January 18, 2013
San Francisco Chronicle
By James Temple
One day in the early 1980s, Byron Kuth walked into a studio at the Rhode Island School of Design and spotted renderings that stopped him in his tracks.
He asked around about the artist and soon tracked down a brunette with fine features named Elizabeth Ranieri, an encounter that would mark the beginning of a long personal and professional partnership.
At the time, the school was drifting away from postmodernism and settling around "unprecedented realism," as professors like Rodolfo Machado asserted that all public structures were fair game for forward-thinking design, even highway clover leafs, retaining walls and, perhaps, levees.
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