4.184

Architectural Design Workshop — Architecture of Autarchy: Understanding the Material World via Simulation of Earth-Surface Exploitation and Constraint

Undergraduates also welcome.

Exquisite Simulation
Complex atmospheric and oceanic systems, changing through time, have been rendered brilliantly legible through sophisticated simulations by groups such as NASA absorbing decades of satellite data into distilled visual narratives:

  • depictions of sea-level change allowing for melting ice, changing oceanic currents, and the spin of the earth, show surging swell on the east coast of Asia and the US, peaking at the faster-spinning equator
  • the seasonal production and absorption of CO2 by diminishing biomass, augmented by dispersed plumes from increasing urban energy-use, are made legible as a decades-long planetary “breathing”
  • economists have compiled eerily beautiful videos depicting filigree shipping lines, color-coded per commodity, as vectorial lines of desiring-production (Deleuze), demystifying billion-ton markets

Such elegant depictions offer startling and simple clarity to otherwise intractable systems. By offering visual legibility, such issues are absorbed into everyday thinking, despite their complexity.

By contrast, there are few sophisticated depictions of earth-surface exploitation and the ant-like spoil-heaping at civilizational scale of materials and energy – their re-distribution and transformation into flows of late-industrial “stuff”. Undergirding commodity markets is a seemingly limitless energy supply and a post-WW2 global free-trade economic order, both largely invisible given their ubiquity. 

Material Realism
We will learn principally from two masterful accounts of our energy and material civilization: The Many Lives of Carbon by Dag Olaf Hessen (all organically derived materiality), and The Material World by Ed Conway (focusing on 6 base mineral/metal commodities that essentially underpin the contemporary world – sand, salt, iron, copper, oil and lithium), both engaging and accessible. 

Part 1 of the workshop (working individually or in pairs) will seek to de-mystify key aspects of contemporary materialism to graphically portray the fragility or threat implicit in its geo-political and environmental portent, evidently with focus on architectural materials/methods, against a backdrop of mounting environmental stringency and a doubling of buildings by mid-century. In other words, we’ll deploy architectural aptitude to offer striking new ways to capture the complex reality of our material world, which will likely benefit from being witnessed through time (for instance in the startling new efficiencies of copper production that seems to have even outpaced Moore’s Law). 

“Autarky is an economic system of self-sufficiency and limited trade. A country is said to be in a complete state of autarchy if it has a closed economy, which means that it does not engage in international trade with any other country.” 
- Concise Oxford Dictionary of Politics and International Relations

Part 2 of the workshop will focus on the consequences when the assumptions of limitless material and energy availability are disrupted, as during Covid (supply-chain and labor disruption), or the Ukrainian war (imminent European recession through loss of natural gas), or the current imposition of tariffs and the vision of autarky that they imply – a significant rebuke to what has been a pervasive global free-trade hegemony. Akin to putting sticky tape on a balloon and then inflating it, so restrictions of material and energy supply necessarily distort architectural form (no-labor reconstruction in Ukraine, for instance). Copper might be mined and crushed in Chile, the dust shipped to China for refining, shipped back to the US to be drawn into wires, before being trucked to an east coast building site subject to US electrical codes; what happens when any of the regimes become autarkic?

Each student will be asked to develop or analyze an architectural element or assembly that allows for varying degrees of autarky in being able to adjust the material and/or energy assumptions of the project as parametric variants: what design and technical aptitude would this require? 
 

Fall
2025
2-0-7
G
Schedule
M 1-4
Location
4-144
Prerequisites
permission of instructor
Enrollment
Limited to 12
Preference Given To
MArch, SMArchS
Can Be Repeated for Credit
Yes
Document Uploads
4.301

Introduction to Artistic Experimentation: Transdisciplinary Approaches

This course introduces artistic practice and critical visual thinking through studio-based projects that explore diverse media, scales, and contexts. Through hands-on experimentation, perceptual games, and creative exercises, students activate their artistic curiosity—reimagining materials, objects, and everyday environments. Projects may incorporate sculptural construction, drawing and painting, weaving, performance, theater-based methods, sound and video, and/or site-specific interventions. Studio practice is complemented by lectures, screenings, field trips, readings, guest presentations, and discussions that examine the historical, cultural, and environmental forces shaping both the development of artistic vision and the reception of a work of art. Project themes such as Body Extensions / Embodied Knowledge, Public Making / Collaborative Practices, and Networked Cultres / Interdisciplinary Exchanges invite students to develop an expansive, interdisciplinary approach to art-making. Each project culminates in a final presentation and group critique. 

MIT Certificate Protected Syllabus

Fall
2025
3-3-6
U
Schedule
TW 9:30-12:30
Location
E15-235
Prerequisites
None
Required Of
Restricted elective for BSAD, A Minor, D Minor
Enrollment
Limited to 20
HASS
A
Open Only To
Undergraduates
Lab Fee
Per-term $75 fee after Add Date; SMACT students are exempt
Can Be Repeated for Credit
No
4.s33
4.s37

Special Subject: Art, Culture, and Technology — Beginner’s Guide to Visualizing Data and Life-Like Processes in Digital Art

4.s37 UG | 4.s33 G

This is an incredible opportunity to dive into the basics of biomimicry and natural algorithms in computational design and artificial life. Prior programming or modeling software experience is not needed. Advanced folks will be accommodated on an individual project-based track. Students learn about the cultural and visual implications of automation and biotechnological advancements driven by computational technology, exploring their aesthetic significance through the analysis of data and algorithms.  

This course is designed as a beginner's guide to ethical solutions to design problems in computational design and data concerning nature through visualization and art. It is structured to be accessible and considerate of the broader impact of design decisions on communities, society, and culture. Students will receive a low-level, beginner-friendly introduction to the basics of data visualization in processing and Python, biomimicry, agent-based systems in Grasshopper visual coding, and C# and animation in Maya.

  • Learning Objectives/Pedagogy:
  • Understand the historical context and evolution of data visualization, biomimicry, and Artificial life as an art form.
  • Explore the ethical considerations and social implications of data visualization, biomimicry, and Artificial life.
  • Acquire practical skills and techniques for creating bio-inspired artworks.
  • Engage in critical discussions on the intersection of art and biology.
  • Collaborate with peers to develop innovative data-based projects.
  • Analyze and interpret databases from various perspectives.
  • Develop a strong foundation for future research in data visualization, biomimicry, and Artificial life.

MIT Certificate Protected Syllabus

Fall
2025
3-3-6 (4.s37)
U
3-3-3 (4.s33)
G
Schedule
TR 9:30-12:30
Location
E15-054
Prerequisites
Permission of Instructor
Enrollment
Limited to 20
Lab Fee
Per-term $75 fee after Add Date; SMACT students are exempt.
Can Be Repeated for Credit
Yes
4.s34

Special Subject: Art, Culture, and Technology — Publication as Worldmaking: Performative Approaches to Fiction and Publishing

Cancelled

This course investigates the interdisciplinary and generative possibilities of publication, emphasizing its role as a practice of expanding public engagement and imagination. Throughout the semester, students will explore worldmaking strategies, speculative fiction and an array of publication methods ranging from traditional techniques—leveraging ACT and MIT’s extensive resources such as riso printing, book binding and maker labs—to experimental approaches in digital media, performance, political systems, architecture, contemporary art, design and AI.Specific expectations and/or deliverable product resulting from course.

MIT Certificate Protected Syllabus

Fall
2025
3-3-6
G
Schedule
TR 2-5
Location
E15-207
Prerequisites
Permission of instructor
Enrollment
Limited to 20
Lab Fee
Per-term $75 fee after Add Date; SMACT students are exempt
Can Be Repeated for Credit
Yes
4.641
4.644

19th-Century Art: Painting in the Age of Steam

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.

Fall
2025
3-0-9
U
4-0-5
G
4-0-8
G
Schedule
F 2-5
Location
5-216
Enrollment
Limited to 15
HASS
A/E
Can Be Repeated for Credit
No
4.354
4.355

Introduction to Video and Related Media

UG: 4.354; G: 4.355

This course introduces global traditions of counter-cinema and experimental video through a combined studio and seminar format. We trace how artists and collectives develop form under pressure, studying methods that arise from protest, censorship, displacement, and environmental crisis. Topics include montage and materiality, index and memory, sound as testimony, and architectures of spectatorship. Screenings, lectures, and readings provide a theoretical and historical framework for rigorous discussion. Short weekly exercises translate these frameworks into practice through image and sound manipulation, camera and editing experiments, and iterative prototyping toward a final piece. Peer-to-peer critique emphasizes clarity of intention, ethical stakes, and technical execution.

Additional work required of students taking the graduate version. 

Fall
2025
3-3-6
U/G
3-3-3
G
Schedule
TR 2-5
Location
Tues room: E15-070
Thurs room: E15-054
Restricted Elective
BSA, BSAD, A minor, D minor
HASS
A/E
Lab Fee
Per-term $75 fee after Add Date; SMACT students are exempt
Can Be Repeated for Credit
No
4.s28

Special Subject: Architecture Studies — X-Machine: AI and Design Innovation

Cancelled

Subject canceled for Fall 2025.

Fall
2025
Schedule
T 9-11
Location
1-246
Prerequisites
Permission of Instructor
Can Be Repeated for Credit
Yes
4.s24

Special Subject: Architecture Studies — Creative Careers: Strategy, Models, Crossovers (H1 half-term)

How can you build a creative practice that is adaptive, impactful, and future-ready?

This lecture-and-lab course equips students in design, arts, and cultural fields with tools and strategies for viable professional practice. You will engage with cultural economics and management, international frameworks, and practical tools such as business models, market positioning, branding, and intellectual property protection, applying them to your own work through structured exercises. Labs explore crossovers—ways creative practice can generate value and drive innovation in society and industry—developing experimental propositions for real-world applications.

You may enter with a professional direction in mind, although it is not required. The labs are designed to allow new directions and value propositions to emerge. The course fosters reflection and equips students to create professional offerings through a value-based understanding of cultural and creative production while identifying market opportunities with positive human impact. Final presentations consolidate learning into professional outputs with potential for incubation.

Giuliano Picchi
Fall
2025
2-1-3
G
Schedule
T 9-12
Location
4-144
Prerequisites
Permission of instructor
Can Be Repeated for Credit
Yes
Document Uploads
4.s22

Special Subject: Architecture Studies — System Change

How do you go from a moment of obligation to starting or accelerating a movement?

This course explores the difference between innovation, social innovation, and systems change for social impact. Students interested in navigating complex environmental and social problems will explore frameworks and case studies from real systems change innovators to develop a more comprehensive view of complex problems and the systems they are part of —systems that often keep those problems in place.

In the course, you will apply experiential tools and methods to interrogate your own call to action, strengths, and gaps to address complex problems or needs. You will gain an understanding of the importance of understanding problems from the impact target’s perspective and explore innovative ways to create a scalable movement that ultimately can change a system. The final deliverable from the course is writing a case study on system change based on detailed actor mapping and interviews where you share your deeper understanding of a system you care about.

Yscaira Jimenez
Fall
2025
2-0-7
G
Schedule
T 9-11
Location
E15-466
Can Be Repeated for Credit
Yes
4.341
4.342

Introduction to Photography and Related Media

4.341 U / 4.342 G

Introduces history and contemporary practices in artistic photography through projects, lectures, artist visits, group discussions, readings, and field trips. Fosters visual literacy and aesthetic appreciation of photography/digital imaging, as well as critical awareness of how images in our culture are produced and constructed. Provides instruction in the fundamentals of different camera formats, film exposure and development, lighting, black and white darkroom printing, and digital imaging. Assignments allow for incorporation of a range of traditional and experimental techniques, development of technical skills, and personal exploration. Throughout the term, present and discuss projects in a critical forum. 

Additional work required of students taking the graduate version. 

MIT Certificate Protected Syllabus

TA: xdd (Chenyue) Dai
Fall
2025
3-3-6
U
3-3-3
G
Schedule
MW 2-5
Location
E15-054
Prerequisites
permission of instructor
Restricted Elective
BSA, BSAD, D minor
Enrollment
Limited to 20
HASS
A/E
Lab Fee
Per-term $75 fee after Add Date; SMACT students are exempt
Can Be Repeated for Credit
No