Vectorworks, Sonya Falkovskaia

Mosaic Architecture, or, Lessons for Representation from the Films of Frederick Wiseman, Kyle Winston

Dynamic Mutations GSD V5.0, Michael Pryor, Pavlina Vardoulaki, Nicolas Turchi, M. Arch II ‘18

Introduction to Data Science for Building Performance Simulation and Architectural Design, Jung Min Han

Intro to Blender 2.83 (Rendering and Animating Workflows for Architects), Emily Majors

Autonomous Part, Saul Kim

Architecture's Scribe, Frankie Perone

Internal Landscapes: Atriums, Courtyards and Interior Gardens, Jaz Bonnin

Waste, Not Waste, Elif Erez and Cynthia Deng

Mending as (World) Building, Elif Erez and Cynthia Deng

Casting an Ideal House, Arta Perezic and Ever Vargas

Design Your Future, Adam Royalty

Thinking and Making Models, Adrian Wong

Hyper-normalized, Nima Shariat Zamanpour

Community Collaboration 101: Tools and Strategies for Developing Partnerships, Morgan Vought, Elifimina Mizrahi, and Lillian Mensah

Drifting – Mapping the Urban Experience Together, Liad Sandmann

Territorial Disputes in the Southern Caucasus, Shant Charoian and Catherine Saint

Exploring AI and Neural Networks in Design, Gia Jung and Claire Djang

Bodies and Geometries: Digital and Physical, Gia Jung

Courses are added and updated on a daily basis.


Vectorworks

Instructors: Sonya Falkovskaia, M. Arch 1 2023
Zoom Link:
Max Enrollment: n/a

This course teaches the Vectorworks program and its interface. Vectorworks is a BIM CAD software that works in both 2D and 3D. It is specifically designed for architects and its main advantage is its organization producing a streamlined workflow in drawing production, making drawing production a much more efficient and time-effective exercise. A very popular drawing software amongst small to medium-sized firms in Europe, knowing Vectorworks will be a useful skill when applying for jobs. Students can download the program free of charge and it is compatible with Mac and Windows. The course will be taught using Vectorworks version 2021.

Course Schedule:

  • Meeting 1: 2D interface and introduction
  • Meeting 2: 3D interface
  • Meeting 3: Drawing production
Date Tues. Jan 5 Wed. Jan 6 Thurs. Jan 7
Time 10am-12pm 10am-12pm 10am-12pm

Prerequisites: N/A
Cost/Materials: N/A


Mosaic Architecture, or, Lessons for Representation from the Films of Frederick Wiseman

Instructors: Kyle Winston, M. Arch '22
Zoom Link:
Max Enrollment: 12

From Ivone Marguiles's Nothing Happens: Chantal Akerman's Hyperrealist Everyday (Duke University Press, 1996), pp. 176:

To describe the formal film, the avant-garde mode preceding structural film, P. Adams Sitney uses the notion of the mosaic, “a tight nexus of content, a shape designed to explore the facets of the material.” He derives this term from the title of Peter Kubelka's film Mosaik, a term that expresses “this conscious aspiration. Recurrences, prolepses, antitheses, and overall rhythms are the rhetoric of the formal.” Discussing a different genre, the direct-cinema documentary work of Frederick Wiseman, Bill Nichols also uses the notion of the mosaic to describe how Wiseman's assumption that “social events have multiple causes and must be analyzed as webs of interconnecting influences and patterns” leads him toward a poetic rather than a narrative organization. Nichols refines his analysis by suggesting that Wiseman's work, which displays recognizable narrative sequences, differs from other mosaic structures in that “the tesserae [facets] merge to yield a coherent whole when seen from a distance, whereas an individual facet conveys little sense of the overall design.”

The course has two parts: (1) the viewing and discussion of selected films, and (2) the discussion of the notion of the mosaic as a means of representation for architecture.

Schedule: (Prior to first session: watch Titicut Follies (1967) and National Gallery (2014), available on Kanopy)

  • Session 1: Brief introduction of Wiseman, discussion; for following session: watch Welfare (1975) and Belfast, Maine (1999) with selected readings
  • Session 2: Discussion, for following session: watch Chantal Akerman's Toute une nuit (1982) and Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) with selected readings
  • Session 3: Brief lecture on the mosaic (as well as the related catalog and atlas) and a brief history of the triptych, discussion of films; for last session: choose from Wiseman filmography and make 2-3 screenshot+ triptychs
  • Session 4: Present films and triptychs, discussion

(After last session, watch new film City Hall (2020))

This course invites anyone who enjoys talking about and learning through film. No previous knowledge of material is expected. This is a discussion-based course. Please contact Kyle Winston with any questions.

Date  Jan 5, Tues Jan 7, Thurs Jan 12, Tues Jan 14, Thurs
Time 1-2:30pm 1-2:30pm 1-2:30pm 1-2:30pm

Prerequisites: DVD's from Zipporah films or access to expanded Kanopy Library
Cost/Materials: N/A

Enrollment Link


Dynamic Mutations GSD V5.0

Instructors: Michael Pryor, Pavlina Vardoulaki, Nicolas Turchi, M. Arch II ‘18
Zoom Link:
Max Enrollment: n/a

Welcome to the 5th version of the Dynamic Mutations GSD course we have taught for Harvard GSD's J-Term.

In this course we will focus on workflows using Autodesk Maya and McNeel Rhino + Grasshopper. The course will start with an introduction to polygonal modelling with Maya and build up towards fluid architectural design aesthetics. We will then use Grasshopper3d with the Pufferfish plugin to create, morph and panelize meshes with complex blended patterns. Lastly, you will learn how to design via animation and create renderings with Maya's Arnold render engine. Along the way, there will be lots of manual and parametric modeling tips & tricks taught to you by industry design professionals who are currently working at Zaha Hadid Architects and Nike.

Date Mon, Jan 4 Tues, Jan 5
Time 9am-5pm 9am-5pm

Prerequisites: Basic familiarity with Grasshopper and Maya is welcome but not required
Cost/Materials: N/A

Enrollment Link


Introduction to Data Science for Building Performance Simulation and Architectural Design

Instructors: Jung Min Han, DDes ‘22
Zoom Link:
Max Enrollment: 35

The modeling of net-zero energy buildings is an increasing concern in both the building design and sustainable consulting industries. Early adoption of building performance simulation software in the decision-making process of the designing phase is imperative to achieving sustainable design goals. Guiding designers to pursue sustainability for built environments will bring favorable outcomes with low-cost adaptations. Machine learning and data science are promising approaches to shaping the design process and offering instantaneous performance feedback. The active use of data science techniques is increasing the efficiency and accuracy of building simulation workflow while optimizing the buildings' geometry.

This class introduces several methods of environmental analysis techniques and a few building performance simulation tools, used for daylighting, airflow, and energy simulations. The required programming skills and analysis techniques are incorporated by importing generic weather information to predict energy use in response to design changes. This course also introduces data management skills including Python scripting, machine learning, and 3D data visualization.

The course consists of lectures and workshops over the course of 5 days covering various building simulation and data science topics. We will determine the course objectives and topics of concentration on Day 1, to cater to individual and shared interests.

Date Mon, Jan 11 Tues, Jan 12 Wed, Jan 13 Thurs, Jan 14 Fri, Jan 15
Time 9-11am 9-11am 9-11am 9-11am 9-11am

Prerequisites: Considering the time limitations, I encourage you to prepare in advance to get the full benefit of this course. For those unfamiliar with Python, I recommend reviewing a Python tutorial for a general understanding of basic operations. Students without prior experience in Python or other programming languages will be able to follow and participate in these introductory workshops.
Cost/Materials: Anaconda package (Python & Jupyter notebook), Grasshopper (GH-Python, Archsim, DIVA, Butterfly), and Rhinoceros OS.

Enrollment Link


Intro to Blender 2.83 (Rendering and Animating Workflows for Architects)

Instructors: Emily Majors, M. Arch I ‘23
Zoom Link:
Max Enrollment: 20

This course runs through the workflow for outputting high-quality rendered images and animations using the free and opensource software, Blender. The course will touch on basic modeling within blender as well as the more popular workflow for architecture students of importing geometry from rhino. I want to organize the course in two parts (1: interface intro and rendering fundamentals. 2: basic animations and physics simulations).

During the first week, the course will dive into setting up cameras, lighting, environments, materials, and UV unwrapping. The course will also introduce a plethora of free online resources for downloading textures, HDRIs, and scene entourage. The goal for the students will be to master outputting ready to go images with little to no post-processing needed.

During the second week, the course will introduce animation basics looking at setting up rigs, keyframes, and applying physics constraints to objects. The students will then apply what they learned in the first week to output a fully textured and rendered animation.

Examples of Blender’s capabilities as a supporting tool for architectural design, thinking, and representation:

Week 1

Date Mon, Jan 4 Wed, Jan 6 Fri, Jan 8
Time 2:30-4pm 2:30-4pm 2:30-4pm

Week 2

Date Mon, Jan 11 Wed, Jan 13 Fri, Jan 15
Time 2:30-4pm 2:30-4pm 2:30-4pm

Prerequisites: Students should have a project they want to produce renders for (maybe one from a previous studio or I can provide a 3D scene for you to practice with).
Cost/Materials: N/A

Enrollment Link


Autonomous Part

Instructors: Saul Kim, M. Arch II ‘21
Zoom Link:
Max Enrollment: 8

This course aims to experiment and discover new ways of thinking about architectural parts and their spatial consequences through autonomization. It involves experimenting with architectural parts independent from functional and practical notion to question their ontology. Participants will each choose multiple architectural elements of their interest to deeply analyze its nature and begin to objectify them. The part will be given anomalous characteristics that defy its use, function, and purpose. The autonomous part is then juxtaposed with other conventional parts to form a piece of experimental architecture where we could accidentally discover new functional implications. This design exercise requires basic 3D modelling skills.

Week 1

Date Mon, Jan 4 Tues, Jan 5 Wed, Jan 6 Thurs, Jan 7 Fri, Jan 8
Time 1- 3pm 1- 3pm 1- 3pm 1- 3pm 1- 3pm


Prerequisites:
Architecture background with basic 3D modelling and rendering skills.

Cost/Materials: N/A

Enrollment Link


Architecture's Scribe

Instructors: Frankie Perone, M. Arch I ‘20
Zoom Link:
Max Enrollment: 15

Despite being considered reciprocal design practices, two of an architect’s primary technical tools, drawing and building, seemingly contradict each other. Orthographic drawing, with anthropological roots in “writing”, which possibly comes from Ancient Greek “graphein”, “to dig, scratch” is semantically paradoxical to “construct”, from Latin “constructuere”, “to pile up, accumulate”. Faced with the impossible dilemma of simultaneously excavating and constructing, how do we, the master builders, reconcile these antipodes of our practice?

This amateur anthropologist/poet/historian/architect-tinted course will investigate the structural, cultural, and etymological relationships between the written and the built. Writing formats and techniques (Manuscript, Verse, Epitaph) will be uncovered in parallel to architectural typologies and tectonics (Crypt, Surface, Tower), drawing from a varied and possibly overwhelming collection of texts, etymologies, images, history, sites, and buildings. This palimpsest of association is intentional and hopefully productive; a pile of references allows us to draw connections beyond the references themselves. Where close readings can give us certainty, parallelism provides possibility.

The course is part lecture, part discourse, part design. We will build our orthographic agility through quick exercises, including carving crypts, producing poems, and extracting elevations. While my knowledge is limited, and therefore reflected in the course’s references, I would like to take a moment to welcome anyone with an interest in uncertainties and discoveries to join the discussion.

Week 1

Date Mon, Jan 4 Wed, Jan 6
Time 3-5pm 3-5pm

Week 2

Date Mon, Jan 11 Wed, Jan 13
Time 3-5pm 3-5pm

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link


Internal Landscapes: Atriums, Courtyards and Interior Gardens

Instructors: Jaz Bonnin, MDes ‘21
Zoom Link:
Max Enrollment: 30

This seminar will examine atriums, courtyards and interior gardens as unique design typologies that incorporate landscape, architecture and interior elements into cohesive spaces. Poised at the intersection between indoor and outdoor, these spaces play an important role by introducing natural light, air flow, water, and other natural elements into our built environments. Unlike greenhouses, where plants are the primary inhabitants, these “internal landscapes” center on human occupation, and they have the ability to activate and open up enclosed spaces while remaining contained themselves. Perhaps because of these complexities and contradictions, these typologies are rarely given great attention in traditional design education. Nevertheless, “internal landscapes” have existed for millennia across different cultures and in many different forms, and continue to inform our modern design practices.

Date Mon, Jan 11 Wed, Jan 13 Fri, Jan 15
Time 9am – 11am 9am – 11am 9am – 11am

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link


Waste, Not Waste

Instructors: Elif Erez M.Arch I + MDes '22 and Cynthia Deng M.Arch I + MUP '21
Zoom Link:
Max Enrollment: 12

Jumping off from anthropologist Mary Douglas' assertion that waste is “matter out of place”, this class uses shared readings and collective diagramming to explore the sociocultural classifications that construct ‘waste' and some of its spatial consequences. Shifting towards our futures, what are some alternate value systems or modes of action (care work, abolition, a Green New Deal, etc.) that can shift dominant cultures around waste? And where would the design professions fit in that? We don't have the answers but we can explore possibilities together. Each meeting session would be based on topics around the subject of waste, and be structured around discussion and in-class collective diagramming exercises with the goal of creating a collective map of un-wasting.

Week 1

Date Tues, Jan 5 Thurs, Jan 7
Time 3 – 5pm 3 – 5pm

Week 2

Date Tues, Jan 12 Thurs, Jan 14
Time 3 – 5pm 3 – 5pm

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link


Mending as (World) Building

Instructors: Elif Erez M.Arch I + MDes '22 and Cynthia Deng M.Arch I + MUP '21
Zoom Link:
Max Enrollment: 8

Weaving together fiction narrative techniques with standpoint theory and repair-oriented design practices, this course uses mending as a form of world-building. Over the course of six meetings across two weeks, each student will identify an object in need of repair (on the scale of something that could be picked up) and repair it. Here, ‘repair’ does not seek to restore past conditions, but adapts to future ones — it is a transformative act of care. Through actively repairing the object by material intervention, we will also speculate on repairing the larger systems and networks that this object is part of. Each of us will create a research-based cast of characters who interact with the object. Finally, through images and words, each person will craft a story that weaves together these pieces (the object, the characters, and the systems), building a world through the act of mending.

Week 1

Date Mon, Jan 4 Wed, Jan 6 Fri, Jan 8
Time 3-6pm 3-6pm 3-6pm

Week 2

Date Mon, Jan 11 Wed, Jan 13 Fri, Jan 15
Time 3-6pm 3-6pm 3-6pm

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link


Casting an Ideal House

Instructors: Arta Perezic, M. Arch II '21 and Ever Vargas, M. Arch II '20
Zoom Link:
Max Enrollment: 8

This course will explore the use of casting as a representational tool. Starting from primitive shapes, this class will guide students to first design a simple house. The class will first go over techniques of mold making, dyes, and mixes, to then build the necessary formwork, and ultimately cast a model of their ideal house. All disciplines and model-making proficiency welcome.

Date Mon, Jan 11 Tues, Jan 12 Wed, Jan 13 Thurs, Jan 14 Fri, Jan 15
Time 10am-12pm 10am-12pm 10am-12pm 10am-12pm 10am-12pm

Prerequisites: N/A
Cost/Materials: Approx. $50 for casting material, buckets, and formwork material.

Enrollment Link


Design Your Future

Instructors: Adam Royalty, DDes '23
Zoom Link:
Max Enrollment: 50

The future can feel uncertain. It is not even clear how the next few months will unfold. How does this uncertainty affect your time at Harvard? How does it impact your plans post-Harvard? Design Your Future is a two-session course where participants learn to apply Human Centered Design to navigate tough decisions in their careers and life.

Date Tues, Jan 12 Thurs, Jan 14
Time 9am – 12pm 9am – 12pm

Prerequisites: Having any feelings of uncertainly about the future.
Cost/Materials: N/A

Enrollment Link


Thinking and Making Models

Instructors: Adrian Wong, M. Arch II '20
Zoom Link:
Max Enrollment: 10

This three-day workshop will explore the shifting role of architecture models and fabrication in the remote format through various lenses.

With the loss of access to precision tools for physical model fabrication, this workshop proposes incorporating a model thinking by investigating methods we can maintain the presence of physical models by way of an under-examined subject: model theory and pedagogy. Through rethinking the means and ends of architecture models (now on virtual platforms), this workshop hopes to reinforce and further advance the discussion of what constitutes an architecture model in the 21st century.

This workshop will present research on the history and development of models throughout 20th century. The transition from Beaux-arts into Modernism, paired with the industrialization of the gilded age and the influence of Bauhaus gave rise to the personal miniaturized architectural models we know today. Within this timeframe, the historic span of models included the categorization of 1. the photo model, 2. the idea model, and 3. the art object. The separation of these categories was introduced in part by the Institute for Architecture and Urban Studies Idea as Model exhibition in 1976, as well as the exhibition Das Architekturmodell (The Architecture Model – Tool, Fetish, Small Utopia) in 2012 at the Deutsches Architekturmuseum.

This workshop hopes to aid home-fabrication techniques by studying historical model examples and reviewing how current home-remedy solutions can have pedagogical relations to earlier architecture modeling in the early 20th century. The workshop believes it is crucial that any research or work produced during the period of remote learning should not be considered a concession, but should instead retain a role in affecting longer-lasting disciplinary discourse.

Date Wed, Jan 6 Thurs, Jan 7 Fri, Jan 8
Time 9-11am 9-11am 9-11am

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link


Hyper-normalized

Instructors: Nima Shariat Zamanpour, M. Arch I ‘22
Zoom Link:
Max Enrollment: 10

Hyper-normalization, a term coined by Soviet born anthropologist Alexei Yurchak, describes the acceptance of a fakeness as real in the final years of the USSR. A term and experience that predates and offers illumination for the post-truth mainstream discussion of today. This course will examine and discuss hyper-normalization in and around design disciplines, through the lens of fringe theories, revisionist histories, and lost figures.  Through this survey, the course aims to arm designers to reclaim agency in the manufactured chaos of the contemporary.

We will examine conspiratorial thinking as productive method by unpacking colonial myths of the ancients. We will look at revisionist narratives of and alternatives to the Modernist movement. We will unpack the geo-political underpinnings of early 21st architecture, with a special focus on USSR satellite nations and their iconic architecture. We will look at design's role in mediated futures, ranging from a technical analysis of deep fakes to the doomsday survival culture of New Zealand and Mars.

The course will be divided into daily chronological clusters comprising of short lectures, followed by a discussion of supplemental texts and film, and work time on individual projects and research relating to the course topics. The final day will be reserved for presentations by course members on the topics they have researched and produced on.

Date Mon, Jan 4 Tues, Jan 5 Wed, Jan 6 Thurs, Jan 7 Fri, Jan 8
Time 11:30am – 1pm

 

11:30am – 1pm

 

11:30am – 1pm

 

11:30am – 1pm

 

11:30am – 1pm

 

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link


Community Collaboration 101: Tools and Strategies for Developing Partnerships

Instructors: Morgan Vought, MLA ‘22, Elifimina Mizrahi, MUP ‘21, and Lillian Mensah, MUP ‘21
Zoom Link:
Max Enrollment: 20

Although the importance of community involvement is often stressed, forging, fostering, and furthering community relationships during the design process is challenging. Working with community members requires nuance and respect, as well as a specific skill set. Along with our fellow classmates, we have observed a lack of curricular training on how to build community partnerships during the design process. We at the Community Development Program (CPD) advocate for the importance of community voices in design, not only from an ethical standpoint, but also because working with the local community results in a more fruitful and relevant final design. Over the course of three sessions, we will learn techniques and develop strategies for establishing and nurturing community partnership:

Day 1: We begin at the start of the design process: how to initiate and solidify a community relationship. With the help of guest speakers, guided discussions, and role-play activities, we will explore how to respectively enter a community, build trust, listen, and ask questions.  We will address questions such as:

  • How to include historically excluded community voices into the design process?
  • How to develop credibility and trust in a community?
  • How to reach a broad range of community members?
  • How to initiate a neighborhood partnership when you have not been specifically invited by local members?

Day 2: During our second session, we continue the conversation by discussing the development of a partnership through the design process. With the help of guest practitioners, we will look at precedents and discuss the outcomes of a spectrum of community engagement strategies.

  • What are techniques for gathering site information from a community?
  • How might we begin to understand what a community wants from a site?
  • How might community input sessions be organized?
  • How can community input be synthesized?
  • How to negotiate community divisions and differences?

Day 3: During our final session, we will discuss techniques for involving the community in project implementation, as well as ways to continue a relationship post-project.

  • What are ways in which the community could be involved in project implementation?
  • Why is maintaining a community partnership important even after a project has been completed?
  • How to evaluate the success of a design through a community lens?

 

Students who participate in this course will have the opportunity to continue developing the skills learned during the workshop through specific community projects around the Boston area, or virtually, with CDP during Spring term.

Week 1

Date Mon, Jan 4 Wed, Jan 6 Fri, Jan 8
Time 9am – 12pm 9am – 12pm 9am – 12pm

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link 


Drifting – Mapping the Urban Experience Together

Instructors: Liad Sandmann, M. Arch II ‘21
Collaborator: Stav Dror, Yale M. Arch II ‘22
Zoom Link:
Max Enrollment: 18

One of architecture's most elusive units of time is the Situation. Our ability to document and analyze spatial events marks the base for scenario-based architecture. In this 4-day workshop, we will go on Solo City Trips using a method called Drifting. This Situationist method calls on us to rediscover and reconstruct the built environment by producing stunning collages of our urban experience.

In 1956, Guy Debord published his “Theory of the Drift” – a radical way to experience, record, document, and map urban space through subjective investigations. To Drift, one must set a rule to randomly determine the city's exploration. The Drift expands the definition of the physical beyond the tyranny of geography, law, and norm. It's also fun.

The remote workshop will combine lectures on urban theory, physical exercise (assisted or otherwise), mapping, and freeform representation techniques resulting in subjective documentation of each participant's Drift. The workshop will result in each participant procuring a new method to explore the built environment and new representation and mapping skills, ranging from collage to storytelling to cartography.

Date Tues, Jan 5 Wed, Jan 6 Thurs, Jan 7 Fri, Jan 8
Time 9a-1p 9a-1p 9a-1p 9a-1p

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link


Territorial Disputes in the Southern Caucasus

Instructors: Shant Charoian, M. Arch II ’22 and Catherine Saint, MUP ‘21
Zoom Link:
Max Enrollment: 20

Explorations of Nagorno-Karabakh, an area of 4,400 km squared, in the southern Caucuses. This J-term course was inspired by the current conflict in the Artsakh region. This course will look at this age old conflict through a myriad of ways: through design, socio-political & economic forces and changing regimes. The goal of this research based discussion is for each participant to produce visuals that embody this conflict through the lens of one of the aforementioned topics. In working with the curator of  the Armenian Pavilion, the final work will be exhibited in La Biennale di Venezia 2021.

Date Thurs, Jan 7 Fri, Jan 8 Mon, Jan 11
Time 11am – 1pm 11am – 1pm 11am – 1pm

Prerequisites: N/A
Cost/Materials: N/A

Enrollment Link


Exploring AI and Neural Networks in Design

Instructors: Gia Jung, M. Arch I '20 and Claire Djang, M. Arch I '20
Zoom Link:
Max Enrollment: 20

Learn to use Machine Learning in your design process, and start thinking about the new role and agency of designers in the age of algorithms, data, and fast machines.

The course will introduce machine learning for designers in three parts: principles of generative learning in its high-level overview, design applications of such methods in the form of projects, and interactive workshop on using machine learning in design.

For tangible skills, we will learn how to read machine learning codes and be able to use Python and other open source libraries for designers. If time allows, we will think about strategies to collect and curate data for generative learning for AI libraries in Architecture, Urban Design, and Design at large. On a more conceptual level, we will actively think about the new role of designers in data curation, collection, and presentation; human-computer-interaction interfacing design and AI; and new agency of designers in guiding the model and applying algorithms for creative and sociotechnically productive purposes.

Week 1

Date Mon, Jan 4 Wed, Jan 6 Fri, Jan 8
Time 1-3p 1-3p 1-3p

Week 2

Date Mon, Jan 11 Wed, Jan 13 Fri, Jan 15
Time 1-3p 1-3p 1-3p

Prerequisites: The Following is helpful, but not necessary: Basic understanding of Machine Learning, Deep Learning, other AI tools and concepts, Python, and Command-Line-Interface (All Optional).
Cost/Materials: Potential use of remote machines, which can shorten some time in training, but is not required.

Enrollment Link


Bodies and Geometries: Digital and Physical

Instructors: Gia Jung, M. Arch I '20
Zoom Link:
Max Enrollment: 10

How can we design digital artifacts for the body in a responsive way? Adopting principles from geometric pattern making in fashion design, we will look at how we can move between bodies for which design is serving and the artifacts being designed. Using grasshopper and other simulation software, we will script our design to produce garments in both physical and digital mediums. The later half of the course will be dedicated to adopting these learnings in either physical productions (clothing, artifacts, etc.) or virtual representations leveraging technologies such as AR/VR and/or web platforms.

Week 1

Date Tues, Jan 5 Thurs, Jan 7
Time 2-5pm 2-5pm

Week 2

Date Tues, Jan 12 Thurs, Jan 14
Time 2-5pm 2-5pm

Prerequisites: N/A
Cost/Materials: Materials if students choose to fabricate

Enrollment Link


To view other J-Term opportunities, please visit: www.gsd.harvard.edu/otherjterm/