N E W S D I G E S T O F T H E M I T S C H O O L O F A R C H I T E C T U R E + P L A N N I N G

This spring we dedicated our new Media Lab Complex, designed

by Pritzker Prize winner Fumihiko Maki, and I am pleased to

report that it is in all ways a truly spectacular building. It was

originally designed in the 1990s, an exceptional point in Maki’s

career, and I personally think this building is one of the best

examples of that period.

The ground floor, with its soaring atrium and three differ-

ent gallery spaces, provides us with a venue for exhibits that

we’ve never had before. And the top floor, with its roof terrace

and its panoramic views of the river and the Boston skyline,

provides us a place where the whole school can gather, which is

something else we’ve never had before.

The complex houses a range of research and teaching pro-

grams that will benefit from daily interaction. In addition to the

Media Lab and its many research groups, it is home to the

Scheller Teacher Education Program from the Department of

Urban Studies and Planning, and it hosts our new Program in

Art, Culture and Technology, introduced in this issue.

These programs, and the school as a whole, will benefit

hugely from their increased visibility on campus. You can actually

see the new building’s profile on the Cambridge skyline from

Boston—extremely modern and forward-looking—and in the

same glance you can see the MIT dome and all it represents in

terms of our rich tradition and legacy. The two of them together

make a strong statement about MIT and about the place of the

School of Architecture + Planning within it.

Adèle Naudé Santos

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(A) Days after the earthquake, Haitians continued to search through the rubble for any sign of life. Petionville, Port-au-Prince.

(B) A model of Jan Wampler’s project outside Port-au-Prince, showing a housing cluster, several classrooms and windmills to help power the campus.

(C)Jean Wilfred on the destroyed streets of once-bustling Port-au-Prince. January 24, 2010.

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HELPING A WAVE OF STUDENT AND FACULTY EFFORTS

In an outgrowth of a quickly convened work-shop during Independent Activities Period, and an ensuing new class at the Media Lab, gradu-ate students Aaron Zinman and Greg Elliott developed Konbit, a suite of hardware and soft-ware systems to index the skills of Haitian residents so NGOs like Partners In Health can quickly find and employ them. In addition to aiding reconstruction, Konbit aims to discourage the outsourcing of labor to non-Haitians, because when NGOs bring in out-siders for relief and reconstruction work, indig-enous Haitians are prevented from getting training that could be valuable once the relief teams have left. In the Department of Architecture, Professor Jan Wampler continued work he began last year in a workshop focused on the design and con-struction of a sustainable community in a village outside of Port-au-Prince, featuring a school, a community center, a farm, a living area for orphans and a laboratory for medical learning. Research Associate Reinhard Goethert’s class ‘The New Practitioner’, also focused on Haiti this spring as part of its exploration of incremen-tally expanded core housing as an effective way to rebuild communities, and Lecturer Cherie Abbanat included a unit on Haiti in Methods of Policy Analysis in the Department of Urban Studies and Planning.

Other related efforts in the Department of Architecture include Professor Sheila Kenne-dy’s Portable Light Project in collaboration with the Media Lab’s Dale Joachim, developing cell phone charging and lighting technologies t o be integrated into local textile materials, and Professor Mark Goulthorpe’s effort to develop composite thermoplastic housing that can be assembled by unskilled labor without any heavy structural elements; the fabrication machine is designed to fit inside a shipping container so it can be locally deployed. A number of faculty from the Department of Urban Studies and Planning were also called upon to offer perspective on how to respond to the crisis. Former department head Larry Vale, editor of The Resilient City, was featured on the BBC World Service, CNN.com, NPR’s Talk of the Nation and The Takeaway, as well as in a PBS Frontline documentary about Haiti; Professor Diane Davis was quoted on The Root, noting that the crisis is ‘an opportu-nity to rethink the city as a whole, how all the pieces go together’; and Professor Phil Thomp-son contributed to The Root as well, with an article on why ‘Haiti Should Beware the Well-Intentioned’. Thompson was also invited by the Prime Minister’s office in Haiti to offer advice on principles for housing reconstruction, in preparation for the UN’s International Donors Conference at the end of March. As all these efforts were underway, of course, another drastic earthquake hit Chile, stimulating yet another wave of outreach from MIT, initially focused on fundraising. An MIT Chile Relief Fund was established online and Chilean students at MIT and Harvard set up a web site to collect donations. In the MIT tradi-tion, more efforts will surely follow.more: sap.mit.edu/plan

Photo: Talia Frenkel/American Red Cross

OUT IN HAITI FACULTY EFFORTS

WHEN THE CATASTROPHIC EARTHQUAKE HIT HAITI IN JANUARY, FACULTY AND

STUDENTS FROM SA+P WERE AMONG THE FIRST RESPONDERS IN THE ACADEMIC

COMMUNITY, MUCH AS THEY WERE FIVE YEARS AGO WHEN KATRINA STRUCK

NEW ORLEANS.

FINDING THE NEEDLE IN THE HAYSTACKA PRIZE-WINNING APPROACH TO SOCIAL NETWORKING

A team from the Media Lab’s Human Dynamics Research Group recently scored a $40K prize in a social networking contest sponsored by the Defense Advanced Research Projects Agency. The tools they developed to win the contest could turn out to be important in large-scale collective problem solving such as finding a missing child, spreading information about a product safety recall or mobilizing rescue efforts during natural disasters such as earthquakes or tsunamis. Staged to celebrate the 40th anniversary of ARPANet, the precursor to the Internet, the contest challenged participants to use social media to locate ten red weather balloons placed at undisclosed locations across the United States. From a field of more than 4000 teams, the MIT winners included graduate students Anmol Madan, Wei Pan and Galen Pickard along with postdoctoral fellows Manuel Cebrian and Riley Crane. The crux of the team’s approach was the incentive structure it designed, a way of aligning the interests of participating individuals with the interests of the group. Whoever provided correct coordinates for one of the balloons got $2K; whoever invited that person to join the net-work got $1K; whoever invited that person got $500, and so on. No matter how long the chains got, the total payment for all ten balloons never quite reached $40K, and whatever was left over went to charity. In addition to the monetary rewards, the system also allowed participants to see their direct impact on the network.

The design of the scheme meant the research-ers didn’t get any of the prize money but the team’s real motivation was to explore how to mobilize the vast resources of the human net-work and exploit the opportunities that come with living in such a connected world. Accord-ing to team member Riley Crane, ‘we believe we have developed a set of tools that can find the proverbial needle in a haystack’. The team assembled its strategy in only four days. On Wednesday, they started discuss-ing potential approaches to the problem, by Thursday they had built a demo of the website they used to aggregate data and on Thursday evening the site went live. Within two days, 5000 people formally joined the team’s net-work and by 6:52PM on Saturday—only 8 hours and 52 minutes after the contest began—the team had located all ten balloons. ‘What was most rewarding about this was how we demonstrated the enormous potential of human networking,’ says Toshiba Professor Alex (Sandy) Pentland, who heads the Human Dynamics group. ‘It was great that we won the contest, but more significantly, this exercise showed how building the proper incentives into a viral collaboration can quickly harness a large population to work together to address broad societal needs. It has helped us better understand how information spreads and why people cooperate.’more: sap.mit.edu/plan

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(Top and Bottom Right)The contest, sponsored by the Defense Advanced Research Projects Agency, challenged par- ticipants to use social media to locate ten red weather balloons placed at undisclosed locations across the United States.

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The Future of Urban MobilityA Global Collaboration to Make Urban Transport Sustainable

MIT Introduces Minor in Energy Studies Several Opportunities Offered from SA+P Curriculum

The School of Architecture + Planning is one of three schools at MIT taking part in a global collaboration with the National Research Foun-dation of Singapore to develop new models and tools for the planning, design and operation of future urban transportation. Participants in the five-year project include Carlo Ratti and Chris Zegras from the Department of Urban Studies and Planning. At the heart of the project is SimMobility—a simulation platform with an integrated model of human and commercial activities, land use, energy use, transportation and environmental impacts—linked with a range of networked computing and mobility innovations. Research-ers plan to use the data generated by these devices, and a range of new tools that harness real-time information and management sys-tems, to design and evaluate new mobility solu-tions for urban settings. The modeling initiative is akin to a new proj-ect recently funded by the MIT Energy Initiative on reducing urban energy consumption. Led by Ratti and Zegras, working with Moshe Ben-Akiva of Civil and Environmental Engineering, the project aims to develop an integrated model of land use, transportation and energy use that will enable evaluation of a range of policies and projects for reducing energy consumption in metropolitan areas. The approach will allow the development of a new suite of performance met-rics that will enable much more effective deci-sion making in urban settings.more: sap.mit.edu/plan

Obama/One People, an example of the type of analysis and visualization of real time infor- mation that will be a part of The Future of Urban Mobility research project. The World illustrates the pilgrimage of people coming from all over the U.S. and the world by repre-senting the variations in call activity as flows of people move to Washington DC to celebrate President Obama, and then leave the capital to go back to their states and countries.

Yung Ho Chang’s Shanghai Corpo-rate Pavilion at the World Expo 2010 demonstrates some creative energy-saving technologies. The facade is fashioned from plastic tubes made from reclaimed compact discs that can be easily recycled after the Expo closes, and rainwater is collected and turned to mist to purify the air and create a comfortable climate. In combination with LED lights, the mist-making system can also modify the building’s appearance.

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As of this year, MIT is offering a minor in energy studies to all undergraduate students, allowing them to obtain a degree in any major discipline while also gaining expertise in one of the world’s most pressing problems. Unlike energy concentrations at most other institutions, and unlike other concentrations at MIT, the new minor is designed to be inherently cross-disciplinary, encompassing all of MIT’s five schools including the School of Architecture + Planning, which contributes one subject to the core curriculum and five of the offered electives. The core curriculum, designed to provide an integrated perspective on energy and associated environmental challenges, includes Fundamen-tals of Energy in Buildings from the Depart-ment of Architecture, featuring creative design projects addressing such issues as energy con-servation, thermal comfort, heat transfer within buildings and thermodynamic performance. The ten-subject core is complemented by a customized program of electives to prepare stu-dents to deal with the full range of technical, political and economic issues that surround energy-related decisions. Electives from SA+P include Introduction to Building Technology from the Department of Architecture and, from the Department of Urban Studies and Planning, Politics of Energy and the Environment; Energy Policy for a Sustainable Future; Infrastructure in Crisis—Energy and Security Challenges; and Enabling an Energy-Efficient Society. The program is being guided and developed by the Energy Education Task Force, which includes Amy Glasmeier, Head of Urban Stud-ies and Planning, Marilyne Andersen, Assistant Professor of Architecture, and Kathy Araujo, a PhD candidate in the Department of Urban Studies and Planning.more: sap.mit.edu/plan

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The main exhibit hall of the Mapungubwe Interpretive Center, the prize winning building located in South Africa at the confluence of the Limpopo and Shashe rivers.

An historian of eighteenth- century European visual culture, Smentek specializes in the history of collecting, the art market and the European encounter with non-Western art.

Kristel Smentek has received an award for the most distinguished doctoral dissertation in North America from the Council of Graduate Schools, an organization of over 500 institu-tions of higher education in the US and Canada; their Distinguished Dissertation Awards are the nation’s most prestigious honor for doctoral dissertations. Recently appointed Assistant Professor of History, Theory and Criticism of Architecture and Art in the Department of Architecture, Smentek received the 2009 Award in Humani-ties and Fine Arts for her dissertation Art, Commerce and Scholarship in the Age of Enlightenment: Pierre-Jean Mariette and the Making of Art History. Her research analyzed the scholarly and business careers of a celebrated 18th century French art collector, dealer and historian as a microcosm of the transformation of art as both an intellectual and commercial pursuit. Smentek earned her doctorate in Art History from the University of Delaware in 2008. Bestowed annually since 1982, the CGS awards recognize recent doctoral recipients who have already made unusually significant and original contributions to their fields. The awards are sponsored by the dissertation pub-lisher ProQuest and an independent committee from the Council of Graduate Schools selects the winners; two awards are given each year, rotating among four general areas of scholar-ship. The winners receive a $2K honorarium and travel to the awards ceremony. Read more about Smentek here: sap.mit.edu/resources/portfolio/smentek/

Smentek Honored for ‘Most Distinguished Dissertation’Research on Transformation of Art as Intellectual and Commercial Pursuit

SA+P Plays Key Role in ‘World Building of the Year’Use of Ancient Tile Vaulting Technique Led by Faculty and Alums

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SA+P played a central role in the project that won this year’s World Building of the Year Award at the World Architecture Festival in Barcelona. South African architect Peter Rich won the award for his Mapungubwe Interpre-tation Centre in South Africa, described by the jury as ‘clearly the most architecturally and psychologically powerful project in the final, very tough, analysis’. The design and engineering of the ancient tile vaulting technique employed in the con-struction was done by John Ochsendorf, Class of 1942 Career Development Professor in the Department of Architecture, and Michael Ramage (MArch’06), currently a lecturer at the University of Cambridge. Also from SA+P, Matt Hodge (SM’07) conducted material research for the tiles and Philippe Block (SM’05, PhD’09) reviewed the structural design using the Thrust Network Analysis he developed for his PhD. The structure’s stone-clad vaults and domed roofs were built using a 600-year-old technique that provides a structurally sound, elegantly simple and environmentally sustainable solu-tion in developing areas. The 300,000 tiles used in the structure were made by two dozen local people over the course of a year and the build-ing is clad with locally quarried stone, adding a stabilizing load to the vaults and integrating the building into its surroundings. The use of local materials helped achieve 90% reductions in construction energy use. more: sap.mit.edu/plan

MCP candidates Jacquelyn Dadakis and Aditi Mehta teamed with Brendan Wittstruck and Philip Burkhardt from Washing-ton University in St. Louis to create a comprehensive plan for the revitalization of New Orleans’ Broad Street corridor. They were guided by faculty advisors Karl Seidman, senior lecturer at MIT, and Derek Hoeferlin, senior lecturer at Washington University’s Sam Fox School of Design & Visual Arts. The executive director of their nonprofit partner is SA+P alum Jeffrey Schwartz (MCP’08).

Kleinenhammans’ proposal was originally developed in SA+P’s Mumbai Studio taught by Alan Berger and Rahul Mehrotra in the fall of 2008; after complet- ing the class, she continued to work on the project alone and finally submitted it in May to the Urban SOS competition. Pictured here: ‘Productive Landscapes and Sacred Gardens at Cotton Green Station.’

A team including two students from the Department of Urban Studies and Planning placed second in the 2009 Chase Community Development Competition, partnering with a New Orleans non-profit to develop a real estate project to strengthen the local community. The nonprofit, Broad Community Connections was awarded a $15K seed grant for the proposal’s second-place finish. Their proposal was based on the notion that access to fresh, healthy food is a critical con-sideration for low-income neighborhoods that are often afflicted with high levels of diabetes, heart disease, obesity and other health con-cerns. And according to their proposal, there is only one grocery store for every 18,000 resi-dents in New Orleans while the national aver-age is one store for every 8000 residents. The team’s proposal centered on an exist-ing grocery store on historic Broad Street that has been closed since Hurricane Katrina struck in 2005; by transforming the local landmark into a retail anchor in this important corridor, the team aimed to provide a model for further eco-nomic development in the area. The second place win marked the second time MIT has collaborated with Washington Univer-sity’s Sam Fox School of Design & Visual Arts in the competition. In 2008, a collaborative team took first place for a project with non-profit part-ner Good Work Network; that proposal devel- oped a strategy to restore an historic building to provide support services for 500 local businesses each year, as well as to provide storefront space for local entrepreneurs.more: sap.mit.edu/plan

Planning Students Help Win $15K Seed GrantDevelopment Strategy Would Increase Access to Healthy Food

Image: Philip Burkhardt and Brendan Wittstruck

SMArchS Student Wins $15K in Worldwide CompetitionProposal Would Create Large Recreational Network in Mumbai

Sabrina Kleinenhammans (SMArchS’09) has won the first place $15K prize in a student design competition sponsored by AECOM, one of the country’s largest engineering, environ-mental, planning and design companies. The award was presented at the World Architecture Festival in Barcelona. The ‘Urban SOS: Distressed Cities, Creative Responses’ competition asked teams of students from around the world for creative and innova-tive design and planning solutions to address the environmental, social and economic chal-lenges confronting cities worldwide. Entrants were asked to identify an urban site or area of 5-100 hectares that is affected by specific urban challenges and to offer lasting improvements. Kleinenhammans’ proposal, In-Between Green—A Recreational Network For Mumbai’s People, used the spatial element of frequently intersecting transportation lines to create a network of open spaces with the potential to increase the city’s recreational landscape by 59%. In particular, the concept focused on two intensively used and parallel transportation lines that encircle the bay and whose frequent intersections create sixteen interstitial spaces that are underutilized because of their ‘land-locked’ position in between right-of-ways. The twenty-five existing stations along the corridor were envisioned as major access points to the 58 km long network. Eventually the sta-tions would transform into urban greenhouses, becoming iconographic nodes on the network. The biggest plot would become a large nursery that grows native plants for distribution to the landscapes within the network.more: sap.mit.edu/plan

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In March, the School of Architecture + Plan-ning officially dedicated its new Media Lab Complex, designed by Pritzker Prize-winning architect Fumihiko Maki and described by Bos-ton Globe critic Robert Campbell, with slight exaggeration—or perhaps no exaggeration at all—as ‘the world’s most exquisite building’. Located on the corner of Amherst and Ames Streets on MIT’s east campus, the new building is adjacent to and carefully integrated with the Media Lab’s existing home in the Wiesner Building—designed in 1985 by alumnus I.M. Pei (BArch’40), also a Pritzker Prize winner. Together, the two landmark buildings create an exceptional environment for learning, creativity and collaboration and provide a prominent home for a unique array of efforts ranging from smart prostheses and robots to popular culture and cutting-edge art. The challenge in augmenting the Wiesner Building was to increase its size without alter-ing its dynamics. From the beginning, the found-ers of the Media Lab envisioned it as a place for collaborative creativity and those who have worked there in the last 25 years agree that it fosters an intellectual cross-fertilization not cus-tomarily found in an academic environment.

In the new building, Maki went to great lengths to carry on that tradition. The motif for the building came from The Cube, the lower-level double-high lab in the Media Lab’s exist-ing home—a big wide-open space with offices surrounding it on the floor and on the mezzanine level—which has proved to be a perfect space for working collaboratively. Accordingly, most of the labs in the new building are also double-height and surrounded with offices. They are also vertically staggered such that the upper level of one shares a floor with the first level of another—so each lab shares common space with two others—greatly facilitating the collective spirit of the place. The floor levels of the new building are also matched to the existing building, further promoting inter-connection among the lab’s many activities. The building’s transparency contributes still more to that collaborative ethic. Most of the walls are glass, offering views in all directions, so one can see people at work all around, as well as the products of their work. And of course the building is also transparent from the street, revealing all that activity to the outside world. There is no other building on campus that so invites passersby to read the life inside. At night the whole building glows. There are three layers in the building. First, there is the ground floor with its lofty atrium and open gallery spaces—home to the new Program

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INTRODUCING ‘THE WORLD’S MOST EXQUISITE BUILDING’

THE NEW BUILDING PROVIDES 163,000 GROSS SQUARE FEET OF NEW SPACE

INCLUDING LABORATORIES, EXHIBIT GALLERIES, EVENT SPACES, CONFERENCE

ROOMS, A LECTURE HALL AND LOUNGES OVERLOOKING THE CHARLES RIVER

AND THE BOSTON SKYLINE.

SA+P’S NEW MEDIA LAB COMPLEX

in Art, Culture and Technology and the shared digital fabrication lab—followed by the second layer, levels 2-5, occupied by the Media Lab. The center of the second layer is the atrium on the third floor, the very heart of the building, with labs and lounges overlooking it; it provides a central space for displaying the Media Lab’s many inventions and also offers dramatic views to the entry level. The third level is the top floor, one of a kind on the MIT campus, with function rooms and a lecture hall, a roof ter-race and commanding views of the river and the Boston skyline. Together with the Weisner Building, the com-plex houses a wide array of innovative work in media, art and technology, building on synergies among the building’s tenants. In addition to the Media Lab, the Media Arts and Sciences Pro-gram and the new Program in Art, Culture and Technology, the occupants include the Jerome Lemelson Center for Inventive Thinking, the Okawa Center for Future Children and the Rita P. and Joseph B. Scheller Teacher Education Program. Also sharing the space are the Com-parative Media Studies Program, the Center for Future Civic Media, the Center for Future Banking, the Center for Future Storytelling and the Center for Bits and Atoms.

The Dazzling Designers

A major figure in Japanese architecture since the late 1950s, Fumihiko Maki is recognized not only for his architecture and urban design work but also for his contri-butions to architectural theory. His work is renowned for fusing elements of eastern and western culture in buildings that harmonize with the natural and the urban environment, juxtaposing the age- old qualities of his native country with contemporary construction methods and materials. Working with Maki’s firm as executive architects on the Media Lab Complex was Boston’s Leers Weinzapfel Associates, designers of the award-winning renovations to SA+P’s infrastructure on MIT’s main campus and recipients of the 2007 Firm Award from the American Institute of Architects. The award is the AIA’s highest honor, recognizing a practice that has consistently produced distin- guished architecture for at least ten years; it was the first time the award had ever gone to a woman- owned firm.

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(A) The crown of the building was devel- oped to give the building an iconic profile; in a nod to the Greek roots of Nicholas Negroponte, director of the Media Lab when the building was commissioned, the designers thought of it as the Acropolis.

(B) The building was designed to abound with opportunities for social inter- action; only 53% of the square footage is assignable, the rest is designated as shared space.

(C) As a student, Maki attended a roof- top reception at 100 Memorial Drive and was dazzled by the skyline view; finally, now 50 years later, to design a nearby building that would itself command that view was a particular treat for him.

(D)The building was designed to be more transparent than any other MIT buildings; according to Negroponte, the maximum amount of enclosure allowed would be floor-to-ceiling glass and, emphatically, there would be no curtains.

(E)For energy reasons, local codes allow a building only 50% transpar-ency, so Maki chose to filter the light through elegant aluminum screens. Where there are no screens, the glass itself is printed with a subtle pattern of translucent dots to filter the light.

(Photos: Andy Ryan)

THE MAKING OF MAKI’S NEW BUILDINGA CONFERENCE WITH THE CREATORS

On Saturday March 6, the School of Architec-ture + Planning hosted a conference to celebrate the opening of the new Media Lab Complex, designed by Fumihiko Maki in association with Leers Weinzapfel of Boston. Maki and members of his design and construction teams convened to discuss the conception and design of the building, along with leaders of the Media Lab and Dean Adèle Naudé Santos, in front of an overflow crowd of about 400. Below, some of the information that emerged from that event:

MIT knew from the get-go that they wanted Maki to design the building. There was no com-petition, no string of interviews. Bill Mitchell, who was dean of SA+P at the time and acting as architectural advisor to MIT president Charles Vest, went directly to Maki and asked if he’d do it—perhaps, Maki surmised, because the site was so tight and the vision so large they figured only a Japanese designer would be able to manage it. The program for the building, rather than the customary phonebook-sized tome, was lim-ited to a single sheet of 8½” x 11” paper, sim-ply listing the allocations of square footage for the building’s basic functions—research; com-munication and sponsor relations; event/dining/café; and building support. It was, said Gary Kamemoto, director of international projects at Maki’s firm, a very enlightened program from a very enlightened client. The construction of the building was a major challenge. Virtually every element in the building was custom designed, and some were manufactured and assembled in different coun-tries, so there was no way to predict how

everything would fit together, especially given the intricacy and finesse required to deal with p r e c i s i o n 1 16” tolerances. In the Japanese tradition, Maki worked with contractors and subcontractors during design to ensure constructability and many full-scale models of details were built to do performance testing, the team of six subcontractors all work-ing together to learn how best to sequence the work and how to work together to achieve the desired results. Ultimately, a 10’x10’x10’ full-scale model was constructed of all the components—it didn’t model any actual part of the building but included all the details that would be encoun-tered in the entire structure. It was like a warm-up before the Big Game, said Alan Steinberg, project executive for the general contractor, BOND. Everyone, he said, at all levels of the effort, took great pride in what they were doing and triumphantly brought the building in on time and under budget. (A remarkable achievement, quipped Santos, that will likely never happen again.) The result, according to Mitch Resnick, head of the Lifelong Kindergarten Group, is exactly what he’d hoped for: the same playful, kinder-garten-like workspace his group had had in The Cube. According to Dean Santos, the result is also a great delight. As she noted about the crowds at the open house the preceding day: Everyone was smiling.more: sap.mit.edu/plan

(Bottom Left)The view, filtered through fritted glass, has a pointillist feel like a Seurat painting. The only colors in the building—the red, blue and yellow stairs—are drawn from Mondrian.

(Bottom Right)An exhibit about the new Media Lab Complex and other new Maki works is on display in the new building’s lobby gallery through October 6, all day every day.

Photos: Judith M. Daniels/SA+P

Alumnus Edward H. Linde ’62, co-founder and CEO of Boston Properties Inc., one of the larg-est real estate investment trusts in the coun-try, died January 10 due to complications from pneumonia. He was 68. A major figure in Boston real estate and phi-lanthropy, Linde was a member of the visiting committee for the Department of Urban Studies and Planning from 1993 to 1997, serving as its chair from 1993 to 1995. He was also a mem-ber of the visiting committees for the School of Architecture + Planning from 1990 to 1993 and for the Department of Civil and Environmental Engineering from 1983 to 1989 and from 1990 to 1995. A term member of MIT’s Corporation from 1990 until 1995, Linde also served on the Development Committee, the Corporation Joint Advisory Committee on Institute-Wide Affairs and the Corporation Screening Committee for Nomination of Recent Graduates. Linde earned a degree in civil engineering at MIT and then an MBA from Harvard Busi-ness School in 1964. With his longtime business partner, Mortimer B. Zuckerman, he established Boston Properties in 1970, launching a com-pany that now owns 146 properties in four major real estate markets—Boston, New York, San Francisco and Washington DC. He led the firm’s transition to a public company in 1997 and acquired a roster of prominent proper-ties, from Boston’s Prudential Building to the Embarcadero Center in San Francisco and the General Motors Building in New York. A prominent philanthropic figure, Linde was inducted into the American Academy of Arts and Sciences in October 2009. He also served on the President’s Advisory Council on Regional Engagement at MIT. In October 2008, he and his wife Joyce, with the Linde Family Founda-tion, pledged $25M to MIT—one of the largest pledges to undergraduate financial aid in the his-tory of the Institute. The gift publicly launched the Institute’s Campaign for Students, which includes undergraduate scholarships as a core priority along with graduate fellowships, educa-tion and student life. Linde is survived by his wife, two children and five grandchildren.more: sap.mit.edu/plan

MIT Professor Emeritus of Architecture Eduardo Catalano, who taught at MIT from 1956 to 1977 and designed the Institute’s Stratton Stu-dent Center, died January 28 in Cambridge. He was 92. Prior to working at MIT, Catalano pioneered the architectural development of shell struc-tures, first seen in his own home, Raleigh House, built in 1954 and named ‘House of the Decade’ by House and Home Magazine. Catalano’s other noted projects included the Juilliard School of Music at Lincoln Center and Alice Tully Hall in New York, created with Pietro Belluschi, the late dean of architecture who recruited Catalano in the late 1950s. Catalano’s last project was an 18-ton steel and aluminum sculpture of a flower known as Floralis Genérica, which he created in 2002; located on the United Nations Plaza in his native Buenos Aires, the flower’s huge petals open in the morning and close at night. Catalano also designed the US embassies in Buenos Aires and in Pretoria, South Africa, and the Greensboro Guilford County Governmental Center in North Carolina. In New England, his projects included the Hampden County Hall of Justice in Springfield, the Boston Public Library’s Charlestown Branch, Eastgate student housing at MIT and several office buildings in suburban Boston. Catalano first came to the US on scholarship to study at the University of Pennsylvania and Harvard, and studied under modernist masters Walter Gropius and Marcel Breuer. He taught at North Carolina State University in the early 1950s and became head of the architecture depart-ment. He is survived by his son and daughter.more: sap.mit.edu/plan

‘ Just as Ed Linde’s business ventures shaped the Boston sky- line,’ said MIT President Susan Hockfield, ‘his charismatic leader- ship and enlightened generosity defined the highest standard of public citizenship. I will miss his engaging intellect, his broad- ranging curiosity and his joyful commitment to strengthening the public institutions that turn a city into a community.’

(Top Left)Detail, interior rendering, Juilliard School of Music Lincoln Center for the Performing Arts, New York.

(Top Right)Catalano during his years at MIT. In the words of alumnus Peter Sugar (MArch’60), ‘He was the best teacher anyone could have’.

Eduardo Catalano, 1917–2010Professor Emeritus and Designer of Student Center

Alumnus Edward Linde, 1942–2010A Major Figure in Boston Real Estate and Philanthropy

(Left) Image: Courtesy of the MIT Museum, (Right) Photo: Courtesy of the MIT Museum

Photo: Courtesy of Boston Properties, Inc.

Nader Tehrani, newly-appointed head of the Department of Architecture (effective this July), has recently won two highly competitive architectural competitions with his partner in Office dA, Monica Ponce de Leon. The resulting commissions, to design new campus facilities for schools of architecture, were central features in a spring exhibit at SA+P’s Wolk Gallery, Office dA: Building Pedagogies. From a field of 133 submissions, the Univer-sity of Melbourne commissioned Office dA, with local firm John Wardle Architects, to design a new landmark building for their Faculty of Architecture, Building and Planning. In a simi-lar competition, the University of Toronto com-missioned a project to address the accelerated growth of programs and research in their John H. Daniels Faculty of Architecture, Landscape and Design. In addition to those projects, Office dA is also overseeing the renovation of the Hinman Building in the College of Architecture at Georgia Tech. All these institutions demand that the rela-tionship of practice and pedagogy be revisited through the design of their buildings, essentially as didactic instruments for the discipline. Using the design development of the three schools as focal points, the Wolk exhibit examined the roles played by design, pedagogy and building in Office dA’s work. Concurrent with the Wolk exhibit, Office dA’s work was also included in Contemplating the Void: Interventions in the Guggenheim Muse-um, on display this spring in New York, a 50th anniversary installation featuring dream inter-ventions in the central void of the building’s rotunda.more: sap.mit.edu/plan

For nearly five months this winter, the Institute of Contemporary Art/Boston presented a large-scale video installation by Krzysztof Wodiczko focused on the experience of the current war in Iraq. Based on his conversations with soldiers who have returned from Iraq, as well as with Iraqi civilians, the new work built on their memories to examine the chaos and confusion of war. Since 2008, Wodiczko has been exploring the experience of veterans in a number of differ-ent works. The Veteran Vehicle Project (2008) and the War Veteran Vehicle (2009) used pro-jections of soldiers’ words and recordings of their testimonies to illustrate the complexity of social reintegration after combat. In the Veter-ans’ Flame (2009), a video of a flickering candle moved in sync with the sound of the veterans telling their stories. The installment at Boston’s ICA presented the veterans’ experience from a different per-spective. Wodiczko expanded the notion of the word ‘veteran’ in this work, using the term to refer to civilians as well as military personnel, a subtle shift that expressed an attempt to re-think the roles of all parties impacted by armed con-flicts, and of re-evaluating our concept of war. And in place of recordings of the participants’ voices, Wodiczko for the first time wove his conversations with medics, soldiers and refu-gees into a narrative of collective memories. In addition to their stories, the participants shared with the artist video and audio of life dur-ing wartime, from the daily broadcast of prayers and interactions with local children to the dis-tinctive sound of Humvees in transit or of sniper fire erupting. Combining all these elements, the projected scenario reflected the physical and psychological environment of combat, as well as the fragmented way experiences are perceived in distressing or uncertain situations. Krzysztof Wodiczko is known worldwide for his large-scale video projections on landmark architecture and public monuments, and for his more recent, interior projections. His politically-charged works explore the relationship between art, democracy, trauma and healing.more: sap.mit.edu/plan

In OUT OF HERE: The Veterans Project, visitors found them- selves in Baghdad basement as a bomb exploded outside in the street, trying to see what was going on as the sounds of chaos engulfed them.

‘ Of the commissions one could have the honor of being bestowed,’ Tehrani said, ‘[these are among] the greatest—where questions of pedagogy and design come into direct contact, confluence and friction.’ Pictured here, the John H. Daniels Faculty of Architecture, Landscape and Design at the University of Toronto.

…OUT OF HERE: The Veterans ProjectWodiczko at the Institute of Contemporary Art/Boston

Where Practice Meets PedagogyAn Exhibit Exploring Office dA’s Design for Schools of Design

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Prominently housed in the school’s recently opened Media Lab Complex and the adjacent Wiesner Building, the new program is the result of a merger between the Visual Arts Program, an academic unit begun in 1989 offering gradu-ate and undergraduate classes, and the Center for Advanced Visual Studies, a research pro-gram in visual arts for artists, engineers and scientists, established in 1967. ‘We see the visual arts as an essential com-ponent of our offerings,’ says Dean Adèle Naudé Santos. ‘The creation of this new program, combining the efforts of two historic endeavors, reflects our commitment to the growing impor-tance of the visual arts at MIT. ‘In addition to giving the arts a higher pro-file on campus and in the city,’ she continues, ‘the program’s signal position in our new build-ing will put its faculty, students and research-ers in daily contact with their counterparts at the Media Lab, and at the many other centers and programs in the complex, enhancing every-one’s efforts.’ Under the leadership of curator and Associate Professor Ute Meta Bauer, Director of the Visual Arts Program since 2005, the new program will partner undergraduates, graduates, fellows and faculty in thematic clusters at the intersection of art, culture, science and technology. ‘The Media Lab is famous for working in thematic clusters of that sort,’ says Bauer, ‘and more and more, we are moving in that direc-tion too. We will be working across disciplines

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THIS SPRING, SA+P ANNOUNCED THE LAUNCH OF A NEW PROGRAM IN ART, CULTURE AND

TECHNOLOGY (ACT) FOCUSED ON ART AS A RESEARCH PRACTICE; THE PROGRAM WILL

DEVELOP METHODS FOR CRITICAL DESIGN INVESTIGATION AND EXPERIMENTATION, AS

WELL AS MODELS OF COLLABORATION IN CULTURAL ENGAGEMENT.

COMBINING A RICH LEGACY OF ACADEMIC AND RESEARCH EFFORTS

A NEW PROGRAM IN ART, CULTURE AND TECHNOLOGY

on more complex and longer-term projects, moving away from a studio culture into the larger MIT culture. It is our goal to cultivate the potential of partnerships between science and art as a creative and innovative force.’ The new program is based on a strong belief in the social role of art and in artistic leader-ship as a vital force for transformative critical reflection. The program also continues the legacy of Gyorgy Kepes, who originated the Center for Advanced Visual Studies more than 40 years ago to encourage the use of new technology as an artistic medium and to facilitate the interaction of artists with scientists, engineers and industry. When Otto Piene succeeded Kepes as director in 1974, he built upon the Center’s commitment to ‘art on a civic scale’, initiating exhibitions and public events that were often collectively pro-duced. Since 2004, the Center has been directed by Krzysztof Wodiczko, known around the world for his large-scale slide and video projections on architectural facades and monuments. In recent years, the Center for Advanced Visual Studies has brought some of the most important names in the world of contemporary art to MIT, offering student assistants hands-on art-making opportunities and taking part in public forums on emerging issues related to con-temporary art and society in different parts of the globe. Currently, ACT is launching an effort to archive the work done at the Center over the last 40+ years, a body of work that represents a substantial share of the history of the art and technology movement.

The Visual Arts Program was established in 1989 under Dean John de Monchaux to explore the role of art in society through performance, sound and video, photography and design, as well as through experimental media and new genres. The program’s first director, Ed Levine, reacti-vated the highly selective two-year program leading to a Master of Science in Visual Studies. The Visual Arts Program offered—and ACT continues to offer—an array of introductory and advanced subjects for the general student popu-lation at MIT. Courses are taught by renowned practicing artists working in an international arena, including Joan Jonas, Antoni Muntadas, Gediminas Urbonas and Krzysztof Wodiczko. The program’s full-time faculty is supple-mented every year with four to five visiting professors, artists and lecturers whose classes reflect the program’s interest in the intersec-tion of time-based media, new technology and sound. A cross-disciplinary lecture series held every semester has brought together prominent speakers from the arts and other related fields.

(A) Detail from Power Structures, a project by Amber Frid-Jimenez exploring hierarchical structures that underlie linguistic, political and global networks. (Image: Courtesy of Amber Frid-Jimenez)

(B) From Ports and Ships by Andrea Frank, a photography project exploring how globalization and modern shipping have changed ancient ports, how all worldwide ports adapt to the growing requirements of volume and speed, and the subsequent impact on the environment. (Photo: Andrea Frank)

(C) From Spaces, Sites and Situations, a solo show in Spain by Antoni Muntadas investigating the standardized spaces of everyday life—interchangeable, uniden- tifiable, seemingly designed by the same global firms. (Photo: Antoni Muntadas)

(D)From Villa Lituania, a multi-layered history of the pre-war Lithuanian embassy in Rome and its current status, by Gediminas Urbonas and his partner Nomeda Urbonas; the project represented Lithuania at the 2007 Venice Biennale. (Photo: Courtesy of Gediminas Urbonas)

(D) (A) (B)

COMBINING A RICH LEGACY

A NEW PRART, CULT

Creating Affordable Space for ArtistsAn SA+P Initiative in Urban Planning and Development

Joan Jonas Awarded Gyorgy Kepes PrizeOne of Many Distinctive Honors this Season

Joan Jonas has been awarded the 2010 Gyorgy Kepes Fellowship Prize by the MIT Council for the Arts, given annually to a member of the community who has demonstrated excellence in the creative arts—architecture, visual and performing arts, and writing. The award comes on the heels of a number of other recent honors this season: last fall, Jonas was presented with a Lifetime Achieve-ment Award from the Guggenheim Museum for her extraordinary contributions to the field of contemporary art; in December she was named a 2009 USA Friends Fellow by United States Artists; and this spring her work was on display in three simultaneous exhibits in New York. A professor in SA+P’s Visual Arts Program since 1998, Jonas has established herself, over the course of four decades, as a pioneering force in the development of contemporary art in genres ranging from performance and video to conceptual art and theater, a field of work that also includes drawing, film, installation, sculpture and photography. The Kepes Prize was established in 1982 by the MIT Council for the Arts, a volunteer orga-nization of alumni and friends, to encourage and celebrate individuals whose creative work reflects the vision and values of Gyorgy Kepes, founder of MIT’s Center for Advanced Visual Studies (CAVS). This is the tenth time the Kepes Prize has gone to a member of SA+P: previous recipients were CAVS directors Kryzysztof Wodiczko (2004) and Otto Piene (1992); professors of media arts and sciences Stephen Benton (1997) and Glorianna Davenport (1990); Assis-tant Professor of Architecture Wellington Reit-er (1993); and CAVS Fellows Christopher Jan-ney (1986), Keiko Prince (1985), Bernd Kracke (1983) and Robert Rosinsky (1983).more: sap.mit.edu/plan

The $50K grand prizewinner in the Innovative Space Awards was the Curley School in Ajo AZ; spread out over a seven-acre campus, the project includes an auditorium with an indoor/outdoor stage, a retail gallery, a business incubator, a computer lab, shared workspace, class-rooms, meeting rooms and offices. Programs include business planning for artists and access to capital though matched savings accounts and micro loans.

(Top Left)In Reading Dante, Jonas draws inspiration from Dante’s fourteenth-century Divine Comedy, borrowing small frag- ments of the text and greatly reinterpreting the story through performance, sound, drawings, video and installation.

(Top Right)Long embraced by the European art establishment, Jonas received newfound acclaim in the US with a major retrospective at the Queens Museum of Art in 2003 and recently presented her multimedia installation Reading Dante (2008) at the Venice Biennale to much critical acclaim.

The Department of Urban Studies and Planning, in partnership with Leveraging Investments in Creativity (LINC), has launched a new pro-gram of research, awards and learning to fos-ter the creation of accessible artist space in communities across the US. Funded through a collaboration between the MetLife Foundation and the Ford Founda-tion, the Space for Change program seeks to identify projects that provide affordable space for artists and that contribute to community revitalization and sustainability through artist programming and active engagement. The program is rooted in the recognition that artistic practice often requires unusual working and living space and that access to affordable space remains a key challenge for many artists. This remains true even while research points to such positive impacts of art-ist space development projects as increased employment opportunities and improved youth development programs for residents. Last fall, to promote and reward best prac-tices in the development of artist spaces that yield benefits for both artists and their com-munities, the Space for Change program initi-ated the MetLife Innovative Space Awards, a competitive national funding program with unrestricted awards ranging from $10K to $50K, accompanied by value-added support such as technical assistance and other learning activi-ties. Applicant entries for the contest were col-lected in the Artists Space Database, a nation-al resource that aims to encourage the replication of model projects and policies. Susan Silberberg-Robinson, Lecturer in Urban Design and Planning and Associate Director of the Innovative Space Awards, aims to develop a research program around afford-able artists space and positive community impacts.more: sap.mit.edu/plan

(Left) Photo: Copyright Paula Court, courtesy of Performa, (Right) Photo: Lynn Davis

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DONOR PROFILE: SARAH ABRAMS, MSRED’85SEEING IN PEOPLE WHAT THEY ARE NOT YET CAPABLE OF SEEING IN THEMSELVES

Sarah K. Abrams received her Master of Science in Real Estate Development from the MIT Center for Real Estate in 1985. She is now Pres-ident of Fidelity Real Estate Company, a division of Fidelity Investments responsible for provid-ing the full range of corporate real estate ser-vices to Fidelity’s business units both nationally and internationally—location/portfolio strategy, acquisitions/dispositions, design/construction and facility/property management. In that capacity she oversees a portfolio in excess of 10 million square feet, including four mission critical data centers, with an annual operating budget of over $400M and annual capital budgets ranging from $50-500M. After 14 years with Fidelity, she will be leaving this summer to pursue new career opportunities. Twenty-five years ago the MIT Center for Real Estate (MIT/CRE) opened its doors to offer its first Master of Science in Real Estate Development. For Sarah Abrams, the experience of being part of that first ‘pioneering class’, as she calls it, was extraordinary. She recalls, ‘I was very aware—as I think we all were—that this was something completely new…not just for MIT but for the entire real estate industry. We wanted it to work and to be important twenty years from then.’ Now, 25 years later, she can vouch that that goal has been met. ‘The degree I received from the Center for Real Estate,’ she says, ‘provides me with great credibility wherever I go in the world. It was that degree that made it possible for me to get my first real estate development job and it provided me with an opportunity to meet some terrific people who have become and remain close friends and business partners.’ In return, Abrams has given consistently to MIT/CRE for the past 25 years through both the New Visions Fund and the CRE Alumni Fund for Excellence. ‘MIT had a big impact on me in terms of being able to achieve what I’ve achieved professionally,’ she says. ‘As a result I feel I owe the school a debt for that. This is one way that I can be clear about how I valued my time here.’ Abrams gained an understanding of the importance of philanthropy from her parents. ‘I grew up in a home where my parents always set an example of giving back. There was a view that sharing what you had with others was

a fundamental value; that supporting things in the community and academic institutions was important and expected. ‘This is something that I really believe—of those to whom much is given, much is expect-ed. I had a lot of opportunities in life, having a family that was intact and cared about me, stressed education, etc. I have had advantages in my life that other people don’t have. That comes with an obligation and a responsibility to give back.’ In addition to her philanthropy to the Cen-ter for Real Estate, Abrams also has continued to be engaged with the Center’s activities since her graduation. She led the alumni association for a year, she co-taught a law course in the nineties, and now she is a regular guest lec-turer in Gloria Schuck’s ‘Leadership in Real Estate’ course, which she has done for many years. Schuck commented, ‘Sarah gives back; she generously shares her experiences and insights with the students.’ Several students thank Abrams for staying involved with the MIT/CRE each year, and for the insights she shares with them. One student wrote, ‘Sarah said that you must always be authentic. I’ve had this image of what a leader is buried in my head. Some preconceived idea that I’ve subconsciously been comparing myself to and falling short every time…. I finally understood that the idea is not to try to change to become like someone else, the idea is simply to improve and enhance who you already are. Her words on authenticity were some of the most uplifting words I’ve heard in a long time.’ ‘The thing that is just as exciting to me as seeing a building get built,’ says Abrams, ‘is working with people to help them be everything they can be and achieve everything they want to achieve. So my advice to graduates is: See in people what they are not yet capable of seeing in themselves. Put them in positions that play to their strengths. They will blossom. That is a good definition of success: being able to turn the potential you see in people into reality.’more: sap.mit.edu/plan

Photo: Courtesy of Sarah Abrams

Current Research at the Center for Real Estate

During its first quarter century, in addition to educating more than 800 new real estate professionals, the Center for Real Estate has established three research pro- grams that are each making valuable contributions to the field:

• The Commercial Real Estate Data Laboratory gathers data about the real estate world, measures the performance of commercial real estate and develops practical tools to help govern business and policy decisions

• The Housing Affordability Initiative catalyzes research and discussion around the housing affordability challenge

• The New Century Cities Program—a joint initiative with the City Design and Development Program in the Department of Urban Studies and Planning and with the Smart Cities Group in the Media Lab—focuses on a new generation of development projects at the intersection of social policy, technology, urban design and real estate development

To learn more about the Center’s programs, visit web.mit.edu/cre. To support its ongoing contributions, and to help it develop more programs, please consider a making a donation at http://web.mit.edu/cre/giving.

WORD FROM OUR ALUMNION THEIR PAST AND PRESENT, AND THE FUTURE

On the silver and gold anniversaries of their graduation from MIT, we asked our alums from 1985 and 1960 to weigh in. We found they have a lot of fond memories of the people they encountered here—their spirited professors, their stimulating colleagues and the people they eventually married—and all of them are still deeply involved in their professional pur-suits. Below, you’ll find a sampling of their responses. Look online for the full treatment.

What are you doing now in your career and life?

Richard Dattner: What I’ve been doing for the past 50 (gasp!) years—designing buildings, structures and public spaces. David Bondelevitch: Assistant Professor, UC Denver College of Arts & Media. Martha Pollak: I am professor of architec-tural history at the University of Illinois in Chicago; I spend summers doing research in Italy and England, with forays into France and Germany. Manuel Edgardo Amaya Orellana: On returning to Honduras in 1986 after 11 years abroad, I established my own architectural stu-dio, involved primarily in design of commercial and residential projects. Mark Kaplan: I live in Cape Town, South Africa and continue to make documentaries even though year by year it gets tougher to get the funding. Peter C. Sugar: I am a consulting archi-tect—also I do a lot of volunteer work for my town as well as for my first university (Univer-sity College, London). Robert P. Huefner: Professor Emeritus, Political Science, University of Utah.

What is most memorable about your experience in SA+P?

Duhee Lee: The Internship Program and run-ning from design studio to make it to Varsity Hockey practice.

Peter C. Sugar: The opportunity to have met colleagues who were from many parts of the USA. Mitsy Canto-Jacobs: Of the many, there were conversations I had with Julian Beinart, Aaron Fleisher, John de Monchaux, Tunney Lee and Bill Porter. Jeffrey Lee Schantz: I had so many men-tors at MIT, but I think Imre Halasz had the biggest impact on my life and career. I still tell stories about him. Martha Pollak: I loved the HTC Program in Architecture for its intellectual freedom and the faculty’s high expectations of us, the students. Manuel Edgardo Amaya Orellana: My best memories are linked to being exposed to a vast amount of knowledge and to the experi-ences of my professors and faculty but most of all: being challenged to think clearly, to order my ideas and to learn to put them in a proposi-tive manner.

Words of wisdom for the Class of 2010: How do you define success (and how can they achieve it)?

Richard Dattner: I would define success as doing no harm, improving the built environ-ment…treating everyone with the same respect, trying always to improve, being mind-ful of future generations. Jeffrey Lee Schantz: Be passionate about your work…Only take on work that matters to you; if it doesn’t, pass it on to someone to whom it does…Surround yourself with people who are smarter than you are… Duhee Lee: The key to my career satisfac-tion has been to recognize the drive to contrib-ute to the process of creating rather than to control the process through design. Robert P. Huefner: Be curious, follow the stars, and put good purposes above money and fame. Mark Kaplan: Giving and earning respect is for me a true measure of success. Mitsy Canto-Jacobs: Get a job. Use the job you have to get the job you want. Beg everyone you love to forgive you and to not abandon you when you forget them. Stay in touch.more: sap.mit.edu/plan

The Respondents

David Bondelevitch, BSAD’85

Mitsy Canto-Jacobs (aka Maria Felicia Foo Canto), SMArchS’85, MCP’85

Richard Dattner, FAIA, BArch’60

Robert P. Huefner, MCP’60

Mark Kaplan, MArch’85

Duhee Lee BSAD’85

Manuel Edgardo Amaya Orellana, MCP’85

Martha Pollak, PhD’85, Architecture

Jeffrey Lee Schantz, AIA, MArch’85

Peter C. Sugar, MArch’60

MIT School of Architecture + Planning77 Massachusetts Avenue, 7-231Cambridge, MA 02139-4307USA

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DATEBOOKSUMMER 2010

JUNE 7 THROUGH JULY 30MIT/CRE Professional Develop-ment Institute, a series of seventeen 1- to 2-day classes in real estate finance, development, sustainability, business and leadership. MIT Center for Real Estate. For more information: web.mit.edu/cre.

THROUGH JULY 3Technology and Enlightenment: The Mechanical Arts in Diderot’s Encyclopedie, an exhibit co-curated by Kristel Smentek exploring one of the most important publications of the eighteenth century, Diderot’s Encyclopedie, ou Dictionnaire raisonne des sciences, des arts et des métiers, which placed equal importance on the manual trades as on the arts and sciences; featuring images from the original folio

volumes and multimedia components illustrating the Encylopedie’s signif- icance. Monday through Thursday, 10AM–4PM. Maihaugen Gallery, Building 14N, Room 130.

THROUGH JULY 30 Delight in Greener Daylight: A Class Perspective on Facade Renovation, an exhibit of student work from Marilyne Andersen’s Daylighting class featuring models, data analyses, simulations, video and audio that illustrate how challenging and inspiring it can be to answer a seemingly simple question: ‘What is good daylight-ing?’ Weekdays, 9AM–5PM. Wolk Gallery, Building 7, Room 338.

THROUGH OCTOBER 6Making Architecture, an exhibit on the process of conceiving, designing and realizing SA+P’s new Media Lab Complex, featuring sketches, drawings, renderings, photos, construction documents and

a model, along with smaller displays detailing six other current works by architect Fumihiko Maki. All day every day. E14 Lobby Gallery, corner of Amherst and Ames Street.

For more information and more events, visit our online calendar at sap.mit.edu/calendar.

Stories in PLAN can usually be found in greater detail online at sap.mit.edu/plan, along with archives of previous issues.

(Cover)SA+P’s new Media Lab Complex designed by Pritzker Prize winner Fumihiko Maki; at night, the whole building glows. (Photo: Andy Ryan)