Classes

Explores the varied nature, history and practice of computation in design through lectures, readings, small projects, discussions, and guest visits by Computation group faculty and others. Topics may vary from year to year. Aims to help students develop a critical awareness of different approaches to and assumptions about computation in design beyond the specifics of techniques and tools, and to open avenues for further research.

4.581 Proseminar in Computation (G) / 4.582 Research Seminar in Computation (G)

Introduction to traditions of research in design and computation scholarship.

4.582 Research Seminar in Computation

In-depth presentations of current research in design and computation.

Group discussions and presentation of ongoing graduate student research in the Computation program.

Students select thesis topic, define method of approach, and prepare thesis proposal for SMArchS Computation degree. Faculty supervision on a group basis. Intended for SMArchS Computation program students, prior to registration for 4.ThG.

Selection of thesis topic, definition of method of approach, and preparation of thesis proposal in computation. Independent study supplemented by individual conference with faculty.

Introduction to the history and interpretation of western art in a global context that explores painting, graphic arts and sculpture from the 15th century to the present. Engages diverse methodological perspectives to examine changing conceptions of art and the artist, and to investigate the plural meaning of artworks within the larger contexts of culture and history.

MIT Certificate Protected Syllabus

4.603 UG / 4.604 G

Examines modern architecture, art, and design in the context of the political, economic, aesthetic, and cultural changes that occurred in the twentieth century. Presents foundational debates about social and technological aspects of modern architecture and the continuation of those debates into contemporary architecture. Incorporates varied techniques of historical and theoretical analysis to interpret exemplary objects, buildings, and cities of modernity.

Additional work required of students taking the graduate version.

MIT Certificate Protected Syllabus

This course offers a wide review of the history of Islamic architecture, tracing fifteen centuries of development across three continents — Asia, Africa, and Europe. Beginning with the House of the Prophet in Medina in the 7th century and culminating with the skyline of contemporary Dubai, the course presents architecture as both a material record and a cultural expression of the historical conditions in which Islam was formed, practiced, and continually reinterpreted.

Each session centers on a city, monument, or building type, while keeping sight of the larger narrative that links diverse regions and periods into a coherent story.  Lectures analyze form, construction techniques, materials, style, ornament, and decoration, as well as the social, religious, political, and cultural frameworks that shaped architectural production.  Particular emphasis is placed on the role of patronage and on the ways architecture served as a stage for identity, power, and community.

Cross-cultural exchanges are examined throughout, from the absorption of Late Antique traditions in early Islam to encounters with the West during the colonial and postcolonial eras. The course concludes by exploring the revival and reinvention of Islamic architecture in the modern age of nation-building, globalization, and rapid urban development.

MIT Certificate Protected Syllabus

Can one divide human reality, as indeed human reality seems to be genuinely divided, into clearly different cultures, histories, traditions, societies, even races, and survive the consequences humanly?"

- Edward Said, Orientalism, 45 

The locus of intellectual courage isn’t factuality, it’s oppositionality—an interior relation of conviction rather than an external condition of falsifiability
- FT, NYR Online, Aug 19, 2023

This seminar explores the politics of representation as a central concern in the production and dissemination of knowledge about cultures.  It examines how political, cultural, historical, ideological, and religious forces not only shape but often determine the ways in which knowledge is produced, codified, and visually or textually represented — and how, in turn, such knowledge reconfigures those very forces.

At the core of the seminar lies the concept of Orientalism, understood not merely as a body of scholarship or a mode of artistic expression, but as a discursive and institutional formation that evolved over centuries of interaction — frequently asymmetrical and fraught — between the “West” and the “Orient.”

Students will engage critically with a range of historical episodes, analyzing their textual, visual, architectural, theoretical, and institutional legacies to show how representations of the Islamic world were constructed, circulated, and normalized within Western epistemologies. At the same time, it considers how these representations were received, contested, internalized, or reappropriated within Islamic societies, thereby shaping the modalities of modern self-representation.

Through these inquiries, the seminar aims to foster a historically grounded and theoretically informed understanding of representation as a field of power. It interrogates claims of empirical neutrality in the humanities and social sciences, contending instead that all acts of representation — however scholarly or aesthetic in form — are embedded within shifting structures of authority, legitimacy, and imagination.

Research paper required. Open to qualified undergraduates. 

MIT Certificate Protected Syllabus

The course deals with how archivists, architects, and historians have faced the myriad archive fevers and archival turns of the 20th and 21st centuries. This period has seen a marked shift between archives being used as 'source' to becoming a 'subject' of critical inquiry. However, these questions are not limited to the past few centuries. Rather, the philosophical questions of history and its relationship with the archive span millennia from Assyrian clay tablets and Shang dynasty oracle bones to the post-revolutionary foundation of the French national archives. This seminar examines how "the architect and the archive are inseparable" and how the archivist and the historian are entangled to attend to the contested memories and denied histories embodied within buildings, cultural institutions, and architectures (Wigley, 1995). 

Through visits and hands-on research in archives in Boston and New York City, students will develop a critical methodology that can be applied to their own research and practice. Students will learn to interpret and triangulate primary sources, such as texts, films, maps, drawings, manuscripts, correspondence, government documents, newspapers, photographs, and architectural models.

MIT Certificate Protected Syllabus

Advanced seminar. Looks at architecture and planning doctrines in what has come to be known as the “development decades,” the high period of state intervention into so-called Third World economies under the aegis of the Bretton Woods exchange system (c. 1945-1971), followed by its aftermath in the dismantlement and restructuring of state power, reflecting “privatization” and austerity doctrines. The course will take up various components that intersected with architectural and urban thinking in this era of development: land and tenure, infrastructure, housing, finance, administration, and cultural forms relating them to influential economic doctrines of the time as well as the ideological tendencies of governments in the Third World. Particular attention will be paid to the circuit of technocratic “experts” patronized by the Bretton Woods organizations, and later global consultancies (McKinsey’s) as well as the neocolonial politics of foreign aid. Particular attention will be paid to how architects and related experts on questions of space responded to the bureaucratic and institutional frameworks of international and national development, and the sundry “clubs (Paris, Rome), think-tanks, consultancy mechanisms, as well as elite university-based forms of expertise that were entangled in these circuits. Also of interest is the intersection, in the course of these engagements, of the latter history of architectural modernism with the social sciences, from anthropology, econometrics to systems theory, etc. Comparisons with American and European (“Northern”) examples of space and city planning and mechanisms (instruments such as location theory, zoning, etc.), as also cultural forms (cinema, theater) will be elicited to highlight key structures of comparison, contrast, or influence.

Requires original research and presentation of oral and written report.

UG: 4.641 | G: 4.644

Investigation of visual culture in the nineteenth century with an emphasis on Western Europe, the United States, and Japan. Topics include art and industry, artists and urban experience, empire and its image, and artistic responses to new technologies from the telegraph to the steam engine to the great refractor telescope. Strikes a balance between historical and contemporary critical perspectives to assess art's engagement with the social and political experience of modernity.

Additional work required of students taking the graduate version.