Pratt Institute - Prattonia Yearbook (Brooklyn, NY)

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© 1985 Keith Haring Industries PRATTONIA THE PRATT INSTITUTE YEARBOOK 1985 4. On This Campus 12. The Year in Review by Gary Monde 14. Architecture 16. Construction Mgmt. 18. Art Education 20. Art Direction 21. Graphic Design 22. Illustration 26. Fashion Design 28. Fashion Merchandising 33. Dear Prattonia 34. Liberal Arts 38. Film and Photography 40. Industrial Design 42. Interior Design 43. Myrtle’s Best by M.G.B. Patrician 46. Fine Arts 49. On a Personal Bias by Fenice Ultra 50. Engineering (Electrical) 52. Engineering (All Other) 56. Joel Shulman and the S.G.A. 58. Dining and Entertainment PRATTONIA ’85 is a non-profit yearbook, published by the stu- dents of Pratt Institute. © 1985 Pratt Institute, 200 Willoughby Avenue, Brooklyn, N.Y. 11205. Any similarity between persons or situations without satirical content is purely coincidental. Repro- duction of any kind, in whole or in part, without permission, is strictly prohibited. written, designed, directed by David Vogler Garrett Burke Ray Barber Alan Wood faculty advisor production advisor Lee David Epstein Jeff Kessler faculty assistance administrative assistance Concept and Alumnus theme by David Vogler Ray Barber, handlettering seal design; Mark Cason, supporting copy; Serge, illustration, page 48. | a PHOTOGRAPHY Janet Neuhauser, senior photos, back cover, pages 5, 7, 13, 21, 22, 32, 54, and darkroom production. Mike Biondo, centerspread, pages 2, 8, 9, 19, 29, 34, 39, back cover inset, and supporting darkroom production. Don Peters, page 57. Garrett Burke David Vogler, additional photography. THANKS TO: Tom Kilcawley, Linda Graham, Deby Schaffer, Leora Newton, Marie Avona, Mary Rieser, Mike Mammina, Denise Alleyne and the Residential Life staff, and the hundreds of students who took the time to answer our surveys and contributed to Senior Memories. THANKS FOR POSING: Barbara Carr, Jack Minkoff, Esmet Kamil, Karen Ernst, Joseph Martorello, Gerry Contreras, Dave Passalaqua, Charles Goslin, Father Michael Perry, Sterling. WE WOULD ALSO like to thank anyone not mentioned who helped in the realization of this book. PRATTONIA ’85 was typeset and printed by Enterprise Press, 627 Greenwich Street, New York, N.Y. The paper is 80 lb. Mead Offset Enamel. The poster is 60 lb. Mead Offset Enamel, and the envelope is 80 lb. Brite White Strathmore Rhododendrum. The text typeface is 10 on 11 Times Roman. We would like to extend our appreciation to Mark Jann and the entire Enterprise crew.

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Sure he founded the world’s greatest design school. But he also moonshined in the boiler room. it was here that Charles Pratt spent long hours perfecting his special blend. Then late one night, in 1887, he distilled his first shot and cele- brated by downing a glass of beer. It was then that the legendary “boilermaker” was born. ee ie Pe Ninety-Eight Year Old r } b WHISKEY 32 FI.Oz. IO OO) 1O © © 4

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Now in its 98th year, Pratt Institute re- mains one of the country’s leading design schools. Uniquely isolated between the quaint Ft. Greene and Bed-Stuy ghettoes of Brooklyn, the campus is an educa- tional island surrounded by man-eating sharks. Twenty-two buildings in various stages of disrepair are scattered across 18 acres of prime real estate. Close proximity to Man- hattan (30 minutes underground or 3% as the pigeon flies) lures students into the full splash of Sin City excitement. From Central Park to SoHo, and Chris- topher Street in between, all can delight in seeing original works of the Old Mas- ters, surveying the latest scandals of architecture, or simply learning to ignore a street beggar. Founded in 1887 by Charles Pratt (1830- 1891), the Institute was established to give anybody a chance at admissions regard- less of SAT scores. This was a radical move in the 1800s, and is no less so today. Admissions counselors regularly jet across the country in search of mathe- matically inept youths to place in the Art Design Schools. Likewise, culturally deprived youngsters are eagerly recruited 4 into the Engineering and Liberal Arts curriculum. Charles Pratt dreamed of creating an educational balance between practical skills and artistic self-discovery. It is an uneasy tension. As one chemical engi- neering student said, ‘““Why can’t we have a normal school?! Normal parties with normal women. Everything with these artsy types has to have a special meaning!” One recent study suggests that 94 per- cent of the art programs at “‘normal” American colleges offer a faculty of pseudo-artists lacking any creative diver- sity. Homecoming weekend, football vic- tories, and noisy frat houses are respected standards of their educational process. Students of any genuine talent and energy are routinely patted on the head and pointed toward Brooklyn. Pratt is unique because dynamic ideas are freely discussed and argued in rooms of chipped paint and missing tiles. Most arriving freshmen endure a two-semester boot camp, known simply as Foundation. An intense period, Foundation forces a young mind to question everything, to view the universe freshly by learning to un- learn. Students are often heard mumbling phrases such as, “emotional baggage;’ or ‘Bauhaus brainwashing?’ Undergraduate study is the ultimate test of physical and mental limits. Hous- ing is served primarily by the Willough- by dormitory, an around-the-clock designer’s commune. Often referred to as “Brooklyn’s 17-story lightbulb;’ students stay awake all night finishing tomorrow’s projects. Creativity doesn’t punch a time- card. Inspiration may strike at 3:00 A.M. from unlikely sources. As Lex Luthor said, “Some people can read War and Peace and come away with a simple ad- venture story. Others will glance at the ingredients on a chewing gum wrapper, and unlock the secrets of the universe?’ It would require more than a few pages (Continued on page 6.)