Pratt Institute - Prattonia Yearbook (Brooklyn, NY)

Text from Pages 1 - 78 of the 1988 volume:

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' Spe Prattonia Eighty- Eight SS ee ee CUO d Past A Look Back at the Prattonia Illustration, Greg Houston Present Pratt Today Illustration, Kelly Williams Robert Siegel on Architecture Michael Ross and Carnegie Hall Architecture and Construction Management Graduates Powell Benedict, Programmer Analyst George Lois, Creative Director Communications Design Graduates Bruce Newman talks about Pratt Karen Ernst, Education Director Interior Design and Art Education Graduates Tom Clyne Sarah Frederiksen, Fabric Editor Fashion Graduates John and Marie Simmons, Food Editors Marco Migliaro, Electrical Engineer Engineering Graduates Amy Slaton and Art in America Magazine Bob Giraldi, Film Director Fine Arts and Media Arts Graduates Pamela Waters, Industrial Designer Industrial Design Graduates Student Government Association Administration Future Illustration, Sarah Belcher A Toast to Us Credits 14 16 18 20 22 26 36 38 40 42 44 46 48 56 58 60 Past bn ANS), | ae ”y ’ ayer p te: ba We turned over all the rocks, looked behind all the filing cabinets, and sifted through tons of photographs to find interesting little tidbits about Pratt and its students. Here’s what we found. s GZ — foto — 1888 The first free public library in Brooklyn is established BBY “lo encouroae the habit of saving, and pro 1910 The three s mote the possession of ire formed h A, A homes through wise lend md Applied Art ay 2 na” Chorles Pratt found: of Science and Tk ne Of the first Danks in ind Schoo! of Househ Brooklyn, The Thrift Science and Arts 1896 The first planned Children’s Reading Room is i } | estab ished in the Pratt Library erce opened the secor f ite kind in the United State 18YY roduole isabe Lucio Whitney scanda justly sf +or Holding nly 4 wilt pared ait ws oO Nye vos the tirst American fresco painter 10 7 : B91 The death of King lS¥9 rink i uidbrary rark wo rst i OOY, i NNON WOS DUF hased | y F yit’s tr feng neorty torty yeor loter and hos been n WNo eve ince. When Dekaib and the tS Ot 1Nds were used os Gorn DOYS from ty Hal J ne te. airl the othe legend had it that if a virair walked in front of the car ‘ or Ty) ’ non fF would hire ) 7} , Vey 19546 The Thunderbird was designed when Daniel Boyer, an alumnus, wa: Executive Stylist at Ford Mx for Cr moony 1959-60 Architecture fox ulty member is shot by student with a bow and arrow in dispute over grade = | 1977 Pratt's Power Gener ating Plant is designated a nationol historic mechan- ical engineering landmark by the American Society of Mechanical Engineers 1978-79 Debbie of Debbie Does Dallas” does Pratt 1987 Pratt celebrates one hundred yeors of educo- tion in the arts 1987 New plans are laid for the Center of Design Excellence, a project that involves joining Pratt Studios and Stueben Hall for more studio space for students and entire culmination of all the arts oat Pratt 1988 Robbery of the Bursar at gunpoint, mum ‘s the word agate eth cobb ated etic tn 5 APIA TATA Nasehiss1 itt Hhisr tadise berare bleep ai ys + (iteter MO Madede ets oe ; Right from Pratt | went to Harvard and got my master’s degree in one year, then went to work for Edward, Laraby, Barnes in the city for six or seven years. With Charles Gwathmey, my friend from high school, who was also an architect, there came an opportunity to break off and form a partnership. We were lucky that our first commissions were great ones— State University campus at Purchase and buildings at Princeton. Since then we've done urban develop- ments in many cities, like the New York City Housing Authority. We've done corporate architecture for IBM, AT T, and Hyatt International. Also we have done private residences for people like Philip Johnson and Steven Spielberg. We run the Pratt Internship Program and we get young people who come in on one level and return to school completely recycled. They do better work and are demanding of their professors and their peers. It is uplifting for the school. As for graduating students of archi- tecture, | think that their first job ex- perience is most important. Maybe even more important than their education, How has Pratt affected me? Well it was the place to be in the late ’50s and early ‘60s and | believe it still is today. It’s a great environment, it exposes you to all fields of the arts and it instills a sense of commitment and determination in everything. Robert Siegel Architect Robert Siegel graduated from the School of Architecture in 1962 with a bachelor’s degree and then from Har- vard in 1963 with a master’s degree. His first job was for Edward, Laraby, Barnes, Incorporated in New York City. He worked there for six years. He is now partners in one of the most successful architectural practices in the world, Gwathmey, Siegel and Associates. A R Paul Heyer, Dean Sidney Shelov, Associate Dean Donald Cromley, Chairperson Michael Zisser, Chairperson Stuart Pertz, Chairperson Dennis Bator Bill Bedford Christine Bevington Francoise Bollack Dan Bucsescu Barbara Carr Roberto Castaneda Christopher Compton Norman Cox Daniel Cuoco | T Rex Curry Theo David, Chairperson Frank Degiovanni Samuel Desanto Michael! Dexter Ronald Didonno Liviu Dimitriu Juan Downey Jack Esterson Guiliano Fiorenzoli Stephen Friedman James Gainfort Deborah Gans Vittorio Giorgini Alex Goldfine Michael Goodman Warren Gran i | Christopher Guerra Tobias Guggenheimer Cindy Harden Michael Hollander Paola lacucci Tian-Fang Jing John Johansen Constantine Karalis William Katavolos Nicholas Koutsomitis Haresh Lalvani Yaw Shuin Lee Emanuel Levy Hans Christian Lischewski Leonard Lizak E John Lobell Albert Lorenz Jim Maeda Paul Mankiewicz Felix Martorano Katherine Mathews Robert Mayers John McNanie Larry Mersel Nancy Miao Barbara Neski Signe Nielsen Taeg Nishimoto Robert Pelosi Anne Perkins Richard Pollack Benedetto Puccio R Pascal Quintard-Hofstein Susan Reynolds Michael Rubenstein Stanley Salzman Theodore Sherman Ronald Shiffman William Shopsin John Shuttleworth Harry Simmons Stephen Swaney John Szto Joe] Weinstein Christopher Welsh Andrew Wright Hantord Yang Robert Zaccone Michael D. Ross V.P. Tishma n Construction Corp. of New York V.P. Tishman Construction (U.K.) Ltd. ry = Q | Michael! VD. Koss took his Bachelor of Scence dearee (Monors) in Lonsit A —_ ron Ma in 1IQA4 s currently Executive Vice President of Tishman Construction Corporotion s United Kingdom office in London, within the Wimpey Tishman organization, responsibie for the inte- gration of American methodol DY, systems, and resources into the United Kingdom projects After two years of designing and drafting laboratory fumiture and equipment he joined the architectural firm of Hamby, Kennely, Sloamson, and Smith; five years later he joined Cauldwell- Wingate; in his seven years with Tishman he has worked on various projects ranging from the Tower 49 office building, to the landmarkea f of Carnegie Hall mayor restoration o Before | went to Pratt | attended City thousands of people who were reg- I’m not quite sure how I'd summarize College in the Bronx. Pratt had a to- istering. There was a lot of communi- Pratt Institute, tor it’s very hard. ltwo tally different atmosphere, because cation at Pratt. It was tor me a very, a good experience, which | thoroughly when you drove onto the campus very good experience. | still see enjoyed. It left me with comfortable you were in your own little enclave, a some oft the friends | made in my fond memories. The campus wa: little community which formed a classes there, and | bump into many inique, with its blend of architectura world of its own. Construction Man- of my tea hers trom Pratt in my pro styles, and | suppose that archite agement was in its infancy then, and fessional career tural uniqueness was symbolic of my everything was on a first name The only advice that | could give experiences there basis, one-to-one There was the to anyone entering the construction feeling that the professors cared management field now is to tell them about YOU; there was a warmth in what | look for when | hire someone the school. Pratt was friendly; you look good, and handle yourself with en oyed going there because every- contidence. Get out into the fie a one took time to work with you The work on the job sites. Learn how a department heads got to know you buliding goes up, what | call learning gs i dividu rE you did not get the nuts and bolt: I'd give the same herded into ab Qg qymnasium ai req vice to arcnitects and enaineer istration time where the only interes! Ind pr ably t invone interested was in handing out class cards to the n the building industry 20 Construction Management Arthur F jward lf “ _— = - Lambert Egbuchulan f Edward CHOSON James Fors Dennis Gallagher — i NS Howard Hori Joseph Horowitz James Howie Sergei Kanevsky Stephen Lamb Joseph LaRocca Brent Porter Robert Schwartz Bertram Sherman H. Irving Sigman Norbert Turkel Architecture Vincent Linarello Robert Sanger Roland Hilaire Johnny Bowery Paul D’Alto Christopher Juchnik John Pelligra Lester Katz 22 William Fooney Carl M. Dress AlbertPece Construction Management George Sankoh Sterling B. Plenert Louise Merola Fidel Echanique lan Ritchey 23 Architecture Kieth Krause Paul Bellisario Steven Doherty Gregory Cammarano Peter Brooks Anthony lovino Rafael A. Collado Raymond Hidalgo Horacio Mercado 2. © Philip Consalvo Diane Tatt Javier De Juan Camil Malouf Carl Cohen Rob Fiertek Edward Calma Lucile Dietrich Andre Alvarez Gregory Somjen Rebecca Faro Peter Mugavero Christine Misthopoulos Walter Bobadilla Jeffrery Williams Juan Hernandez Powell Benedict Programmer Analyst Powell Benedict was grac vatea in October 1984 with a Bachelor of Science degree in Computer Science Four days after he finished his course work at Pratt he began graduate studies in artificial intelligence at the University of Illinois - Champaign Urbana, where he took his master’s degree. He is now with Grumman Data Systems, a subsidiary of Grumman Aerospace, doing research and publishing in automation, expert systems, and le: ming systems. He intends to begin doctoral work in the fall of 1988 at either Stony Brook or New York | Iniversit y My career began at Pratt; my i mother, Nan Benedict, taught here tor many years, and | knew everyone here. | transterre: Hamilton College and, because my background Herb lesser, the ‘ hairperson of Computer Science allowed me to doa loto specia projects ar d more advanced work | was able to aet into his office and talk to him {other students were able to do the same thing) as! would not have been able to do at Illinois which has about 36,000 students. A a result | ac omplished much more at Pratt which had much higher stan dords. Herb would allow us tod independent study, but whereas other students were required to answer only six out of ten final exan ination questions, we were required to answer all ten. | now get the chance to thank Pratt for this every eft Pratt day because Herb, who while | was at Illinois, is now my boss here at Grumman fer science As tor advising compu students who are graduating this year, | usually don’t have much advice for anybor ly, but I'd say that YOu should study hard. You don’t have time to go back nsome o tmy ear lier courses | didn't work as hard as should have, an { |now reoret if Aj Becmyit Se ioe ere AISO, if yOu re interested in researc and in being able to explore areas that interest YOU, don’t siop with the bachelor's degree. The undergradu- y want ate degree is okay if you on to earn a salary and take orders trom someone else, but if you want to explore areas that interest y | advise that you pay attention and get a graduate degree To summarize Pratt Institute is hard When | think about it, | get kind of sentimental, because | had a real good time there. | liked the school and | liked the people who worked there YOu, | a ‘ 27 My { letinitive advice speech | qave at the mencement. Among other thinas, | believe that you have to be true to your own tfaient to develop it, TO pusl ttords limits. You hove to be ieve in yourself and the work you lo if YOu re Tale nted. vot on make t, Every job is an icon, the most im portant job in the world. Put in the hy urs; YOU have to be competitive f } rent f na enere pedaet } } be. J f ‘ y eg ene yy You nove tot jt every Igy. ‘50 your Own way; Gon ft tak iny shit. Produce the best yo Ind remember that this drive hast ntinue every second of vour life Make manly or womar 1 f i q wardly ne the stre tif cr t ¢ forw ra Pratt w 1 Q0dsend to me ' George Lois Creative Director weorde LOIS receive aan hy nor Wy Doctor of Fine Art: dearee from Pratt in 1982. He attended Pratt in 1949-50 and lett to take o job with the great ae Siqner Rel ag SO his After SeIVING ine army in Korea he worked for William Golden at CBS-TV and then Bernbach in the late fifties and, in 1960, started PKL, his own firm. He: irrently Choimmar t the Ry ard and _reative Director ot | f if ersnor! io Pp ma ron, a New York aavertisina , ‘ j gency. in 7 2 he arted the Art Uirectors’ Hall of Fame. to which he } elf was elected o tew vears lot J Wy changed my life. The Foundation year was okay, Dut in the second year | met a really areat teacher Herschel Levit. Oh my mind, He made wow! He blew me really under stand, mainly by loosenina my sh. Pratt « lid everythir gq tor me i hanaed my lite tor the pest, ona j ' pointed the airection lor my whole lite. (On the first day of school, | saw this fantastic woman, sidled up to her, and had a buddy take a pict ot us. She Smy Wi years, and | have « halt hour alter meeting her.) Every was important to me because | brought the chance tor something t happen, tor something to atlect my whole lite omethina to put me i the riqht direction. Shit, mi lite wondertul: h Wve tun with i Be te rit he on he de of the mae Pratt gave me lite Communications Design ) 09 oh yor”, yo NM we) yo! 20 EGON coe Fe” s3088ONN 0 f y Cont, 9of John V, €ras, Ch oj 310472 Gius Qn Flees Assict Person, pyayased piouypyy iulio Ty ‘ ant Ch... P wou), Do ito, Technician Person opuopO so on Albright WON 261089 Ray Barber unBioy) inboor Donald Bied ysmoyrNzoyy auor Asoyy Lowell Bodger UOISIOW jaDYyr1yy an alee ry LO SD 4869 = a Duhon ug, $SOxcy ie. Bru se 5 “5 Poy, r gad ge OPV. Yyy e 44g, ee ee GSS? age ay Oy� ep Foy O08 Zo . « yy. 40 7) Whe � 6 7 onl, 9 “ty ot PO 9, Moy Wy 7 fon, wore S % ne fio o a args 2% Mey MV Fe © % ee oe % KF or Pe ¥ Ba a, May” FS OD SX FO © % % 7 FS SEFLE - 296 94% % Oo xs ae aoe 5 D c S % S % YF PPE a S § 2 4etye %O FSF F sve ES 29 %%4%%S%— %,% EE FDL Ex SOE � nb ETLCL% DO SS ET EEF OCABZEn2ASSESEZ SS WF SC FTFEECHE SR E4H7z% 92 $szszev,ite225%3 SSZSZFR Eu IMlustration Michele D. Nunn Ron Genereus Beth Sieg! Stephen Moros Pam Ivers Vincent Berger Sarah Belcher Greg Houston David Burton Gary Kaleda smo Ailey SHOOUS F149 HoDy Kjebuy sueBans u22}]° Aj]®y Papyory pupsg ounr Aoghnag [2420y yPOg 21j5e7 32 F illustration Todd Gerlander Eliut Soto Jose A. Gonzalez Yvette Watson Andre Malok Ken Wilson Stephanie Vannicola Brian Knight Christopher ““Smitty”’ Smith a4d1uDy 2]04 1W 04 §°144Od eR 2] 91M 2d UDA DIJOquuy YADULMID DIssor ZON2], DIUDW Duy weayrpw 42604 421615 asjuog npagns (40;90q) uyor Apsany inyjsy eudny uDssDYUDW 4404 Bruce Newman e 5 Interior Designer Bruce Newman took his Bachelor Fine Arts degree in Interior Design at Pratt in 1953. At the age of tifteen he be gan working at the Newel Art Galler ies, Incorporated. The Galleries, at 4725 East Fifty third Street, just off Sut- ton Place, were described by Playbill as “a six-story wonderland of authentic, expensive ... antiques. Since 1975 Mr Newman has been President of the Galleries, whict were founded over fifty years aq¢ by his late father, Mey a or IN y ' Vewnn | devote time to organizations and institutions | care about and am on the Board of Trustees of Pratt Institute; the Board of Directors of the American Society of Interior De signers; the Board of Directors of the New York City Center; and, am ro Co-Chairman of Crystal Ball. Ad Addi- non ily, +}oman associate at Mour ? Sinai Medical Center and a member of the Art Deco Sox ielfy. | have ten a great deal and have had art i j es put ned in such periodicals a: « - Architectural | aest. House and r wder Art ir Aric? r Art maAn UE AVP ’ le Zit if lder AA mae Magazine ( rn eur The AJ T � Jew York meé ind The New York KA f Vly Ls ! y i t vv r ‘uv d ( . t f t eacimn iy nove OF ] } } y ark 1 ry ind other wr sf vy ’ +} + ' 10 | 1 ft t Sotheby's. For ao number of years have been a prime-time host on the Public Broadcast System's Auction My education at Pratt was just in redible, partic ularly because the curriculum in the Interior Design De- partment is so very comprehensive When | went out into the world after aduation and people heard that | had been educated at Pratt they howed a respect that makes me very proud of my aima mater My advice to the graduating senior io make OG tot the top intenor He ye n New York City and to isk each of them to hire you f nothing. That offer will impress then Ind the experience that you gain wi t rn ole f ft | ruts wv ly € f rn whe reid, if iportant nam { pr } nportant ed hon Ronald Wagner At oO e ° re) re) Interior Design = e 3 ol — g 3 © $3 3 Markus Early Isaac Kerlow - 3 AS o ® - 5 vl 2 Philip Farrell 3 = w S zs 3 ie) @ = [e) 5 3 Gustav Rorhs, Chairperson John Pile Karen Ernst Education Director Karen Ernst graduated with a Bachelor of Fine Arts degree in Art Education in October 1984. She opened an ad agency which was very successful, and then helped run an art gallery on Greene Street. For the past two and one half years she has been Educa tion Director of Project Studios One At PS. 1 she started an education program that has seen attendance grow from about 2,000 to 8,000 The program which serves all age groups, from youngsters to senior citizens, encourages the public to interact in an intimate woy with conte mporary art Pratt had a big effect on me. The immediate neighborhood, being in New York City, and working with people who are right in the field, with first-hand experience, were very important to me. Pratt is an incredibly serious school, perhaps too much so sometimes, but | learned how hard | could work, especially in the Foundation year | learned to push myselt to what | thought was the limit, and dis covered there's even more eneray beyond that, | felt the push and the momentum. | was able to take courses in a lot of elective areas, Courses which have been important to my career. Furthermore, | had terrific teachers, especially Amy Snider, the Chairperson of Art Education, who is the reason that | went into the field in the first place. Gerry Contreras also influenced me greatly; he’s a real inspiration. In fact, the Pratt teachers all are really motivated; there are a lot of terrific teachers. Your ideas about art and your appre- ciation of it grows (although not in Art History, which is disappointing, considering all of the resources of New York City}. All in all, I'd say that at Pratt | learned how to learn My advice to anyone graduating now is to share the process of your self as an artist. Share what you go through. Teaching is like doing art work, and | try to get people to explore through a process which | share with them. That's something else | learned trom Amy Snider and trom her sister, Jer ny, who is also a terrific teacher t's very hard to describe Pratt ina word ora pnrase but I'd se lV that most importantly, it's a place where you can learn fo Make your lite in art, 1 place where your life becomes art Pratt is where it all started for me Thomas Clyne Manager: Capital Programs Thomas Clyne entered Pratt Institute in September 1975, pursuing a degree in chemistry. He graduated with a specialization in Analytical Chemistry in 1979. In addition to his solid academic performance fom was probably the best all-around basketball player to compete at Pratt Institute. He was an outstanding shooter and playmaker, earning all conference first team honors twice, and led the most successful Pratt bas- ketball teams of recent decades. In 1980 he sparked a Pratt team that compiled a 20-7 record, won the Knickerbocker Conference Cham- pionship and played in the ECAC Division Ill post-season tournament In his senior year Tommy scored the thousandth point of his varsity career at Madison Square Garden and led a talented team that compiled a remarkable 19-8 record competing in Division II, earning a place in the ECAC Division Il playoffs. After graduation Tom was hired by the Port Authority of New York and New Jersey as a chemist in their materials laboratory, In 1981 he was promoted to supervisor of the Chemistry and Environmental Labo- ratory. One and one-half years later he was again promoted to an exec- utive position in the Environmental Design and Assessment Section, with responsibility for assessing sites for all new Port Authority projects. A further promotion to the energy policy analysis group required him to evaluate petroleum and petro- chemical imports and exports along with related issues such as potential tariffs and political and economic trends. The decline in world oil prices led to the dissolution of the group and to Tom's current position in Capital Programs, where he utilizes project management software to develop estimated schedules and cost information for Port Authority Capital Programs and performance measures for management. Tom emphasized that while his current position at the Port Authority is not directly related to Chemistry, the knowledge and analytical reasoning skills he had acquired in his studies were an excellent preparation for his current responsibilities. When questioned about how Pratt had benefitted him, he responded: “My education as a chemistry major at Pratt gave me all the skills needed to be competitive and competent in the work force. No Pratt chemistry graduates need fear what they might face on their jobs. We were given the training needed to develop the skills to handle any contingency. | especially appreciated the efforts of the Chemistry, Physics, and Math faculty and their willingness to put up with the disruptions due to away games during basketball season. At Pratt | established lifelong friend- ships with student and faculty that are irreplaceable. Reflecting on my college years, | would not change any aspect of them—academic, athletic, or personal.” Roman Vishniac John Santore h Nina Kurtis Richard Leig Helen Tucker Hector Vila o 3 c 5 s Cc 0 o U 5 5 2G ¢ru lo Corkle e) Jack Minkoff ic, MO. Susan Suchman Raphel Stern ricev milorad St George Schmidt, Jr, qhomos M Ss me) °o O Cc © 2 2) James Mc h Dr. Carole Sirovic Dr. Emily Balsam + re) mez) 2v Os ® OO Bw i= § Oo Morton Sloane Patrick Smith Elizabeth Williams Frederick Brown Michael Moore Kathleen Hopkins Estelle Horowitz Norman Oakes John Orta Dr. Morton Charton Coleen Bulzomi Felix Buttar i ‘nol role Rose” C Jill Ann Immerman Edward Johnston Franklin Jonas Barrie Karp Rosemary Palms ins Glenville Raw Chickering F. William Richard Perry Gail Kriegel powd Parker Philip Roddman School of Liberal Arts and Sciences Sara Frederiksen Fabric Editor ie _ sage a . Sara Frederiksen graduated trom Pratt in 1972 with a Bachelor of Fine Arts Dearee in Fashion During her first couple of years out of schoo! she tabric market, both foreign and Graduating seniors should realize worked in the Abraham and Straus domestic. | travelled to Paris to cover how different it is to go from being Executive Training Squad Later, she the French Fabric Fair Ni Ht VOQUE tudent into the work loce nere traveled and spent a year in Paris tor tive years; | loved it there, but re many pec ple in the tashion Husi She is presently the Fabric Editor of knew that! was always going to be ness and industry who never went t Voque Butterick Patterns, Incorpc In assistant editor. As o result, | hool, so a Pratt arat te has that rated in New York City moved to Voque Butterick. where 1vantaage ver then Misa. ther ry w Fabric Edit isn ubstitute for hard work. You Immediately atter | graduated ir chose to attend Pratt because it have to.doie lot.of menial work. oul 1972 | went to Boston, where | n Nev k and near Manhat ina lot of late eveninas. an me designed shoes for Keiser Roth. Ther the center of the fashion industry Wiis RoR Foe enc caee | went to Portugal, where | lived for M tf my teachers were prof ' ab: But lookine bisel RRS } WV year desiqning sh¢ es ana, incicer na wn Worked dov-! 10y or not h ave changed at na tally, IiVvING throuanh a re for eventn F } ni Back from Portugal, | started out ir fe at Pratt, the inst re wi Ole it Berad rt Ge amor fay f } thy t nce ‘ { ng there tor three year Duin ed } 1S] } tne | j Fashion Coordinator, After Allied ) lho went to Vi jé vner ed thé yosiadsioyD ‘Se¥OT uDsNS R 6 ” %,. ee) YY sro cet Kris Bevilacque jJenet Sipress John Marie Simmons Freelance Food Editors AA nn ) Viore nmor yao fed freoy i IA vith Ba } } if egret i dS ence Jj 4 j Mana eM } he Work ig m edit j LA r VVomar ray Wwozire, fora Taw eq 1 pastry che 7 ICE iT ial ind loliner and then inthe! fo AA ce of tne i roc y ACcCOGeMy ¢ Psy j F N C Tree nce tt i: dit 7 f ; ) 4 mntnbutes food stones requiarty ft maqazines and troveils a tot, making ! i j j her own hours ond picking ana choosing among the requests for her a } J + Cc} } services OS 0 food eaGiior one Na trenioht many loyec } in { rovgni wny ciasses in food QNnG culture food and literature at New York University “= Se SS ae eS eee a. See ) wa ee ae eee ee A way NW - i 4 ) | y. = a, ' a , - lidin’t kr hat | ld get out of } ft. it rtsy fill i people itl xciting interests and wiih a great ense ot individuality. In the xt you weren t sure of yoursell, and } vere 1a 1 Was Going or j realidad overy tor someone who felt very much like a country airl ost in the city. Pratt was a creative uwmosphere, and it! gave back to me what | brought it. There was a very 1000 dean, then, and a lot of territi personalities, and very good classe: In fact, | chose Pratt because it Hered a cour ein fe Od photography lf l|had my life to live over again, I'd probably study liberal arts, becouse that was one of the things | missed it Pratt. There should have been a better meshing of professional and liberal arts courses. John says that the best thing that he got out of Pratt was its name, which opened the right doors for him because of its of the fields good reputation in ol in which it offers dgeaqrees My advice to students in general, not just to Dietetics and Nutrition majors, is not to narrow their hori zons, It's important to earn a living, of course, but it’s also important to settle for somethina jus! because if allows you to earn a living, I've earned that | need to love what m doing, and | believe that it’s very important to leave your options open and tind a niche for yourself Don't worry about material t IINGS All in all, Pratt is o mixed bag that’s whot makes it appealing. It's eclectic. You don't have to tit into a particular mold. The atmosphere is non-traditional, and | found that attractive and important. Both ver px John and | had a good time there nd something you love doing. Don’t Nutrition and Dietetics John Orta, Chairperson 47 Marco Migliaro Electrical Engineer Marco Migliaro graduated trom Pratt’s first Co-op class in 1969 with a Bachelor of Enaineering degree in Electrical Engineering, He was imme diately hired by American Electric Power, and he continued to work there for the next nine years. Since 198] Michael Migliaro has been the Manager of Special Projects and Standards for Ebasco, Incorporated This year he will be inducted into the Institute of Electric and Electronic Engineering (IEEE), becoming one of the younges! memt ers everto be inducted into that society. His areas of specialization within electrical engineering are battenes and rofot- ina machinery In addition to Ebasco, | have worked for American Electric Power, a com pany that is a world leader in any form of power engineering that you could think of. Later, | worked for Diblis and Hill, serving as the lead enaineer of their multi-billion dollar gas turbine unit in Saudi Arabia Additic nally, | have contributed chapters to three books: The Hand book of Power ¢ aiculation, Basic Electronics, and The Handbook of = , ; Electrical Machinery. | have published titteen articles in leadina engineering journals and other publications, and have been awarded the IEEE Standards = Distinguished ion and the vi A : Servic e Award ot the ociety Since taking my dearee from Pratt | have J Vv been a member of the IEEE and. | s j 1 ’ Im proud to say, | will be inducted ; ‘ 1s a fellow later this year in recog nition ot nm ¥ contributions to the ‘lata’ hi ry ’ jocrry i¢ 7eyt pT ike, Ina standardization j of batteries in utilities and power yvstenr y My odvicet )graduatina r nm nainese } r ' tt ¢ rite mt } re ri r r l¢ if ? if t . I } Imning tre t tne e¢ the f vt. +} ; +} h orote : nas et In my opinion, Pratt encourage 1a healthy if ompetilive arive in its stu dents. It is true YOu had to push your self in your studies and in the Co OF Program, but Pratt made sure you had a good grounding in all of the fields that are invo ved In engineer ing. This proves to be a real help to you later on in arriving at your career ( lec sions a9 Engineering Kwok W. Chow Kim Ping Cheung Yip Wai Kok George Brathwaite Eric Myerwold Rosetta Falcone Golin Carlos G. Lopez Carlos Rojas bottom: Eric Prono, Nick De Pascale Tomas Petrocelli Arsenios Arsenakos Peter Tzortzatos Angel Rodriguez Victor Kokodis Frank Giaco fop: Constantine Panopoulos Konstatinos Georgiadis Sofia Georgiadis Paul Edison Esme Maldonado William Trang bottom: Kerne Desrosiers Sevigne Castor Ernesto Etienne Francois Mathieu Ken Gaizier Suvajit Basu Vitaly Koutorovich Andrew Franklin Baxt Engineering top: Librado Anglero, Ton Hy That, Thuy V. Tran, Victor Leong, Chai Xuong Ong, Chuen Fong Lee, Heng Li Wu, bottom: J. Frederick Clarke, Dirk Braxton, Erik L. Feldman, Michael A. Joseph, ll, Charles Oviawe, Walter Holle, Sandra Conenna top : Kim Jaemin, Howard Ling, Esme Maldonado, Robert Esperto, Omaling De La Rosa, bottom: David Pon, Michael Petagna, Jose Aviles, Lisandro Murphy, Jr., Stanley K. Chiu, Adil Sayed Suliman, Francisco Carbrera, Michael Di Rende Amy Slaton Associate Managing Editor Amy Slaton was a graduate student in Pratt's Fine Arts Department from 1978 to 1980. Her first step into the workplace was with a Pratt internship as a. secretary. From there she moved into an editor position for the Annual Guide to Galleries, Museums and Artists. Since then she has been work ing for Artin America Magazine as an Associate Managing Editor | was a painter and a printmoker at Pratt, and my first job was at a pub lishing company. One day a week | did an internship and moved up from a secretarial position to where lam now as Associate Managing Editor. Good critical framing came ; irom my protessor: learned trom artists. That was very appealina t me, | love to paint still, but | took a different avenue with my writing and editing skills Pratt was always an incredibly cre- ative place. | remember the four- story tall Izod shirt made from plastic that was strung up from Ryerson Hall to South Hall. Once there was this guy who locked himself in a cage with a chicken, a dog and a goat, and lived there for a week—| don’t think you find that kind of stuff at normal schools My advice to graduates is to take advantage of their education, use it, continue it, it’s an invaluable resource, Don’t be atraid to exploit your teachers—they’re your first con- tacts tor networking. Another good move is the internship program. With that first step in the door | was able to prove myself and it worked One of the great things about Pratt is that your teachers are people who are established in the New York art scene; they're great resources, Pratt tor me, was very creative | Qgeorea f towara professionals, cand a qreat way {fo sfart ou QUUISAA PIADG] ‘SIINE] SOHISOA ‘@UQ;S Aasjjar ‘BaquauOs 4D0F ‘UWS Ydasor ‘yUDIYDS DpUl] ‘u08] Eq BIUOY JOOYDIWY 4A}JlO}q ABWAAA “IDG UYOF ‘OUDJUOWY B1OJDAJDS ‘UIHIUy jadYDIVy “1UD|OS| O11] SUDS Auoujuyy ‘OUDLUO B1D)7) ‘SUIQON BUULIO-) ‘SSiay YIPNL ‘OJON, OSOWO] ‘asaijbng POU ‘UDWPJOL] PjOsacy ‘UDWIAa}4 aqaouY ‘UOSIL] SOJ|GNOG ‘ya;qQuIc |jamxDYy ‘SUD OPT] ‘ysND4 yUDAY ‘UOSLID ) Suu ‘SIaPNg Pyoyrty ‘P|OMYING P4OMOL “BAO PAOY!y ‘UlBYSNDIG | y ‘Ye xUeg jswWy ‘yUDIDg JOPNY ‘UDDIUYdE] “;PIWIUDS JOPIA SUBIDIUYIE| ‘OdWO}) WO} ‘UDIDIUYDA] “AJ@AIY BIOJDAJOS uDidiuYy r9] ‘UOSyDUPUAa}y Apor ‘UOSIaduIDY jUDYsSISSY ‘SAAD}Y PjOIac) ‘UOSYedUIDY y ‘Hiaquexayy |aVV Bob Giraldi Film Director Bob Giraldi took his Bachelor of Fine Arts degree in Advertising Design at Pratt in 1960. He spent the next nine years at Young and Rubicam; moved to Della Femina, Travisano and Partners; and then, with Elbert Budin, formed Ampersand. In 1973 Bob Giraldi Productions was founded with his partner Phil Suarez. After fourteen years, he is generally regarded as America’s leading commercial direc- tor, as well as its leading music film director. In addition to his enviable accomplishments as a director, in December 1984, with Phil Suarez, he opened Positano, a Manhattan restaurant which won two stars from The New York Times. sor t Cn .. Pratt changed my life. | went there as a rough-edged, not very sophisti- cated kid from New Jersey, on an athletic scholarship, with no sense of taste. | always enjoyed commercial art, messages, the combination of headlines and visuals. | wasn’t especially interested in the fine arts, and | got to learn that there is no stigma to commercial art. | was on my own ship, a rocking and rolling ship, and Pratt allowed me to have my own special fortress. | like to be in at the beginning of new ideas, to be in on the ground floor, and to move on to new ideas. That's why | moved into Broadway commercials for instance; no one had done them before. That's why | went into the world of music films by direc ina Michael Jackson's “Beat It” which went on fo win every ft yO music tilm ward in the bus nes That's w hy | jirected the video { the “Hands A A ACTrOSS America Campaign, fo poring wHtention t Ind help the ¢ mnt ot America’s hungry and homeless Pratt Institute was, to me, about living, growing, and relationships, and it taught me to follow my own instincts Advice? | can’t give advice to people who aren't mature enough to take it. How old are you? Iwenty? You haven't lived enough. You're going to have to experience life, to experience birth and death and relationships. Follow your Owr instincts. “There will always be another time” which is one of the lines that | remember from one of DOD Dye INS Lil you Know who he is sONnaS, IS SK mething that YOu can Only learn with maturity { YOU do ality, you car 1O Quantity, but if never works the other Way Summaries? m not aiven to one vord summorie but let me think Prot 10 before, wos abou! naonda ng and relationshir bw y own special fortre Media Arts A Technician Bobby Knight, Technician George Kn yblach, Technician smo Prete lechnicion Sandy Rosenbera, Technician Mara Alt er lulia Ballerini lim B imns Jaimie Cunningham Howard Danelowitz Juan Downey Robert Fiala Arthur Freed Vicki Gholson David Horton Stu Jacobson Lee Kaminski Paul Killian Bot DY Knight Joseph Lawton Judy Linn Robert Kozma Ann Mandelbaum Paul McDonough Arthur Paldino Philip Perkis Nina Prantis Daniel Schever Judy Sieae! John Snyder Norman Sukkar Sarah Van Ouwerkerk Dovid Vestal s5 Media top : Adam deFelice, Daniel Farkas, John Motondo, Libby Osborn, Ray Amara, middle: Madeline Rosapo, bottom: Gregory S. Cleghorne, Deborah Turi, Kenneth Nelson, Rob Bindler, Gottardo Digiacopo, Leslie Sloan Rebecca Connisa, rir ADT: Fine Arts top: Jo Keefe, Jes Jones, Paul Sullivan, Jose Luis Sanchez Rull, Ferid Agi, middle: Shiela Manion- Artz, Elisa David, John H. Parker, Eileen Hughes, Stuart Warner, bottom: Linda Zamonski, Bob Murphy, Sara Inguanti, Eric Engelhardt, Anna Dorata, Drew Felker, Tim Armour, Michael Daube, Benny Odum, Jose Vargas 59 Pamela Waters graduated in 1963 with a bachelor’s degree in Industrial Design. She was hired by General Motors right after school, where she worked on auto interiors. Last year she headed a ten man industrial de- sign firm called Pamela Waters Studio and today she is a freelance designer in New York City. After working for General Motors | decided | didn’t have gasoline in my veins and moved to Ford Nurell Design, where | got involved in pack- aging and graphics. For ten years | worked for designers in the city and then took off for a year, After that year | began getting freelance work on my own. | built up a small busi ness of designers and then was able to break off on my own, where my graphic work has come into play Now | do mostly open spaces plazas, lobbies, and larqe graphi llustrations. | even taught founda tion classes at Pratt tor three yeors Pamela Waters Industrial Designer Pratt was an absolute haven for my development of creativity and dis- cipline. It opened my eyes to every- thing. | knew how to see but Pratt taught me how to look My advice to graduates is not to worry about ‘the business! It’s tough out there, but your training from Pratt prepares you Pratt’s reputation was influential in getting a job atter graduation. | had such a good background in design that | could move from one job to another. Pratt takes extraordinary and mediocre talent and gives it a chance to show off. If you can be great, you will , Industrial Design Moi. Aureli, Chairperson 5 Leonard Bacich kK Hiiorence Bezrutczy Direciess Blumlein 5 Tarik Currimbhoy i anil Davis Lucia De Respinis . William Fogler Device Glaser Yor Haferkorn b... Solan; 4 Rowena Reed Kostellow Diona Long Nich Pesshio Okuda odo Perry 3 Doin Pile d- Ps Wysoki 3e -Orge Ben Met? lec chnj Clan D anthom Morra, Technician 61 62 What will Pratt be like in the next one hundred years to come? Many changes are taking place today for Pratt's tomorrow. A new amphi- theater is being added to the center court of Main Building. The Center for Design Excellence is being planned for a greater culmination of the arts. The new dormitory, Pantas, will undoubtedly bring changes for the future. But whot is Pratt, really? It is the students who are graduating today that will continue to shape Pratt’s reputation of tomorrow. It is the faculty that have supported us. Coming from our cushy births, we didn’t realize just how dreary Pratt's appearance was to an out-of towner until our friends visited us. Yet the first day of our freshman year, a gray rainy afternoon, we all seemed excited to be there. The change of being in New York City intoxicated us. We were back in high school again when it came to meeting people freshman year. There were the stan- dard hip hangouts—the PI Shop, the Alibi, anyone’s keg party, and the best places to occasionally be seen—Mike’s Coffee Shop, the Met- ropolitan. Unlike high school though there was a risky feel to meeting people. We were all away from home now, there was no one to answer to but ourselves. Sophomore year was our chance to abuse the privilege of being in college, when actually going to class became secondary in our schedules. Surely our grades slip- ped, but we had to live dangerously to actually be able to taste the good lite and the bad. Junior year most of us got jobs. Pratt's influence allowed us to be nurtured by working professionals. We were working, the energy was high, and everyone seemed to be feeling good. The parties have never surpassed those of our junior year it seems. But of course the fun was replaced by stress, our senior year was next. The nagging realization that in a year's time we had to get a real job with a real salary kept most of us from sleeping well at night. That, combined with the new push for quality in our work made senior year the most worrisome. When we saw just how much hard work is involved in making a living, we discovered a hidden respect for our parents and teachers. We stopped living off them and joined their club. There was a new freshman class who complained about how dreary Pratt was, and god, did they look young. That was weird because we sure didn’t feel old. Atter graduation, those of us who didn’t like the city and moved back home will probably boast about going to Pratt (“one of the best art schools in the nation”). And those of us who loved it and stayed, didn’t consider Pratt dreary at all as we left, We just thought it was part of the neighborhood, Michael Lawrence a For all that you have given us, Pratt, here’s a toast to the next one hundred. a Picid SS Nad i? 3 + if 1 . “ Wa) = ‘A . ’ yy Lv « : +. ‘ . ae - uy : eo ar SRL IE 5 — ‘ : : : : .3 ; = : ¥ “ j = � avers: . . Ke , =5 ) ‘ Ne . : F se ut a. i): . : os : s x 7 an = 4 at w sy : 4 om eee ; : dN: . °. bs . { % OP a | oh ca 7 nS NUBN— . Rip Bee SYP . - y G i? es h y ley ' {are ‘o ’ , © , A, (i) el Ariel ¥ ? | AA ¥ 4 ‘ y J d ‘E c) . ‘ ms ¢ . 74 Prattonia Eighty-Eight Editors Jocelyn Koning Dave Ceradini Rob Bindler Leslie Sloan Mechanicals and Production Ines Aranguran Janet Boye Kevin Brown Brian Dempsey Liz Driesbach Erwin Gorostiza Heidi Lanino Jordan Marcus Libby Osborn Guilio Turturro Advisors Charlie Gostlin George Klauber Dave Epstein Illustrators Sarah Belcher Dave Burton Greg Houston Andre Malok Steve Moros Keith Romano Erik Sheets Kelly Williams Ken Wilson Copy Writers Professor Carl Craycraft Michael Lawrence Dr. Paul Friedman This book is set in Futura Extra Black and Futura Light by Ace Typographers. Thanks for all your help Vince! Also, thanks to Ray Sementini at S.D. Scott Printers. 76