Design, 109–112
Digital Arts, 87-93
Digital Arts and Information (M.S.L.I.S./
M.F.A.), 145
Fine Arts, 95, 96
Fine Arts/History of Art (M.S./M.F.A.), 96
History of Art and Design (M.S./M.F.A.), 154, 170
(M.S./M.F.A.), 95, 96
Interior Design, 127, 128
Performance and Performance Studies, 161-162,
170
Writing, 165–166, 169
Master of Professional Studies (M.P.S.)
Arts and Cultural Management, 75-78
Art Therapy with Special Needs Children, 80
Design Management, 83-85
Master of Science in Library and Information
Science (M.S.L.I.S.)
M.F.A.), 145
History of Art, Design, and Architecture
(M.S.L.I.S./M.S.), 145
Library and Information Science and Law
(M.S.L.I.S./J.D.), 144, 145
M.S.L.I.S. program, 140–141
M.S.L.I.S. with Library Media Specialty (LMS)
program, 142, 147–148
Master of Science (M.S.)
Architecture (First-Professional), 27, 29, 33, 37
Architecture (Post-Professional), 27, 29, 34
Art and Design Education, 71, 72
City and Regional Planning (combined
M.S./J.D.), 49
Dance/Movement Therapy, 79, 81
Facilities Management, 63
Fine Arts/History of Art (M.S./M.F.A.), 96
History of Art, Design, and Architecture
(M.S.L.I.S./M.S.), 145
History of Art, Design (M.S./M.F.A.), 154, 170
History of Art/Art and Design Education
(M.S./M.F.A.), 95, 96
Package Design, 109, 112
Programs for Sustainable Planning and
Development, 47
Sustainable Environmental Systems, 55
Meal plan, 310
Media Studies, 156–159, 169, 233
337
My.Pratt access, 287, 290, 296
N
National Architectural Accrediting Board
(NAAB), 21, 29
National Association of Schools of Art and
Design (NASAD), 21
Network for Emerging Architectural
Research (NEAR), 31
New Hampshire, Creative Arts Therapy
program in, 81
New York City. see also Brooklyn
campus; Manhattan campus cultural
partnerships, 16
New York City Environmental Justice
Alliance (NYC-EJA), 49
New York State. see also Teacher certification
Department of Education accreditation, 21
New York State Education Department
certification, Library Media Specialty (LMS)
program, 142, 147–148
Nonmatriculated students, 261
O
Office of Graduate Admissions, 251
Office of International Affairs, 316
Office of Residential Life and Housing, 13,
306–308, 307–310
Office of Student Affairs, 305. see also
Student affairs
Orientation, for new students, 306
P
Package Design, 109, 112–117
Parent module (My.Pratt), 296
Paris, Study Abroad programs, 17
Payments, 285
PeerTransfer, 286
Performance and Performance Studies, 160–163,
170, 234
Personal data, changes to, 295
Plagiarism, 303
Portfolio/work experience credit, 292
Pratt Center for Community Development,
7, 28, 48, 51
Pratt Institute. see also individual names of
centers; individual names of departments;
individual names of offices; individual names
of Schools
academic calendar, 325–331
alumni of, 15
Bulletin, 304
email accounts, 287, 290
history of, 1, 4, 11
internship program, 312
libraries, 317, 319
My.Pratt access, 287, 290, 296
rankings of, 3
Schools and departments (list), 22–23
students of, 13
338
Pratt Prepaid Discover Debit card, 286
Pratt Student Employment Program, 264
Preservation/Conservation (School of
Information and Library Science), 144
Professional certification, in Art and Design
Education (M.S.), 72
Programs for Sustainable Planning and
Development (PSPD), 17, 46–50, 55, 59, 64
Project for Public Spaces (PPS), 49
R Semester hour credits, 297–298
RATE, 21
Readmission, 260–261, 295
Refund policies, 283, 284
Registration and academic policies, 289–304
academic calendar, 325–331
academic initiatives, 7
academic integrity code, 302–303
academic standing, 300
changes and withdrawals, 293–295
degree audits, 301
email accounts, 290
enrollment verification letters, 293
general information, 289
grade point average, 300
grading system, 298–299
graduation and degrees, 303–304
identification cards and services, 290
My.Pratt access, 290
organization of course offerings, 297
parent module, 296
personal data changes, 295
portfolio/work experience credit, 292
preferred name of students, 295
repeated courses, 299
residency requirement, 291
semester hour credits, 297–298
student registration, 290
student status, 293
thesis enrollment, 301–302, 304
transcripts, 296–297
transfer credits, 261, 291–292
tuition and fee payment, 286
Veterans Administration, 291
Repeated courses, 299
Research and Assessment, 144
Residency requirement, 291
Returned checks, 285
Rome, Study Abroad programs, 16–17
S Trustees, board of, 321
Scholarships. see also Financial aid
for all Schools, 277–279
general information, 263–264
for individual Schools, 148, 268–277
for international students, 279–280
merit-based, 251 billing and payment, 285, 286
out-of-state programs, 267 course withdrawal fees, 284
School of Architecture. see Architecture, general information, 281–282
School of graduate fees, 282–283
School of Art. see Art, School of identification cards and services, 287
School of Design. see Design, School of IRS filing, 285
School of Information and Library Science (SILS). loan funds, 285, 286
see Information and Library Science, meal plan, 310
School of (SILS) peerTransfer for international students, 286
School of Liberal Arts and Sciences. see Pratt email accounts and My.Pratt access, 287
Liberal Arts and Sciences, School of Pratt Prepaid Discover Debit card, 286
refundable deposits (Fine Arts Studio), 283
Spatial Analysis and Visualization Initative (SAVI), 49 refund policies, 283, 284
Special students, 261 registration, 286, 287
Stafford loans, 265, 285 returned checks, 285
Student affairs, 305–316 room rates, 309
athletics and recreation, 310 zero-credit internships, 284
Campus Ministry, 307 Turkey, Study Abroad programs, 16, 17
career and professional development, 311–312
Department of Student Involvement, 305
Disability Resource Center, 261, 313–314 U
Health and Counseling Services Center, 314–315 Undergraduate preparation, deficiencies in, 259
new student orientation, 306 United States Bureau of Indian Affairs Aid to
Office of International Affairs, 316 Native Americans Higher Education
Office of Student Affairs, 305 Assistance Program, 267
parent and family programs, 306 Urban Design, 41–45, 194–196
Pratt Institute internship program, 312 User Experience (UX), 144
Residential Life and Housing, 307–310
student organizations, 306–307
Study Abroad programs, 16–19, 149, 154
V
Venice, Study Abroad programs, 19, 154
Summer (SCP), Intensive English Program
Vericant, 253
(IEP), 151, 170, 171
Veterans Administration (VA)
Sustainable Environmental Systems, 54–57, 198
educational benefits, 267
registration and academic policies, 291
T
Teacher certification
Advanced Certificate in Art and Design
W
Withdrawals, 261, 293–295
Education, 72, 97
Work experience credit, 292
Library Media Specialty (LMS) program,
Writing
142, 147–148
Writing and Tutorial Center, 151, 171, 250
M.F.A. in Communications Design, 112
Writing (School of Liberal Arts and Sciences
Technology, 8
department), 164–167, 169, 235–236
Test of English as a Foreign Language
(TOEFL), 252–253, 260
Thesis enrollment, 301–302, 304 Z
Title IX statement, 261 Zero-credit internships, 284
Tokyo, Study Abroad programs, 17, 122
Transcripts, 296–297
Transfer students
residency requirement, 291
transfer credits, 261, 291–292
Tuition and fees, 281–287
adjustments, 285
application notification and deposit, 260
auditing courses, 283
banking facilities, 284