v.1 is RISD’s student-led publication. Its form and content change from year to year (it’s always “volume 1”).

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Pandemic Publishing ︎

  1. Call for Submissions, SOS Edition
  2. 3.29.20 Irina V. Wang
  3. Let Yourself Be Lifted Jackie Scott
  4. Art Is Everything Jen Liese
  5. Two Poems Ella Rosenblatt
  6. Living Room Dance Party Ariel Wills
  7. On Walking When Walking Is Advised Against Keavy Handley-Byrne
  8. Untitled Cita Devlin
  9. Ads in Corona Hannah Oatman
  10. COVID-19 and Communitas Elaine Lopez
  11. A Time for Pie Elizabeth Burmann
  12. How to Stay Motivated When You’re Stuck at Home Clarisse Angkasa
  13. Coerced Harmony (A Tour) Hammad Abid
  14. Zooming In and Out Tongji Philip Qian
  15. [Form] Ciara Carlyle
  16. Hi.txt Dan Luo
  17. A poem about boredom, a composite Maixx Culver-Hagins
  18. Eyewitness News Tristram Lansdowne
  19. Distance Maps Marcus Peabody
  20. Therapeutic Suggestion Maria Aliberti Lubertazzi
  21. Keep Your Heart Six Feet Away From Mine (and other moments) Arielle Eisen
  22. Twenty Instructions for COVID-19 Charlott Isobel Dazan
  23. Cuerno 1 y 2 Yan Diego Estrella Wilson
  24. A Monolith of Grief Regarding the Absence of Touches, or Letter to a Future Lover García Sinclair
  25. Coronavirus by the Thousands Drew Dodge
  26. Two Poems Kathryn Li
  27. Beds Are Burning Aleks Dawson
  28. Still Lifes Yidan Wang
  29. Fragments of Seva Jagdeep Raina
  30. Packing Up and Staying Woojin Kim
  31. Chronic Pain and Fermentation Ralph Davis
  32. Quarantine Letters Hannah Moore
  33. Sounds of Silence: An Isolation Soundscape Dara Benno
  34. 14 Day Detox for Designers Erica Silver

Winter 2020

  1. From the Editors
  2. The Phantom Audience, or How to “Really Do It” Asher White
  3. Some Dry Season(ing) / 5 Tales in an Embryo Room Yuqing Liu
  4. Throwing Salt, Constructing the Homeland Ariel Wills
  5. Infinity Balloon Man Jack Zhou
  6. Texas Triptych Ali Dipp
  7. Phenomenology of Bones Chris Shen
  8. Erlking Yiqun Zhou
  9. Trouble in Reality Elena Foraker
  10. Family Stories Gina Vestuti
  11. Treasure Reilly Blum

Fall 2019
  1. From the Editors
  2. Architecture and Its Ghosts Xuan Liu
  3. Fit/O!de Jeff Katz
  4. Desde La Chinaca y La China Poblana Ariel Wills
  5. Ballast Tiger Dingsun
  6. Love Letters Brenda Rodriguez
  7. The Anxieties of Plant-sitting Carol Demick
  8. Zadie & Teju Ariel Wills
  9. Smooth Stones Ali Dipp 
  10. Kantha’s Melodies Michelle Dixon
  11. Glory West Megan Solis
  12. The 50 Best Albums of the 2010s Asher White

Spring 2019

  1. From the Editors
  2. A Room without a View: Reflections on Studio Practice from a Privileged Poor Chantal Feitosa
  3. Between the Battlements Jeremy Wolin

  4. Accessing Color: Dissecting the Harvard Art Museum’s Forbes Pigment Collection Makoto Kumasaka
  5. British Club Tattoos Nasser Alzayani
  6. Making Space: Creativity and Resilience in War-Time Sri Lanka Elizabeth Dean Hermann
  7. How to Become Trans: A Proposal for the Modern-Day Gender-Agnostic Asher White
  8. Making It Up: A Conversation with Kent Kleinman Wen Zhuang
  9. “In Peace”: A Conversation with Matthew Shenoda Mays Albaik
  10. Suburbia_hours.mov Nora Mayer
  11. Negative Spaces Emily Wright
  12. Centerfold: Urgency Lab
  13. Rise Up: The Sunrise Movement Takes Root in Rhode Island Irina V. Wang
  14. After Strand Nafis White and García Sinclair
  15. Soldiers of Love? Karen Schiff
  16. Decoding Ghosts Molly Hastings
  17. An Annotated Bibliography Eli Backer
  18. Jesus, Marilyn, and Britney: Relationships between Religion and Celebrity Culture Nina Yuchi
  19. The Social (Antique) Network: Empathy in the Age of Digital Antiquing Zola Anderson
  20. My Little Episodes Michael Brandes
  21. Seeking Fair Game on Hidden Fields Reilly Blum
  22. The Should Be Here Is Not Here Joss Liao
  23. Index of Agency Sophie Chien
  24. Don’t Eat the Models Barbara Stehle
  25. Hypothetical Drink Personality Test: Who Said What, and When? Eliza Chen
  26. Dear Arabic Mohammed Nassem

Fall 2018 

  1. From the Editors
  2. How to Make a Person: A Recipe Mays Albaik
  3. Providence Votes Marcus Peabody
  4. Encounters with the Codex: Redefining Forms of Publication June Yoon
  5. How to Encounter a Puddle Anny Li
  6. A Brief List of Premises from a Maker Stuck with Paper, Politics, and Performance Yasi Alipour
  7. Art Writing and the Place of the “I” Randy Kennedy
  8. Written in Stone: Lineage, Legacy, and Letterforms Irina V. Wang
  9. The Unbearable Whiteness of Being (a Graphic Designer) Tiger Dingsun
  10. Colliers/Necklaces Théïa Flynn
  11. When One Door Closes: Examining Issues of Space and Student Curation on Campus Wen Zhuang
  12. Addressing the Empty Plinth: Lessons from Gallery Shows and Public Art Jeremy Wolin
  13. Modern Usage: In Conversation with Remeike Forbes Eliza Chen and Tiger Dingsun
  14. Dangling Threads: Remaining Unclear in Capital Everett Epstein
  15. A Vagabond Viking Voyage and Midsummer Daydream Mike Fink
  16. Everything is Interdependent Angela Dufresne
  17. La Bolita Elaine Lopez
  18. Bread Day Olive B. Godlee
  19. Against the Archive Satpreet Kahlon

2017 - 2018 

  1. Birds, Bees, and Beyond: The Nature Lab Evolves
  2. Concrete Mixer Drum Solo
  3. Negative Spaces
  4. “Printer Prosthetics” at NYABF
  5. On Writing: Nader Tehrani and Katie Faulkner
  6. On Writing: Marie Law Adams and Dan Adams
  7. On Writing: Kunlé Adeyemi
  8. Connecting Food and Design
  9. Remixing Architectural Discourse
  10. Genesis : 1: Beret Shit
  11. “No voy a actuar en el mundo antes de entenderlo”: Una conversación con Alfredo Jaar
  12. “I Will Not Act in the World Before Understanding the World”: A Conversation with Alfredo Jaar
  13. Imagining Irmgard
  14. Afterwords: Bite
  15. Afterwords: Portals
  16. Afterwords: Calendar
  17. Seeking Drafts

Coerced Harmony (A Tour)

Hammad Abid (MFA TX 2021)

Recollecting these memories of Nani’s (grandma’s) house is one way of bridging the gap between my homeland in India and Providence, RI, where I am living today. The gap between past and present, however, remains.

1. The City
Across a bustling intersection from one of many desolate post offices, a pale blue sign welcomes pedestrians and travelers to a new city and wishes them safety. A towering, red-stone statue of Dr. Bhimrao Ambedkar, the author of India’s constitution, stands under an enormous dome. It signifies the history of the city—a history of lost identity, which here becomes a relic, a forgotten antique that passing commuters don’t give a thought to.

Hapur, or Panscheel Nagar, was gifted by the Indian ruler Daulat Scindia to a French general, Pierre Cuillier Perron, at the end of 18th century. Its name has been changed many times to demonstrate its progress from a small village to a large district. But has Hapur really improved? Or do political leaders, assuring progress, deceive the people, who cling onto their hope?

2. The Neighborhood
Entering Nani’s neighborhood, the whole scenario changes. Past the outer facade of this city, the glorified statue, delving deeper, we find traces of the past in a neighborhood which is trying hard to retain its identity in this post-colonial rule. Here, modernity shifts into a rustic ruin. Huge buildings, wind pavilions, and high parapet walls create an uneven skyline, shading each other and the streets where people are walking by. Layer upon layer of textures cover the immense structures, their strong walls withstanding the age of time, harboring untold stories of past generations, of a culture from the days when objects were designed to last. The materials hold true to the buildings’ roots. They value the stories they tell.

One building stands out among the ruins, proclaiming a time of rich culture, portraying the story of the people who once lived there. The contrast of aging texture on the building, of the florally decorated enclosure, and the plastic tank on the wall give a sense of crisis, a feeling of displacement of time—as if all the textures are competing. The sunlight and building work together to demand attention; the light shining down acts as a spotlight, illuminating the building’s design and shouting out its history of local pride.

3. Nani’s House
Heading north we can see a bullock-drawn cart standing patiently next to the latest imported car. The past and the present coexist on this street. One house, like all the other houses fairly old, has an especially warm feeling to it. Its massive architectural dome emphasizes the oneness of God. The minimalist floral symbols overlaid at the top reinforce the communication of a period of time which one can’t understand or doesn't want to understand or which does not exist. In spite of its strength, and no matter how long it has survived, this house is being engulfed by commercialization, as the external baithak—connected common spaces—have been rented out to local businesses.

Various types of limestone, pressed for thousands of years and having been formed in different times and environments, come together in this structure, now creating a geologic harmony. Is this the final destination for all these rocks or is the rest of their journey yet to come? Arrangements of patterns, spiral, lattice, grid, checkerboards, and scallops cover the landscape dynamically, overlaying the construction of space, enforcing a communication between many architectural nuances.

Wire networks wrap around the house like a spider web, transforming it and strangling it as it becomes something new. The wooden door, lined with metal knobs and carvings, remains strong, having guarded the house for generations. The rustic battle scars on the doors show their painstaking journey of facing the elements of nature to fortify the home. Above and on either side of the doorway are tiny, empty stages for oil lamps, which long ago took their final bow—abandoning the form of shelter to stand alone without the function of luminescence.

4. Entrance
A step inside the door leads into darkness; only the silhouette of another arch is in sight. It’s bisected by rays of light coming from two different light sources, running along the ground and dividing the space into two paths. Unaware of the history of the division, the visitor faces the dilemma of choosing one. The gradual shift between outside and inside is marked by the change in the space interacting with light values. Journeying inside, the visitor is absorbed into a transitory thematic quality, is adopted into the home’s history itself—portraying the extremes co-existing in the same place, like yin and yang, with one being experienced only due to the presence of the other and vice versa. The presence of darkness can be felt by the absence of light and the presence of light can be felt by the presence of darkness. Choosing the right path, one moves along gradually, the seductive unfolding of space feeding a sense of curiosity, until the darkness is engulfed by the sunlight and a clear sky, which at last marks the arrival in a courtyard.

5. The Courtyard
Bathed in sunlight, the courtyard brings the occupants into daily contact with nature and the supernatural. The courtyard is a window into nature, its open sky area offering sunlight, ventilation, connection, and privacy. Blurring the boundaries of inside and outside, the courtyard reinforces the connection with the passage of time and changes of season. The movement of the sun from dawn to dusk speaks to daylight’s role in instigating the rhythm of life: getting up and going to bed, setting up work and rest schedules. The sun’s angles are carefully considered when deciding the size, shape, and orientation of windows and architectural forms.

The courtyard is multifunctional: it is sometimes the family’s communication center, or a small piece of nature, a home for plants. It is also an extension of the kitchen, for activities like chopping, drying, and cleaning. On days with fair weather, even the cooking would take place in the courtyard. However the confusion of an identity crisis lurks in this courtyard—in the combining of different materials and the new structure and material taking over the old. The web of electricity wire crawls into the courtyard, reaching inside the house, trying to transform it and adapt this piece of old architecture to fit the modern world, in spite of its shortcomings.

Just beyond the courtyard is the kitchen, full of pots and utensils, which communicate through their design and material the glory of a culture where things were built to last and could be recycled to emerge as new. By contrast, the plastic bottle replacing the oil lamp opposes these old traditions. The decaying texture on the wall tells the story of the labor and sweat of generations of people cooking here.

6. Objects
On the left side of the courtyard is the hall used to store household items. Here, the beauty of time and ephemerality are revealed in the decaying tools and furniture. On the right lies a room whose textiles, layout, and furniture have been changed many times, as it harbored different generations of the same family. An indent built in the wall still holds traces of the past, no matter how much its function changes. This space was built for an oil lamp, for objects and treasures of the household. However, the objects sitting on it now do not fit organically into the indent. The ceiling, constructed from beams of wood, is another relic of the past. One of the wires from the web has crept into the room; the blades of an electric fan spin on the ceiling, while a traditional woven fan lies idle in the corner of the room. Another relic from the past can be seen on the door. The locking mechanism which still holds its ground, protecting the family, but is something of  a teaser for the modern takeover.

The stairs to the second floor of the building switch direction like the tail of a whale flipping its body, leading to an open area with clear sky. The whole space is built like a labyrinth that blurs the boundaries between indoors and out. Negative spaces built into the wall act as tiny windows to the past, narrating the story of a culture in which women stayed behind the veil. These tiny windows allowed women to look through the walls, to interact with the world.

7. Dual Identity
Various paradoxes operate in this space, which has its own timeline in which all the things are decaying at different rates. The house is built to last and constantly exposed to the elements. But it is juxtaposed with the presence of plastic. A part of the disposable culture, the plastic will degrade with the weather, but will last longer than the house, in spite of their divergent designs. Amid the different stages of aging and varying stages of degradation there are also plants—live and translating the outdoors to the indoors, flipping the time on its head as they become stronger and bigger with exposure to the sun and the water, which break down both the home and plastic.