Spend a semester immersed in the lively creative scene of Paris! The SAI semester program at PCA is geared toward students interested in art and design, and is open to students both with and without previous experience. Visiting students select from a variety of art and design concentrations, usually aligned with their major, and select any elective courses from the array of art, design, management, and humanities offerings for a total of 12 - 18 US credits.
Application open until: October 1, 2024
Application Requirements
Complete online application
Personal statement (300-500 words)
Official transcript
Portfolio (see Academics)
Passport scan (photo page)
Digital photo (passport style)
EU privacy consent form
Highlights
- Design your ideal schedule
- Take part in art and design events around Paris
- Study alongside some of the most creative young artists in Europe
Program Dates
January 3, 2025 – May 9, 2025
Eligibility Requirements
Age: 18+
Academic Year: Sophomore (2nd year) or above.
Cumulative GPA:* 2.75 (on a 4.0 scale)
* contact SAI if you don’t meet requirements
Communication Design
Fashion Design
Fine Arts
Foundation
Interior Design
Photography
This course interrogates the conceptual and historical connections between Experimental Film, Video Art, and Contemporary multi-disciplinary practices. Throughout the course of 15 weeks students will be guided through a thematically oriented survey of moving-image artworks, related readings, and assignments. Each class is organized with screenings of both Modern and Contemporary works to emphasize often understated connections between these two periods of artistic production. In doing so, we engage with canonical works of Modern Art in a way that connects them to the spaces, materials, and movements of today. Boundaries between sculpture, installation, film, and video will be simultaneously complicated and defined. Putting works from across art history in conversation with one another will help us understand how Contemporary practitioners reference, build upon, and even reject the work of the past. Working in this thematically organized fashion also allows us to focus on often unrecognized or marginalized artists while dissecting pertinent art-historical narratives. This class holds communal projections as essential for properly experiencing many works of moving-image art. During each class, screenings will be followed by a discussion section where the works are examined in relation to weekly readings and previously analyzed artworks.
This course explores narrative techniques for generating concise compositional responses to practice-based research, weaving written and studio work into students graduate thesis. Each workshop aims to expand the frontiers of one’s writing, research, self-reflection and bookmaking processes by utilizing Mezirow’s transformative learning theories to identify dilemmas, reimagine solutions and apply detailed ways of producing cross-genre artbooks. Throughout the semester students research a variety of philosophical texts, analytical reviews, poetry, music, movies, documentaries, interviews, mythology and manifestos to develop active-writing habits for effectively expressing the interconnectivity between their written and visual artistic goals. Each class provides writing exercises, and public speaking presentations to stimulate unpredictable associations for research-based discussions about persuasively articulating their artistic journey. By strengthening discernment, improvisation and revision strategies for applying research methodologies to best suit one’s own artistic pursuits, students develop not only research skills but professional public relations skills as well. This course is available to students junior year and higher.
This year-long course is designed to improve critical thinking, reading, and writing skills. Students learn to understand the inherent argument and logic of a text, to think more systematically and critically, and to write more effectively by developing skills in the structure, grammar, and mechanics of writing. Students also work toward the more focused goal of situating design and art practices within larger intellectual, historical and philosophical frameworks by exploring the indissoluble connection between ideas and the products of human culture. This is achieved by introducing students to texts representing and describing various methodologies applicable to art and design, which can then be used to critique and analyze visual and material artifacts.
This course is open to students who have already had some exposure to the French language because they have taken short courses, or because they have interacted with French speakers. However, these false beginners still need to master the basics. Students will start their study with topics and grammar necessary for successful daily interactions with a strong emphasis on oral production. As the course progresses, they will delve into themes dealing with French culture and life in Paris. This course meets the Liberal Studies Humanities requirement.
French for Paris is a course open to beginners who would like to expand their knowledge of French culture and develop their listening & speaking skills. The course will cover specific themes relating to everyday life in Paris, its history, its culture and the arts. Emphasis will be placed on phonetics (rhythm, intonation, liaisons, silent letters & some specific French sounds) as well as everyday vocabulary and exchanges. Different subjects will be developed over the semester: cultural life in Paris, French cinema, French and Francophone cuisine, as well as music. Students will be able to engage in short conversations, and will practice describing themselves and their environment along with their studies and artistic practice. Visits in French will be organized. Conscientious completion of homework and class participation is emphasized; a website has been specially designed to accompany students throughout the semester (readings, targeted grammatical exercises, podcasts, phonetics, etc.) Class will be conducted in French. This course meets the Liberal Studies Humanities requirement.
French Language and Culture is a course open to anyone who has some knowledge of French and would like to improve their listening & speaking skills. The course will cover specific themes such as Paris and its architecture, French cinema, French artists and artistic movements, as well as professional life in Paris. Students will develop key vocabulary in order to be able to communicate orally in French in everyday life situations, as well as in professional settings. Using a variety of materials, students will learn how to tell a story, make a description of their work and practice, talk about a personal experience or project, and give their opinion. Four museum guided tours in French will be organized during the semester. Conscientious completion of homework and class participation is emphasized; a website has been specially designed to accompany students throughout the semester (readings, targeted grammatical exercises, podcasts, phonetics, etc.) Class will conducted in French. This course meets the Liberal Studies Humanities requirement for PCA undergraduate students.
Global design is a contemporary phenomenon, but, paradoxically, it happens at the local level. The concept of an International Style, as promoted by Modernists in the 20th century, is no longer relevant. To understand what is happening in design worldwide, one must be able to appreciate the specific cultural baggage and the specific design contributions of each country. This course will deliver a cultural passport giving students access to major design cultures around the globe. We will study design in the USA, Russia, England, France, Germany, Italy, Scandinavia, the Netherlands, Switzerland, Brazil, Japan, and Korea. The geography, history, economy, language, and political trajectories of various nations are important factors in developing a graphic design culture. Contemporary designers filter their work through their experience. Their sensibility is often the result of an interaction between complex cultural lineages. Global design is not a unified style, on the contrary. It is the merging of countless influences, stories, and individual experiments. Students will acquire a first-hand appreciation of these cultures thanks to exercises highlighting various aspects of a countrys distinctive design practice.
Design pervades every aspect of the world around us, from how we communicate information and identity, to the tools and systems that help us navigate through physical and digital environments. As design has such a broad reach, it is important that we learn to think about its implications, and the way it is influenced byand influencesour society. Design Studies is the academic discipline that examines designs role in our culture, and in our experience of life. By looking at the processes and products of, as well as the discourse on design, we can better understand how the objects and systems we create can solve problemsor, in some cases, create them. The approach for this course will be multidisciplinary and thematic: each week, we will investigate a new topic, considering how design relates to broader issues such as the ethics of consumption, gender, identity, and sustainability, to name just a few. By looking at theoretical essays, historical and contemporary case studies and key texts about design, students will learn to be more critical about how design gets assimilated into our society, our visual culture and our daily experiences, ultimately bringing that understanding into their presentations of their studio practice and their own creativity.
Museums, as all cultural institutions, face a number of pivotal challenges in the contemporary world. From inclusion and accessibility, going through a fundamental rethinking of collections presentation and museographic techniques, museums and exhibition spaces play a central role in both making culture accessible to all and in mirroring the diversity and richness of cultural heritage. This course will address a number of crucial issues related to the field of museology (the study of the museum institution and its shifting role in society) that will be explored by privileging a contemporary and global perspective: starting from the analysis of the role played by museums in the 21st century, students will be introduced to the concept of New Museology and to such fields as cultural preservation and mediation in the context of a global questioning of the discipline. The history of the museum institution itself from the 15th century to the contemporary moment, as the evolution of its political, social and cultural missions throughout the ages will be part of the course. The diversity of the Parisian exhibition environment, going from major museums to independent galleries and exhibition spaces, will contribute to connect the students theoretical work to the reality of the field. The course format will include lectures, practice-based research, guest talks by collectors and curators, and field work in a number of public and private cultural institutions.
This course provides a peek into the nature of light, how images are formed, the anatomy of the human eye, and color perception. Using the scientific method to develop an understanding of the process of disciplined investigation, we will introduce the theories of visual perception and examine how we come to see the world in the ways that we do. Two ideas in particular will be discussed: (1) perception is a construction and (2) we vastly underestimate this phenomenon, i.e. we have the wrong intuition that perception is merely an objective recording of external information. The human eye, as well as the instruments that extend and modify human sight will also be part of the course that will conclude with a study of color and optical illusions in nature.
Paris Inside/Out is a one-credit course consisting of visits to art & design exhibits, as well as meetings with artists, artisans and designers in Paris. The course will use a wide approach by including a variety of artistic fields, thus allowing students to draw inspiration from any discipline. The course will be held every week in a different location in Paris. Students are free to participate in as many visits as they wish, however a minimum of 5 visits are required to pass the course. For each visit, students will create a personal work within a given set of constraints. At the end of the semester, students will be asked to present to the class a personal work inspired by one of the visits during the semester.
This course acquaints students with the neighborhoods, cultures, people, customs, institutions and organizations in Paris through a thematic approach based on three main modules: the city and its history; the literary and artistic representations of the city; the city, its citizens, and its future. Students will learn about key moments in French history, from the Romans on, via the Middle Ages, the Revolution, Haussmannization, and May 1968; they will be introduced to such themes as political migrations and colonialism, and will explore the city from a variety of points of views including literary and artistic exchanges, urban history, architecture, and ecology. Active exploration of the environment is strongly encouraged and learning is accomplished through a variety of means: site visits, the examination of texts and images, and first-hand encounters with museums, galleries, and libraries, as well as other art and design-related resources in the city.
Conceived as an introduction to the history of photography, this course will focus mainly on the first half of the 20th century. The movements and aesthetics characterizing that period will be examined through the work of various international photographers. Arranged thematically while following a chronological progression, it will approach each theme in connection with a major photographer whose singularity will help understand the particularities and issues of the subject and put them into perspective. As a product of light and chemistry, photography has always been determined by technical parameters. We will address these parameters and see how they shaped the history of the medium and what we can learn from them today. Since its invention, photography has had an ambivalent status, regarded by some only as a way of recording or copying things, while others considered it as an actual means of artistic creation. This constant dichotomy between document and art will constitute the common thread of this course. We will look at it with a critical eye, examining photographs through all the stages of their life, from the moment they were taken to the moment they were printed, published, exhibited or discovered by others. In doing so, we will be able to examine how the status of these photographs often changed during the various stages of their history, going from mere documents to renowned works of art. Based mostly on the observation and comment of photographic images, this course aims to start a discussion and foster debate on photography, its specificities and the way they were developed and used in the first half of the 20th century.
This course is designed to provide students that have already studied French with the remainder of the fundamentals of the French language. This course is tailored to help students learn vocabulary, idiomatic expressions, as well as improve fluency and pronunciation. To improve oral comprehension, students will work on authentic documents such as radio and television interviews, documentaries and French films. The emphasis will also be on speaking contemporary French thanks to spontaneous oral productions. Visits will be organized in Paris. The course is taught in French. This course meets the Liberal Studies Humanities requirements for PCA undergraduate students.
The Image of Paris introduces students to the role played by the city of Paris in shaping the history and practice of filmmaking. Starting with a general introduction on the history of Paris, followed by a focus on turn of the century urban transformations (mirrored by the first images of the Eiffel Tower and of Parisian life by the Lumire brothers), students will analyze a number of masterpieces of French cinema such as Les Enfants du Paradis by Marcel Carn, and New Wave works by Jean-Luc Godard, Franois Truffaut, Agns Varda amongst others. They will also explore the concept of the flneur and investigate the dialogue between cinema and literature through the study of Surrealist films, and of such works as Zazie dans le Mtro by Louis Malle and La traverse de Paris by Claude Autant-Lara. The way Paris is seen through foreign eyes will also be an important aspect of the course: the study of 1950s Hollywood portrayal of expat life in the French capital (Funny Face; An American in Paris) will be followed by more contemporary representations of the same theme (Midnight in Paris; Paris I Love You) as by works by non-Wester directors (Eli Lotar, Sarah Maldoror, Alain Bonnamy, Hong Sang-Too, Tsai Ming-liang amongst others). Finally, the study of 20th century depictions of the Parisian suburbs (La zone by Georges Lacombe; Mon oncle by Jacques Tati) will be paralleled and contrasted with more contemporary narratives (La Haine by Mathieu Kassovitz; Entre les murs by Laurent Cantet). The course format will include a mixture of lectures, screenings and film analysis, practice-based research and field trips to the Cinmathque Franaise, La Cit du Cinma, La Gat Lyrique and to other iconic Parisian film locations. This course is a requirement for FILM majors.
This course provides students with a complete introduction to the history of musical theater, with an overview of 19th century music hall and melodrama and a primary focus on the form that developed in the first half of the twentieth century in England and the United States. The emphasis will be on the broad themes that have influenced the genre, as well as the continuing importance of cultural diversity and ethnic influences on the genre–from English popular culture, Southern US Aftrican-American traditions and the Yiddish culture from the Lower East Side of New York. Students will begin with a solid foundation in historically significant works and canonical authors such as George Bernard Shaw, then progress towards contemporary shows, and how the tradition continues in contemporary theatre and film. The focus of the course will be on discussing the themes of works and the inter-relatinship between genres while at the same time developing students abilities to write argumentative and analytical essays. Class sessions will include staged readings and a trip to the theatre as well as the viewing of one movie-musical will be included. Learning objectives of the course will be both to analyze works of musical theatre, compare them to non-musical theatrical works, and a foundation for those wishing to eventually perform in the genre.
Ce cours a pour objectif de fournir aux tudiants les connaissances ncessaires pour comprendre la culture franaise mais galement dapprofondir leurs connaissances linguistiques. Le cours apportera les outils pour reconnatre et rdiger diffrents types de texte ; nous nous intresserons plus particulirement aux indices dnonciation, aux champs lexicaux, aux figures de styles et la tonalit des textes. Ce cours nous permettra aussi de mieux comprendre les textes littraires et en particulier les textes romanesques et la posie. Nous tudierons pour le roman les personnages, le point de vue du narrateur, la description et le rythme du rcit ; et pour la posie, les rgles de versification, les sonorits du pome entre autres. Ainsi seront abords diffrents aspects de la culture franaise : faits historiques, littrature franaise et francophone, courants intellectuels, mouvements artistiques. Les tudiants auront lopportunit grce des visites de se familiariser avec les institutions artistiques de la ville. Les discussions seront nourries par des analyses littraires et cinmatographiques. Une partie du cours sera consacre ltude des rgles de grammaire et phontique et des exercices de composition. Le cours est dispens en franais.
This course is aimed to equip students with a deeper understanding of typography, from its design to its composition. Typography is everywhere: publications (printed or digital), packaging, wayfinding systems, advertising etc. The class will focalize on how handling, in detail, typographical compositions applied to these different media and in different sizes (from the very small to the very big). The line, the paragraph, the page and the multi-page product will be studied. A specific vocabulary related to deep typographical concept will be acquired: (not exhaustively) leading, kerning, tracking, hyphenation, white spaces, break characters etc. An historical overview of the evolution of the typography will be also covered, supported by lectures on case studies.
The course study how brands establish their territory, how they grow, prosper, adapt, evolve, stumble and bounce back. Topics we will explore include: naming, logo design, corporate identity, advertising, marketing, merchandising. During the course, students will approach and discuss how to support the online presence of a brand. At the end of the course students will be able to analyse existing brands, evaluate their performance, and propose repositioning strategies that take into account the latest trends.
For high end brands, printed material, and in particular books, are extremely valuable. These books are not sold, most of the time they are sent, given to business partners, journalists, publicists, in order to advertise or re-position the brand, and to offer a renewed and creative vision. The purpose is to spark interest. These objects stay with the brand over time, marking a moment, but also looking into the future of the brand itself. They will be published on the occasion of an anniversary or the launch of a new series of products, or a seasonal collection Starting from the analysis of a brand and its values, the students will be asked to create a book-object in coherence with the values of the brand and translating the brand concept into a printed product. The layout and the materiality of the book will exist through a tight dialogue: typography and image editing will be as important as the choice of the paper or the binding, in order to create an innovative and surprising concept for a book.
This studio course explores the use of type and image in spatial contexts: retail design, exhibition design, signage or way-finding systems. It considers the tools and skills of typography, color, images and composition in relation to the human experience of three-dimensional space.
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This course is an initiation to Riso Printing. We will learn the fundamentals of the printing process with the Riso copier to create original works, from concept and design to the realization of posters and zines. The class will focus on the technical skills required to achieve productions in autonomy from pre-press to printing and binding. Students will be encouraged to apply an experimental approach: using layout, composition, color, typography, patterns, shape, and superposition as tools for creation, they will produce two-dimensional projects and micro-editions. The students will also be encouraged to observe contemporary and independent publishers to contextualize and develop their work.
The course will introduce students to a range of design principles relevant to all design disciplines.
This year long studio is aimed to reinforce the skills acquired in sophomore year, through the development of more complex and global projects. The progression from the design of components to the design of systems is emphasized during the course, encouraging bridges between fields that are traditionally considered separated or in opposition (i.e. digital and analogue fields). The purpose of the class is to train the ability of developing a narrative, exploring and embracing different media and scales.
The second part of this yearlong course builds on the fundamental typographical forms and functions acquired during Typography 1. The course extends the vocabulary and approaches more complex problems related to typographic hierarchy, context, sequence and scale. A deeper exploration of typography behaves across media will be the opportunity for students to experiment on complex typographical systems, implementing applications in private or public space, environment, or digital time-based projects.
This studio course requires a basic knowledge of computer graphics and is centered on multimedia authoring software. The focus is authorship, in that more so than a formgiver, the designer acts as a content creator familiar with advanced concepts in interactive multimedia. Students are encouraged to conceptualize, design, prepare and program a multimedia project for eventual publication on the internet.
The focus of this course is placed on creative problem solving of designer garments via advanced construction techniques, tailoring methods, draping, pattern making and finishing techniques. Students will learn how to drape a jacket and how the tailored jacket is constructed. They will interpret the traditional techniques into a garment with vision to make a statement. Understand and contextualize the codes of tailoring and re-interpret them. Learn the complex construction of a tailored garment and use that to be innovative. Students will produce multiple looks in 3D to prepare for the senior year.
This class focuses on digital tools for fashion design and fashion illustration. Students use Photoshop, Illustrator and InDesign to prepare concept boards and collection concepts completed with scanned sources and original artwork. Exploring a variety of digital design and presentation methods, students will focus on developing new design concepts for defined niche markets; project briefs will involve research and style analysis of a French couture house or a European luxury brand. Applying digital communication and presentation skills, students will develop a new contemporary vision for an innovative product range and their own graphic identity presented in a professional PowerPoint presentation.
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This course gives students the opportunity to develop a personal portfolio of creative work. Students identify their specified career goals and prepare their portfolios accordingly, demonstrating their professionalism and understanding of the fashion industry. Focus in this course is the development of individuals and authentic way of presenting the designers universe and vision.
This course focuses on contextualize design philosophy with evidence of fashion history, theoretical underpinnings, and contemporary culture that addresses issues of justice, equity and social responsibility. Students professionalize principals and practices of developing the fashion collection from initial concept to final garments. Understanding and contextualize the codes of garments and re-interpret them into a new vision, taking critical topics including gender, race, size inclusivity and activism through the lens of fashion are core goals in this course. Students communicate muse ideas through research and abstract textile manipulation to develop a collection based on a character.
The course will introduce students to a range of design principles relevant to all design disciplines.
This course will focus on introducing students to the techniques of professional sewing and stitching. Through guided instruction and a series of fashion focused projects, students will learn how to use the various machines in the fashion studios, develop their technical machine sewing skills to create their personal projects, create hand stitching swatch books and gain an overall grasp on technical sewing and how it is utilized in the fashion industry.
Students develop an understanding of professional pattern making, metric pattern cutting, and drafting skills. They learn about the architecture of garments and the technical implications of flat construction for the fit and construct basic patterns for skirts, trousers, bodices, dresses, shirts, sleeves, hoods and collars. In the second semester, more advanced methods and techniques are explored. Individual design projects encourage students to experiment with patterns and construct the garments.
This course increases students knowledge of natural and synthetic fibers, fabrics, and materials as well as the range and application of textiles to the special requirements of clothing production. Students will learn the basics of hand and machine sewing, understanding how to properly manipulate the textiles to create proper garments and accessories with proper finishing methods. Students are given an overview of the textile and fiber markets, including fiber identification, knowledge of yarns, and fabric constructions. The historical background of different textiles is examined as well as contemporary developments and the changing values assigned to different textiles.
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This advanced life model course will expand on acquired observational skills to develop and master details of human morphology in the first sessions to allow further explorations through drawing the figure through movement. Exploring long poses, chiaroscuro, detail and expression to the decomposition of the movement to free the drawing gesture as the lines unfold following the bodys performance in space. Starting from the analytical posture, the hand will gradually gain in confidence and become more intuitive, culminating in the perfect osmosis between the students gesture and the models movements.
In this course, students research and develop a personal three-dimensional language while gaining fundamental skills and learning how to use basic materials (plaster, clay, wood, plastic, metal, cardboard etc). Through assignments, students develop an understanding of volume, structure, form, and space. They will explore the relationships of ideas to materials and assembling techniques. With this knowledge, students gain the confidence necessary to develop their ideas and personal projects.
This course aims make aware students of certain issues in contemporary sculpture and gives them the technical and conceptual means to develop a more personal language and identity. Students are encouraged to experiment with different approaches, media and concepts and continue to explore technical skills necessary to conceiving and executing sculptural work. Over the course of the semester students are encouraged to develop and pursue a personal sensibility within their artistic research.
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In order to evolve and discover new pictorial horizons painting today must remain open to the possibility of a dialogue with the wide range of multidisciplinary influences that are available. Where once the field of exploration was defined by the rigueur and strict dictates of a formal training, the strength of painting today lies in its flexibility to use such a training and adapt to the influences of other 2D and 3D disciplines and the pictorial possibilities that they offer as art experience. The possibility to create an art experience through research, experimentation and interaction are the key components in the junior year in painting. With this as a core component the dynamics of painting are explored through a variety of set projects designed to stimulate the individual imagination.
This class is an initiation to the techniques of traditional printmaking, specifically, press related techniques. In this course students will learn about the printing press and its multiple possibilities of image making, learning how to be autonomous in the studio and gain confidence with the use of the printing press. This semester we cover the following techniques: Monotypes, Linoleum Printmaking, Embossing, and Intaglio Acetate Etching.
Prerequisites: Foundation Core studios/Sophomore Drawing 1
This course is designed to build on existing technical knowledge and skills, facilitating a more focused approach to the relationship between creative technology and practice. The course seeks to explore drawing within contemporary fine art practice. The workshops will focus on the process of drawing as concept, drawing as subject matter, drawing to create or define context, drawing as source and resource to develop a personal expressive language. The aims of the course are to extend advanced and technical knowledge, to encourage a broad range of unfamiliar materials, process and to facilitate experimentation. Research methods will be introduced to support your projects and to encourage a critical approach/response to ideas. Instruction is delivered through studio sessions, site work, teaching events and demonstrations, and coordinates thematically with other coursework in the sophomore year curriculum.
Following the first semesters discussions on independent practice, the spring semester will focus on strengthening students personal artistic language and ability to locate and isolate relevant research topics either through intuitive, logical or thematic thinking. Sculpture will be approached as a process of materializing and actualizing connection to Spaces and Objects (including politics, humans, histories…) and will reassess classical connotations of sculptural form by opening them to a wider range of issues coming from video, architecture, document and research approaches to art-making.
Working away from the stretched canvas to different structures and surfaces, exploring scale and more site-specific projects, introducing the notion of space within a 2D context, this course will address in class systematically formal painting issues, i.e.; texture, mark, scale, color, composition etc. These issues will accompany important themes in Contemporary Art without replacing them. This undergraduate painting course aims to enable each student to pursue their ideas in and around painting in all its forms in the most committed, imaginative and experimental way. Work may manifest itself in a wide variety of different mediums and materials. This course engages with and contributes to the change and development in the expanded field of art. Although its core concern is with practice, it promotes the hybrid nature of current art practices by exploring the boundaries of, and the interface between, art and critical ideas. Furthermore this class aims to develop the individualization of the students’ pictorial language.
Prerequisites: Sophomore Core Studios/Studio Concepts 1
The Studio Concepts course challenges and encourages the students to explore the different creative processes and contemporary artistic practices. Open to research all media ranging from painting, drawing to photography and video, from objects, sculpture to installations and any un-familiar propositions, the students may experience and develop their ideas that emerge spontaneously out of experimentation and process. Through research and reference the students need to justify and document their ideas and proposals. The projects will include concepts and process; develop context and ideas. The aim of the studio concept course is to encourage and enable students to create an individual and critical approach/response to ideas and tasks, spanning all disciplines and to assure an underlying connection to the student’s construction and deconstruction of their chosen areas and personal practice.
Perceive space-time/Essays capturing time Approached as a process that unfolds over the course of 15 sessions ‘Time records’ is a series of actions / recordings that recount viewing time over a period of 4 month through an artistic proposal. The project questions the metric representation of time by creating an object or an installation that expresses a relationship between biological time, the measured time and lived time. This representation must lead to phenomenal perception of time and be a subject of experience that addresses our senses versus a metric representation. Time measurement accuracy and its omnipresence in our society mark a gap between the real-time, subjective and the social time being metric. The work will be the result of a set of data collected (recordings, recordings of data) or created (micro performances, repetitive movements). The project can be expressed by programming graphic behaviors (or physical ones) but also through a more analog device. One can imagine that the projects include forms of motorizations, the LED lights, video projections … any media controllable by computer. But also in a graphical code, visual, colored, kinetic, expressing a time track. The installation completed will take a mixed form (digital and physical) and perhaps destined for a specific use (public- private) or an experimental approach.
Building on the practical knowledge acquired in Materials and Dimensions I, students develop their ideas with more autonomy, through more personal projects, whilst being supported by the technical expertise of their instructors. The course focuses on the relationship between design, process and final outcome in two dimensions in photography. Students are taught to search for the most effective and pertinent way to communicate their ideas. Explorations of analog and digital techniques encourage students to investigate image-making as a multi-layered creative process which will enable them to transform and push their work forward in all areas of 2-dimensional image-making.
Building on the practical knowledge acquired in Materials and Dimensions I, students develop their ideas with more autonomy, through more personal projects, whilst being supported by the technical expertise of their instructor. The course focuses on the relationship between design, process and final outcome in two dimensions through color. Students are taught to search for the most effective and pertinent way to communicate their ideas. Through printmaking explorations students investigate image-making as a multi-layered creative process that enables them to transform and push their work forward in all areas of 2-dimensional image-making.
Building on the practical knowledge acquired in Materials and Dimensions I students develop their ideas with more autonomy whilst being supported by the technical expertise of their instructors. With a specific focus on The Body students are introduced to the many ways that the human form is central to art and design practices, whether it is in the design of clothes, products, buildings, or furniture. Students gain an understanding of the different possibilities for 3D Design (architecture, fashion, product design, furniture, fine art sculpture) Projects are based on investigations into how the physical structure, dimensions, and the functions of the human body inspire and direct the design of forms. The influence of context and environment on the generation and development of ideas will be essential to the work. Students experiment with the potential and limitations of materials and different material combinations.
Every artist and designer started their work with a pencil. This course will cover basic drawing skills with an approach that is unintimidating, demystifying and relevant to art, design and photography in 2023. Students who are beginners and those with lots of experience are welcome. It is important to the ethos of the course that students from different majors take part, as the finding of common ground in such a context is what makes things unpredictable and interesting. We will cover techniques for using different drawing tools and materials, using the city of Pariss resources as our inspiration. The aim of the class is to integrate drawing into the students already established practice as a way of: thinking, observing, communicating, and articulating their creativity.
Students require the fluency and confidence in the act of drawing developed in Drawing I in order to engage in more ambitious work. Professional drawing classes are designed to relate directly to art and design specialisms (Fine Art, Illustration, Fashion, Interior Design, Communication Design and Photography). Students are encouraged to take a self-motivated and questioning approach to drawing; equipped with the basic skills they become increasingly open to experimentation and the potential to communicate in many forms. Through a series of workshops stereotypical ways of thinking and seeing are challenged so that students understand drawing as an activity that continues to be relevant and re-invented.
Following on from Drawing Architecture, this advanced course will continue to develop skills required in free hand drawing and rendering techniques specific to the representation of architecture and interiors. From studio based practical tutorials to in situ drawing sessions in designated locations throughout the city of Paris, students will further consolidate and perfect observational sketching skills, 2 point and 3 point perspective drawing, as well as axonometric and isometric representation. Exploring techniques specific to different media, students will further experiment how to capture architectural details and spatial qualities, such as a sense of scale, composition, texture, colour, light, shadows and atmosphere.
This course aims to introduce and explore the basic components and systems that define the built environment : structure, envelope, floors, walls, roof, stairs, windows, doors, environmental systems (including plumbing, electricity, ventilation, telecommunications, lighting, etc). Over the semester, each session is to address a particular component or system in detail (from exemplary references to technical aspects to graphic representational codes). Sustainability issues and energy-saving systems will also be studied. The course as a whole intends to provide students with a comprehensive and thorough overview of the numerous aspects and characteristics which need to be considered when developing an interior design project. Bridging with Project Fundamentals 1 & 2, the course will allow students to understand how these components and systems co-exist and interface within the built environment.
The course will introduce students to a range of design principles relevant to all design disciplines.
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Intensive workshops dedicated to the experimentation of various techniques provided for students: they will be able to choose how to present their final individual project and their print and digital portfolios for further career or education prospects.
These courses (P.C. 1&2) are meant to provide students with the necessary practical skills to describe and represent space. The first semester is dedicated to 2D technical drawing (dimensions, scale, plan, section, elevation views, and axonometric projections) by hand as well as in AutoCAD and the illustration of interior design proposals in Illustrator and Photoshop. In the second semester, students learn the systematic use of perspective sketches and are introduced to digital techniques.
These first project courses (P.F. 1&2) aim at providing students with the cultural and technical tools needed to understand inhabited spaces. Exemplary projects drawn from housing, workplace, leisure and retail environments are investigated. Space elements are analyzed on published architectural projects and within real locations: urban context, masses, negative and positive spaces, lighting, furniture functions. The ability to generate design solutions, select images, color and finishes are emphasized. Building codes and barrier-free design compliance will also be studied.
This course addresses practical issues of project management. Emphasis is placed on understanding how to create a project plan and manage a team to meet the scope of the project, milestones and deliverables.
This studio course explores the creative process relative to set design for live performances such as theatre, ballet or musicals. Students will acquire both creative and practical skills needed to interpret a specific script or scenario, and to develop a scheme from conceptual storyboards through to detailed designs and scaled models. Students are to work closely with the complementary Liberal Studies theoretical class on their chosen piece or scene, so as to elaborate a set or stage design which will ultimately be implemented as a group for the end of year show’s final representation. The trans-disciplinary nature of this course is intended as an opportunity for students in Interior Design to collaborate with students from other departments, such as Fine Arts (decor and backdrops) or Fashion (costumes and accessories).
This course deals with different practices in image-making, both digital and physical, and explores how these methods can be applied in a conceptual way and influence an image. This class includes hands-on lessons, readings, critiques and general discussions on the state of technology in photography and image-making. This course will look at alternative darkroom processes and digital technologies/techniques that can make an image. Instead of studying how a content can best fit a format, this class will look at how certain formats, processes and techniques can influence the content. Alternative Image Making will apply critical thinking to different digital and physical image processes. The course aims at developing a more analytical look to the technology that makes an image. While some points of view on photography praise content over technology/process and how they can be applied to a project, this course intends to go the other way around and look at how processes and technologies can influence and inspire the creation of a new work. This course is organized as a split theory/ hands-on exploration of the photographic image and image-making. Topics of discussion will vary from public/private photography, image sequencing, the role of technology, digital vs. physical exhibitions and current trends.
The medium of photography is largely defined by its history of black and white pictures. The course will cover camera operation, principles of exposure and photographic composition concepts. The goal of this class is to provide a solid foundation of photographic black and white photography skills and techniques. It provides an overview of classic black and white photography while discussing camera techniques that apply to both traditional film and digital cameras. Students will learn how to effectively use their cameras in manual mode and make good quality negatives. The class includes camera and exposure meter instruction, technical lectures, effective scanning methods and instruction on film/digital crossover techniques.
The aim of this course is to give students the fundamental skills to execute professional magazine assignments. This practical course includes the most common editorial themes such as: Fashion, Portraiture, Accessory Still Life, Travel and Architecture. Students will work on various shooting projects; in-class fashion shootings with models, in collaboration with the Fashion Seniors, as well as a range of authentic editorial assignments on location in Paris. Thorough in-class critics will follow each photo shoot.
This is a yearlong course building on the Freshman and Sophomore Seminars, serving as a critical and technical exploration of the language and theory of photography. Students will further develop their individual photographic statements while placing their work within conceptual and historical contexts. This semester, we will be placing a particular emphasis on working with medium and large format cameras. Artists working in other mediums, such as video, sculpture, painting and installation, will be examined as well. Students will work on two shorter assignments and one longer term, self-designed project throughout the first semester, culminating in a body of work that will be presented at the end-of-the-term show.
Part two of a year long course of learning and mastering the fundamental techniques of studio lighting. The students become familiar with how to create traditional, practical lighting scenarios in a studio and also in an outdoor environment using multiple light sources while mixing studio electronic flash with outdoor light. Electronic flashes and tungsten lights will be used to achieve control of color, contrast and reflection. Emphasis is placed on understanding light and of mastering the technical aspects of the lighting equipment. Lighting techniques are demonstrated and applied in class to various assignments. The class is project based. The students will choose their projects from several themes: headshot/ portraits, nudes, outdoor flash portraits, and in-class still lifes.
The course explores the ideas of social conformity- looking into how society may accept or reject people within the community, regarding how they fill our preconceived idea of what we should be. Looking into identity and how many people may construct an alternate identity to avoid social exclusion. The course addresses photographys ability to highlighting ones identity to themselves and establish an understanding where we fit in. Students will explore ways of being, thinking, seeing, and making throughout readings, writing and photo-based assignments.
This seminar addresses the creative process as well as the technique and critique. Throughout the semester students will work in the studio and field in order to create a personal project (16 images total) with the theme of ” “, “Fine Art Photography inspired by science” or ” ” (the student can select one or more these themes as long as there is a total of 16 photographs produced for this class). I will be inviting the students to make connections- by exploring books, films, exhibitions, and discovering emerging talent in todays fine art photography, mixed with appropriation and science inspired works. By semesters end an elegant and cohesive 16 image photographic portfolio will have been produced. What is essential will be to deepen visual sensibilities and discover new ways of seeing.
TBA
Course Concentrations & Portfolio Requirements
Students are asked to submit a portfolio including images of 10 to 20 pieces. Applicants are encouraged to submit their best and most recently completed work, showing a range of technical skills and creativity. Portfolios may include works in a variety of media, including painting, sculpture, installation art, video, fashion design, illustration, etc. The PCA admissions committee is particularly interested in how applicants research and communicate their ideas. Furthermore, applicants are encouraged to submit work that aligns with the particular area of study for which they are applying.
The following Course Concentrations are available:
- Communication Design
- Fashion Design
- Fine Arts
- Interior Design
- Photography
- Critical Studies – as a “non-studio” concentration, students in this area have the option to submit a writing sample in lieu of a portfolio. This may be an assignment completed for a current or previous class; something that the student feels is a representative example of their current style and ability. Please note that Critical Studies concentration students who elect not to submit a portfolio may only have access to a limited set of courses. For example, fine arts classes are typically unavailable to students who have not submitted a portfolio, even if they’re pursuing a non-studio concentration. Please contact SAI admissions with any questions.
Courses & Schedule
PCA courses run Monday – Friday. SAI students are free to enroll in any combination of elective courses, but prerequisites for specific classes must be demonstrated through students’ transcripts.
Course Registration
Students choose their elective courses after they have been accepted into the program. As soon as the PCA semester schedule is confirmed, students are asked to complete a Course Approval form, which is used to specify first-choice and alternate-choice courses. Students are free to enroll in any available courses, but most should be within their determined concentration. All posted schedules of classes are tentative and subject to change unless otherwise noted. After registration is complete, any schedule changes must be made during the add/drop period at PCA, which is typically the first week of classes.
Applied Volunteer Opportunities
Visiting semester students at PCA have the opportunity to get involved in a wide range of short non-credit volunteer activities. This includes assisting at gallery events, fashion week, and working with individual artists in the city. Students return home with a unique and diverse resume of hands-on experience. Further details are provided to students upon arrival.
| Pre-Departure Calendar | |
|---|---|
| October 1 2024 |
Application Closes Applications accepted after closing as space permits. |
| Within 1 week of acceptance |
SAI Deposits Due $500 Enrollment Deposit (applied toward program fee) $300 Security Deposit (refundable) |
| October 1 2024 |
50% of Total Program Fee Due Students who are accepted and submit SAI deposits after this date will have an amended pay schedule. Either 50% or 100% of Program Fee will be due within 5 business days, based on the deposit payment date. |
| October 1 2024 |
Financial Aid Agreement & Good Faith Payment Deadline Students wishing to utilize SAI financial aid payment deferment must complete the Financial Aid Agreement form and submit the Good Faith Payment by this date. |
| October 15 2024 |
Enrollment Closes Students must complete their enrollment, including paying deposits, by this date. |
| October 15 2024 |
SAI Scholarship Application Deadline Students wishing to apply for a SAI scholarship must have all application items submitted by 11:59pm Pacific Time on this date. |
| November 15 2024 |
SAI Financial Aid Verification Deadline Students wishing to defer payment until financial aid disbursement must submit the financial aid verification form to SAI by this date. |
| December 1 2024 |
Balance of Total Program Fee Due (For students utilizing SAI financial aid payment deferment, any balance not covered by aid is due) |
| On-Site Calendar | |
|---|---|
| January 3 2025 |
Arrival & Housing Check-in Students arrive at Charles de Gaulle (CDG) airport. SAI airport pickup is provided between 9:00am and 12:00 noon, and students are transferred to SAI housing. |
| January 4 2025 |
SAI Orientation Mandatory SAI orientation is held at the SAI Paris office and introduces students to their city while covering safety, policies, housing, and culture. |
| January 7 2025 |
PCA Academic Orientation PCA orientation introduces students to their school and professors, and includes activities to get to know classmates. |
| January 13 2025 |
PCA Classes Begin |
| March 3 – 7 2025 |
Spring Break – no classes |
| May 2 2025 |
Classes End |
| May 8 2025 |
Final Exams End |
| May 9 2025 |
Program End & Housing Check-out Students must move out of SAI housing by 10:00am to return home or pursue independent travel. |
| SAI Program Fees* | USD |
|---|---|
| Application Fee | $120 |
| Security Deposit Refundable at the end of the term. |
$300 |
| Program Fee Includes tuition, standard housing and SAI 360° Services (see What’s Included). |
$26,960 |
| Optional / Additional Fees: | |
| Optional Private Room Housing Supplement Private room in a shared apartment, with a shared bathroom. |
$3,000 |
| Optional Homestay Housing Supplement Homestay housing in a private room. Includes daily breakfast and 3 dinners/week. |
$100 |
| French Social Security enrollment (mandatory) Paid to PCA upon arrival |
Euro 230 |
| International Mailing Supplement When applicable, students are charged an international mailing supplement to ensure visa paperwork arrives in a timely manner. |
$90 |
*prices are subject to change
Note: certain SAI-affiliated US universities require specific payment arrangements. These may require that some fees are paid by the student directly to SAI, and other fees are paid to SAI by the affiliated university on behalf of the student. If you attend a SAI-affiliated university please contact your study abroad office or speak with your SAI Admissions Counselor for details.
| Budget | Low Est. | High Est. |
|---|---|---|
| Airfare to/from Paris |
$900 | $1,200 |
| Visa |
$350 | $450 |
| Books, Supplies & Course Fees |
$100 / course | $450 / course |
| Meals Includes groceries and eating out. |
$400 / month | $800 / month |
| Personal Expenses | $350 / month | $450 / month |
| Transportation within Paris Public transportation with some taxi rides. |
$125 / month | $150 / month |
| Weekend Travel Cost varies greatly by student. |
$300 / month | $1,000 / month |
This is a SAI 360° Services Program; it includes our full services!
- Program tuition and U.S. academic credit
- Accommodation in carefully selected student housing
- Airport pickup on arrival day
- Welcome reception and events
- Orientation to the host city and school
- On-site staff who foster a welcoming community for you and provide assistance when needed
- SAI Viva Experience: cultural engagement, excursions & wellness activities
- Student health insurance providing full coverage and medical emergency evacuation
- 24-hour on-site emergency support
- Farewell event
Pre-departure and Re-entry services
- Knowledgeable Admissions Counselor dedicated to you, providing friendly assistance
- Helpful pre-departure tools and resources
- Parent & family resources
- Online student groups to acquaint you with other SAI students
- Student visa advising
- Assistance with financial aid processing
- Need-based SAI scholarships
- Alumni Ambassador Program, with paid internship opportunities
- SAI alumni network
SAI offers all students the Viva Experience: frequent cultural activities, at no extra cost, for participants to get to know their community, city and country. Following is a sample of the activities included in this program. Please note that actual activities may differ.
Welcome Activity: Visit to the Musee Quai Branley
Students are welcomed to their new city with a stroll up Rue Cler, one of the 7th Arrondissement’s most charming pedestrian streets. Turning left towards the Eiffel Tower, the group will then take the short walk to the Musee Quai Branley, which houses many of Paris’ treasures of non-Western art.
Montmartre Walking Tour
Students take a guided tour through the Montmartre district and glimpse the nooks and crannies of the most bohemian district of Paris, once home to artists such as Renoir, Picasso, Edith Piaf and others.
Cheese Tasting Workshop
Have you ever wondered what makes French cheese so extraordinary? Students take a two-hour tasting workshop with a cheese expert, during which they will receive an introduction to French cheese types and cheese-making regions. Cheeses will also be paired with a selection of wines for tasting.
Macaron Baking Course
Students get their hands dirty learning how to make macarons – one of France’s most famous cookies. Following the 90-minute course each participant will take home a box of their own macarons.
Tour of the Palais Garnier and a visit to the Galeries Lafayette
Students take a guided tour of the Palais Garnier, home to the Opera of Paris and the setting of Gaston Leroux’s 1909 novel, The Phantom of the Opera. After the tour, we’ll cross Boulevard Haussmann to visit the main building of the Galeries Lafayette, one of Paris’ most iconic high-end department stores. We’ll take in the exquisite stained-glass dome as we ascend through the atrium to the seventh floor, where we’ll enjoy the view from the building’s outdoor terrace.
Farewell Dinner
Students celebrate the end of a successful semester abroad and say their goodbyes over a delicious French meal.
Standard Housing: Student apartment or residence
Standard housing includes a shared occupancy room in a shared student apartment or a student residence (option to upgrade to private bedroom, if available). All SAI housing in Paris is fully furnished and comes equipped with towels, bed linens, and wireless Internet. Students have access to kitchen facilities, comfortable common areas, and washing machines. SAI on-site staff is available to respond to any housing needs that may arise.
Optional Housing: Family homestay
Students choosing the homestay option will be placed with a local family, which could be an older couple or a family with children. SAI homestay families are thoroughly screened and are accustomed to welcoming visiting students into their homes. Homestays provide a private bedroom in the family home with basic furnishings. Wifi is included, as is access to laundry facilities. Students opting for this more immersive housing get breakfast included as well as 3 dinners per week.
Passports
Passports should be valid for 3 months after planned departure from France.
Student Visas
In accordance with French law students studying in France for 91 or more days are required to obtain a student visa. Those with French/EU citizenship are exempted. Non-US nationals should consult their local Consulate for information on student visa requirements.
Students must appear in person at a VFS Visa Processing Center to present their student visa application. Visa applicants living in the United States are able to set up their appointment at one of the nine visa centers regardless of their location. VFS Global Centers are located in Washington DC, Boston, New York, Atlanta, Houston, Miami, Chicago, Los Angeles and San Francisco. In some cases the nearest processing center may be in a neighboring state, which might necessitate air travel. Please plan and budget accordingly. Our Student Visa Office is available to assist students in getting ready for their appointment; SAI provides student visa consulting for all our students at no cost.