Arts

Dezeen’s Ellen Eberhardt describes how the renovation of the historic Metropolitan Warehouse, the new home of MIT’s School of Architecture and Planning, maintains “details such as the building's fortress-like corner towers and crenellated corbeled cornices, while punching new windows into its two-foot-thick walls.” Eberhardt highlights how “the project included careful ‘cutting strategies’ and the application of new support systems to shift existing loads within the building to make room for modern academic spaces such as studios and makerspaces.”  

Prof. Tristan Brown discovered that a tea label previously thought to be salvaged from the Boston Tea Party in 1773 actually dates back to the 19th century, writes Smithsonian Magazine’s Ryley Graham. “The artifact’s true origin came to light when Brown took a closer look at the Chinese text on the label...When read in Cantonese, Brown found that the phonetic characters yielded the words 'Smith, Archer,' a reference to Smith, Archer & Co, an American import-export company that shipped teas from East Asia to the United States in the 19th century, nearly a century after revolutionaries dumped British tea into Boston Harbor.” 

For The Architect’s Newspaper, reporter Fred A. Bernstein details the renovation of the Metropolitan Warehouse, the new home of MIT’s School of Architecture and Planning, transforming the fortress-like storage warehouse into “light-filled classrooms and studios.” The building is “going to be a living laboratory and a teaching tool for generations of students,” shares Prof. John Ochsendorf. “Twenty years ago, MIT took me inside and asked if I could see a way to reuse the building. And I said, ‘Absolutely not.’ It was hard to imagine it could be as open and light-filled as it is. That took heroics.” 

In a “radical example of adaptive reuse” and a reimagining of a historic Cambridge landmark, MIT has transformed the Metropolitan Storage Warehouse into the new home of the School of Architecture and Planning, bringing together MIT’s architecture and design programs into one connected academic hub, reports Boston Business Journal reporter Maya Shavit. “There will be new installations and new manifestations of our students’ creativity every single week,” explains Prof. John Ochsendorf. “That’s unpredictable and messy, but it’s also part of the fun of being at a place like MIT where people are constantly inventing the future.”

Graduate students Alfonso Parra Rubio and Erik Strand from the MIT Center for Bits and Atoms worked with the Boston Public Library and the Boston Mayor's Office of Arts and Culture to create a chain-like aluminum sculpture, which will be on display at the library until November, writes Axios’ Steph Solis. “It's a feat of science-driven design and art,” notes Solis.  

Smithsonian Magazine’s Sarah Kuta highlights Lecturer Franco Rossi’s work identifying the name of ancient Maya mathematician Sak Tahn Waax, or “White-chested fox,” inscribed in a chamber with murals, hieroglyphs and mathematical texts. One of Waax’s equations, linking the cycles of Mars and Venus to units of time in the Maya calendar, is “meant to concisely and meaningfully show the relationship between these two planets and human counts of time in ways that could then be applied to political ceremony, predictive astronomy and understandings of seasonality,” says Rossi. 

Lecturer Franco Rossi is spotlighted by National Geographic reporter Taylor Mitchell Brown for deciphering the name of ancient Maya mathematician, Sak Tahn Waax, or “White-Chested Fox,” found inscribed in the mural room at the Maya site of Xultún in Guatemala. “You can look at some of these texts forever, and it won't click,” says Rossi. “Then, one day you see it, and it just clicks.” 

In a Science article by reporter Laura Martín Agudelo, Lecturer Franco Rossi delves into the discovery of the autograph of the ancient Maya mathematician, Sak Tahn Waax, or “White-Chested Fox” in Xultun, Guatemala. “[T]here’s good evidence for codex book production [at Xultun],” says Rossi. “So if there’s going to be a name … this would be the most logical place.” 

Scientific American’s Joseph Howlett highlights how Lecturer Franco Rossi helped discover the name of ancient Maya mathematician, Sak Tahn Waax, or “White-Chested Fox,” which was inscribed in a 1,000-year-old chamber beneath Guatemala. “Rossi showed how the markings on a particular scrap of plaster could be seen as a sort of celestial chronology; the team then reconstructed how the scraps’ symbols tabulated the time it took for planets such as Mars and Venus to come back to the same position, relative to the sun,” writes Howlett.  

WBUR’s Amelia Mason highlights the MIT Museum’s acquisition of the project archives of renowned architect I.M. Pei ’40, which includes details from some of Pei’s most famous works, such as the Louvre’s glass pyramid and the John F. Kennedy Presidential Library and Museum. “ It's an exciting moment for MIT,” says Jonathan Duval, MIT Museum assistant curator of architecture. “I.M. Pei's archive really belongs here. This is where he started his architectural career and education. It’s a homecoming.”

In a WBUR article, arts writer Maddie Browning names the new MIT List Visual Arts Center exhibit, “DEAD PIXEL,” by artist and comic book illustrator Pap Souleye Fall, as a highlight to check out this summer. The exhibition, inspired by the black spots that materialize on-screen from technological error, is an ongoing story depicted through performance, sculpture and video. Browning notes that “Fall visualizes the empty spaces as ‘portals to hidden realms of autonomy.’” 

A new tool developed by MIT researchers could help violin designers test how an instrument might sound when certain dimensions or properties are changed without even pulling out a bow, reports Jennifer Ouellette for Ars Technica. The researchers crafted a virtual violin, “a computer simulation tool that can capture the precise physics of the instrument and even reproduce a realistic sound of a plucked string,” Ouellette explains. 

Designboom reporter Kat Barandy spotlights how a new video “traces the technical process behind ‘Remembering the Future,’ the woven work by Janet Echelman at the MIT Museum.” The piece, which was developed during Echelman’s MIT Center for Art, Science and Technology (CAST) residency in collaboration with Prof. Caitlin Mueller, “uses braided fibers to translate climate data into a suspended artwork.” The MIT Museum operates, in the words of Museum Director Michael John Gorman, as “a playground for ideas, as a living lab.”  

During his time as a visiting artist at the Media Lab, keyboardist Jordan Rudess worked with researchers from the Responsive Environments Group to develop “jam_bot, a machine learning model designed to emulate his playing style and improvise while performing alongside him,” reports Annie Sarlin for The Boston Globe. 

Vogue editor Lisa Wong Macabasco spotlights “Lighten Up! On Biology and Time,” a new exhibit at the MIT Museum that “traces the rhythms of life itself: circadian patterns, light’s command over the body, and the delicate architecture of alertness and rest.” The exhibit features “18 works that blend science and art, from immersive soundscapes to visualizations of circadian patterns and reflective spaces where you observe your own heartbeat and alertness in new ways,” explains Macabasco.