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连贯秋季学期二级工作室的主题，是集中于「打造建筑和已建成形式」作为构筑，技术和物质所推动的努力成果。这设计的探讨是植根于较广泛的物质文化及相关现像，也是研究已建成形式的语言和产出，作为对工程的概念提案的综合回应。工作室会检视任何形式的建筑作品，其物料的构筑层及其生成的技术或制作成为实现这些意念的工具。这成为「科技的艺术」──意味某一水平的发明和创新是设计过程的部份，以把物质改变为美和诗的作品以及控制环境。就这方面，工作室会借鉴多位建筑师的作品和设计过程，包括Shigeru Ban，Peter Zumthor，Herzog与deMeuron，Kazuyo Sejima，Richard Horden，Rick Joy与Glenn Murcutt和其他人。
工作室会开发两项专题：
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第一个专题是由三个二级工作室参与的协作设计。这构思是初期习作，透过开发多个工作室核心的主题意念，为第二项专题定出场景。专题要求为位于波士顿湾的Thompson岛的一项装置提供设计和部份制作。「装置」是回应由工地及流通、改造和组合这些关键议题所决定和推动的不同实际和现像条件。在你打造遮风挡雨、观景、移动、通道等地方时，这些全要顾及；而每个设计要求设计和材料语言的创新。专题要求理解一个小岛当地的生态、潮汐、气候和对建筑的限制。在四星期的时程内，设计小组要就设计提案构思、设计，研究、测试和制作部份。
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第二项主要专题是「植物研究所」。工程（约12,000平方呎）是以「玻璃屋」概念为中心，位于Wellesley学院的校园；在这成熟、物理条件多样化的景观，学生选址要与其萌生的建筑意念和概念提案相适应，可能是现有植物设施的加建或是新工地。现代的「玻璃屋」是计划的主要正规部份，由较细少的计划原素所达成和彼此相互编织，要求重新检视在这背景下透明度和光线比例的诗意和技术可能性。
「玻璃屋」作为气候温和的空间是有趣的预示：十九世纪初期开发这类型的建筑，是走在时代之前几十年的物料和组装创新的先驱，带来开发和组装玻璃和铸铁的重大发展——就现代意义来说，今天的新物料和科技也有这样的机会。专题的空间体积创造机会，以研究物料和构筑色板如何控制光线和重量以符合不同的环境目的——自然地控制光、热、空气及其他微气候，而不需要过多的能源投入。
工作室研习发展景观建设的意念：检视在其内、其地上，在其之上，在其中建筑的方法。想想本质与建筑的本质之间的关系，看看这地方改变中的形式——季节性，太阳，风，光线；亦会研习和发展形式过程的想法：从土地、空间和围绕的褶皱产生的概念，以研习不同形式的遮护所和微气候。
工作室会有不同的支援评论家和顾问，包括一位景观建筑师，多位环境及结构工程师。工作室也可以安排周末考察，可能是去密切根州的Cranbrook学院。除此之外，三个工作室还会一起参加一系列的研讨会或实地考察，或访问建筑师或参观大家感兴趣的制作场地。
The theme that unites level 2 studios in the fall semester is a focus upon the 'making of architecture and built form' as a tectonic, technical and materially driven endeavor. It is a design investigation that is rooted in a larger culture of materiality and the associated phenomena -- but a study of the language and production of built form as an integrated response to the conceptual proposition of the project. The studio will look to works of architecture where the material tectonic and its resultant technology or fabrication become instrumental to the realization of the ideas, in whatever form they may take. This becomes the 'art of technology' -- suggesting a level of innovation and creative manipulation as part of the design process to transform material into a composition of beauty and poetry as well as environmental control. In this regard the studio will look to the works and design processes of a number of architects including Shigeru Ban, Peter Zumthor, Herzog and deMeuron, Kazuyo Sejima, Richard Horden, Rick Joy and Glenn Murcutt among others.
The studio will develop 2 projects:
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The first project will be a collaborative design that will engage all three of the level 2 studios. It is conceived as a preliminary exercise that sets the scene for the second project through the development of a number of thematic ideas that are central to the studios. The project calls for the design and partial fabrication of an installation on Thompson Island, located in Boston Harbor. The installations will be responses to a variety of physical and phenomenological conditions that are determined and driven by the site, in conjunction with critical issues such as mobility, transformation and assembly. They will engage you in making places for shelter, view, transition, passage and so forth and each design will call for an innovation in the design and material language. The project calls for an understanding of the local ecology, the tides, climate and the constraints of building on an island. Within the 4 week schedule design teams will conceive, design, research, test and partially fabricate their design propositions.
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The second and major project will be a Botanical Research Center. The project (of about 12,000 square feet) is centered around the notion of the 'Glass-House'. The location will be the campus of Wellesley College and within this mature and physically variable landscape, students will work with locations appropriate to their emerging architectural ideas and conceptual propositions, either as an addition to the existing botanical facility or as a new site. The major formal part of the program, the contemporary 'glasshouse', will be served by and interwoven with smaller programmatic elements and will call for an re-examination of the poetic and technical possibilities inherent in scales of transparency and light within this setting.
The 'glasshouse' as a temperate space is a intriguing typology: the development of the building type in the early 19th century was an precursor to a material and assembly innovation that was several decades ahead of its time and led to significant advancements in the development and assembly of glass and cast iron -- and in a contemporary sense that opportunity exists today with new materials and technologies. The spatial volume of the project creates the opportunity to research how materials and the tectonic palette can control light and mass to fulfill various environmental objectives -- light, heat, air and other microclimatic forces naturally and without resource to excessive inputs of energy.
The studio will study develop ideas that look closely at working with the landscape: looking at the means of building in it, on it, above it, through it? Thinking about the relationship of nature to the nature of the architecture, looking at the changing form of the place -- seasonally, the sun, the wind, the light. We will also study and develop notions about form processes: generation of form from notions of folding of the land, space and enclosure to study variations of forms of shelter and microclimate.
The studio will have various supporting critics and consultants including a landscape architect, environmental and structural engineers. It is also possible that the studio may make a weekend visit, possibly to Cranbrook Academy in Michigan. In addition the 3 studios will collaborate over a series of seminars or field trips by or to architects or local fabricators of interest.
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