rgb11: risd grad book 2011
DESCRIPTION
The catalog for the 2011 RISD Graduate Thesis show includes images and statements related to thesis work for each graduate.TRANSCRIPT
R I S DG R A DB O O K2 0 1 1
R
GB
11
RGB 11
graduate student alliance executive board
Arianne Gelardin LDAR ’11, RISD Grad Book 2011 EditorJason Huff D+M ’11, PresidentScott MacDonald LDAR ’11, Vice PresidentDylan Greif GD ’12, Communications Director
editorial team
Graduate Student Alliance Executive BoardDiana Mangaser M.Arch ’12
Phoebe Stubbs Glass ’11
design team
Lindsay Kinkade GD ’10, Book Designer, Zine Workshop Facilitator
Mimi Cabell Photo ’11, Photographer
advisory board
Patricia C. Phillips, Dean of Graduate StudiesJennifer Liese, Director, risd Writing CenterBethany Johns, Graduate Program Director, Graphic DesignAmy Patenaude, Administrative Assistant, Graduate StudiesDon Morton, Director, Office of Student Life
© Copyright 2011, Rhode Island School of Design
Images of individual student work are courtesy of the artists and designers,
or, as noted, by Mimi Cabell. All graduate exhibition installation photos are
by David O'Connor, except that on page six, which is by Dimitry Tetin. Images
from the zine workshop are by Lindsay Kinkade.
RGB11 is typeset in Prensa, designed by Cyrus Highsmith, and Klavika, designed by Eric Olson.
Catalog printed by Signature Printers in East Providence, Rhode Island, on 80 lb. Lynx opaque white paper. Zines printed by Allegra Thayer Street on Wausau Astrobrights paper. Boxes constructed by The Custom Box Company.
RISD Grad Book 2011
RGB 11
17
23
31
39
47
Editor’s Note
Not Necessarily and Not Forever ...
Go Back!
The Activist-Entrepreneur
Graduate Work
ARIANNE GELARDIN
PATRICIA C. PHILLIPS
NAOMI FRY
KELLER EASTERLING
18
Editor’s Note
AR
IAN
NE
GE
LA
RD
IN
In 2010-2011, the Graduate Student Alliance
(gsa) at Rhode Island School of Design
appeared to be a group of overachieving, out-
spoken, highly organized, and efficient social
gluts who enjoyed fantasizing about the utopic
future of risd. Behind the scenes, however,
they were simply a group of graduate students
joined together by a shared concern for
the quality of their education. Their official
roles — President, Vice President, etc. — were
often extended to support one another’s tasks
as needed. This proved to be the key to their
success; no one ever felt abandoned in his or
her effort to engage the student body in open
studio events, to gather feedback on school-
wide issues, or to collect submissions for this
very publication.
Zine workshop ephemera.
Last September the GSA identified some difficulties with the Process Book, the precursor to this publication, the RISD Grad Book 2011 (RGB11). How can one book represent the attitude, the aesthetic, and the material process of so many students within and across 16 disciplines? Despite risd’s commendable reputation for teaching a heavily labored process of making, the Process Book was challenging in that students were hesitant to reveal work in its varying states of pre-maturity. Furthermore, to identify and declare cross-disciplinary groupings of process inevitably ran the risk of false or superficial categorization. How can we determine and organize patterns in thought, action, and object?
In reevaluating the process of the book itself, our team concluded that with all the energy required to fulfill the democratic intentions of this ambitious production—and in the midst of our own Master’s thesis projects—we needed a fleet of additional manpower. Lindsay Kinkade (gd ’10), who was selected to design the book, lives and breathes collaboration. Upon her initiative and in line with the goal of
How can one book represent the attitude, the aesthetic, and the material process of so many students within and across 16 disciplines?
21collective authorship, we developed a series of activities, workshops, and frameworks within which students could input the content of their choosing. Departmental zines were cut, pasted, and photocopied by the students themselves. Writing workshops and group-editing sessions were held to catalyze the submission of artist statements. Respected faculty were called upon to advise our design, content, and production strategies.
In determining how to organize our collected content into a cohesive book form, we scrutinized new and old publications for inspiration. Aspen magazine and Dave Eggers’s McSweeney’s offered examples where a range of articles and authors are represented in a trove of smaller booklets, posters, vinyl, and film reels. Marshall McLuhan’s Unbound and Stefan Sagmeister’s Things I have learned in my life so far suggested to us the serializing of collections of creative work. These models supported our belief that the RGB11 couldn’t be an individually authored book; it had to offer its participants the agency of choice. Thus, in these pages an exhibition catalog indexes the work of the Master’s theses, the culmination of two or three years of intensive focus, accompanied by written statements. The collection of raw and unedited department zines that is the other half of this boxed set further elicits the idiosyncrasies of its makers.
22 The RGB11 would not exist without the unwavering support of the Faculty Advisory Board: Patricia C. Phillips, Dean of Graduate Studies; Jennifer Liese, Writing Center Director; Bethany Johns, Graduate Program Director, Graphic Design. Don Morton, Office of Student Life Director, generously offered positive feedback and financial wisdom. Amy Patenaude, Administrative Assistant, Graduate Studies, was forever patient with our endless questions and requests.
The Editorial Team — Diana Mangaser (m.arch ’12), Phoebe Stubbs (glass ’11), and the gsa Executive Board—proved indispensable in the editing of 150+ artist statements. Mimi Cabell (photo ’11) was outstanding in her documentation of the risd 2011 Graduate Thesis Exhibition. Mark Moscone, Director of Exhibitions, is greatly appreciated for producing excellent public platforms for student work.
To complement the work of the 176 featured graduate students, we invited three well-seasoned individuals to write contributing essays for the exhibition catalog. Patricia C. Phillips’s essay, “Not Necessarily and Not Forever… ,” bridges the inquiries of a risd Master’s student with the expansive discourses of art and design. In “Go Back!,” Naomi Fry playfully illuminates the transitional moment between educational and professional life. Keller Easterling’s “The Activist-Entrepreneur” provocatively explores emerging roles for artists and designers.
23The gsa Execs showed incredible dedication to the RGB11. Jason Huff (d+m ’11), President; Scott MacDonald (ldar ’11), Vice President; and Dylan Greif (gd ’12), Communications Director, were the three greatest cheerleaders for the book. They always exceeded the call of duty by rolling up their pink sleeves, putting pen to paper, picking up the phone, or cooking a meal to help feed the project.
In the words of Mike Gunderloy, author of How to Publish a Fanzine (1988), “Fun (and its corollary, Friends) is an almost certain outcome of self-publishing.” Talent cannot manifest in isolation. Do not underestimate the power of your peers.
Arianne Gelardin received her Master’s in Landscape Architecture from Rhode Island School of Design in 2011. She is a designer, writer, and editor who has worked on exhibition catalogues for the Whitney Museum of American Art and architectural books for William Stout Publishers. She is a recipient of the 2011 risd Graduate Studies Grant for her project D.CUrbY, an afterschool community design project in Providence.
Jacques Rancière, who, I believe, uses “artist”
to represent both artists and designers, writes:
“Artists are those whose strategies aim to
change the frames, speeds, and scales according
to which we perceive the visible, and combine
it with a specific invisible element and specific
meaning. Such strategies are intended to make
the visible invisible or to question the self-
evidence of the visible; to rupture given
relationships between things and meanings
and, inversely, to invent novel relationships
between things and meanings that were
previously unrelated.”
PA
TR
ICIA
C. P
HIL
LIP
S
Not Necessarily and Not Forever …
Still from Pinkish, a video by Phoebe Stubbs (glass ’11), in which a hand luxuriates in a pot of paint.
As artists, designers, critics, and writers we are chronically engaged in looking — back, ahead, across, around, up, under, and through. We constantly consider, if in an indirect and unacknowledged way, how it is we see, what something looks like — and why. In the third volume of Modern Painters, 19th-century theorist and educator John Ruskin writes: “The greatest thing a human soul ever does in this world is to see something and tell what it saw plainly. Hundreds of people can talk for one who can think, but thousands can think for one who can see.”
Admittedly and confessionally, I watch risd and, in particular, what goes on in graduate education at risd. What does it look like to be a graduate student here? How do learning and making work here look just like they would at any other school of art and design? What might be the subtle yet significant distinctions — and what do we conclude from these? Do we admire and seek to preserve these animating particularities or are they peculiar curiosities that generally remain out of sight or wisely out of mind?
Rainer Ganahl photographs and videotapes classes and seminars that he teaches at universities in Europe and the United States. In Reading Karl Marx (Warm Seas) (2001), he uses the lens of the camera to probe academic settings and conditions of learning to invite viewers to bear witness to patterns, anomalies, and enigmas in the politics of art and education.
As artists, designers, critics, and writers we are chronically engaged in looking — back, ahead, across, around, up, under, and through.
27The photographs serve as an active, introspective form of research, inquiring, prompting, and subtly revealing the salient question that inspires this work: “What does learning look like?” There is the conventional landscape of props on the seminar table: water glasses, pens and paper, and open books, presented in vertigin-ous angles with striking cropping. Students puzzle through dense and stubborn texts, hoping for a passage to yield insight and understanding. Others seem to have withdrawn and are missing in action. As striking as these images are, what making meaning looks like remains highly speculative.
Returning to Ganahl’s query, I add, “What does making look like?” What does designing a new way of thinking about design look like? Must there be something to see to know what something is? Recently, I worked with a graduate student on the subject of critique in design and art. We met weekly in my office at a round table, passed readings and observations back and forth, and shared thoughtful, if often inconclusive, conversations about this ubiquitous yet largely unexamined convention of art and design education. We have discovered that although there are countless texts on criticism in different fields, there is remarkably little written about the critique as a live, performative form of criticism persistently enacted — and re-enacted — in schools.
Looking at looking, theorist and art historian Irit Rogoff offers a provocatively unsettling proposition to culturally determined ways of seeing. In her essay “Looking Away: Participations in Visual Culture,”
28 she proposes an agency inferred in challenges to conventions of looking and looking another way — away. Rogoff asks, “What is it that we do when we look away from art?” By allowing ourselves to both look at and look away, are we “opening up a space of participation whose terms we are to invent”? For Rogoff, “looking away” challenges the conventions of participation with art and creates other ways of engaging in seeing — the “flows and ebbs of mutuality” and an attention to each other’s actions that leads to a “lived cultural moment.”
Rogoff invokes Hannah Arendt’s concept of “space of appearance” in her iconic The Human Condition (1958). Arendt describes the less formed and often ephemeral occurrences and appearances that shape our percep-tions of shared space and time. Arendt writes:
Unlike the spaces which are the work of our hands, it does not survive the actuality of the movement which brought it into being, but disappears not only with the dispersal of (people) … but with the disappearance or the arrest of the activities themselves. Whenever people gather together, it is potentially there, but only potentially, not necessarily and not forever.
Making art and design at risd looks like processes in radical transformation. If the spaces and conditions of art and design schools have not radically changed, the activities and behaviors — and how they appear —
29
I observe each and every day the ineffable and idiosyncratic, spontaneous and premeditated character of thinking with and through ideas that produces a “thick, situated making.”
are thrillingly unsettled. In the book visible: where art leaves its own field and becomes visible as part of something else (2010), sociologist Saskia Sassen sensi- tively describes art and design within a contemporary world that she partially sees, yet that remains undisclosed — obscure:
There are rumblings in … artworks that signal that there is much happening beneath the surface of our modernity. I see these rumblings in the tension between generic modernity that can be globally present and the thick, situated making … [that] allows us to see something that gets lost in the visual order … one marked by generalities and the generic.
At risd, I observe each and every day the ineffable and idiosyncratic, spontaneous and premeditated character of thinking with and through ideas that produces a “thick, situated making.” As vigilantly as I watch, I know that there are worlds I do not see. While I do not look away, I know I cannot always look in. I embrace the looking away and the not knowing that offer partial yet
30 compelling evidence of an emergent visual order. In her book Transforming Knowledge (2004), Elizabeth Kamarck Minnich writes:
There is always another way to turn an idea, another perspective on a phenomenon, a different conceptual approach to explore, a fresh and startlingly suggestive example to be taken into account. What seems settled one moment is unsettled again the next.
In risd graduate students’ intrepid work ethic, their independent intellectuality, their undaunted creativity, their fierce generosity, and their “attention to each other’s actions,” I see how risd’s conserving history cultivates its own emancipatory subversiveness. Each day I am a witness to this. To work to see. To see this work. This time at risd is “only potentially, not necess-arily and not forever,” but its vivid presence offers promising sightlines to the future.
Patricia C. Phillips, Dean of Graduate Studies at the Rhode Island School of Design, is a writer and curator. Her most recent book is Ursula von Rydingsvard: Working (New York: Prestel, 2011).
REFERENCES
Hannah Arendt, The Human Condition (Chicago: University of Chicago Press, 1958)
Angelika Burtscher and Judith Wielander (editors), visible: where art leaves its own field and becomes visible as part of something else (New York: Sternberg Press, 2010)
Rainer Ganahl and Craig Martin (editor), Reading Karl Marx (WarmSeas) (London: Bookworks, 2001)
Elizabeth Kamarck Minnich, Transforming Knowledge (Philadelphia: Temple University Press, 1990)
Jacques Rancière, Dissensus on Politics and Aesthetics (London: Continuum, 2010)
Irit Rogoff, “Looking Away: Participations in Visual Culture,” in After Criticism: New Responses to Art and Performance Gavin Butt (editor) (London: Blackwell Publishing Ltd, 2005)
John Ruskin, Modern Painters, edited and abridged by David Barrie (New York: Alfred Knopf, 1987)
31I see how RISD’s conserving history cultivates its own emancipatory subversiveness.
32
In an early scene from Cameron Crowe’s 1989
teen dramedy Say Anything the underachieving
protagonist, Lloyd Dobler, watches along with
the rest of his graduating class as his over-
achieving love interest, Diane Court, steps up
to the stage to deliver that year’s valedictorian
speech. Having taken some college classes as
a high school senior, Diane informs the crowd,
“We’re all about to enter the real world. But I
have something to tell everybody. I’ve glimpsed
our future, and all I can say is ‘Go back.’”
Go Back!
NA
OM
I FR
Y
A crowd on opening night next to Laura Swanson's Homemade Bull at the 2011 risd Graduate Thesis Exhibition.
34 To begin to discuss the significance and meaning of an advanced degree in the arts through the prism of an ’80s teen movie might seem idiotic, or at the very least inapt. For one, students who receive an advanced degree in art or design have already, by that point, progressed over a fair amount of trajectory; have jumped through increasingly demanding hoops that have included — for many — laboring in some capacity in or around the creative field of their choice. Nevertheless, the very notion of the Master’s degree — perhaps because it is commenced when most people are already neck-deep in the ongoing narrative of their lives, perhaps because it requires faith in the idea of education as advancement, despite various school-related disillusionments already incurred over the course of years — is still intertwined with the idea of future motion.
As inevitable as it is, however, this idea of futurity also unfortunately implies that the student and her work might emerge from her educational sojourn as a pack-aged, readymade thing. For two or three years, the risd Master’s candidate labors, building this and trying out that, the protective nature of the studio facilitating a unique period of play and experimentation. But as she nears that period’s end, the dread as well as the antici-pation remain: Will all this effort have a life outside the studio, outside the educational institution, or won’t it? Not to suggest that these concerns aren’t completely
35natural, and probably healthy as well: after all, there’s nothing essentially wrong with being ambitious, with wanting one’s endeavors to bear fruit beyond their native soil. The risk, however, is forsaking the explor-atory attitude that graduate school has helped engender, and choosing, instead, to become a hardened end product of the educational process, market-ready, with perfectly defined work in tow.
One thing that often helps retain the symbolic distinction between studio work and the market outside it is the literal geographic remove between the two, and this is something that the risd program is importantly animated by. When selecting a school at which to pursue a degree in art or design, that institution’s proximity to and distance from a so-called “major city” is necessarily calculated. And while this is more of a hunch on my part than a proven statement, I’d venture that this is at least one of risd’s multiple strengths, and what partly makes much of its students’ work
There’s nothing essentially wrong with being ambitious. … The risk, however, is forsaking the exploratory attitude that graduate school has helped engender.
A sense of grassroots-like agency flourishes at RISD, it seems, because of rather than despite the lack of a robust economy and a hectic metropolitan environment.
so interesting. While it’s quite near enough to bask in the reflected cultural influence of New York — the inarguable American hub of and market for art and (to a lesser degree) design-related endeavors — risd is still far enough from it to provide a safe haven in which to experiment, letting a student’s practice develop, shift, and loop back around itself at its own pace. The comparatively small scale of Providence as a city and as a market and the local community’s special interest in and appetite for student-driven endeavors also play an important role in shaping the unique risd experience. A sense of grassroots-like agency flourishes at risd, it seems, because of rather than despite the lack of a robust economy and a hectic metropolitan environment.
But how to retain this sense of freedom, playfulness, and unfettered discovery once school is over, and the three hours and twenty-six minutes from Providence to New York City on Amtrak’s Northeast Regional line shrink down — if only metaphorically — to nothing? For guidance, we might turn to the Victorian critic John Ruskin, who in his 1853 essay “The Nature of Gothic” draws an important distinction between instrumental production and humanistic creation. As Ruskin writes:
You can teach a man to draw a straight line, and to cut one; to strike a curved line, and to carve it; and
37
Perfection suggests repetition and stasis, while mistakes, reflection, and readjustments are the stuff of changeable, living art.
to copy and carve any number of given lines or forms, with admirable speed and perfect precision; and you find his work perfect of its kind: but if you ask him to think about any of those forms, to consider if he cannot find any better in his own head, he stops; his execution becomes hesitating; he thinks, and ten to one, he thinks wrong; ten to one he makes a mistake in the first touch he gives to his work as a thinking being. But you have made a man of him for all that. He was only a machine before, an animated tool.
It is this hesitation, I think, that is the essence of true education and development. And it is that which one might want to retain when leaving school and proceed-ing forth into the world. Perfection suggests repetition and stasis, while mistakes, reflection, and readjustments are the stuff of changeable, living art.
As Lloyd Dobler declares when asked by Diane’s father what his professional plans for the future are, “I don’t want to sell anything, buy anything, or process anything as a career. I don’t want to sell anything bought or processed, or buy anything sold or processed, or process anything sold, bought, or processed.” One way to avoid such a machine-like fate, as Diane suggests at the
38 beginning of the movie, is, indeed, to go back. Not as an acting out of an infantilized impulse, or as part of a willful disregard for the realities of the world around us, but rather as a choice: to remember what was especially messy and exploratory about the period that has just come to a close, and to retain that sense while attempting — still — to move forward.
Naomi Fry is a Brooklyn-based writer and editor. She has written about art, literature, and culture for the London Review of Books, Frieze, n+1, the Artforum and Bookforum websites, the Israeli daily Haaretz, and the contemporary art journal Paper Monument, at which she is also a contributing editor. She has taught at Johns Hopkins University and nyu, and in risd’s Digital + Media department.
39Remember what was especially messy and exploratory about the period that has just come to a close.
40
Anyone graduating from school wants to hear
stories. There are no formulas for success—
only stories about mixtures of good fortune,
accidental associations, and bright, clear ideas.
For the artist and designer, the stories often
characterize success in terms of careerist
self-construction and competition for celebrity.
Yet, as this year’s risd graduate students
demonstrate, more and more young artists and
designers are choosing instead to pursue the
artistic pleasures of the activist-entrepreneur.
KE
LL
ER
EA
ST
ER
LIN
G
The Activist- Entrepreneur
Working on the Glass department zine at an rgb11 workshop.
The role travels with some default assumptions. The entrepreneurial role, it is often assumed, will derive from some kind of commercial mediocrity. The activist role is often associated with the long-suffering provocateur who shows up at the barricades, border-crossing, or battleground, or the volunteer who works on a limited palette of programs (e.g. afford- able housing, emergency humanitarian efforts, or green architecture). The most restrictive and tragic activist endgames only offer two choices—refusal or collusion.
Yet young artists and designers, like those at risd, are side-stepping these defaults and learning new lessons from the entrepreneur about work in a political realm. While artists and designers frequently wish to make a singular, permanent, memorable masterpiece, entrepreneurs want the opposite, hoping instead that their objects and products, once introduced, will soon become obsolete. The artist/ designer is often attempting to reveal the self with a soulful object, while the entrepreneur is wondering what the other person wants. Within avant-gardist scripts, artists and designers often characterize their work in terms of inversion, yet these inversions have routinely been treated not as one in a series of innovations, but rather as an ultimate utopian shift that remedies all. Historic-ally, we are perhaps more enamored with absolutes and ideological supremacy than with the mysterious
The entrepreneur relies on a changing world that will accept multiple cycles of innovation, each introducing new wrinkles and ideas.
43pleasures of the market with its power to leverage and generate epidemic. We are more theological than entrepreneurial in this way. In contrast to the righteous activist, who imagines a somewhat more transcendent and singular moment of change, the entrepreneur relies on a changing world that will accept multiple cycles of innovation, each introducing new wrinkles and ideas. Entrepreneurs understand the power of multipliers— a contagion or germ in the market that compounds exponentially. Although they often create the utilitar-ian objects of everyday life, the best inventors and entrepreneurs are unreasonable, yet they also fore-ground something that almost already exists.
A fascination with the entrepreneur joins changing habits of mind in our own disciplines. Beyond an appreciation of the singularly authored object, the arts now more readily experiment with networks, performance, and what Jacques Rancière has called “aesthetic practices.” In The Politics of Aesthetics, Rancière develops an understanding of aesthetics that “does not refer to a theory of sensibility, taste, and pleasure for art amateurs.” Aesthetics cannot be codified as a set of guides or rules that culture carefully tends and maintains. Rancière focuses on those aesthetic practices that both “depict” and enact, that articulate “ways of doing and making.” Significantly, he does not discuss the aesthetics of politics, but the politics of aesthetics—the politics surrounding the reception of a work of art. He describes, for instance, not the pageant
44 of goose-stepping soldiers in a Zeppelin field, nor the aestheticizing of resistance as fervid disappointment. Rather, he writes about the way that the reception of art generates political activity. The arts can introduce not only singular objects with cultivated references, but also deliberate agents that move through culture, garnering responses beyond our control. When Rancière writes that he would “rather talk about dissensus than resist-ance,” he describes this interactive process that destabil-izes without squaring off in a fight over fixed principles. Nicolas Bourriaud’s notions of “relational form” and “relational aesthetics” only echo this intelligence although perhaps in response to the narrower field of selected media and installation work. For Bourriaud, art is a “state of encounter” rather than “the assertion of an independent and private symbolic space.” The relational aesthetics do not address outline or contour alone, but are rather expressions for a program of encounters in an active field.
In the broadest sense we might say that artists and designers are indulging in a fresh palette of active forms. Active forms are the forms that always partner with, propel, and sometimes even rescue object form. Active forms shape not the object but the way the object plays. They need not have anything to do with movement, but they are the infinitive to the noun. For instance, in Levittown, the consequential form was not the shape of the house but rather the active form that determined
45an almost agricultural sequence for building multiple slabs, frames, and roofs—a house as an assembly-line product. A vehicle or a component (e.g. elevator, car, floor, or wall system) that acts as a germ in a population of buildings is also an active form, building relation-ships between parts and determining the morphology of object form. Active form may be the script that determines how object form aligns with power to travel through culture. Perhaps most importantly, active forms have the capacity for slyness and discrepancy. As forms that are never named, their intentions are undeclared. They are not about what they say they are, but about what they are doing. Most artists and designers, indeed most powerful people in the world, would never turn down the chance to work with both object and active form. Yet, even though it is at least the other half of what we get to indulge in, we some-times puritanically deny ourselves the pleasures of active form and the political cunning that can ride within it.
The projects of risd graduate students, whether they engage social, political, or material questions, are part of a new seduction. There is great pleasure and relief in
There is great pleasure and relief in deploying political craft in the service of something other than self-regard, careerism, or righteous certainty.
46 deploying political craft in the service of something other than self-regard, careerism, or righteous certainty. The utopian and visionary can sometimes bring with them the deadening reconciliation of consensus, but the entrepreneur’s confidence game teaches us that the less resolute, rumored news might be more contagious. New objects of practice, redefined in a relational register, offer artists more power to leverage their own projects toward their own political goals. That relational register reflects the ability of global networks to amplify struc- tural shifts or repeatable moves. Whether or not schools of art and design are deliberately training young artists and designers in the artistry of active form, it is, none- theless, refreshing to see so many young makers already beginning to enjoy their powers.
Keller Easterling is an architect and writer from New York City and a professor at Yale University. Her book Enduring Innocence: Global Architecture and Its Political Masquerades (MIT Press, 2005) researches familiar spatial products that have landed in difficult or hyperbolic political situations around the world. A previous book, Organization Space: Landscapes, Highways and Houses in America, applies network theory to a discussion of American infrastructure and development formats. A forthcoming book, Extrastatecraft: The Art of Infrastructure Change, examines global infrastructure networks as a medium of polity.
47New objects of practice, redefined in a relational register, offer artists more power to leverage their own projects toward their own political goals.
Jewelry + Metalsmithing
Ceramics
Printmaking
Furniture Design
Landscape Architecture
Architecture
Digital + Media
Glass
GRAD- UATE WORK
Painting
Sculpture
Photography
Industrial Design
Textiles
Teaching + Learning in Art + Design
Interior Architecture
Graphic Design
/ Thesis and degree project titles appear at the bottom of each page.
Graduating students were invited to submit images and
statements about their work. Some students submitted only
images, others chose to submit only writing.
AFK P
U
BGL
QV
CHM
RW
DIN
S
EJ
TY Z
50
89
122
168
205
55
99
139
169
209
69
108
148
178
217
82
116
157
197
218
86
118
158
204
52
/ Arabish: The Cultural Transformation of the UAE
The cultural identity of the United Arab Emirates (uae) is in a
period of transformation. The country’s cultural costumes, habits,
and traditions are evolving and adapting to change. This change
is directly influenced by Western culture, especially mainstream
American culture.
The younger generation of Emiratis behave in a hybrid of both the
American and the Emirati cultures. They speak in English and Arabic
simultaneously. Their clothes have also become a fusion, mixing
traditional Emirati costumes with Western accessories.
In my thesis, I investigate the elements of the Arabish (Arabic &
English) culture of the UAE, its syntactic language, and its appearance.
GR
AP
HIC
DE
SIG
N /
SA
LEM
AL-
QA
SSIM
I
53
/ Memory Archive
My degree project pays homage to our risd graduate experience
by collecting and archiving students’ works, holding memories both
personal and social that can be shared with others. The archive
will function as a storehouse of objects and an exhibition space,
welcoming others to experience the collective spirit of risd. It will
capture our memories as we pass through this threshold, similar in
concept to a time capsule. As time goes by, students’ work will
contintue to accumulate and be stored, eventually becoming part of
our history. This space creates a body of knowledge that explores
the past and reflects and enlightens the present.
SAN
G H
EE AN
/ IN
TE
RIO
R A
RC
HIT
EC
TU
RE
54
/ Design Agency
The complexity of the social and environmental challenges we face
today calls for a new sense of agency in our practice—agency that is
more than simply a conviction to intervene.
Design Agency is an approach that challenges us to bring the same
level of accountability to our social practice as we do to our aesthetic
one. It was developed as part of a collaborative thesis investigation
with Emily Sara Wilson (see p.214) as a way for designers interested in
effecting social change to cultivate an honest perspective about their
role, to bring a measure of intentionality and reflexivity to their practice,
and to allow collaboration and facilitation to replace the top-down,
designer-centric models of the past.
GR
AP
HIC
DE
SIG
N /
JA
NE
AN
DR
OSK
I
55
/ Creative Perceptions: Bridging the Arts + Sciences within the Art Museum
How do visual inquiry and observation inspire our creativity within
the arts, sciences, and design? As an educator I strive to engage my
audience as a whole through visual inquiry and engaging experiences.
I aim to help visitors understand the significance of the principles of
art and design within our everyday lives.
Working with the Learning Community Charter School, my group
created a tour that sought to connect everyday life with the principles
of art and design. Ultimately my hope is that by building upon
developing educational opportunities, art museum education can lead
to greater appreciation of art and design across numerous fields:
preserving memory, engaging community, and encouraging creativity
as a means for further investigations of everyday life.
LAU
RA
ATCH
INSO
N /
TE
AC
HIN
G +
LE
AR
NIN
G IN
AR
T +
DE
SIG
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56
/ Transforming Tradition
My thesis investigates the ritual art of Balinese palm frond weaving.
I interpret the beauty and mystery of ceremonial decorations from
an observant yet external vantage. Through modern weaving technology
and constructions, I alter the material, technique, and function of
a dynamic tradition to create textiles with hybridized graphics and
reinvented forms.
PHOTOGRAPH BY MIMI CABELL
TE
XT
ILE
S /
AN
AST
ASI
A A
ZU
RE
57
/ Small Victories: Growing an Appreciation for Food
I am a thoughtful maker. I believe in the power of collaboration. I strive
to design product cycles — not product lines. My design process
incorporates research, participatory design, and the iterative ideation
of concepts and prototypes. By building connections between people,
environments, and economies, we can create inclusive solutions that
become positive and infectious parts of our world.
Food is central to everything human: from the deeply personal to the
global. Community health, economy, and ecology are all intricately
linked to our need for nourishment. My thesis connects people to food
and ecology through small-scale agriculture. Teaching people to
grow food empowers them to improve their health and wellness, their
communities, and the environments around them.
PHOTOGRAPH BY MIMI CABELL
AU
DR
EY L. B
AR
NES /
IND
US
TR
IAL
DE
SIG
N
58
/ Average Americans of the Right Type
PH
OT
OG
RA
PH
Y /
JO
RD
AN
BA
UM
GA
RTE
N
59
/ Elaborate Longing: Meditations on Work, Substance and the Space Between
Through my work I strive to make sense of my relationship to
substance, value, and labor at a time in history when globalism and
a post-industrial America seem to create as many disconnections as
they do opportunities. I am drawn to the internal contradiction
embodied in the decaying structures of the American rust-belt; they
are simultaneously an enduring testament to human endeavor and a
slow manifestation of nature’s gradual embrace. Striking a tone that
is both somber and playful, I use the visual language of industry and
the ingredients of the built environment — coal, sand, iron ore—
to explore a connection to the processes that construct and sustain
our material world.
PHOTOGRAPH BY MIMI CABELL
JAK
E BECK
MA
N /
SC
UL
PT
UR
E
60
/ Outdesigning Bottled Water in New York City
I am inspired by the complexity within social, cultural, and
environmental arenas. My hope is that thoughtful and ambitious
design will spread within these fields and empower people to
challenge adversity.
My thesis seeks to provide New Yorkers with an alternative to
buying bottled water. By utilizing the social and cultural atmosphere
of New York, I address the negative effects of the industry. Bottled
water is ingrained in our everyday lives. Consumers don’t have desirable
enough alternatives. How can we change such an ingrained behavior?
I think this is where we can use design for positive reinforcement
against existing tendencies to tackle complex issues.
PHOTOGRAPH BY MIMI CABELL
IND
US
TR
IAL
DE
SIG
N /
ELI
ZA
BET
H B
ECTO
N
61
/ Make (Wreck)
I am a home-maker.
I make the home.
I construct and fix.
I build the structure,
and the materials dictate what I make.
I remodel the surface,
managing each decision.
Laying the tile,
nailing the boards,
and hanging the curtains.
I am a home-wrecker.
I wreck the home.
I dismantle and destroy.
I take apart its contents,
uncovering what lies beneath the surface.
I steal from it,
reveal hidden things about it.
Pulling up the rug,
opening the closet,
and turning up the blinds.
PHOTOGRAPH BY MIMI CABELL
KA
THER
INE B
ELL / P
AIN
TIN
G
62
/ Body and Place
My work is my examination of my identity in the context of social,
political, and personal relationships. Body and place are at the nucleus
of my work: identity, femininity, exile and home are addressed through
an exploration of the self and its relations with the outside world. Hot
glass and the performative and collaborative elements of glassblowing
are central in my process. I perform and collaborate using dress and
ritual to construct work in which the surface of my body is the site for
transformative actions. In this work, the personal has become the
political and the political, personal.
GL
AS
S /
ALE
XA
ND
RA
BEN
-AB
BA
63
/ Dwelling in Transition
JOR
DA
N B
ISSETT / IN
TE
RIO
R A
RC
HIT
EC
TU
RE
64
/ Process Book
The walls that divide our homes from nature fascinate me. More
specifically, I am interested in how humans treat natural objects
differently indoors versus outdoors. My work also questions how
we can make these two “environments” more congruous.
I have found the artistic approach of combining photography with
mixed media and site-specific installations a flexible medium to
express my ideas and questions concerning these themes. I’m excited
to continue experimenting with and exploring different materials
and photographic techniques.
TE
AC
HIN
G +
LE
AR
NIN
G I
N A
RT
+ D
ES
IGN
/ K
RIS
TEN
BO
YD
65
/ Incompatible States
An ending.
My practice is framed by incompatible states of the self —
restraint against release, the known with the unknown. My work
engages psychological states of anxiety and scenes of tension —
the fragmentation of the body against an uncertainty of mind. I’m
interested in the attraction of opposites, the force of tense division.
In a wavering step between angst and humor, fear and pleasure,
I want to give form to anxiety, a shape to contradiction. This is the
uncertainty aesthetic, where questions rise above answers.
A beginning.
DER
EK PA
UL B
OY
LE / D
IGIT
AL
+ M
ED
IA
66
/ Both Teams Played Hard
PHOTOGRAPH BY MIMI CABELL
PH
OT
OG
RA
PH
Y /
MIC
HA
EL B
RA
ND
ES
67
/ Process Book
Those who teach art have the potential to be great inspirations.
Giving students the opportunity to explore different concepts,
materials and ideas can be an invaluable experience. I provide my
students with guidance, while simultaneously giving them enough
independence to promote their own artistic discovery. With this
in mind, I define myself in several different ways: I am an artist,
I am a teacher, and I am an art teacher.
BLA
IR B
REN
DLI /
TE
AC
HIN
G +
LE
AR
NIN
G IN
AR
T +
DE
SIG
N
68
/ Symbiotic Implant
The city is a living organism. Scar tissue is the fibrous connective
tissue that results from the biological process of wound repair.
To define scar tissue with regards to the city is to humanize it.
How do we deal with the scar tissue of a city? Do we seal it with
programmatic functions? Do we graft sections of working cities
onto it in the hope that it will grow? Do we surgically remove it and
leave a void? Do we ignore it and let it stretch with age?
AR
CH
ITE
CT
UR
E /
JA
RED
BR
OW
N
69
/ Process Book: Line, Texture, Exploration + Collaboration
Creating art is a learning process that every person, no matter his or
her talent or background, can be involved in. It is my belief that
hands-on, problem-solving skills that children learn while creating
art help them in their daily lives, future schooling, future professions,
and in their emotional and mental health. Every person is innately
creative, and whether they end up in an art field or not, every person
should be given the opportunity to understand how to use and apply
their creativity. As an art educator, I strive to create experiences that
provide this for my students.
KA
THA
RIN
E BR
UM
METT /
TE
AC
HIN
G +
LE
AR
NIN
G IN
AR
T +
DE
SIG
N
70
/ Adaptations: Making Places on a Changing Planet
Longevity
When the salt air had crept into every last recess,
the yawning mouth groaned,
and two centuries of echoing rails plunged into the ebbing tide.
The bridge lay,
smoldering,
sagging,
embedding itself into fecundity.
Releasing its memory in the form of
blue mussels,
eel grass,
alewife.
I came free,
bolts worn, welds corroded, and sank into the mud,
bobbing to the surface as a black goose.
AR
CH
ITE
CT
UR
E /
NIC
HO
LAS
BU
EHR
ENS
71
/ Not Controllable Not Ill-Conceived
I work with text, performance, and video. I am a photographer.
My subjects are contemporary cultural signs and symbols, language
and gender. I aim to destabilize the structures that support them.
I do not apologize and I am not sympathetic. I am direct and do not
like ambiguity. I hear the catches in people’s voices, the discontent.
I do not hear grays in people’s voices, only the blacks and the whites.
I hear yes and no, here and there, on and off. Not maybe, or somewhere,
or running at half speed.
MIM
I CAB
ELL / P
HO
TO
GR
AP
HY
72
/ Riverscape Park: Equilibrium Between Nature and Technology
A riverscape is the landscape of a river system. It constitutes the
various habitats within a river, the processes that create them, and the
communities that reside in them. The site is designed with the
intention of integrating the built world with the larger ecosystem,
creating a balance between nature, technology, and society.
Historically, urban waterfronts reflect the needs of society and change
with the cities they surround. These changes have been caused in part
by the accelerating advancement of technology, which has affected the
surrounding environment. With our city populations growing, the need
for energy and the desire to reconnect with the waterfront is increasing.
Can urban rivers provide for the social, ecological and technological
needs of cities? The river is an opportunity to connect people with
each other and allows the community to build an understanding of their
natural environment.
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
/ R
YAN
CA
STR
O
73
/ it will be flowers
“Poetry is not a luxury. It is a vital necessity of our existence. It forms
the quality of the light within which we predicate our hopes and dreams
toward survival and change. Poetry is not only dream and vision; it is
the skeleton architecture of our lives. In the forefront of our move
toward change, there is only our poetry to hint at possibility made real.”
—Audre Lorde, Sister Outsider
JENN
IFER CA
WLEY
/ P
HO
TO
GR
AP
HY
74
/ Seeing the Sun: A Strategy for the Prevention and Detection of Skin Cancer
I am a human-centered designer, inspired by people and their bond
to a shared set of principles. Discovery, engagement, and interactions
help me find new opportunities in everyday environments.
My graduate studies focused on the investigation of social values
and their relationship to design. Initially this required a complete
understanding of my own personal values, and was followed by a second
stage where I implemented these new “value-based components”
into my design principles. This shift changed my design practice to one
focused on fulfilling human needs over the manufacturing of wants.
My goal is to design for the general enrichment and benefit of people.
PHOTOGRAPH BY MIMI CABELL
IND
US
TR
IAL
DE
SIG
N /
GU
NTH
ER C
HA
NA
NG
E
75
/ Fold
Fold.
Folding.
Folded.
Fold the unfold.
Fold and unfold.
Fold/unfold.
Unfold and fold.
Unfold the fold.
Unfold.
Unfolding.
Unfolded.
PHOTOGRAPH BY MIMI CABELL
JO-FA
N CH
AN
G /
FU
RN
ITU
RE
DE
SIG
N
Folding is an action of bending a flat and
flexible material by laying one part over
another. When applying folds and their
motion to different functional objects,
there are endless possibilities to be
explored, because folding transforms
objects from one state to another.
The hidden layers of folding are always
there, but it takes time to recognize and
to realize. If even a fold can be redefined,
I am sure there is another whole universe
waiting to be rediscovered.
76
/ The Augmented Body
I am interested in the moment when people augment boundaries
between their bodies and spaces of the imagination. Post-Industrial
Revolution architecture often isolates one’s sense of environment.
Glass structures, mobile systems (such as cars and elevators),
screens — these spaces create a sense of “immaterial” virtual material,
immobile bodies watching mobile images. My work is about how to
form haptic space that breaks the isolation of the senses, awakening
people’s sensation to a place.
PHOTOGRAPH BY MIMI CABELL
DIG
ITA
L +
ME
DIA
/ H
AN
-SH
EN C
HEN
77
/ Unmonumental: Looking Beyond Official Narratives
An official narrative is still very much inscribed in the American
cultural landscape. While significant steps toward a more inclusive
experience have been made, ideological constraints continue to frame
our collective understanding of what constitutes American identity.
My work, a response to this condition, seeks to shift perspectives
and offer an extended look through fixed narratives, rendering them
un-monumental. By claiming the role of outsider, I present an
alternate vantage point. Definitive institutions such as church, state,
and history, are disrupted, questioned, and re-understood. My work
engages what it means to look another way—to look around corners,
and see a fuller picture.
MA
RC CH
OI /
GR
AP
HIC
DE
SIG
N
78
/ Trans: Developing a Business Incubator for Designers
Through the process of commercializing a product, designers relate
with both businesses and customers. Businesses support designers to
develop design ideas that have commercial potential, while customers
provide inspiration by purchasing the product and providing feedback
on their interactions with the product. This project creates one space
that can be shared with these three parties — designers, businesses, and
customers — achieving synergy through solid communication and ease
of interaction.
My intervention is to utilize the idea of transformation to create one
platform that will suit all three entities. In the same way that water
transforms from a solid to a liquid and finally evaporates into a gas, my
space will utilize the transformation of an idea through various stages
of its development.
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
HEN
RY
HY
UN
G M
IN C
HO
I
79
/ Crossing Edges
When meandering through a city, we develop a sense of orientation
with time, place, and people; an understanding of our location in
relation to a specific place or object. I’m interested in the movement
of the individual, where orientation is translated between one’s
surrounding and one’s self.
What is this translation? When we emerge from an underground train
station to the ground plane above, how do we reorient ourselves? Where
does threshold — a cross street that defines boundaries — begin and end
between districts when moving along a path? How does our encounter
with objects, such as the ground or a building, filter our movement and
start to create moments and spaces?
CAR
OLIN
E CHO
U /
AR
CH
ITE
CT
UR
E
80
/ All the Wrong Places: The Assimilation of Residual Spaces into the Urban Fabric
Our sense of identity is fundamentally tied to our relationship to places
and the histories that they embody. The uprooting of our lives from
specific local cultures has contributed to the waning of our abilities to
locate ourselves.
We all have a psychological need to belong somewhere, whether it be
in a geographical or social context. The act of assimilation is a complex
process that not only changes the individual but leaves a lasting impact
on the community.
My work addresses the ramifications of bridging residual spaces,
foreign to the urban system, mentally exterior in the physical interior
of the city, from estrangement into citizenship.
AR
CH
ITE
CT
UR
E /
VA
N H
ON
G C
HU
81
/ Power Play
I am interested in the American popular imagination and how it
manifests itself in, or is manifested by, design and visual culture.
What motivations drive the political and consumer choices Americans
make? What are the value systems that support those decisions?
What role do channels of content distribution, culture and taste,
and visual rhetoric play in shaping and expressing these opinions?
How does the way we envision the world go on to inform the world
or become self-fulfilling?
HO
PE CH
U /
GR
AP
HIC
DE
SIG
N
82
/ Architecture as a Mobile Device
In a world of wireless technologies, is it possible for architecture to
also become mobile? Mobile architecture is nothing new, but alongside
technology, architecture has been steadily evolving toward lightness
and transparency. Is it possible for a new typology to capture the same
level of go-anywhere freedom and autonomy that has been discovered
in mobile devices? This study analyzes high performance tents
and outdoor gear while considering the urban environment and shelters
meant for year-round occupation. The project points toward a new
high-performance way of life: light and mobile, sustainable, urban,
and comfortable.
AR
CH
ITE
CT
UR
E /
MA
RTI
N C
LIN
E
83
/ Empty Houses
Through formal decisions and reductive choices I explore the psychology
of the mundane space of “home.” My paintings evolve from an imagined
environment—a particular set of sounds, colors, textures, spatial
situations, and lighting conditions—and the way these details combine
to form a mood. I find and photograph elements of existing buildings and
neighborhoods and then assemble them into a reference image for this
fictitious place. Through this process I use my immediate surroundings
to create an alternate version of reality—a reality that, though at first
glance appears naturalistic, is in fact composed of slight distortions,
compressions, and omissions.
PHOTOGRAPH BY MIMI CABELL
COR
YD
ON
COW
AN
SAG
E / P
AIN
TIN
G
84
/ Urbansensescape: Creatiing Sensitizing Spaces in Busy Places
My work is about landscape and sensibility. I seek innovative ways
of designing spaces in urban conditions, with an emphasis on taking
advantage of the outdoors and specific qualities that help us to relax,
rejuvenate, and regain mental and physical balance. My passion for
creating heightened sensorial experiences in cities like Manhattan
stems from my upbringing on a farm in upstate New York.
My thesis proposes a pedestrian park in the urban setting to provide
opportunities to engage the senses in a heightened awareness of
mind, body, and spirit.
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
/ M
AR
IA D
EBY
E-SA
XIN
GER
85
/ The Art of Not Knowing: Paradoxical Narrative Investigations
Increasingly my work explores the paradoxical relationships between
material and message, and between notions of the tragic and the comic.
It is where these incongruous shifts take place that imagination is
captured. I present the viewer with a series of sculptural diagrammatic
narratives. The viewer is tasked with interpreting the work’s meaning
based on their own personal understandings of the cultural and
symbolic references used in the elements that comprise the piece.
My work can be described as a set of objects displayed before you, with
the hallmarks of a totem disassembled on the floor, which need
the viewer to act as an anthropologist to transcribe their significance.
PHOTOGRAPH BY MIMI CABELL
JOH
NA
THA
N D
ERR
Y /
SC
UL
PT
UR
E
86
/ Experience Guide Book: A to Z
The main concept behind all my work is “small talk with a funny friend.”
I design with the idea that the world is interesting and enjoyable.
It is my desire that my work could affect viewers in two ways: making
people smile and having them spend time with the smile on their faces.
PHOTOGRAPH BY MIMI CABELL
DIG
ITA
L +
ME
DIA
/ K
YON
G-S
UB
DO
87
/ Integrated Practice
My degree project focuses on the recognition of the “other” in
architectural work. Specifically, to understand the relationships
between: the boundaries of context in relation to the project; material
and the design concept it humbles; the architect’s preconceptions
versus the inhabitant’s needs and desires; individual intentions and
collective thought and production. It is a paradox that, by trying
to recognize the”other,” the “other” inevitably becomes a part of one’s
work, which can be daunting. How do you incorporate difference
without subverting individual identity? Where do you draw the line?
Regardless of ability to answer the questions, this empathetic
examination is necessary both in architecture and in our world.
REED
DU
ECY-GIB
BS /
AR
CH
ITE
CT
UR
E
88
/ The American Cinema: Recapturing the Spirit of the Moviegoing Experience
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
CH
AD
ECH
OLS
89
/ Second Pulse
I make art to collect and make sense of the images that shape my
idea of the physical presence of my own body. In my work I layer
various influences, including early medical illustration, decorative
arts, and violent cartoons, to create large-scale wall installations of
collaged drawings and prints. With this process, I have created a series
of narrative scenes involving patterned backgrounds populated by a
cast of intestinal forms that evoke an uncomfortable, mesmerizing
beauty. I am interested in the recombination of grotesque images in
a manner that nudges them toward opulent decoration.
PHOTOGRAPH BY MIMI CABELL
EMILIA
EDW
AR
DS /
PR
INT
MA
KIN
G
90
/ From Knowing to Unknowing
I grew up on the vast flat plains of Illinois. It was empty out there on
the land, by the water, below the sky. My childhood feels like a sunny
place, but it wasn’t always. I had in my imagination the spaces under
a cricket’s wing or below the belly of a snake, the freedom of a summer
day, the small and the big together in an open field, mixed with
a myriad of pets, deaths, pseudo science, winter, divorce, work, and
isolation. Somehow, that is what my work is. I reach in and I empty
these things out. From the places of memory, I collect, sift, sort,
separate, and transform my pasts in order to make them present.
I create light-catching, soft, white, fluid objects that are hollow, empty,
isolated, barren, over-worked, or tedious. They hold dual messages —
purity and loss, hard and soft, weight and weightlessness, memory
and reality, hope and experience.
SC
UL
PT
UR
E /
CR
YSTA
L EL
LIS
91
/ Farmacy
JESSICA FA
NN
ING
/ IN
TE
RIO
R A
RC
HIT
EC
TU
RE
92
AR
CH
ITE
CT
UR
E /
DA
VID
FER
SH
93
/ Design for Development
I believe design is the driving force in determining
the success or failure of any development, ranging
in scale from an urban district to the individual.
BO
BA
CK FIR
OO
ZB
AK
HT /
INT
ER
IOR
AR
CH
ITE
CT
UR
E
94
/ Seeing Through Distraction
Can a culture that bursts with information, increased speed, and
over-stimulation learn how to slow down, look harder, and linger
longer? Can we, as the artist Robert Irwin describes, learn to perceive
ourselves perceiving? My thesis examines how people look, why they
look at what they look at, and how perception can be facilitated.
My projects gently distract, uncover the unnoticed, and slow the eye.
They invite viewers to build individual meaning and ask them to be
more deliberate in their seeing. In my thesis, I utilize the language
of graphic design to address issues of distraction and the rewards of
pause and reflection.
GR
AP
HIC
DE
SIG
N /
ELI
ZA
FIT
ZH
UG
H
95
/ Neverevereven
My process mimics the workings of memory, starting with a specific
place or object, then slowly breaking down, combining, and
transforming. Plaster, wood, and mirrors make up much of my visual
vocabulary because I find these materials to be honest and direct,
bearing traces of time through their distinctive properties, and
engaging an awareness of the present moment. My work suggests
a commitment to longevity and history, knowingly conducted by the
steadfast march of entropy and rebirth.
PHOTOGRAPH BY MIMI CABELL
DA
RR
EN FO
OTE /
SC
UL
PT
UR
E
96
/ What Is a Koan? (Repeat)
Holes in a fence are for peeping.
I would establish boundaries and then let others be cowed, or look
skyward, or investigate the situation and find the physical and mental
points of egress that lead to topography, to cairns and to the highway.
To suddenly feel surrounded should give the viewer pause, but to assess
in that moment the height of the enclosure should elevate the viewer
above the construct — like projecting oneself over a maze to find the
missed turn, but then stopping to consider that one was, in fact, aloft.
PHOTOGRAPH BY MIMI CABELL
SC
UL
PT
UR
E /
JA
MES
FO
STER
97
/ Pedagogical Design: An Elementary School
During my last year at risd, I’ve been exploring elementary school
design within the context of a vacant church building. Specifically,
I have been studying how design can reflect the combination of ideas
from various educational pedagogies and philosophies within an
art-integrated charter school environment. Do the spaces in which
education takes place actually make a difference in a child’s ability to
learn and grasp new concepts? By combining aspects from a variety
of different pedagogies and philosophies, I sought to create something
that is unique, insightful, and ideally can become a typology for
elementary schools to be built in the future.
SAR
AH
FRA
NK
/ IN
TE
RIO
R A
RC
HIT
EC
TU
RE
98
/ 1 to 1
The physical formula
Work stipulates
Energy must be expanded to change the state of
Any Body.
A gift enables a resultant state.
Or disables.
To earn is to walk the ground.
A gift.
AR
CH
ITE
CT
UR
E /
ETH
AN
FR
ENCH
99
/ Between the Lines: A Story about People and Objects at the Table
I design narratives.
My objects live in the space between the lines, in the gap between
the human and the artificial — made of stories, poetry, and imagination.
Like small domestic sculptures, they talk about us and carry the marks
of our existence, becoming metaphors of living — alter egos of
their owners. There is no design in silence. Everything tells a story.
PHOTOGRAPH BY MIMI CABELL
CAM
ILLA FU
CILI / IN
DU
ST
RIA
L D
ES
IGN
100
/ Beyond Awareness: Creating Agency for the Early Detection of Breast Cancer
Design, alone, will not save the world. Designers are emerging, with a
place at the table alongside scientists, engineers, economists, and policy
makers. Like the others, they address some of the most difficult social
issues we face.
I design through iterative experimentation, either actively facilitating
interactions or observing in situ. Living through the everyday minutiae
has the potential to reveal opportunities for design. Design research is
strategic, exploratory, and intuitive.
My thesis looks at the breast cancer awareness movement re-
imagined in the current context. In what ways can we engage women
to be more pro-active of their health? Can social relationships help
facilitate knowledge sharing to promote these behaviors? On a broader
scale, how can a designer, as an architect of choice, help people make
better decisions for health and well-being?
PHOTOGRAPH BY MIMI CABELL
IND
US
TR
IAL
DE
SIG
N /
ELA
INE
YU
RI F
UK
UD
A
101
/ Kaleidoscope Theater
Space and time are objective realities. They are relatively stable and
constant, and sometimes mysterious. However, their conditions change
when a story unfolds, as in theater or a history book. The stability and
rationality of space and time are broken down on the stage. In theater,
the audience is transported into the space and time of the actors,
their actions, and the atmosphere they create, very much so when the
story is performed in a city that is over 3,000 years old — at the very
beginning of the Silk Road.
LEILEI GA
O /
AR
CH
ITE
CT
UR
E
102
/ Revealing the Invisible Layers
Cities are dynamic and multi-layered systems that are physically,
culturally, and historically complex. These layers were designed and
constructed by different people, in different times, with different
functions, without consideration of the connections between these
layers. This has led to an isolated and fragmented contemporary
urban landscape.
My intention is to design interactions between the different
layers — between the bridge infrastructure, the air, and the river,
highlighted by different water levels. By utilizing the space
under the Washington Bridge in Providence and looking at the
changing use of the bridge over time — walking/cycling/boating —
different water levels can be revealed as useful, allowing a more
integrated urban landscape experience.
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
/ L
U G
AO
103
/ Wandering in Place
Using the implicit forms of framing and editing in photography, as
well as the literary form of redaction in texts, my work is a venture in
narrative retelling. Reno is an exploration of cultural memory and
inheritance through the revision, reenactment, and recounting of the
myths of place, specifically those of Reno, Nevada.
JENN
IFER G
AR
ZA
-CUEN
/ P
HO
TO
GR
AP
HY
104
/ I Sense Your Reality
In a series of urban vignettes, constructed spaces appropriate the cues
of blind navigation, orchestrating a sensorium that contextualizes the
individual’s position within the larger urban system. An interruption
of light, a momentary shift in kinetic rhythm or temperature, a
re-mastered auditory composition—these sensory prompts introduce
non-image based readings of a once-familiar place, suggesting
another person’s experience. Empathy for others grows out of these
quotidian moments.
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
/ A
RIA
NN
E G
ELA
RD
IN
105
/ Yours Mine & Ours
What excites me most is the meaning and insight that comes from
transformative exchange, when the synergy of collective perspectives
enables the birth of a new vision.
We each have the potential to contribute, from our being, toward
socially effective development. Designing both the means and the ends
by which we live out our ideals, we identify our human-environmental
needs and learn together through an iterative exchange. It is not simply
a matter of predicting the future and responding accordingly, but rather
of choosing the future within which we want to live.
PHOTOGRAPH BY MIMI CABELL
STEPH
AN
GO
ETSCHIU
S / IN
DU
ST
RIA
L D
ES
IGN
106
/ A Curious Contrast | Chanced Upon
As our population steadily increases, it is an interesting and distressing
paradox that we are closing into ourselves more and more. We reduce
and barricade the space around us such that we don’t stretch into the
closest person. By eliminating others, however, we are left with just
ourselves. That’s no fun! We miss out on the one thing that transcends
space, time, place, and language: the warmth of human relations. In my
work I create spaces that bring people together, where they chance upon
a journey within, evoking a pleasure that comes with being in the
company of others.
PHOTOGRAPH BY MIMI CABELL
DIG
ITA
L +
ME
DIA
/ R
OH
INI G
OSA
IN
107
/ Tactile Exchange
Most graphic design work today is made while the body remains static,
staring into a computer screen. Gesture — motion deeply encoded
with human identity — is lost.
In my work, I reintroduce the human body into the graphic design
process by combining analog and digital methodologies in an effort
to embrace human gesture. I employ mark making and shifts in scale
to make the body visually evident through handwriting, performative
typography, letterpress, and alternative photographic processes.
My thesis work emerges from a deep love of printmaking’s tactility
and physical scale, and a desire to reinterpret that process within
graphic design.
JESSICA G
REEN
FIELD /
GR
AP
HIC
DE
SIG
N
108
/ The Pixellated Ember: A Nomadic Journey through Psychedelic Fantasy Conceptualism
PHOTOGRAPH BY MIMI CABELL
PR
INT
MA
KIN
G /
STE
FAN
GU
NN
109
/ Growing on the Food Frontier
BR
AD
Y G
UN
NELL /
INT
ER
IOR
AR
CH
ITE
CT
UR
E
110
/ Unfolding the Tiny Quad: Multi-Screens the Korean Way
For an interactive medium of reality.
I used to live along a river that was intertwined with a longer river
that led into a huge sea. I enjoyed catching crabs with my friends
and I remember the moisture and the coldness of sand, the hardness
and the sharpness of a crab, the smell and taste of salt, and the sunset
that said, “Come back home.” I’m not sure why I stopped catching
crabs, whether the crabs themselves disappeared or if Legos and
video games immersed me. However, crab-catching remains the only
authentic piece of interactive nostalgia left in my life.
DIG
ITA
L +
ME
DIA
/ B
YEO
NG
WO
N H
A
111
/ 1 + 1 = ∞ : A Process of Unification
My work, as a whole, attests to the process of unification. To unite is
“to make or become an integrated whole.” Combining two or more visual
concepts relates to my spiritual practice. I follow the emblematic
meaning of Pan-Africanist philosopher Marcus Garvey: There is “one
God, one aim, one destiny.” In this light I see myself, my art, and the
world around me as a synthesized whole.
The work’s physical form is printed and hand-dyed textiles on natural
fibers, recognizable by its representation and achievement of simplicity,
balance, and luminous color.
PHOTOGRAPH BY MIMI CABELL
RICO
A. H
AR
RIS /
TE
XT
ILE
S
112
/ In the Fold
I create paintings that unite a wide range of associations into a uniquely
coalesced form. In rearranging hierarchies, injecting the personal
into the socially constructed, and manipulating high and low, my work
exposes, explores, and pushes boundaries of taste, materiality,
phenomenology, and abstraction. I want to bring together a pastiche
of information that depicts the world as I experience it in a richer,
weirder, and more complex pictorial way.
PHOTOGRAPH BY MIMI CABELL
PA
INT
ING
/ C
OLL
IN H
ATT
ON
113
/ The End of the Line
“We must never forget that we are human, and as humans we dream,
and when we dream we dream of money.” —G. Lang
OM
ER H
ECHT /
PH
OT
OG
RA
PH
Y
114
/ Providence: Ruin and Restoration
Through my thesis work I seek to document and explore the
contradictions inherent in the cityscape of Providence, how the
sensations created by urban decay and restored architecture
are redefined through a dialogue with human experience. By
combining these elements into textile designs, my hope is to offer
a perspective that engages with the present as well as the past.
As these narratives unfold in my process, I aim to reassemble them
in fabrics and garments that exhibit the tensions of the permanent
and transient, the new and old, the clean and rough, the bare
and the covered.
PHOTOGRAPH BY MIMI CABELL
TE
XT
ILE
S /
VED
RA
NA
HR
SAK
115
/ The Senses Distillery
CYN
DIA
HSU
/ IN
TE
RIO
R A
RC
HIT
EC
TU
RE
116
/ Are We Not Drawn Onward to New Era
Wiktionary defines the noun ‘artist’ (Singular: artist; Plural: artists) as follows:
A person who creates art.
A person who creates art as an occupation.
A person who is skilled at some activity.
The Oxford English Dictionary defines the older broad meanings of the term ‘artist’:
A learned person or Master of Arts
One who pursues a practical science, traditionally medicine, astrology, alchemy, chemistry
A follower of a pursuit in which skill comes by study or practice
A follower of a manual art, such as a mechanic
One who makes their craft a fine art
One who cultivates one of the fine arts - traditionally the arts presided over by the muses
A definition of Artist from Princeton.edu: creative person (a person whose creative work
shows sensitivity and imagination).”
—http://en.wikipedia.org/wiki/Artist#Dictionary_definitions
PHOTOGRAPH BY MIMI CABELL
DIG
ITA
L +
ME
DIA
/ J
ASO
N H
UFF
“
117
/ The Community Center of the Arts
SEUN
G H
WA
N H
WA
NG
/ IN
TE
RIO
R A
RC
HIT
EC
TU
RE
118
/ A House of Revelation
The definition of figure and ground is expanded, from a simple
perception based on contrast, to include abstract binary concepts such
as melody/harmony, positive/negative, public/private, and inside/
outside. Both a series of material experiments revealing an emergence
of rust from within and the interpretation of The Last Judgment by
Michelangelo provide analytical tools which are of considerable value in
assessing the epistemological importance of these terms. Spatial and
ephemeral aspects of these concepts are recognizable through the
complexity, variety, and abundance of an individual, clusters, or chunks
of bodies with their postures, movements, gestures, and expression.
As a contemporary confession, my thesis examines a house shared
with various occupancies in which a linear story does not exist, but
different realities coexist.
AR
CH
ITE
CT
UR
E /
TA
IGO
ITA
DA
NI
119
/ Navigational Dreaming: Authorship of Socio-Political Space
“Pain and imagination are both a condition of intentionality and each
other’s counterpart. They are the framing events for man-as-creator
in which all other intimate perceptual, psychological, emotional, and
somatic events occur.” — Elaine Scarry, The Body in Pain
I am interested in how we become implicated into each others’
sentience through verbal and material artifacts, how people become
visible or cease to become visible to us. Located at the intersections
of language, navigation, and architecture, in my work I attempt to
understand the possibilities of agency and the creation of a spatial
structure of affirmation.
AI ITO
/ A
RC
HIT
EC
TU
RE
120
/ Urban Hive: A Social Hub in the Middle of an Urban Habitation
Can the coexistence of public and private space in an urban habitation
influence the relationship between residents, visitors, and the
community? How can a mixed-use structure foster interaction and
create synergy between both public and private inhabitants? My thesis,
using the term “hive” as a social metaphor, explores the dynamic
exchanges that occur by creating a program in which private and public
space freely overlap.
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
SEO
YEO
N JI
N
121
/ The Cultural Apocalypse
With digital communication and functionless objects as my muses
I collaboratively and independently fuck iconoclasm.
“Over absurdity, confusion, and overstimulation sits the work:
a detonation of materials, information, and fervency that
simultaneously assaults and blames the viewer. Vaguely domestic
environments, hobby-crafted tactile media, and digital moving
pictures exist in the hole between past and future while dismantling
the present. Combined with performance and temporary public
projects a question surfaces: What does it mean to outsource
one’s cultural values?” —Abigail Blank, July 16, 1945
LEE JOH
NSO
N /
CE
RA
MIC
S
122
/ Dynamo
As a field of study, architecture has been and will continue to be about
how we occupy and experience space. Often the study is “the new.”
Ideas are planted in virgin ground or are bulldozed and started again.
We are no longer in an economic- or resource-rich world, and so I
ask, how can we begin to reoccupy existing pieces of deteriorated
architecture as if they are the new, open, and untouched landscapes?
With limited funds and a minimal impact, remnants of urban
infrastructure — skeletons — are what we need to reuse, to design
within. We must find a balance between the reoccupation of
nature and man.
AR
CH
ITE
CT
UR
E /
TH
OM
AS
JON
AK
123
/ Finding New Flavor
HO
GIL JU
NG
/ IN
TE
RIO
R A
RC
HIT
EC
TU
RE
124
/ To Embrace the Universe
Rooted in the study of scientific phenomena, my work explores
elemental processes as a means of making an image. I employ chemical
reactions, harness natural forces, and execute physical procedures. I use
basic materials such as ink and bleach as I attempt to achieve a richness
of results through an economy of means. With an empirical approach,
I examine, manipulate, and orchestrate processes, capturing the residue
that they leave behind as my subject matter. These traces are often
abstract and geometric in form; circles, spirals, and grids reveal the
beauty and order inherent in the physical world.
PHOTOGRAPH BY MIMI CABELL
PA
INT
ING
/ A
NIN
A F
IELD
KA
LLO
P
125
/ Process Book
I am concerned with the act of looking — both in my own work and
in my teaching practice. It can be difficult to maintain the curiosity
necessary to appreciate the inspiration of our environments. When
I am able to maintain that curiosity, I find that I am endlessly fascinated
with my surroundings. In my teaching practice, I search for ways to
impart that fascination to students.
I believe art can have enormous power and relevancy in our lives;
it can transform our environments. Learning to look allows students
to make connections between art and their everyday experiences.
Learning to look makes art accessible.
JENN
IFER K
ALLU
S / T
EA
CH
ING
+ L
EA
RN
ING
IN A
RT
+ D
ES
IGN
126
/ Natural Imagination: Reconnecting Urban Children with Nature
Inspiration emerges from curiosity. Through observation, my creations
respond to the natural inclinations and needs of people by
encompassing five main principles: adaptability, helpfulness,
playfulness, functionality, simplicity.
My designs purposefully involve people, helping both the individual
and the society. Form, function, and empathy are the tools I use
to unfold new interactions between objects and people.
My thesis explores engaging catalysts to reconnect urban children
with their surrounding natural environment. Through design
I am making natural experiences accessible and increasing children’s
exposure to nature triggering interaction and imagination.
PHOTOGRAPH BY MIMI CABELL
IND
US
TR
IAL
DE
SIG
N /
CH
RIS
TIN
A K
AZ
AK
IA
127
/ Nodal Connections: The Integration of Architecture and Rail Along the Main Spine of St. Louis
What architectural seed can be implanted within a city that will alter its
fabric and create a lasting impact?
My thesis examines new ways of uniting disconnected parts of
St. Louis with an elevated light rail system, while also creating new infill
buildings along the transportation line that serve as stop locations.
Both the urban scale and architectural building scale strive to address
whether it is possible to implement new transportation strategies
into an urban landscape that addresses the pedestrian and could serve
to revitalize a struggling city.
ALEX
AN
DER
KELLER
/ A
RC
HIT
EC
TU
RE
128
/ Immobile IMMOBILITY
My current practice investigates the orphaning and displacement of the
object in the historical contemporary. Because my work is an alternation
between”cropping” and “sharing,” I’d like to pronounce that I am more a
“sharecropper” than an artist. My practice often involves collaboration
with dancers, advertising performers, Chinese painters, corporeal mime
artists, and massage therapists. I produce scenes and objects taken out
of the context of theater, while simultaneously referencing its historical
failure. In my current body of work, my production considers the object
via speculative philosophy for the non-ordained.
PHOTOGRAPH BY MIMI CABELL
DIG
ITA
L +
ME
DIA
/ B
ENJA
MIN
KEN
NED
Y
129
/ Cut+Run: Video Graphic Design
Behind every good cabinet of curiosity is a collector — one who
finds the most common ephemera worth noticing and storing. This
collector seeks, often without intention, with an acute awareness
of the wonderful. Each item is a totem of places found and memories
evoked. The cabinet is lined with shelves and compartments, fixing
each item to a homestead in relation to the others. However, their
placement is temporary and, at the whim of the collector, they are
swiped clean and rebuilt. In so doing, a new collection is created and
meaning is transformed.
LYN
N K
IAN
G /
GR
AP
HIC
DE
SIG
N
130
/ Appearance | Disappearance: Constant Motion in Time
Architecture should never be considered a static, finished product.
Rather than fighting its changing surroundings, architecture should
allow for change. In this way it can develop rather than degrade from
the moment of completion. In this evolution of architecture, what is
mutable and what is fixed?
The landfill is understood as a continuously moving surface, the
result of oblivious collective behavior, disposing of the unwanted.
Using a site that is unstable and volatile, architectural intervention
embodies a conscious effort of collective commitment.
AR
CH
ITE
CT
UR
E /
MEG
AN
YO
UN
GK
YU
NG
KIM
131
/ Small Steps, Big Impact: Promoting Ecological Skills and Responsibility in Children
Most revolutions that change the world in new, beautiful, and abundant
ways come through small, incremental behavior changes.
My thesis started from my goal to learn, investigate, and instill my
ecological caretaking role as a designer in the next generation. I created
tools and resources that gave opportunities for children to develop an
appreciation of the environment.
Where can I take design to help children become aware of the
importance of conserving the environment? What role can I play as a
designer to help children create a sustainable future? What small steps
can create a bigger impact, fostering sustainability in our everyday life?
PHOTOGRAPH BY MIMI CABELL
NA
REE K
IM /
IND
US
TR
IAL
DE
SIG
N
132
/ Healing through Social Activation
Healing is a process and a transitional period. It is a turning point to
recovery, the start of a journey in which survivors resolve fears, achieve
self-actualization, gain confidence, and live beyond cancer. The collab-
orative act of gardening promotes social interaction among cancer
survivors, enabling them to build bridges among themselves, staff, and
caregivers. More importantly, the relationship between survivor and
plant is symbiotic. Plants need constant support and care. Survivors,
through providing that care, gain a sense of accomplishment and self-
control, creating a foundation for living beyond fear. It is a co-creative
process, where survivors and nature are essential to each other.
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
KA
YLA
SO
O-Y
OU
N K
IM
133
/ Experience: Perception + Orthographics
Representation superimposes mathematics on the spaces we perceive.
It often manifests perception in abidance with strict frameworks based
on pure, geometric misunderstandings of optics; it supposes that
experience blindly follows math. At times we experience through
schema, both strict and interpretive, both learned and innate, but in
the same moment, architectural space changes — even dimensionally —
for reasons personal to us.
We inhabit and design by assembling perceptual and orthographic
space simultaneously. My thesis is an investigation to equalize
geometry (earth measure) and perception (taking in), by consciously
accounting for the influence of memory, emotion, and attention.
WILLIA
M K
IMM
ERLE /
AR
CH
ITE
CT
UR
E
134
/ Steering the Crowd
In most contemporary cities, we move amongst dense packs of people
throughout the day without notice. Crowd creation can become
dangerously unpredictable and, at times, lead to tragedy. The line
between crowd and crush is almost imperceptibly thin. I have created
an architectural blueprint to solve future calamity by examining past
crowd tragedies and uncovering the patterns of failed design. An
architecture emerges that embraces the industrial and maritime history
of the chosen site in Vancouver, British Columbia. The grounds offer
a myriad of potential programmatic uses. Likewise, an infrastructure
presents itself to be manipulated, and innovative arrangements reveal
themselves to be created.
AR
CH
ITE
CT
UR
E /
BR
AD
LEY
KIS
ICK
I
135
/ An Urban Environmental Center for The Woonasquatucket River Watershed Council
Wild elephants swim in the Woonasquatucket River. At least they did
during one hot July evening in 2008 when the river’s full story came
alive in my dreams. The juxtaposition of these graceful giants gliding
through the murky downtown canals continues to linger as I construct
my degree project.
The design uses the ghost of the Riverside Worsted Mill compound
to form the identity of the present intervention. The beautifully
deteriorating masonry mill shell becomes a sculpture within the bounds
of the new center.
LISA K
LING
ER /
INT
ER
IOR
AR
CH
ITE
CT
UR
E
136
/ Capturing the Ephemeral
Water drips, trickles, meanders, gurgles, gushes,
bubbles, sprays, splashes, surfs, cascades,
falls, plunges, churns, rumbles, surges, swells,
pounds, crashes, rages, roars, overflows, floods,
inundates, drifts, melts, freezes, evaporates,
and dissipates. Water flows, moves on, and leaves
behind its imprints.
Can architecture provide, for both the visitor and
the community, a space for “immersion,” immersion
in water, immersion in culture, immersion of the
senses, immersion in thinking, immersion in
making? Can the impressions left behind by such
immersions humbly remind us of our oneness
within an ineffable whole, and inspire respect and
awareness for this limited resource?
AR
CH
ITE
CT
UR
E /
AD
A T
AK
KO
137
/ Dependency: Mutually Reliant Furniture
I am inspired by relationships and how different entities interact.
All living things are dependent on each other in some way or another.
and I enjoy exploring this dependency in the form of furniture.
I translate symbiotic and intimate relationships in nature into material,
structure, and connections. The human body plays an integral part in
my furniture. Muscles and joints can aid in making components
functional, forming new structures. A one-legged stool will not stand
without the use of human legs, and the human cannot sit without
the wooden stool.
PHOTOGRAPH BY MIMI CABELL
AN
DR
EW K
OP
P /
FU
RN
ITU
RE
DE
SIG
N
138
To Vitruvius’s “utilitas, firmitas, venustas,” I would add “civitas.”
Architecture is an expression of civic responsibility.
“& hence
the web of life is woven, and the tender sinews of life created.”
— William Blake
AR
CH
ITE
CT
UR
E /
BR
ITTN
EY K
AIL
ESE
KR
OO
N
139
/ The Good(s) Life? Awakening from our Subconscious Lifestyle of Conspicuous Consumption
My thesis questions the paradigm of conspicuous consumption within
the incredibly vague yet widely embraced concept of the “American
Dream.” It explores the motif behind the reasons we buy things and how
a general lack of awareness of the effects of consumption affects both
individuals and the people that surround them. My intention is not
only to convey this awareness, but also to offer coping mechanisms
in response to the allures of consumerism. In a world where noise is
everywhere, silence speaks for itself.
PHOTOGRAPH BY MIMI CABELL
CALV
IN K
U /
IND
US
TR
IAL
DE
SIG
N
140
/ Exile from Memory
PHOTOGRAPH BY MIMI CABELL
DIG
ITA
L +
ME
DIA
/ Y
ASI
MIN
KU
NZ
141
The construction process in today’s building environment is managed
by the ease, low cost, and standardization that our society demands.
I explore how a building can open a conversation between design,
construction, and space. Can we as architects introduce a building
system that allows for repetition and ease in the construction process,
leaving the design up to the inhabitants? This question is in response
to the mass-produced home, which is stamped across a site, which
starts and stops at the color of the exterior, disregarding site, culture,
and inhabitation.
EDW
AR
D LA
EMM
EL / A
RC
HIT
EC
TU
RE
142
/ Rediscovering the Enchanted Forest
I have always been interested in storytelling and the transformations
that occur as a story is told and retold. Through drawing and painting
I am able to compose moments in time, creating and combining images
to describe my own personal mythology.
My thesis collection intends to evoke the narrative of fairy tales as
it exists within. I imagine characters and readers who venture into an
enchanted forest and choose to stay rather than find their way out.
Knit garments are inspired by the lush textures of ancient trees; ghostly
wall coverings echo the voices of mystery and antiquity.
PHOTOGRAPH BY MIMI CABELL
TE
XT
ILE
S /
ELI
ZA
BET
H L
AM
B
143
/ Returning to Homeland: Architecture and Cultural Values
Architecture is a physical body that not only represents culture but
also facilitates the development of social behavior and cultural patterns.
I lament that modern Korea is losing many of its unique ways of
building from earlier eras to homogenous cityscapes of modernity.
I propose a University Campus Research Center adjacent to an
expected flood zone from the construction of a dam on the upper
stream of the longest river in Korea. The program aims to compensate
for the environmental impact and loss of historic landmarks, as well as
to create local industry. The design follows the characteristics of
traditional architecture in a modern language. Ascending roof lines,
eaves, pathways, and courtyard spaces are loosely connected to define
porous boundaries.
SHIN
AH
LEE / A
RC
HIT
EC
TU
RE
144
/ Hybrid Gaze: Digital Artifacts and Memory
I create or appropriate 3-D digital models and graphics based on
my childhood memories. This allows me to scrutinize not only my own
psychology, but also the empathic resonances of the socio-cultural
engagement of digital models. Examining the broader social
implications of digital artifacts, my works question and challenge
the general notion that they are impersonal.
PHOTOGRAPH BY MIMI CABELL
DIG
ITA
L +
ME
DIA
/ J
AE
OK
LEE
145
/ Transportable Space
Due to the advancement of technologies, the modern lifestyle is
faster, more flexible, and prone to change. The form and location of a
building can be shifted in a second with a simple computer program.
However, once built, architecture still remains a somewhat permanent
medium. Because of this permanence, architecture has difficulty
accommodating change. Mobility and flexibility in architecture is less
dominant than stability and firmness. Understanding adaptability
within architecture can improve the way in which we approach
traditional architectural alterations.
My thesis observes the relationship between transient and permanent
space by using an architectural language. By exploring the juxtaposition
between presence and void, flexibility and rigidity, I would like to find
a way to convey the rapid changes of advanced technologies within the
setting of traditional architecture.
AR
AN
LEE / IN
TE
RIO
R A
RC
HIT
EC
TU
RE
146
/ Finding Lost Space
This project started from my personal interest in looking at the quality
of abandonment. I have always thought that lost spaces have energy that
eludes explanation, and this energy continues to inspire me to imagine
spaces that can become so much more than what they currently are.
Spaces that have lost their function; prominence or visibility have not
lost their potential. This project seeks to “find” these spaces and
reimagine the program and design approach to reeducate the public to
see them. By discovering “lost” spaces and rejuvenating them, the
project provides a place of pause, a “third” space in the trajectory of our
busy daily lives. This method demonstrates the potential to revitalize
urban landscapes, which can be applied to any city.
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
JU
NG
EU
N L
EE
147
/ Realizing Empathy
After a nine-year career practicing both computer science and
interaction design, I have spent the last three years in a traditional art
school immersed in dialogue with physical materials—including
my own body. Through a series of studies in acting, dancing, drawing,
writing, and making with clay, glass, light, metal, paper, plaster, plastic,
type, and wood, I realized that making with physical materials
is analogous to engaging in an empathic conversation with another
person. Based on this experience, I imagine in my work how
our interaction with computation can afford the same qualities.
SEUN
G CH
AN
LIM /
GR
AP
HIC
DE
SIG
N
148
/ Architecture Pro Tempore: Time, Speed, and Agency
Who are you, and where are you? What is the form of your belonging?
Temporary architectural installations abound, with timelines stretching
back centuries or even thousands of years. We dwell in a panoply
of constructions for the body and soul, unique genetic markers of time
and place. The Passamaquoddy, a Native American tribe in eastern
Maine, believed that rock was a house for spirits — but even rock is
temporary. How, then, do you define your community, your place, your
space? Your active participation is the genetic marker for your
existence — your active awareness, its quality and inherent order.
AR
CH
ITE
CT
UR
E /
CA
RO
L A
NN
LIV
ING
STO
NE
149
/ Embrace
Interior Architecture is an art where creativity flourishes under
restrictions, limitations, and perceived potential. This art form
often yields a product far more inventive, intelligent, and elegant
than a project free from boundaries and confines.
I explore the perceived design limitations associated with the
disability of autism, commonly regarded as a sensory processing
disorder. I celebrate these restrictions in a design tailored
specifically for individuals with autism. The way in which these
individuals experience a space is not wrong, simply different.
Emanating from perceived limitations, a therapy space for those
with autism will flourish.
AB
IGA
IL LULEY
/ IN
TE
RIO
R A
RC
HIT
EC
TU
RE
150
/ Mundane: Memory | Perception | Imagination
“My power to reach the world and my power to entrench myself in
phantasms only [come] one with the other; even more: [it is] as though
the access to the world were but the other face of a withdrawal.”
—Maurice Merleau-Ponty
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
/ S
COTT
MA
CDO
NA
LD
151
/ Natural Fantasy
How are ecological actions transformed through digital tools? The
advent of technology in the age of advanced capitalism might seem to
have empowered humanity, but more often than not it abates the
critical imagination needed to act meaningfully by espousing fantastic
images that besiege thinking and divert true action. Ecology through
many contemporary modes of electronic media has eroded our critical
ability to relate to the natural systems around us, and as such requires
a cultivation of imagination in order to establish stronger ecological
bearings and engage with complex environmental issues. My work is
about overcoming the impediment of fantasy by composing new forms
of action, where ecology is not just mediated, but is rather a medium
for imagination.
PHOTOGRAPH BY MIMI CABELL
MIK
HA
IL MA
NSIO
N /
DIG
ITA
L +
ME
DIA
152
/ The Fish Market Restaurant
Meant to send this earlier in the day but fell asleep—
Egodystonic whatever and I’m trying to fuck Sharon Stone, like every
fucking day.
PHOTOGRAPH BY MIMI CABELL
.
PR
INT
MA
KIN
G /
DA
VID
MA
Y
153
/ An Illusion of Progress
PHOTOGRAPH BY MIMI CABELL
RYA
N M
CINTO
SH /
PR
INT
MA
KIN
G
154
/ Process Book: Harmony
As an arts educator, I want to facilitate learning fueled by wonder and
awe. I believe that this type of learning encourages passion and creates
deeper understanding. Understanding is more intuitive and much less
prescribed when there is an element of magic involved. If nothing else,
the way we educate students should be in direct relation to, or perhaps
in collaboration with, their lives.
TE
AC
HIN
G +
LE
AR
NIN
G I
N A
RT
+ D
ES
IGN
/ K
IRST
EN M
CNA
LLY
155
/ Inside/Out: Schoolyards as an Extension of Education
The fundamental question that drives my thesis investigation is
how to provide an educational environment that benefits the whole
child, while considering their individual learning style. Through the
vehicle of landscape architecture I approach the restructuring of
ill-equipped and poorly designed schoolyards. Instead of continuously
treating these important spaces as an afterthought, we might begin
addressing them as valuable opportunities, capable of bridging the gaps
between learning and play and between a school’s curriculum and the
surrounding context. Initiating a conversation within the school’s
immediate vicinity facilitates a holistic educational experience that
can manifest itself within the curriculum while strengthening the
fabric of community.
LAU
REN
MEEN
A /
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
156
/ Between Rhetoric and Reality: Spaces of American Democracy
My work focuses on the unique yet everyday spaces of democracy in
the United States: the voting booth, the jury deliberation room, and the
naturalization ceremony rooms where immigrants become citizens.
I photograph America, exploring the perceptions between the rhetoric
of American democracy and the realities of the often banal spaces
where democracy is manifest.
PH
OT
OG
RA
PH
Y /
MIC
HA
EL M
ERG
EN
157
/ Process Book: The Art of Looking
As an artist and new educator, I am constantly processing what I see.
I do this in the hopes of expanding upon what I know and to explore
what could be possible.
I seek to increase my students’ understanding of their surrounding
visual world. I want them not only to take a second look at the familiar,
but to see a subject from multiple perspectives, encouraging them
to envision possibilities and to build connections. It is my hope that
through my teaching, my students will learn to look.
CHR
ISTINA
MILES /
TE
AC
HIN
G +
LE
AR
NIN
G IN
AR
T +
DE
SIG
N
158
/ Functional Concepts of Nomadism
I had just turned 27 when I applied for graduate school. While it
seemed like the next logical step, the plummeting economy had me
doubting whether it would actually pay off. My other option was to live
a life away from society, migrating from southern to northern Arizona.
I decided that my future would ride on the outcome of the looming
presidential election.
My thesis tells the story of my alternate life: the life I envision
I would have lived had the outcome of the election gone differently.
The objects I created during this fictitious nomadic journey fit
somewhere between camping gear and high-end mobile furniture,
formulating the stories of my travels that suggest how other cultures
and people live their lives.
PHOTOGRAPH BY MIMI CABELL
FU
RN
ITU
RE
DE
SIG
N /
RYA
N M
UR
RA
Y
159
/ May Not Architecture Again Become a Living Art?
Space is only what you make of it (so let’s go get a karaoke machine).
SHER
ATA
UN
NU
SS / A
RC
HIT
EC
TU
RE
160
/ Process Book: Lessons on the Everyday
For me, art education is about the everyday and seeing the familiar
differently. In my teaching practice, I hope to provide new ways for
students to experience their environments and communicate their
observations. I hope to encourage learners to question and find meaning
in the ordinary. As a result the arts become more accessible and the
classroom becomes a place where learners push their skills beyond what
they think are the limits of their abilities. Art education is about
creating, but it is also about pausing to look longer, more closely, and
with intention. It is about finding the extraordinary within the ordinary.
TE
AC
HIN
G +
LE
AR
NIN
G I
N A
RT
+ D
ES
IGN
/ A
LLIS
ON
PA
CE
161
/ Production
Clay is my material. It has a memory, it preserves the evidence of
touch, and its processes are important to my studio practice. I use
forms from my surroundings — such as architecture, landscape,
and machines — to intuitively build my own “shape” vocabulary,
producing angles that loosely reference my environment. By
making pieces based on memory, I can push, distort, and create
pieces that are ultimately playful in quality.
PHOTOGRAPH BY MIMI CABELL
JASO
N PA
CHECO
/ C
ER
AM
ICS
162
People’s interaction in society—a theme my art shares with my
previous vocation of American historian—fascinates me. I’ve known all
along that how people act and how they look accord with where they
are and who’s interacting with them. As an artist I note the way light
compounds the role of social interaction, influencing personal
appearance in the eyes of a range of viewers. Not surprisingly, portraits,
including my own, have long intrigued me. Does a healthy dose of
vanity nourish my love of self-portraiture? That may well be; I often
return to self-portraiture, compelled by the many ways my hand
translates my image.
PHOTOGRAPH BY MIMI CABELL
PA
INT
ING
/ N
ELL
PAIN
TER
163
/ Dark Glass: Recordings for a Vessel
I reflect on the history and processes of printmaking through framing,
isolating, and obscuring the subjects within my work. This process
creates situations where a clearly composed viewpoint is presented to
the viewer, but the focal point is obscured or obstructed. Printmaking
methods are a filter through which I clarify and distill my ideas about
representation; engagement with these processes reflects my way of
perceiving the world.
PHOTOGRAPH BY MIMI CABELL
LAU
REN
PAK
RA
DO
ON
I / P
RIN
TM
AK
ING
164
/ Brand Meets Hospitality
The world of commerce is changing. It is now not enough for companies
to merely sell a good product — they must sell an experience, an image,
an idea. The purpose of my degree project is to create a cultural
hospitality space sponsored by a global prestigious brand group, lvmh.
This space is not used to sell their products, but to bring and blend
their core value and brand identity into the interior architecture
so that visitors can recognize them consciously and unconsciously
while eating, drinking, and socializing in this space. With a
comprehensive understanding of the brand, how to translate the brand
identity and values into the interior architectural language becomes
the essential issue.
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
JA
E H
YU
N P
AR
K
165
/ Visual Thunder
The decadent happenings of the hours of darkness have punctured my
being. The shooting stars of the cosmos battle the flashing lights of the
metropolis. Within the mask of the night, fabulously adorned figures
flutter in the glitz and glamour of disco.
I utilize elements from the costume jewelry industry to induce a
new life in them. I believe all that glitters is gold. The superficial layer
of glamour in my work rejuvenates a rusty and tired piece of steel.
At the end of the day we are all ugly and we are all beautiful. We are
all just human.
PHOTOGRAPH BY MIMI CABELL
KA
THER
INE CH
ASE P
ETERS /
JEW
EL
RY
+ M
ET
AL
SM
ITH
ING
166
/ Disgusting Comfort: The New American Dream
“And so, with a bitter struggle, I resigned him to his fate, fastened myself
to the cask by means of the lashings which secured it to the counter,
and precipitated myself with it into the sea, without another moment’s
hesitation. The result was precisely what I hoped it might be. As it is
myself who now tell you this tale — as you see that I did escape — and as
you are already in possession of the mode in which this escape was
effected, and must therefore anticipate all that I have farther to say.”
—Edgar Allen Poe, A Descent into the Maelström, 1841
PHOTOGRAPH BY MIMI CABELL
.
CE
RA
MIC
S /
BEN
JAM
IN P
ETER
SON
167
/ Sostenuto
I am interested in the anxiety between tension and release. In music
theory, this is known as dissonance and consonance — where
unharmonious chords are built up and held to allow for more resonant
and harmonious chords. Not all resolutions that provide relief, however,
are perfectly harmonious. Sometimes anxious tension is relieved
through failure, especially from the machine. The unblemished car,
for example, remains a source of anxiety until the day it receives its
first dent or scratch. This tension is where my work plays, within
the juxtaposition of the anxious and the failed.
JUSTIN
PH
ILLIPSO
N /
DIG
ITA
L +
ME
DIA
168
/ Contiguous Pictures: A Preface
As part of an interdisciplinary practice that includes painting, drawing,
photography, writing, and audio, I make work that draws on my broad
interests in psychology, memory, and language. I employ restraint,
withholding, and distance, using disparate approaches to construct
visual and audible experiences that balance presence with absence and
truth with fiction. Through these layered mediums and methods, my
work offers a temporal experience using surrogacy and substitution to
represent reality and, as in my current work, to mimic the often
complex, fragmented, and inventive ways we might consciously and
unconsciously recollect.
PHOTOGRAPH BY MIMI CABELL
PA
INT
ING
/ A
NN
A P
LESS
ET
169
/ Celestial Resonance
In a peri-urban area of Bangkok, urbanization has decreased a sense
of community, resulting in a physically connected but socially isolated
neighborhood. My thesis explores how a shared response to an urban
annual flood can serve to build new social interactions. During the flood,
residents participate in the collective construction of an ephemeral
flood landscape, creating a moment of collaboration—a physical and
social space that provides reciprocity between community members.
PO
NN
APA
PR
AK
KA
MA
KU
L / L
AN
DS
CA
PE
AR
CH
ITE
CT
UR
E
170
/ This Situation May Appear Bleak for Wildlife
“Everything is everywhere, but the environment selects.”
—Baas-Becking hypothesis, 1934
The designer makes a ground, and biota it collects.
The ground is an instrument, biology the keys.
Designer ecosystems tailored to our future needs.
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
/ I
AN
QU
ATE
171
/ Probability Cloud
Design is called on to assist with everything from social issues to
serious environmental concerns. As we negotiate these situations, it is
critical that we are aware of our own intentions, the clarity of our
communication with others, and the real-world effects of our actions.
To be so, we must simultaneously critique and question our own
processes as we work. How do we engage with the world as process?
Here is a working model: suspend the state of unknowing, be aware of
how we operate as designers, and create a continuous cycle of listening
and expression.
SAR
A R
AFFO
/ G
RA
PH
IC D
ES
IGN
172
/ Sorted: Made by Me, You + the Stuff that Surrounds Us
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
CH
RIS
TIN
E R
AN
KIN
173
/ Floral Charades
Constantly exposed to visual stimuli that are supplanted by new stimuli
at a dizzying pace, we gradually become desensitized, in need of
heightened visual effects to arouse our interest. Mass digital media
confuses our understanding of what is genuine; the natural often
looks artificial, and the notion of the natural is consequently blurred.
In the form of flowery asymmerical compositions, I make in the
same way that I perceive the natural world, rather than mimic its
appearance. My aim is to make pieces that nature is unlikely to create,
that surpass nature: exaggerated, theatrical, enhanced, humorous
versions of natural forms.
PHOTOGRAPH BY MIMI CABELL
RU
TH R
EIFEN /
JEW
EL
RY
+ M
ET
AL
SM
ITH
ING
174
My work as an art educator stems from my roots as a teacher of young
adjudicated males, ages 13-20, who have been placed in a high security
facility for chronic violent offenders. Over the past four years, I have
seen art influence the most disengaged of learners. I educate with the
belief that youth who engage in art programming develop bonds with
positive role models, are more well rounded, “whole” people, have
higher self-esteem and a strengthened sense of identity. I believe that
youth who engage with art have greater success in school, are more
productive, and are less likely to engage in delinquent activity.
Subsequently, this growth affects the individual’s larger community
positively, especially within communities that struggle with
socioeconomic instability.
TE
AC
HIN
G +
LE
AR
NIN
G I
N A
RT
+ D
ES
IGN
/ A
NN
E R
EIN
HA
RD
T
175
/ Places of Pause
As owner of the object I view it as the beloved
As maker I view the object as material and subject matter
As artist I view the object as inspiration
As human I view the object as a symbol
As manufacturer I view the object for its function
As curator I view the object in relation to others
As scientist I view the object’s physical qualities and characteristics
As historian I view the concrete facts of the object and its past
As poet I view the objects whisperings
As a craftsman I view the object as humble
PHOTOGRAPH BY MIMI CABELL
KEN
DA
LL REISS /
JEW
EL
RY
+ M
ET
AL
SM
ITH
ING
176
My work begins with the realization of a single discrepancy — a feeling
that something doesn’t quite fit — in a moment of silence, set in this
world. If I can pick through the chaos to find the momentary void,
I have found my beginning. Mapping creates an awareness of the hidden
latencies embedded in a place. I use the existing canvas to tease out and
layer architectural intervention. I am concerned with the social and
with the integration of landscapes. The goal is to learn and take from
the assemblage of small pieces that align to form a holistic work.
AR
CH
ITE
CT
UR
E /
CA
THA
RIN
E R
HA
177
/ FLF: By Kevinator
Through the medium of engraving, I create prints that document my
installation and sculptural work, as well as important moments in the
history of printmaking.
My engravings also explore a vocabulary of personal symbols in a
post-apocalyptic narrative. These allegorical tales probe the larger
subjects of modern communication and environmental damage, while
sifting through personal and autobiographical relationships such as
dislocation, memory loss, doubt, and creative confusion. Drawing
influence from the earliest printed books and works of science fiction,
these prints are sometimes accompanied by an invented text to afford
slower contemplation.
PHOTOGRAPH BY MIMI CABELL
MA
RK
RICE /
PR
INT
MA
KIN
G
178
/ Rene Abythe & Fanfare
PHOTOGRAPH BY MIMI CABELL
PR
INT
MA
KIN
G /
JO
HN
RO
MER
O
179
/ Transit Lounge (Assimilation Laboratory)
As a Rwandan living in Providence, RI, I configure ways of expressing
the in-between state of being stuck in a perpetual transit lounge.
Using humor bordering on the ridiculous, I engage complex narratives
to discuss issues of displacement, cultural adaptation, and what it
means to be an immigrant today. My work calls into question
assumptions around hybrid identity in this increasingly globalized
world. In exploring these issues, I fixate on the transitional material
of iron oxide to create a variety of sculptures, installations, prints,
and paintings. I juxtapose disparate components, suspending them
in space, to suggest geographical collision.
PHOTOGRAPH BY MIMI CABELL
DU
HIR
WE R
USH
EMEZ
A /
PR
INT
MA
KIN
G
180
/ Weight of Wait: Repetition and Ritual in the Search for Equilibrium
Architecture is neither a hollow shell nor a static object. Today,
however, much of the “architecture” that is produced can be thought
of in these terms — houses so empty they read as mausoleums,
suburban developments lined up on a vast horizontal grid like grave-
stones . The space is not felt, the architecture not experienced, the
atmosphere not remembered. How then can architecture be internalized,
not just inhabited? Can architecture gain permanence in our mind
and the built landscape, achieving both personal and public
monumentality? How can architecture gain weight? Can architecture
be or convey light? Can architecture be in equilibrium, in the sense
that it can represent equally and simultaneously mass and ether —
life and death?
AR
CH
ITE
CT
UR
E /
BEN
JAM
IN S
AN
DEL
L
181
/ Popular Mechanics
Our culture charges images, objects, and phenomena with associative
values. This fundamental process is dramatically compounded
within art contexts. My work begins when I notice a thing in the world
that merges the associative and the art context in obvious, yet
paradoxical ways.
I take strong, loaded subjects and hollow them out, attempting to free
them from commonplace understandings. I complicate and coax
more open subjects toward metaphor and symbolic representation in
order to illuminate the particular and telling details that brought
them attention in the first place.
PHOTOGRAPH BY MIMI CABELL
MICH
AEL SCH
REIB
ER /
PA
INT
ING
182
/ Process Book
In teaching art for the last two years, I have explored the question
of where artists get their inspiration. By helping my students see the
myriad possible answers, I hope to make art accessible to them and
show how it is already a part of their everyday lives. Recently, I have
been interested in looking closely at objects and places that are often
overlooked. By stopping and looking, we can make beautiful and
unexpected discoveries. Helping students make these discoveries and
realize how essential art is to our existence is what inspires me to teach.
TE
AC
HIN
G +
LE
AR
NIN
G I
N A
RT
+ D
ES
IGN
/ W
END
Y S
CHR
EIN
ER
183
/ Expressions of Intangible Culture
Skinny birch trees make a white column forest. A cleared space for
the hand, mind, and tongue. Out of site, see the water through the
screens. Extract the layers, then build them back. The Museum of
Intangible Culture. Gallery openings 2011, 2021, 2031 …
SAN
NA
SHA
H /
AR
CH
ITE
CT
UR
E
184
/ The Book in Translation
In this moment of transition from the page to the screen, our
relationship to books, both as objects and as texts, is changing.
A book is both finite and limitless. Its borders are clearly delineated,
yet it expands infinitely outward: through the turning of its pages,
through the act of reading, and through the connections made between
texts and readers across time.
In my work, books serve both as subject matter and form. I restore
the ephemeral into physical form, making abstract notions tactile.
I play in the liminal spaces, the moments when the page turns.
GR
AP
HIC
DE
SIG
N /
BEN
JAM
IN S
HA
YK
IN
185
/ Seven Seas Without
Inabilities
to be in two places at once,
to amalgamate experiences,
to be cognizant of my own biases.
And abilities,
to call more than one place my own,
to distinguish one from the other,
to recognize some of the biases others hold.
Of challenging and exploring the voids and brims of these dualities.
Of experiencing and grappling with borders and demarcations.
Of organizing, categorizing and defining both body and space.
In my practice I explore acts of clinging and assimilating, resisting
and mediating, including and eliminating. Working with photography,
video, and animation, I reference borders that are no longer just
physical, battles that are no longer just tactical, and displacements that
are no longer just personal.
AM
BER
EEN SID
DIQ
UI /
PH
OT
OG
RA
PH
Y
186
/ Dazzle Ships
Our culture has a great affinity for nomenclature. All things must be
named, ordered, catalogued, tagged, and defined. It is parametric;
establishing parameters is constant in all facets of life. But somewhere,
there is a moment, an emergence that preempts our inevitable need to
constrain. It is primordial and psychedelic. It is the unformed and the
undiscovered. This is my place. I want to protract that emergence and
record the trail of the wild and wonderful worms of light, color, mud,
and sound as they float away into an unnamable future: Dazzle Ships.
PHOTOGRAPH BY MIMI CABELL
CE
RA
MIC
S /
ELI
SIM
ON
187
/ Absolution; Logic, Clay, Soul
Once upon a time a Passion crafted its own life on Earth.
It found that creation was a sensation of excitement and dynamic
challenges that ranged from physical pain to true joy. The tactility
of physical relationships with matter and energy became fascinating,
and this Energy began to play with ways to inspire feeling: energy
vibration, empowerment with material stability, and freedom/release
with ephemerality. These abundant experiences of creativity rose as
countless gifts of perspective, and this Soul asked questions of its
consciousness by creating itself over and over again in a multitude
of these reflections.
To this day you can find it at play in all the forms it may choose
to be, and all of its combined Essences find it truly awesome.
PHOTOGRAPH BY MIMI CABELL
RO
SE SIMP
SON
/ C
ER
AM
ICS
188
/ Shift: From Something to Something Else
My approach to objects and material is restless and unconventional.
Sly, silly, rambunctious, deadpan, average. I like to create things that
possess the possibility of changing one’s perception, and discovering
unforeseen potential. I have a passion for old techniques such as joinery.
I contrast these old techniques with contemporary objects or ideas.
I like using found objects. I often apply the “right” material to the
“wrong” technique, or vice versa. I like to play with scale. When I work
outside, I often create sculptural interventions of minimal means in
public sites troubled with neglect. I interject humor or beauty in an
attempt to rejuvenate the site into a new experience. I am equally
concerned with where an object is, as opposed to what an object is.
I like the idea of touching someone artistically when they least expect
it. I sometimes group my indoor works in a salon style fashion,
allowing the work to project a collective voice. I like to keep things
physically simple and stripped down, but conceptually rich.
PHOTOGRAPH BY MIMI CABELL
SC
UL
PT
UR
E /
CU
RTI
S SI
NG
MA
STER
189
/ Camera Obscura: Roger Williams Park
“He wrote me: We do not remember, we rewrite memory much as
history is rewritten. How can one remember thirst?
He wrote that he liked the fragility of those moments suspended
in time. Those memories whose only function had been to leave behind
nothing but memories.
He wrote: I’ve been round the world several times and now only
banality still interests me. On this trip I’ve tracked it with the
relentlessness of a bounty hunter.” — Chris Marker, Sans Soleil
AN
NE SLICK
/ A
RC
HIT
EC
TU
RE
190
/ Borderland
My eyes are closed and the sheets are cool. Pencil in hand, I begin
to drift and think. I am in between sleep and wakefulness. Flashes
of color, form, and memory play behind my closed eyes. They are stills
from my movie. I draw loosely and without fear or censor. This is
the most fruitful way and time for me to think. Upon waking, I look
at the jumble of lines and thoughts. I can work with it. I extract the
concepts and elements that interest me. I play, draw, sculpt, and
construct upon these initial quiet thoughts. This is the beginning.
PHOTOGRAPH BY MIMI CABELL
FU
RN
ITU
RE
DE
SIG
N /
ALE
XA
ND
RA
SN
OO
K
191
/ Backsides Revealed
“Keith Spencer’s work radiates from my walls. It is no exaggeration to
say the best of his work possesses a profound energy that comes from
a remarkably unique and intense palette and a deep connection with the
subject matter, whether it’s the familiar landscape of the South Carolina
horse farm where he lives and paints, or the nudes, portraits, and
Indians that live even in his abstraction. He has earned his way to the
new and visionary work he creates that blurs the line between realism
and pure abstraction. His work is alive.”
—Owen Riley, photojournalist and art collector
PHOTOGRAPH BY MIMI CABELL
KEITH
ALLY
N SP
ENCER
/ P
AIN
TIN
G
192
/ The Authorship of the Underground
My thesis is an investigation into the subsurface. The exchange
between the uniform or continuous surface exposes the ground below,
the essence of which reveals a truth. The singularity of the object
(surface) has a subtext or a composition (subsurface) which can relate
to the formation of the whole. This is not meant to study the accidental
exposure of the subsurface, but the systematic and deliberate
explorations of the underground. This exposure and engagement with
the ground below can be used as an impetus for future growth or
change within the dynamics surrounding the object. The question
becoming: How can the exploration and value of the underground
become apparent and useful to the surface? What becomes
the expression of the surface as composed by the impressions
of the subsurface?
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
/ D
EMET
RIO
S ST
AU
RIN
OS
193
/ Definitively Indefinite or In Pursuit of Logical Questions
I am interested in two’s, pairings, comparisons, relationships,
contradictions, registration, bending, juxtaposition, duality, separation,
juxtaposition, illusion, and the space between.
MA
TTHEW
STEVEN
S / G
RA
PH
IC D
ES
IGN
194
/ Alzheimer’s Adult Day Care
Alzheimer’s Disease has become the biggest growth industry in chronic
care. ad is a frightening, irreversible, progressive brain disease that
slowly destroys memory and thinking skills and eventually the ability to
carry out simple tasks. Design can dramatically improve the way of life
and dignity for those who suffer from ad. My investigation and study
explores opportunities that include, but also go beyond, the immediate
fabric of the building in which those with Alzheimer’s are cared for.
I explore the use of sound, the resonance of music, and the vitality of
art to create a tranquil, sensual, poetic environment within which
inhabitants can feel at peace and secure.
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
BEN
JAM
IN S
TEV
ENSO
N
195
/ What’s Red?
From my studio windows I can see figures from the outside world in
miniature; they enter buildings, have wild gesticulating conversations,
get in little cars and drive erratically. Their little world is as distant to
me as a film or puppet show. I am separated from it, yet experience it
as a known reality. My interpretation is my only experience, my
imagination of which fills in the gaps, and is ultimately all I can “know.”
Are we not always constructing and projecting? Is that not a fiction?
And is that not what makes art have effect at all?
PHOTOGRAPH BY MIMI CABELL
PH
OEB
E STUB
BS /
GL
AS
S
196
/ With Breathless Expectation
The body is a tool, an instrument that plays a critical role in the
interactions of our daily lives; it is our threshold for contact and
communication with self, others, and the environment.
How do we treat ourselves, and how does our body treat us in return?
My objects and environments examine the notion of body as other.
Sculptures allude to a physical understanding of what we know as the
body, but suggest something gone awry. I investigate psychological and
physical conditions as temporal experiences that elicit pleasure and
pain. Familiarity becomes awkwardness and discomfort, questioning
the truth of imperfection.
PHOTOGRAPH BY MIMI CABELL
.
CE
RA
MIC
S /
ELI
ZA
BET
H S
UEL
LEN
TRO
P
197
/ Rules: An Exploration in Landscape Architecture
The main goal of my thesis is to discuss the aesthetic and philosophical
values of the rules in landscape architectural design. The narrative is
based on practice and methodology as well as on an understanding
of rules from an abstract point of view. Knowledge of rules in sociology
and philosophy also guides the design process.
WEN
HA
O SU
N /
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
198
/ A Call to Arms
“The memory of the pre-colonial period is still very much alive in
the villages. Mothers still hum to their children the songs which
accompanied the warriors as they set off to fight the colonizer.
At the age of twelve or thirteen the young villagers know by heart
the names of the elders who took part in the last revolt, and the
dreams in the douars and villages are not those of the children
in the cities dreaming of luxury goods or passing their exams but
dreams of identification with such and such a hero whose heroic
death still brings tears to their eyes.”
—Frantz Fanon, The Wretched of the Earth
PHOTOGRAPH BY MIMI CABELL
DIG
ITA
L +
ME
DIA
/ L
AU
RA
SW
AN
SON
199
/ Design Future History
My work is a meditation on transformations to memory occasioned by
media. How have memory-bearing technologies imposed order on
knowledge? How does the formal ordering of knowledge influence the
stories re/constructed from remnants of the past? I use design to make
observations on the evolution of mnemonic techniques, developing
a theory of digital temporality separate from the experience of past and
present in the physical world. I build tools that require more
conscientious interactions with new media. I provide strategies for
designers to more rigorously interrogate media and a methodological
framework for the designer as “future historian” — the gatekeeper
between past actuality and potential representation.
ERIK
A TA
RTE /
GR
AP
HIC
DE
SIG
N
200
/ Traverse — Design & Reflection in Public Spaces
At once bare and over-saturated, mute and overpoweringly loud,
repulsive and seductive, the city is a place of surplus amenities,
experiences, and chance encounters. I view the city as existing between
the decentralized, fluid, and stochastic nature of memory and the highly
static nature of the museum that archives, articulates in space, and
makes legible memories of a culture. The overlaying narratives
and serendipitous relationships make the city at once dynamic and
exciting, but also illegible and resistant to representation.
I traverse, research, read, and write in the spaces of the city in order
to understand how narratives are communicated there.
GR
AP
HIC
DE
SIG
N /
DIM
ITR
Y T
ETIN
201
/ Process Book
The education system plays an undeniable role in child development.
Teaching enables me to tangibly convey an often overlooked truth:
throughout our history, the creative arts has played a role in every part
of the education system. I find that when visual arts are integrated into
the classroom and arts educators work in conjunction with academic
educators, a child receives a more well-rounded and enriched education.
The collaborative conversations that happen in the art classroom
develop a child’s ability to problem-solve and cooperate.
AM
Y TISCH
LER /
TE
AC
HIN
G +
LE
AR
NIN
G IN
AR
T +
DE
SIG
N
202
/ In Between: Forming Dialogue
My proposed program calls for three guest houses to allow visiting
scholars to stay and study at the Gropius House, an architectural icon
in Lincoln, MA. The contour lines, which form the basis of the
addition’s morphology, describe a relationship between the exterior
envelope and interior layout of spaces. Variation of the topography
correlates with the progression of the interior spaces. The constant
interaction between entities replaces the critique of the edge, creating
an architectural dialogue that is primarily driven by circulation.
The addition creates a new landscape that responds to the existing
site and extends programmatic function.
AR
CH
ITE
CT
UR
E /
SA
LLY
TO
203
/ Suspended Harvest: Smog Farming in Mexico City
Can a deployable, adaptable, architecturally augmented infrastructure
remediate our environment? How can a biotic system infiltrate and
armor our social and dwelling spaces?
Toward a thick(er) skin and a new hybridity. Mexico City:
In a hyper-dense urbanity there is no choice but to build among.
Thus: an intervention that hinges between Spanish baroque, modernism,
and a visceral horticulture, between relics and the almost-imagined.
It gleans and processes what is most plentiful in the d.f.: pm10,
aka, smog.
PHOTOGRAPH BY MIMI CABELL
COLLEEN
TUITE /
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
204
/ Ours: Enabling and Inspiring Collaborative Consumption
Through design, I strive to facilitate transformative experiences
that reveal opportunities to foster social, economic, and
environmental change.
My approach focuses on the creation of experiential scenarios that
promote collective action amongst groups of individuals. Through
iterative explorations, I design quiet probes to enable participatory
solutions that activate users to co-produce benefits. Face-to-face
interactions reinforce our social fabric and enable us to work together
to create positive change.
My thesis explores collaborative consumption — alternative forms
of consumerism rooted in sharing. Collaborative consumption is
reshaping the way we own things, allowing us to consume together,
reduce our impact on the planet, and enhance social capital within
our communities through the redefinition of value in products,
services, and systems.
PHOTOGRAPH BY MIMI CABELL
IND
US
TR
IAL
DE
SIG
N /
EM
ILY
TU
TEU
R
205
/ Glimpse
sometimes you might catch your breath, sucking in at the delicacy of
lacy patterns and lines. sometimes you might just wonder, how is this
caulk? it can be cream and white and blush so soft. black spikes look
wet. a glimpse into refinement. edible. haute couture. fetish. embroidery.
elegantly weird in a motley confusion of materiality and worth. a blur of
references, ideas, and textures coalesce into an aesthetic that responds
to both making and wearing. transposing simple with ornate, modernity
with history and the handmade. irreverent. subversive. teasing. colliding.
PHOTOGRAPH BY MIMI CABELL
MA
RIA
H TU
TTLE / JE
WE
LR
Y +
ME
TA
LS
MIT
HIN
G
206
/ Ex-porting Land
Ex-porting Land is situated in Maldives, the lowest-lying country in
the world. With 80% of its land under one meter above sea level,
this island nation is facing two catastrophic threats: the global rising
sea level is contesting Maldives with its lack of habitable land, and
the rising population density threatens the native coral reefs.
My project is conceived as a provocation and speculation on how
these two demands can be hybridized as an alternative to the migration
proposal suggested by the Maldivian President. Instead of abandoning
the precious natural and cultural heritage, a new form of symbiotic
ecology is proposed.
AR
CH
ITE
CT
UR
E /
MA
N C
HU
N U
N
207
/ On Make Believe & Madness: An Interview with Myselves
I imagine that most people feel “typed” at times. People live in spheres
that reinforce certain behaviors or modes of being and inhibit others.
I suppose I try to highlight that by creating (or implying) spaces
and people that don’t quite fit in or make sense. I create installations,
animations, and character-based performances to serve this purpose.
They highlight a gap between real life (whatever that is) and one’s
desires, and they imply that both realities can exist in the same person
or place at any given moment.
KR
ISTEN VA
N LIEW
/ S
CU
LP
TU
RE
208
/ Process Book: Connecting Art + Design Education to Our Everyday World
Art education is exploring the growing possibilities of an idea:
students should be granted the freedom to find out what they are
capable of and how they can make a change. Currently, I teach
elementary school, and soon, I will be teaching high school. The
excitement and curiosity I see in the classroom inspires a plethora
of student artwork. Included in my lesson plans are art projects
exploring close encounters, mapping and place-based design, and
drawing. I want to help students connect art with their daily
lives, as well as teach them how places and things overlooked can
be turned into visual narratives.
TE
AC
HIN
G +
LE
AR
NIN
G I
N A
RT
+ D
ES
IGN
/ T
AN
YA V
AZ
IRA
NI
209
/ Bio-Curious: A Series of Graphic Experiments
A leaf falls and slowly decays, leaving only the pith. Ice crystals
aggregate in delicate strands across a pane of glass. A neuron fires as
you read these words, sending out tiny pulses of electricity which
spread through your brain in an intricate web. While apparently
disparate, these events share a common systemic underpinning. There
is a compositional grammar and order underlying every aspect of
the natural world. In my work, I court the unexpected. I use seemingly
wild yet highly ordered natural phenomena as lenses to view my
own practice and as creative prompts to conceive new methodological
and formal approaches to graphic design.
OLIV
IA V
ERD
UG
O /
GR
AP
HIC
DE
SIG
N
210
/ Subtle Bodies, Subtle Selves
My thesis project is meant to depict an internal landscape where
thoughts and emotions rise and fall in a continuum of inner experience.
There are five textiles in the group, each based loosely on one of the
five koshas of Vedanta: Anandamaya Kosha, the sheath of bliss,
Vijnanamaya Kosha, the sheath of wisdom, Manamaya Kosha, the
sheath of mind, Pranamaya Kosha, the sheath of prana, and Anamaya
Kosha, the sheath of food. Gesture, color, texture, and material
play a central role in suggesting these elusive yet distinct states
of consciousness.
PHOTOGRAPH BY MIMI CABELL
TE
XT
ILE
S /
NA
THA
N V
OIR
OL
211
/ Heirloom
I explore my family history through textiles, using pattern, color, and
material to infuse personal memories and stories with visual narrative.
Each textile is meant to explore one of the different ways a location or
moment contains my family’s heritage—from the blurred dreamscapes
of childhood to retold stories of my mother’s transient life. Color, fabric
and line describe these experiences and allow the lives and places past
to emerge.
Importantly, I envision my work as an installation, where the viewer
encounters each textile piece and enters its history.
PHOTOGRAPH BY MIMI CABELL
ERIC M
ALIK
WA
GEN
SEIL / T
EX
TIL
ES
212
/ A Flight of Fantasy: FirstWorks New Art Center and Creative Culture Revival in Providence
“Culture, and by extension the creative industry, is a key element in
urban redevelopment.” —Paul Rutten
My thesis project embraces and illustrates Rutten’s viewpoint through
the adaptive reuse of an existing space to design a new art center
for FirstWorks, an energetic arts organization in Providence. The
project reevaluates how design can define the organization’s identity,
which serves as a center of hospitality, vitality, and creativity.
The proposed art center contains a performing art space, a visual art
space, galleries, and a multifunctional public plaza to support various
cultural events. It also provides public leisure and artistic activities to
encourage mass participation and easy continual observation.
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
CH
IA-M
IN W
AN
G
213
/ Reconnection
Where do you see boundaries affecting our reality? You see them
everywhere. When you walk into a building, there is a relationship
between the ceiling, beams, and columns. These elements are
interconnected. At the same time, each plays its own role. Its separate
function and interface defines its boundaries. For example, the wall
is the boundary of a room. The surface of a building is the boundary
between the inside and outside. When you walk into Manhattan’s
Central Park, the gardens and lawns define the boundaries and
functions of the space. At a larger scale, the boundaries of countries
endow different regions with different meanings.
TON
G W
AN
G /
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
214
/ Re_MAKING: Operations on a Grid
I am interested in how architecture reveals the situation it exists within,
and the conditions it has come from. In my work, I appropriate these
conditions. I explore making as a set of operations performed on an
existing structure. Architecture for me exists in the connections that
materialize form, space, and order.
AR
CH
ITE
CT
UR
E /
CH
RIS
TOP
HER
WH
ITE
215
/ Trans — The Architecture of Beyond
this is a Master’s thesis in which trans-
parency is looked at as a construction
inherent to the built world and by
organization, orders information
about a place through connective
transparent thresholds and volumes.
BEN
JAM
IN W
ILLIAM
S / A
RC
HIT
EC
TU
RE
216
/ Design Agency
As part of a collaborative thesis investigation, Jane Androski (see p.52)
and I designed and taught the graduate course Design Agency—a small
attempt to transform the way we approached socially engaged practice
within our own institution.
The course provides a parallel support structure for graduate students
from across the design disciplines to examine the systems within which
they work, to develop a consciousness about the way they communicate,
and to do so in service to community. As an ongoing practice, it’s a way
for each of us to more consciously align our skills as designers with our
values as people.
GR
AP
HIC
DE
SIG
N /
EM
ILY
SA
RA
WIL
SON
217
/ A Sound Mind in a Sound Body: Working & Living Space for Senior Artists
I believe that aging should not stop the passion for creativity and artistic
endeavors. Instead, aging should be embraced. Therefore, I propose the
construction of an experimental senior artists’ community where we can
research how an interior architectural space involves and influences the
aging process.
Those elderly who lack mental and physical stimulation deteriorate
more rapidly. I propose their housing be designed to enhance an active
artistic lifestyle and provide a space where creative mental and physical
activities can be performed daily.
JING
HU
A W
U /
INT
ER
IOR
AR
CH
ITE
CT
UR
E
218
/ Uniqueness in Landscape: From Village to Factory
At a moment when certain cities and territories race to assert their
economic strength, new scales of industry have emerged. Many of the
resulting urban environments have proved to be inhospitable to their
recently urbanized inhabitants. To introduce sub-landscapes that recall
the village of memory may ease the process of transition.
My thesis is the redesign of “street life” in the factory, an effort
to re-guide people’s daily routine, providing spaces of dynamic
exchange, where they can release stress and gain a sense of belonging
within the factory.
LA
ND
SC
AP
E A
RC
HIT
EC
TU
RE
/ X
IAO
WEN
WU
219
/ Space in Between
The spaces in between communities and neighborhoods lead to physical
and cultural disconnects. As a result, the opportunity to share different
cultural, historical, social, and educational resources could be lost.
How can landscape architects provide a shared space for the “spaces
in between?” How can they bridge people of different ages, educational
levels, and disciplines? How can diverse groups express, communicate,
and exchange their knowledge and interests?
How can landscape architects physically and culturally bridge isolated
communities and neighborhoods? How can different communities
have a sense of ownership to express who they are and what they can
do in this shared space?
JIE YU
/ L
AN
DS
CA
PE
AR
CH
ITE
CT
UR
E
220
/ Crossing Point
The “crossing point” refers to the moment when one element crosses
another. In architecture, it refers to a place where one program
encounters another, activating layers and spatial hierarchy to trigger
attention and emotion. My work strives to introduce another space
typology (the bike rental) to a hospitality space in order to create an
interesting architectural crossing point that stimulates the interaction
between people, especially strangers.
INT
ER
IOR
AR
CH
ITE
CT
UR
E /
KA
REN
ZH
AN
G
221
/ Using Art Museum Collections and Practice in Interdisciplinary, Holistic, and Engaging Learning Models
My work as a museum educator, learning facilitator, discussion
prompter, and creator of wonder is grounded and rooted in two
main ideas:
1. Art is created as a byproduct of personal, societal, cultural, and
philosophical ideas, experiences, and experiments. Art is the most
impressive impression of a zeitgeist.
2. The act of questioning, researching, wondering about, and
inquiring into painting, photographs, sculptures, collages, drawings,
prints, and architecture produces creative, critical, interested, and
communicative life-long learners.
KA
THER
INE Z
ISKIN
/ T
EA
CH
ING
+ L
EA
RN
ING
IN A
RT
+ D
ES
IGN
224
INDEXARCHITEC TURE
Jared Brown 66
Nicholas Buehrens 68
Caroline Chou 77
Van Hong Chu 78
Martin Cline 80
Reed Duecy-Gibbs 85
David Fersh 90
Ethan French 96
Leilei Gao 99
Shih-Hwa Hung
Taigo Itadani 116
Ai Ito 117
Thomas Jonak 120
Alexander Keller 125
Youngkyung Kim 128
William Kimmerle 131
Bradley Kisicki 132
Ada Tak Ko 134
Brittney Kailese Kroon 136
Edward Laemmel 139
Shinah Lee 141
Carol Ann Livingstone 146
Sherataun Nuss 157
Catharine Rha 174
Benjamin Sandell 178
Sanna Shah 181
Anne Slick 187
Sally To 200
Man Chun Un 204
Christopher White 212
Benjamin Williams 213
CER AMICS
Lee Johnson 119
Jason Pacheco 159
Benjamin Peterson 164
Eli Simon 184
Rose Simpson 185
Elizabeth Suellentrop 194
DIGITAL + MEDIA
Derek Paul Boyle 63
Han-Shen Chen 74
Kyong-Sub Do 84
Rohini Gosain 104
Byeongwon Ha 108
Jason Huff 114
Benjamin Kennedy 126
Yasimin Kunz 138
Jae Ok Lee 142
Mikhail Mansion 149
Justin Phillipson 165
Laura Swanson 196
FURNITURE DESIGN
Jo-Fan Chang 73
Andrew Kopp 135
Ryan Murray 156
Alexandra Snook 188
GL ASS
Alexandra Ben-Abba 60
Phoebe Stubbs 193
GR APHIC DESIGN
Salem Al-Qassimi 50
Jane Androski 52
Marc Choi 75
Hope Chu 79
Eliza Fitzhugh 92
Jessica Greenfield 105
Lynn Kiang 127
Seung Chan Lim 145
Sara Raffo 169
Benjamin Shaykin 182
Matthew Stevens 191
Erika Tarte 197
Dimitry Tetin 198
Olivia Verdugo 207
Emily Sara Wilson 214
INDUSTRIAL DESIGN
Audrey L. Barnes 55
Elizabeth Becton 58
Gunther Chanange 72
Camilla Fucili 97
Elaine Yuri Fukuda 98
Stephan Goetschius 103
Christina Kazakia 124
Na Ree Kim 129
Calvin Ku 137
Emily Tuteur 202
INTERIOR ARCHITEC TURE
Sang Hee An 51
Jordan Bissett 61
Henry Hyung Min Choi 76
Chad Echols 86
Jessica Fanning 89
Boback Firoozbakht 91
Sarah Frank 95
Brady Gunnell 107
Cyndia Hsu 113
Seung Hwan Hwang 118
Seo Yeon Jin 118
Hogil Jung 121
Kayla Soo-Youn Kim 130
Lisa Klinger 133
Aran Lee 143
Jung Eun Lee 144
Abigail Luley 147
Jae Hyun Park 162
Christine Rankin 170
Benjamin Stevenson 192
Chalermsak Tantipanitkool
Chia-Min Wang 210
Jinghua Wu 215
Karen Zhang 218
JEWELRY + METALSMITHING
Katherine Chase Peters 163
Ruth Reifen 171
Kendall Reiss 173
Mariah Tuttle 203
LANDSCAPE ARCHITECTURE
Ryan Castro 70
Maria Debye-Saxinger 82
Lu Gao 100
Arianne Gelardin 102
Scott MacDonald 148
Lauren Meena 153
Ponnapa Prakkamakul 167
Ian Quate 168
Demetrios Staurinos 190
Wenhao Sun 195
Colleen Tuite 201
Tong Wang 211
Xiaowen Wu 216
Jie Yu 217
PAINTING
Katherine Bell 59
Corydon Cowansage 81
Collin Hatton 110
Anina Field Kallop 122
Nell Painter 160
Anna Plesset 166
Michael Schreiber 179
Keith Allyn Spencer 189
PHOTOGR APHY
Jordan Baumgarten 56
Michael Brandes 64
Mimi Cabell 69
Jennifer Cawley 71
Jennifer Garza-Cuen 101
Omer Hecht 111
Michael Mergen 154
Ambereen Siddiqui 183
PRINTMAKING
Hae Min Choi
Emilia Edwards 87
Stefan Gunn 106
David May 150
Ryan McIntosh 151
Lauren Pakradooni 161
Mark Rice 175
John Romero 176
Duhirwe Rushemeza 177
SCULP TURE
Jake Beckman 57
Johnathan Derry 83
Crystal Ellis 88
Darren Foote 93
James Foster 94
Curtis Singmaster 186
Kristen van Liew 205
TEACHING + LEARNING
IN ART+ DESIGN
Laura Atchinson 53
Kristen Boyd 62
Blair Brendli 65
Katharine Brummett 67
Beth Clevenstine
Cassandra Foral
Jennifer Kallus 123
Kirsten McNally 152
Christina Miles 155
Allison Pace 158
Anne Reinhardt 172
Wendy Schreiner 180
Amy Tischler 199
Tanya Vazirani 206
Katherine Ziskin 219
TEX TILES
Anastasia Azure 54
Rico A. Harris 109
Vedrana Hrsak 112
Elizabeth Lamb 140
Nathan Voirol 208
Eric Malik Wagenseil 209
RHODE ISLAND SCHOOL OF DESIGN
GRADUATE CLASS OF 2011
Architecture
Ceramics
Digital + Media
Furniture Design
Glass
Graphic Design
Industrial Design
Interior Architecture
Jewelry + Metalsmithing
Landscape Architecture
Painting
Photography
Printmaking
Sculpture
Teaching + Learning in Art + Design
Textiles