DxD: Differentiate by Design No. 1 "Global Impact"

Pratt institute Institutional Advancement Corporate Relations 200 Willoughby Avenue Brooklyn, NY 11205

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PRATT INSTITUTE Dxd: Differentiate

by Design

Global Impact: Speaking of Design, Hennessy, Supima, Herman Miller, Sanofi-Aventis, 125 Pratt Icons, General Motors, Cotton Incorporated, Barnes & Noble, and more.

This publication is named for the philosophy at the heart of Pratt Institute’s corporate partnerships and a key element of successful companies’ ability to thrive in the highly competitive 21st century global marketplace: differentiate by design.

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The business world has changed dramatically in recent years. Businesses face even greater challenges in differentiating their products and services. As acclaimed business writer Daniel Pink notes in A Whole New Mind: Why Right-Brainers Will Rule the Future: “For most of history, our lives were defined by scarcity. Today, the defining feature of social, economic, and cultural life in much of the world is abundance.” It’s no longer enough to create affordable and functional products. Businesses must appeal to consumers’ desire for life-enhancing objects and experiences that make a real difference to consumers and the world.

That’s where design comes in. Pink states: “In an age of abundance, design has become crucial for most modern businesses—as a means of differentiation and as a way to create new markets.”

As one of the preeminent schools for art and design and home to one of the world’s most talented student bodies drawn from 70 countries and 48 states—and a faculty composed of leading artists, designers, and creative professionals—Pratt Institute offers corporate partners like those featured in DxD the design expertise and approaches they need to differentiate and make a difference to their customers, their community, and the world.

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Speaking of Design

Speaking of Design

Peter Barna, provost, Pratt Institute, and Jonathan Bowles, executive director, The Center for an Urban Future, on the role of design education in spurring innovation and economic growth Bowles: Design and architecture schools have not traditionally been thought of as essential contributors to innovation and competitiveness, but that is a mistake. At a time when designers are having a growing influence on everything from smart phones to the delivery of health care services, these institutions are poised to play an even more fundamental role in New York’s economic future, which is central to the U.S. and world economies.

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Barna: Pratt helps fuel the creative design economy at every stage. The Institute attracts creative talent to New York from across the country and around the world. Pratt art, design, and architecture students participate in studios for both global firms and local boutique studios. Upon graduation, many Pratt alumni become part of the talented workforces of design and architecture firms whose creativity and innovation help New York City remain a leader. Completing the cycle, these new creative professionals return to Pratt to mentor the next generation of artists and designers, who, in turn, will bring their fresh ideas to companies throughout the city and around the world.

Bowles: Major companies in technology, manufacturing, health care, and other leading industries are increasingly looking to designers to help them solve challenges and come up with innovative solutions.

ABOVE Peter Barna, provost, Pratt Institute Photo: Peter Tannenbaum OPPOSITE PAGE Jonathan Bowles, executive director, The Center for an Urban Future Photo: Peter Tannenbaum 2

Speaking of Design

Barna: Many of those companies choose to partner with Pratt for design solutions. As a result of these partnerships and other real-world projects, while still in school, students are learning to turn their attention to a much wider array of subjects than is traditional in a design education—not just products, books, or buildings, though all of those are still important—but customer service and supply chain systems, food delivery infrastructure, and zoning practices. For example, in addition to the insulin delivery device for Sanofi-Aventis, Pratt students have worked on projects such as the Lab on a Chip diagnostic tool that allows doctors to test for HIV and other diseases in remote and underdeveloped regions. Pratt students and alumni also use design thinking to help create more sustainable communities and products in locations ranging from the Bronx to Guyana. Furthermore, design students are learning how to identify problems along the entire development process, from the inception of an idea to its reception as a physical, marketable object—and then they learn how to do rapid prototyping and testing.

Bowles: Many of New York City’s most visible and influential firms were founded by New York City design school graduates. All of these firms employ dozens of designers and all have gone beyond success in the marketplace to establish new paradigms and possibilities in their fields.

Barna: Gensler, for example, employs more than 50 Pratt graduates. At JetBlue Airways, Pratt construction management alumnus and Vice President of Corporate Real Estate Richard J. Smyth oversaw the creation of the $750 million Terminal 5 at JFK International Airport, creating an efficient and enjoyable transportation hub. Pratt School of Architecture graduate Rodney Leon brought his expertise to bear on memorializing thousands of slaves and African-Americans laid to rest in lower Manhattan with his designs for the African Burial Ground National Memorial. These are just a few examples of how Pratt alumni are using their design expertise to address a variety of issues.

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WILD RABBIT Hennessy

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Hennessy

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Hennessy

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Hennessy Challenges Pratt Students to Chase their Wild Rabbit What’s your wild rabbit? That’s the question LVMH-owned cognac company Hennessy posed to eight Pratt Institute art and design students last summer in a competition to illustrate the force that drives some to greater and greater achievements. The partnership is just one part of Hennessy’s new “Wild Rabbit” U.S. campaign, named for the elusive animals that run unseen throughout the Cognac region of France and which, legend has it, spur people from one success to another.

For the competition, street artist Futura mentored students under the direction of Jeff Bellantoni, chair of Pratt’s Graduate Communications Design program, who served as faculty advisor to the project. Michael Cook (B.F.A. Communications Design ’12) took first place with a multimedia installation piece centered around a sculpture of a rabbit made of spray cans, squeegees, paintbrushes, and ink jars.

These items illustrate the creative process that, for Cook, is at the heart of what it means to be an artist. Cook further explores the role of materials and process through a video projected from a small projector housed in the rabbit’s chest.

Cook’s winning wild rabbit also showcases Pratt’s emphasis on hands-on experience, interdisciplinary exploration, and innovation—all qualities that make Pratt a leading corporate partner for companies like Hennessy that are committed to breaking new ground.

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PREVIOUS SPREAD Michael Cook Work (Rabbit Component) Photo: Peter Tannenbaum ABOVE Hennessy competition winner Michael Cook (B.F.A. Communications Design ’12), competition judge Harry Allen (B.I.D. ’95), and project mentor Futura.

Photo: René Pérez OPPOSITE PAGE Michael Cook Work (Video Component) Video Stills: Michael Cook

Hennessy

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Supima

A PRATT FASHION WIN Pratt Takes First Prize at 2012 Supima Design Competition

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Every aspiring fashion designer dreams of presenting a collection on the runway at Fashion Week in New York City. For the past five years, Supima has made that dream a reality for recent alumni from Pratt’s Department of Fashion, making Pratt one of four top American design schools invited to participate in the prestigious annual competition that captures the attention of industry professionals and press throughout New York City.

Modeled after the 1954 International Wool Secretariat competition that launched the careers of Yves St. Laurent and Karl Lagerfeld, the Supima Design Competition challenges the eight participating graduating seniors, two from each of the four schools selected, to create a capsule collection of women’s eveningwear gowns from premium Supima denims, knits, corduroys, twills, and shirting.

The finalists present their work in a runway show at the Mercedes-Benz Fashion Week in New York City, where the winner is announced. In 2012, that honor went to Pratt alumna Kate Wilkoff (B.F.A. ’12), who also received $10,000 to jump-start her professional career.

The 2012 judges, who included major industry representatives such as Supima’s own Buxton Midyette, gave top marks to Wilkoff’s designs, which were inspired by the natural deconstruction processes that affect architecture. Her collection reflected the Institute’s crossdisciplinary approach to design, which has helped make Pratt one of the world’s leading design schools and an ideal partner for companies looking for fresh approaches.

THIS SPREAD Winning garments designed

by Pratt alumna Kate Wilkoff (B.F.A. ’12) Photos: Courtesy of Supima

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Supima

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Pratt

Herman Miller

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Herman Miller

The renowned furniture company Herman Miller, whose innovative office furniture is sold in more than 100 countries around the world, embarked on a year-long partnership with industrial design students at Pratt to create furniture to promote both physical and mental well-being.

The results of the Body and Mind-themed collaboration were first displayed in May 2012 at the International Contemporary Furniture Fair (ICFF), the foremost North American showcase for contemporary design with more than 500 exhibitors representing 34 countries. The Pratt faculty lead for the project was Mark Goetz (B.I.D. ’86). This was the fifth consecutive year that Pratt was chosen as one of only six design schools worldwide to exhibit at ICFF. In addition to Body and Mind, other displays at the 2012 ICFF that featured work by Pratt students and recent alumni included Far Found, a contemporary residential furniture collection incorporating the local culture and materials of the country in which it was produced. The first line, Viva Collection, was made entirely in Colombia’s capital.

Far Found was created by a multi-cultural group of Pratt industrial design alumni, including Alvaro Uribe (B.I.D. ’12), profiled on p. 31.

LEFT William Bausback (B.I.D. ’12) and Angela Lin (B.I.D. ’12) Omoi TOP Pete KL (M.I.D. ’12) Memoro MIDDLE Kelly Proscio (B.I.D. ’12) Atlas BOTTOM Heidy Garay (M.I.D. ’12) Aerate Photos: Kevin Kunstadt

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DESIGNED TO SAVE lives Sanofi-Aventis

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The following pages were commissioned OF Juan Camilo Osorio (pg. 30) and Jessie Braden from the Pratt Spatial Analysis and Visualization Initiative (SAVI) to map and visualize the impact of this collaboration between Pratt and Sanofi-Aventis, which was led by pratt faculty member jeffrey kapeC (b.i.d. ’72).

Diabetes affects approximately 350 million people around the world. With obesity on the rise, the prevalence of diabetes is expected to increase dramatically. Understanding that design has the power to transform the way medicine is delivered and perceived, in spring 2012 the Global Diabetes Division of SanofiAventis partnered with Pratt industrial design students to explore and develop a next-generation insulin delivery device. The design solutions resulting from this collaboration have the potential to be life-changing for one in 10 adults worldwide, approximately 10 percent of the world’s population.

{

As defined by the World Health Organization (WHO), “diabetes is a chronic disease that occurs either when the pancreas does not produce enough insulin or when the body cannot effectively use the insulin it produces. Insulin is a hormone that regulates blood sugar.” (WHO Diabetes fact sheet, 2011)

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}

Sanofi-Aventis

100 million adult cases 50 million adult cases 10 million adult cases

WHERE ARE CASES CONCENTRATED? The International Diabetes Federation (IDF) 2011 Diabetes Atlas estimates that 366 million adults worldwide had diabetes in 2011*, indicating that 55% of this population was concentrated in China, India, the USA, Russia and Brazil—which together represent more than 200 million cases.

Russia: 13M USA: 24M

China: 90M India: 61M Brazil: 12M

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WHERE IS THE HIGHEST PREVALENCE?

0%–9% of total adult population 10%–14% of total adult population More than 15% of total adult population

Experts agree that diabetes is increasing globally, particularly in low- and middle-income countries. According to the IDF 2011 Atlas, certain Pacific island states and countries in the Middle East have the highest diabetes prevalence**, where the population with diabetes exceeds 19% of the total adult population.

Kuwait, 21%

Bahrain, 20%

Lebanon, 20%

United Arab Emirates, 19% Marshall Islands, 22% Nauru, 21%

Kiribati, 26%

Qatar, 20% Saudi Arabia, 20%

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Tuvalu, 20%

Sanofi-Aventis

HOW WILL DIABETES GROW TOMORROW?

Decline in adult cases

IDF projects a 51% increase in the number of adults with diabetes, where 552 million people are estimated to have diabetes by 2030. The largest increases in the total diabetes population are projected to take place in certain areas of Africa, the Middle East, and Southeast Asia.

1%–29% increase in adult cases 30%–59% increase in adult cases More than 60% increase in adult cases

Kuwait, 118%

Occupied Palestinian Territory, 120%

United Arab Emirates, 167%

Bulgaria, -1%

Nepal, 140%

Japan, -5% Oman, 136% Kenya, 119% Niger, 119% Uganda, 124% Rwanda, 118%

United Republic of Tanzania, 134%

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1 IN EVERY 10 ADULTS IS EXPECTED TO HAVE DIABETES BY 2030

2011 2030

According to the IDF 2011 Atlas, China and India concentrated more than 151 million adults with diabetes, and this number is expected to reach 231 million by 2030. The USA, Russia, and Brazil concentrate almost 49 million adult diabetes cases, and are expected to concentrate more than 63 million by 2030. # OF ADULT DIABETES CASES IN MILLIONS

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140

130M

120 100 80

101M 90M

60

61M

40 20

30M

24M

14M

13M

0

CHINA

INDIA

USA

NOTES

RUSSIA

20M

12M

BRAZIL

** Diabetes prevalence represents the percentage of the total adult population that has diabetes. The percentages used have been adjusted by the IDF to account for

* Estimates published in the International Diabetes Federation (IDF) Diabetes Atlas derive from a combination of sources, including peer-reviewed literature, national

the different proportion of young and old people in different countries, based

and regional health surveys, personal communication provided from investigators

on a population distribution developed by the WHO. The total diabetes cases

in the IDF network, and official reports by multinational organizations, such as the

documented in this dataset combines adult Type 1 and Type 2 diabetes cases, along

United Nations or the United States Centers for Disease Control and Prevention.

with an estimate of undiagnosed adult diabetes cases for each country.

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Sanofi-Aventis

GENDER

AGE

The total distribution of adult men and women with diabetes is almost half and half. There were 185 million adult men (51%) and 181 million adult women (49%) with diabetes in 2011.

Two thirds of the diabetic adult population were under the age of 60 in 2011. The IDF 2011 Atlas documents 242 million (66%) adults with diabetes between 20 and 59 years of age, with only a minority of 125 million (34%) reported to be over 60.

MEN (51%)

WOMEN (49%)

UNDER 60 (66%)

OVER 60 (34%)

INCOME

URBAN VS. RURAL

The majority of adults with diabetes live in low and middle income countries, as classified by the World Bank. According to the IDF 2011 Atlas, 291 million adults with diabetes (79%) lived in low and middle income countries, while 75 million (21%) lived in higher income ones.

The majority of adults with diabetes live in cities. IDF data reports that the 231 million adults with diabetes (63%) living in an urban context almost double those that don’t­—only 135 million (37%) lived in a rural setting in 2011.

LOW & MIDDLE (79%)

HIGH (21%)

URBAN (63%)

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RURAL (37%)

World Health Organization (WHO). 2011. Diabetes fact sheet. Last accessed August,

CREDITS

2012. Available from: www.who.int/mediacentre/factsheets/fs312

Prepared at the Pratt Spatial Analysis and Visualization Initiative (SAVI) by Juan Camilo Osorio and Jessie Braden, with support from Pratt Programs for

International Diabetes Federation (IDF). 2011. IDF Diabetes Atlas, 5th ed.

Sustainable Planning and Development (PSPD) graduate research assistants

Brussels, Belgium: International Diabetes Federation.

Lindsay Donnellon and Leonardo Arias. Graphics by Laura Osorno, 2012

Last accessed August, 2012. Available from: www.idf.org/diabetesatlas

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125 Icons

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125 Icons

PRATT ICON(s) From AIGA Posters to Esquire Covers, Pratt Designs Define Our Times

When Pratt alumnus Stefan Sagmeister chose to display the details of his talk for a 1999 AIGA Detroit conference by

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having them carved onto his torso, he took communications design to a new level. So did Pratt alumnus George Lois when he depicted a martyred Muhammad Ali on the cover of Esquire magazine. So have Pratt alumni and faculty for the last 125 years.

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125 Icons

Pratt’s groundbreaking contributions to art, design, architecture, and engineering have made a tremendous impact on the corporate world.

By defining their times, the advertisements, corporate communications, products, and buildings that Pratt alumni and faculty have created over the past 125 years have led to marketplace success for countless enterprises ranging from telecommunications giant AT&T, for which Pratt alumnus Steve Horn created his “Reach Out and Touch Someone” campaign, to kitchen product firms Cuisinart and OXO Good Grips, which produced Pratt alumnus Marc Harrison’s groundbreaking food processor and Tucker Viemeister’s ergonomically sophisticated kitchen tools. These were just three of the 125 examples of iconic art, design, architecture, and engineering on display at the Pratt Manhattan Gallery in Chelsea in 125 Icons: A Celebration of Works by Pratt Alumni and Faculty, 1887–2012. The 125 works in 125 Icons were selected by alumni, faculty, students, and

staff from over 300 pieces by alumni and faculty that compose Pratt’s online “Icons Gallery,” which can be seen at 125.pratt.edu/gallery.

These iconic works by Pratt alumni and faculty represent the high level of innovation and creativity at the Institute, and the impact that it has had on virtually every facet of society—often times through collaborations with some of the world’s leading corporate entities. Pratt’s interdisciplinary approach and commitment to exploration have made the Institute an ideal partner for corporations seeking groundbreaking solutions that speak to consumers on an emotional as well as functional level—and will continue to do so for the next 125 years and beyond.

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PREVIOUS PAGE AIGA Detroit, 1999, lithograph.

Photo: Tom Schierlitz, Courtesy of Sagmeister Studios ABOVE OXO Good Grips product design, 1990, by Tucker Viemeister Photo: Courtesy of Smart Design

RIGHT Life Magazine logo, 1936,

by Paul Rand © Time Inc. Dunkin’ Donuts logo, 1980,

by Lucia DeRespinis Courtesy of Dunkin’ Donuts IBM logo, 1972, by Paul Rand Courtesy of IBM

OPPOSITE PAGE Esquire, April 1968, cover art

by George Lois Courtesy of George Lois.

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125 Icons

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General Motors

Cadillacs, CamarOs, & Corvettes D x D

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General Motors

Pratt & General Motors: Redefining the Auto Industry by Design What do the Cadillac, Camaro, and Corvette C5 all have in common? They all feature the artistry of Pratt alumni who’ve gone on to design for General Motors. Thanks to a partnership that began more than 60 years ago, Pratt Institute and GM have transformed the automotive industry—while creating one of the world’s leading academic programs in industrial design. Today, the Pratt-GM collaboration continues with the General Motors Transportation Design Scholarships that have supported more than 50 underrepresented students at Pratt.

Among the scholarship recipients who are rapidly becoming the pioneers of 21st century car design are Alexandra Dymowska (M.I.D. ’07) and Magdalena Kokoszynska (B.I.D. ’07), creative designers at GM. Both women first became interested in automotive industry careers during the Pratt transportation design studio, which has its roots in the automotive design class established by Alexander Kostellow, the founder of Pratt’s industrial design program and a major proponent of academic-industry partnerships that prepare students for positions in industry.

To that end, in the 1950s Kostellow enlisted Harley Earl, then vice president of the Styling Section at General Motors, to mentor students in the automotive design class Kostellow developed early in the industrial design program’s history. Earl also underwrote a number of scholarships at Pratt that were essential to the nascent program’s success. The results of the partnership are highlights of the American auto story: •T he nine “Damsels of Design,” seven of whom were educated at Pratt, revolutionized the auto industry in the mid-1950s with increased attention to aesthetics and ergonomics.

• Thanks to award-winning car designer Bill Porter (M.I.D. ’58), GM signature sports cars the Camaro, Firebird, and Trans Am went into production. And in the 1990s, John Cafaro (B.I.D. ’77), GM design director, created the Corvette C5.

As of 2012, more than 60 Pratt graduates have gone to work for GM. The partnership continues to perpetuate Kostellow’s and Earl’s legacy of redefining the automotive industry through design, demonstrating Pratt’s potential to transform industry through design—one collaboration at a time.

LEFT Harley Earl and six of the “Damsels of Design” Courtesy of GM

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COLLECCotton Incorporated

COTTON incorporated SHOWS SUPPORT

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AT THE 2012

COTTON PRATT FASHION SHOW

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Cotton Cotton Incorporated Incorporated

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Cotton Incorporated

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PREVIOUS SPREAD Design by Meredith Lyon (B.F.A. ’12) Photo: Patrick McMullan Company TOP Design by Kelsey Carleen Parkhouse (B.F.A. ’12) Photo: Joshua Wong

BOTTOM Design by Beatrice Weiland (B.F.A. ’12) Photo: Joshua Wong OPPOSITE PAGE Designs by Kelsey Carleen Parkhouse (B.F.A. ’12) Photo: Patrick McMullan Company

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Cotton Incorporated

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Yoehlee Teng. Calvin Klein. Fern Mallis. These were just a few of the high-profile fashion and media representatives who attended the 2012 Pratt Fashion Show, the sixth annual runway show of Pratt fashion design students’ work sponsored by Cotton Incorporated and the Importer Support Program of the Cotton Board. The draw for the celebrities is the same as that for Cotton Incorporated—the unbridled creativity of Pratt’s fashion design students.

For Cotton Incorporated that means an opportunity to support design education, promote the work of the next generation of fashion designers, and ensure a greater awareness of cotton. Through their sponsorship of the annual Pratt Fashion Show, which features the work of the most talented seniors in the Pratt fashion design program’s graduating class, Cotton Incorporated and the Importer Support Program of the Cotton Board provide an invaluable opportunity for aspiring designers to present their work to industry profession-

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als and the media. Such exposure is essential for success in the highly competitive world of fashion design.

In addition, each year Cotton Incorporated and the Importer Support Program of the Cotton Board partner with Pratt on a competition that challenges juniors in the Institute’s Department of Fashion to create complete collections solely from cotton materials. The design briefs over the years have included sportswear and eveningwear, and Pratt students’ interpretations have resulted in exciting uses of fabrics ranging from the elegant cotton voile and sateen to the more traditional and rugged cotton twill and denim. Further reflecting its commitment to design education, Cotton Incorporated awards the three competition winners scholarships to help support their senior year studies at Pratt. Pieces from the winners’ collections are displayed each year at the Pratt Fashion Show, so participants and guests alike can see first-hand how versatile cotton is.

Cotton Incorporated

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THIS SPREAD Designs by Juan Pozo (B.F.A. ’12), who took first place in the 2011 Sportswear competition sponsored by Cotton Incorporated Photo: Joshua Wong

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Cotton Incorporated

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Barnes & Noble

A PARTNERSHIP, EVERGREEN Barnes & Noble’s Pratt Collection Goes Evergreen As bookselling giant Barnes & Noble’s partnership with Pratt enters its fifth year, several products designed for the company by students in the Institute’s Department of Communications Design sponsored studio have become “evergreen”—placing them in a distinct class of products that are so popular in the marketplace that they can be promoted repeatedly for an indefinite period of time.

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Launched in 2009, the Barnes & Noble studio’s initial goal was to give Pratt students the opportunity to create designs for sketchbooks, journals, pen cases, and art supplies for Barnes & Noble’s Back-to-Campus collection. In the process, participating students learned to consider how consumers would use a particular product as well as how to make it visually appealing and marketable. With Barnes & Noble now marketing the highly popular backto-school supplies year-round on their own Pratt Collection page of the company’s online store, the Institute’s students have clearly mastered that lesson.

RIGHT Aaron Mickelson (M.S. ’13) Graphite Surrealism OPPOSITE PAGE Clockwise from left Stephanie Breed (M.S. Communications Design, ’09) Sketches, Sketches, and More Sketches Stephanie Breed (M.S. Communications Design, ’09) Rubbed Out

Vashunda Rana (M.S., Communications Design, ’12) Hidden Treasures Maija RozenFelde (M.S. Communications Design, ’13) Bicycle Vashunda Rana (M.S. Communications Design, ’12) You Can Make Anything Photos: Peter Tannenbaum

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Barnes & Noble

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Profiles in Design

faculty profile

Juan Camilo Osorio might not come across like a rockstar—but the unassuming young man from Bogotá is a drummer with one of Colombia’s most famous rock bands and a pioneer in helping researchers and activists communicate their findings through Geographic Information Systems (GIS)—a computer-based technology that allows information to be collected in data form, visualized in spatial form, analyzed and layered in different ways, and communicated in maps and info-graphics. The illustration on pp. 12–15 shows the power of GIS to convey complex data clearly and powerfully to decision makers and the public.

The graphics also demonstrate Osorio’s strengths as a teacher, facilitator, and collaborator. A visiting assistant professor in Pratt’s Programs for Sustainable Planning and Development, Osorio has designed and teaches courses that introduce Pratt graduate students to spatial research and the use of tools like GIS in their thesis research.

Osorio first learned about GIS as a research assistant at the National University of Colombia, Bogotá, where he earned his bachelor of architecture degree. He went on to use GIS in a participatory action research project with the Massachusetts Fair Housing Center conducted during his time at the University of Massachusetts at Amherst, where he earned his master of regional planning degree. Combining GIS and Internet tools, Osorio and the Center’s staff integrated local knowledge and government data, expanded the community’s capacity to work with qualitative and quantitative urban indicators, and used spatial patterns to trace the progress of the Center’s work over time. Currently, in addition to teaching at Pratt, Osorio is a policy analyst with the New York City Environmental Justice Alliance, where the Alliance has used GIS to show for the first time the impact of hurricane storm surges on industrial facilities, and the potential hazardous risk exposures that might derive from climate change impacts, along the New York Harbor.

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These projects illustrate Osorio’s unique approach to GIS, which emphasizes its power as a storytelling tool to document and convey an individual’s, community’s, or organization’s point of view. By combining it with Web and social media tools, GIS can be used to gather and disseminate information, as well as encourage discussion about a topic, product, or service within a specific geography or audience.

In partnership with colleagues from Programs for Sustainable Planning and Development, the Pratt Center for Community Development and Pratt Graduate Communications/Package Design, Osorio plans to explore such applications of GIS through the Pratt Spatial Analysis and Visualization Initiative (SAVI). Drawing on Pratt’s communications and design strengths, the initiative will deploy the latest mapping and data technology to empower community-based organizations that often do not have access to these resources, allowing them to collaborate on research and advocacy projects supporting their efforts to improve quality of life in these neighborhoods.

SAVI will be a brand new physical space at Pratt to provide students and faculty the opportunity to work with the latest mapping and data analysis tools, and will also be open to planners and staff of local community boards and non-profit, community-based, and civic organizations.

Mapping the Future

Portrait Photo: Peter Tannenbaum

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Profiles in Design

alumni profile

If, as Alvaro Uribe believes, design is a language, then he speaks many dialects. Born in Miami, Florida, and raised in Bogotá, Colombia, Uribe has worked on projects ranging from the award-winning Pratt Chair (below) produced

by Cabot Wrenn and the Petals crystal vase produced by Nachtmann in a collaboration with Pratt’s industrial design program, to a brownie spatula for OXO Good Grips.

Now the head of his own design firm, Uribe returned to Pratt to mentor industrial design students developing a new insulin delivery device for Sanofi-Aventis.

Uribe’s ability to create successful designs for such a wide range of products and consumers lies in his understanding of design as a means of problem solving and communication. By focusing on understanding the specific needs and concerns of the user as well as the goals of the company producing the product, he also helps to ensure the product’s marketplace success.

For the Sanofi-Aventis project, Uribe and the Pratt design team needed to turn a highly mechanical object that could easily make users feel handicapped into one that they would be comfortable using in public. To do so, they considered both aesthetics and shape, which give users a sense of how and where an object should be used. Drawing inspiration from everyday objects such as spoons and lipstick—the shape of which make them discreet, intuitive, ergonomic, and simple to use—the team narrowed down the forms that communicated more directly and combined them with ideas for measuring dosage. Every element of the design was scrutinized—from the color and size of dose numbers to the material from which the device would be made—to make sure there was magic in every part of the user’s experience.

Uribe credits his ability to understand his purpose as a designer within society, as well as his communications and abstract thinking skills, to Pratt. Most important, collaborating with students from around the world helped him become fluent in the language of design.

Pratt Chair Photo: Courtesy of the Artist Portrait Photo: Peter Tannenbaum

The Language of Design

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Events

JOIN US 2013 Pratt Institute Fashion Show & Cocktail Benefit Honoring Thom Browne Thursday, April 25, 2013 6 PM Award Presentation and Fashion Show Center548 548 West 22nd Street New York City 7:30 PM Cocktail Benefit The Top of The Standard 848 Washington Street New York City Attracting fashion media and industry leaders, the annual Pratt Institute Fashion Show showcases the best work of graduating seniors in Pratt’s fashion design program. The star-studded event also honors a premiere fashion designer who has been particularly inspiring to the Institute’s students.

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For information, visit www.pratt.edu/fashionshow

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Pratt Institute Art of Packaging Award Gala Honoring Véronique Gabai-Pinsky Global Brand President, Aramis and Designer Fragrance Brands and Aramis and Designer Fragrances Tuesday, April 30, 2013 6:30 PM Cocktails 8 PM Dinner The University Club 5th Avenue at 54th Street New York City Join top-tier representatives of New York City’s multi-billion dollar cosmetics industry at the Pratt Institute Art of Packaging Award Gala honoring Aramis and Designer Fragrance Brands for excellence in the art form of package design. The gala raises funds for the Marc Rosen Scholarship and Education Fund for Packaging by Design, the only scholarship in the world available to college students looking to pursue careers in cosmetics and package design.

Recipients of the Marc Rosen Scholarship have gone on to become creative directors and executives

of companies and branding agencies worldwide, including Siegel+Gale, Landor Associates, Ogilvy & Mather, Gensler, Women’s Wear Daily, and Godiva Chocolatier, Inc.; to work for clients such as L’Oréal, NARS Cosmetics, Juicy Couture, Swarovski Crystal, Bourjois Paris Cosmetics, Shiseido, UBS, Public Art Fund, PBS, and Samsung; and to be recognized with FiFi, One Club, and Society for Environmental Graphic Design awards.

For information, call 212.925.2507 or email elaine@Kxassociates.com

Pratt Show 2013 May 7–10, 2013 The Manhattan Center 311 W. 34th Street New York City An annual juried exhibition of exceptional design work by more than 300 graduating Pratt students, the Pratt Show gives industry professionals the opportunity to discover the next generation of Pratt talent. Fields represented in the show include advertising, communications design, digital arts, graphic design, illustration, industrial design, interior design, jewelry design, and package design.

Differentiating by Design: How the Creative Economy Will Drive the Next 125 Years Monday, May 20, 2013 6:30 PM Museum of Arts & Design Two Columbus Circle New York, NY 10019 Cliff Kuang, design editor, Fast Company, will moderate a panel discussion with leading designers and entrepreneurs on how design innovation will shape the future and how best to prepare and inspire the next generation to thrive in the creative economy.

For information, email corpevents@pratt.edu

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Good Bye

D x D

FRONT COVER Melodi Bozkurt (B.I.D. ’12) and Erin Turkoglu (B.I.D. ’12) Liliput Photo: Kevin Kunstadt

CREDITS

BACK COVER Michael Cook (B.F.A. Communications Design ’12) Wild Rabbit Photo: Peter Tannenbaum

DESIGN: Joshua Graver

Ludovic Leroy, Director Corporate Relations at Pratt Institute lleroy@pratt.edu

TEXT: Charlotte Savidge Printed in the U.S.A.

INSIDE FRONT COVER Melodi Bozkurt (B.I.D. ’12) and Erin Turkoglu (B.I.D. ’12) Liliput Photo: Kevin Kunstadt ABOVE Alvaro Uribe (B.I.D. ’10) Equilibrium Lamp Photo: Courtesy of the Artist

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