In A Hands-On History of Electronic Music, we will study the development of electronic music from a tactile approach using historical studio techniques. While learning about pioneering and underrepresented artists within the genre, students will use reel-to-reel tape machines, tube signal generators, modular synthesizers, and early computer music concepts to recreate key compositions within the field. Critical listening and analysis skills will be cultivated through guided exercises and projects. The hands-on approach this course takes will support a foundational understanding of electronic music history through methodologies as they evolved into current practice.

Estimated Cost of Materials: $100.00

Elective

Icon Mashup addresses a persistent gap between building technology courses and architectural design studios. While technology courses often focus on the technical resolution of enclosure systems, they can lack engagement with design intent; conversely, studios frequently prioritize form and spatial organization without fully interrogating façade systems as sites of architectural thinking. This course positions the architectural envelope—specifically the wall section—as a critical interface between these domains. Rather than treating construction as a downstream problem, the course reframes it as a generator of architectural ideas—where structure, environmental performance, material logic, and representation converge to produce architectural identity.

The course is organized into two phases that mirror modes of practice increasingly relevant to contemporary architecture. In the first phase, students study canonical buildings to extract the core logics that define them—identifying what is essential to the project and what can change. These become the project’s “red lines”: the underlying structural, environmental, and material strategies that cannot be altered without fundamentally transforming the work. In the second phase, students test these limits through processes of hybridization and adaptation, introducing new constraints—programmatic, environmental, or economic—that require selective transformation while maintaining conceptual continuity. This approach parallels the realities of adaptive reuse and value engineering, where architects must work within existing systems, negotiating between preservation and change. Through large-scale drawings and physical models, students develop both technical precision and a critical, projective mindset—learning to treat enclosure as a site of negotiation, translation, and architectural invention.

Estimated Cost of Materials: $30.00 - $50.00

Non-majors may enroll pending seat availability. Email the instructor to request permission.

Elective

This spring, I was invited to create a childlike tabletop game for a meeting with a subcommittee of the Providence Children’s Museum Board to help them gather insight for the museum's future offerings. The meeting was both fun and functional. The experience inspired me to propose this studio, where we will explore creating fun products, experiences, and/or services that use playfulness as the source of purposeful achievement. A certain delight arises when we engage in serious activities that evoke youthful wonder.

Students will begin the semester with a few off-site field studies, including a visit to the Children’s Museum. Students will define their final project and choose between a solo or group project. The course will begin with a short solo project, followed by a short peer-collaborative project, and then a longer final project. A goal of the semester is to explore and document the practical use of AI tools in the development process to determine “Best Practices” for designers in general.

Students will create and co-create three projects during the semester, with the emphasis on thoughtful documentation of their design process. These projects will be research-based, with students conducting primary user and market research and documenting and responding to user feedback. I read a quote on LinkedIn recently, which was something like: “Designers aren’t passed over due to lack of work in their portfolio, but rather a lack of good reasoning in their design process.” I believe that when we work as much on the process as we do on the product, we create a stronger presentation. I plan to invite guest critics with expertise in storytelling and in putting theory into practice. There will be a studio documentation booklet, which is a collection of each student’s individual document.

Major Requirement | BFA Industrial Design, MID (2.5yr): Industrial Design

The dream is a never-ending source of inspiration for artists, challenging reality with raw emotion and imagination. Often unclear and uncanny, a dream invites limitless investigation and interpretation. Monotype printmaking, a process that has supported artists' practice throughout history, possesses a similar nature to that of the dream: singular, backwards, fast, and unstable.

This course will explore how to use the language of dreams to serve a body of work. We will explore the significance of the dream and dreamer in the work of The Getty Tondal, Odilon Redon, Hilma af Klint, Demetrio Urruchúa, Bea Parsons, and Jung's Red Book, and many more. Using the monotype process, students will utilize dream imagery to refine their critical thinking skills. Throughout the course, students will complete weekly studio assignments that highlight the monotype techniques demonstrated in class, including additive, subtractive, ghost, trace, and stencil, and end with a final assignment exhibiting their accumulated development. Additionally, two research-based presentations, a daily dream journal, and individual and group critiques will support the evolution of students' conceptual and technical skills.

By the end of the course, students will be able to build imagery and translate narratives through monotypes. They will have developed an understanding of symbolic dream imagery, feel confident in presenting and participating in group discussions, and possess an extensive personal visual language. With no prerequisites, this introductory monotype course is presented by the painting department and is open to undergraduate and graduate students from any department.

Estimated Cost of Materials: $265.00

This course is intended for non-majors as a Non-Major Studio Elective (NMSE) and does not fulfill the Painting major elective requirements for degree completion.

Elective

The Urban Ecologies core studio introduces students to the city as a designed environment with an emphasis on sustainability, giving them the tools to work through impressions, analysis and design operations as ways to understand the relationship between naturally formed and culturally constructed landscapes and strategies for urban ecological development. Students confront the design of housing as a way to order social relationships and shape the public realm and attack the problems of structure, construction, access and code compliance in the context of a complex large-scale architectural design.

Estimated Cost of Materials: $50.00 - $200.00

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

Major Requirement | BArch: Architecture

The Urban Ecologies core studio introduces students to the city as a designed environment with an emphasis on sustainability, giving them the tools to work through impressions, analysis and design operations as ways to understand the relationship between naturally formed and culturally constructed landscapes and strategies for urban ecological development. Students confront the design of housing as a way to order social relationships and shape the public realm and attack the problems of structure, construction, access and code compliance in the context of a complex large-scale architectural design.

Estimated Cost of Materials: $50.00 - $200.00

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

Major Requirement | BArch: Architecture

The Urban Ecologies core studio introduces students to the city as a designed environment with an emphasis on sustainability, giving them the tools to work through impressions, analysis and design operations as ways to understand the relationship between naturally formed and culturally constructed landscapes and strategies for urban ecological development. Students confront the design of housing as a way to order social relationships and shape the public realm and attack the problems of structure, construction, access and code compliance in the context of a complex large-scale architectural design.

Estimated Cost of Materials: $50.00 - $200.00

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

Major Requirement | BArch: Architecture

In this junior studio students are presented with the idea of using metal to develop furniture forms. While the primary metal used to investigate form is mild steel, properties and techniques are also presented that apply to stainless steel, aluminum, copper, brass and bronze. Students become proficient in TIG welding, and are introduced to arc welding, spot welding, gas welding, brazing and soldering. Basic structural properties of steel are investigated through a series of short projects designed to inform students of the appropriate forms and applications. Basic and more advanced fabrication techniques, metal surface treatments, as well as metal finishing are also topics of class demonstrations.

Major Requirement | BFA Furniture Design

In this junior studio students are presented with the idea of using metal to develop furniture forms. While the primary metal used to investigate form is mild steel, properties and techniques are also presented that apply to stainless steel, aluminum, copper, brass and bronze. Students become proficient in TIG welding, and are introduced to arc welding, spot welding, gas welding, brazing and soldering. Basic structural properties of steel are investigated through a series of short projects designed to inform students of the appropriate forms and applications. Basic and more advanced fabrication techniques, metal surface treatments, as well as metal finishing are also topics of class demonstrations.

Major Requirement | BFA Furniture Design

The poster has been an archetypal graphic design format since the late 19th century when lithographic printing technology came of age and captured the imagination of artists, bringing their vision into Paris streets. This course will invite you to explore future possibilities and contexts for the poster-as paper and as screen-building on its singular capacity to transform ideas into iconic picture planes; and examining the dynamics of typography and image, both still and in motion. Prompts will progress from individual posters, to sequences, to site-specific installations that explore the potential for interactive discourse in public space. Studio assignments will be supported with presentations and readings about poster history and contemporary poster design.

Elective

A workshop-style course which combines English with a studio project for students with an interest in children's picture books. Students will learn to develop storytelling skills (imagination, language, plot, character, and voice) and illustration techniques (characterization, setting, page, layout) by studying picture books and completing writing and illustration assignments. For their final projects, students will be expected to produce an original text, sketch dummy, and two to four finished pieces of art. The class will also include an overview of publishing procedures and published writers/illustrators will be invited to share their experiences and critique students' work.

This is a co-requisite course. Students must also register for LLUS 3612 - Picture and Word.

Elective

This course explores theories and practices of community-engaged pedagogy in art and design education, and the development of a conceptual framework for studio-based teaching and learning in community settings. The course introduces an approach to pedagogy that explores the complexities of community engagement to include social and political considerations of community-engaged practice; historical considerations for community partnerships; and pedagogies specifically designed for heterogeneous groups in a variety of community settings. Students examine these complexities through observations in community learning spaces, academic and public scholarship, reflection, and developing a community-engaged teaching philosophy. 

Enrollment in this course is limited to Teaching + Learning in Art + Design Students.

Major Requirement | MA Teaching + Learning in Art + Design

This class will focus on the challenges and opportunities of designing furniture for mass production. Students in this course will be introduced to the numerous challenges designers face in developing furniture as consumer products, especially as it relates to market fit (determining who customers are and what they need), production (how to make it), and distribution (getting it to customers). Through interactions with industry professionals, analysis of case studies, and applied research, students will gain practical insights into the production furniture industry, with exposure to diverse design practices across its many facets. As a studio course, work will be based on design projects that challenge students to propose a commercially viable furniture collection that addresses the current realities of both the furniture industry and the market for its offerings.

Elective

This hands-on experimental course will give students the opportunity to investigate a wide range of hot casting methods. The class will focus on exploring and innovating with a variety of mold materials: sand, CO2, refractory, wood, metal, organic and found molds. Hot glass ladle casting will be our primary working technique. Demonstrations will not linger on the technical but rather, will function as a catalyst for students to engage in an aesthetic and/or conceptual dialogue with technique and material. Both the studio process and the information presented in this class will encourage collaborative as well as individual work. This class will permit a deep investigation into the process of casting and into the innate properties of glass.

This course is open to non-majors. Email the instructor and Department Head jointly to request permission.

Elective

Web as Medium 1 is an introduction to creating communicative media for the web, from both conceptual and technological perspectives. Through engaging in readings, student-led presentations, and projects, students will explore cultural, social, and historical contexts around network technologies, and discover the Internet's potential as a space for social exchange and independent expression. Throughout workshops and hands-on exercises, students will learn fundamental design principles as well as a basic understanding of HTML/CSS/Javascript. Studio projects will guide students in exploring methods for conceptualizing, designing, and developing websites. While outcomes won’t always prioritize practicality or strict functionality, the emphasis lies on cultivating a poetic understanding of design and the Internet as mediums for critical research and action.

This course is an interactive lecture class. A series of distinctly varied individuals active in the field of jewelry will be invited to make presentation about their professional development. These diverging presentations are intended to offer a catalyst to stimulate questions, and encourage group discussion. Among the subjects to be presented are: individual studio practice, designing for industry, gallery connections, non-profit opportunities, partnerships, global opportunities, curatorial and journalistic prospects, wide world of the web, post graduation educational options, support systems for RISD alumni, residency prospects, and technology as resource for design and production. Students will be asked to keep an active journal of weekly observations and fulfill 3 class assignments connected with their ambitions and career interests.

Major Requirement | BFA Jewelry + Metalsmithing

This intensive studio course investigates computational approaches to generating sound and image in real time. Precedents from experimental film and video, as well as sound installation and performance art will be examined in relationship both to human perception and the, students' artistic practice. The course will include discussion of key historical works and texts, hands-on demonstrations and in-class projects, as well as critical engagement with new works by class members. Students will use programming environments such as Max and its object libraries for sound and video, MSP and Jitter to explore the creative and expressive potentials of an intermedia production practice culminating in the development of a larger work that incorporates knowledge gained throughout the course.

Estimated Cost of Materials: $100.00

Elective

This course is a studio–seminar hybrid centered on interdisciplinary creative production and is co-taught by instructors from the Sculpture Department and Digital + Media Department. Students engage in hands-on experimentation workshops, readings, discussions, and project-based assignments that translate everyday food experiences into contemporary art practices. Working across sculpture, installation, sound art, performance, moving image, and socially engaged and interactive art, students develop original works supported by critical research and reflective documentation. The course introduces sculptural and digital tools through workshops in mold-making, 3D scanning, video, sound, and multimedia software. The learning of these tools aims to support experimentation and independent exploration rather than technical mastery of a single medium.

The course takes food of personal significance as its conceptual point of departure, examining food not merely as a means of basic human sustenance but as a cultural experience, physical medium, and conceptual carrier shaped by time, environment, and social relations. Students investigate how food operates as image, material, action, relationship, and event, and how it transforms across contexts. Through critical reflection and studio practice, students explore food’s material instability, addressing topics such as cooking and transformation, eating as performance and social structure, spoilage and decay, tensions between chance and control, and food’s capacity to produce intimacy, power relations, and collective experience. The course also examines institutional boundaries that traditionally exclude food from art spaces, encouraging students to rethink preservation, participation, and value. Emphasis is placed on balancing conceptual rigor with material experimentation and reflective documentation throughout the semester. Open to students of all majors and levels, the course emphasizes process-based inquiry, collaboration, and iterative making.

Estimated Cost of Materials: $300.00

Elective

This first-year graduate seminar approaches painting as a technical skill, a historical practice and an intellectual project. Weekly sessions begin with group discussions of key readings about recent painting. Readings are organized in three sections. The first looks backward, to the problem of medium that preoccupied modernist painting and, residually, contemporary practices until the 1980s. The second section looks at the academy, the institution and the art market, and their effect on how painting is produced, disseminated, discussed and received. The third, the most speculative, looks laterally at a range of contemporary practices and their cultural frameworks from the 1990s to the present. Frequent studio visits will occur and drive some of the reading and discussion.

Please contact the instructor for permission to register. Preference is given to Graduate Painting Students.

Elective

This seminar is for graduate students who are preparing their written thesis. Within the context of this writing-intensive course, we examine the thesis form as an expressive opportunity to negotiate a meaningful integration of our visual work, how we think about it, and how we wish to communicate it to others. In support of this exploration, weekly thematic writing sessions are offered to open the imaginative process and to stimulate creative thinking as a means of discovering the underlying intelligence of our work. In addition, we also engage in individual studio visits to identify and form a coherent 'voice' for the thesis, one that parallels our actual art involvement. Literary communications generated out of artists' and designers' processes are also examined. The outcome of this intensive study is the completion of a draft of the thesis.

Elective