We begin work on your Thesis Projects from the outset of the semester: navigating arbitrary beginnings; setting boundaries like nets; developing a whole language of grunts, smudges and haiku; gathering the unique and unrepeatable content, forces, and conditions of your project; hunting an emerging and fleeting idea; recognizing discoveries; projecting forward with the imagination; and distilling glyphs, diagrams and insight plans.This course satisfies the prerequisite requirement for Thesis Project.

Estimated Cost of Materials: $50.00 - $200.00

Majors are pre-registered for this course by the department. Enrollment is limited to Architecture Students.

Major Requirement | BArch, MArch (3yr), MArch (2yr): Architecture

We begin work on your Thesis Projects from the outset of the semester: navigating arbitrary beginnings; setting boundaries like nets; developing a whole language of grunts, smudges and haiku; gathering the unique and unrepeatable content, forces, and conditions of your project; hunting an emerging and fleeting idea; recognizing discoveries; projecting forward with the imagination; and distilling glyphs, diagrams and insight plans.This course satisfies the prerequisite requirement for Thesis Project.

Estimated Cost of Materials: $50.00 - $200.00

Majors are pre-registered for this course by the department. Enrollment is limited to Architecture Students.

Major Requirement | BArch, MArch (3yr), MArch (2yr): Architecture

We begin work on your Thesis Projects from the outset of the semester: navigating arbitrary beginnings; setting boundaries like nets; developing a whole language of grunts, smudges and haiku; gathering the unique and unrepeatable content, forces, and conditions of your project; hunting an emerging and fleeting idea; recognizing discoveries; projecting forward with the imagination; and distilling glyphs, diagrams and insight plans.This course satisfies the prerequisite requirement for Thesis Project.

Estimated Cost of Materials: $50.00 - $200.00

Majors are pre-registered for this course by the department. Enrollment is limited to Architecture Students.

Major Requirement | BArch, MArch (3yr), MArch (2yr): Architecture

We begin work on your Thesis Projects from the outset of the semester: navigating arbitrary beginnings; setting boundaries like nets; developing a whole language of grunts, smudges and haiku; gathering the unique and unrepeatable content, forces, and conditions of your project; hunting an emerging and fleeting idea; recognizing discoveries; projecting forward with the imagination; and distilling glyphs, diagrams and insight plans.This course satisfies the prerequisite requirement for Thesis Project.

Estimated Cost of Materials: $50.00 - $200.00

Majors are pre-registered for this course by the department. Enrollment is limited to Architecture Students.

Major Requirement | BArch, MArch (3yr), MArch (2yr): Architecture

We begin work on your Thesis Projects from the outset of the semester: navigating arbitrary beginnings; setting boundaries like nets; developing a whole language of grunts, smudges and haiku; gathering the unique and unrepeatable content, forces, and conditions of your project; hunting an emerging and fleeting idea; recognizing discoveries; projecting forward with the imagination; and distilling glyphs, diagrams and insight plans.This course satisfies the prerequisite requirement for Thesis Project.

Estimated Cost of Materials: $50.00 - $200.00

Majors are pre-registered for this course by the department. Enrollment is limited to Architecture Students.

Major Requirement | BArch, MArch (3yr), MArch (2yr): Architecture

We begin work on your Thesis Projects from the outset of the semester: navigating arbitrary beginnings; setting boundaries like nets; developing a whole language of grunts, smudges and haiku; gathering the unique and unrepeatable content, forces, and conditions of your project; hunting an emerging and fleeting idea; recognizing discoveries; projecting forward with the imagination; and distilling glyphs, diagrams and insight plans.This course satisfies the prerequisite requirement for Thesis Project.

Estimated Cost of Materials: $50.00 - $200.00

Majors are pre-registered for this course by the department. Enrollment is limited to Architecture Students.

Major Requirement | BArch, MArch (3yr), MArch (2yr): Architecture

We begin work on your Thesis Projects from the outset of the semester: navigating arbitrary beginnings; setting boundaries like nets; developing a whole language of grunts, smudges and haiku; gathering the unique and unrepeatable content, forces, and conditions of your project; hunting an emerging and fleeting idea; recognizing discoveries; projecting forward with the imagination; and distilling glyphs, diagrams and insight plans.This course satisfies the prerequisite requirement for Thesis Project.

Estimated Cost of Materials: $50.00 - $200.00

Majors are pre-registered for this course by the department. Enrollment is limited to Architecture Students.

Major Requirement | BArch, MArch (3yr), MArch (2yr): Architecture

The ability to merge imagery from various sources is an essential skill for illustrators and fine artists alike. In a series of projects, students will gather sketches, drawings and photographs, and combine them to exist solidly and convincingly together in space. We will discuss the importance of lighting, color, and value in creating a believable scene, and explore the methods and techniques used by illustrators and painters past and present. Class time will be divided between the computer lab (where students will manipulate their images using Photoshop and other tools) and the studio, where illustrations and paintings will be completed using a variety of media, including pen and ink, watercolor, and acrylic paint.

This course fulfills the Computer Literacy requirement for Illustration Students.

Elective

This course utilizes general and specific topoi to critically analyze the field of contemporary jewelry. Students will develop the ability to write and speak with precision and complexity regarding their own work and that of others. In the process, we will create a communal topography generated by a network of inquiry to aid in locating ourselves and objects. Students have significant latitude to incorporate individual interests in written assignments. Themes addressed include but are not limited to: cultural identity, material history, marginalization, and exhibition strategies.

Students are pre-registered for this course by the department; registration is not available in Workday. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

Web as Medium 1 is an introduction to creating communicative media for the web, from both conceptual and technological perspectives. Through engaging in readings, student-led presentations, and projects, students will explore cultural, social, and historical contexts around network technologies, and discover the Internet's potential as a space for social exchange and independent expression. Throughout workshops and hands-on exercises, students will learn fundamental design principles as well as a basic understanding of HTML/CSS/Javascript. Studio projects will guide students in exploring methods for conceptualizing, designing, and developing websites. While outcomes won’t always prioritize practicality or strict functionality, the emphasis lies on cultivating a poetic understanding of design and the Internet as mediums for critical research and action.

This course explores the impact of artificial intelligence on illustration through a blend of theoretical interrogations and practical workshops. Students will examine how AI disrupts traditional workflows and challenges established artistic practices. Key topics include: AI tools and techniques for artistic production, the displacement of artists, the environmental impact of computational processes, the role of language in illustration, and philosophical debates surrounding art and design. 

Grounded in hands-on learning, participants will engage with current AI tools and techniques ranging from AI embedded in existing software, Large Language Models, text-to-image models, and Generative Adversarial Networks. The course emphasizes developing a critical formal language to assess and promote artistic practices that exceed machine-generated outputs. By the end, students will be equipped to navigate and shape the evolving landscape of AI in illustration with informed, innovative perspectives. Students will need a laptop computer; no programming experience is required.

Elective

This is a course about artists as collectors, collecting strange, wonderful stuff, and turning it into art. Each week you’ll experiment with gathering and organizing material from the world, recording sounds, photographing textures, scanning found objects, and then remix them into your own creative work. Along the way, you’ll get opportunities with hands-on with tools like audio recording, scanners, cameras, various printers, 3D and fabric printing, digital embroidery, and creative software such as Photoshop, Premiere, and 3D software. You’ll experiment with different ways to capture and organize your material. We’ll look at artists who treat archives as art, explore how collections shape culture, and invent new workflows that spark ideas. By the end, you’ll have your own evolving toolkit, an “asset library”, a cabinet of curiosity, to fuel any kind of work: video, sound, games, installation, design, painting, sculpture, collaborations, experiments, whatever you dream up.

Estimated Cost of Materials: $100.00

Elective

In this course, we will examine the diary and the obsessive observer. These themes will be framed as preliminary sources for creating a series of paintings. Instincts like documenting, revealing, unearthing, appropriating, intervening, spying, etc are all methods of cultivating meaning that will be investigated throughout the course. We will have discussions about different approaches to these sorts of ideas, and the different ethical dilemmas that accompany them. Importantly, we will consider ways artists gather information online and in public spaces, and ultimately where public and private may blur. Some artists we will focus on are Sophie Calle, Anais Nin, Adrian Piper, and Laurel Nakadate as well as artistic movements such as Fluxus, New Media, and other contemporary niches.

Throughout the wintersession, students will maintain a diary or journal that will guide them in making a series of 4 paintings. The coursework will include in-class exercises, alongside slide lectures, readings, and class discussions. Students will use the series of paintings and their journal to deepen existing interests in their practices.

Estimated Cost of Materials: $50.00 - $100.00

Elective

Modern surroundings embody every aspect of our lived spaces, from the material surroundings of the clothes we wear, the objects that we cherish to the immaterial surroundings of networked mediated spaces (eg. Zoom, IG, AltspaceVR). The drive to simulate physical reality has led to more intuitive computational environments that more closely resemble the experience of the world around us yet is counterbalanced by the recognition of unpleasant effects of digital technologies such as anxiety and fatigue and the need for environments supportive of physical and mental health.  This course offers students an opportunity to learn CLO3D, an apparel and soft goods simulation software, in concert with other 3D capture and modeling tools, to explore the possibilities for the design of sensory surroundings, both material and immaterial. Readings and presentations on visual haptics, somatic therapy and neuroaesthetics will provide a theoretical framework to ground these material explorations. Textile skills (eg. sewing, knitting, embroidery), while not required, will probably lead to more meaningful explorations.

Major Requirement | BFA Industrial Design

Practitioners in the Environmental Humanities (EH) engage in disciplinary and cross-disciplinary research in the humanities to think about representation, meaning, value, ethics, and power in relation to environmental questions, issues, and crises. EH offers a capacious umbrella under which to gather inquiry in anthropology, art and design, critical animal studies, cultural studies, film studies, history, literary studies, philosophy, and visual studies, among other disciplines, methodologies, and modes. In this course, Environmental Humanities Research Seminar, students will engage in independent, liberal arts-based research in the environmental humanities in order to contextualize, extend, and/or refine an existing project or to develop a new project. The work under development could be either a liberal-arts based project or a studio-based project that would be deepened through liberal-arts based research. In addition to deep curiosity about one's subject matter, receptivity to the messiness of the research process, and a willingness to support other classmates in their research, this class requires excellent time management skills. Assignments will include: an annotated bibliography, reflective writing, a final paper, and a final presentation.

Elective

Join a community of thesis writers, whether as a first-year graduate seeking to unearth a direction for the Master’s written document or as a second-year graduate engaging the completion process. In an atmosphere that allows you to open up, “stretch out” in reflection, and dynamically gather in exchange, this writing-intensive seminar will enable you to explore relevant ideas, themes, core values, and conduct research in support of the inquiry process. Sessions involve scrutinizing various angles of your perspective as an artist/designer and to write from these angles to discover the emerging aspects of solutions that matter. Each class will suggest a specific theme or principle of inflection to precipitate what is needed for the work’s progress. Included will be several forms of writing: narrative essay, poetic formations, lists, annotation, review, extended caption, as well as several levels of research: bibliographic, archival, fieldwork, dialogue, interviews. Emphasis will be on maps of meaning that will be used as a way to further processes of ideation and understanding. At the conclusion of the seminar, you will have a conceptual focus for your thesis that is clearly formulated visually and verbally. The writings and insights from this time can then be used productively to further the breadth and depth of your ideas through open-ended exploration and self-generated work.

The Middle Ages were defined by translation, and at the hub of the interlingual and intercultural networks crisscrossing western Eurasia was the Greek-speaking civilization known today as Byzantium. In this class we approach literature of the medieval millennium (roughly the 5th to the 15th century CE) by focusing on the period's truly global best-sellers: works of fiction, mysticism, folktale, romance, and philosophy that were each translated multiple times from one language to another, and that enjoyed massive popularity in each new cultural setting. Instead of being viewed as an incubator of distinct "national" literatures, the medieval period becomes an opportunity to explore literary forms, themes, and universal human concerns that transcended linguistic, religious, and national borders. Texts studied include both works originally written in Greek as well as others that made their way from Persian, Arabic, Syriac, and Georgian into Greek, and then through Greek into other languages of the Near East and Europe. Readings include but are not limited to: Barlaam and Josaphat; The Book of Syntipas the Philosopher ("the Byzantine Sinbad"); the Apocalypse of Pseudo-Methodius; The Alexander Romance; and John Climacus's Ladder of Divine Ascent. Assessments include a short response paper, midterm examination, and a final research paper.

Elective

This course introduces the students to methods, materials, and manufacturing processes that translate design activity into finished goods. A significant portion of downstream design activity is devoted to manufacturing issues - the techniques by which materials are selected, shaped, and then assembled. Students will be evaluated based upon success of weekly field study research assignments and a final exam.

Major Requirement | BFA Industrial Design

This course introduces the students to methods, materials, and manufacturing processes that translate design activity into finished goods. A significant portion of downstream design activity is devoted to manufacturing issues - the techniques by which materials are selected, shaped, and then assembled. Students will be evaluated based upon success of weekly field study research assignments and a final exam.

Enrollment is limited to Junior Industrial Design Students.

Major Requirement | BFA Industrial Design

Anyone following contemporary debates in architecture knows that there are as many definitions of architecture's disciplinarity as there are people who attempt to define it. In the current spate of publications on this topic, Mark Jarzombek declares architecture to be a failed discipline; Jane Rendell claims that architecture is a 'subject' subsuming several disciplines; Mark Wigley ruminates upon the prosthetic nature of the discipline to the sciences; Bob Somol and Sarah Whiting attempt to recover a Foucaultian disciplinarity in which norms, principles and traditions are supplanted by performative practice; Akos Moravansky argues that the disciplinarity of architecture resists the discursive approach embodied in post-1968 theory; Keller Easterling seeks the trapdoor into another habit of mind" by eschewing narrow categories of thought for more inclusive ones; Sylvia Lavin uses the analogy of the 'kiss' between an installation and the architecture that houses it as a model of architectural inter-disciplinarity as media interaction; and Hal Foster and Michael Speaks face off on the relative merits of design intelligence and critical distance. How can a student of architecture ever gain a foothold in this complex and confusing debate? At stake in the debates over disciplinarity is the question: how can we identify architecture's categories of knowledge, and how did the categorization of knowledge become a priority? This Disciplinarity seminar will historically situate the circumstances of architecture's emerging disciplinarity, and thematize it through three seemingly disparate but operatively identical lenses: the aesthetic, the historic, and the technological. Although the debates cited above appear unruly at first blush, fundamentally they aggregate around the relative merits of defining disciplinary categories of knowledge either too narrowly or too broadly, focusing either on architecture's autonomy or its extra-disciplinary appropriations. In addition to architecture's various categories of knowledge, the seminar will consider the influence of disciplinarity on our practices, considering how various classifications of architectural knowledge affect its techniques, standards, and formats of dissemination. From its Foucaultian framing to its current incarnations, Disciplinarity will unpack the construction of architecture's disciplinarity, and shed some much-needed light on what it means for architects to be disciplinary.

Students are pre-registered for this course by the department. Enrollment is limited to Graduate Architecture Students.

Major Requirement | MArch: Architecture (3yr)