Online courses directory (186)

This course introduces students to the art and formal ideologies of contemporary dance. We explore the aesthetic and technical underpinnings of contemporary dance composition. Basic compositional techniques are discussed and practiced, with an emphasis on principles such as weight, space, time, effort, and shape. Principles of musicality are considered and developed by each student. Working with each other as the raw material of the dance, students develop short compositions that reveal their understanding of basic techniques. Hopefully, students come to understand a range of compositional possibilities available to artists who work with the medium of the human body.

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.

The course aims at providing a fundamental understanding of the physics related to buildings and to propose an overview of the various issues that have to be adequately combined to offer the occupants a physical, functional and psychological well-being. Students will be guided through the different components, constraints and systems of a work of architecture. These will be examined both independently and in the manner in which they interact and affect one another.

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.

Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.

This course offers an introduction to the history, theory, and construction of basic structural systems as well as an introduction to energy issues in buildings. It emphasizes basic systematic and elemental behavior, principles of structural behavior, and analysis of individual structural elements and strategies for load carrying. The course also introduces fundamental energy topics including thermodynamics, psychrometrics, and comfort. It is a required class for M. Arch. students.

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.

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.

Subject combines practical instruction, readings, lectures, field trips, visiting artists, group discussions, and individual reviews. Fosters a critical awareness of how images in our culture are produced and constructed. Student-initiated term project at the core of exploration. Special consideration given to the relationship of space and the photographic image. Practical instruction in basic black and white techniques, digital imaging, fundamentals of camera operation, lighting, film exposure, development, and printing. Open to beginning and advanced students. Lab fee. Enrollment limited with preference given to current Master of Architecture students.

This course provides practical instruction in the fundamentals of analog and digital SLR and medium/large format camera operation, film exposure and development, black and white darkroom techniques, digital imaging, and studio lighting.

This semester we will explore the MIT Department of Brain and Cognitive Sciences for our theme- and site-specific term project, which provides opportunities to develop technical skills and experimental photographic techniques, and for personal artistic exploration. Final projects will be presented on site in exhibition format.

Work in progress is continuously presented and discussed in a critical forum. Lectures, readings, visiting professionals, group discussions, and site visits encourage aesthetic appreciation of the medium and a deeper understanding of our semester theme, as well as a critical awareness of how images in our culture are produced and constructed.

Furniture making is in many ways like bridge building, connections holding posts apart with spans to support a deck. Many architects have tried their hand at furniture design, Wright, Mies Van Der Rohe, Aalto, Saarinen, Le Corbusier, and Gerhy.

We will review the history of furniture making in America with a visit to the Decorative Arts Collection at the Museum of Fine Arts in Boston and have Cambridge artist/craftsman Mitch Ryerson show us his work and talk about design process. Students will learn traditional woodworking techniques beginning with the use of hand tools, power tools and finally woodworking machines.

Students will build a single piece of furniture of an original design that must support someone weighing 185 lbs. sitting on it 12 inches off the ground made primarily of wood. Students should expect to spend approximately 80 hours in the shop outside of class time.

Preregistered architecture students will get first priority but first meeting attendance is mandatory. Twelve student maximum, no exceptions.

This subject explores the varied nature and practice of computation in design. We will view computation and design broadly. Computation will include both work done on the computer (digital computing) and by-hand. Design will include both the process of making designs and artifacts, as well as the designs and artifacts themselves. The aim of the course is to develop a view of computation and design beyond the specifics of techniques and tools, and a critical, self-awareness of our own approaches and metaphors for computation and design.

The aim of the Portfolio Seminar is to assist in developing a critical position in relationship to their design work. By engaging multiple forms of representation, written and visual, students will explore methods that facilitate describing and representing their design work. Through a critical assessment of their existing portfolios, students will first be challenged to articulate design theses and interests in their past projects. Different mediums of representation will then be studied in order to hone an understanding of the relationship between form and content, and more specifically, the understanding of particular modes of representation as different filters through which their work can be read. Some of the questions that will be addressed are:

• How does one go about describing an image?
• How does one theorize representation?
• How does one articulate a design thesis in writing verses visual media?
• How can the two interact to enhance each other?
• How do different media, printed verses web publishing, affect the representation of work?
• How is your work best communicated?