Gionata Gatto

This course explores what it means to engage in dialogue with an AI prompting system, focusing on the design of multi-modal interfaces and their effects on both the quality of interaction and the creation of prototypes and artifacts. Students will experiment with different 'languages' for AI communication, such as voice (tone, cadence, emotion), bodily gestures, and environmental factors (light, sound, humidity), as ways to influence¿and be influenced by¿AI behaviors. Through a series of hands-on experiments, the course navigates the space between biological ('human') and cultural ('AI') processes, offering new perspectives on hybrid outcomes co-generated by these interactions. The aim is to foster a critical understanding of emerging AI systems, positioning students to engage with AI thoughtfully rather than as a mere technological tool.
The course builds on Cultural and Feminist Studies, as a way to depart from the dichotomy human/AI, and move towards their understanding as entities that collaborate and promt each other. References include Donna Haraway's Cyborg Manifesto, Langdon Winner's politics of artifacts, which addresses the ways in which technology embeds social and cultural values; Rosi Braidotti's work on Posthumanism. Theoretical foundations will be accompanied by the discussion of existing practices and past interactions, including the work of John Funge, Sherry Turkle, Meredith Broussard, and the study of other formats, linked to the design of bots for social media use.
Across the semester, there will be a range of assignment asking students to explore the impact of different non-normative `languages¿ -such as body, sight, the environment, on the crafting of new dialogic modes with AI.

This course explores what it means to engage in dialogue with an AI prompting system, focusing on the design of multi-modal interfaces and their effects on both the quality of interaction and the creation of prototypes and artifacts. Students will experiment with different 'languages' for AI communication, such as voice (tone, cadence, emotion), bodily gestures, and environmental factors (light, sound, humidity), as ways to influence¿and be influenced by¿AI behaviors. Through a series of hands-on experiments, the course navigates the space between biological ('human') and cultural ('AI') processes, offering new perspectives on hybrid outcomes co-generated by these interactions. The aim is to foster a critical understanding of emerging AI systems, positioning students to engage with AI thoughtfully rather than as a mere technological tool.
The course builds on Cultural and Feminist Studies, as a way to depart from the dichotomy human/AI, and move towards their understanding as entities that collaborate and promt each other. References include Donna Haraway's Cyborg Manifesto, Langdon Winner's politics of artifacts, which addresses the ways in which technology embeds social and cultural values; Rosi Braidotti's work on Posthumanism. Theoretical foundations will be accompanied by the discussion of existing practices and past interactions, including the work of John Funge, Sherry Turkle, Meredith Broussard, and the study of other formats, linked to the design of bots for social media use.
Across the semester, there will be a range of assignment asking students to explore the impact of different non-normative `languages¿ -such as body, sight, the environment, on the crafting of new dialogic modes with AI.

Whatnot Studio is a year-long advanced course in which students design and produce a collection for whatnot, the school's in-house product brand. The course emphasizes three major goals: developing a product based on an annual theme, producing it using small-batch manufacturing methods, and collaboratively creating a retail environment to showcase the collection. Students refine their individual design voice while working as a team to produce a cohesive, high-quality collection for public exhibition. Past work from the Whatnot Studio has been shown at international venues including the Salone del Mobile in Milan and Wanted Design in New York City. Admission is selective and open to upper-level undergraduate and graduate students through a portfolio review. By year's end, students will have produced a pilot run of their design and collaboratively created a branded store installation, presented at a major design trade show in the spring. Admittance to Whatnot Studio is by portfolio review. Are you ready to be challenged through deep conceptual and material exploration¿and to transform it into a producible design? We welcome juniors, seniors, and graduate students interested in this opportunity to apply via the link below: https://airtable.com/app10LexPLHEqM7mV/pagcVlilryi7Xn4Or/form. Applications accepted until April 25.

This studio challenges students to reconsider standard models of design practice and process, and explore new modes of object making. The studio is conceived from the standpoint that the methods of the past are not necessarily appropriate for the future and that designers have a role to play in redefining their tools, as well as the outcomes of their work. It considers designers as autonomous agents able to lead by example and position themselves within the realms of cultural production, entrepreneurship and corporate business.

Throughout the semester, students will be exposed to the ideas, methods, and work from a variety of the most relevant designers and design thinkers practicing today. Particular focus will be towards practices of agency, autonomy and authorship.

Students are introduced to a range of design approaches which are dissected, critiqued and retaught. A series of exercises and projects encourage them to embark upon a rapid process of action and reflection across multiple contexts, promoting risk-taking and discovery.

Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.

In this two-day a week thesis studio students frame their position and voice as designers by defining, advancing, critically examining and verifying a self-selected thesis project. Students combine studio investigation with primary and secondary research techniques to uncover, test and solidify new design ideas, processes, materials, technologies and behavioral insights. Through seminars and in class workshops this body of investigation is formed into a highly directed thesis proposal. Students are tasked with building relationships with external research partners and mentors to define parameters for decision making and verify the efficacy of their projects. The semester concludes with a peer and faculty review at which students must defend the formulation, investigation and synthesis of their thesis proposals.

Readings and references will be shared individually with students as relevant to their individual thesis topics.

Students will primarily focus on the development of their thesis project. This will be augmented with shorter assignments aimed at fostering the skills needed to successfully complete a year-long, exhibition ready project.