Pratt Institute - Prattonia Yearbook (Brooklyn, NY)

Text from Pages 1 - 142 of the 1975 volume:

October 17 must have been an exciting day around Brooklyn. After all, it isn’t every day a dream comes true for someone. On that day in 1887, twelve young people climbed the stairs of a new “Main” building on Ryerson Street, and began to fulfill the dream of Charles Pratt— the Institute was born. Charles Pratt, one of eleven children, was born the son of a Massachusetts carpenter in 1830. Caring for his younger brothers, he learned a sense of responsibility for others and the ability to balance the family budget. Charles managed to scrape a few dollars together and spent three winters as a student at Wesleyan Academy, and he is said to have lived on a dollar a week at times. At the age of 21 he began a career in the paint and oil business. His company soon grew and merged with Standard Oil. His shrewdness, mind for details, and keen business sense working for him, he soon became a major force in the corpora- tion. As Standard Oil’s fortune grew, so did Pratt’s personal fortune, so much so, that he died the richest man in Brooklyn. Yes, Charles Pratt had a lot going for him: loads of money, a wife, a bunch of kids, a serene life living in the comfort of a fabulous Clinton Avenue mansion. But there was one thing that still haunted him. He always regretted his limited education. He searched throughout Europe for data on technical schools, and upon his return founded an institution where pupils could learn trades through the skilful use of their hands. The dream of Charles Pratt for such a place was realized on that crisp October morning 88 years ago when Pratt Institute opened its doors for the first time. Only four years after the opening, Charles Pratt died, leaving the job of guiding the institute through its early years to his sons. But Pratt put enough of has energy, his foresight, his money, and his spirit into this place, that it remains even today, a place where careers are molded, and dreams, like those of Charles Pratt are encouraged. The Fountain Long after all Pratt students have gone home. Long after the last rays of sunlight have hid from the center court, the fountain comes to life. I know. I saw it with my own eyes one night. Neptune started it all, spur- ring his seahorse steed with his tr- dent. Urged on by a triton sounding aconch shell, he galloped across the waves and only paused when Venus on the half shell winked at him. Meanwhile, on the other side, mayhem was breaking loose. Eros and Psyche were cavorting about, he on his dolphin, she fluttering about on her butterfly wings. And then, a chubby baby Bacchus, pluck- ing grapes sauntered through the scene, leaving a trail of grape pits behind. The dancing and kissing and merry-making went on for hours until many became sleepy. It wasn’t long before the eight lion-like faces were yawning in unison. Eros and Psyche and some nymphs and cherubs were still furiously dancing when sunlight began peeking over the building edges. Dawn had ar- rived. The figures of this old Re- naissance fountain froze in silence to stare once again into the gloomy daylight shadows of the center court, as the world of Pratt passed by. The Flagpole Since November 11, 1926, a flag- pole has watched over Library Park at Pratt. Designed by Willard Pad- dock, the pedestal is of a deep gray- green color, and includes four ex- pressive heads with upheld symbols, one for each of the four interests promoted by Pratt Institute: the pen and scroll of Literature, the hammer and square of Labor Skill, the searching glass and torch of Sci- ence, and the reflecting mirror and tools of Art. Masses of laurel leaves and four eagles, symbolizing patriotism, North, South, East, and West, com- plete the sculpted bronze. The pole itself was once painted a dull green to blend with the bronze and stone color. Around the base of the bronze are the simple words that explain the meaning of the flagpole: “To Commerate the services of the men and women of Pratt Institute in the World War, 1914-1918.” The Cannon Many a Pratt student has vented his emotions on the old Spanish can- non. Coat after thick coat of paint has covered its surface, with styles ranging from op art in the psy- chedelic sixties to a dull black in the strike-bound seventies. Until 1973, when a group of students got together and scraped, scrubbed, polished and buffed the weapon to its original brilliance. Once again, we saw the beauti- fully cut bands of ornament sur- rounding the barrel, and the curvy dolphins that form the handles. The cannon came to us in 1899 from the walls of Morro Cas- tle in Havana. In 1720, it was cast in Seville, bearing the arms of Philip V of Spain. The gun is of bronze with a five-and-one-half inch bore and it weighs some 4300 pounds. The cannon has stood as a symbol of the Institute. In fact, our athletic teams are named “The Cannoneers.” It remains today, as it has for 76 years, silently guarding the Pratt campus. The Gate Remember the first time you saw the gate? How it entranced you! You saw the gate with child-like attrac- tion and you felt compelled to record it. Maybe you had just purchased your first “decent” camera, or perhaps a fresh, unmarked news- print pad. You took the photo and printed it graphically high contrast, or scratched out the swirling lines on paper with rich charcoal. Perhaps you weren't artisti- cally inclined, but admired the eleg- ance and grace of this picturesque collection of curly-cues and twists. No one really knows any of its history, nor cares. Its allure is in its line and form— deep black spirals competing against the bright sky beyond. That’s the magic of the gate. For years, it has excited the imagi- nations of Pratt students. It will continue to do so as long as it stands. ne: reared 4 BG He 0 The Engine Room The greenish flourescent light you dined in the Pl shop by, the slide projector you took your first art his- tory test by, the elevator which saved you the walk up five floors in the Main Building: all these services used the electricity churned out from the power plant in the basement of East Hall. The power room is one of the oldest operating electrical plants on the East Coast. Pratt has been generating electric power in that room since 1887. The present equipment was installed in 1900. The three steam engine-driven generators are the oldest such units in New York City. They have been chugging away faithfully, day and night, to provide the people of Pratt Institute the electric power they have needed for working, teaching, and learning during the past 75 years. The Library Clock Time is not measured by the passing of the years, but by what one does, what one feels, and what one achieves. me a — EAS is Jawaharlal Nehru fi Vial ava? The Library Ship “Ladies and gentlemen, welcome aboard the Sovereign of Ye Seas. Launched in 1637 by Charles I of England, it was one of the largest ships of its kind. Behind you rests a massive lantern high atop the stern. Note the huge red flag of England waving above. Now moving right along toward the bow of the ship, are stairs that will take us to the main deck. Watch your step please .. If you will move over to your left and lean over the railing, you can see examples of the ship’s magnificent carvings. Note the sunbursts and cupids and on the left is England’s national emblem.Up further you will see the signs of the zodiac and symbols of weapons and armor. Also note the elaborate detail of the cannons. Ahead is the main mast with its familiar crow’s nest. Ladies and gentlemen, as you follow me down these stairs, we will pass the lifeboat, handsomely deco- rated with a carved lion... We are now at the bow of the ship. On the forward prow is the mast head sculpture: an armored knight seated proudly upon a fanci- ful unicorn. That concludes our tour this afternoon. We hope you enjoyed yourself. Do come again.” Illustrations by Leland H. Neff and Miki The Library The Library, founded in 1888 by Charles Pratt as a public library, cost close to a million dollars. It was the first public library in Brooklyn and the first library anywhere to have a children’s room. Two years later, Pratt established what is now the oldest library school in existence. Looking at the library now, it’s interesting to read a description of how it appeared then. The floors of the stack room were glass slabs set in a white iron framework. The book- shelves were dark oak and sup- ported by iron uprights and brackets which were copper electroplated. The building’s interior was de- fern Ip) ann iM NTU} hua Aah signed by the Tiffany Glass and De- corating Co. The walls and ceilings were of soft yellows, creams, buffs, terra-cottas, and yellow-greens. Siena marble columns and pilasters in the entrance hall complimented the “electric lights of latest device.” The library must have been some- thing else! Well, even if it doesn’t glitter and gleam like it used to, it’s still something else: A handy source of information and a quiet place to escape for a while. The Pratt House The mansion at 229 Clinton Av- enue was built around 1890 and was at one time, the residence of the second president of the Institue, Frederick B. Pratt. He and his wife, Caroline Ladd, lived there until his death in 1945. It was a magnificent home! Rich, dark, oak panels and a fab- ulous staircase were the beginnings of a lavish interior. Other features included a handsome library, and a reception hall which took up almost a third of the spacious floor. The outside was distinguished by a vine-covered portico, graced with sculpted columns in the form of draped ladies and gentlemen. Students began to enjoy the comforts of Pratt House in 1945, when the mansion was given to the Institute and converted into a clubhouse and a dormitory for freshman women. It now serves as a residence for male graduate or in- ternational students. bove her neigh- bors Shop and mart = and Stands the home _ of stu- dent la- bors, No- blest — of them all! BO Fes ee SS Ss, Oe JE (ON) SOUS) CG AE? LR AEE A ES ae A SE eee: At each meet-_ ing, give her greet- ing, Raise the proud sa- lute! RS Gn ee eS a a S| SO hoe eee ee teas Sa | STS ee Le ee | ee Gey ee ee Hail to thee, our Al- ma Ma- _ ter, Hail, Pratt In- sti- tute! Round the world the chain extending In our hearts her precepts linger, Each to other binds, Her example gleams, All her honored name defending, Showing with unerring fingers Hearts and hands and minds. Guerdon of our dreams. At our meeting, give her greeting, At our meeting, for our greeting, Raise the proud salute! Bring her noble fruit, Hail to thee, our Alma Mater, Hail to thee, our Alma Mater, Hail, Pratt Institute! Hail, Pratt Institute! Library, 4 1889 ; . 7 | The aren, 1971 Cafeteria, c. 1901 The PI Shop, 1975 The Gymnasium, c. 1907 The Gym, 1975 Main Building, c. 1887 The smell of smoke filled the air that afternoon, as the Main Building windows glowed from the fire within It was approximately two o'clock when the second alarm fire was called into the station house on Carlton Avenue. The men of Engine 210 and Rescue Squad 2 were the first team on the scene. The building had been evacuated earlier by Andy Phelan and Bob Travers, as a heavy fire continued to rage in the class- rooms of the sixth floor. During the five hours it took to fight the blaze, a total of seven engines, three ladders, one rescue vehicle and a squad car were on campus to assist in the struggle. Two firemen sus- tained injuries while fighting the blaze. The cause is still unknown, although arson is suspected Damage to the building was considered medium, however, the tremendous amount of water used to extinguish the blaze caused irreparable damage to student's projects throughout the building. When time came to clean up the debris several people volunteered to help. Physical Plant personnel worked all day Sunday and came in at five am. Monday morning. The Chairman of the Board of Trustees was there sweeping the water off the floors, along with President Pratt, Don Mathis, and Albro Newton making ready for Mon- day's classes. All of which only goes to prove, it will take something more disastrous than a fire to stop the hands of the clock on Main Building Everything they say about Philadelphia is true. The sidewalks are rolled up at 10 o'clock. The Schuylkill River is so slow that a man once swimming across gave up halfway and decided to walk. The typical businessman owns twelve ties —one for each month. And contrary to popular belief, God did not create the entire world. He subcontracted Philadelphia. This is my hometown, the City of Brotherly Shove. But it is my home, my original home. And no matter how long I've been away, any mention of the name perks up my ears, and | think back to my childhood and the beginning of it all.... It was at the age of twelve that ‘going to town meant travelling the rickety train from suburban Bryn Mawr for an uneventful twenty minute ride into the city, passing indistinguishable shingle rooftops and countless cars along the way. The sun always seemed to shine these days, but the intensity of light somehow managed to make the passengers appear more haggard than cheerful. The older women sat, with dainty white gloves and demurely crossed legs, talking about the show they would see, the storewide sale at Lit Brothers, and how they would eat again at Schrafft's, because the waitress had been so nice the last time, bringing them extra rolls and butter. Their conversations never changed. The only difference year after year was that their face powder became progressively shades lighter, and their once shiny black pumps had become dull, with worn soles and tarnished buckles. Sitting on the worn leather seats, and peering out of the undecorative windows, the sunlight became a film of transparent whiteness, muting the natural and artificial colors of the world. The black tar streets became a dull grey and the Royal Blue and Emerald Green cars developed a tone of Art Nouveau paleness. Through this visionless fog I would gaily think of the oncoming adventures the dense glass and steel forest of downtown Philadelphia promised to lay ahead for me, confident in the fact that some- thing would be going on. During the remaining minutes of the ride, the train would travel along the river bed, across which stood the boathouses. These clapboarded structures stood majestically against the water; each house painted a dif- ferent time-faded color, with matching docks protruding into the slow- moving current like empty fishnets, forever waiting for something to become caught and give a purpose to life. During these years, I never saw one person on the docks, in the windows, or even rocking on the porches. The buildings appeared to have been abandoned, through death or that unwillingness to care, and the small rowboats left bubbling on the water were a reminder that at one time there was a reason. For all the mystery those ghost-like houses represented to me, it lasted only a few minutes as the creaking train would pull into the womb of the station's interior like a tot returning home at the precise time for meals. Through the stale-smelling darkness I could see the oncoming events of the day: watching a currently popular movie at one of the ornate urban theatres, complete with popcorn and candy bars, shopping in the depart- ment stores, a must being Sam Goodies, and eating plenty of 10¢ pretzels with mustard. My mechanized jungle could always be counted upon to provide various activities for each visit. Life was satisfying then for a twelve year old boy. No longer did the historic monuments located only blocks away with- hold my interest. Ever constant class trips had assured me of their dullness and inactivity. The great men and events of our history had long since been deceased. Life was dead inside Independence Hall. Activity and emotions plagued the streets, through people, and stores, and trolley cars. My life was to exist in the present, not the past. | vowed to surround myself with what I thought to be exciting on those Saturday afternoons. It took but a few short years for the sparkling bubbles of a child's immature mind to no longer reflect the laughter and smiles of his youth. In their place stood the reality of life; the bottle of bubble-producing solution and blower were still there, but the bubbles now had to be blown by oneself. Except the incentive no longer came from those three major streets of downtown Philadelphia, whose exciting atmosphere became routine, and therefore, depressing. Every floor of John Wanamaker’s had been memorized, and not expected to change. The Horn Hardart Automats were being torn down oneby one. And the cost of records at Sam Goodies managed to stay somewhat higher than the allowance would allow. At the age of eighteen, I found the chance to alleviate my disgust by going to college at Pratt. Although New York seemed none too pleasant with constant stories of crime and ruined lives, there remained something exciting about the wicked city which appealed to my sense of drama. It couldn't be all that bad, or else why would my hometowners constantly travel there for shopping, business, and entertainment? Somewhere in my mind I knew I would go and find out, rather than sacrifice myself to the unchanging routine of Philadelphian life, and the fear of aging like those boat houses, becoming obsolete in my own time with no will to do anything about it. It is now my last year here at Pratt, and I have never been sorry for the chance Itook. Ihave lived in Bedford-Stuyvesant, and survived. [have bitten the Big Apple for every experience available to me, and loved every minute of it. Ihave gone to school and learned how to bullshit my way through life, like everyone else. And | shall soon graduate, content with what I have learned, but never forgetting any experiences those four years have given me. The first time I saw Brooklyn, I thought I would cry. Huh? What? What is it? Those dilapidated structures called apartments and stores could never be found where I grew up. And the dormitory, complete with roaches, non- existent furniture, and other confused roommates. Actually, the Pratt dorm should be bronzed as a monument to Self-Preservation. After living there, one knows that things couldn't get worse. But the idea of living in an apart- ment with no parents made up for all its misgivings. Life was never boring, with nightly parties, visiting friends all hours of the day, and the prospect of new frowned-upon habits, including grass smoking and sex. Freshman yearis the time for hang-ups to be realized and taken care of. Sex headed the list. Normal, unknowing freshmen would learn in time, and enjoy the process. Boys would find out for themselves, girls would be taken care of by their floor advisors. These ‘‘advisors” had it made. Their job was to help the girls with any “‘problems’’ they might have, any time of the day, but preferably at night when everything seemed more peaceful. I don't think I met one advisor who ever handed an assignment in on time. Gradually allinnocent freshmen lost theirinnocence. Artists were supposed to be sensitive, and how else could they be without first-hand information on Life and Love? This became my first Lesson on Bullshitting: any excuse is okay for an enjoyable time. Oh, but how these soon-to-be non-virtuous people made fools of them- selves. Who could forget the hanging tongues of the boys in Life Study class, with wide eyes and catty remarks about the model's body? The girls managed a more uninterested look, ladies they thought they were. The only problem was that their drawings were hardly ever accurate, for they couldn't bring themselves to look upon the human body. Dirty, dirty, dirty. Strictly The Prime of Miss Jean Brodie!’ Gradually, all learned The Way of Life, and nightly Romeos would be seen strolling the halls to their waiting Juliets. Arrangements would be made for the not-so-legal transfer of roommates. Ties wrapped around doorknobs had a special meaning, and tampax appeared in the silverware drawers. Sex was here to stay. What student couldn't be happier? Smoking grass and popping pills ran a close second to sex. Everyone was ‘doin’ it, doin’ it, doin’ it!’ and “Boy, did I get stoned last night!” was heard throughout the day. Nightly parties were held and the acrid smell invaded the halls. Qualludes were the pill my freshman year, and their relax- ation effect brought everyone's desires out into the open. Many orgies were held, if one only knew where, and the variety of people was astonish- ing. The ‘‘guests’’ would head for the dining room table, where there was alwaysone bow filled to the brim with these Rousing Rorers, and then they would proceed about the apartment, engaging in joint smoking, or not so-discreet liaisons. I remember my first party, when I was careful to be only a viewer and nota participater I thanked God I had learned in those drawing classes to withhold any elements of surprise or shock that could prove to be embarrassing, for in walked a rather frumpy person from my Advertising class who proceeded to have an affair with our beautiful hostess and some of her friends. This became another Lesson of Life: expect the unexpected. Especially in New York, where there is a wider range of per sonalities. Anyone could be into any trip. The cheerleader did not neces sarily go out with the football hero. More than likely she would be dating an ogre with money, or a hippie who was great in bed. Sophomore and Junior year went by unnoticed. One minute I was eighteen and fresh off the farm, and the next moment I was a Senior with a definite outlook developed somehow after a multitude of classes and experiences. How it came about was too gradual to notice. But the realization that I shall have to start my career on what I have learned here can be very unnerving. Did Ilearn enough from Pratt to do so? Only time will tell. I still don't believe I comprehend Mrs. Buckley's Light and Color course. Tones and hues? What are they? I'll probably rely on my own judgement, the same way | did when doing her homework. And Art History? I don't remember a thing. What I did learn was the bullshit Pratt puts us through. How many teachers are really capable, and not just in need of the prestige or money that Pratt could supply? Most students were intelligent enough to realize this, and learned what they, themselves, felt to be educational. Homework assignments could be changed to accommodate the student's own desires. Teachers could be put off for deadlines, and failures passed if one only knew how to get around the professor. Lesson of Life 3: make as many influential friends as pos- sible. There is alwaysa way out if one knows how. Oh, how many times I have convinced my teach- ers that my work was a stroke of genius, and not something thrown together minutes before class? Or that a project completed for one course did not fit another's requirements just as well? Of course there were many assign- ments that really motivated me, and | could actually enjoy staying up all night to complete them. There is nothing new in my methods to pass courses; they have been a set of rules all students employ. But for the most part, all projects worthy of completion were done so. As for the others, we convince ourselves they never should have been assigned in the first place. During those years of monumental deci- sions whether or not to do assignments, we enjoyed ourselves as often as possible. By this time the student had chosen friends with the same personality as his own. Each group had its own rules for studying, entertaining, and a way to live. My own group took on the quality of Fitzgerald's Jazz Age, with its own style of parties that could be enjoyed only by the ingénue. We have hopefully all become more mature now, and any similar party offered would seem child ish with our lives today. It was the excitement of some- thing new and wicked that appealed to our senses then. We know better now, but four years ago, aninvitation to a Soiled Doves’ Society party meant top status. The dress would be outrageous, if not gauche. The atmosphere wild, if not seedy. And personalities Upper East Side, if not tacky. But how we danced. And drank. Andcaroused. Clothes designed for evening would be raved over. Kisses were the norm. Mutual love filled the room like ciga- rettesmoke. Ourcommon bond was the desire to be outrageousand envied. And we managed it alright, at least among ourselves. New York is a very hard place to tolerate. Most everyone is after money and glamour. The result is disastrous. You can never be sure who your friends are. People are willing to sell out their pals to better themselves; it is a rare quality to see someone remain faithful throughout years of friendship. There are only a few people I enjoy seeing constantly without the fear that they have changed. A few close friends, of course. But mostly those people one never really knows too well. Barbra, for instance. Barbra is the checkout girl at the A P. She is never without a smile and ‘How are you?’ Her laugh is bright and frequent, and after countless trips to the WEO Wonderland, I have developed a quiet rapport with her. A good friend? No. But this kind of person is always reliable for a good-natured salutation and kind word, and therefore, desirable. These people make the most routine tasks enjoyable. Another person of such status is Mr. Hadley, who had the most unfortunate task of running a dormitory, com- plete with extra hours of work and constantly complaining tenants. Yet, throughout his employment, Mr. Hadley remained friendly and helped the best he could. Many times he would personally fix a broken door or leaky faucet. Danny, the maintenance man, was the same way. He could always be counted upon for extra lightbulbs and risqué remarks about the girls next door. You could ask him to fix something, and he would arrive promptly to do it. His manner, if not crass at times, was realistic enough to be trusted. His retelling of the day's troubles, mostly with four- letter words, was thoroughly enjoyable. He was a real person, no plastic facade like so many of Manhattan's inhabitants. What the students did not learn inside the classrooms, they learned out- side. Fine Art pupils went museum hopping. Theater Design students went to Broadway shows. Those in Advertising went to the Society of Illustrators. Pratt eased the way for each individual to realize what they wanted to be- come, and Manhattan provided the means to do so. What one learned was determined by how much and what he did. But in their own small way, the everyday experiences in the Pratt community could be- come lasting memories. | always enjoyed watch- ing the Food Department brazing out the cold air to sculpt huge blocks of ice into animals, boats, and chess pieces, only to have them melt in the sun's unrelenting rays. Lunchtime in the PI. Shop took on its own comical quality. As if invisible walls were built, each section of the large room had its special brand of patrons. The engineers would sit in their usual spot, ever-present briefcases at their sides. The Chinese remained by one exit, and the Blacks would occupy those tables closest to the kitchen with its terrible food. Previous Art and Design High School students sat by the windows, and the queens occupied the tables closest to the wall and other exit, for advantageous viewing of passing bodies. During classes, this establish- ment hardly stirred, but between the hours of 12 and 2, frantic activity took place. People would table hop in the hopes of finding out assignments of classes they had skipped. Plans would be made for the upcoming weekend, and gossip became standard conversation. The PI. Shop was transformed into a circus, complete with pin ball machines and rock music blaring to the beat of flying bodies. Lunchtime was not the time to eat. Pratt was never a place for school spirit. The sports teams were hardly known about, and their competitions never attended, except, perhaps, by the team itself. The closest the students came to becoming a complete group was at the various school dances. Many really enjoyed the occasion, some attended for the free beer offered. Some saw it as a cheap evening without the subway ride into Manhattan and back, and others went to laugh at the other three groups. Whatever the reasons, everyone was there. Between the music, no matter how bad, the pot and the beer, people would have a good time. They would forget their projects dissected about their room, and would devote the evening to the most important thing, them- selves. Looking back now, I sense that my classmates are leaving Pratt more or less the way they entered. What became our NewWay of Life was but a means to sow our oats. It helped us grow mentally, although it was also the down- fall of many inhabitants. Time became the differentiator. Most of those happy party-goers have calmed down to the point of reality. It is the less fortunate ones that are still living that style of life we once found desirable, like old women wearing knee socks. The more fortunate have retracted their basic personalities. The cheerful have remained that way. The serious still are. What has resulted from those carefree years is a better understanding of what we were, what we've learned, and how to use that knowledge to obtain the style of life we wish to hold on to and keep forever. | Washington Avenue B g Sa 15 feavergetaase ae; Wi23, S| mel fel a oo IFN = on gato a waperaie 8 fs ange r ‘ et oe � aga s 02 A 3 sanalell 225 AL ar a ‘coon ae OG9089saR coop } Opag oopaoounD Hite I | Ryerson Street? 4. 13 } } me a SI | l d Ve ” Rt (Oy A =| bes i a fel Ie 1 ) = = a1 FS Je) ete 5 Cc ! = D Me Lt Bt | a = oD | Gils. : ‘ az a] = im? 3 Wy Os es itis te) [ fy eta Hi i ic i ie a = iy Yi yy Wii) YY Ui] y ly Wy YY Wp hy Yyy EEG) | Bia) Wa BEECER || ay ) ARG GRAN AL y Aqagaga @ OO =O. C1 Seo = he Be oO Ow OO GON NNN NMI Nh = — = SS SS SS MAKRBNFODQMYVNOMNKRDBHNFODONOOKRWONAOCDVONOORWN= Higgins Hall Clinton Avenue Subway Station Washington Avenue Subway Station Dan’‘s Supreme Supermarket 88th Police Precinct Tennis Courts Ty The New Gym YY Ys Faculty Housing oo Pratt Studios Engineering Building sss Machinery Building Chemistry Building Guard Booth ee Faculty Parking Hall Street Thrift Hall Ryerson Dorm South Halll East Building Main Building East Hall Memorial Hall Gym North Hall Pl Shiop DeKalb Hall Library Information Science Center Mike’s Burger House Brooklyn Country Health Food Pratt Groceria S. Steinhauer Sons Charlie’s Art Supplies Ad Lib Press Humanities Building Joe’s Place Restaurant The Pratt House The Frat House Sterlings Grocery Cellars Bar Restaurant Piro’s Funeral Home Alibi Club 2 Steps Down Restaurant Ely’s Supermarket Erick’s Bar Grill Cino’s Restaurant THE INSTITU Waverly —— Noo == . s Washington Ave ined — po Les 44ez Hall Street An Administrative Show The Naked Truth At Pratt ba. Classon Avenue A ad! Emerson Place ALA Stueben Avenue 4 Ryerson Street Grand Avenue Hall Street endl Heer rhitertEay HY iy i nara to criticize a hare é ttfr Classon Avenue MOST CONOR IY JEnirey Wc 46 4 7 48 49 50 51 52 53 54 55 5 7 58 59 60 61 oY 63 64 65 66 6 7 68 69 70 71 72 73 74 15 76 v7 78 Spiro’s Luncheonette Clinton Hill Florist Nina’s Bakery Prudential Savings Bank First National City Bank Clinton Hill Delicatessen Power Pharmacy Venice Restaurant J.M. Wines Liquors Adami Hardware P J Meat Market Dusty Cobwebb Shop John's Pizza John’s Luncheonette Donut Shop Brady Key’s All-Pro Fried Chicken John's lce Cream Store Pratt Drug Dutch Dairy A P Jade Inn Restaurant Tony's Restaurant Steve’s Fish Market Dottie’s Bar Grill Red Awning Bar Restaurant S.M.S. 5¢ and 10¢ Store U.S. Post Office The Dorm Student Parking Lot Emerson Hall Pinta Di Blu Reenken’s Diner Holywood Fruit Vegetable Mkt. Mobil Gas Station Cr TI Dogan noog noo ck er a: yg gs Stueben Avenue enuery AquBno}|lM LY bigs WN os PLE EM | COWBOY | Myrtle Ave. Pi ae ee A. Sales om PRATT GROCERY 2 PIZZA mS, 1D atv Mist way ethene r = . . Ssthe Ww a Sehrre aay Renken s Diner Pinta Di Blu Holywood Fruit Mkt. 10¢ Store A P P Dutch Dairy Pratt Drug John’s Ice Cream Pro Burger Dottie’s Steve’s Fish Mkt. Jade Inn Tony’s John’s Donut Shop John’s Pizza Mike’s Cobwebb Shop P J Meat Market J.M. Liquors Adami Hardware Power Pharmacy Clinton Hill Deli First National Nina’s Bakery Clinton Florist Spiro’s Lunch eonette Ely’s Supermarket Cino’s Erick’s Bar Grill Cellars Sterlings Grocery Brooklyn Country Mike’s Burger House Jake’s Charlie's Dan's Supreme 88th Police Precinct ‘ es o ‘tke OE - . . ow 50 Eels e S Teh rare PANCAKE a SYRUP 15 eee ms : s BACON 115 7 es : - sSausagesns HOT ( In memory of, and profound gratitude to, the men and women in the Pratt community, who have so gallantly served the graduating class of 1975. Illustration by James Zingarelli i henet ‘ Pathe ees “an batt Crayotafe Gym he New 1 | The New Gym The New Gym When looking back over the past four years at Pratt, the most significant period may be one that many of us don't even recall. The “Last Great Student Strike” of 1972 was a turning point for the institute and the students as well. It ended the era of student activism, administrative secrecy, and organized protest; it began the era of the invisible student body, a more open administration, and a thing called “Apathy” Fifteen hundred students and one hundred faculty were part of the protest that May afternoon. We were all dissatisfied with the administration of President Henry Saltzman. Saltzman made his appearance and announced, I will leave Pratt when the Board of Trustees ask me or when I feel I can no longer do my job. It was obvious our opinions didn’t matter. Henry Saltz- man then preceded to compare Pratt to a supermarket. The administration was the management, the faculty were em- ployees, and the students were his customers. If they didn't like the service, the students, could take their business some- where else. We were offended. Momentum picked up in the afternoon as the crowd grew angrier. The Department of Industrial Engineering had been threatened with extinction. The architects were dissatisfied with their dean. And talk of withholding tuition checks began. The Black Student Union had taken over the Dean of Students office two days earlier. The stage was set. Everything began to break loose sometime around two-o'clock. Some of us took over DeKalb Hall and another group took the switchboard. The Black Student Union took over all of what was then The Student Center (now the Information Science Building). By late afternoon, the South Hall kitchens had fallen under student domain. The entire campus community had become involved. Faculty and Student Body united. Food and donations came pouring into South Hall. Collections were taken in the dormi- tory and more volunteers came to help us man the buildings and cook in South Hall. The matter of negotiations was a daily concern. First, the accusations flew back and forth. Then the tables were set up for the students, faculty, administration and Board of Trustees to begin arbitration. The news media was there to cover the story. Even the Daily News gave a fair presentation of both sides. The negotiations were hard and unpleasant; as both parties had several grievances to be ironed out. Ultimately, we found Henry Saltzman unacceptable as president. We held the campus buildings for ten days and left upon reaching an agreement with the Board of Trustees. Board mem- ber Richardson Pratt came to DeKalb Hall and signed a docu- ment stating that no disciplinary action would be taken against students involved in the strike. Almost a hundred of us left DeKalb Hall that day with a feeling of hope. President Saltzman did not attend graduation. In the end, President Saltzman, Vice Presidents Seymour Gang and Donald Mathis resigned, and most students left Pratt with ‘passing’ grades, not knowing whether the Institute would still be here in the fall. As a result of the strike the following things came to pass: Students began to shy away from activism and the incredible amounts of energy it required to get anything accomplished. The next president was much more open to suggestion and criticism than his predecessor. Students and faculty received positions on all Board of Trustees Committees and on the full board. The Faculty Union became a strong bargaining force. The Architecture School finally got itself together and began to improve. Student participation was solicited for many impor- tant committees and decision-making bodies. And last, but not least, Student Government lost its credibility as a way of deal- ing with significant student problems. The Residence Handbook says, “One of the unavoidable draw- backs oflivingin highly-populated areas such as New York is those little insects that crawl all over everything:’ That's really cute. And, being cute, it’s obviously not a description of the cockroach. As for beinglittle, John Wayne in cow- boy boots doesn't look as tall as a good sized cockroach perched on the bristles of your toothbrush. I don't really know how one would prepare the uninitiated for exposure to Pratt's roach popula- tion. Roaches area way of life here. Roach killing hints are passed around like recipes for apple pie. And the passion! No one is more passionate about killing roaches than those of us who've lived with them. And I do mean lived with them. Roaches seem to think, the more intimate the association with you, the better. You've heard they hide out in dark undisturbed areas? Well, if you don’t open your dresser draw every couple of hours, it qualifies as a dark undis- turbed area. What can! say? They like to sleep with you, (finding a squashed roachin your bed some- how doesn't bring on the thrill of victory). They love to entertain your guests. In fact, they're great for turning up in unprecedented numbers and in novel ways, like dropping from the ceiling to the dead center of your guest's dinner plate. IIlustration by Willian Downey _ When it comes to the methods of eradicating these beasts they're strictly good for laughs and the roaches are doing all the laughing. Roaches have been around mil- lions of years longer than man. With that kind of experience it really isn't so surprising that even the most modern scientific efforts have failed to come up with some- thing that is really effective in ex- terminating this pest. The Resi- dence Handbook says ‘Use two or three different poisons on a rotational basis!’ Because, they say, the roach developsa tolerance to most brands if used frequently enough. And anyway, like all of us they appreciate a change of diet. The handbook also suggests us- ing boric acid or roach powder, as roaches, being extremely clean insects, lick themselves habitually. The theory behind this being, they'll lick off the deadly powder and expire. Alll can say is when | moved into my apartment, which had been vacant all summer, there were mounds of boric acid powder all over the place, and not only were the roaches still living there, but they were enthusiastic enough to dive wholeheartedly in- to my newly stocked refrigerator. That's right, refrigerator Among their many talents is the ability to compress their bodies through al- most paper thin crevices. I know this all makes it sound pretty hopeless, like Farmer Grey and his endless hordes of mice. But there is hope. Not for com- plete victory, you understand, just more or less peaceful co-existence. It calls for several varieties of in- secticides; powders, sprays, liquids and that wonderful paste you spread on raw potato halves and leave for roachdom's more foolish members. It also means, at least in the kitchen, maintaining a standard of cleanliness t hat our mothers would find not only ad- mirable, but stunning. If all this sounds like a lot of hard work, you canalways take the opposite tactic and learn to love your enemy. One must understand, how- ever, that the most necessary in- gredient of any anti-roach campaign is a sense of humor, a will of iron, and when all else fails, your faithful shoe. Maxine Jones eee h ete + oe rr as ao, Teer r eran eer sage en Sah ei ath ok — ; - fs q — v-o we, A=, as. eee tne one : PHINK that-I shall. never i —- yA place at Pratt that’s dog-do free. , ff A place where I may tread with haste, 7 J p . ‘ ° Z ; Without the fear of poodle waste. | —- v ‘ ; ‘ vs Z “Some grass where lounging hours are spent. — “ Without the smell of excrement. f Fn aa 7e - ’ x Tan A place where I’m not ill at ease a’, an BY seis s been left by Pekingese. . “Upbasbese bosom snow has lain, W ithout ‘that tell- tale yellow stain. ' Poems are made by fools like me, | - _ Reminding you: “Step carefully!” thanks, dave epstein for your enthusiasm and guidance. david gates for your montage and administrative pull. ray semintini, our man at s.d. scott. bart for the white staples. mrs. noskowitz and your library archives. ralph, irving and dennis for your freebies. jerry pratt's secretary for your broom and cleaning supplies. ruth goddard for keeping us away from 2. bookstore for your free seals. vicki muller for access to your mimeograph machine. the glick chick clique for your plastic smiles of encouragement. alice grey and the research department, museum of natural history, n.y.c. art tommassetti for the interior decorating supplies. bruce in c.a.v. for your keys to memorial hall. una tuna for telling us he was never in. oran mills for your aerial photos. marc platt for your hat. lizard eyes for nothing. yuda drattler for your hard hat. john lynch for your styling skills. marty golden for your i.d. assistance. snaggle tooth or razor teeth (take your pick); we loved your “bump” with the letter addresser. mark packo for the main building. moony sickie. charles goslin for your ““goslinesque” influence. white glue man for always coming in the wrong door. dr zing for your foil, mask and m m’s. gym coach for your bull-horn. pratt operator for your telephone books. people not pictured: you saved us money. debbie alt for your chocolate fondue. craig barndt for your great coffee but cheap a p cookies. security for opening our doors so promptly? nannette for helping us contact students in the art school. professor judge for your encouragement in the s.p.s. office. pratt for the cold draft that blew through our office on weekends. ray barber for’your vandalism. francis at tony's for your cloth napkins, even though we ordered sandwiches. loretta rotuno and angela for your letter. peck for the demo on binders-in-position. marion lillard for being fashion's crusader. half-framed brain. maxine for your thousand and one words. ray gordon for the rejected t-squares from the prattler office. peter aldrich for putting up with us. you're a good guy. tamara for your beat beaver and your feet that walked many hours for this book. lizard eyes for giving us a bathroom where feeney could water his horse. all-pro fried chicken for the gas attacks. the hideaway go-go girls for your spiritual inspirations. feeney’s dented olds for the midnight trip to putnam valley and juniors. juniors for your cheesecake, banana royals, and marshmallow sundaes. george in the dorm photo lab for helping out our photo staff. boonchoy for your boxer. engine squad 210 n.y.c. fire department for the saturday afternoon lunch. alan newman for your copy— camera and photo collection. carl. ray and jay for giving us the job in the first place. thomas russell for your confidence in us. we appreciate it. im fic an Ais Pe pevueese a SOIR = . a CONCEIVED, DESIGNED EDITED BY Neil T. Davis, Jane Brown and William F. Feeney II STAFF PHOTOGRAPHERS Peter Aldrich and Tamara Kopper ILLUSTRATIONS BY Jane Brown, Neil Davis, William Downey, Bill Feeney, Max Gottfried, Sara Gutiérrez, Miki McCarron, Jeffrey Mangiat, Gene Mayer, Leland H. Neff, Gene Stival and James Zingarelli HAND-LETTERING BY Diane Kosowski, Ray Barber and Mark Packo COPYWRITING BY Jane Brown, Neil Davis, Ray Gordon, Maxine Jones, Alan Rand and Randall Ross ADDITIONAL PHOTOGRAPHY BY Bill Feeney, Richard Fliegler, Ray Gordon, Jim Kaplan, Oran Mills, Alan Newman and Thomas Pippinoy PRODUCTION ASSISTANCE BY Debbie Alt and James Zingarelli SPECIAL THANKS TO OUR FACULTY ADVISORS Dave Epstein, David Gates and Thomas Russell Prattonia 1975 was printed by S.D. Scott Printing Company Inc., New York City, on sixty pound dull-coated stock Typography: The Slide House Inc. and M. J. Baumwell, Typography Copyright 1975 by the students of Pratt Institute, Brooklyn, New York Any similarity to real people and places in fiction and semifiction is purely coincidental YB ie YEARBOOK 1975 PRATT INSTITUTE BROOKLYN, N. Y. 11205 May 12, 1975 To the Student Body of Pratt Institute: Once again, another year is about to end at Pratt. As is the custom, this publication has attempted to reflect upon the time we've spent on campus, here in our little corner of Brooklyn. Throughout the pages of this yearbook one will find many images and hundreds of words depicting the people and places which have filled our time. Whether amid the noisy clamor in the PI Shop, the cluttered disarray of the Higgins Hall Theatre, or the quiet solitude of an empty engineering classroom, this yearbook has tried to find those places that have become meaningful to many Pratt students. In addition, within these pages can be found the faces and names of many senior classmates and friends. Remember them — for those faces and those friendships are the real treasures you take from Pratt. So here is your yearbook, Pratt Institute. Endless hours, photographs, dollars and tears have been poured into this project. It hasn't been an easy task. For four thousand students, there are four thousand Pratt Insti- tutes. But, if in a year, five years or even fifty years from now, somewhere an old “Prattie” lifts this book, dusts off the cover, looks through these pages, and after placing it back onto the bookshelf, says, “Yes, that was Pratt Institute}’ then this yearbook will surely have been a success. Sincerely, Jiaes F Hac ines Dus : i FEEAIEY Editors, Yearbook 1975 The Yearbook would like to thank the following individuals for their help at the last moments before going to press: ADDITIONAL PHOTOGRAPHY BY Alan Rand and John O'Donnell PRODUCTION ASSISTANCE BY Jeffrey Mangiat, Irwin Shaftel, Paul Goldfarb, Joe Borges, And the cordial staff of S.D. Scott Printing Company COMPRESSIVE STRENGTH OF CNT | ile Eh i a ae. Pe. ALOE! architecture involves a tremendous amount of competition and an extremely heavy workload. As in every field of design, it has seen the birth and de- cline of many styles. Architects, because they deal primarily with the human element of design, must concern themselves with the pro- longed effect of their work. This is one of the reasons for such wide- spread interest in energy consumption and the economy, and one of the reasons why student in- volvement in the Pratt In- stitute Community Cen- ter for Environmental Development is so im- portant. Solving com- munity architectural and planning problems is just a sample of the archi- tect’s relationship be- tween his designs, and the space in which he lives. ; a “Y i . Soe B55 Pai BAN MRP hece AN, at Nee “eth Bat plist a ae og D ag, a Us ae oe PRE “SORES saci =� ‘ nme ), ty Sra oe ee ee ne A SMA A hs OW eh eRe t tay a ‘ ay my: a tia oa a oe 4 “ by _ . few APE SSP ? aes e aanee ed Buk el) av = jihad x sidd 3 See a .! ; 2 N+ , %, ween ve wi N: a. LO As ee eee anh RNS - Je meds tN 7 y YES. a an ee Sud - ; any of pad fay | WKS ae fa Lif. j “ay, o7. yA - ‘ ro — ; “ x: | we ee Il ENTRANCE 1] D120) ae | oH Tl GALLERY || AEC GALTERY” eS He = RD OE a. == Lt | |. —TZBEY— y { re ie ce P : Re a, AR ped mere ae wo ay PAD a teks ua nw ‘watt g ep ANY, Tenn), Ne SS ‘S. ria DAT ELT pha hgtee )) Sie ats SY + ane 5 dae Ne hn ia a | WES � 7 , L 1k WORT, aS . Sots eres Se ANA S75 a ca “gf eC x Ze ’ au avy Ny « aden. . ae Si. WS Ty tere LS eee i) ARC SOUSA Reviewing some of the architecture students’ activities, it ap- pears that they are one of the least apathetic groups on campus. Whether it’s for themselves or the community, if there’s a need to be filled, they do it. For example, after hearing complaints from Higgins Hall students, unhappy about hiking to the Pl Shop for high-priced, and less than appetizing food, a few architecture students started a food service of their own in Higgins Hall. From last report, the food is good and so are the prices. In matters directly concerning their major, you will also find this same kind of ‘‘get-up-and-do-it’”’ spirit. Due to student pressure, the Architecture Resource Center, a library and infprmation service, was established in Higgins Hall about a year ago. Another example of their concern for answering the needs of the real world are the architecture students who work with the Pratt Center for Community and Environmental Development (PIC- CED). The students provide the skills for community groups who need the professional services of an architect, but can’t afford them. This has meant help for a community threatened with displacement by a factory's expansion, architectural planning for daycare centers, and solutions to renovating the city’s old law tenements. Ch. activities One can’t possibly list all the activities of the Architectural School, but these say enough about what's going on in Higgins Hall, and it’s all good. 5 “4 54S ig bean ome t, sheng? oy Sai) Se Whee coe SEF wal aE - Raymond Abraham Pares Aponte William Bedford George Beggs Richard Behr John Bloch Rudy Bryant Barbara Carr Ching-Yu Chang Glean Chase Barbara Chimakoff Jan Dabrowski Theoharis David Sam DeSanto Ronald DiDonno Conrad Dike Tony Dominski Juan Downey Philip Dworkin Arthur Edwards Eleanor Eich Miriam Eldar John Ellis a Gamal El Zoghby Giulano Fiorenzoli Vittorio Giorgini Jorge Gentilini Jerry Glowczewski Alex Goldfine Myron Goldfinger Alfred Greenberg David Hack Fred Hannahan Paul Heyer Michael Hollander William Katavolos Dorothea King Richard Koral Herbert Konstadt Yaw Lee Irving Levine John Lobell Mimi Lobell Gene Mackay Jim Maeda Felix Martorano Robert Mayers Larry Mersel Jonathan Morse Manfred Norman Richard Penton Rosaria Piomelli Brent Porter Peter Primak Stanley Salzman Sidney Shelov Ronald Shiffman Arthur Spaet Walter Steinharter Michael Trencher Sam Unger Christopher Wadsworth Maurice Wasserman Lawrence Wodehouse Stanley Wysocki Hanford Yang Not Pictured: Bramman Avery Paula Beall Jimmie Bly Guy Bocchino Donald Bussolini Thomas Campiglia Raul Campos Helen Chan Martin Cooperman John R. Crellin Ill Nancy Croley John F. Davis Il Michael Gallagher Charles F. Hastings Francis Heffernan, Jr. Kevin Kane John Kapusnick Domingo Kim Bruce King Michael Kosinski Ronald Kunicki Ada Klein Robert Lund Anne Meko Frank Miller Morad Nejad Gregory O'Connell John Oleksak Mark Perry Claude Pigeon Henry Prussing Khalilul Rahaman Bernard Reiss John Riley Peter Sahmel Klaus Schmitt Erwin Schneider Henry Shir George Sincox Jesse Slome Shoshana Sus ul Sutton bert Wikkoff Mohamme®e Foundation Art Richard Applebaum Herbert Beerman Alfred Blaustein Mary Buckley Ray Ciarrochi Bruce Colvin W. J. Douglas Duncalfe Frederick Endrich William Fasolino Katheryn Filla Lawrence Flax Marion Greenstone Richard Hall Phoebe Helman Janden Hogan Williamn Hochhausen Ted Kurahara Edward Lazansky Donald Mac Kinnon Joseph Phillips Christopher Sanderson William Sayler Phillip Schmidt John Shaheen Barry Vance Pamela Waters Richard J. Welch Sculpture Ceramics Richard Budelis Anne Carlson Arthur Hoheb Licio Isolani Michael Malpass Dakin Morehouse John Pai Leon Polansky Ina Reznicek Axel Sand Byron Temple Gary Zeller Graphic Arts Kenneth Deardorf Gerald Lynas Jill Richards Bert Waggott Printmaking Robert Blackburn Mohd. Omer Khalil Louis Lo Monaco William Lovell Donna: Moran Michael Ponce DeLeon Clare Romano Jefferey Stone Vasilios Toulis Painting Drawing Rudolph Baranik Ernest Benkert Alfred Blaustein Richard Bove Ernest Briggs Howard Buchwald Franklin Faust Alan Fenton James Grashow Gerald Herdman Manuel Hughes Ted Kurahara Salvatore Montano James Monte Toshio Odate Richard Pugliese Tomaso Puliafito Anthony Saris Charles Schucker James Silva Jack Sonnenberg Joseph Stapleton Malvin Warshaw Art History Lawrence Campbell Joel Goldblatt Denise Green Roger J. Guilfoyle John Pile Alvin Ross Philip Schmidt Suzanne Torre Loretta Vinciarelli Stephen Zwirn Art Education Judith Bernstein Barbara Erlichman Gillian Jagger Mark Lewis Dorothy McGahee E. Morgano Andrew Phelan Ronald Piotrowski Judith Reiss Nancy Ross Ivan Rubin William Russel Sheila Travaglia Cover painting by James Zingarelli Making a print is an experience in expressing one’s Own Most unique creative ideas in a medium whose techniques are both centuries old and some, as new as tomorrow. It has the thread of historic artistic en- deavor running through if to touch today’s artist in today’s world. Some of the most in- fluential, most forward-looking artists have worked in this medium and have found if as responsive and exciting as its earliest practitioners must have. As one of the most respon- sive means of artistic expression, printmaking has the power to portray the wide scope of crea- tive thought found among Pratt's printmaking students. The Communication Graphic Arts student is equipped with skills which allow him to under- take problems in the publica- tion design field. From mag- azines to posters, from record album covers to book design, these designers are trained to add visual strength to an artist's words, images, thoughts and spirit. _ Top Row, Left to right: Graphic Arts— Angus Patrick Nater, Tamara “Peaches’’ Kopper; Printmaking— Perer “Geedes”’ Demner; 2nd Row: Steve Bierner Rochelle Feinstein, 044-4894-43; 3rd Row: Ken Sofer, Sheila Zucker, Dona Quinones; 4th Row: Dor Anderson, Jennie Yue, James Zingheim. Not pictured: Graphic Arts— Dru Snyder, Frederick Marshall; Printmaking— John Bellacosa, Catherine Brothers, George Press, Jane Tingle, Singrid Trumpy. Window by Gene Mayer 8:30 a.m. was a special time in the lives of a handful of students and faculty who make up the ceramics department. The cream-colored brick gas kiln, the new kiln this department's peo- ple had long anticipated, was stacked with brittle bisque pieces, awaiting the onslaught of searing heat that would trans- form the fragile dried clay into durable, beautiful ceramic- ware. David Zanbenko lit the gas jets, and at exactly 8:30, the flame began to pour into the base of the kiln. The heat grew in intensity: from cozy yellow and orange warmth into searing vermillion flame. The magic combination of basic elements: earth, air, water and fire took place for the new gas kiln that morning. The hands of André Grasso The hands of Ruth H. Chambers The hands of Michael Parkinson Mary Petruska lan Zdatny a a v4 Dennis Socrates Pettas Debbie Maloney PAINTING DRAWING The Yearbook staff was huddled in East Hall 105 late one November night. It was bitter cold outside, but they were sweating. Re- ally sweating. . “What are we going to do with all those 7 painting and drawing seniors?” | Someone suggested having each senior submit a self portrait, another said put pic- tures of them in a paint box. Finally, some- one suggested T-shirts. Voila! T-Shirts! Ler each student create, design and display his own T-shirt. That way we can all remember his face, and as a bonus, learn a bit about his creative talent as well. So after begging Ralph in Jakes's for sup- plies, we gathered up a few jars of temp- era, some brushes, crayons, chalk, pencils, magic markers, and construction paper, and went upstairs, dragging along our photographer, some punch in a punch bowl, and a few cookies. We had our- selves a T-shirt party, and in addition, a lot of fun. Here are the results: Marie D. Ucci Lana Carlin Richard Sorrentino Howard Steel Sheila Spaulding Tony Parillo Carl Hazelwood Mary B. Wilshire Glen Weisberg _ ho Cynthia Walko Jilleen Jay Johnson NOT PICTURED Timothy Andres Stephan’Mankiewich Leslie Bender Gwen Masser Donna Boselli Robert Mclinerey Buda Bryant Lisa Miller Jane Bunnell Louis Mims Ruth Chapman Wendy Moore Michael Duncalfe Leland Neff Robert Durlak Claire Nelson Jessre Dworkin Alyse Newman William Fisher Thomas Phillips Joanne Foti Samuel Quinones Howard Friedman Carole Roller Toby Haber Patricia Rotando Robert Hazzon Susan Scher Kurt Kilgus Esta Shapiro Frederic Kotowitz Elaine Siciliano lrene Lake Diane Simon Michael Lemire Lynda Smith Catherine Levreault Joan Snitzer Patrice Levy Christine Sobol Weldon Lockerman Gail Titunik Railey Macey Harry Zirlin It takes time to sculpt. Time to chip. Slowly. Relentiessly. At blocks of stone. Time to weld tiny, metallic joints. To push. To urge clay into shape. And form. It takes time to learn an art, using mat- erials as basic as the earth and as rechnologi- cally advanced as steel, plastic, or chrome. In each new piece, the development of the sculpture, and the continuing growth of the artist Combine in an organic process. This uni- que blending of personal growth and the growth of the piece is what makes sculpture such an intimate art. — Nor Pictured: David Brown, Thomas Kowtna, Susan Kramek, Mitchell Syrop, Valentin Tatransky. Art Education is practicing what you love best, your art, and gert- ting a chance to share it and teach it to others. It's being an artist on a two-fold basis, be- cause 0 good teacher is an ar- tist. It's a blend of sensitivity to the students being taught and awareness of the actualities of classroom teaching. Much of this is gained through teaching Saturday Art School at Pratt, and student teaching. It's casting seeds on the most fertile medium of all—young minds. Nothing's more exciting than that! And last but not least, it’s all that's gained from teaching. A day-in-day-our experience in growth for your students. And growth and discovery for you, their teacher, because when you teach, you learn. ee a ep a I a ee Er ee a — ee a Ee ee et ot ee Pee eet wee n e N ee- My Friends and Classmates __.. Ist Row 3rd Row I SE I ARS Ee ee —_____. School ____. Teacher Nor Pictured: Louis Aponte, Emily Brown, Patricia Burkhard, Alexis Delbridge, Chery! Doby, Joyce Kaufmann, John Losco, Leonard Rabenovets, Stephen Rector, Robin Sapan, Janna Schwartz. Ne ee PO 4 Fe ee ee Pete em ee te ere (RAK EMG A DOF Neg Fk SE A MTN EE SENG Leet 2042 ae ADs syte inde Hf 4ht DAG RD By) GOK ers 5s erqemeeg nee — Design Faculty Communications Design Donn Albright Donald Ariev Raymond Barber David Barnett August Becker Raymond Behar Steven Bernstein David Byrd Dale Clark Gerry Contreras Emil Dispenza Bruce Duhan Dave Epstein David Gates Hazel Goldgell Charles Goslin Ruth Guzik Arthur Harris Henry Holtzman George Klauber Jacob Landau David Langley Herschel Levit Dean Meridith David Passalaqua Werner Pfeiffer Jill Richards Stuart Silver Fashion Marilyn Church John Cloonan Linda Daley Madeleine Darling Sachiko Davis Katherina Denzinger Rose Fabricant Muriel Fleming Roslyn Goldfarb Thomas Haas Barbara Hanlon Susan Jones Marion Lillard Charles Macri Anna Marie Magagna Junnosuke Kandi Ohno Bella Ornstein Gloria Schochor Paula Vogelsang Environmental Design Theatre Arts Dance Peter Bradford Bennet Averyt Tina Bellas Edward Carroll Shelley Bartolini Laura Dean John Copelin ichael David Ritha Devi Rex Curry Susan Dias Robert Dunn Willis DeLaCour William Elliott ichele Geller Joseph D’urso Richard Green Jonn McDowell Phillifo Farrell Peter Harvey Wish Mary Hunt Sciretta Frederick Goldberg Burl Hash Harley Jones Robert Kalfin Film Stephan Klein Herbert Lager Samuel Alexander Laurie Maurer Kermit Love Leslie Clark Robert McGinnis George New Regina Comwell James Morgan Patricia Peters Robert Fiala Erwin Potter David Shaefer Robert Fontana Jesse IRivera Andrew Wolk Lewis Jacobs Alfred Jarnow Stephen Koch Babette Mangolte Roger Philips Peter Rose Photography William Arnold Louis Draper Drana Edkins Arthur Freed David Freund Eugene Garfinkle Willlam Gedney arvin Hoshino Helen Levitt Judy Linn Paul McDonough Alan Newman Philifo Perkis Industrial Design Giles Aurel John Bloch Eleanor Eick William Fogler Gerald Gulotta Yasuhiro Okuda Rowena Reed Alexander Sarkis Douglas Spranger J. Richard Welch fj Zi VA “A lot of us came to Communication Design with some artistic talent, some writing talent, and, like me, a very rosy picture of advertising. It seemed like if wouldn't be too hard to fit into that shiny world where everyone was on top of, or ahead of, everything new. And it would only be a matter of time ‘til we had the office, the title and the cross-country jaunts we knew our talent would get us. Well, four years of Pratt seemed more like a daily hundred yard dash with deadlines just barely met or maybe not met and lots of bleary-eyed mornings. And, of course, work, work, and you got it, more work. But it gave us a foundation (and hopefully a portfolio) to get us through the doors of thai world we've been heading toward for the past four years.” — Leccety of Qlcatnatore Nt Letraset 2 R for | reproduction Maden Frrhe nstructor Cc o 7 ® fa 2 £ a 2 oO Art Direction Illustration Art Direction Cc 2 _— 2} + ” = Not Pictured Graphic Design Front L-R ne Environmental Design Move in a little to the left; Thiit-Maslel(- mC @marel (emit efoltmelsMinl- miles mmie liam goles head a little — that's it. Now everyone sit up straight volato Mm ielet-Misl-meoreluil-ifem Where’s Lois and Marilyn? Aren't they here yet? You on the right tilt your head; isto) MM ils - we OM @mnleh Mm -) 0-18 2e)al = Ze} fois Mmiil-me)icel(-melale mle) Am Sitting L-R Elsie Steinman Joseph Weiss Ti itelsam Celalralers Grace Chraime S) (olatoliale mma. Robert Argyelan Steven Lindner Christopher Wentz Damn It, who moved! Not Pictured Lois Ann Conner Marilyn A. Miller The Fashion dream world somehow exists in the harshest of realities: New York City’s 7th Avenue. It’s illustrating designer-creations through fashion's standard interpretation of the perfect woman, the gaunt model. And hopefully getting enough of one’s own style to make it stand out in the very large crowd of contenders for § fashion's fame and fortune It's a dream as fragile as any, but if survives and grows despite a world that's sometimes harder than the seventh avenue pavement. It’s a dream of not only joining the beautiful people but being one who creates the most glittering aspect of their beauty It's being a fashion designer It's being a fashion illustrator Fashion Art Front, L-R: Marsha A | Marto Kay F hte st in Gunde 9, Not Pictured: | yny Fashion Design First Row, L-R: aers. ‘Bort Mae Secon d Row: Not Pictured: Ary } M rie Third Row: Kathy ° 4 i$ ad — om « ” eee ee | 1975 14243 ASJOIIZ UDI y vary 1 ALO? 415°6 . INLUDS PjOU UIWWU SUAONA 748149 —_ er , . Oit+i- us. mail : Mod PJIUL MOY PUODES d-1 MOU Jsil4 2p © Se | sc VT | oe EE Sr, Not Pictured Torkom T. Demirjian Elaine K Dutko Mark G Franco Patrick Hamess Lois Elizabeth Kelley Bary B. Macaluso Thomas John Mezey William T. Muehling Ill Temi Lynn Sonders j industrial design final judgement 1975 Theatre at Pratt is very new, very exciting and very, very enthusiastic. It's one of the few programs on campus that seems to flow over all of us. Just about everyone at Pratt has gone to one of the productions. And all of us (being the exhibitionists we are, secretly or not so secretly) have probably all had or still have leanings toward the theatre. For those who are actually in this department, it means a realization of that desire. Participation in a recently formed program means innovation to spare and an exploration of a major that’s shared by Instructors, students, and all the Pratt community. wm ad ue ees aaa OF MUS: N- = hrough the eee Studies Program, beTTer known as University Without Walls, students are encouraged To study a chosen professional -areer at Pratt while working and leaming at a similar joo in the field. If combines the est of two worlds: a college educat ion with the experience and training gained througn yment opportunities related emplo A A Second Row L-Ie Debra Adelman Deryck Fraser Abby Gail Goldstein Lucetfe JImMINez Third lkow Diane Kosowsk Alexandra McPherson Laura Numeroff Janet Scabrini Dru Snyder OT FICTUrea esa Bayanda Jon Benquiat Mark Bussel Louis Cancel ha Cardillino uth Chambers Ines Lorenzen Jonn Lynch chele McCarron John Millsenda Dennis Pilkington Jackie Wery athy Zimmerman r ' n€ N N D AA - _ — oe -- — = oF — = we (Cl Inter-art design js the smorgasbord of Pratt's school of Art and Design. The program provides exposure fo all kinds of possibilities in the art design realm. It's a chance to explore many fields and many directions; a means by which one can discover a way of life as an artist designer. Inter-Art Design First Row L-R Elena DiMeglio James D. Radiches Randall Scott Ross Not Pictured Carol A. Connor Paula S. deKoenigsberg Maryellen Mayr William Mitchell Michael Jonn Norman Barbara Rosenthal The School of Science con- sists of the following depart- ments: Chemistry, Computer Science, Data Systems Man- agement, Environmental Sci- ence and Mathematics. Both students and faculty not only emphasize the search for truth and know- ledge, traditional to schools of science, but also stress the uses and applications of their insights for the world of the future. This goal is achieved through the Co-op program, with alternate semesters of work and school, to give stu- dents experience in the real world and the opportunity to use their knowledge acquired at Pratt. Another route towards gaining an awareness of the world’s varied needs, is an in- terdisciplinary research pro- ject, open to seniors in all schools, designed for solving significant problems. It is by these and other similar opportunities that Pratt helps to mold the budding young scientists of tommor- row. Science graduates leave this small Brooklyn campus aware of the potential they possess for improving the world and solving the prob- lems that plague our universe. Science School Faculty Tamas Bartha Marvin Charton Donald Duncan Burton Fabricand Abraham Finkelstein Martin Fried Paul Friedman Benjamin Gross George Helme Harry Katzan John McClaron John O'Gorman Stanley Petrick Frank Rand Frank Servas Gerson Sparer Herbert Tesser = ™ Xe “uy | 4 oe di is — ia : . emg _ Ta = PF Ym | 5 a = es ‘. . Burn — | sR ge - ae i = , waa ne a = c SS : oy Science Engineering DSM _ Data Systems Management IE Industrial Engineering CHEM Chemistry CE Chemical Engineering CS Computer Science ME Mechanical Engineering MATH Math AE Architectural Engineering ENV Environmental Science EE Electrical Engineering ‘““Men love to wonder, and that is the seed of science.”’ Ralph Waldo Emerson Patricia Eletto Robert Herrmann Alicia F. Irving Richard J. Kempter __ Jeffrey Relkin Winston C. Roche Kenneth Rosenbaum Arthur Schroeder Lou Trimarco Adrien Marcel Veltri Richard Blair Philip Linz Eric Young Arnold Johnson John Karis Joel S. Binn Franklin Chew Arthur Goldstein Wendell B. Bither, Jr. Chrissi Nicolas Charles Sugden James A. Vaught, Jr. Sharon A. Stein Philip G. Fitzpatrick Let Fai Chin Morris Levie Chin Kwong Chung Chiu Raymond Contreas David Bruce Dolny Paul J. Kassos Jack Mayer Monte L. Moon Nick D. Mundo Adenowo Osinowo Daniel Pontecorvo Carl J. Saieva Philbert Singh Miguel Villaplana Philip Venticinque Anthony Francis Carlos Genser Tyrone A. Gray Roger E. Hawks Douglas Johnston Gilbert Cruz Joel DeStefano Vincent P. Fuggetta Jagnarine Baldeo Leslie Burnett Jeffery Chrisey Robert A. Post Anthony D. Rosato John Tillotson Hing Wah Louie Guiliano Mancini Bruce Mann Eugene A. DeSantis David Duerr John W. Tradeski Jr. Edward L. Wong Louis A. Yula George W. Hopkins Dennis W. Schmatz Robert Triscoli Earl H. Anderson James E. Ball Frank Ballesteros Denzil F. Beaufort Walter Bergman Mostafa Bigdeli Alfred Brito Richard S. Burrow Michael Castrogiovanni Paul S. Chalson Thansit Chentaphun William Chew Warren M. Dasczynski Piti Devakula Elliot Drayton Alix Duvalsaint Kenneth Ferguson Craig Fischette Martin Friedman Frederick Gaylord Joseph Lattanzio Larry H. Levine Milan Licul Ernest L. Lindsay John Machemer Victor Minichiello Kevin A. Mussmacher Rex Nathanson Pierre Nemorin John Parnell Leary Gilpin Frank Guest Hugo Hodge Bhownashur Jairam Ben Z. Kreisman David S. Madison Panagiotis Maravelias Wilbert Maxton Jr. Franz F. Mevs James Milliner Jr. Steven Pautz Charles L. Perrin Fabian Price Mitchell Raczy Joseph Reinhold George V. A. Rohlehr George P. Rutkunas Miguel Santigo Octavio Rodriguez Jr. Ricardo Rodriguez George J. Stanko Efthimis Stenfanidis Michael Tavella = Balkissoon Seunarine William Stallings Rudolf J. Wengjen Augustus White Pak Sing Yip Ferdinand T. Van Steen Michael Warner Gerald S. Youngewirth Frank Verni “The great pleasure in life is doing what people say you cannot do.” t : Walter Bagehot Faculty Fred Assadourian Peter Basch Eleanor Baum Theodore Borecki Howard Boyet Joseph Jannone Esmet Kamil Max Klinger Herman Krinsky Joel Levitt Haroun Mahrous Richard North John Rice Arthur Seidman Demetrius Zelios Students generally have fixed career goals in mind when they arrive here at Pratt. One of the Engineering School’s greatest assets is the av- ailability of curriculums geared toward the ex- isting job market and taught by professionals in the field. Students may continue their educa- tion by studying everything from law to medicine upon receiving an engineering degree from Pratt. Engineering involves learning what makes the world we live in tick. We think of engineering as possibly the most down to earth course of study. However, when you realize en- gineering students are trained for the demands of the future one can appreciate the imagination and innovative thinking that the job requires. Pratt’s a good place for the innovative end of it, as well as for acquiring the basic technical skills. The Institute emphasizes the advantage of field work by encouraging programs like co- op which offer a taste of the jobs out there in the real world. Never forgetting, that ultimately, Pratt is a process of preparation and not an end in itself. yi Eb wenn ‘ A Ae r ' _ , abe 4 As. a t a i peregern a Tee DEUSTEWPADa ni HPPA Uppy 6 0 3 1D Hiytl 6 rhiyt z 8 i L 6 g ium int Zz lolita ih € 7 S 9 f Gna mn Fhan anita lil 7 SZ6L00000 School of Professional Studies School of Professional Studies Facutry Alton Burton Henry Cov Nicholas D'Archangel Philip Dworkin Richard Flanigan Howard Horii Leo Kuhn Joseph La Rocca Harry Mahler Paul Mauch Irving Minkin Philip Olin Jules Sells Bertram Sherman Irving H. Sigman Lewis Sunderland Norbert Turkel Sam Unger Murray Weber Felix Francis Buttar Karen Durst Andrew Edson Rose Fabricant Ophelia Gilliam Murray Gottlieb Judie Grimaldi Thomas Hass Nina Kurtis Sheila Marks Barbara Romm Norman Shwartz Elyse Sommer Ina Stewart Gladys Toulis Paula Vogelsang Edward Arwady Edward Bianchi Raymond Borichewski Sister Margaret Franks Allen Freedman Joan Goldman Gloria Gramaglia Rene Harker lrene Judge Richard Kemble Hilda Kriegenhoffer Guy Livingston Curt Nickel Irving Perlman Alyette Schizas Sidney Schwartz John Silvestro Robert Strazzula Mildred Stricevic Elba Velasco Alfred Zahler ' : - : . : — — ve Ry er cer Pe} ¢ 7. a tuts = ¢ . —_ — — oe ' ia! [nr y “ t- 3 - 33 “ : Fis et Seesh + : art fb : =x - x's BEee wee . at Se es . . 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RK City: t, more gourmet restaurants per square J and some of the greatest structural Or made laboratory for the School of Sweet 6 Sour Meatballs Fredric Levitt wef ‘ia Giumbs Fpper Sejm Salt —muir all ingredients and oll into balls Add . spices to len Sauce 16 an Bistons Marina § aN a ey can. . een Spry WV (e berry Gaeny SAUCE (Ie nd Sauce into'a pot— ra cover and ng to a larga st re, is d, simmer for (= 1% aaah et Seng Ti (Ves Ni 15 tocol apple chit nks when Pg bin ke vl i( oft top, pepe of bea dee (Ce Serves Six ‘Bloody Rum Frank Caponong 6 02 Te i 0 Juice jr graced, Pinch of Celery Salt Rig, orcestashine sauce Ah enon Jusce— : Dash of sahara sauce Pincde of. 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Cirastrce at nthe 7 pie oie Dig Dy pan “a % nti fee Meas 30 min ay Con. tan pee : or and. ¢ Nn AS 5 ae ; i i wee, Lamas L “ssfny and SY SE, ‘Sauce COR , stiming_ constantly until ugg” ou 3 minutes pat oe : ron ral ie Pring at A “ge 1 i i 5 neko Spore eget loble Left Rosael Icollazo 48 re ; - gle Claudia Turner 5 : Adebola ljason Table Rioht = Genevieve Chung = Shirley Gibbs Myrna Johnson Zandile Nduli a - rs me 4 PRM � 8 4aumey, Out To Lunch Maura Dillon Karnili Gorbatow Lucy Habermann Susan Kowalski Patricia Layne Victoria Malik Judith McIntosh Mattie Oliver Alma Pendelton Faith Perry JoAnn Serra Thomas Taylor Carol Gabriel le Carolle Walker Margaret Wilson Blanche Wolfer Margaret Young “No person who is enthusiastic about his work has anything to fear from life.’ Samuel Goldwyn -o ean ee eee | Ci ere ne ee atte emer