This 3-credit elective centers around the Sustainability Lab, an initiative between LDAR and INTAR departments to explore creative material approaches to sustainability. Looking specifically at materials common to New England, this skill-building seminar will explore one selected material each year and expose students to different techniques and methods of researching and working with the region's intrinsic materials.

In tandem with the co-requisite studio, students will collaborate with expert scientists, artists, craftspeople, and designers to refine their material literacy and develop multiple hands-on explorations that go beyond our disciplinary conventions to generate innovative fabrication techniques and applications for the built environment. This process includes becoming familiar with a material's inherent characteristics and behaviors, its composition and connection to vernacular and craft, and finally, developing novel research methods for design that rely on physical experimentation. 

This is a co-requisite course. Students must register for LDAR/INTAR-500G - Sustainability Lab: Advanced Research Studio and LDAR/INTAR-501G - Sustainability Lab: Material Explorations.

Students are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture and Interior Architecture Graduate Students.

Elective

This 6-credit Thesis Studio centers around the Sustainability Lab, an initiative between LDAR and INTAR departments to explore creative material approaches to sustainability. Looking specifically at materials common to the New England region, this hands-on research studio asks students to question current attitudes towards exploitative land uses and material cultures and push the boundaries of material use and techniques in professional architecture and landscape architecture design practices. Students enrolled in this course are required to register for the co-requisite seminar INTAR/LDAR 503G - Sustainability Lab: Material Tectonics + Fabrication.

The Sustainability Lab Thesis studio builds on the work developed in the Fall semester and the progress students have made in articulating a material inquiry for their thesis direction and a theoretical and methodological framework for their research. In this course, each student will continue the development of their design research project in discussion with their primary faculty advisor and secondary and tertiary advisor.

Students are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture and Interior Architecture Graduate Students.

Elective

This 3-credit elective centers around the Sustainability Lab, an initiative between LDAR and INTAR departments to explore creative material approaches to sustainability. Looking specifically at materials common to New England, this skill-building seminar will explore one selected material each year and expose students to different techniques and methods of researching and working with the region's intrinsic materials. Students enrolled in this course are required to register for the co-requisite studio INTAR/LDAR 502G - Sustainability Lab: Thesis Studio.

In tandem with the co-requisite studio, students will collaborate with expert designers, fabricators, and engineers to refine the assemblies of their material inquiries. The course will cover advanced fabrication methods for scaled and 1:1 fabrication and interdisciplinary collaboration during the construction phases of design. Students will develop their Sustainability Lab Thesis Studio material inquiry through a concise technical and visual design package and a full-scale material assembly.

Students are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture and Interior Architecture Graduate Students.

Elective

This course is designed to challenge first year graduates to rethink their previous assumptions about their work, prior training, working methodologies and approaches to their practice. Through a series of rigorous and innovative start-up exercises, graduates are encouraged to expand their subjects, abandon their comforts zones, fail, edit, and (re) direct their work. Equal emphasis is placed on critical thinking and critical making. Faculty, meet weekly, individually with each student to provide constructive feedback and necessary structure. In small group discussions and in-class reviews, first years are required to actively participate in discourse and take responsibility for the collective dialogue. The resulting insight and shared knowledge between students, along with their own personal gain, sets the tone and direction for their work at RISD over the next two years.

Major Requirement | MFA Jewelry + Metalsmithing

In the second sequence of Graduate Studio, first-year graduates continue to take risks and think independently; identify and gain insight into their creative influences; and successfully direct and shape their ideas. Class exercises are given with clear, open-ended themes. Course content focuses on clarity of intention, artistic authorship, the presentation and framing of ones work, and an awareness of the contemporary context. Faculty and students consider individual approaches for the execution of work, from the initial concept to the finished piece. In an effort to arrive at original, personally authentic work, it is essential that students are open to discussion and willing to investigate (and question) the motivating forces of their work.

Majors are pre-registered for this course by the department. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

Following the completion of the first year, second-year graduates identify their personal areas of interest essential to the development of their thesis research and practice. Students are required to outline and pursue independent work with a self-determined structure, timeline, and intentions. Regardless of outcome, students are expected to evidence their progress weekly during individual meetings with faculty. Central to the second year, graduates are required to demonstrate a high level of self-motivation, vision, and initiative reflected through their concentrated inquiry and the rigorous exploration of their ideas. In conclusion of the term, second year graduates are required to complete a thesis presentation, to a J+M faculty review committee, in approval of their preliminary objectives and strategies in preparation for Graduate J+M Thesis.

Major Requirement | MFA Jewelry + Metalsmithing

Graduate J+M Thesis is a 9-credit course that meets twice a week with two different instructors. Each instructor evaluates students focusing on both studio thesis work and the theoretical concerns of the Graduate Jewelry 2 seminar. Graduate students select two advisors, for their thesis committee with J+M faculty to provide additional insight and support into their thesis work, as well as to foster other professional contacts. The final thesis requirements are a written thesis document, curriculum vitae, artist statement, artist book and professional portfolio. The resulting body of thesis work is featured in the Graduate Thesis Exhibition at the Convention Center in May. It is expected the Graduate J+M Thesis investigates unexplored territory, reveals personal idiosyncrasies and demonstrates a high level of artistic authorship and sophistication.

Majors are pre-registered for this course by the department. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

This course utilizes general and specific topoi to critically analyze the field of contemporary jewelry. Students will develop the ability to write and speak with precision and complexity regarding their own work and that of others. In the process, we will create a communal topography generated by a network of inquiry to aid in locating ourselves and objects. Students have significant latitude to incorporate individual interests in written assignments. Themes addressed include but are not limited to: cultural identity, material history, marginalization, and exhibition strategies.

Students are pre-registered for this course by the department; registration is not available in Workday. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

Spring seminar focuses on research, writing, and presentation as essential skills for both studio and professional practices. Emphasis is placed on the students' ability to locate, examine, and discuss their work within contemporary and historical contexts. Jewelry, along with objects of our discipline, will be considered through a variety of theoretical frameworks and cross-cultural and historical perspectives. Research, and the language that evidences it, is the foundation of this seminar. Various modes of writing are employed to mine, develop, and articulate ideas, and to further refine this information into artist statements, grant proposals, and presentations. Reflective writing will be practiced throughout the term in order to make sense of past work, clarify current work, and to formulate questions and ideas for work in the future. The term builds towards and culminates with a formal artist presentation. This is an opportunity to carefully consider and craft the language and the photographic representation that supports your work. The goal is to bring all of these things into alignment and to explore the symbiotic and poetic relationships between them.

Majors are pre-registered for this course by the department. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

This course is devoted to developing one's abilities to write and speak with precision and complexity, about one's own work and the work of others. We will examine trends and movements in contemporary art through the lens of critical theory. We will investigate what contemporary art can tell us about the relationships between history, images, and visual culture, subsequently developing the skills necessary to write about your work, what it articulates and argues, and the ideas and traditions from which it emerges. Each term will identify and address a new set of themes relevant to course content.

Students are pre-registered for this course by the department; registration is not available in Workday. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

The fall seminar concentrates on critical reading as an opportunity to locate, examine, and discuss your work within a broader field of inquiry. The additional objectives are to increase critical thinking, hone reading and writing skills, expand vocabulary, and build presentation skills. Woven into all of this is the understanding that research can be a valuable, if not essential, component of making - each informing and enriching the other. The focus of the spring seminar shifts to writing and presentation as an integral part of both studio and professional practice. Each spring brings a new team of guest instructors who introduce various modes of writing as a means to mine, develop and articulate ideas in a concise and authentic manner, and, to further hone that information into artist statements, written theses, and public presentations. Throughout the term writing will be the vehicle in which to move between private and public realms. This journey will begin with 'automatic writings' and culminate with your public artist presentations.

Majors are pre-registered for this course by the department. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

In this studio, first-year graduates begin to recognize and develop personal areas of interest. Direction is given to bring structure to the exploration of various processes, materials, concepts, and formats. Weekly individual meetings focus on student's progress and response to assignments, as well as independent research.

Students are pre-registered for this course by the department; registration is not available in Workday. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

In Graduate Jewelry 2, first-year graduates hone in on recognized personal areas of interest specific to jewelry from the Fall semester. Students are encouraged to embrace new studio habits in order for individualized working methodologies to become apparent. Faculty, work with students, to foster the strengths of their natural proclivities and problem-solve areas of personal sabotage. Critical to the success of this course, it is essential that first year students demonstrate a high level of self-direction, curiosity, and drive reflected through their bench work and independent research. Course content continues to focus around jewelry's power and potential as a platform and catalyst for dialogue.

Majors are pre-registered for this course by the department. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

In this studio course, second-year students identify and pursue personally driven research. Weekly individual meetings and studio visits take place with the instructor, and also with scheduled first-year and second-year group critiques. Students are required to maintain a continuous record of their research and development through drawings, writings, samples, models, etc. Active participation in group discussions and critiques is mandatory.

Students are pre-registered for this course by the department; registration is not available in Workday. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

This course provides a cultural history of landscape and landscape architecture through various voices, lenses, and built examples. Following a loose chronology, this seminar will trace the shifting trajectory of landscapes at multiple scales, including lawns, gardens, and suburbs; roads and sanitary infrastructure; agricultural and energy landscapes; rivers and waterfronts, among others. As the second history-theory course in the sequence, we will continue to build upon key concepts explored in History-Theory 1, such as the relationship between Nature and culture, land ethics, systems thinking and ecology, and how landscape architecture has operated as a site for unequal, racialized distributions of power. To that end, we will study, define, critique, and attempt to make sense of the multiplicity of actors that shape environments, including the role of the Designer and the inextricably intertwined forces of colonization and capitalism, federal policies, non-humans, shifting attitudes about Nature, etc. 
 
To provoke critical thinking about the development of landscape form and ideas, readings will be drawn from various perspectives, including landscape architecture, social and environmental history, anthropology, science and technology studies, queer and feminist studies, and geography. These fields will help us understand history as a foundation for thinking about the landscape’s relationship between past and present and center and margin. By critically probing landscape architecture’s canon and its counter-narratives, we will consider how we can be better poised to understand and articulate our own contributions to the field as future practitioners.

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I Landscape Architecture

The first course of the History + Theory track will offer an introduction to a select range of ideas, practices and systems of landscape. The seminar will begin with discussions on theory and history, their types and uses, and examine the different, and often conflicting, definitions of landscape that have emerged from within and without the field of landscape architecture. As we explore the relationship between nature and culture, we will consider the relationship of history and theory to the contexts in which they are generated, while at the same time examining their relationship to praxis. While focusing on issues that are core to a critical understanding of the discipline, this course will also begin to expand the study of landscapes beyond historical Western-centric cannons, with an explicit attempt to decolonize the ways in which we know and practice in landscape architecture. 
 
The course will examine readings taken from diverse sources that have informed landscape architecture – philosophy, geography, architecture, art history, ecology – as well as sources that have emerged from practitioners of the comparatively young discipline. The readings are grouped by themes that relate and distinguish landscape architecture from its allied fields and reflect the discourse that has influenced the character and objectives of the discipline today. 

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I Landscape Architecture

The traditional people of Ghana’s Ashanti region had a time-worn tradition of collective sculptural plastering on buildings. This is one of the most unique cultures of relief sculpture with earth in the world, developed over hundreds of years – a creative practice quickened during the intimate community experiences of maternity (pregnancy and child-rearing). Despite their cultural importance, however, pregnancy and child-rearing are serious risk-taking activities, especially in rural villages, due to the lack of maternity health clinics and other basic infrastructures that allow mothers to access health care education and services when necessary. 

What is the experience of maternity in a modernized Ghana? Is it still collective, culturally rich, and creative? Is this not the most creative time in the collective lives of women – as they prepare for childbirth? Has the influence of the Modern International Style – and the systematic replacement of rich local materials and traditions with poor quality imported materials and construction methods negatively impacted the local experience of maternity? What might be the best practice in designing and constructing future maternity health clinics in rural villages while applying vernacular wisdom and tradition with contemporary knowledge?              

Earthen construction and the manipulation of clay have been one of the most direct forms of creative expression in vernacular cultures all around the world. This is especially the case with relief sculpture. Building with the earth also – despite the false stigma propagated by modern Euro-centric development work is one of the healthiest materials in the built environment. Concrete and steel cannot boast the same thermally self-regulating, humidity-modulating, and bio-climatically optimal material for construction. Where earth – and bio-climatic design – result in optimal human comfort and habitation patterns, modern materials often lead to poor health from thermal dysregulation, mold growth, and toxic materials in the home.

Should a modern maternity clinic not be an example of a new “vernacular material modernism”? This Wintersession proto-design studio will grapple with what this means for the women of modern, post-colonial Ghana. Students will work with the village community and local women – both those expressing the need for a modern maternity clinic – and those who still practice the dying art of clay plastering.

Can the deep material intelligence of the earth and of the vernacular building technologies be brought to bear on the modern experience of maternity in Ghana? What is the modern exchange passed from mother to daughter that can suggest a way forward for a participatory, owner-driven conception of the maternity clinic and ward?

The course will draw on expertise in earthen heritage and tangible knowledge from a variety of sources working in this region, including the International Center for Earthen Construction (CRAterre), UNESCO World Heritages Sites Commission (WHEAP), and the World Monuments Fund.

During the trip, students will visit traditional and modern buildings in the coastal and inland areas, conduct soil tests in fields, study and develop a catalog of local building materials and methods, and produce proto-designs for a future maternity health clinic.

This is a co-requisite course. Students must also register for ARCH 1515 - *GHANA: VERNACULAR MATERIAL MODERNISM - DESIGN RESEARCH IN GHANA.

Registration is not available in Workday. All students are required to remain in good academic standing in order to participate in the Wintersession travel course/studio. A minimum GPA of 2.50 is required. Failure to remain in good academic standing can lead to removal from the course, either before or during the course. Also in cases where Wintersession travel courses and studios do not reach student capacity, the course may be cancelled after the last day of Wintersession travel course registration. As such, all students are advised not to purchase flights for participation in Wintersession travel courses until the course is confirmed to run, which happens within the week after the final Wintersession travel course registration period.

Elective

This class will introduce students to computational tools in R to help them analyze data and unearth new relationships. Working in small teams, students will conduct their own ecological research in Providence incorporating quantitative data (e.g. sensor data) and warm data (e.g. stories, observations, poetry, art). They will learn how to incorporate data science techniques in their research process, such as data acquisition, data cleaning, data transformation, statistical analysis, and visualization using R Studio. The applications of these tools will help students better understand and interpret complex information, as they uncover new patterns, affinities, and stories in the data, which can directly support their own design and artistic practice. Participants will then communicate and translate their analytical findings through an expressive artistic form.  No prerequisites are required; this class is open to all departments.

Elective

This course explores design principles central to landscape architecture. Three interrelated aspects of design are pursued:

1) the elements of composition and their formal, spatial, and tectonic manipulation

2) meanings conveyed by formal choices and transformations

3) interactions of cultural and ecological forces in the landscape.

Estimated Cost of Materials: $250.00

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

This course explores design principles central to landscape architecture. Three interrelated aspects of design are pursued:

1) the elements of composition and their formal, spatial, and tectonic manipulation

2) meanings conveyed by formal choices and transformations

3) interactions of cultural and ecological forces in the landscape.

Estimated Cost of Materials: $250.00

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture