Courses tagged with "MIT" (76)
This course will study the question of Global Architecture from the point of view of producing a set of lectures on that subject. The course will be run in the form of a writing seminar, except that students will be asked to prepare for the final class an hour-long lecture for an undergraduate survey course. During the semester, students will study the debates about where to locate "the global" and do some comparative analysis of various textbooks. The topic of the final lecture will be worked on during the semester. For that lecture, students will be asked to identify the themes of the survey course, and hand in the bibliography and reading list for their lecture.
This advanced video class serves goes into greater depth on the topics covered in 4.351 , Introduction to Video. It also will explore the nature and function of narrative in cinema and video through exercises and screenings culminating in a final project. Starting with a brief introduction to the basic principles of classical narrative cinema, we will proceed to explore strategies designed to test the elements of narrative: story trajectory, character development, verisimilitude, time-space continuity, viewer identification, suspension of disbelief, and closure.
This class examines how and why twentieth-century Americans came to define the "good life" through consumption, leisure, and material abundance. We will explore how such things as department stores, nationally advertised brand-name goods, mass-produced cars, and suburbs transformed the American economy, society, and politics. The course is organized both thematically and chronologically. Each period deals with a new development in the history of consumer culture. Throughout we explore both celebrations and critiques of mass consumption and abundance.
The television landscape has changed drastically in the past few years; nowhere is this more prevalent than in the American daytime serial drama, one of the oldest forms of television content. This class examines the history of these "soap operas" and their audiences by focusing on the production, consumption, and media texts of soaps. The class will include discussions of what makes soap operas a unique form, the history of the genre, current experimentation with transmedia storytelling, the online fan community, and comparisons between daytime dramas and primetime serials from 24 to Friday Night Lights, through a study of Procter & Gamble's As the World Turns.
The goal of this course is to investigate with students backgrounds on some of the pivotal events that have shaped our understanding and approach to architecture. Emphasis of discussion will be primarily on buildings and works of individual architects. Canonical architects, buildings and movements that have exerted significant influences on the development of architecture will be studied in detail. We will visit some of these buildings for a first-hand look and to evaluate for ourselves their significance or lack thereof. As a final project, each student will analyze a building through drawings, text, bibliography and a physical model in a format ready for documentation and exhibition.
This class investigates the use of computers in architectural design and construction. It begins with a pre-prepared design computer model, which is used for testing and process investigation in construction. It then explores the process of construction from all sides of the practice: detail design, structural design, and both legal and computational issues.
This class investigates the theory, method, and form of collage. It studies not only the historical precedents for collage and their physical attributes, but the psychology and process that plays a part in the making of them. The class was broken into three parts, changing scales and methods each time, to introduce and study the rigor by which decisions were made in relation to the collage. The class was less about the making of art than the study of the processes by which art is made.
This studio explores the notion of in-between by engaging several relationships; the relationship between intervention and perception, between representation and notation and between the fixed and the temporal. In the Exactitude in Science, Jorge Luis Borges tells the perverse tale of the one to one scale map, where the desire for precision and power leads to the escalating production of larger and more accurate maps of the territory. For Jean Baudrillard, "The territory no longer precedes the map nor survives it. …it is the map that precedes the territory... and thus, it would be the territory whose shreds are slowly rotting across the map." The map or the territory, left to ruin-shredding across the 'other', beautifully captures the tension between reality and representation. Mediating between collective desire and territorial surface, maps filter, create, frame, scale, orient, and project. A map has agency. It is not merely representational but operational, the experience and discursive potential of this process lies in the reciprocity between the representation and the real. It is in-between these specific sets of relationships that this studio positions itself.
This semester students are asked to transform the Hereshoff Museum in Bristol, Rhode Island, through processes of erasure and addition. Hereshoff Manufacturing was recognized as one of the premier builders of America's Cup racing boats between 1890's and 1930's. The studio, however, is about more than the program. It is about land, water, and wind and the search for expressing materially and tectonically the relationships between these principle conditions. That is, where the land is primarily about stasis (docking, anchoring and referencing our locus), water's fluidity holds the latent promise of movement and freedom. Movement is activated by wind, allowing for negotiating the relationship between water and land.
The theme that unites the Level II studios in the fall semester is a focus upon the 'making of architecture and built form' as a tectonic, technical and materially driven endeavor. It is a design investigation that is rooted in a larger culture of materiality and the associated phenomena, but a study of the language and production of built form as an integrated response to the conceptual proposition of the project. The studio will look to works of architecture where the material tectonic and its resultant technology or fabrication become instrumental to the realization of the ideas, in whatever form they may take. This becomes the 'art of technology' -- suggesting a level of innovation and creative manipulation as part of the design process to transform material into a composition of beauty and poetry as well as environmental control. In this regard the studio will look to the works and design processes of a number of architects including Shigeru Ban, Peter Zumthor, Herzog and deMeuron, Kazuyo Sejima, Richard Horden, Rick Joy and Glenn Murcutt among others.
The project for this studio is to design a demonstration project for a site near the French Quarter in New Orleans. The objectives of the project are the following:
- To design more intense housing, community, educational and commercial facilities in four to six story buildings.
- To explore the "space between" buildings as a way of designing and shaping objects.
- To design at three scales - dwelling, cluster and overall.
- To design dwellings where the owners may be able to help build and gain a skill for employment.
- To provide/design facilities that can help the residents to gain education and skills.
Other OCW Versions
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