这里呈现的是学期里面的学生作品，并附有作品简要说明。每位学生都可以选择自己的地点并定义其项目，但所有人都必须一同探讨实践课程更大量的问题，对此在作业部分中有所阐述。这些图片显示了他们的进步，以及他们为实现建立建筑项目这一目标而采取的步骤，所有这些都通过他们的作品引发实践课程较大范围的讨论。所有作品都由署名学生提供，获得允许使用。
The work of the students from throughout the semester is presented here, along with brief statements on their work. Each student was allowed to find their own site and define their program, but all worked together on the larger issues of the studio, described in the assignments section. These images show their progress, and the steps they took to achieve the goal of creating an architectural project, all the while contributing to the larger debate of the studio through their work. All work is courtesy of the student named, and used with permission.
乔·德汉姆
Joe Dahmen
“要做一名学生就是要处在不断转变的状态中，毕业时几乎人们存在过的一切痕迹将烟消云散。与无情的学院环境相比，从深夜开始的学生秘密活动形成了一个历史。这个历史只有那些明白在何处寻找的人才会知晓。我希望在项目中研究的是这种短暂和容易忘怀的事在建筑上的意义。”
"To be a student is to be in a state of constant transition, with nearly all evidence of one's presence wiped away at graduation. Against this unforgiving institutional backdrop, the clandestine activities of the students taking place late at night form a history which only appears to those who know where to look. What I hoped to investigate in the project is what the transient and elusive might mean in architectural terms."
(英文PDF)、
(英文DOC)
该作品集的所有图片都由乔·德汉姆提供。
All images in this gallery are courtesy of Joe Dahmen.
一个构造模型，展示了摩擦和重力如何创造平衡和力量。呈现不可见的力量。
A tectonic model, showing how friction and gravity can create balance and strength. Invisible forces are made visible.
又一个构造模型，再次展示了力量如何存在于小的影响因素中。通过较小而较轻的部件，巨大沉重的物件处于悬浮和漂浮的状态。
A second tectonic model, again showing how strength exists in small forces. The large heavy piece is suspended and floats, through the work of the smaller lighter pieces.
沿着地点的力量和运动图，展示了水陆交界的情况。
A diagram of forces and movements along the site, showing the boundary conditions of land versus water.
又一幅显示运动的图。
A second diagram showing movement.
最终模型的第一次通过，将建筑的重量和场所的力量并列对照，对两者进行展示。
The first pass at a final model, juxtaposing architectural masses against the forces of the site, and showing both.
从河上看该地点，表现出该项目是如何处理众多的界限条件。
A view from the river toward the site, showing how the project deals with many boundary conditions.
最终模型。地点位于校园的边缘，在高速路和河流之间，处于过渡的空间。学生生活的本质是短暂的过渡，因此这个地点体现了这一点。
The final model. The site exists on the edge of the campus, between the highway and the river, in a space of transition. The nature of student life is transient, and the site plays on that.
再次审视最终模型，展现了项目的主要部分。
A second look at the final model, showing the massing of the project.
塔利雅·多茜
Talia Dorsey
以下作品集的所有图片均由塔利雅·多茜提供。
All images in this gallery are courtesy of Talia Dorsey.
凯蒂斯·赫林斯基
Katice Helinski
该作品集的所有照片均由凯蒂斯·赫林斯基提供。
All images in this gallery are courtesy of Katice Helinski.
詹姆斯·史密斯
James Smith
“麻省理工学院的文化身份存在于其错综复杂的走廊网络。这些走廊在地上地下‘无限地’蔓延在整个校园。建议的学生中心将对这个走廊系统带来空间上的阻断。设计过程始于对‘走廊’的一个空间探索，研究其内部存在的属性。在走廊空间内试验性的运动伴随有张力、压缩和重力的属性。”
"The cultural identity of MIT exists within its intricate network of corridors which extend 'infinitely' above and below ground throughout the campus. The proposed Student Center would introduce a spatial interruption along this corridor system. The design process began with a spatial exploration of the 'corridor', investigating the qualities that exist within it. Qualities of tension, compression and gravitation exist alongside the experiential movement found within the space of the corridor."
(英文PDF)、
(英文DOC)
该作品集的所有图片均由詹姆斯·史密斯提供。
All images in this gallery are courtesy of James Smith.
安装：无穷无尽而又封闭的麻省理工学院走廊开放了，而且显示出了与外界的联系。走廊的占有者向外部漂去，走出这些“管道”。
The installation: The endless and closed corridors of MIT are opened and the relation to the outside is exposed. The occupant is levitated toward the outside, out of these "tubes".
细节模型展示了镜面建筑如何建造，它重新定义了观察角度，朝向天空开辟了一个空间。
A detail model showing how a construction of mirrors could exist, redefining the angle of view and opening a space to the sky.
麻省理工学院可移动的走廊地图以及它们之间的联系。这个地图的延展性让人们可以对将探索的空间进行不同的安排，以发现未知地点。
A movable map of the corridors of MIT and their relation. The malleability of this map allows different arrangements of space to be explored, to discover unknown places.
材料并列：用灰泥填充金属，两者都发生改变。空间上和材料上，这两种已知的形式的结合创造了新的事物。
Material juxtaposition: Plaster fills metal, and the two are changed. Both spatially and materially, this union creates something new from two known types.
更加精细的材料模型，结合了详细的镜面模型和项目的实质性。
A more refined material model, combining the ideas of the detailed model of mirrors with the materiality of the project.
最终模型：走廊是悬浮的，一个浮在另一个上面，而有的则被截断了。光线穿透了整个设计。给了无穷无尽的管道一个出口和崭新的生命。
The final model: Corridors are suspended, floating one above the other, and some are truncated. Light permeates the entire design. The endless tubes are given an outlet and new life.
新的走廊和空间起作用，与现存的走廊相互影响，在它们的规则性里面创造了张力。没有张力则没有空间存在。
The new corridors and spaces react and interact with the existing corridors, creating tension within their regularity. Spaces are found that wouldn't have existed without the tension.
最终模型俯视图，展现了新与旧的关系。大厅恰如运河，在新旧交界之处横穿而过。
An overhead view of the final model, showing the relation of the new to the old. The halls are like canals, intersecting here at the union of the old and the new.
安装图片：参与者遵循地板上的标示，根据空间的存在重新定义空间，周围有广播声响。
声音轨迹图。该绘图会影响设计过程。
根据音乐声音绘图创造的空间。这些空间的内部和外部都有不同的密度和韵律。
分析模型，用于根据同样的基本语言规则创造不同类型的空间。有限的词汇也可能有无限的调整。
多孔混凝土。小孔可使声音和光线穿过，但是声音和光线都会由于材料而发生改变。
多孔木板。声音和光线可通过材料的特意调整而得到调节。但是木材材质和混凝土的区别，在这些模型上清晰展现了出来。
地点模型。空间的复杂安排可追溯到第一次安装时。
具体的最终模型，展现了实践课程如何将多方面融合在项目上。
把光看作材料和空间制造者的安装。注意，绳索告诉观看者阳光如何在这个空间中移动。
根据空间塑造的材料，同时给空间造型。这个模型是关于造型的条件和混凝土的性质。
玻璃和混凝土的关系，以及两种材料在冲突中如何联系和共存的。这些模型探索了这些材料特性的极限。
再次审视同一个模型，展现出这种材料冲突的结果。
动态张力中的玻璃和混凝土。显然是由脆弱支撑沉重，再次显现了不可见的力量。
早期通过材料的冲突创造的空间。相对于玻璃，混凝土既用作固体也用作液体。
对空间和形状的深入研究，早期通过主体元素尝试建造建筑物。开始用光纤和材料定义空间。
最终模型，展现了实践课程将众多元素结合在一体。