Pratt Institute - Prattonia Yearbook (Brooklyn, NY)

Text from Pages 1 - 52 of the 1982 volume:

) , OTE WOT TI TI NI II I ARAN ANA A AN A An Ann Us ul waa as 8 al NY Across . Institute president . Peace keeping organization . Mattress stuffing 10. Advance 13. Egg white 14. Willow branch 16. Body of water 17. Ex-Provost 18. To come (abbrev.) 20. Reggie Jackson's specialty 21. Vice President of Campus Management 22. Portable drawing tables 27. Prefix meaning two 28. Domain of William Stack- Staikidis . Office of Naval Intelligence (abbrev.) 33. Sphere 34. Compass point 35. Vice President of External Affairs 37. Registrar 40. Zeus’ heifer 41. Fight 43. Alphabetize 46. Pinball warning sw 3 ures8:Q¢ uoU'6z LOG'LZ NU'9Z 1e'SZ 049047 ONAIIGITZZ ULYY'LT TesKS ] aar'$9 YOUNT'E9 18°79 TAT AV'09 BYO'9S vapsy’ 47. Ship’s steering device 48. Chem. abbrev. for silver 49. Left end (abbrev.) 50. Idiot box 5l. A _—. Grows in Brooklyn 53. Above to a poet 55. Freshwater polyp 56. Vegetable 60. Eleventh month of Jewish year 61. The to Pedro 62. On; in 63. Midday meal 64. Wrath Down . Institute’s founder . Police bulletin . Member of a board . Large book . Coffee maker Chem. abbrev. for neon ________ in the neck . Dean of Cont. and Ind. Programs . Dean of Art and Design 14. Officer of the Guard ORAM HSwn = 24. 25. 26. 29. 30. 32. 36. 38. ay] 42. 43. 44, 45. 4]. 52. - 58. 59. Van Vain a Vit ae Vi Va Vile Tam Vat VY Va Vom VO Vom Vom Vani Viet Vay Vit Vem Vat iat Vana Vimy Va? Vi? Vi) Vat? Val? Vom) Vag . Sarah, before Abraham’s covenant Genghis. . Vice President of Student Services . Opera text . Dean of Liberal Arts and Sciences Chocolate and creme cookie Exclamation of pain Registered Nurse . Feathered scarf Not prefix Metric weight Alligator shirt Martini vegetable Stick ____in my eye Director of Admissions see 61 across Othello villain Napolean’s exile Chem. abbrev. for xenon Acting Dean of Architecture Pos neg pregnancy test 4. Cheer call . Egyptian soul Right tackle (abbrev.) Kung TY GS WSS ENS YRIES HATS ANSE VGIT' HE OBL 'Cb [TZ appaau v'ge aato'g¢ pozy’z¢ 901 ured'g an’9 wan'¢ Woy ¢ PAUL'S AL'S ATGF SVS WHE nN¢ GdV'7Z Weld] UMOG YN'OF Xopuret aapaw T+ ¢ db ae OF Ob AN'FE GOSS INDIE IM'LZ Sprvogdey 77 YH'OZ ML'ST ¥AS'9] JaIsO b] uaUNGTe’¢] ssasBord'Q] Yodey , UN'S ssosDy ‘syaMsUy Joseph Cusumano, Thomas Hollander, ?, Leroy Pratt, René Bowen, Leroy Harris DO Oy OAD ny i OAS Aa PARP AB BY I WO MO A ir br “a Construction Management Have you ever considered what your biographer will have to say about you? I’ve even fantasized about where I will be when they get around to writing it. Some- times I’m a rich old timer with enough fight left in me to employ a battery of lawyers to set the record straight. More often than not, I’m six feet under and rather indifferent. Now that I’m about to graduate let me tell you some- thing, while it’s still fresh in my head. It was a rainy Wednesday, we all left the job and headed for “Bordie’s”. I know it was “Bordie’s” because we got paid on Thursday and the beer was cheap; I had known these guys all my life. Uncle Vito, Sal, and a couple of cousins, even my old man was there just before the accident. Vito and I were having our annual debate over my re- turning to school. Of course I had all the facts. Federal Pro- grams, the earn and learn angle, Pratt's reputation. He claimed I sounded like a car salesman and I guess he was right. The match book Vito was toying with hap- pened to be one of those “are you stuck in a dead end job” numbers. You know the ones. The afternoon brews distilled the sim- ple message into the rallying point I needed. Sure I knew the business, I explained, and yes, I was making a good buck and no, I didn’t think I was smarter than anyone else, but, I knew myself well enough to know I wouldn’t be happy without the bucks on the management side of the busi- ness. The conversation ended the same time as the rain. I still don’t know why I had those matches in my pocket the night of the funeral, but when I went up to light a candle, there they were. Friend biographer, they are still with me. We came to Pratt a number of years ago, as clients looking for a mind to be constructed. Our pockets full of holes, we went to banks to finance this long five year project. We thought we had a pretty good idea what the end product was going to look like, and what function it would serve. Little did we know about archi- tects and their mischievous ways. The site of our mind was virginal and virtually untouched. Certain first year professors bid on laying the foundation of our mind. After the contracts were awarded, they bulldozed their way onto the site, and totally and rudely uprooted our naivety. After a while we felt we were left with just a gaping hole in our cerebral ground. These teachers then proceeded to firmly place the foundation—basic and sound. Yet at that stage we had thoughts that revisions in our original design had been made; even suspected some faulty con- struction. Next, systems were incorpo- rated. Systems of forms, systems of logic, systems of styles, sys- tems vs. systems. At that time we wondered if the project should be abandoned altogether because of a lack of funds, shoddy work attitudes of the contractors and our own doubts whether the mind we wanted originally con- structed was even worth it all. And yet the work continued and our minds grew and grew. Now on the eve of our grand opening we have difficulty com- ing to terms with what was created for us. A hodgepodge of styles. A little of this and a little of that. However it can be described, it is unusual and peculiarly ours. But the real challenge now is deciding what to do with the mind, as it has been a case of form before function. Wee hh MTT TTL Te a Te TOT TT TTT TT ARCHITECTURE Kathryn Zimbalatti, Melvin Cummings, Anibal Galindez, Jay Singer, Eileen McNin- nie, Alexandra Mazzeo Below Ayelet Artzi, Kenneth Fladen, Michael Biagioli, John Haskopoulos, Bob Stevens, Kenneth Bere, James Petitto, Stephen Beacham, Wendy Chow, Cassandra McGovern, Hooker Van Deusen, Mario Rincon, Mark Cooperman, Dennis Grasso, David Thruston, David Lederman Klain, Len Lizak, Chris Guerra, T czyk, Bill Simmons, Paul Chud Regis, Cliff Broffman, Bonni Corvino, George Tougias, Alexis Ann de Vere, Cathie Franco E. Romao, Cy Seid pied pimmelg Alera piemeig NTR Nila STG DIR DTA NRT, Daly DIM nT) NRA Nie NPL Nie en Die Ue Nim Ni Z edie -_— wHHRrAReReAnnRaRnH � � HHA RNR OO PN HHHHHHHDHANHHAnAaHDHHDHhaA ey anne ae wo Re Qe ee ee ee hee tr ter aa, ery ie _ a R39 bre ety Wh aN i MLA ODO DR, Pe ee es el Ne a eT) Ne a er he Aer eee he Der Nea. Wool wwii a a we Vie Va Vat Vai Va ame Val Va Vale Vil Pama Vay Va Van Pam Vi Va Va Va Va Va Va Va Pa Pia oY Pi Vil? ae Vea Vis Vom) Vi Front: Jean Rey, Ivan Candilero. Second row: Israel Ghelpi, Edward NG, S piano, Attilio Flarda, Cheuk Jane Reilly. Third row: Sergio Fontaine, Eugene Louie, Peter Campanella, Robert Melascaglia, Kamyar Zangenneh, Joseph Masarich, Michael Messina, Steven Iacono. Fourth row: Victor omi, John Darginos. Fifth row: Steve Salmon, Michael DeSim- mone, Franco Pieirri, Vance Schipani, Victor Urbach, Mark McKean, Michael Boodleg. Back row: John Labiak, Roger Borges Boboye, Mohamed Anatia, David Tam, Sergiadis Demetrios, Joseph Hyacinth, Richard Knob, Kin Tong, Franklyn Saghroo. Elycia Leriman and Han Ho Yoo Science and Math I am occasionally reminded by former students of a practice I indulged in as a relatively young and minimally wise professor. It usually goes something like this: “Doc, do you still play your Chem 252 students for an A in the course?” This always triggers a mixed ensemble of recollections as well as feelings ranging from embarrassment at my juvenile bravado to a sneaking pride at my halcyon skills at basketball. During the latter sixties a large number of young men became interested in college as an alter- native to government service in Viet Nam. At Pratt many of them opted for for the Food Science Program, drastically changing the male female ratio and infusing the program with a delocalization of focus. As a byproduct of some classroom encounters and extra- curricular discussions, | found myself offering to grant an A to any non-varsity basketball player who could defeat me in a one on one game. The problem with the proviso, “non-varsity basketball player,” was that highly talented basketball players abounded in Chem 252, including about 40% of the varsity team currently ineligible or exiled for disciplin- ary reasons. Over a period of several years and numerous desperate games I was lucky enough to escape unscathed and uncompromised except for one harrowing en- counter. L.E. was a varsity basket- baller of considerable skill who was sitting out a semester, Having played against him in scrimmages and three man games I knew my chances were slim. As I played with a brilliance born of terror, I considered for the first time the full implications of losing and having to give an A not earned by hy hee ee ee Be academic performance. After a protracted struggle I lost and somberly left the old gym. The term came to an end and as I graded the final exams I was wracked by indecision and con- science pangs. I bit the bullet and maked L.E’s paper and...Justice!! LE. had a solid A paper, a cleanly deserved A in the course. I don’t offer this option to my students anymore. However, if you want to try for a six pack of Heinekens... WL Tr Me TTT TT =, : = ee STP TV TUT UU OU Oo Up ny Un) ap Ap or or Waa wu wa er aU as Vas as a RP Ue PAR AS I MRAP RAMA a Br ay a a Ua i a Maar Ur a — y Dy © sas Michael O'Leary ‘Jewry hey Pe PG a hh It was asked of me to share 150 to 200 words about my experiences, my thoughts, my...related to foundation art, and please don’t be...And so... I see teaching as a tremen- dous opportunity to make a difference in people’s lives. My intention is to create a ‘space’ in which the student’s ground-of- being confronts what’s true in the universe. To do that I have to willingly recreate all situations as a ‘pic- ture’ of my Self, that is, to take the responsibility for and ‘own’ my 50% of reality. When I do that the student can then see himself in the “mirror” and our selves touch. I can’t make anyone do any- thing. I can’t make students draw well. All that is really possible, that has value, is to operate as the catalyst to inspira- tion. Inspiration comes from and exists inside of us. It can’t be given to another. My inspiration can create the ambience, that allows, that empowers the stu- dent to drop his mind, to see through the considerations, to grow and often make a quantum leap forward. And I know that it’s always the student's willing- ness to accept “what's so” that Wow wo asa allows him her to teach him- self herself. The goodies for me, the pay off always comes when the magic works. When the student takes the responsibility and becomes cause in the matter and is no longer at effect. I love those words “I learned alot!” Thank you! WW a ae Ses ak Matthew Stern 4 i z z 2) Pex S$ s BHPAHAHRHHHHHHHHH AH HH A AHHH HHHAHHBHHHHHAHRHHADRDHHA DY HW Rw Wea i UU a Sa A a ts Front left: Bruce Goldsmith, Michael Knigin. Second row: Vasilios Toulis, Michele French, Kelly Lincoln, Mary Jane . Mucklestone, Martha Johnson, Mollie Har- 4 rison. Back: Rachel Wysokeg, Sal Prevete. From right: Elaine Parker, Karen Bach- mann, Marina Bosetti, Kelly Carrington, de Dragon Simmonds, Andrew Fox, Noel Cope- land. The Players Jill: Hands tremble Bill: Poor posture Rye Bread: Very large, con- cealed in pantry J: Cool it man, you’ve been working too hard. B: Life is a piece of cake and you should chew before you swallow. J: Cake my arse. B: It’s my own theory, thank you very much. J: Is that right? Andre says you can’t study art. B: Is that so? J: Like it’s life, man, and they can’t teach you. B: What I’m thinking, I’m think- ing...it's a damn well good thing. J: Whaddaya mean? Whadda we doing here sweating up this joint? I thought you were for real. B: They can’t teach me here better than they couldn’t teach me in Duluth. J: So whats it, the center of western civilization you wanna be at? B:...now that you mention it. But you unnastand what I mean, it’s Biff and Bobby and Jane. It's heavy Dooly and that speech what she pontificated in class, and this particularly hep instruc- tor you were jawing about in recent times. J: Yeah,, it’s a potent cup o’tea I reckon. � , B: How abotit i and rye bread too. Yive J: My time is coming soon. Vig ET TOD DDD DW ED LL LL EE ESO OU UU Ue oo ea a et a ie i eS my, my My, cr ‘ f | j a sete vearetes®” sans: See Fa Tea ie iy aii i ' f | « ‘ ; eaphid mf mh i a ci ‘us ne | f : tori {Si . uit iii iif at anatn , ‘ ite ett agi Tig MOM mM You weren’t smiling so smugly the first time we met. Portfolio in tow, killing time before your inter- view with Gene Garfinkle (proba- bly the only time you were early for anything around here). Round- ing the corner on the third floor you had your initial encounter with my display of senior work. We stared at each other for quite sometime. I watched your expres- sion change from curious amazement to prickly panic. If you don’t mind my asking, how close did you come to blowing off that interview? Obviously you didn’t because there you were in the fall, still checking out the displays. By spring semester something changed. Instead of wonderment over technique, you questioned composition. The first time one of your pieces made it we spent a long time together. I also remem- ber overhearing it was the first time your folks didn’t have to pay to hear the sound of your voice. Your senior survey wasn’t bad. Even that pompous, failed fine artist commented on a “certain refreshingly conceptual feeling be- ginning to emerge.” (Whatever that means). When you start tak- ing your book around, remember how confidence in your work can override the panic and how unat- tainable a place in my glass case once seemed. Hey, you better get going, I hear someone coming up the stairs. mn . Front Row from the left: Cheryl Brundage, Laurel Tobias, Alfonso Gobea, Tom New- berry, Sam Scali. Second row: Gerry Contrer: il Gittens, LaDora Redmond, Joann Zelano, Karen Cumerford, Aldo Legido, Steve Powell, David Passalacqua Third Row: John O'Hara, Steven Cragg, Gayle Erickson, 7, Ben Hillman, Vladimir Shpigel. Back: Karen Massergiaa, Mary Paik, Rebecca Farash, Debra Clendennen, Howard Fertig, Steven Greene, Michael Barta los. John Athorne, Wendy Szeto, David Au, Lynnette Pellegrini, David Matava, Karen Jacobson, Carlos Martinez JT OA LAD LAD AD A AR UA ne Wow a a a a First row from the left: Robin Brown, Gergory Scott, George Lee, Virginia Jung, Renee Dulinckas, Tony Vela, Dorothy Griffin, Sam Lober, George Klauber, Charles Goslin. Second row: Judy Seckler, Mary Anne Sowah, Paul Graboff, Millicia West, Charles Friedman, Gayle Miller, Richard Longo, Edward Meir, Phyllis Chan, David Robbins, Iris Figueroa, Doug Brown, Mar- garet Noon. Back row: Thomas Tierney, Wendy Szeto, Daniel Paterna, Sharon Roth, Perer Nomura, ron Occhipinti, Scott Santoro, J k, Michael Gerbino, Ralph Senzamici, Kathleen Corrigan “COMMUNICATIONS DESIGN” aly | ed he RM A Me Meg 0M MY Me Ng Mg Me pg RG DG Mee NG pg NG GD ee hh uw Interior Design The Interior Design class of 1982 held their twenty-fifth re- union last night at the presti- gious Alibi club. It was great to see everybody who could make it, although Juan and Gerardo showed up an hour or two late because of car trouble. As I mingled about I tried to catch up on what everyone’s been up to. Bill DeRidder just tied up the loose ends on that realty deal in Harlem. He now owns 90% of it and has renovated 80% . Carol has done her own share of brownstone renovations and has many big deals in the works. Joel Perez, who has always been one of Carol’s best customers, now owns his own resort island and his memorable Smith- Barney commercial has made him a popular face. Kate has been doing very well in her contracting firm and Nan is there to help out a couple of days a week, but with her beautiful six children it’s a little difficult. Lori made a brief appearance but had to leave early because of a party for Rick. She did stay long enough for us to find out her contract firm is doing well. Narong was tied up with some details but did manage to send his clone. Andy's specialty seems to be drug store design, and Geneva seems to be doing well, but we couldn't find out many details because she dozed off. Arianne has not only re- designed Athens, but bought it. Homa is a design teacher at Pratt working over-time with foreign students. Andrew is now a senior partner in Poor, Swanke, Hayden and Loessel. Mark is principal of Marchitec- ture, that innovative design firm. He's quite a celebrity but the gold laminated long-underwear was a bit much. Ken did a terrific job bartending and Syl- via did her share of helping Karen with all of the arrange- ments. Ken specializes in , Sylvia has been responsible for some great stores and Karen has joined —- forces with Jeff and formed-a graphic interiors:ftém that is doing extremely-well?” “Smoking Hurts Every her new theatre. Wheré,will we be in another twenty-five years? 3 Wow wi Wa Aaa a aaa Bua” JalUed SPEC LAI EFFECTS Alexander D. Aurichio, Wilfred Caban, James Godbey, Esq oa 2 © oe ye ee ee ee ee ee ee es es le eS es ee le ee ee ee © lew The neophyte Pratt photo stu- dent comes to the department after one year of Foundation, generally having had limited ex- posure to the medium, differing for the most part from other fine art students who were born with pencils and brushes in their hands. During the next three years the students are trans- formed by a dedicated faculty and a rigorous program, grap- pling with technical problems and aesthetic issues, into pho- tographers capable of working independently. The photo faculty generally has a great effect upon the students at the early impres- sionable stages, with such memorable observations as “a good teacher is a biased teacher,” “photography is real important to me,” and the ever popular “that’s blix, not grape juice.” Most important, however, it that another group of students not only survived but really prof- ited from their punctilious training. Here, then, are the awards bestowed in their honor upon the 1982 graduates. Amy Berg—The Diane Arbus “Life is a Breeze” Color Pho- tography Award. Kathlyn Cantone—The Candice Bergen Acute Aperture Award. Eloy Clarke—The Jacques Henri Lartigue Honorary Autochrome Coloring Book Award. Peter Connolly—The “Health is Happiness” in Photography Award. Barbara Davidson—The Helen Levitt Nice Little Old Lady Award. Cat Fisher—The George Knob- lach Montauk Travelogue Prize. John Freeman—The Judith Linn Meritorious Achievement Award for Photographing Mass Quan- tities of Cheese. Lee Friedman—tThe Minor White Video and Slide Show Award. Josh Harrison—The Olivia Par- ker Prize for Tiny, Little, Small, Minute, Precious Conceptual Art Photography. Luis Luge—The Alfred Hitch- cock Look-a-like Award. Raymond Simonelli—The “I Would Be Famous If I Were Ansel Adams” Award. Ralph Senzamici—The Lewis Hine Honorary Prize for Engag- ing in View Camera Photography in Life Threatening Situations. Marta Serra-Jovenich—The Gary Winegrand Honorary Beautiful Woman Prize for Subtle Visua l Abuse. Danielle Van Gennepp—The Art Linkletter “Kids Say the Darndest Things” Photography Award. Katherine Withers—tThe William Mortensen Immoral Memorial Award. In the second category are the film majors, who have suffered most of the same duress as the photographers. However, in view of the fact that this department is hidden in the back of the ARC, operates with a small faculty, and even smaller number of gradu- ates, an overall award is given to them for their tenacity to go through Pratt answering the UW Nair Vaal Va Vai Vea Va Va Va Va Vai Ca Vue Van Vim Vat Va Vi Vimy Vai Vaid Vim Pay Vim Vine Viney Vim Vimy iY Vim Vimy Vay Vimy Van) Via Pai Vili Via amy Vey Vay Vy Vay Vid Vimy Vimy statement “I never knew there was a film department here.” Furthermore, the following awards are bestowed upon these graduates for their bravery in battle. William Godbey—The “Inner Ear Award” for his work on the film “How to Balance a Thirty- five Pound Camera on Your Shoulder and Not Blur Any- thing.” Wilfred Caban—tThe “This is Really Gross” Award for the film “Rubber Face.” Alex Aurichio—The “No Frills Spaghetti” Award for the movie “Is This Chair Sinking or Are the Film Scraps Growing?” Front: Jan, Marta Serra-Jovenich Amy Berg Back John Freeman Cathlyn Cantone, Ed, Josh Harrison, Barbara Davidson, Daniella Van Gennep, Phil THEATRE DANCE Walking down into Higgins Hall’s basement, the last thing you would expect to find is a theatre. Among the empty coffee cups, cigarette butts, loose floor boards, broken props, old furni- ture, wood scraps, and dirt, there lies a theatre. It is here that the miracle of Pratt theatre reveals itself. What appears to be a storage room for the campus becomes an intimate theatre for the highest in quality produc- tions. The sets are built, the cos- tumes sewn, the lights are all put in place. You've read the script a hundred times and by now you have learned your lines. The early mornings, late nights, and endless rehearsals are all behind you. You know who you are, what you are, where you are, where you've PFT IT VW TT TITTY TT been, where you're going, and what you want to do, just as long as you're not thinking about that when you say you're lines you'll be fine. As the final touches are applied to your make-up, but- terflies fill your stomach. We've all been told a million times about the world being a stage and it’s people mere play- ers—now you're about to find out. The time has come. The stage is set. The house lights are turned down. That magical mo- ment has arrived where dreams can become realities. Pratt sud- denly looks different. You're given your cue...the curtain has risen...the spotlight awaits you... and the applause. Gregg Ross and Lori Abramson ToUse A YL Front left: Paula Korpalski, Shirley Ponton, Allison Bailey, Geralyn Zink, Joyce Gildersleeve. Back row: Geraldine V. Wal- lingford, Manuel Michalowski, Michael Desiano. POTION TINT RII PR oe ono one on on oe one By the spring semester of my sophomore year | was faced with a multitude of liberal art re- quirements, and it was time to take out the shovel. So I tried an art education course—and it didn’t hurt too much. In the fall I took a couple more—and it wasn’t that bad. By now I was up to my waist in water, and it was time to see if I could swim, so I NAM VY Veh Va Vat Vea Vat Vt Via Va Vit tat Vial Va Vege Vises Vis Vises Vat Vat Vidi Vins Vay Val) Visual Vinny Van) Vina Va Vos Vala) Vina) Va) Van Vata Valet Viliny Vay Vilny Van Valta? VaniaY VitnY Vite? Vinay Vinay Vi registered for Saturday Art School—and teaching felt pretty good. In fact I took a few more education courses and even did my student teaching—and that was great! At first the challenge was to think of innovative ways to teach art, but now the trick is to use art to teach other things. Teach- ing isn’t a job, it’s an adventure. Fashion Fashion is more than de- signer jeans, Studio 54, or a Sony Walkman. It’s a way of life. It depicts the economics of a country and of the time; the de- pression of the 30's, the revolts of the 60's, the futuristic appeal of the 8¢ s trendy, racey...hidden away on the sec- ond floor of North Hall. History of costume books are con- sulted, foreign mag nized, trips made to Fifth Ave- nue’s fine stores and fab’ shops, and then...the idea be- comes hundreds of sketches until one ends up with a f swatch. Basic patterns S scruti- out of billowing portfolios, pen- cils from artbin boxes. Pattern paper is lai where. Muslin is pre: t) and one thread is gently removed from both length and width. Tracing wheel and tracing paper come into view; then a scissors...pressure mounts as TT TW es Wig NV hours pass quickly (more coffee please). Needles and thread and headless dress forms, bobbins and sewing machines; a sigh of relief or seam ripper of despair. Fabric is purchased and press- ed. The once feared industrial power machine and steamy iron become friends to shaky hands. rt ee es ed ee De A And then, ta-da, a finished gar- ment. And still, critique, a decision, a show, a display of coordinating colors and styles, a showroom, merchandising sales and the start of new trends. After four years...the Fashion Industry. Top left to right: Toni Bernzweig, Jeannette Ryan, John Wilhite, Marta Cropper, Renee Diaz, Olga Herrero, Signe Hedemark, Princ Cond Anna Duzon, Sangmi Dori Annette Pou, Fran- Valerie Bennett, Sook Young Glowack, Marian Bowden, Denise Park, Lynette Waldronumphlett, Catherine Martell, Randi Konbert, Linda Leshay, Mahasty Ramezani. Scott Santoro el OOOO nee non on nn Un nn Un Un on Seon ane oe eee eee eee eee eee eee eee eee ee ee Oe OO Noah Brauner, Jay Chalson, Ray Shenusay, Gerry Katzban, Glenn Askin, Kurt D. Stein- berg, Michael McMahon, Carl Czarnomski, Alan Speigel, Anne Ho, June Lee, Gerard Hopkins, Christopher Miceli, Kaave Hansen, Lacides Marquez, Christopher Cavello, Billy Costa, Juan Ugarte, Godwin Mensah, John Schaffeld, Richard Watzulik, Daryl Whitney. In a world of escalating mass production, the Industrial De- signers’ role is to make sure that the human element is not forgot- ten. He tries to improve the interaction of people with the things around them by designing in a way that is sympathetic to physical and aesthetic needs. Trained to make decisions con- cerning forms, colors, and materials that are appropriate to structure and function. Beware the Industrial Designer at a poor performance, he’s the one with the hand-gripped tomato. The Pratt Industrial Design program focuses on developing an intuitive sense of aesthetics and basic visual skills. Design sense is further developed as students deal with exercises in creative problem solving. “Now what does he want? An insect to look like a helicopter!” The student is invited to apply what he has learned to in- creasingly involved projects that expose him to the entire design process. Emphasis is not on stylistic tendencies, but on the notion that Industrial Design deals with the hole process. INDUSTRIAL IDIESIEN ab _ 4 ‘ foie | gtr pie pha UES eet @ e % x baat Kimberly Kiner Steve Powell = ale Goat il f? | Ha | Richard Miller Ross Cromarty Phil Roberts (Van RARER RDN PDD DDDD DYDD DDD Pha YOO Ye eo TPT Www Ww aaa Wa aaa aa as Ma Ma meTAo oe Y) phan ltpe SR PSR PDS DESI ANI INIA OY ACE. MEE 5 ‘ SS ae WS Te Steve Greene Jim McAuliffe i7 2S it � S LS, @, ACK rh David Weisman Matthew Stern frat Karen Comerford SS A RS A OOS NR A NN Be Humanities Clang, clang, clang, zip! I’m so tired of these sporadic typing sessions! I hate these all nighters. You would think this kid could budget his time better, try typing a little at a time, but I hear this is an art school, so all my work is done the night before. Well, at least I’m not a paintbrush. But anyway, let me tell you, I’ve been responsible for many words of wisdom, everything from Freud’s cocaine complexes to T.S. Eliot's tarot cards. And how can I forget the dissertation on Kafka’s cockroach, I had to type that one three times; it’s not easy being one of the only typewriters in the building. But you know what the worst part is—bibliographies. Who cares if a period follows the end of an author's name—not only is it backwards but it’s not even a sentence. And those footnotes, ugh, stupid little numbers half a space above the rest of the information that I doubt those teachers read anyway. Even if they tried, they would have a hard time reading the words between the white out. Oh, gripe, gripe, what I need is a good oiling, or a new ribbon at least. But, since this kid is graduating, I'll probably just be shoved to the back of a dark closet, until his kids go to school. Well, before my characters fade out completely, let me bid farewell to the faculty who have given me so many workouts. Ue A ed A A I YT NY ST De I ri) rey Wl BPR aU ei Na a Na Food Science, Nutrition, and wide variety of cuisine. We learn Dietetics to understand food as nutrition The folks who came to Pratt to —_ and dietetics and apply this knowl- learn how to paint, assume we edge to paint a healthy portrait of came to learn how to cook. We the community which we serve. study food the same way they Below study color. Once the artist has Sheila Petersen and Patricia Nicholas learned the basic recipe of color, he applies this knowledge to a vovvee MASS aN WEIN [PLY (Elin TY WD Nw Wha Vie Whe Yj Y ww. We Why ty, Ye uo Tos i ey je 4 eg eg ed he IN dW dW ae Wael W ry ery | VV we eT HV yey heey Nie Ney yee yen Dr BAA UA UA Aaa aay TdO z AA 2 ke ee A A a ee A ‘ Ms ALSASYUS WV ODOHx €90S Wilda ALBZAVS NVOGOH £90S Wiis ALIAVS WYGOYW c S XVdGON —— £90S Wii4d4 ALSAVS WVOOY £90S Wiis ALBZAVS HVIOW 9 , Ls X eh . : ee ae. | r } bid feces a| Why. by 7 - ee Bit) ee eee £906 wy) 4 Aiajay ¥VYOO™ E906 Wd ALa4vVS wor ¥ t90S wi aE 7a wae: } j i ? i j i z t | y TOD HDTV OTT t,t, TT, r_T,_T,T,r,T_r Vth US PM oe et ee oe” ee ee oe oe oe oe oe oe oe Fe © oe Foe wa AY Aa 4 AM ATA UNA UA AAA AAA AAA AAA AAA AAA ACANACACACACACACA ACA A CAAA A ‘a a a Naa a a 1 Le it a Ss Me 3 ; a @ e “% 19810] pe Se UF t0u Op nod pr ‘soysty pue aspa [Aouyy 3 uss 2 HUD LOTTE dy: Wo se AsO sO 27 ce ; ‘ =z ‘0% pom 2 brq081® ‘ie + ’ - . . � , j uf $ : LJ © Jaq v savy Nsraz ut WY) Aofua O} rINY IO pod) ‘aAcr] JO ISN By ST yeYy A {32s O} pue SSIUPPS W090 0 nS Ino aie op yim poyesju2uo) jo Jnoy UY, 0) y aj “4 “opun 7 “Os Aa ATY AA A AmA . q . q a A Ar} X £9 LOOHS C7SIHS LSHI4 OL NYAS eNOOSS 30 13457 OL G7TSIHS 1SHis sO 44 | SHAMONS SSOHL TINH NOILONNS Sawn S0vdS AWVN FS 9OG2 avm™ Editorial and Design Kathleen Corrigan Michael Gerbino Photography Ralph Senzamici Candid Photography Barbara Davidson NM TAM OOM MDM DD NOOO MO On OA nA OS Unt) Oty cety Copywriting Ted Abramezyk Milli Amp Ken Bere Amy Berg Barbara Davidson Howart Fertig Paul Friedman Karen Graham Richard Longo Beth Maidenberg Michael O'Leary William Sayler Ray Shenusay Matthew Stern Artists Susan Anderson Amy Berg Karen Comerford Aaron Cormier Steven Cragg Ross Cromarty Michael DelGigante Steve Greene Kimberly Kiner Peter Kuper Jim McAuliffe Richard Miller Jim Morgan Richard Miller Maureen Mullen Michael O'Leary Daniel Paterna Steve Powell Phil Roberts Scott Santoro Raymond Simonelli Matthew Stern Mark Wagner David Weisman Publicity Maureen Mullen Thank You! David Barnett John Camejo Barry Davis Roxanne Faber David Gates Stephen Goldberg Ben Hillman David Matava Michael McGinn Eileen McNinnie Jeff Oleson Mary Rieser RJ. Foodim Faculty Adviser Charles Goslin Faculty Assistance David Epstein George Klauber Prattonia 82 was printed by Dubin Dubin, Inc. New York. The text typeface is Garamond Book Con- densed, set by Expertype, Inc. Prattonia 82 is published by the students of Pratt Institute, Brooklyn, N.Y. Copyright 1982 ' ¥ Nw Da Mea. Gy ‘GS a yO” D2 OF OO Ow @ @ @ @ W @ aa @°a@ @ a @ i) w@ w@ @ w@ w @ a @ a a awewawww a MMT MDT MTD MTD TDD DD DD DCT DDL Deg Dee My Do Dig Dy DD aye Wi Digs Ms Dig Og Die We iat,