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 course will focus on the diverse new roles encountered by the architect in the 20th century: form maker, administrator of urban development, social theorist, cultural interpreter, ideologue. Emphasis will be placed upon the increasing interdependence of architecture and the city, and the recurrent conflicts between mind and hand, modernity and locality, expressionism and universality.

Majors are pre-registered for this course by the department. This course is a requirement for Sophomore Architecture Students and first-year MArch (3yr) Architecture Students.

Major Requirement | BArch, MArch (3yr): Architecture

The course will focus on the diverse new roles encountered by the architect in the 20th century: form maker, administrator of urban development, social theorist, cultural interpreter, ideologue. Emphasis will be placed upon the increasing interdependence of architecture and the city, and the recurrent conflicts between mind and hand, modernity and locality, expressionism and universality.

Majors are pre-registered for this course by the department. This course is a requirement for Sophomore Architecture Students and first-year MArch (3yr) Architecture Students.

Major Requirement | BArch, MArch (3yr): Architecture

This course is an introductory survey of the history of furniture. An emphasis is placed on developing a methodology for understanding historical context and transferable critical thinking through furniture. The fundamental methodology presents furniture design as an expression of interdependent relationships involving technology, identity and culture. The course will include lectures, sketching, writing, discussion and exams as well as learning from direct observation of objects including many in the RISD Museum.

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

Major Requirement | BFA Furniture Design

This course will examine the major designers working in the period 1850 to the present. Areas of study will include an examination of design related issues that will be studied in the context of their social, political, technological, and economic circumstances, as they pertain to the design culture of the period. Special emphasis will be given to the history of interior interventions, additions and renovations. Other areas of study will include the development of architectural drawing and other presentation media, and the way in which designs often evolved through committees, or ongoing consultations among the patrons, designers, administrators, and scholars. Attention will also be given to design theory, and the doctrines relating to site, orientation, proportion, decorum, and the commercial design market. A general background in the history of art and design is desirable but is not mandatory.

Major Requirement | BFA Interior Studies

This course surveys the history of illustration from prehistory through approximately 2000 AD. The work shown is culled from a vast cache of artistic production for its power to convey ideas and ideals, report and editorialize events or serve as an enhancement to literature. We consider how evolving technologies in printing and communication have influenced artistic processes, shaped aesthetics and facilitated the distribution of illustration. Emphasis is placed on Illustration's role in reflecting and influencing culture, and its variable relationship to its sister arts. The required class includes lectures, critical writing and discussions, weekly readings, a research project involving museum or special collections objects, quizzes and a final exam. Textbook required. Textbooks will be on reserve at the RISD Library and available for purchase at a student discount. Study images are made available on Canvas.

Open to Sophomore Illustration Students.

Major Requirement | BFA Illustration

How does illustration shape ideas, information, opinion, and culture? How can images make or break “truth”? How does aesthetic delight contribute? This course considers ways Illustration has intersected with authority and resistance globally. From pre-history to the present, we critically analyze how belonging is visually defined in terms of race, class, gender, citizenship, age, and ability. We consider illustrators’ participation in systems of governance, knowledge, and communication; and illustrators’ roles in justice, health, spirituality, education, leisure, and community. We study non-industrial forms, as well as how print and electronic technologies shape illustrative processes and aesthetics. We also discuss theories, ethics and controversies in the making and consumption of illustration in order to implement our tools, skills, and ideas responsibly.

Major Requirement | BFA Illustration

This course surveys the history of illustration from prehistory through approximately 2000 AD. The work shown is culled from a vast cache of artistic production for its power to convey ideas and ideals, report and editorialize events or serve as an enhancement to literature. We consider how evolving technologies in printing and communication have influenced artistic processes, shaped aesthetics and facilitated the distribution of illustration. Emphasis is placed on Illustration's role in reflecting and influencing culture, and its variable relationship to its sister arts. The required class includes lectures, critical writing and discussions, weekly readings, a research project involving museum or special collections objects, quizzes and a final exam. Textbook required. Textbooks will be on reserve at the RISD Library and available for purchase at a student discount. Study images are made available on Canvas.

Open to Sophomore Illustration Students.

Major Requirement | BFA Illustration

How does illustration shape ideas, information, opinion, and culture? How can images make or break “truth”? How does aesthetic delight contribute? This course considers ways Illustration has intersected with authority and resistance globally. From pre-history to the present, we critically analyze how belonging is visually defined in terms of race, class, gender, citizenship, age, and ability. We consider illustrators’ participation in systems of governance, knowledge, and communication; and illustrators’ roles in justice, health, spirituality, education, leisure, and community. We study non-industrial forms, as well as how print and electronic technologies shape illustrative processes and aesthetics. We also discuss theories, ethics and controversies in the making and consumption of illustration in order to implement our tools, skills, and ideas responsibly.

Major Requirement | BFA Illustration

Part I of a two-semester course that will survey major topics in the Histories of Photography. Emphasis will be given to the diverse cultural uses of photography from its invention to the present day. Such uses include: the illustrated press; amateur photography; studio photography; industrial, advertising, and fashion photography; political and social propaganda; educational and documentary photography; and photography as a medium of artistic expression. Much attention will be paid to how photographs construct histories, as well as being constructed by them.

Major Requirement | BFA Photography

This class examines histories of dress from the eighteenth century to the present, covering the industrial revolution through the development of couture and postmodern fashion. It analyzes clothing as a social and cultural artifact, central to the construction of group and individual identity. Lectures and readings explore the production, consumption, use and meanings of dress, and will be supplemented by visits to the RISD museum. Course work will comprise group and independent research, written papers, and oral presentations.

Majors are pre-registered for this course by the department. Preference is given to Apparel Design Students.

Major Requirement | BFA Apparel Design

Topics in Fashion Theory introduces students to the ideas and debate that have enriched our understanding of fashion. Through the manipulation of the visual and tactile symbols of clothing (cut, cloth, texture, ornament, and color) fashion expresses individual, community and societal attributes and attitudes. Yet, as Fred Davis notes, social identities are rarely the stable amalgams we take them to be.They can shift over the course of a lifetime and are prodded by social and technological change. Drawing on scholarship in a range of disciplines, including sociology, cultural studies, gender studies and queer theory, the class explores how clothing communicates aspects of identity linked to gender, sexuality, class, race, religion, and nation. We will examine the extent to which fashion is currently formulating effective social commentary, and consider questions, for example, that surround sustainable fashion and cultural appropriation. The class integrates reading and reading responses with discussion and visual analysis of clothing and fashion across the twentieth- and twenty-first centuries. Students will develop a final essay that assesses a debate of interest encountered in class discussion and readings.

Elective

History is a powerful tool; a basic understanding of the history of design and familiarity with important design movements and designers is essential for thorough design work. By examining the work of other designers, we are better able to identify our own interests and concerns, and avoid repeating mistakes that have been navigated in the past. This lecture-based class will present the history of Industrial Design in a way that links it to today's studio work, and offers connection points to link past innovation and design activity with future design success. The lectures present a chronological overview of the profession of Industrial Design and its antecedents. Topics discussed will include major design movements, significant designers, manufacturers, and design-related companies, innovations in technology and material use, the development of sales, marketing, and user-focused designing, and the history of design process. Coursework includes extensive reading, in-class presentations based on independent research, projects, and writing.

Majors are pre-registered for this course by the department. Preference is given to Sophomore Industrial Design Students.

Major Requirement | BFA Industrial Design

History is a powerful tool; a basic understanding of the history of design and familiarity with important design movements and designers is essential for thorough design work. By examining the work of other designers, we are better able to identify our own interests and concerns, and avoid repeating mistakes that have been navigated in the past. This lecture-based class will present the history of Industrial Design in a way that links it to today's studio work, and offers connection points to link past innovation and design activity with future design success. The lectures present a chronological overview of the profession of Industrial Design and its antecedents. Topics discussed will include major design movements, significant designers, manufacturers, and design-related companies, innovations in technology and material use, the development of sales, marketing, and user-focused designing, and the history of design process. Coursework includes extensive reading, in-class presentations based on independent research, projects, and writing.

Majors are pre-registered for this course by the department. Preference is given to Sophomore Industrial Design Students.

Major Requirement | BFA Industrial Design

History is a powerful tool; a basic understanding of the history of design and familiarity with important design movements and designers is essential for thorough design work. By examining the work of other designers, we are better able to identify our own interests and concerns, and avoid repeating mistakes that have been navigated in the past. This lecture-based class will present the history of Industrial Design in a way that links it to today's studio work, and offers connection points to link past innovation and design activity with future design success. The lectures present a chronological overview of the profession of Industrial Design and its antecedents. Topics discussed will include major design movements, significant designers, manufacturers, and design-related companies, innovations in technology and material use, the development of sales, marketing, and user-focused designing, and the history of design process. Coursework includes extensive reading, in-class presentations based on independent research, projects, and writing.

Majors are pre-registered for this course by the department. Preference is given to Sophomore Industrial Design Students.

Major Requirement | BFA Industrial Design

Part II of a two-semester course that will survey major topics in the Histories of Photography. Emphasis will be given to the diverse cultural uses of photography from its invention to the present day. Such uses include: the illustrated press; amateur photography; studio photography; industrial; advertising, and fashion photography; political and social propaganda; educational and documentary photography; and photography as a medium of artistic expression. Much attention will be paid to how photographs construct histories, as well as being constructed by them.

Preference given to Sophomore Photography Students.

Major Requirement | BFA Photography

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 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

Longtime professional actor/director Fred Sullivan (Boston critics Norton award winner, 35 year Trinity Rep veteran, Gamm Theatre, Commonwealth ShakespeareCompany and Lyric Stage) will guide an ensemble of students interested in making a play through a workshop process of producing a live original work for the stage. This process will culminate in a two live public performances of the production. 
 
Students in this course will be asked to: rehearse and perform assigned roles; accept assigned duties on graphic, projection and property/costume design, construction and stage management teams and crews. Everyone is responsible for stage and backstage work and to commit to a flexible rehearsal schedule outside of class meetings (goal is to rehearse 4 mornings a week so another morning class will prove disruptive; We will be as flexible and understanding as possible to still create something excellent together). We will pursue a guided study of the performance demands and techniques, collaboration, dramaturgical elements and production requirements of the work produced. This is a very popular class. Sign up, put on some comfortable clothes and come to the first class ready to play. Waiting list will be curated by the instructor.

Elective

This course serves as an introductory exploration into enduring legacies, cultural evolution, and critical analysis of the moving image, encompassing film, animation, and video. With an emphasis on interrogating prevailing forces, structures, and terminology historically associated with these forms, the course aims to question and deconstruct prevailing modes of thinking and making in the medium. It also fosters a space for new perspectives, counter-histories, narratives, and abstractions to emerge in the context of cinema, the moving image, and time-based media.

The course does not merely focus on formal aspects; instead, it delves into a comprehensive examination, analysis, and questioning of how the formal elements and conventions in film actively shape both the functionality of the films themselves and the themes they depict. Questions before each screening prompt active viewing and discussion.

With a significant emphasis on the intersections between cinema and contemporary art practices, we will screen films representing different styles and periods of filmmaking, video art, and animation. Students will develop a shared language by learning the meaning and appropriate usage of common film terms, as well as considering the histories and values that gave rise to them.

Through screenings, lectures, visiting artist presentations, discussions, readings, and assignments, students will expand and deepen their understanding of 'cinema' and the moving image, develop conceptual tools for analyzing time-based imagery and sound, and begin to create direct links between film history and analysis and their studio practices.

Please contact fav@risd.edu for permission to register.

Major Requirement | BFA Film/Animation/Video