This semester students are asked to transform the Hereshoff Museum in Bristol, Rhode Island, through processes of erasure and addition. Hereshoff Manufacturing was recognized as one of the premier builders of America's Cup racing boats between 1890's and 1930's. The studio however, is about more then the program. It is about land, water, and wind and the search for expressing materially and tectonically the relationships between these principle conditions. That is, where the land is primarily about stasis (docking, anchoring and referencing our locus), water's fluidity holds the latent promise of movement and freedom. Movement is activated by wind, allowing for negotiating the relationship between water and land.

Introduces design as a computational enterprise in which rules are developed to compose and describe architectural and other designs. The class covers topics such as shapes, shape arithmetic, symmetry, spatial relations, shape computations, and shape grammars. It focuses on the application of shape grammars in creative design, and teaches shape grammar fundamentals through in-class, hands-on exercises with abstract shape grammars. The class discusses issues related to practical applications of shape grammars.

Teaches creative design based on the scientific method through the design, engineering, and manufacture of a detailed inlaid tile. This is an introductory lecture/studio course designed to teach students the basic principles of design and expose them to the design process. Throughout the course, students will be introduced to the terminology and concepts that underlie all forms of visual art; which-in many ways-forms the basis for the design of all physical objects. Along with learning mechanical skills, thinking both critically and visually, and working with different media, the students will consider how the arts grow out of and respond to particular cultural contexts and ideas; and how these thinking patterns can be applied to virtually all types of design. Presentations, lectures, demonstrations, discussions and various artistic works will be used to show students how other artists and designers have dealt with the same issues they will be facing in lab. Each class will begin with a critique of the students' homework, followed by a discussion (and presentation when appropriate) of the pertinent issues of that week. All aspects of the course will aid the teams of students in designing and building a major inlaid tile whose elements are designed as digital solid models and manufactured on an abrasive waterjet machining center. The course will conclude with an exhibit of the completed tiles open to the MIT and the Greater-Boston public.

This course covers the complete cycle of designing an ocean system using computational design tools for the conceptual and preliminary design stages. Students complete the projects in teams with each student responsible for a specific subsystem. Lectures cover such topics as hydrodynamics; structures; power and thermal aspects of ocean vehicles; environment, materials, and construction for ocean use; and generation and evaluation of design alternatives. The course focuses on innovative design concepts chosen from high-speed ships, submersibles, autonomous vehicles, and floating and submerged deep-water offshore platforms. Lectures on ethics in engineering practice are included, and instruction and practice in oral and written communication is provided.

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.

" This is an advanced course on modeling, design, integration and best practices for use of machine elements such as bearings, springs, gears, cams and mechanisms. Modeling and analysis of these elements is based upon extensive application of physics, mathematics and core mechanical engineering principles (solid mechanics, fluid mechanics, manufacturing, estimation, computer simulation, etc.). These principles are reinforced via (1) hands-on laboratory experiences wherein students conduct experiments and disassemble machines and (2) a substantial design project wherein students model, design, fabricate and characterize a mechanical system that is relevant to a real world application. Students master the materials via problems sets that are directly related to, and coordinated with, the deliverables of their project. Student assessment is based upon mastery of the course materials and the student's ability to synthesize, model and fabricate a mechanical device subject to engineering constraints (e.g. cost and time/schedule)."

This course provides students with an opportunity to conceive, design and implement a product, using rapid prototyping methods and computer-aid tools. The first of two phases challenges each student team to meet a set of design requirements and constraints for a structural component. A course of iteration, fabrication, and validation completes this manual design cycle. During the second phase, each team conducts design optimization using structural analysis software, with their phase one prototype as a baseline.

Ontwerpen is een combinatie van logisch redeneren en het creatief combineren van bestaande technieken om tot nieuwe, innovatieve ideeen te komen. Een goede werktuigkundig ontwerper put zijn creativiteit uit kennis van een groot aantal bestaande werktuigbouwkundige systemen. Hoe groter die kennis, hoe groter de kans dat nieuwe, innovatieve ontwerpconcepten ontstaan. Vooral kennis over niet-conventionele techniek bevordert dit creatieve ontwerpproces.

Het doel van het vak Evolving Design is om studenten de onderhavige werkprincipes te tonen van een grote hoeveelheid niet-conventionele werktuigbouwkundige systemen. Er wordt hierbij zowel gekeken naar bijzondere ontdekkingen uit het verleden als uit het heden, met een blik op de toekomst. De ontwerpprincipes worden niet simpelweg opgesomd, maar geplaatst in hun fascinerende, historische ontwikkeling om te laten zien hoe de ontwerpers hun creativiteit en vernuft gebruik(t)en om goedwerkende oplossingen te vinden binnen de beperkingen van de beschikbare fabricageprocessen en beschermingsmogelijkheden (patenten). Veel oplossingen uit het verleden zijn klaar om te worden toegepast in de technologie van de toekomst!

Het vak richt zich primair op het kwalitatief beschrijven van de werkprincipes van bestaande technologieen, met de nadruk op bewegende mechanische constructies. Hoewel het kwantatief, in detail uitwerken van de kracht-bewegingsvergelijkingen niet het hoofddoel van het vak is, zijn mechanische vergelijkingen wel essentieel als zij leiden tot een beter begrip.

This textbook -- written by a group of select experts with a focus on different aspects of the design process, from creation to production -- addresses the many steps of creating and then producing physical, printed, or other imaged products that people interact with on a daily basis. It covers the concept that, while most modern graphic design is created on computers using design software, the ideas and concepts don’t stay on the computer. The ideas need to be completed in the computer software, then progress to an imaging (traditionally referred to as printing) process. Keywords are highlighted throughout and summarized in a Glossary at the end of the book, and each chapter includes exercises and suggested readings.

This subject explores the varied nature and practice of computation in design. We will view computation and design broadly. Computation will include both work done on the computer (digital computing) and by-hand. Design will include both the process of making designs and artifacts, as well as the designs and artifacts themselves. The aim of the course is to develop a view of computation and design beyond the specifics of techniques and tools, and a critical, self-awareness of our own approaches and metaphors for computation and design.

Chemical engineering problems presented and analyzed in an industrial context. Emphasis on the integration of fundamentals with material property estimation, process control, product development, and computer simulation. Integration of societal issues, such as engineering ethics, environmental and safety considerations, and impact of technology on society are addressed in the context of case studies.

Explores, through exercises, lectures, and discussion, the nature and exercise of architectural intelligence; investigates design as processes located in individuals and in groups; seeks to understand design as argument, as claims for which reasons can be adduced, as logic in which there are explicit sets of elements and relations among them, and as experiment in which design and its results are themselves used to inform future designs or simply to inquire. Subject aims to open avenues for further research.

In the past building prototypes of electronic components for new projects/products was limited to using protoboards and wirewrap. Manufacturing a printed-circuit-board was limited to final production, where mistakes in the implementation meant physically cutting traces on the board and adding wire jumpers - the final products would have these fixes on them! Today that is no longer the case, while you will still cut traces and use jumpers when debugging a board, manufacturing a new final version without the errors is a simple and relatively inexpensive task. For that matter, manufacturing a prototype printed circuit board which you know is likely to have errors but which will get the design substantially closer to the final product than a protoboard setup is not only possible, but desirable. In this class, you'll learn to design, build, and debug printed-circuit-boards.

A handout that explains the process of working with subject matter experts and non-educators to design university courses, details the pros and cons of working with SMEs, and offers helpful tips on the design process.