While no businesses succeed based on their architecture or space design, many fail as a result of inattention to the power of spatial relationships. This course demonstrates through live case studies with managers and architects the value of strategic space planning and decision making in relation to business needs. The course presents conceptual frameworks for thinking about architecture, communication and organizations. This course is offered during the Sloan Innovation Period (SIP), which is a one-week period at the MIT Sloan School of Management that occurs midway through each semester.

Subject engages a dialogue with architecture and urbanism from the perspective of the visual artist. Ideas investigated thematically from early modernist practices to the most recent examples of contemporary production. Art making as an adjunct to the design process is challenged by both synthetic and critical models of production. Visual art practice is examined as a conceptual prologue to architectural and urbanistic thinking, as an integrated part of the design process, and as a critical epilogue. Lectures and discussions lead to the development of realized projects to be coordinated with architectural studio. In this class we will examine how the idea of the city has been "translated" by artists, architects, and other diverse disciplines. We will consider how collaborations between artists and architects might provide opportunities for rethinking / redesigning urban spaces. The class will look specifically at planned cities like Brasilia, Las Vegas, Canberra, and Celebration and compare such tabula rasa designs with the redesign of recyclable urban spaces demonstrated in projects such as Ground Zero, Barcelona 2004, and Boston's Rose Kennedy Greenway. While the course will involve some reading and discussion, coursework will focus largely on the students' own projects / interventions that should evolve over the course of the semester. Of the two weekly class meetings, one will be a group discussion or lecture with the whole class and visiting guests, and the other will be an individual meeting between the student and the instructor to discuss his or her work for the class, including the final project.

'Design Archives' raw material on the architect O'Neil Ford, consisting of 4-hour interview on five videocassettes. One of the cassettes does not contain interview footage, but 29 raw, unedited minutes of exterior and interior shots of Ford's buildings. Tape 1 (57:00): Introduction by Lacy about Ford's background, contributions, and fame; educational background at International Correspondence School of Scranton, PA; first job experience; inspiration for being an architect; places/countries where he has designed buildings; reasons for his notoriety; dislike of "publicity for publicity's sake" in architecture; his "non-style" of architecture (use of crafts and honesty of materials); childhood experiences and family influences; influences of other architects on him; dislike of egoism in architecture; architects he's fond of; houses he designed in San Antonio; impressions of other architects; disdain for fashion in architecture; works between WWI and WWII; studies in Europe in 1930's; following of a traditional path in architecture; origins of his interest in historical preservation; works in Texas, Georgia, and D.C. in the 1930's; work under Lyndon B. Johnson on the LaVillita Project in the 1930's and his relationship with Lyndon B. Johnson in the 1960's; relationship with politicians and governments regarding environmental issues. Tape 2 (58:00) (contains some audio problems): The journals he has kept for past 29 years; involvement in education -lecturer, professor at the University of Virginia and lecturer at Harvard; disappointment at high schools' inability to prepare students for college-level engineering and architecture; the need for schools to emphasize the arts; his architecture videos designed for children; fights with governments to preserve nature and parks; views on Pompidou Center in Paris; difficulty with designing new commissions and putting human qualities in buildings; distaste for modern materials; technology in architecture; necessary limitations and seriousness that should exist in architecture; disdain for egoism by young architects whose avant-garde designs are undertaken simply to gain fame; the learning process among architects at his office; treatment of interiors and landscapes as they relate to his firm's architectural plans; age vs. experience in architecture; value of design competitions. Tape 3 (59:00): Fame in and feelings for San Antonio; his knowledge of the city and its people; the need for restraint in architecture; dislike for over-ornamentation; contributions of Bauhaus on architecture; refutes Philip Johnson's idea of monumental architecture; brief views on architecture in London, Rome, Paris, New York, Chicago, and Los Angeles; development along San Antonio's river; ugliness of U.S. suburbs; vulgarity of American architecture; ideas of Las Vegas and its architecture; influence of the advertising industry on architecture, especially the use of billboards; damage of parking lots and garages on cityscapes; active social life in downtown San Antonio; beauty of Paris, especially due to the Metro and the use of underground parking; livability of London; award ceremony in his honor in Waxahachie, Texas. Tape 4 (49:30): Business of architecture; how his firm gains clients (corporations, universities, museums, and hospitals); ideas on hospital design, based on his own stays in hospitals; ideas on airport design and university design; regional architecture and its relevance in today's age; the need to respect indigenous materials and characteristics; stresses common sense and simplicity in architecture; dislike of dogma; church design -its simplicities and complexities; disdain for modern architecture and architects who are "primadonnas' simple, sensitive arrangement of ancient buildings at the ruins of Mexican and Central American Indian cultures. Tape 5 (29:00)--MARKED "Reel 1--Building Footage"