Danning Niu (BRDD 2020, Interior Architecture, East Asian Studies), 2019 RISD Museum Andrew W. Mellon Summer Intern in Asian Art, created a 3D virtual reality exploration of the Kanzeon Raijin Gate in Edo, Japan, as seen in an 1820s print.
Yunni Cho (BRDD 2021, Interior Architecture, Urban Studies, Cognitive Neuroscience) presented at TEDxBrownU in October 2019. In her talk, I Am Not a Robot, Yunni explores how creativity makes human beings irreplaceable by artificial intelligence.
New augmented reality system lets smartphone users get hands-on with virtual objects
Developed at Brown University, a new augmented reality system places virtual objects within real-world backgrounds on cell phone screens and lets people interact with those object by hand as if they were really there.
‘Jesus Shoes’ with actual holy water inside them sell for $3,000
MSCHF, Brooklyn-based product design company, with creative directors, Lukas Bentel(BRDD 2015, Furniture Design, Computer Music and Multimedia) and Kevin Wiesner(BRDD 2015, Industrial Design, Engineering) were recognized for their 'Jesus Shoes" project in New York Post.
Javier Syquia: “Designers Belong in Every Industry”
Javier Syquia (BRDD 2021, Graphic Design and Chemistry) is featured in VO1SS and explains how he connects the dots as a Dual Degree student. “The whole process of teaching and learning science is essentially to simplify complex information, and to distill it down to one understandable ‘thing.’ Once you have these building blocks in place, you can stack them on top of one another to create something more complex to explain a larger and more elaborate phenomenon. I kind of realized that is essentially what I do as a graphic designer — distilling information to a more comprehensible form.” ~VO1SS
Student work: Mining an emerging area of dementia studies, Alicia Valencia encourages memory-care facilities to embrace aesthetic play
In her thesis, “Cultivating Aesthetic Play: A Case for Culture in Dementia Memory Care,” Alicia Valencia (BRDD 2015) asserts that “the ability to perform aesthetic judgment still remains even as language skills and memory weaken.” She explains, “The capacity to decide whether something is lovely or not, to have certain feelings about the world, remains much longer in a person with dementia than knowing to put a book on a shelf.” ~Harvard University, Graduate School of Design
Nikolas Bentel creates The Wiggle Pipe in "absurd" Memphis style
Nikolas Bentel (BRDD 2017, Industrial Design and Modern Culture and Media) is featured in dezeen.
New York designer Nikolas Bentel has created a handmade porcelain pipe for smoking marijuana with an unconventional wiggle form. The Wiggle Pipe follows a series of absurd projects by Bentel, who is a resident of the New Museum's design incubator. ~dezeen
The 2019 Just for Laughs festival is currently underway in Montreal, and today the festival gave Vulture the very first look at its annual list of up-and-coming comedians to highlight for its “New Faces” showcase. As usual, the list includes categories for stand-up (New Faces of Comedy), sketch (New Faces: Characters), comedians without managers (New Faces: Unrepped), and a category for digital-content creators, added in 2017 (New Faces: Creators). - Vulture
Now that the Fleet Library at RISD has unveiled its collection of reupholstered Knoll club chairs, the Textiles majors who designed the bespoke fabrics are reflecting on how their designs took shape. - RISD Media
One of the selected textiles was designed by Sarah Nicita (BRDD 2020, Textiles and Cognitive Science) and fellow BRDD student, Hillary Brame (BRDD 2020, Furniture Design and Development Studies), contributed to the reupholstering of the chairs.
Sebastián Niculescu (BRDD 2020, Sculpture, Ethnic Studies) performs, Tired Selena, part of the exhibition, “Y’all Better Quiet Down,” organized by Vaccaro and Nelson Santos this summer at the Bureau of General Services—Queer Division, New York. Niculescu's work is reviewed in Artforum.
"Tired Selena most genuinely soars when Niculescu tests our capacities to read anachronistic snapshots, like this staged selfie. Her self-portrait—and this theatrical essay really is a series of sequentially unveiled self-portraits—references emergent histories of trans women vacillating between pose and repose, while simultaneously shedding light on the contemporary condition of the incrementally more privileged queer, afforded new degrees of visibility yet still perplexingly estranged from domculture."