Courses tagged with "Nutrition" (151)

This class is a general study of modern architecture as a response to important technological, cultural, environmental, aesthetic, and theoretical challenges after the European Enlightenment. It focuses on the theoretical, historiographic, and design approaches to architectural problems encountered in the age of industrial and post-industrial expansion across the globe, with specific attention to the dominance of European modernism in setting the agenda for the discourse of a global modernity at large. It explores modern architectural history through thematic exposition rather than as a simple chronological succession of ideas.

By Leslie Hill and Helen Paris

This seminar introduces, through studio projects, the basic principles regarding the use of color in the visual arts. Students explore a range of topics, including the historical uses of color in the arts, the interactions between colors, and the psychology of color.

Explore the history and practice of physical theatre training using internationally recognised approach to acting: biomechanics.

This course is a technical ear training programme designed to improve critical listening in a music studio context.

基于20世纪西方音乐，什么是音乐、什么是20世纪西方音乐及什么是有效聆听为全课核心线索，引导学生发展美感能力，促进其全面聆听能力的培养。The course aims to provide a clear view of the historical development of music and emphasizes the training of aural skills.

This class focuses on representation tools used by architects during the design process and attempts to discuss the relationship they develop with the object of design. Representation plays a key role in architectural design, not only as a medium of conveying and narrating a determined meaning or a preconceived idea, but also as a code of creating new meaning, while the medium seeks to establish a relationship with itself. In this sense, mediums of representation, as external parameters to the design process, are not neutral tools of translating an idea into its concrete form. They are neither authentic means of creativity, nor vapid carriers of an idea. Therefore, an important aspect in issues of meaning is how the architect manipulates the play of translating a concept to its concrete version, through the use of a medium of representation. The course is a continuation of the equivalent course taught in the fall semester and specifically focuses on digital media. The course is intended to establish a reciprocal relationship with the design studio, feeding from and contributing to its content.

The course investigates e-Learning systems from a business, policy, technical and legal perspective. The issues presented will be tackled by discussion of the design and structure of the various example systems. The connection between information architectures and the physical workplace of the users will also be examined. The course will be comprised of readings, discussions, guest speakers and group design sessions. Laboratory sessions will be focused on implementation tools and opportunities to create one's own working prototypes. Students will learn to describe information architectures using the Unified Modeling Language (used to specify, design and structure web applications) and XML (to designate meaningful content).

The transition from high school and home to college and a new living environment can be a fascinating and interesting time, made all the more challenging and interesting by being at MIT. More than recording the first semester through a series of snapshots, this freshman seminar will attempt to teach photography as a method of seeing and a tool for better understanding new surroundings. Over the course of the semester, students will develop a body of work through a series of assignments, and then attempt to describe the conditions and emotions of their new environment in a cohesive final presentation.

How do we define Public Art? This course focuses on the production of projects for public places. Public Art is a concept that is in constant discussion and revision, as much as the evolution and transformation of public spaces and cities are. Monuments are repositories of memory and historical presences with the expectation of being permanent. Public interventions are created not to impose and be temporary, but as forms intended to activate discourse and discussion. Considering the concept of a museum as a public device and how they are searching for new ways of avoiding generic identities, we will deal with the concept of the personal imaginary museum. It should be considered as a point of departure to propose a personal individual construction based on the concept of defining a personal imaginary museum - concept, program, collection, events, architecture, public diffusion, etc.

Arts and culture leaders have a rewarding but tough task: creating sustainable organizations that deliver real social value. There is a lot of competition out there. Being an effective leader means constantly adapting, cleverly using the best tools to reach as many people as possible. This course is designed to help leaders at any level do just that.

In this course you will learn about audio signal processing methodologies that are specific for music and of use in real applications. You will learn to analyse, synthesize and transform sounds using the Python programming language.

By Tina Seelig

Cairo is the quintessential Islamic city. Founded in 634 at the strategic head of the Nile Delta, the city evolved from an Islamic military outpost to the seat of the ambitious Fatimid caliphate which flourished between the 10th and 12th century. Its most spectacular age, however, was the Mamluk period (1250-1517), when it became the uncontested center of a resurgent Islam and acquired an architectural character that symbolized the image of the Islamic city for centuries to come.

Cairo today still shines as a cultural and political center in its three spheres of influence: the Arab world, Africa, and the Islamic world. Moreover, many of its monuments (456 registered by the 1951 Survey of the Islamic Monuments of Cairo) still stand, although they remain largely unknown to the world’s architectural community and their numbers are dwindling at an exceedingly alarming pace.

This seminar is open to graduate students, and is intended to offer a synoptic view of selected methodologies and thinkers in art and architectural history (with many theorists from other fields). The syllabus outlines the structure of the course and the readings and assignments for each week; the goal is to become aware of the apparatuses of discourse, and find your own voice within them.

This course covers theories about the form that settlements should take and attempts a distinction between descriptive and normative theory by examining examples of various theories of city form over time. Case studies will highlight the origins of the modern city and theories about its emerging form, including the transformation of the nineteenth-century city and its organization. Through examples and historical context, current issues of city form in relation to city-making, social structure, and physical design will also be discussed and analyzed.

This class will be constructed as a lecture-discussion, the purpose being to engage important theoretical issues while simultaneously studying their continuing historical significance. To enhance discussion, three debates will be held in class. Each student will be required to participate in one of these debates. Each student will also be required to write three short papers. Class participation is essential and will be factored into the final grade.

The course will portray the history of theory neither as the history of architectural theory exclusively, nor as a series of prepackaged static pronouncements, but as part of a broader set of issues with an active history that must be continually probed and queried. The sequence of topics will not be absolutely predetermined, but some of the primary issues that will be addressed are: pedagogy, professionalism, nature, modernity and the Enlightenment. Classroom discussions and debates are intended to demonstrate differences of opinion and enhance awareness of the consequences that these differences had in specific historical contexts.

This studio discusses in great detail the design of urban environments, specifically in Providence, RI. It will propose strategies for change in large areas of cities, to be developed over time, involving different actors. Fitting forms into natural, man-made, historical, and cultural contexts; enabling desirable activity patterns; conceptualizing built form; providing infrastructure and service systems; guiding the sensory character of development: all are topics covered in the studio. The course integrates architecture and planning students in joint work and requires individual designs and planning guidelines as a final product.

This class presents an analysis of the development of housing models and their urban implications in Paris, London, and New York City from the seventeenth century to the present. The focus will be on three models: the French hotel, the London row house, and the New York City tenement and apartment building. Other topics covered will include twentieth-century housing reform movements and work by the London County Council, CIAM, and American public housing agencies.

In this course, we will study important movements and some influential artists in Western art history.  We will begin with the “Proto-Renaissance” in Italy in the 13th century and continue through to the late 20th century.  You will become acquainted with certain regional and personal styles of art through this period, as well as a number of renowned works of art and architecture. Art forms and imagery are influenced by the surrounding world, the biography of the artist who produced the artwork, and other circumstances of artistic production.  This course provides a framework for considering how and why certain artistic movements emerged in certain places at certain times.  Some of the names and works we will look at might already be familiar to you, while others will be new.  The ultimate goal of this course is not to provide data on individual works of art, although that is part of art history, but to act as a sort of springboard.  You will gain tools for looking at and analyzing not only art by…