“The study of abstract relationships is not easy. It is a long, slow process with its own frustrations, like any discipline, but the rewards are great and the trip is exciting.”

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.

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.

“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.”

“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. We will work with the following curvilinear solids.”

“In this problem we introduce the notion of group movements. Be aware of inherent, comparative, and overall proportions.”

“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.”

“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.”

“Lines have many uses in design. They can be used as the axes of solid forms, to describe planes or volumes, and to delineate.”

“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.”

“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.”

“In the convexity exercise you were already learning about concavity — about how negative volume affects form. Now, the focus will be on concavity.”

“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.”

“This project follows the abstract exercises in space analysis and cannot be successfully completed until the student has mastered those exercises.”

“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.”