Fencing is both the act of collective recognition and appropriation of a portion of land or physical space: it is the act of its delimitation and separation from the rest of the world-nature. It establishes the two topological, imaginary, geometric, technical regions of outside and inside. It formulates the problem of the mental or physical constitution of the limit, of the boundary and its violation. An act of architecture par excellence, the enclosure is what establishes a specific relationship with a specific place and at the same time the principle of settlement by which a human group proposes its relationship with nature-cosmos. But the enclosure is also the form of the thing, the way it presents itself to the outside world, through which it reveals itself.

In the opening editorial of Rassegna, published in 1979, Vittorio Gregotti proposes a theme that can be considered the manifesto of both a way of understanding the discipline and of questioning its boundaries. Architecture is primarily understood as the effort of a multitude. While evoking a primordial act of territorial conquer, the emphasis is on the collective and ritual nature of the gesture. Both act and form, the enclosure doesn't produce a solitary figure nor an abstract, generic principle. Its presence is always in relation to a particular place. It establishes a new order and generates a new equilibrium within a given territory. Further on, the editorial argues for the need to redefine the notion of enclosure at the highest possible level of abstraction, recognizing how its definition in terms of pure function (that of preventing the crossing of a body, a gaze, a law...) is what allows apparently disparate objects to be brought together under a single notion. The catalogue of examples that follows is actually rather heterogeneous and incomplete. Its limitation is also its generosity: we feel entitled to expand it and pick up Gregotti's discourse where he left off.

Enclosures is a studio focused on the architecture of the perimeter. It intends to stimulate an in-depth research into the possibilities generated by the fundamental act of delimitation. The project will be explored as a selective device, producing certain conditions of inclusion and exclusion, creating and erasing connections, sustaining acts of separation and suspension, enabling detachment and otherness. Opposing the dominant conception of architecture as production of singular — self centered — objects, the studio will stress the dialectic nature of the enclosure in relation to an underlying notion of context. The activity of the studio — ideally conceived as an appendix to Rassegna 1 — will be organized around three main tasks: a collective work of iconographic collection, the construction and manipulation of an organized taxonomy of case studies, and the development of site-specific proposals.

"Architecture is sometimes polarized between two disciplines - art and technology. We try to apply this
expression towards the architecture of the earth. We are now in the era of the ‘tabula pronta’ - where the
earth is ready and there is no need for a blank canvas; we just have to live with it.”

ARCHITECTURE OF THE EARTH is a space to bring in harmony. A testing ground that seeks
to connect new emerging technologies with nature to create a distinct yet familiar architecture. It
is through this intimate encounter that we can understand, learn and unlearn, maybe then
innovate.

Architecture of the Earth explores the creative resources that are shaped by the environment we
inhabit. We need to learn to manipulate the existing ground with common forces and energies
that constitute the spatial event, without causing irreparable damage. This will give rise to art
and experiments that can be transformed into a new standard language of building across the
world. This process of design will allow students to explore the immense complexities that are at
play. It would also develop skills of observation and analytical outlook that architects need to
develop to read the spaces that the principle generates.

Workshop Flyer

Hello, game designers! Welcome to this two-week long, 5-session board game design workshop. Board game design is an inclusive art method, creating a relatively free and safe space for all ideologies and opinions. We believe in the board game’s power to deliver touched narratives, make unapproachable themes accessible, and build intimacy in social relationships. In this workshop, we will focus on the board game’s overlooked educational and intellectual aspects that could serve as a tool to tackle social and cultural issues in daily life. There’s no prerequisite for the workshop, and we welcome all from the MIT community regardless of background, age, and experience.

During class, we will play, discuss, demonstrate, design, and play-test board games. Through a mixture of learning methods, you will understand how board game design can help raise awareness, propose interventions, and resist existing problems in a playful tone, and gain knowledge that allows you to evaluate and analyze any board games in the future. Most importantly, this workshop will help you start designing and developing your board game prototype. You can bring any topics, themes, or questions you might have been thinking about into this course and explore them within the framework of gameplay design. You are encouraged to work in a group of two for the final deliverables.

By the end of this workshop you will be able to:

1. Utilize the four elements of game design (aesthetic, story, mechanics, and technology) as a tool kit to assess any kind of board game and set goals for your design.
2. Gain familiarity with board game mechanics, and be able to identify fair and balanced gameplay strategies for your board game.
3. Articulate a main theme and a preliminary storyline of your board game and how they support the game in tackling social and cultural issues.
4. Deliver a playable game prototype

- Click here to register

Funded by the Council for the Arts at MIT and the MindHandHeart Innovation Fund

9/6/23 - first meeting of class will be in room 7-336 (previously listed as 3-329)

(pre-approved for MArch Urbanism elective Fall 2023)

Through this class, students will explore the idea of creating a "climate corps" for MIT: a way for students (and potentially alumni) to take action for climate and environmental justice on campus and in Cambridge and greater Boston community, while building skills and experience.

The class will involve robust stakeholder engagement (fellow students and student groups, alumni, faculty, staff, administration, community partners ...) and the delivery of recommendations and scenarios for the creation of an MIT Climate Corps. MITOS will be 
either the client or at the least a close partner to the class.

Undergraduates welcome.

(pre-approved for MArch Urbanism elective Fall 2023)

he last decades have seen the relentless acceleration of planetary-scale environmental and social challenges. Phenomena as widespread urbanization, human-induced climate change, or the operationalization of natural landscapes interrogate both the agency and the limits of architectural practices. The goal of this workshop is to explore how our architectural responses to the local impact of those planetary phenomena can trigger new forms of spatial and political organization — a possibility we will refer to as cosmopolitical design. 

We will study the idea of cosmopolitical design by investigating the relations between seven main areas of action: 1) Geovisualization, geoknowledge and geoimagination; 2) Architecture After Planetary Urbanization; 3)Territorial Design Across Scales; 4)Ecology as Planetary Praxis; 5)Climate Cosmotechnics; 6)Autonomy and Cosmopolitics; and 7)Decolonization and Cosmopolitics. Together, these seven areas aim to situate the local interventions that constitute the core of architectural practice as catalysts of broader processes of spatial and political structuring.  

The workshop is conceived as a collective design-research exercise, combining lectures, discussions and workshop sessions. In the lectures we will see how each of the seven aforementioned topics acted as a trigger of planetary-oriented architectural practices during modernity, and we will start reflecting upon and questioning the resulting modes of spatial production. Our discussions will build upon the lectures and upon a highly plural body of literature including thinkers from across the planet. We will read texts exploring the ideas of critical cosmopolitanism, cosmopolitics, cosmotechnics, pluriversality, world-ecology and decolonization.  

At the beginning of the course, each student will select a topic of design-research, conducing to the final production of a small individual book. Our emphasis will be on the production of strong and consistent visual narratives. Together, we will explore the synergies and convergences between your research topics, and conclude the term gathering the exercises in a collective volume.