This Trash Is Someone Else's Problem, 2021 Rhode Island School of Design
This Trash Is Someone Else's Problem, Laura Goodman
This Trash is Someone Else’s Problem reimagines object design practices through a decolonial lens that embraces responsive approaches to the local environment and the communities that steward it. It advocates for design justice and social equality. The physical work was developed from discarded scraps of industrial waste harvested from the Providence area, such as wire fencing, oil drums, rebar and steel tubing. It was created without the use of expensive tools, machinery and materials in favour of a less extractive approach to design. In conjunction with the studio work is a series of community gatherings focused on low-fi ceramic ...
Polyrhythms, 2021 Rhode Island School of Design
Polyrhythms, Kevin Costante
This work strives to integrate seemingly ‘distant’ practices into a concept by emphasizing their differences. A syncopation between a maker and designer, a planner and improviser. A search for commonalities in the middle of what otherwise creates conflict. I cultivate a space to play alongside my inherent formalities by incorporating color and movement. I find rhythm persists uninterrupted through the discrepancies of my process and inspirations. I want to see it in the outcomes of my work.
How can I be compatible with this world of rudiments and structure and also comply with my reliance on ‘chance’?
Taking Care, 2021 Rhode Island School of Design
Taking Care, John Dixon
We’ve come to live our lives on a quest for what we deem as efficiency, but has our view on the matter been focused on the wrong measures? Taking Care investigates efficiency utilizing a variety of different comparative measures through the creation of 8 chairs. When our emphasis on certain variables is shifted, is mass production the most efficient means of making? What about one-off production utilizing local materials? Does industry’s approach to ergonomics focus on efficiencies benefitting the employer while sacrificing those of the employee? Working from a Wendell Berry quote contrasting care to efficiency as a ...
Loose Threads / Hilos Sueltos, 2021 Rhode Island School of Design
Loose Threads / Hilos Sueltos, Estefanía De Rosa
In this body of work, I’ve collaborated with four artisans from my home country, Guatemala: Apolonio Vicente, Vinicio Vicente, Mario Poz and Manuel Otsojay. They all use traditional craft methods with natural materials: wicker, wool, and cotton. I interweave, overlap, and knot mementos from my childhood with current ideas and dialogues that contain loose threads to the work. All of the layers merge in fluid forms with texture and movement. The curtains let light in, the rug sets warmth, and the “cayuco” invites you to slow down.
I aim to push back against the devaluing of craft traditions, especially ...
Dress Your Chair, 2021 Rhode Island School of Design
Dress Your Chair, Yumeng Gai
Upholstery is the dress for furniture. As apparel for humans, upholstery has the power to shape the identity of furniture. By changing different upholsteries, furniture will have fresh identities that bring vitality to both the furniture itself and the surrounding environment. And during the process of changing “cloth” for furniture, people will build a deeper relationship with the furniture they already have.
Making Meaning, 2021 Rhode Island School of Design
Making Meaning, Eric Loucks
Making Meaning explores mental health through the lens of a contemporary craft-based design practice. Themes of identity, catharsis, connection, flow, teaching, and community create a framework for understanding the role craft plays in developing and maintaining a healthy mindset. The physical pieces that result from this approach are meticulously made, highly considered, and given the quality of contemporary heirloom: a piece that promotes a kind of emotional connection and wellness in their owner.
What Do I See Between 2 To 8 O'Clock, 2021 Rhode Island School of Design
What Do I See Between 2 To 8 O'Clock, Youtian Duan
We record our daily life, our daily emotions. But maybe we lie to ourselves. Or our expression is a kind of hope: what we want to look like or want others to think we are like. Unfortunately, it’s usually not our natural appearance, not the honest thoughts in our hearts. Maybe we don’t understand ourselves.
I like to record my dreams. In the dream world, sometimes I relax, sometimes nervous, and unconsciously wander around. That is the real me. In my unconscious dream state, I identify myself, know myself, again and again. I can live in peace with ...
An Evolving Process: Patterns And Objects, 2021 Rhode Island School of Design
An Evolving Process: Patterns And Objects, Shreya Tuli
This thesis investigates my life experiences,inspired by the surroundings in New England and India.
My process is characterized by a multidisciplinary approach. I integrate diverse media moving fluidly between two dimensional and three dimensional work, creating multiple layers of pattern and objects.
Negotiating Balance, 2021 Winthrop University
Negotiating Balance, Oscar Adolfo Soto
When we enter a room with a bed and dresser, we imagine that someone goes there to sleep. When we enter a larger room, with rows of uniform desks facing a whiteboard or lectern, we understand that people go there to learn. In most cases, the intention for the space and how we are to conduct ourselves in it is determined before the furniture is selected. When we are not privy to those intentions, the furniture itself can offer clues that help us understand what we are to do. As a contemplative device, I apply this framework to the world ...
Zero Waste Design Exploration, 2021 Western Michigan University
Zero Waste Design Exploration, Rosemarie Soma
This creative project encompasses the creation of four zero-waste garments. Zero waste design is a technique which involves designing in a way that produces little to no byproduct. The intent of this project was to create garments that are functional, marketable, and contribute to the sustainable fashion movement.
There is currently a serious push in the fashion industry for brands to contribute to a circular economy. This can be done in a multitude of ways: upcycling, recycling, using natural textiles, or utilizing zero waste design. Textile waste is one of the most important issues regarding the fashion industry. There are ...
Form Follows Culture, 2021 Virginia Commonwealth University
Form Follows Culture, Nada Raafat Elkharashi
Theses and Dissertations
We all use everyday objects as part of our daily routines, but the way we use them varies from one culture to another. Using George Herbert Mead’s study of human conduct and Louis H. Sullivan’s credo, “Form follows function,” this thesis examines the cultural meanings and implications surrounding the fundamental act of drinking water. Using a methodology of iterative, exploratory making, a collection of glass vessels explores philosophical and physical manifestations of Islamic cultural principles derived from the Sunnah of Prophet Muhammad صلى الله عليه وسلم. With the goal of restoring cultural integrity to our daily activities, the ...
Waiting Room, 2020 Utah State University
Waiting Room, Adam Lefebvre
All Graduate Plan B and other Reports
Waiting can be exasperating, but sometimes that helplessness, knowing there is nothing to do but wait, is a comfort.
I have come to understand the value of the handmade through using and living with thoughtfully crafted objects. I am attracted to goods made by people who give voice to their material. When this is done well, I slow down and pay more attention to the object and the task they are performing.
Attraction and distraction. What are the differences between objects meant to attract our attention and those meant to distract? I would much rather lead a life full ...
This Feels Familiar, 2020 Rhode Island School of Design
This Feels Familiar, E. Winslow Funaki
This is a book about in-betweenness. It’s an examination of how we identify people and objects, the categories we use to do so, and those that don’t fit squarely into one or the other. It considers the grey areas of identity--race, gender, species, function, living, inanimate. It slips and slides through the ambiguous and indefinite, forever moving, always simultaneously being “both,” “all,” “neither,” and “none.”
You Are Trapped., 2020 Rhode Island School of Design
You Are Trapped., Will Chouinard
YOU’RE TRAPPED. YOU CAN SEE THE EXIT BUT YOU CAN’T GET TO IT. EVERY TIME YOU MOVE, YOU RISK CUTTING YOURSELF ON THE SHARP EDGES OF THE TRANSLUCENT WALLS, SO YOU DON’T. YOU’RE STARTING TO SWEAT. NOT MOVING MAKES YOU INCREDIBLY UNCOMFORTABLE. YOU’RE BREATHING HEAVILY. YOU FEEL LIKE YOU’RE ABOUT TO PASS OUT, BUT YOU CAN’T BECAUSE IF YOU DO YOU KNOW THAT IT’S ALL OVER. SO YOU FORCE YOURSELF TO STAY AWAKE. THE WALLS ARE CLOSING IN ON YOU. YOU HAVE TO MAKE A MOVE. TAKE A LEAP OF FAITH. IN ...
Erik Degiorgi, 2020 Rhode Island School of Design
Erik Degiorgi, Erik Degiorgi
Where I started two years ago is a very different place from where I am today. At the outset of my time at RISD I knew very little about what it meant to be a designer. I lacked confidence, yet still entered this program with strict ideas about the nature and outcome of my work.
Over the course of four traditional semesters and two winter sessions, I gradually moved away from my original, self-imposed fears and constraints. Not coincidentally, my work expanded into areas I had not conceived of previously. It has been an illuminating journey, and while I am ...
Glurp, Glurp, Glurp, 2020 Rhode Island School of Design
Glurp, Glurp, Glurp, Zihe Gong
My thesis is an accumulation of many different things. It contains a body of work that consists of furniture, objects, sketches, illustrations, and spontaneous thoughts, as well as improvised writings and images of a variety of things that have largely influenced my own making. For me, design is a discipline that does not come into being through a linear direction. Similarly, I believe that a thesis does not comprise just one single narrative, culminating from one starting point. The process of designing and making is more like the way one prepares a meal - all of the ideas and research and ...
Internal Resonance, 2020 Rhode Island School of Design
Internal Resonance, Xiangyu Wang
This thesis explores the interaction between my inside and outside worlds. It includes my discussion towards Zen methodology, homeostasis, nature, antiquity, inner order and the concept of Qi. It can also be seen as a process that scrutinizes my daily life and looks deep into those things which slowly echo in my body and push me to make my own response.
Utopian Fantasy, 2020 Rhode Island School of Design
Utopian Fantasy, Yue Zhuo
I design furniture and objects to express my utopian fantasy to people. I hope users can imagine the fantasy through the interaction with my furniture and objects. While people are interacting with my works, they become part of the fantasy. My works are the NPCs (nonplayer characters) of a game created by myself, called Utopian Fantasy.
My works are creature-istic, anthropomorphic, and always interactive. They are inspired by nature and everyday life. This series of works I created during my time at RISD express my appreciation for the underwater world and the Internet. My designs beg for interaction and play ...
Kainan Liu, 2020 Rhode Island School of Design
Kainan Liu, Kainan Liu
Selection of furniture is a very personal thing. Its scale and social attributes also determine that it is rarely sent as a gift. So, it seems to me, that furniture belongs to the category of personal goods, which is a concept worth pondering. What kind of relationship do these mere worldly possessions, these so called "mine" things, whether these are vehicles, houses, furniture, clothes or accessories, have with us? When we say the word "mine", it is a self-definition with confident possessiveness and the free extension of this definition in choice? Or is it a instinctive behavior that you need ...
Slick And Lumpy : Heavy Cream, 2020 Rhode Island School of Design
Slick And Lumpy : Heavy Cream, Emma Fague
A conversation with myself. A look inside my mind, process, and feelings. Slick and Lumpy. Creamy, oozing, leaking, dripping. Poured, molded, and sewn. Not a body, but my body, big and bursting and spilling out. Two things placed next to each other and observed. Lots of dessert, frosting, squishing, covering. A conversation with a painting, with a building technique. Fetish and healing, leather, vinyl, latex. Private and public space. Identity, imposter syndrome, digital fabrication. Combining and subtracting and stuffing. Is it appealing, sexy, charming, or revolting, ugly and gross?