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 ︎

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

Index of Agency

Sophie Chien (BArch 2020)

Part I
Personal as Political

College student
Mixed race, white and East Asian
Half first-generation
US-born citizen
Middle class
Culturally Christian

As someone who holds all of these identities, I know that most of the world was not built nor is maintained for me to have agency. In my own experience, my womanhood and non-whiteness are the biggest inhibitors to equal access to self-actualization. This project tracks various ways I am consciously performing acts of agency to create a more equitable world for myself and others. It is part of a larger project around socio-spatial frameworks. I have always been interested in manifesting the constructs I subscribe to or reject.

Part II
Spatial as Political

I use diagrams to communicate my theories about the world and its relationships. Diagrams distill complex systems into parts, highlighting the problematic and the latent. They allow me to control how forces are identified and function to create conditions of justice or injustice. By taking control over hegemonic ideas and making them visual and relational, the access points change. At RISD, using a diagrammatic visual medium allows me to critique form and function, drawing and institution. I made these diagrams as a foreigner, tourist, and observer while in Rome and traveling around Europe and Northern Africa.

This diagram represents the optimal distance between the viewer and the visual art. Optimal means having the entire painting in focus, where distance is often proportional to the scale of art. This diagram begs the question of cultural values, in that the paintings conform to the size of the museum room. It also implies that one could not possibly optimally view a painting without disrupting another viewer’s view, privileging one work for one person. This typical installation layout then denies the potential for communal learning and strengthens values of individuality. How could one design environments for multiplicity?
Station point relation, Galleria Nazionale d’Arte Antica, Palazzo Barberini, Rome.

Procession of monks, Monreale, Sicily.
This diagram depicts the only open spaces male monks were permitted to go in a very traditional Catholic monastery in Sicily. The irony of a female paying a visit to such an oppressive, patriarchal place is not lost on me. Their entire “outside” world existed in the courtyard—a rigid, gridded square. The only exception to the grid is a corner, which contained a fountain (phallically shaped of course), as a marker of paradise. The open grid is quite pious, but also conveniently optimized for surveillance, and is an example of latent hypocrisies in organized religion. Was the glory of the Catholic God ever present here?

This diagram represents the spatial agency of human motion compared with that of two other species, dogs and birds. Both dogs and birds are diagrammed to emphasize how humans commit to predetermined paths, often for normativity disguised as efficiency. It also comments on how much space is used by various modes of moving—and how much space is occupied by car infrastructure vs. ambulatory infrastructure. Feeling comfortable enough to walk places is such an important marker of agency for me, creating a special relationship between myself and my community. How does movement inform agency?
Multimodal, Rome.

Urban planning discontinuation, lecture by Labics Studio.
Ekistics is the science of human settlements; living in an ancient city makes it very easy to study it. When building with durable (nearly eternal) materials, there’s  a greater mandate to add on to, renovate, and diversify urban conditions. In a modern world, buildings have a 50-100 year shelf life and are frequently put up fast and in a cookie cutter style, forming more homogeneous space, and by extension, communities. How do you spatialize pluralistic societies?

Moving through a living, ancient city in the Global South, the layers of gender, economic status, and mobility are on display. This cross-section diagram shows the strata of relationships that form in the heart of public space. Those allowed to converge do, while others, often women, elderly, and young people, are noticeably absent on the streets. As a young atheist women, I felt keenly detected in the space, as an outsider who is unwelcome within the organized labyrinth. Is it a contradiction for an insular community to be welcoming? Or for an expansive community to be truly attentive? Perhaps most importantly, is my tourism fueling voyeurism, and do I belong there at all?
Medina section, Marrakesh, Morocco.

Sophie Weston Chien is probably eating leftovers for breakfast and breakfast for dinner.