Since 2010, the Wentworth Architecture review (WAr) has published eight volumes, with a release cycle that begins every January.

Volume 9 will be released in early 2019.

Our preconceived notions of color in architecture and design, like paint applied to a surface, were both bold and evident. The curation of this volume, however, unearthed an incredible complexity in how we understand color. The conversation that it requires is one of the most challenging, nuanced, and special dialogues that we have ever observed. It quickly transcended the conventional understanding of color and began privileging the individual’s perception.

While color can, at its surface, be quantified and defined by scientific, chemical, or mathematical methods, these strategies alone are insufficient in articulating the implications that color has on an individual’s perception of an artifact, a space, or an experience. The chromaticity, illuminance, and CMYK value of a color are tools that can only be employed with the recognition that the consequential human experience cannot be quantified by the same means. The incommensurability of color’s emotional impact is an equally important part of its appeal and challenge to us as designers. 

Color in architecture can be about an extremely literal use of paints and pigments, but it can also explore the physicality and material properties of our built environment, including the influence of texture and light in how we perceive designed surfaces. Our particular exploration of color also questions its role, or lack thereof, in traditional architecture education, as well as the implications of racial and ethnic representation in design. 

Join us in celebrating all that makes our world more colorful.


As we design, it is the ideas we disseminate, the words we speak, and the things we create that impact these realities. In our architectural education, we learn about designing with awareness of context. However, it is only through practice and an open mind that we can develop an understanding of how contextual factors relate and interact. This appreciation begins to define design outside of our personal perceptions. 

Key to understanding our influence as designers and architects in an increasingly global industry is the willingness to identify and omit our personal biases and perspectives in order to rigorously engage our surroundings as objective, but not indifferent, observers and analysts. This can engender the pursuit of a deep understanding of the variables at play prior to disrupting them. 

It can be easy to get lost in pursuit of a goal, concept, or vision; it takes constant reflection on the tangible impact of our decisions to stay rooted in what is real. At the same time, impact can be used as a tool - to disrupt, to experiment, to spark change. While a radical approach is often appreciated in academia, in practice there are real consequences that impact all scales of life. Even as students, we can already see many ways in which we impact one another. Through our individual pursuits and areas of interest, we are able to enrich those around us, pushing one another to reach a higher level of personal development. 

As we dissect the layers of this journal’s theme, the Wentworth Architecture review invites you to appreciate the meaning of our impact in the world we are designing.


In 2016, the Wentworth Architecture review celebrated the release of its 6th annual publication: MAKE. Defining MAKE, especially in the context of contemporary architectural discourse, is becoming increasingly difficult. Every discipline under the umbrella of design operates in a different way, but the one thing they have in common is the language that made things provide. They speak for themselves in ways that regular drawings cannot; they have depth, form, volume, grain, texture, space, quality. Making can communicate an idea in an impactful and descriptive way.

The WAr Team is especially proud to announce that the collection of work in this volume includes work across various disciplines within the College of Architecture, Design, and Construction Management. Not only can MAKE be celebrated in the rich design capabilities of architecture students, but also in the extraordinary works of Wentworth's industrial design and interior design colleagues.

Together, we can make a worthwhile world. 


In the Fall of 2014, graduate students traveled to a variety of countries around the world: experiencing new cultures, gaining new perspectives, and mapping their journeys. These events set the framework for defining matter. The nature of the place became a representation of larger architectural problems pertaining to site specificity, cultural identity, and social environments that we, as designers, grapple with in our everyday work. Matter in essence has infinite applications. 

Wentworth Architecture review celebrates the release of its 5th annual publication, showcasing a collection of work from both undergraduates and graduates, professors, and collaborators, these pieces are used to define matter both physically and conceptually. We look at the world around us and understand that this theme is not only a subject of our thoughts but a tangible object, used to describe an idea, a formal expressions. How does one take this notion and manifest it into a palpable tool for discourse?

Architecture matters and matter is our world.


Commitment to architecture is commitment to translation. The chief challenge of design at its most primal level is redefining things that aren’t, into things that are. We, as designers, are charged with understanding conceptual problems of many different languages—social, psychological, conditional, symbolic—and solving them over systems of formal and spatial common denominators. How exactly these multi-dimensional problems are translated into form and structure begins to shape our architectural signatures. It is how we realize ideas and uncover beauty in different series of complex parameters.

This volume is representative of ‘Translation’ along with the nature of its organization as it is also reflective of this idea.  With the number of submissions increasing, this volume has published 41 students, 7 professors, 6 guests, and 2 collaborative studios.


The third volume took on the subject of "Build" as it encompasses many of our everyday conversations in architecture and design. Submissions selected were based on the premise of conveying interesting and unique perspectives on what "Build" means in various contexts.

To build is to build forever. First, uninhibitedly with our minds. We flirt with obscurity, and our eyes open to what is not. Our mind and eyes guide our hand, slowly syncing the hand with imagination. Our hand builds over and over, until the mind, eye, and appendage are in unison. Then we speak; we communicate what is not, and build with others. Minds, eyes, and hands like machines produce an image; a representation of what is to be. After too long and without enough time, we build again, together, still uncertain. Our machine grows. Our machine uses machines that use machines, until it is built. 

Rather than leaving the occurrences of the built surroundings to chance, the contents of this issue suggest that the architect has the duty to be a part of this conversation, today and forever.


WAr's Volume 2 started the trend of a more theme based publication. With this, it invited authors to define 'image' and consider the multiple possibilities to its physical and psychological representations. As many  would argue, it's quite difficult to define the boundaries of an 'image'; these topics are intentionally broad allowing for a diverse collection of submissions. 

Today we can easily conclude that an image is simply nothing, but everything. It defines us as individuals and reflects how we perceive our surroundings and how we express ourselves to the world. We believe we live in a time where everything is visual and here is where creating a good image is key.



Volume 1 gathered student and faculty work by starting the first submission based process of design work at Wentworth during Fall 2010 for a Launch Party in January 2011.  This publication was created, to give faculty, students, and alumni an opportunity to publish and engage in a dialogue around the selected work.