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Designers share their memories of Rowena and how her teachings helped shape how they see and interact with the world

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The principles of study that Rowena helped formulate were embodied in a foundation curriculum that became the primary, universal first year of study for all Pratt Institute art and design students.
On Sketching
“For those of you who have never worked in three dimensions, it provides an introduction to the three-dimensional world and to that complex and exciting set of relationships that will challenge you for the rest of your life.”
Exercise One: Rectilinear
“At first working with 3-dimensional forms in this way is difficult. But soon you will begin to speak this language. You really have to make these beautiful. That sounds pretentious. How can you make three blocks beautiful? But I know that you can.”
Exercise Two: Curvilinear
“The second experience involves the organization of curvilinear volumes in a dynamic relationship. In addition to mass, proportion and character, you will now deal with the additional challenge of the diagonal axis.”
Exercise Three: Rectilinear + Curvilinear
“In this problem we introduce the notion of group movements. Be aware of inherent, comparative, and overall proportions.”
Exercise Four: Fragments
“The objective of this exercise is to choose a solid, cut it apart and reorganize the cut fragments in a new composition that is more beautiful than the original form from which it was derived.”
Exercise Five: Planar Construction
“The objective of this exercise is to gain an understanding of the characteristics of planes and how they relate to each other in space. In this problem you are asked to create a beautiful construction using a variety of planes.”
Exercise Six: Lines In Space
“Lines have many uses in design. They can be used as the axes of solid forms, to describe planes or volumes, and to delineate.”
Exercise Seven: Construction
“The abstract experience based on construction involves the design and organization of contrasting forms, the new experience of grouping forms to create related movements, and a deeper understanding of the balance of directional forces and of tensional positions in space.”
Exercise Eight: Convexity
“The exercises in convexity and concavity are based on organic forms. They present the opportunity to explore the properties of a single, specific form. Unlike the dramatic quality of the construction exercise, the convexity and concavity exercises deal with subtle gesture.”
Exercise Nine: Concavity
“In the convexity exercise you were already learning about concavity — about how negative volume affects form. Now, the focus will be on concavity.”
Exercise Twelve: Development
“These are examples of more advanced work in which students continue to explore abstract forms but also begin to apply some practical criteria to their work.”
Exercise Ten: Space Analysis
“The study of planes in space is all about relationships — about how the planes look in relation to each other. The answer is not yes or no — it’s yes in relation to something else or no in relation to something else.”
Exercise Eleven: Space Design
“This project follows the abstract exercises in space analysis and cannot be successfully completed until the student has mastered those exercises.”
RitaSue Siegel
BID
1964
“Teaching for her was a ritual,” Bill Katavolos explains. “She went into a crit so completely empty it was almost painful to watch. She had no preconceived notions whatsoever. She would look at the work, turn it around, warm up, and go on for hours. I have always admired the quality of going in with an open mind. It is the sign of a great teacher.”
Concavity Exercise
Tucker Viemeister
MID
1970
“Teaching for her was a ritual,” Bill Katavolos explains. “She went into a crit so completely empty it was almost painful to watch. She had no preconceived notions whatsoever. She would look at the work, turn it around, warm up, and go on for hours. I have always admired the quality of going in with an open mind. It is the sign of a great teacher.”
OXO Good Grips Handle Exploration
Deb Johnson
BID
1986
Not every student could endure the scrutiny. However, the ones who did relished the experience. Debera Johnson, former chair of Pratt’s industrial design department, recalls that as a student, “twelve people were trying to get as close as possible to Rowena’s head to stare into these boxes. We would be there for six hours doing it until, at the end of the day, we lost the light.”
The first collaborative earthwork at the Swimming Hole, La Cicatrice (The Scar)
Ayse Birsel
MID
1989
“She made abstract and difficult spatial concepts accessible. Rowena deconstructed three-dimensional structures—products, cars, sculptures, interiors, and architecture—into their elements, then reconstructed them into an accessible methodology of form-making. She taught thousands of students how to design in space, like it was music.”
The Resolve system – Image courtesy of Herman Miller
Karen Stone
MID
1994
Reed justified the focus on asymmetry in her teaching as a pedagogical strategy. “Symmetry can be beautiful, but symmetry is easy,” she told her students. “Any dancer can stand straight on two feet. Assuming a dynamic posture with one leg in the air is difficult. We demand the dynamic axis because most people cannot handle it. You strengthen your design muscles by becoming disciplined and learning to do the most difficult things. That will allow you to express yourself more clearly and strongly because you can control what you want to say.”
Karen Stone (far right) 2021 Rowena Award recipient
Tara Ali-Khan
BID
2016
“Teaching for her was a ritual,” Bill Katavolos explains. “She went into a crit so completely empty it was almost painful to watch. She had no preconceived notions whatsoever. She would look at the work, turn it around, warm up, and go on for hours. I have always admired the quality of going in with an open mind. It is the sign of a great teacher.”
Convexity Sketches

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