This course introduces the students to methods, materials, and manufacturing processes that translate design activity into finished goods. A significant portion of downstream design activity is devoted to manufacturing issues - the techniques by which materials are selected, shaped, and then assembled. Students will be evaluated based upon success of weekly field study research assignments and a final exam.

Major Requirement | BFA Industrial Design

You will be introduced to the fundamentals of footwear design and construction based on two different shoe styles: pump/court/slip-on and derby. During that first project you will develop skills for working with a last, pattern making, sewing, construction and finishing techniques. These skills will be applied to a second project of your own choosing and design. You will gain general understanding of the parameters of the last and its correlation to feet and pattern-making. You will gain general understanding of footwear production. From Sketching demo to Spec Specification Sheet Overview to different construction techniques applied. You will acquire a general understanding of footwear construction and terminology. You will learn basic pattern making skills and how to develop your own ideas/styles using the skills acquired. You will acquire skills necessary to work with the tools/machines on hand (knives, sewing machine, lasting pliers etc.) You will develop the skills necessary for constructing basic cemented footwear from start to finish, applying it to different styles. You will learn about materials used in shoemaking, in particular leather, but also alternative materials. For the second half of the semester (final project) you will apply and experiment using techniques/skills learned on a style of your choosing, incorporating your personal skill set to design and build your own unique footwear project (either a pair or two singles).

Elective

Is there are right way to design and a wrong way? In this studio, we will explore that question as we forge new paths to creativity by dissecting and rebuilding the design process itself. We will be questioning everything about how we design: purposely doing things “incorrectly”, borrowing approaches from unrelated disciplines and drawing inspiration from fellow creative makers in the animal and vegetable kingdoms. We will then put everything back together and test our newly minted design methodologies by creating new objects.

As a point of departure, we will explore our current design process through three experiments to test how our design process impacts our designs. In the second part of the semester, we will each build a newly constructed design process and then use it to address a concern of our choice through design. Throughout the semester, we will be working in both groups and individually, with inspiration from the Nature Lab, the RISD Museum and a few short readings.

If you want to be partners in your learning, if you are interested in both a bird’s-eye-view of design and hands-on, no-limits experimentation, this is the studio for you!

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

Designing Process: From Exploration to Application approaches design through a hands-on investigation of material properties and fabrication techniques in primarily wood. This studio is structured as both a material and process-based exploration as well as a professional bridge into collection development, business strategy, and market readiness with respect to handcrafted functional objects. Students will first engage deeply with advanced woodworking techniques, explore form and materiality through process, and employ a design-for-production mindset to bridge the gap between free exploration and focused application. Formed in collaboration with Alyssa Gerasimoff (FD’20) founder of design marketplace Erria, students will be introduced to strategies for positioning, communicating, and marketing their work, and will be paired with established Erria makers for one-on-one creative and career mentorship.

This class builds upon the department’s wood curriculum and as such Wood II (ID 2453) is required to take this class.

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

In “Designing Food” students will explore the product development process through an edible lens. Students will learn to design food-based products ranging from fine dining tasting experiences to sensory experiments to traditional packaged products. With an emphasis on material exploration and iterative design, students will identify opportunities surrounding undervalued ingredients and examine how design fits in a culinary landscape. We will practice iterative making with frequent group tastings and discussions to perfect form, formulation, and process. Through the semester we will host visiting industry experts including chefs, food entrepreneurs, and botanists to explore the material, ecological, economic, and interpersonal power of food product design.

The two main assignments that run-in tandem throughout the semester are The Iteration Project and The Hero Ingredient Project. The first is an individual assignment where each student will choose one dish they wish to perfect. They will prepare the dish multiple times for their class with tastings, evaluations, and close documentation. The Iteration Project culminates in a final tasting showcase and a finished Food Journal documenting the journey. The Hero Ingredient project is a group assignment where students will research and choose an edible material or ingredient with vast design potential. They will investigate and test that material with the goal of discovering its full and perhaps hidden expressions and creating a product that leverages its unique characteristics. Past projects have included fine perfume, restaurant concepts, high fidelity packaged goods, material libraries, and fine dining experiences.

Other assignments will include short in class exercises and individual research. Class will often center around group discussions on various parts of food systems, with weekly dialogs around assigned readings and videos.

Learning objectives include strengthening critical thinking and opportunity identification abilities, honing user research skills, understanding culinary benchtop formulation and processes for manufacturing, navigating group work, and strengthening communication and presentation skills. This studio is focused on sharing so bring your voice and your appetite!

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

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

For millions of people, work takes place in shared spaces (i.e. offices) dedicated to bringing people together to pursue a shared goal. The way we experience work has constantly evolved throughout history due to technological advancements and cultural influences. The way we address work has changed with the increased awareness of the impact of work on the health of individuals, environmental change, and societal change. With the recent dramatic shift in the modality of work and intensified economic disparities brought on by the global pandemic, the world needs new experiments and explorations in how we work.

This class will investigate the past, present, and future of work. We'll examine the history, the evolution, and the changes that have taken place in the workspace. We'll redefine what work means by understanding human needs and behavioral motivations. Students will identify opportunities for current work trends and work speculatively into the future, pushing boundaries of what exists today. Students will also discuss the role and responsibility of designers to build a more inclusive and ethical future of work. This class consists of lectures, intensive research, field trips, experiments, prototyping, collective projects as well as independent projects.

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

The majority of manufactured objects today rely on precision CNC machining in some form, either directly or indirectly. Many high-value, low-volume products are produced through direct machining, while high-volume, low-value products are typically made using molds, dies, and tooling that were themselves created through CNC processes. In either case, objects must be designed with machining in mind.

This studio explores the possibilities that emerge when subtractive fabrication is treated not simply as a method of production, but as a design framework. Working with CNC milling and routing processes, students will investigate how form emerges through material removal, and how considerations such as tool geometry, cutting strategy, fixturing, surface finish, and tolerances shape both the possibilities and limits of manufactured objects.

Through a series of projects, students will develop an understanding of machining as both a conceptual and practical tool for production, using its logic and constraints as a generative starting point. Projects will involve both direct machining and indirect production through molds, patterns, and tooling, examining what it means to design for machining, how machines, tools, and materials influence form, and how subtractive processes can be combined with other methods of fabrication to expand the range of object possibilities.

This course is designed for students interested in moving their work into production, whether independently or in collaboration with manufacturers, where communicating intent and navigating the transition from design to production are essential.

Autodesk Fusion will be the primary CAD/CAM application. Prior 3D modeling experience is recommended but not required.

This class builds upon the department’s metal curriculum and as such Metals II (ID 2452) is required to take this class.

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

Graduate Thesis Communications I is a studio course run in parallel with our sibling studio course which focuses on design research methods. Together, we will spend the fall semester casting about, planning and prototyping towards some kind of design proposal or product for execution in the spring. We think about writing in two ways. First as a design tool and second as a communication tool. On the tool for design side, we think about the many ways that writing can help clarify and quickly test out ideas. We think about writing as a form of rapid prototyping alongside sketching, model making, etc. We talk about what writing is good at, when other methods might be more useful, and when to combine methods. We use writing to help clarify and crystalize the thesis plan. On the communication side, we think about the many ways that writing surrounds a designed object (as a proposal, as sales copy, as instructions to users, as specs for manufacture, as criticism, etc.). We think about the audiences for those various kinds of writing and how to think about what they want and need. We talk about the thesis as a tool for explaining the design but also as a tool for helping you advance your career goals. At the end of the course, you will have a partially complete draft of your thesis. which will set you up for an excellent spring.

Enrollment in this course is limited to Graduate Industrial Design Students.

Major Requirement | MID Industrial Design

Graduate Thesis Communications I is a studio course run in parallel with our sibling studio course which focuses on design research methods. Together, we will spend the fall semester casting about, planning and prototyping towards some kind of design proposal or product for execution in the spring. We think about writing in two ways. First as a design tool and second as a communication tool. On the tool for design side, we think about the many ways that writing can help clarify and quickly test out ideas. We think about writing as a form of rapid prototyping alongside sketching, model making, etc. We talk about what writing is good at, when other methods might be more useful, and when to combine methods. We use writing to help clarify and crystalize the thesis plan. On the communication side, we think about the many ways that writing surrounds a designed object (as a proposal, as sales copy, as instructions to users, as specs for manufacture, as criticism, etc.). We think about the audiences for those various kinds of writing and how to think about what they want and need. We talk about the thesis as a tool for explaining the design but also as a tool for helping you advance your career goals. At the end of the course, you will have a partially complete draft of your thesis. which will set you up for an excellent spring.

Enrollment in this course is limited to Graduate Industrial Design Students.

Major Requirement | MID Industrial Design

During this course, we will explore mobility design through the examination of natural environments, systems, processes, and organisms, with the intent to design a more circular and less harmful human-planet relationship. Students will embark on a creative and rigorous exploration of various biodesign methodologies, including the biomimicry design tools put forth by the RISD Nature Lab, as pathways toward innovative materials, products, manufacturing methods, services, and experiences. These materials and methods will be placed in context to support the Hyundai Motor Group’s research on the future of mobility, creating design solutions that demonstrate our discoveries’ real-world applications and potential impacts.

Particular focus will be placed on advanced research techniques, such as microscopy imaging, 3D scanning, material & process development, quantitative experimentation & testing, consultation with scientific experts, and referencing scientific research.

The advanced studio curriculum and assignments will provide structured support for a deep dive into student-directed biodesign research. Bi-weekly demos build the technical skill set students need, including a further exploration of biomaterials, generative modeling, AI workflows & ethics, additive manufacturing, life cycle analysis, experiment design, public speaking, and product photography. Guest lecturers and reviews will provide bi-weekly feedback and guidance in addition to that of the teaching team. Frequent check-ins support students in their larger research arc, including a focus on broader design frameworks of Design Justice and user interviews. Throughout the semester, students will have the opportunity to have their work reviewed and critiqued by designers and engineers at Hyundai Motor Group (Hyundai, Kia, & Genesis). The final outcome of the semester will be students’ documentation and write-up of their research process and outcomes, which will remain in the Regeneration Studio online archive, as well as an advanced and functional prototype. The final review for this course will also include student presentations to design leadership at Hyundai Motor Group.

A close partnership with the RISD Nature Lab and the ID Department will provide access to the expertise and equipment necessary to complete student-driven research topics. This course features a series of guest lectures, field trips, and demonstrations throughout the semester to provide insight into the quickly expanding field of biodesign and regenerative design.

Elective

During this course, we will explore mobility design through the examination of natural environments, systems, processes, and organisms, with the intent to design a more circular and less harmful human-planet relationship. Students will embark on a creative and rigorous exploration of various biodesign methodologies, including the biomimicry design tools put forth by the RISD Nature Lab, as pathways toward innovative materials, products, manufacturing methods, services, and experiences. These materials and methods will be placed in context to support the Hyundai Motor Group’s research on the future of mobility, creating design solutions that demonstrate our discoveries’ real-world applications and potential impacts.

Particular focus will be placed on advanced research techniques, such as microscopy imaging, 3D scanning, material & process development, quantitative experimentation & testing, consultation with scientific experts, and referencing scientific research.

The advanced studio curriculum and assignments will provide structured support for a deep dive into student-directed biodesign research. Bi-weekly demos build the technical skill set students need, including a further exploration of biomaterials, generative modeling, AI workflows & ethics, additive manufacturing, life cycle analysis, experiment design, public speaking, and product photography. Guest lecturers and reviews will provide bi-weekly feedback and guidance in addition to that of the teaching team. Frequent check-ins support students in their larger research arc, including a focus on broader design frameworks of Design Justice and user interviews. Throughout the semester, students will have the opportunity to have their work reviewed and critiqued by designers and engineers at Hyundai Motor Group (Hyundai, Kia, & Genesis). The final outcome of the semester will be students’ documentation and write-up of their research process and outcomes, which will remain in the Regeneration Studio online archive, as well as an advanced and functional prototype. The final review for this course will also include student presentations to design leadership at Hyundai Motor Group.

A close partnership with the RISD Nature Lab and the ID Department will provide access to the expertise and equipment necessary to complete student-driven research topics. This course features a series of guest lectures, field trips, and demonstrations throughout the semester to provide insight into the quickly expanding field of biodesign and regenerative design.

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.

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.

Major Requirement | BFA Industrial Design