 Great. Hi everyone. I'm Hilary Sample. I'm associate professor here at GSAP. I'm director of the MR Corps I also lead the housing studio And I teach and collaborate with Craig on the pedagogy of the school I'm also an architect and one of the Principles at Moss here in New York So it's my pleasure to introduce the last session for today Titled pedagogy and our three speakers in this order will be Keel Mow, Craig Schwitter, and Mijin Yoon I'm just going to read through very briefly their bios, and then we'll start the first presentation Keel Mow is an associate professor of architecture and engineering at the Harvard University Graduate School of Design Where he is co-director of the MDES degree program in the advanced studies program and is Co-director of the energy environments and design research unit. He has published by the end of this academic year He's told me nine books on the relationship between architecture and engineering Including most recently empire state and building. What is energy and how else might we think about it with Samford? Quinter and insulating modernism Isolated and non-isolated thermodynamics and architecture in In 2016 he was the Fulbright distinguished chair in architecture in Finland, and he is a fellow of the American Academy in Rome His work as a scholar and practicing architect has been recognized by the architecture league of New York Prize The Boston Design Biennial Award and multiple fellowships at the McDowell Colony Craig Schwitter is an associate professor at Columbia here, GSAP with over 20 years of experience Schwitter has become a leader in engineering design of complex buildings and large-scale developments that include educational performing arts cultural civic stadia Transportation and master planning projects in 1999. He founded the first North American office of Bureau haphold consulting engineers Since its inception the North American practice has grown to a staff of over 200 people Based in multiple office locations including New York, Los Angeles, Boston, Chicago and San Francisco Under his leadership the North American region offices have expanded to offer a full suite of engineering arts including structural MEP geotechnical and facade engineering lighting design fire and life safety sustainability Consulting and sustainable master planning services. He sits on the board of the Lower Manhattan Council Sorry Lower Manhattan Cultural Council Meejin Yoon is a Korean American architect and designer in 2014 she was appointed head of the department of architecture at the Massachusetts Institute of Technology She is a registered architect and founder of my studio in howler plus Yoon architecture awarded the 2016 Acadia Teaching Award the 2013 Erwin Cizer Award for most significant improvement and innovation to education at MIT She's also a United States Artist Award in architecture and design in 2008 and received the Rome Prize in design in 2005 and was a Fulbright fellow in 1998 Her academic and professional work has been widely recognized for its innovative and interdisciplinary nature She is the co-author of expanded practice projects by howler plus Yoon and my studio from Princeton architectural press in 2009 and Public works unsolicited small projects for the big dig MAP book publishers 2008 Meejin received a bachelor of architecture from Cornell University a master of architecture and urban design with distinction from Harvard in 1997 so it's my pleasure to welcome he'll to the podium for the first presentation Okay Thank You Hilary and thank you Craig for inviting me to this conversation The last phrase of this session's prompt targets the many unquestioned assumptions that presuppose nearly every design pedagogy in schools of architecture In this regard whether you are preoccupied with the formal or technical aspects of architecture the governing models for how we reason and imagine Architecture today emerged in a very different context than the one in which we now teach and practice It was in this period for example that the split between the Beaux Arts and the Polytechnic at France was codified instituted sanctioned and then imported to the United States with Columbia University its campus and its school of architecture is one of its primary hosts But we of course live in a very and we live in a world quite different than the 19th century origins of this split Beaux Arts model Our world is inordinately more complex and in the face of mounting obligations and opportunities for design the derivation of a split model in This much earlier period is at least worthy of our attention if not an outright radical reckoning The ways in which we reason and imagine architecture through this model relies far too heavily on a world that no longer exists or perhaps never did and Yet this split model persists today in the form of a fake debate That separates technology from design as distinct concerns with this model We seem all too content with on one hand the severely misguided and instrumental reductionism evident in technocratic and Managerial treatments of technical topics this positivist approach generally has exhibited an interest in deterministic Optimization and has had less to offer regarding the generative and formal capacities of matter and energy On the other hand we seem equally content with how the formal possibilities of architecture remain constrained by persistent hyalomorphic habits of design as well as Cartesian habits of description This fake debate long ago ossified into twin claims of autarky and autonomy that the world never grants architecture as such One of the major if not chronic liabilities of this model is that both sides can only offer closed systems of discourse and technique for architecture in a Constitutively open system world The origin of our split model as well as this persistent fake debate has served to channelize our model of models And has thereby imposed manifold epistemological and methodological limitations on the pedagogy and practice of architecture For those willing to think beyond the conceits and dubious instrumentality of this fake debate some other model of models fit for this century is now Necessary and since any model is a model of causality I will contrast two models of causality from philosophy to help articulate another model of models The hyalomorphic model of causality as a model in which human ideas and its forms are imposed on the seemingly inert model the matter of the world There's a teleological model that presumes that the planet exists as the substrate of human action and will a Familiar example of hyalomorphism is when we stare up and Innocently impose certain known figures on cloud formations, which are nonetheless Constitutively different than the form we impose in other words, although this cloud may resemble a lamb It is in fact not a lamb and to insist otherwise is a very disabling problem of cognition While this may seem quite obvious in the case of cloud gazing Recognize that architects have been habitually trained to impose shapes and ideas on the matter and energy associated with buildings and both Formal and technical terms architecture schools have historically been in the business of confusing the lamb for the cloud And it must be understood that both the formal and technical domains of our current model are equally hyalomorphic both exert cultural and social Impositions on matter and energy. I would like to get beyond the epistemological and methodological limitations of this model as an evolution of the project of architecture today So in contrast to the impositions of the hyalomorphic model we could ask what else might cause something to appear the way it does in Philosophy a relevant countervailing model of causality in this regard is the concept of immanence The imminent model is not teleological because it assumes that matter and energy are active agents in the formation and appearance of something To refer back to our cloud example. We know that the manifold forces collude in The actual appearance of a cloud and that these particular forces are the result of matter and energy dynamics But we must also immediately recognize that in this imminent model Formation is not deterministically reducible to matter and energy, but that it is dependent on them A more imminent and materialist model of design is one basis of a model pedagogy for architecture in the age of open systems But the shift from the hyalomorphic to the imminent is not simply a question of integrating technology and software into the studio or earlier into the curriculum Integration is a problematic concept because despite its best intentions it somehow maintains the autonomy of what it ostensibly integrates It assumes that both sides are commensurate and that all relevant dynamics are to be resolved at the scale of the building Which is decidedly not the case as we've seen multiple times today a More nuanced and convergent model is necessary to grasp the ways in which architectural formation and appearance are not Deterministically reducible to matter and energy, but that are dependent on them In other words whether it's the lumin in illumination of an atrium in a museum the span of an arch the mass flow of Material and energy associated with building around the planet or matters of heat and humidity as architects We both impose order on and seek order from the matter and energy inherent to buildings In other words the appearance of architecture is a product of conjugate and convergent causes and a relevant model of models might take this as its starting point So in the context of this pedagogy session, that's my case and now I want to offer a couple studies with my remaining time that And outline a couple of key aspects of the of a more imminent and convergent model of models The first aspect focuses on the extensive and intensive properties of architecture. Well, the second question is the role of coordination So the first extensive properties such as mass volume and weight are proportional to the amount of material in a system This is high school physics These are the and these are the traditional variables of hyalomorphic design methodologies and today the formal virtuosity of design remains exclusively focused on the extensive and static properties of architecture like mass and Volume and are described through Cartesian and Euclidean means only Whereas intensive properties such as to temperature and pressure Conductivity etc. Are not proportional to the amount of material in a system and thus introduced degrees of freedom for transformation as central questions of design The intensive properties of buildings reintroduce time and all the energetic gradients material assemblages and perhaps more importantly multiple states That's so in rich and in live in architecture And in proto architectural terms Consider a cube that has an explicit extensive volume its length volume weight are all constant as such It's easily divisible and can be recombined with no change in the system But even in an altered configuration it is extensively constant This lack of state change is one of the key epistemological limitations of these extensive models of design If we look at their intensive equivalents Intensive division does not behave in the same way cutting a 60 degree volume of air into two does not produce two half volumes of 30 degree air and The mixing of 30 and 60 of course pretty quickly becomes a 45 degree volume of air So a novel state arises from this mixing as does a key epistemological opportunity for architecture Which is that most of the key obligations and opportunities for design in the century hinge on our ability to design and project multiple states of architecture both extensive and intensive properties are capable of variance, but only one produces a difference in state This credit. This is a critical concept for any open system pedagogy Architects though trained in a closed and split model remains singular to preoccupied with the hyalomorphic transformation of extensive properties as The basis of its virtuosity These architects seem to be either unwilling or unable to imagine and any alternatives The imminent model of intensive properties however fundamentally points to a model of design based on transformation mixing and novel states and Thereby might be able to put some latent virtue back into virtuosity so In the in terms of you know a direct case of pedagogy At the GSD as a studio coordinator of the first semester core studio We introduced a project that focused on the role of extensive and intensive properties and The aim was to devise Non-reductive and non deterministic ways for introductory architecture students to think thermodynamically about architecture and to think architecturally about thermodynamics in the short of a in the context of a short three-week project The starting point for the project was a three-dimensional hinged dissection armature that folds and unfolds from a bar into a box This hinged dissection was not presented to the students as a set of six fixed extensive geometries But rather as a governing framework that would guide the mixing and transformation of various intensive properties So here students must peer into these intensive organizations and begin to discern their extensive formal and organizational proper bit possibilities This is important because you cannot draw thermal dynamics This is one of the most central paradoxes of our extensive based the model of design Which is that in this century architects must contend with the intensive properties of architecture, but lack the means to do so So contending with the tension between the intensive and the extensive properties of architecture the students were to design two states of the same architecture What is primarily at stake in this project is a type of abductive reasoning and imagination One that does not suffer the hyalomorphic impositions of its antecedent model nor from the Cause of doing right doing the right thing according to the orthodoxies and platitudes of normative energy considerations and architecture So as a part of this particular student example They're tasked with extensive and intensive representations of each state Down into in this case of the intensive mixing of color as a resonant means of representation and description of light and air mixing in this project a Morse maybe direct Example is a student who considered concrete and its inherent mixture of structural and thermal capacities extensive and intensive capacities More dense concrete that can span further but is more conductive while lightweight concrete can span less far requires more bearing area And is less conductive and based on a somewhat arbitrary distribution of density as a abstract concept Is what produces you know multiple spatial and architectural possibilities in this tower that yet still exhibits an unexpected set of varied scalar structural and thermal relationships Throughout its organization So the aim in this the aim of this very short project is to engage students and faculty alike in a more plastic and recursive process of extensive and intensive design The project is emblematic of ways in which early students can begin to think beyond the hyalomorphic Impositions of more closed systems of discourse and technique Another kind of critical concept is the concept of coordination or the frames of reference that we use to produce architectural artifacts and phenomena And this is the core of a current options studio. I'm teaching at the GSD Cartesian description are traditional if not parochial system of coordination can only recognize fixed objects within fixed frames of reference Architects remain inexplicably preoccupied with this extensive frame in which no change can occur If we accept that architecture must account for the energetics and environments in new ways today Then we must confront an irreconcilable disjunction between architecture's environmental ambitions Which contend with inherently dynamic and open systems and the inherently static means we use to design it Cartesian descriptions like the photograph of a kayaker frozen in a river taken from a fixed point on a river bank Locked within the limits of Cartesian coordinates architects can rarely imagine architecture coordinated otherwise other models of Coordination such as Eulerian coordination acknowledge the inevitable dynamics of time and flow Yet this model coordination only describes how energy and matter move in reference to a fixed boundary This accounts for flow, but does not reveal much about formation This is like watching the kinematics of the kayaker, but still as a fixed observer on the shore Eulerian coordination is the basis of various types of simulation in architecture But it also reflects a fundamental limitation of that simulation For though it acknowledges flow it does not go far enough to coordinate the manifold movements of architecture and thereby accept What hair applied as long ago observed that all things move and nothing remains still To not fully accept this precept takes all the fun and a lot of the potential function out of a flow and formation So a third model Lagrangian coordination is important for our work because architecture Inherently involves manifold movements in the Lagrangian model You are the kayaker and submit to the ecstasy of flow all Qualities and quantities of the surrounding domain or gauge relative to the moving subject any event sensation or formation that emerges in A flow field is coordinated relative to these compound movements So in a Lagrangian coordination flow field behaviors described by following a set of material points through time and space as Such it describes the emergent figures forms and transformations that come to appear in the process This type of morphological description is has very important But totally unconsidered spatial temporal and technical implications for how we could be designing in some other model All three of these models of coordination are relevant to design and open systems But none should be taken for granted These models help us describe the dynamics of both form and energy Now construed as a conjoined conceptual and methodological question for design in this model These two topics are critical aspects of an open systems pedagogy They help designers learn how to couple seemingly disparate phenomena and systems Thus a new model would teach in new ways how to couple and coordinate the design of occupied interiors with larger Exensitive and intensive organization of time space matter and energy and then again How to couple those concerns with even larger compositions of matter energy space and time that are inextricable to building and life today These concerns are the basis of a more cosmopolitan conception of the formal and technical possibilities of architecture in an age of open systems The degree to which we can design couple and coordinate the flux of seemingly disparate entities like bodies bricks buoyancy and Boyncy depends entirely on how radically we contend with the philosophical Historical his scientific and formal basis of our model of models. Thank you All right. Thank you See make sure I'm on time So You know as we shift into into pedagogy, I wanted to show a bit of what we have been doing here at At GSAP I've joined GSAP about three years ago and It's it's been an interesting ride and it's been fascinating To be part of the school for a period of years where we're trying to invoke a lot of change I'll get to the box in in a second There's my quicker Get to the box in a second, but I really want to sort of dive into Why technology? because as as a bit of an outsider I'm an engineer as an outsider to Architectural schools I Find this really interesting because I peer into architecture and I see such optimism and opportunity This is a diagram from Alejandro, aloe vera, which was sort of formative idea behind the Venice Biennale last year and I think it's fascinating To really think that architecture has the ability to touch all of these things some are Common and we would associate architecture with others are not and Actually, I love the just the diagram itself and this sort of x equals You know indicates something deeper in Architecture that's actually frankly been missing or or untapped in a certain way and certainly architecture's ability to address all of these issues is is I think untapped at some level our image of technology Go all the way back a little bit But you know this this idea that tech is is sort of symbolic In architecture you can look at it It looks like an airplane like what Airbus does or or it looks like something Even when I started practicing in in engineering this this idea of what it looks like is important and Digging into the sort of a little even deeper than this and in Bannum's idea that that it's it's bizarre at Some point that this fracture happened the sort of fracturing of technology into some form of box and And today's architects many that I work with pleased to work with are sort of Reconnecting much of that DNA Whether it's our millennial generation whether it's all this technology at our hands whether it's this response to this sort of thing I even started talking about this morning that we're a little uneven or Just just not not comfortable with I love I love this to turn fiction into fact and also, you know this whole thing about fake news and Alternative facts. I think it's also very interesting in terms of that commentary about where we are in turning Fiction into fact in architecture. I Asked these questions to GSAP students when they first come here and I'll ask them to you I don't know the answers to them, but I'd like asking questions because I think it feeds our idea of what technology should be and its Relationship to architecture and particularly what we need to be teaching I was making changing. I love to see a sort of battle of the little versus the big In the in the in the makerspace that we just saw I was collaboration evolving You know this idea of the the central point collaboration to the you know the sort of group Collaboration it sort of varies back and forth How is how is this truly evolving and how is that changing the nature of our architectural practice? Is is taller bigger and better it? This this this idea that somehow doing something bigger is is better It's not often these days This is this is a topic going to value is you know sustainability about just simply doing less Or is it more making more is it being a restorative issue? Do we draw or do we compute? Talked about that today already How does computation simply change the process of? Design at this stage does energy matter last presentation Does obviously, but how do we view it? And and are we please God forbid we're going through some trends that that say that we pay attention and then don't pay attention to it anymore and You know just comfort control us or or Or is it or we controlling it? I mean this sort of diagram of glee you know is is is perpetrating enormous energy wastage around the world as we speak Data and design overwhelming us but Is it leading to anything anything better and finally route to market tapping into what we were talking about in the assembly panel? Just a totally different route to market today in in in many respects for architecture. These are just questions But but important for me. It's our tech curriculum here at GSAP and what we've been trying to Fashion over the last couple of years This box, I'll talk about it in a couple of different ways, but this box of sort of technology is Is there's the tech courses over there? It's a nice box to and so once you get in the box, and you don't have to really deal with it anymore Architecture likes its boxes beautiful boxes Shifted boxes transparent boxes and boxes that don't have any edges anymore You know, it's it's it's easy to conceive of technology being just about creating that thing So we have to start somewhere though Our foundational courses do approach very traditionally structures environments and structures at envelopes Very lucky to have some great professors here tapped from many of the firms in New York And I credit them with driving a Lot of new ideas through teaching and in the courses that we're seeing Just a word about envelopes. We've introduced that into the curriculum here specifically because it's such an important system It's it's really taken over in many respects an additional system in the eyes of of the building industry And it also is the filter with which we see energy and light and air and so many other things going on a building fashion today our broader Set of courses then lighten pick our students up another notch and we start talking about integration Sort of a very wide-ranging topic It is the absolute core and key of what an architect needs to be dealing with we look at it from a building scale here To ultimately an urban scale talk a little bit about that in this building scale this box. We are sort of oh We just traditionally think of integration as being within that box Designing the better box. That's what architects do right they the beam in the and the and the duct don't don't should should be Coordinated is the word I hear and in all the time And and these things that do push against this lighting and transport negress and they all push against this box So designing that boxes is absolutely core and and we do this through looking in environmental systems and structural and envelope We have a series of consultants that come feed through the class understand these ways of integrating And we get great product out of our students here in these integration courses Thinking broader and deeper about integration in not simply about a system But a series of systems and a collection of them and how they do that This is in our our third semester second-year students But again this this idea of integration is for me quite stale if we just think about it as the box because of course seen so many things today that So much of technology is outside that box. It's it's we have to think differently And if we if we stop at that perimeter Like like much of the accreditation wants us to do we lose so much of what architects need to be learning today and And I'll start into my sort of scaled thing for people that know me and understanding that the world doesn't stop at a building I don't go into the microbes over here, but I will I think my future will go down into the negatives And and by the way, I just really want to swab a New York City subway. I thought that was so cool But seriously buildings and you know districts the city's thinking in a scaled way is so critical so critical to the idea of integration because of course The things don't stop at our building edge. They they they they they move into this Idea of not just a city but an environment an ecosystem. There really are no boundaries To architecture and if you think about those boundaries you miss so many relevant influences So it's the idea is that you sort of free this box and start thinking about mobility and water and energy and these systems that influence the box Influence the architecture influence economics and ecology and digital connectivity These are all issues intertwined with the technologies that we're seeing today and thinking about how we deal with that So our urban into systems integration class tries to think about mobility systems energy and water and bring those talents to the campus to to work with the architects to think about how to more deeply integrate these aspects not necessarily the site Scale, but at the architectural scale. How does your building? Be affected by these systems from the outside And we're just in the second year of this, but the products are really interesting to see What's happening and how students are really processing these? How do they get to an architecture that's shaped by its external influences? I'm not quite sure where it sits and in keels Lagrangian or Cartesian methodology that can figure that out later, but it's for me It's fascinating to see these influences seep in if if one thing I've learned about working with architects for 25 years They're amazing at taking all of these influences and synthesizing. It's an incredible gift one that engineers often just simply do not possess Beyond that at our program here. We are very fortunate to sit in New York City And and we have all these great professionals that are at our fingertips So we have a series of electives are about 20 elective classes and when I first joined I was a little overwhelmed by so many of these classes But I start to start to understand them and I started to understand that actually they fall into this idea of scaled understanding of systems so we have We have courses at the urban scale We have courses in simulation virtual design and construction and making And these change and shift and I guess if anything our response is to students Desires or who wants to teach here or the idea that these things are moving within the industry? It's very flexible. It's a very flexible format for us So we have at urban scale thinking about energy in cities or or industrial processes In simulation scale we as we as we moving on the timeline here from macro to micro Thinking about simulation daylighting and advanced models with mark and turd and virtual design and construction Advanced curtain walls pushing our students even further into the envelope area But also in innovation technology and architecture. So thinking about these these aspects of VDC and finally making Really making sure that there's hands-on opportunities for all the students to at least have one making course before they get out of here It's very important to keep that hands-on process So I just would we conclude with with saying that we are trying to get rid of this box This idea that are that that technology and architecture somehow separate That this box is The the sort of tech courses that you have to take you know because you have to pass your exam at some point No, I mean I think if anything architects and students today realize that it's it's gone That technology is is is everywhere and it's it's integrated completely into the process And if it if you don't see it that way, then you really risk Missing what is going to be happening over the next, you know, well certainly my lifetime Because of course there is no boundary It's my city love New York But you know the idea that architecture stops at the boundary of a building is just Doesn't really make any sense. So no more boundaries. Thank you I'd like to first thank Columbia GSAP for the invitation and of course the opportunity to think about the relationship between architecture technology and pedagogy I Found myself in framing this talk looking backward in order to look forward While MIT itself is a nostalgia free zone Please indulge me a little bit in history that sets the stage for the context of what I think is MIT architecture pedagogy today I Wanted to share two historic cases the first around new materials economics and building technology So in the wake of the Second World War MIT moved to consolidate its position as the leader in the scientific and technological Arena of education building both on its military research and its partnerships with business and government The School of Architecture and Planning at MIT contributed to this effort by championing research projects hosting Conferences publishing reports and offering numerous design and planning studios on the subject of housing These efforts were stimulated in part by the housing boom enormous technological innovation in home building as well as a growing government promotion of home ownership MIT architecture sought to take advantage of these trends and position itself as a leading source for thinking about the future of housing economically technologically and culturally in particular the Department of Architecture Examine the housing problem through the lens of prefabrication modular construction retrofitting material efficiency solar energy government policy and social pressures Almost all these projects were funded by the Bemis Foundation, which was initially funded in 1938 Through guest lectures and conferences courses in industrialized house housing development multifamily housing neighborhood developments It was through this lens that research in pedagogy went hand-in-hand in the Department of the of Architecture during the post-war years however, it was the More often than not it was actually the students that created the synergy between research and teaching through their own theses One important and mark theses that emerged at the time an industrialized house of plastic by Albert Boddinger in 1953 Boddinger's interests in plastics led him to contact numerous plastic manufacturers in the hope of gaining deeper understanding into this material and industry he visited the Monsanto chemical company in Springfield, Massachusetts Which established the initial relationship between the company and MIT? It was in this context that Monsanto chemical company approached MIT in 54 hoping to sponsor research to explore the application of modern plastics in the construction of housing faculty members Goody and Hamilton took up the project with the help of m. Arc students Floyd and Kerwin The team worked with the Monsanto team To create low-cost prefabricated house made almost entirely of plastic which was completed in 1956 the project known as the Monsanto house of the feature Emerged as a collaboration of MIT Monsanto and Walt Disney. I haven't figured that one out yet Shortly after the completion Disney sought to use the plastic Monsanto house as a futuristic attraction To its new theme park in Anaheim, California between 1957 and 67 upwards of 20 million visitors toward the house of the future in this park where it was advertised as a typical suburban house in the year 1987 In parallel and Exactly, you know at the same time and in the same place Case two looks at how computing through questions of visual communication Human interaction and digital tools found its way into the Department of Architecture creating an early culture of collaboration between art science and technology in 1946 the artist and academic Giorgi Kepisch was hired to create and teach a Radically new set of drawing courses in the Department of Architecture Which were to replace the Beaux Arts inspired courses previously offered in two years Kepisch had implemented a rotating set of subjects which were woven throughout the undergraduate five-year curriculum Through these courses he experimented with the new techniques and technologies available to him at MIT As an artistic medium and shared results through interdisciplinary seminars Exhibitions and publications by operating at that interface between humanities and the sciences He was able to facilitate collaborations and discourse between the two Around the time that Kepisch was establishing this new way of thinking between science art and technology Something arrived on campus Something that Kepisch would eventually influence to the computer Yet still into the 1960s computers were still sizable prohibitively expensive and thus almost exclusively preserved in universities large companies and the military This meant that at MIT and in particular in the Department of Mechanical Engineering It was one of the few places in the world where students could actually interact with the computer This is the first CNC machine which was developed also at MIT in This period MIT was a site of numerous important innovations in computer hardware programming Graphics and CAD cam and development of early graphic user interface Sketchpad a program which allowed users to draw geometric shapes with a touch pen was actually developed in a PhD thesis by Ivan Sutherland in mechanical engineering MIT architecture wanted to find a way to participate in this emerging technological revolution Especially giving Kepisch's productive experience collaborating across arts and sciences as Petro Buluski Dean of S.A.M.P. At the time wrote in 1963 It is clear that the profession of architecture has not Undergone the technological revolution that has benefited other fields at MIT More than certain younger professions architecture is severely strained in the meeting of new challenges Imposed by the fantastic expansion of scientific culture to me It's amazing that we say the exact same thing today So a miss all this was a young Nicholas Negroponte who began his B arc at MIT in 1961 an interest in Computers brought Nicholas into direct contact with professors who are doing early research and computation And he worked with Steve Coons in mechanical engineering Both Coons and Kepisch became his advisors for his master's thesis entitled Computer simulation of perception during motion in the urban environment Negroponte studied and taught at MIT in 66 and began to build on Kepisch's notion that art connected humans to technology And in 67 He and his former professor Leon Groesser created the architecture machine group as the home for an emerging lab on computing and architecture in In 1970 the architecture machine group presented seek an exhibition on software information technology essentially it had a robotic arm that moved around these Components of a maze as gerbils kind of tried to navigate it. I swear. I saw a PhD like this three years ago as well at MIT So the long-standing relationship then between Computing and architecture at MIT led to the Expansive growth of the architecture machine group and by 1984 the architecture machine group left architecture and grew into the media lab Which was a joint venture by Negroponte and Jerome Wiesner The media lab continued both Kepisch's legacy of arts humanities Collaboration through visual media as well as the architecture machine groups project of interdisciplinary research in media technologies This is a quote by Nicholas which I find really amazing. We didn't completely know what we're doing We just had gall in the department in the Department of architecture where people didn't bother us We would never have gotten away with this in the school of engineering or a department of computer science And this is absolutely true. This is how we model our pedagogy at MIT so Essentially the culture of MIT is one of experimentation and that culture of experimentation creates a acceptance of testing to failure The campus itself is sort of a test. It's a megastructure that was meant to be flexible so that it could always adapt to needs at the time and the campus became a platform for experimenting on in architectural projects as well from Alta's Baker House to Saranin's Chapel to Stephen Hall's dormitory recently the Collier Memorial And I wanted to share one recent test which happened on campus. This is Skyler Tibbets is Biaxial tower which was a transforming structure It was developed in collaboration with engineers. It was mocked up everyone was very excited about this and it was given this site of Bexley and the day before the hundredth anniversary celebrations the Tower collapsed and it collapsed because of the some something about the necking and the wind and They did exactly what MIT is supposed to do. They did a lot of analysis afterwards as to why why the tower collapsed so I would say the Department has really organized around three areas and the relationship between them Which were historically more separated the pillars of research Scholarship and creative practice and the department itself is divided in the kind of legacy of specialization into art culture technology architecture design and urbanism building technology design and computation and history theory criticism and as we've heard throughout the day these You know separations Are obsolete and there's more and more synthesis and Collaboration across all of these territories. So I tried to map the department But this is so simplified And yet still seems quite complex, but I would say pedagogically the programs are very different And I think that's what allows this culture to still thrive Where the PhD the specialized subjects are organized in their disciplines and then they're really driven by Independent research by the students from PhD students like Axel Killian at the time To our masters of science students. So the post professional degree program and you see Something that constantly repeats is a kind of interest in tools techniques and technologies Where people are experimenting in the tradition of I would say Monsanto and Negroponte on those topics And also motivated by turning some of these technologies into Products at the same time like Kepish's legacy of artistic experimentation in technology Is is also very evident and so one of the pedagogical things in the undergraduate courses is We don't start with the main line. We ask the students to actually Create their own drawing machines in order to draw and so the relationship between the tool and where it comes in in the Courses is really really critical. So this is a very boring curriculum chart And this is the products of those curriculum charts, but I wanted to just share a few little snippets of our curriculum This is a course on Geometry That the core one students are taking at the same time They're taking studio and the project really focuses on the relationship between of course form and performance while sneaking in some teaching of skills At the same time and what's important? I would say in the way the pedagogy of MIT is structured is it's Not explicit It's implicit and it's using these kind of very carefully choreographed set of influences Between those tools and so many of the tools are developed by faculty at MIT This is diva that was developed by Christoph Reinhart and it's integrated into Core two without it being Without it driving the aesthetic or the formal production of the studio and these are these kind of Incredible representational projects that are coming out of core two in core three. We provide a impossible problem which is a Winery in the desert, which is a real problem And we do this intentionally because of its environmental challenge, but it's ethical challenge as well and that's how we Craft our Integrated building studio and in their professors like Caitlyn Mueller who developed their own software tools for structural testing Work with the students to literally Test what they are what they are making and we find these qualities come into the options studio sequence itself This is Brandon Clifford's Megalith project where he's using a lot of those lessons in terms of physics with the tops in order to create a Megalith that a few students can Make move and Become become vertical. So thesis is very important. I would say it is the For the mRx students it is their independent form of scholarship creative practice and research all bundled into one And I think the students theses and the topics that they choose whether it's about a nuclear waste or Glaciers melting Gives the faculty a sense of what is driving the next generation And so the synergy then between the labs And the practices so this is the pop lab Effect both, you know core one or studio exercises But it also enables students to participate directly in research This was recently done by professor John oxen dwarf Alexander to Hogue the idea of a kind of flexible infrastructure ever expanding And then lastly this project by Skyler Tibbets with Grimaceo and Kohler really looking at Material waste and if through logics such as jamming You could create a structure that could Basically be assembled without any mechanical fasteners or adherence just a string and as you unroll the string It goes back into its original material state So William where who was the first professor at MIT He said it's the aim of the school to do what it can in its day and Generation to ensure that the architecture of the future shall be worthy of the future So today we've learned that our field has grown to include engineers artists historians theorists building scientists urbanists Ecologists and this morning biologists and Collectively working to broaden our understanding of the built environment critical scholarship creative practice and design Education around as well our cultural imagination of the future as we move into challenging times Nationally and internationally It's important to remind ourselves that the collective work we do must not only be worthy of the future But more than ever must ensure there is a worthy feature for us to contribute to great Can we bring up the the lights? So we're going to go directly into our closing panel of the day So if panelists can come up and and join us that would be great You know and actually you know keel and machine you want to join us to