Posts tagged with "Pratt Institute":

Allied Works to design Pratt Institute’s new fine arts building

Pratt Institute has selected Allied Works to complete a new building to house its Master of Fine Arts and Photography programs on their 25-acre Brooklyn campus, providing the School of Art “a distinct...identity on campus for the first time.” The project will feature flexible classroom, studio, and tech lab space, as well as room for public galleries. The new School of Art is designed to be a “cultural anchor” for Brooklyn and for the broader New York art world. The project intends to “catalyze both the campus and community, [and become] a wellspring of art and creative energy,” according to Allied Works founding partner Brad Cloepfil. Allied Works, which was founded in 1994 and has offices in Portland, Oregon and New York City, has completed a number of other cultural and educational commissions, including the National Music Centre of Canada in Calgary and a creative arts center for Portland’s Catlin Gabel School. While they have completed an array of projects in New York, including the 2008 transformation of the Museum of Arts and Design, this will be the firm’s first foray into Brooklyn.

Albers, Lustig Cohen, Tissi, 1958-2018

Pratt Manhattan Gallery presents Albers, Lustig Cohen, Tissi1958-2018, an exhibition that explores sixty years of graphic design and art work by three influential women artist-designers: Anni Albers, Elaine Lustig Cohen, and Rosmarie Tissi. Connected by shared circumstances of identity, each is a 20th century woman connected to a well-known male artist or designer and business partner, with mutual friends, patrons, places, and communities. Working through and inspired by constraints, all three demonstrated an affinity for geometric, hard-edged forms. They made work with a common ideal, exemplars of the Bauhaus ethos: unity in art and design. In the work is a vivacity that feels always new, timeless, and individual. Albers, Lustig Cohen, Tissi, 1958-2018 features a selection of art and design objects –typography, textiles, prints, paintings, posters, sculptures, trademarks, and books, design and/or art—in chronological order beginning in 1958. The three women’s overlapping careers span the arc of the Modernist era—from the Bauhaus, to mid-century Pax Americana, to Postmodernism, and into the present. Curated by Phillip Niemeyer, a graphic designer and director of Northern—Southern, a gallery and art agency in Austin, Texas. Anni Albers (1899–1994) began her career as a textile designer at the Bauhaus. She freelanced in Germany until 1933, when she emigrated to America with her husband, Josef. She taught at the Black Mountain School (1933-49). She was the first woman designer to have a one woman show at the Museum of Modern Art (1949). Her book of collected writings On Designing (1959) is considered a classic in design thought and an important text in the lineage of the "design thinking" discipline. Later in life she explored print as a medium for design and art work. She worked and wrote until her death. Elaine Lustig Cohen (1927–2016) learned graphic design working with her first husband, Alvin Lustig. Alvin lost his vision before he passed—Lustig Cohen would create his designs based on his spoken instructions. After Alvin's death in 1955, Lustig Cohen worked as a freelance designer in New York. She designed the typography for Philip Johnson's Seagram Building (1956) and the iconic graphics for the seminal Primary Structures exhibition at the Jewish Museum (1966). In the 1970s she painted, often large and subtle geometric compositions. A group of her paintings were recently shown at Philip Johnson's Glass House (2015). Rosemarie Tissi (1937–present) was published in the Neue Graphik (1957) while still at student in the Swiss School of Art and Craft. She founded the studio O&T with Siegfried Odermatt in 1968. Tissi has been a member of AGI (Alliance Graphique Internationale) since 1974, and ADC (Art Directors Club) since 1992. She is the recipient of numerous awards and prices including three Swiss Federal Scholarships for Applied Arts. She still works today. Opening reception: March 1, 6-8 PM

Pratt exhibit showcases three influential but undersung 20th-century designers

Pratt Institute's Manhattan Gallery is hosting a chronological exhibition of the work of three 20th-century designers whose careers spanned most of the modernist era. The roughly two-month-long show covers the work of Anni Albers, Elaine Lustig Cohen, and Rosmarie Tissi, three designers whose lives crossed paths with famous men but who were successful in their own right. In chronological order, Albers, Lustig Cohen, Tissi, 1958-2018 highlights typography, prints, sculptures, books, paintings, and more from the three practitioners, who tended to produce highly geometric forms across media. Lustig Cohen learned graphic design from Alvin Lustig, her first husband, who would dictate his ideas to her after he lost his sight. She did the typography for Philip Johnson's Seagram Building, and is known for her large geometric paintings from the 1970s. Albers, meanwhile, was an influential textile designer for the Bauhaus, and later emigrated to the United States, where she taught at the Black Mountain School (1933-49). Though many may know her as the wife of artist and educator Josef Albers, she was the first designer ever to get a solo show at MoMA, in 1949. Tissi is the only surviving member of the group. She founded O&T (Odermatt & Tissi), her eponymous studio with Siegfried Odermatt, in 1968, and she is still in practice today. Tissi designed the poster for the show, pictured at top. Albers, Lustig Cohen, Tissi, 1958-2018, which runs from March 2 to April 28, is curated by graphic designer Phillip Niemeyer, who also directs Northern-Southern, a gallery and art agency in Austin, Texas. An opening reception is scheduled for March 1 from 6 p.m.–8 p.m.; more information on the exhibition can be found here.

Thom Mayne’s mentoring program is featured in showcase at Pratt

The educational mentorship program spearheaded by Morphosis principal and co-founder Thom Mayne headed into its third semester this year. For sixth graders at Hall Elementary School in Bridgeport, Connecticut, the Thom Mayne Young Architects program was a chance to receive an architectural education and access to design software via after-school classes led by Pratt Institute architecture students. Tonight, Mayne himself will host a closing reception of their final projects from last semester at Pratt Institute's Higgins Hall, beginning at 6pm. Founded in 2017, the Thom Mayne Young Architects program was spurred by Mayne's participation in President Barack Obama's Committee on the Arts and Humanities. Mayne partnered with TurnAround Arts, a 2012 program launched by Michelle Obama and the president's committee to bring arts education to the bottom five percent performing public schools, which includes Hall Elementary. The sixth grade students have been working on a site close to home–their own classrooms. Their design prompt is to create a "beautification proposal" for their classrooms. In the course of the 12-week program, students learn about design thinking, architectural design fundamentals and computer design, aided by the donation of Pixelbook laptops loaded with design software by Google. Beyond design skills, the program also includes lessons about photo editing, branding, marketing, and budgeting. The exhibit, which opened on February 12, closes on Saturday, February 17.  

Over 40 practices imagine the post-human, post-natural world

Ambiguous Territory: Architecture, Landscape, and the Postnatural posits that ambiguity, rather than certainty, is what drives intellectual and aesthetic inquiry. The exhibition, which was first shown at the University of Michigan Taubman College of Architecture and Urban Planning, takes on the question of complex contemporary environmental and humanitarian issues, and the role that architects, landscape architects, and artists play in addressing them. Organized and curated by Kathy Velikov, Chris Perry, Cathryn Dwyre, and David Salomon, the show originally ran in September and October, but will also be on display in New York in the coming year. Divided into three categories, Ambiguous Territory brings together an exhaustive list of over 40 young practices working along the blurry edges of the architecture field. The categories include “I. Above: The Atmospheric,” “II. On: The Biologic,” and “III. Below: The Geologic.” In each case, contributors were asked to show work that specifically engaged with the "post-natural era." This includes addressing climate change, concepts of the Anthropocene, and artificial and altered ecologies.  As the show’s title hints, these categories are understood in decidedly ambiguous terms. The work in each engages with much more than the physical or scientific connotations implied by the category titles and many projects span multiple, if not all the groupings. This intermixing of ideas is at the core of the show, which hopes to engage with the contemporary sensibility of bringing together "unlike things into singular forms or images." As such, visitors to the show will find everything from remote sensors, robots, and satellite imagery, to plant languages, rock piles and point clouds. Considering the wide range of often invisible, and sometimes ephemeral, forces and concepts, contributions to the show dabble in an equally wide range of representational and annotative techniques. In many cases, drawings and image-making techniques are borrowed from a number of fields and pushed beyond their conventions to visualize concepts that are often hardly visible. The three-dimensional objects in the show take a similar approach to fabrication, producing a number of uncanny, if not unsettling forms which defy typical descriptions. In the “Above” category the work of contributors such as Sean Lally, Mark Nystrom, and Lateral Office & LCLA, looks at the movement and capturing of atmospheric conditions, such as wind and heat, are address. Other offices, such as NaJa & deOstos and Kallipoliti & Theodoridis, look more directly at the impact and possibilities of architecture and its relationship with the atmosphere. Offices working in the “On” category explore biological conditions that are either affected by or which affect humans. Works by firms such as The Bittertang Farm, Future Cities Lab, and pneumastudio each provide spatial constructs for species, living or extinct, other than humans. On the other hand, Terreform ONE’s In Vitro Meat Habitat and Office for Political Innovation’s Landscape Condenser mediate the relationship of humans to constructed biological systems. The “Below” category is filled with practices exploring the more substantial aspects of the show through material and geology. Firms Smout Allen, The Open Workshop, and Design Earth each look to the future of the subterranean, while Formlessfinder, Lisa Hirmer, and Alexander Robinson examine physical material properties through crushing, piling, and vibrating. The first showing of Ambiguous Territory was accompanied by a symposium, which included discussions by many of the show's participants as well as keynote addresses by Liam Young and David Gissen. While the show closed in Michigan in October, it will be remounted at the Pratt Manhattan Gallery, New York, from December 2018 through January 2019.

New Pratt exhibit showcases Aldo Rossi’s paintings and drawings

Tonight, Aldo Rossi and the City opens at Pratt Institute's Higgins Hall, showcasing a selection of drawings and paintings from the Pritzker Prize-winning Italian architect, designer, and writer. The works shown are from the private collection of Morris Adjmi, who collaborated with Rossi for 13 years after his graduation from Tulane University's School of Architecture. In an interview with Commercial Observer, Adjmi – who now runs his own 75-person architectural firm in New York – described Rossi's lasting impact on his life and work as "setting the foundation" for his current practice. To launch the exhibit, Pratt's School of Architecture will host a symposium at 6 p.m. tonight on Rossi's work with a roundtable including: Morris Adjmi (Morris Adjmi Architects), Jacopo Costanzo (Warehouse Architecture), Diane Ghirardo (University of Southern California), and Mark Rakatansky (Pratt). William Menking, professor at Pratt University and Editor-in-Chief of The Architect's Newspaper, will be moderating. Location: Hazel and Robert Siegel Gallery Higgins Hall Pratt Institute 61 St James Place Brooklyn, NY Roundtable: Tonight (September 14) at 6 p.m. On view: September 14, 2017 – October 5, 2017

Wilbur ‘Bill’ Woods, former New York City planner, passes away

Wilbur ‘Bill’ Woods, former Director of City Planning for the boroughs of Staten Island (1974-1977), Brooklyn (1977-1989) and, until 2011, head of the city’s Waterfront and Open Space division, died this past weekend at his home in the Catskill mountains. Woods defined what it meant to be a dedicated civil servant and—in his quiet and thoughtful way—did as much as any person to create a workable vision for the nearly 550-mile waterfront of New York City. He not only helped conceptualize this important city edge but worked with politicians and other decision makers to see it through to implementation, even if in an abbreviated form. Born and raised in Tennessee and Alabama, places that defined his soft vocal cadences, he studied architecture at Cornell and came to New York where he dedicated himself to regional and city planning. Woods was also a teacher at Pratt Institute and Hunter College where he taught planning surveys and a course Planning for the Waterfront to future professionals and architects. He was a planner/architect of the old school of physical planning that worked directly with the city. He created a thorough survey course, nearly from scratch, that taught all the aspects of the profession, from zoning to housing and open space development. Thus two generations of New York–educated architects learned all they knew about planning and how it effected their profession from Woods’s required course. In the late 1990s, Bill attended a family reunion in South Carolina and invited me to join him in Knoxville where we began a week-long tour of Tennessee Valley Authority dams and adjacent landscape and planning developments. It was exciting to see these developments through his eyes and have long discussions about regional planning in America. We had the added benefit of traveling with his sister who, as a liquor salesman, had whiskey samples in the trunk that allowed us to have an evening sip at the end of the day. This past weekend his wife Deborah Freedman reported they spent a blissful weekend in the country and Bill happily worked in his garden and suffered a stroke in his sleep on Sunday night. Wood’s graceful and informed manner in everything he did made an impression on his many colleagues, students, friends, and family. His family is planning a memorial in the near future.

New York architect and professor Diane Lewis passes away

[UPDATE 5/5/2107, 5:40 pm EST] A mid-June memorial is being planned to celebrate Diane Lewis's life in architecture, art, and literature. Additional details will be released at www.dianelewisarchitect.com as plans are finalized. [UPDATE 5/2/2107, 12:25 pm EST] This article has been updated to include a statement from Nader Tehrani, dean of the Irwin S. Chanin School of Architecture of the Cooper Union. Diane Lewis, recipient of the 1976 Rome Architecture Prize in Architecture and the 2008 Smithsonian Cooper Hewitt National Design Award, passed away this morning. She was a prominent figure in the contemporary New York architecture scene and distinguished tenured professor at the Cooper Union. Lewis founded her eponymous firm in her native New York City in 1983 after working in the offices of Richard Meier, I.M. Pei and Partners, and Jim Freed, leading projects such as the Jacob Javits Convention Center, MIT Center for Arts and Media, and 499 Park Avenue. Her firm’s projects include the 2006 residence for the dean of the Columbia University Graduate School of Architecture, Planning, and Preservation, the Perlman Conservatory and campus for Paul Rudolph’s Riverview High School in Sarasota, Florida, the Gauchos Basketball Foundation in Harlem, New York, and the HCK Charter School in San Antonio, Texas, as well as art galleries such as Kent Fine Art, Paul Kasmin, Claude Bernard, American Fine Art, and SPOT. She received a Knoll International Modern Main Street award in conjunction with World Monuments fund for the master plan for Riverview High School. In 1982 she was the first woman architect appointed to the full-time faculty at the Cooper Union and also served on many university faculties including Yale, Harvard Graduate School of Design, the Technical University of Berlin, the Architectural Association in London, the University of Edinburgh, and the University of Nebraska-Lincoln. She co-edited the Education of an Architect, a book on the work of Cooper Union from 1975 to 1982; in 1989 she received a Graham Foundation grant for her lectures and essays on architecture and surrealism. She was also the task force director of the Urban Institute at the Cooper Union. In addition to this, Lewis also taught at the Pratt Institute in New York. There she taught undergraduate architecture students, working as a visiting professor. After 25 years of independent architecture practice, a monograph was published of her work, entitled DIANE LEWIS: INSIDE-OUT: Architecture New York City in 2007. Her drawings of plans for the Astor Place parking site and others can be found in the Museum of Modern Art permanent collection. Nader Tehrani, dean of the Irwin S. Chanin School of Architecture of the Cooper Union, released the following statement early this afternoon:
Diane H. Lewis, 2017 It is with profound grief and a heavy heart that I share this communication with my students, colleagues, and alumni of The Cooper Union. Today, we lost one of the most beloved and influential voices of our community, architect and professor Diane H. Lewis. Diane Lewis came to The Cooper Union as a student in the Art School in 1968, transferring to Architecture in 1970, and completing her studies in 1976. Immediately upon graduation, she was awarded the Rome Prize in Architecture, making her one of the youngest members to be honored by the American Academy in Rome. Upon her return to the United States, Lewis joined the offices of Richard Meier and Partners and later, I. M. Pei and Partners where she received her early training—this, while also launching her teaching career. Initially a professor at the University of Virginia, Lewis went on to teach as a visitor in many respected programs including Yale University, the Technical University of Berlin, the Harvard Graduate School of Design, and the University of Toronto, where she held the Frank Gehry Visiting Chair in 2006. But it was here at The Irwin S. Chanin School of Architecture that she planted her foundations as a radical and committed educator; Lewis was the first woman architect to be appointed to the full-time faculty, and later tenured in 1993. In an age when few dedicate themselves to teaching as a craft, her focus on creating a transformative space of learning will be a central part of her lasting legacy. Indeed, as much as Lewis was a product of Cooper Union, today we can look back at more than thirty years of her contributions and come to realize that we are, in fact, defined by the culture of her teaching. As a practicing architect, Lewis set up her own office in 1983 under the banner of Diane Lewis Architects PC, and she has since led a focused and critical practice concentrating on competitions, urbanism, and built projects known for their exquisite refinement in both plan and detailing. Of those projects, the Studiolo for Colomina and Wigley, the Mews project for Professor Dworkin, and the Kent Gallery all demonstrate the nuance and skill that Lewis brought to her sense of materiality, figuration, and occasion. With a protean intellectual profile, Lewis’s work spoke to the panoramic range she held within her scope; a writer, designer, film-maker, and urbanist, Lewis brought passion to her many activities, often synthesizing her investigations into the many publications she edited and authored. Her most recent book, including the work of several generations of students, Open City: Existential Urbanity is one such example, featuring not only her written work, but also her research on Neo-realist cinema, the role of the civic institution on the making of urbanity, and even book design as a central part of its argument. The practice of Diane Lewis served as a conduit for her inter-disciplinary interests, and she seamlessly navigated between professional practice, scholarly work, and her teaching projects as part of a larger commitment to the discipline. Naturally, as co-editor of the Education of an Architect, Lewis shared a vision about how the commitment to teaching was also part of a social contract to give back to society in productive ways. Exhibited widely, including at the Cooper Hewitt Museum, the Van Alen Institute, and the Galerie Aedes in Berlin, Lewis also gained many accolades such as the John Q. Hejduk Award and nominations for the National Design Award from the Cooper Hewitt and the Daimler Chrysler Award. Diane Lewis was widely recognized as a consummate architect and professor. Loved by students, respected by professional colleagues and debated by academic peers, Lewis defined architecture with equal parts passion and erudition. In recent years, her Design IV urbanism studio was known for its often twelve-hour long final reviews—each one of them a marathon discussion of critical precision and clarified architectural thought. On a more intimate note, I can only say that I will personally miss Diane dearly, most especially the tenacity with which she engaged in fierce architectural debate. Diane’s persevering intellect and commitment to leadership were so ever-present in the School, I can only imagine that both John Hejduk and Anthony Vidler felt her almighty strength in the administration of the school. She led the school symbolically, and when things did not go her way, she led a parallel school of thought alongside the very deans that gave rise to her platform. Her agency represents the very ethos of the key protagonists that a school would want inside its walls. She had a voice, she used it, and she led with it. In the past days and weeks, I have been touched by the many students, alumni, and academic associates who have reached out to me inquiring about her well-being. Diane was loved by many and respected by all. She was fiercely loyal to her students, and she made no secret of her advocacy of the many friends she held dear in both personal and intellectual complicity. To that end, I can only see that this loss is shared far and wide by many. As the Dean of The Irwin S. Chanin School of Architecture, I have the honor of bringing words to the collective sentiments that I believe everyone has voiced to me, and yet, I know that these words do not suffice in face of a deep, collective grief. The presence of our beloved family and friends is real and profound, but in their absence, we also discover that their every lesson, their words of wisdom, humor, and sensibility is something that takes on even more vivid presence precisely because they are no longer here in body. Diane may have left us in person, but her presence will be very much part of the education of many architects to come, and she will continue to speak with strength and clarity in the halls of this institution. As we miss her deeply, we will also have the benefit of her ongoing guidance, the fulfillment of over thirty years of generous giving.

Thom Mayne will be Pratt’s first “critic at large”

Pratt Institute's Graduate Architecture and Urban Design (GAUD) program has selected Thom Mayne as the school's first "critic at large."

In this role, Mayne will work directly with architecture students on their projects while facilitating discussion about the field and related disciplines.

The Pritzker Prize–winning architect, who is a tenured professor in UCLA's Department of Architecture, will serve in the critic's role through the 2017-2018 academic year.

Mayne co-founded Los Angeles– and New York–based Morphosis in 1972. New Yorkers can see his built work at the Cooper Union, and soon on Roosevelt Island, where construction on the firm's academic building for the Cornell Tech campus is expected to be complete this year.

According to Pratt, the position was created to "expand discourse across the GAUD curriculum and build connections between the pedagogical and professional aspects of the program." The public, too, will be able to get in on select Mayne discussions and events: The first one is free and scheduled for next Thursday, April 13.

More information on the critic at large program and the upcoming lecture can be found here.

Pratt Institute’s May symposium will explore the relationship between theory and practice in modern placemaking

The Pratt Institute Graduate Center for Planning and the Environment is putting together a day of discussions this May 13 to dive deeper into the theory and practice of placemaking. This symposium, titled "Making Sense of Place: Place Theory and Placemaking in Practice," will focus on the intersections of academic theory and practical urban placemaking across four sessions led by current practitioners and theorists of place and placemaking, including:
  • Eve Baron, chairperson of Pratt's Center for Planning and the Environment Grad Center for Planning
  • David Burney, director of Pratt's Urban Placemaking and Management program
  • Tim Cresswell, dean of the faculty, vice president for academic affairs, and professor of American studies, Hartford, Connecticut's Trinity College
  • Setha Low, professor, The Graduate Center at the City University of New York
  • Sean Anderson, associate curator, Museum of Modern Art
  • Kim Dovey, professor of architecture & urban design, Melbourne School of Design, University of Melbourne
These speakers will ask the tough questions, exploring the potential of placemaking to relieve mistrust in the government, integrate displaced people into communities, help understand complex urban issues, and support under-served communities. The symposium will take place on May 13 at Higgins Hall Auditorium at Pratt University’s campus in Brooklyn. For more information about the event schedule and to purchase tickets for the event, you can visit the website here.

Pratt Institute launches Master of Science in Real Estate Program (REP)

The Pratt Institute has announced a new degree program: Master of Science in Real Estate Practice, which will commence in fall 2017. The Real Estate Practice program will train students to develop skill sets focused on public-private partnerships, housing and urban development, and sustainable development. This focus on public-private partnerships is due to an increase in real estate professionals’ interaction with broader interdisciplinary teams. Courses offered in 2017–2018 include: The Development Process, Fundamentals of Real Estate Development Finance, Fundamentals of Real Estate Portfolio Investment, Real Estate Law and Land Use Regulation, Public/Private Redevelopment, Urban Economics and Market Analysis, Real Estate Valuation and Capital Markets, Project Management, Demonstration of Professional Competence-Thesis, and Demonstration of Professional Competence-Studio. The new 36 credit program is meant to complement existing graduate programs of the Pratt School of Architecture: City and Regional Planning, Sustainable Environmental Systems, Historic Preservations, Urban Peacemaking and Management, and Facilities Management. “With this new program, Pratt’s School of Architecture now has a trilogy of programs focused on the built environment: Construction Management, Facilities Management, and Real Estate Practice. This unique and exciting program focuses on educating and training students in real estate practice at the intersection of public-private partnerships,” said Regina Ford Cahill, chairperson at Pratt Institute in a statement to Real Estate Weekly. Click here to learn more.  

Pratt Institute to build new dormitory at 135 Emerson Place

In 2012, Pratt Institute purchased a property at 135 Emerson Place for $13 million. That's where the school now plans to build a 10-story, 57,000-square-foot dormitory, reports The Real Deal. The 124-room dormitory will be located a block from Pratt’s Clinton Hill campus. However, marketing materials of Massey Knakal Realty Services have indicated that the property’s zoning actually permits 97,000 square feet of residential space. The lot, between Myrtle and Willoughby avenues, was purchased from Cara Development. Cara Development had intended to build a new 16-story, 95,000-square-foot residential building with David Kramer’s the Hudson Companies in 2008. Hudson Companies is currently involved in an alleged fixed bidding process for the Brooklyn Heights Library development plan. The financial crisis and recession prevented Hudson and Cara's joint project from being pursued.