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

Info & Submission Guidelines ︎


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
Mark

Connecting Food and Design


What can designers offer the field of culinary arts? How does a classically trained chef’s approach to working with food differ from that of an architect, graphic designer, or fashion designer? How can a multi-disciplinary design course embrace emerging approaches to food as both material and experience to offer unique perspectives on the food industry?


Yilan Gao (BFA Illustration 2020), Mango Egg, 2018

These were the questions Biniam Kebede (MID 2018) and I asked in co-teaching RISD Food + Design last Wintersession. Food + Design attracted undergraduate and graduate students from various departments across RISD who shared an interest in the culinary arts. Food and eating design are notable emerging fields. Following the lead of the Scuola Politecnica di Design in Milan, which recently launched a master course in Food Design, and the Design Academy Eindhoven, which has a Food/Non Food department, we wanted to capitalize on the design talent at RISD to explore food as a medium and enhance the multi-sensory experience of eating. The studio was sited in Co-Works, RISD’s interdisciplinary research lab, where we could apply digital fabrication techniques such as laser cutting and 3-D printing to food.

Throughout the semester students learned about chefs and designers who are contributing to the global food design movement and worked with local chefs to gain a greater understanding of their creative process. Providence is an amazing culinary hub, and we wanted students to have the opportunity to connect with the community outside of RISD. Our class visited the College of Culinary Arts at Johnson & Wales University to see how other creatives work in the field of the culinary arts. We also had the privilege of inviting local chefs to our class to offer students feedback and participate in discussions about food and design. Visitors included Chef Richard Allaire from Metacom Kitchen, Chef Cooper-Morgan Bryant, who runs a pop-up dinner series called Astrid, and Avi Mallinger, who manages the culinary incubator Pilotworks Providence. It was inspiring for the chefs as well as our class to be able to learn about food from different perspectives.

Students learned how to make custom food-safe silicone molds of 3-D printed designs, to create intricate chocolates, tessellating deviled eggs, frozen treats, and even baked goods shaped like notable architecture. The Co-Works laser cutter was used to etch codes onto fruit as an eco-friendly alternative to stickers, and to create wooden stamps to imprint messages onto dumpling wrappers and snowflake designs into nori. In each project, students explored the multi-sensory experience of eating by considering the role of taste, smell, sight, sound, and touch.

Aleks Dawson (MFA Graphic Design 2020), Rainbow Chocolates, 2018

Ruby Schechter, a senior in Industrial Design, created an installation that invited participants to reflect on how sound can influence the experience of eating. Yilan Gao, a sophomore in Illustration, experimented with a molecular gastronomy technique called spherification to make mango spheres that looked like and had the same texture as an egg. Amos Kang, a freshman in Experimental and Foundation Studies, explored food as an art form by creating “tableware” made out of fish skin and garbage as a comment on the negative effect of ocean pollution in our ecosystem.  


Ruby Schechter (BFA Industrial Design 2018), Crostini Playlist, 2018

In the end, we discovered that designers do have a unique perspective to add to the field of culinary arts—demonstrated in both their conceptual and critical food-based explorations.


Mark