Establishes basic attitudes toward architectural organization and its reflection in form. Includes projects where imposed conditions of site, program, and building system emphasize the interrelationship of fundamental elements in the pattern of decision-making that constitutes architectural design. Develops presentations through drawings and models. Intended for entering M.Arch. students. Course Description This studio explores the notion of in-between by engaging several relationships; the relationship between intervention and perception, between representation and notation and between the fixed and the temporal. In the Exactitude in Science, Jorge Luis Borges tells the perverse tale of the one to one scale map, where the desire for precision and power leads to the escalating production of larger and more accurate maps of the territory. For Jean Baudrillard, "The territory no longer precedes the map nor survives it. …it is the map that precedes the territory... and thus, it would be the territory whose shreds are slowly rotting across the map." The map or the territory, left to ruin-shredding across the 'other', beautifully captures the tension between reality and representation. Mediating between collective desire and territorial surface, maps filter, create, frame, scale, orient, and project. A map has agency. It is not merely representational but operational, the experience and discursive potential of this process lies in the reciprocity between the representation and the real. It is in-between these specific sets of relationships that this studio positions itself.

Third undergraduate design studio. Introduces skills needed to build within a landscape establishing continuities between the built and natural world. Students learn to build appropriately through analysis of landscape and climate for a chosen site and conceptualize design decisions through drawings and models. Studio deposit required. Mandatory lottery.

Artists are often particularly keen observers and precise recorders of the physical conditions of the natural world. As a result, paintings can be good resources for learning about ecology. Teachers can use this lesson to examine with students the interrelationship of geography, natural resources, and climate and their effects on daily life. It also addresses the roles students can take in caring for the environment. Students will look at paintings that represent cool temperate, warm temperate, and tropical climates.
In this lesson students will: Identify natural resources found in particular geographic areas; Discuss ways in which climate, natural resources, and geography affect daily life; Apply critical-thinking skills to consider the various choices artists have made in their representations of the natural world; Make personal connections to the theme by discussing ways they can be environmental stewards; Identify natural resources found in particular geographic areas; Discuss ways in which climate, natural resources, and geography affect daily life; Apply critical-thinking skills to consider the various choices artists have made in their representations of the natural world; Make personal connections to the theme by discussing ways they can be environmental stewards.

This course will examine the history of Western art from approximately 1600 to approximately 1800 period that bridges the gap from the Renaissance to the earliest days of the Modern era. Beginning with the Baroque in Counter-Reformation Italy and concluding with Neoclassicism in the late 18th century, the student will trace the stylistic developments in Europe and America through a variety of religious, political, and philosophical movements. Upon completion of this course, students will be able to: Identify works of art from the Baroque, Rococo, Enlightenment, and Neoclassical periods and be able to distinguish between these different periods; Discuss and identify the oeuvre of the major artists working in Western Europe from 1600-1800; Explain and identify the regional and cultural differences between works of art produced in the same period (i.e., Baroque, Rococo, Enlightenment, or Neoclassical); Recognize important works of art from the Baroque through Neoclassical periods, recalling such information as date of creation, artist, patron (if known), medium, and period; Recognize the features (stylistic and iconographic) typical of each period studied; Explain and discuss the general arc of Western history from approximately 1600-1800, as seen through the lens of the arts; Explain the forces influencing the change in style and subject matter in Western art from 1600-1800; Discuss the sources of influence (from previous historical periods as well as from neighboring geographical regions) that affected art produced from the Baroque to Neoclassical periods; Compare and contrast works of art from the Baroque through Neoclassical periods to those of other periods and cultures; Describe the methods and materials used to create works of art from the Baroque to Neoclassical periods; Explain the ways in which Baroque, Rococo, Enlightenment, and Neoclassical art reveal the social, religious, and political mores of their respective times and places. (Art History 207)

Students construct a three-dimensional model of a water catchment basin using everyday objects to create hills, mountains, valleys and water sources. They experiment to see where rain travels and collects, and survey water pathways to see how they can be altered by natural and human-made activities. Students discuss how engineers design structures that impact water collection, and systems that clean and distribute water.

In this activity, students further investigate major landforms (e.g., mountains, rivers, plains, hills, oceans and plateaus). They build a three-dimensional model of a landscape depicting several of these landforms. Once they have built their model, they act as civil and transportation engineers to build a road through the landscape they have created.

Examines the evolving structure of cities, the dynamic processes that shape them, and the significance of a city's history for its future development. Develops the ability to read urban form as an interplay of natural processes and human purposes over time. Field assignments in Boston provide the opportunity to use, develop, and refine these concepts.

In this lesson you will, by listening to a segment, complete a text in which information is given about the region Languedoc Roussillon. You will learn which items to highlight to describe a region to third parties.

This lesson introduces and describes the main types of erosion (i.e., chemical, water, wind, glacier and temperature). Students learn examples of each type of erosion and discuss how erosion changes the surface of the Earth. Students also learn why engineers need to be aware of the different types of erosion in order to protect structures and landmarks from the damaging effects erosion can cause. Figure 1 is an excellent illustration of water erosion.

In this course, the student will examine the revolutionary energy, fascination with nature, desire to create art for the masses, and inward-facing focus of the Romantic period. First, the student will look at the broader socio-historical and literary context in which English Romantic poetry thrived, then examine the Romantic poet and the outer world, the Romantic poet and the inner world, and the poetry that bridges the gap between the two, attempting to understand what makes each poem 'Romantic.' Upon completion of this course, students will be able to: provide an account of Romanticism as both an historical period as well as a movement in art and literature; identify and explain Romanticism in terms of its relation to the French Revolution; describe the new views of society and social relations that arose during this era; explain the significance of industrialization, the rise of the working class, the expansion of British Empire, the heightening of British nationalism, and the rise of the press; explain Romanticism's relationship to Neo-Classicism; list and describe the major tenets of Romanticism, including the movement's interests in the natural world, supernaturalism, revolution, morality, ethics, exoticism, urbanization, mindscapes, moods, imagination, and interiority; provide an account of the nature and function of the Romantic craft of authorship. (English Literature 404)

The purpose of this resource is to understand that variations in landscape can affect soil properties. Students investigate variations in the soils around their school to discover that soil properties like moisture and temperature exhibit considerable variability across a single landscape. They also identify factors such as slope, shade, plants, compaction, which affect the appearance of soils and their ability to hold moisture.

'Funeral' is a collage-style work that incorporates images of many different landscapes. As voices apologize, the viewer is subjected to images of moving trains, a cabin in the woods, mountains, and a hawk moving through the sky. Dizzying and sometimes out of focus, the piece incorporates still and projected images into its ever-moving scenery. Some black-and-white pictures appear. 'Funeral,' which is approximately six minutes long, was conceived by Marina Zurkow, with Abigail Simon serving as a collaborator.

The landscape of the British Isles has undergone dramatic changes during the history of the Earth, from shallow sea to desert to the familiar terrain of the 21st century. In this unit you will explore the processes that have shaped the British landscape over time, gaining insight into the geological evolution of the entire planet.

This hands-on activity explores five different forms of erosion (chemical, water, wind, glacier and temperature). Students rotate through stations and model each type of erosion on rocks, soils and minerals. The students record their observations and discuss the effects of erosion on the Earth's landscape. Students learn about how engineers are involved in the protection of landscapes and structures from erosion. Math problems are included to help students think about the effects of erosion in real-world scenarios.

The purpose of this resource is to recognize patterns of green-up at the plant, landscape and regional scales. This activity is to prepare students to recognize what a bud looks like and the progression of green-up from the time of budburst. Students will arrange plant growth pictures taken from the bud, shrub canopy, grass clump, landscape and regional perspectives.

'Hall's Crossing' refers to a place in the American West where natural rhythms collide with scenic cruisers and tour buses. 'Hall's Crossing' is an electronic 'see America,' set in a place where natural vistas and cultural myths overlap, a place where the canyon meets the road. Scenes of the Grand Canyon portray both the beauty of the area and its invasion by tourists. The tourists attempt to capture the imagery through the medium of photography. At one point a narrator, Dr. Giselda Benda, speaks a foreign language. The electronic and vocal score was composed by Meredith Monk. The work was broadcast as a segment of episode 609 (1990), and episode 301 (1993), of 'New Television.'

'I Do Not Know What It Is that I Am Like' juxtaposes images of animals, both wild and domestic, and natural environments with human activity as it takes place in an apartment, and during a fire walking ceremony in Fiji. Documentary-style footage is combined with staged events. Despite the piece's lack of a traditional narrative, it bears some relationship to nature works. The segment features material from 'Il Corpo Scuro (The dark body)' animals and natural environments are seen up close and at a distance.

describes the country's first large-scale designed landscape open to the public. The cemetery, established four miles outside Boston in 1831, stood in stark contrast to barren, crowded burial grounds in the city. Providing ample space in a tranquil, natural setting, Mount Auburn attracted not only mourners, but city dwellers wanting to experience nature, as well as tourists and students.

SPARK visits with contemporary quilt artist Anna Von Mertens, who shows how she makes her work from first concepts to the last stitch. This Educator Guide traces the history of quilting from the early 18th century through the present day, including group quilts, slave quilts, and contemporary quilts.