Our explorations in this interdisciplinary workshop will center around the interplay of image and text, particularly in film and video. We will tend to the space between words, between images, the movements from one to another, what’s alive in the cracks. How might poetic devices translate to film? How might film theory inspire our writing? What are the myriad ways text, voice and image can layer and entwine?

This workshop is for students interested in practices that live and migrate between moving images and language art. Together we will consider essay films, cinepoetry, video art, installation and live performance. Class time will include screenings, discussions of texts by artists, poets and film theorists, and open-ended prompts for individual and collaborative experiments. No prior experience is necessary, only a desire to engage deeply with films and writing, experiment with new forms and media, and create in thoughtful community.

Elective

The Beginning Poetry Workshop is an elective course introducing students to the art of poetry writing. The course sequentially addresses major commitments of poetry including form/content, sound, line, voice, image, language(s), tradition/convention, experiment, audience, revision, performance, collection, publication, and distribution. Workshop is the heart of the course, animating the practice, discourse, critique, audience, community, and mentorship vital to poets. Every class will also include close reading, discussion of assigned texts, and writing. We will attend public readings, curate and participate in community readings, and welcome poets to our class, when possible. Work can be developed in a range of styles, traditions, and languages. You will leave this class with a collection of workshopped and revised poems, which you will design, self-publish, and distribute in print and/or digital form.

This course is a prerequisite for LAS E421 - Advanced Poetry Workshop in the Spring.

Elective

The playwriting workshop is an introduction to the basic principles of scriptwriting for live performance. Students will examine the form as a storytelling technology, an intervention, an act of embodied vandalism. We will collectively ask: How do you spawn an idea? How do you construct dialogue on the page? Through rhythm, intent, given circumstances? How do we shape that dialogue into character? Narrative? Alongside dramatic action, how do we construct the physical and fictive environments for story to occur? This class intends for the writer to celebrate excess and work from a point of textual abundance. Students will write and write, then take on the roles of sculptor, carpenter, and architect in order to leave the class having developed a single play. Functioning as both a seminar and workshop, the course will introduce students to a variety of play forms by writers including: Aleshea Harris, Reza Abdoh, Guillermo Calderon, Tim Crouch, Sophie Treadwell. We will use these plays to build a toolkit of generative strategies and address writing as a physical task that seeks a three-dimensional home.

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

The stuff of myth, lore, literature, and cinema, the tender in parts-fraught in others equation between mothers & daughters has spawned art across centuries. And this writing workshop! Welcome to Mothers & Daughters: It’s a Complicated Narrative, where we will read, analyse, and create writing that dives through the heart of this relationship. We will be reading poems, stories, essays, and graphic narratives, look sideways at cinema and television, and examine scholarly material, to consider how mothers & daughters have committed the relationship to art. We will study how authors explore the sharing of space, gender roles and expectations, body and witnessing, and intergenerational trauma in contemporary literature and undertake writing of parent-child relationships. The class will include analysis by way of reflection essays, writing in poetry, fiction/graphic narrative, nonfiction modeled after our readings, and lively classroom discussion.

Readings may include “Motherhood & Daughterhood” by Adrienne Rich, excerpts from The Homeric Hymn to Demeter, Sophocles' Electra, Annie John by Jamaica Kincaid, The Bluest Eye by Toni Morrison, My Name is Lucy Barton by Elizabeth Strout, The God of Small Things by Arundhati Roy, Detransition, Baby by Torrey Peters, The Carrying by Ada Limon, Ladybird dir. by Greta Gerwig, Are You My Mother? by Alison Bechdel, and poems by Diane Seuss, Dorothy Chang, Preeti Vangani, Ishle Yi Park, Taylor Byas.

Elective

In this forward-thinking course, we will explore the potential of GPT-4 as a catalyst for extending and enhancing literary consciousness. As artificial intelligence reshapes the landscape of language and literature, we will consider how GPT-4, with its advanced generative capabilities, can serve as a creative collaborator in the writing process, pushing the boundaries of human imagination and storytelling.

Students will engage with a range of texts and theories to better understand the implications of AI in the realm of literary art. We will examine the ethical, aesthetic, and critical considerations of collaborating with AI, while also assessing how GPT-4 can help writers tap into new perspectives, styles, and techniques. Throughout the course, students will work on a series of creative assignments that involve both human and AI-generated content, learning to strike a balance between their own instincts and the generative power of the machine.

By the end of the course, students will not only develop a deeper understanding of the potential for human-AI collaboration in literature but also gain valuable insights into their own creative processes. They will be equipped with the knowledge and skills to navigate and contribute to the ongoing conversation surrounding the role of AI in language art. The course will culminate in a final project, which may be a creative work, critical analysis, or research paper, showcasing the student's engagement with the literary possibilities and implications of the GPT-4 era. Topics to be covered in this course include:

• The history of writing technologies and their impact on human consciousness

• The history and development of GPT-4 and the implications for literature and language art

• Strategies for effectively guiding and refining GPT-4-generated content

• Exploring different genres and forms of writing with AI assistance

• Ethical considerations in human-AI collaboration and authorship

• The future of collaborative writing with advanced AI systems

Elective

This course introduces students to ways of thinking comparatively, through interrogating the very terms "global," "arts," and "culture." What constitutes the "global" and what are the implications of such an all-encompassing framework? For instance, what economic, political, and cultural processes can be understood as global? What forms of art are legible as having global stakes or speaking to universal concerns? Who gets to be part of the "universal" and why? This course will specifically examine the "global" acclaim of films such as Akira Kurosawa's Rashomon (1950), Federico Fellino's 8 1/2 (1963), Alejandro Jodorowsky's The Holy Mountain (1973), Bong Joon Ho's film Parasite (2019), Céline Sciamma's Portrait of a Lady on Fire (2019), and novels such as Toni Morrison's Beloved (1987), and Han Kang's The Vegetarian (2007). Critical Globalisms emphasizes the development of broad theoretical perspectives within which students can analyze their own archive of and interventions in "global arts and culture." The course will run as a seminar with weekly reading assignments, regular writing assignments, and in class discussion.

Elective

 This course will examine cinema as a culture text to be read for its various meanings: formalist through socio-ideological. As such, it will also introduce students to the basics of formalist film analysis, from editing techniques to sound production. We will focus on perhaps the best cultural and cinematic movement for critical inquiry: Surrealist cinema. While cinema was only one of many arts utilized by the 20th century surrealists (in Paris and elsewhere), it was clearly the most fetishized and experimented with of all the various enactments of the movement, becoming the ultimate surrealist “dream” experience as Andre Breton and others commented throughout the movement’s main decades (1920s and 30s). What fascinated the Parisian surrealists was the “otherness” of the cinematic experience, and they approached film as the perfect medium for producing a communion with otherness (alterity) and for subversion of bourgeois European culture that, in their eyes, had left Europe and the World only violence and colonial dominance. Film became, therefore, the link between not only surrealism’s formal experiments but also its decolonial tendencies. Such postcolonial crossroads also intersect with surrealism’s other fascination with otherness: feminism and the subversion of heteropatriarchy. And hence, surrealist film becomes the perfect mode for the critical study of modernisms both in Europe and in the Global South, and for the study of alternative forms of artistic and cultural vision. This course will center its studies upon these frames for a revision of surrealist film: formal experiment, modernisms and decolonial resistance, and radical reworkings of identity. To do so, we will begin with the ending: Afrosurrealism and “Black” surrealism in the Global South, and then work backwards to Parisian Surrealism (and Dada) and its developments particularly in the films of Jean Cocteau and Luis Bunuel. We’ll end the course with a look back “out” at postcolonial surrealisms (Marvelous Realism and Magical Realism) and avant-garde cinema at the crossroads, from American avant-garde to global.

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 core studio stresses middle scale landscape architectural design. A series of studio problems will explore urban public spaces. Students will endeavor to represent contemporary cultural and ecological ideas in land form. There will be an emphasis on constructive strategies, the use of plants in design and methods of representation.

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 introduces students to the material properties of wood, metal, stone, concrete and soil. Through material experiments, hand drafted material details, 1:1 construction and material case studies, students will gain experience working with the materials to understand the inherent constraints and opportunities of each material. In addition, a series of field trips will help students understand the geographies of material extraction and the processes of assembly and installation.

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

Major Requirement | MLA-I Landscape Architecture

This class will explore the botanical, horticultural and ecological aspects of plants and plant communities. Through lectures and field trips, students will become familiar with the form, physical qualities, identifying characteristics, seasonal aspect, preferred growing conditions, native habitats and ecological function of common plants of New England. In addition, lectures will focus on contemporary ecological theories around disturbance ecology and ecological succession to gain an understanding of how designers can work with these forces to shape landscapes over time.

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

Major Requirement | MLA-I Landscape Architecture

This course will explore the use of plants as a design medium while balancing the horticultural considerations. There will be analyses of existing gardens, field trips, and the creation of schematic and detailed planting plans for different types of sites. Topics such as seasonality, texture, color and form will be discussed.

Open to Landscape Architecture Students only.

Registration by the Landscape Architecture Design Department; this course is not available via web registration. Please contact the department for permission to register.

Major Requirement | MLA-I Landscape Architecture

This seminar addresses advanced problems in landscape construction, materials, and site engineering. In this class, students will be asked to apply their knowledge of landscape technologies and materials gained from earlier classes into an abbreviated technical drawing set. Through the drawing set, students will gain an understanding of the different stages of design including; concept development, schematic design, design development, and construction documentation. This project will become the basis for understanding the how details and materials develop and change throughout the pre-construction process.

Enrollment is limited to Landscape Architecture Students only.

Major Requirement | MLA-II Landscape Architecture

All entering Landscape Architecture students are required to participate in the department's four-week preparatory summer program in design fundamentals and field ecology. This course parallels similar ones being held for new students in other departments within the Architecture and Design Division. The design fundamentals component of the program is intended to provide the methodological and theoretical framework for RISD's Landscape programs and initiates discussion of design making and critique necessary for the more specialized studio work that follows. The summer course, in preparation for this, builds a basic design language, familiarity with tools and materials, and 2 and 3-dimensional skills that will be needed immediately upon entering the studio sequence. The field ecology component of the summer program places basic design discussions within the context of landscape-based practice. It is intended to build awareness of ecological issues (using southern New England as a case study), facilitate the ability to interpret the landscape and the nonhuman and cultural forces which have shaped it over time, and foster an environmental ethic. This segment of the program is critical for building a knowledge base and a philosophical framework within which future design efforts may be evaluated. The summer program offers a unique opportunity to engage classmates and faculty in a focused discussion of design-related issues which can be sustained over the course of one's studies. The course meets five days a week (including some weekends).

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

Major Requirement | MLA-I Landscape Architecture

All entering Landscape Architecture students are required to participate in the department's four-week preparatory summer program in design fundamentals and field ecology. This course parallels similar ones being held for new students in other departments within the Architecture and Design Division. The design fundamentals component of the program is intended to provide the methodological and theoretical framework for RISD's Landscape programs and initiates discussion of design making and critique necessary for the more specialized studio work that follows. The summer course, in preparation for this, builds a basic design language, familiarity with tools and materials, and 2 and 3-dimensional skills that will be needed immediately upon entering the studio sequence. The field ecology component of the summer program places basic design discussions within the context of landscape-based practice. It is intended to build awareness of ecological issues (using southern New England as a case study), facilitate the ability to interpret the landscape and the nonhuman and cultural forces which have shaped it over time, and foster an environmental ethic. This segment of the program is critical for building a knowledge base and a philosophical framework within which future design efforts may be evaluated. The summer program offers a unique opportunity to engage classmates and faculty in a focused discussion of design-related issues which can be sustained over the course of one's studies. The course meets five days a week (including some weekends).

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

Major Requirement | MLA-I Landscape Architecture

This course develops the different levels of dexterity and control in the construction of architectural drawing. The pedagogy allows for students to build a basic understanding of orthographic drawing typologies and traditional drawing methods while preparing them for more complex hybridized drawing methods. A parallel segment of the course addresses freehand representation, developing observation and translation tools necessary to design. Through these multiple approaches, drawing is developed as a tool to transform conceptual ideas into tangible form. The class will be taught as a series of lectures that discuss both why and how we draw accompanied by skill building workshops.

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

Major Requirement | MLA-I Landscape Architecture

This seminar builds on the class Material Logic to investigate and test landscape materials and construction methods with an emphasis on prototyping and digital fabrication. Students will learn to take an idea from concept to prototype to 1:1 construction. Through research, lectures, and site walks, this course will build student's understanding of current landscape construction methods and ask them to develop new materials and assemblies to respond to specific site and design considerations. Through exercises, students will advance their CAD and Rhino skills, as well as learn how to prototype ideas through the use of 3D printers and CNC machine.

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

Major Requirement | MLA-I Landscape Architecture

This seminar will bridge the foundations of landscape theory, research, and design methods in order to frame a process for students to examine contemporary issues in landscape architecture and define research questions that would contribute to creating new knowledge in the field. The course will include guest lectures from practitioners creating a body of research in the field. This seminar initiates the thesis process by asking students to formulate their own proposals for research through design.

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

Envision Resilience Challenge: Lewiston-Auburn, Maine

Surella Segu (ARCH) / Elizabeth Hermann (LDAR) / Jonathan Bell (INTAR)

The 2026 Three Architectures ‘Superstudio’ is the first of what has been proposed as an annual advanced elective studio to be shared by the three Architecture departments:

Architecture (ARCH), Landscape Architecture (LDAR) and Interior Architecture (INTAR).

The focus is on urban issues and rethinking the city in light of climate impacts and social and environmental justice issues - including issues of food sovereignty, equitable access to resources, affordability in housing, walkability, sustainable practices, urban heat island effects, and flooding. The purpose of this interdisciplinary studio is to address these issues through a multidisciplinary lens and a framework of collaboration - all skills that are needed to engage in an impactful practice. 2026 also offers an opportunity to partner with the New England-based organization Envision Resilience whose signature Challenge is an annual place-based, multi-university design studio that takes place in communities at the forefront of climate challenges throughout the Northeast. The Lewiston-Auburn, Maine twin city area is the subject of the 2026 Challenge and invites students to engage technical, ecological and social systems simultaneously, and to consider integrated design strategies that respond to the lived realities of this urban area and it’s rich mixture of 19 th -century French Canadian immigrants and more recent arrivals from Somalia and other African nations, while envisioning more resilient futures for all. A number of questions guide this investigation:

• What does climate resilience look like for an inland, post-industrial city?
• How might the Androscoggin River, its canals and surrounding farmlands become connectors rather than barriers—ecologically, socially and spatially?
• How can adaptation strategies also advance housing stability, food security, environmental justice and economic opportunity?
• How can a city support agricultural uses in the context of a changing climate, increasing development pressure and growing demand for locally produced food?
• How can design help make futures that are not only safer, but more hopeful, tangible and shared?

The course is open to upper-level undergrads and graduate students.

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