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      Recycling plastics from research labs

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      In 2019, MIT’s Environment, Health, and Safety (EHS) Office collaborated with several research labs in the Department of Biology to determine the feasibility of recycling clean lab plastics. Based on early successes with waste isolation and plastics collection, EHS collaborated with GreenLabs Recycling, a local startup, to remove and recycle lab plastics from campus. It was a huge success.

      Today, EHS spearheads the campus Lab Plastics Recycling Program, and its EHS technicians regularly gather clean lab plastics from 212 MIT labs, transferring them to GreenLabs for recycling. Since its pilot stage, the number of labs participating in the program has grown, increasing the total amount of plastic gathered and recycled. In 2020, EHS collected 170 pounds of plastic waste per week from participating labs. That increased to 250 pounds per week in 2021. In 2022, EHS collected a total of 19,000 pounds, or 280 pounds of plastic per week.

      Joanna Buchthal, a research assistant with the MIT Media Lab, indicates that, prior to joining the EHS Lab Plastics Recycling Program, “our laboratory was continuously troubled by the substantial volume of plastic waste we produced and disheartened by our inability to recycle it. We frequently addressed this issue during our group meetings and explored various ways to repurpose our waste, yet we never arrived at a viable solution.”

      The EHS program now provides a solution to labs facing similar challenges with plastics use. After pickup and removal, the plastics are shredded and sold as free stock for injection mold product manufacturing. Buchthal says, “My entire lab is delighted to recycle our used tip boxes and transform them into useful items for other labs!”

      Recently, GreenLabs presented EHS with a three-gallon bucket that local manufacturers produced from 100 percent recycled plastic gathered from MIT labs. No fillers or additives were used in its production.

      Keeping it clean

      The now-growing EHS service and operation started as a pilot. In June 2019, MIT restricted which lab-generated items could be placed in single-stream recycling. MIT’s waste vendors were no longer accepting possibly contaminated waste, such as gloves, pipette tip boxes, bottles, and other plastic waste typically generated in biological research labs. The waste vendors would audit MIT’s single-stream recycling and reject items if they observed any contamination.

      Facing these challenges, the EHS coordinator for biology, John Fucillo, and several EHS representatives from the department met with EHS staff to brainstorm potential recycling solutions. Ensuring the decontamination of the plastic and coordinating its removal in an efficient way were the primary challenges for the labs, says Fucillo, who shared his and lab members’ concerns about the amount of plastic being thrown away with Mitch Galanek, EHS associate director for the Radiation Protection Program. Galanek says, “I immediately recognized the frustration expressed by John and other lab contacts as an opportunity to collaborate.”

      In July 2019, Galanek and a team of EHS technicians began segregating and collecting clean plastic waste from several labs within the biology department. EHS provided the labs with collection containers, and its technicians managed the waste removal over a four-month period, which produced a snapshot of the volume and type of waste generated. An audit of the waste determined that approximately 80 percent of the clean plastic waste generated was empty pipette tip boxes and conical tube racks.

      Based on these data, EHS launched a lab plastics recycling pilot program in November 2019. Labs from the Department of Biology and the Koch Institute for Integrative Cancer Research were invited to participate by recycling their clean, uncontaminated pipette tip boxes and conical tube racks. In addition to providing these labs with collection boxes and plastic liners, EHS also developed an online waste collection request tool to submit plastic pickup requests. EHS also collected the waste containers once they were full.

      Assistant professor of biology Seychelle Vos joined the pilot program as soon as she started her lab in fall 2019. Vos shares that “we already use pipette tips boxes that produce minimal waste, and this program allows us to basically recycle any part of the box except for tips. Pipette boxes are a significant source of plastic waste. This program helps us to be more environmentally and climate friendly.” 

      Given the increased participation in the program, EHS technician Dave Pavone says that plastic pickup is now a “regular component of our work schedules.”

      Together, the EHS technicians, commonly known as “techs,” manage the pickup of nearly 300 plastic collection containers across campus. Normand Desrochers, one of the EHS techs, shares that each morning he plans his pickup route “to get the job done efficiently.” While weekly pickups are a growing part of their schedules, Desrochers notes that everyone has been “super appreciative in what we do for their labs. And what we do makes their job that much easier, being able to focus on their research.”

      Barbara Karampalas, a lab operations manager within the Department of Biological Engineering, is one of many to express appreciation for the program: “We have a fairly large lab with 35 researchers, so we generate a lot of plastic waste … [and] knowing how many tip boxes we were using concerned me. I really appreciate the effort EHS has made to implement this program to help us reduce our impact on the environment.” The program also “makes people in the lab more aware of the issue of plastic waste and MIT’s commitment to reduce its impact on the environment,” says Karampalas.

      Looking ahead

      MIT labs continue to enthusiastically embrace the EHS Lab Plastics Recycling Program: 112 faculty across 212 labs are currently participating in the program. While only empty pipette tip boxes and conical tube racks are currently collected, EHS is exploring which lab plastics could be manufactured into products for use in the labs and repeatedly recycled. Specifically, the EHS Office is considering whether recycled plastic could be used to produce secondary containers for collecting hazardous waste and benchtop transfer containers used for collecting medical waste. As Seychelle notes, “Most plastics cannot be recycled in the current schemes due to their use in laboratory science.”

      Says Fucillo, “Our hope is that this program can be expanded to include other products which could be recycled from the wet labs.” John MacFarlane, research engineer and EHS coordinator for civil and environmental engineering, echoes this sentiment: “With plastic recycling facing economic constraints, this effort by the Institute deserves to be promoted and, hopefully, expanded.”

      “Having more opportunities to recycle ’biologically clean’ plastics would help us have a smaller carbon footprint,” agrees Vos. “We love this program and hope it expands further!”

      MIT labs interested in participating in the EHS Lab Plastics Recycling Program can contact pipetip@mit.edu to learn more. More

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      in Environment

      MIT PhD students honored for their work to solve critical issues in water and food

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      In 2017, the Abdul Latif Jameel Water and Food Systems Lab (J-WAFS) initiated the J-WAFS Fellowship Program for outstanding MIT PhD students working to solve humankind’s water-related challenges. Since then, J-WAFS has awarded 18 fellowships to students who have gone on to create innovations like a pump that can maximize energy efficiency even with changing flow rates, and a low-cost water filter made out of sapwood xylem that has seen real-world use in rural India. Last year, J-WAFS expanded eligibility to students with food-related research. The 2022 fellows included students working on micronutrient deficiency and plastic waste from traditional food packaging materials. 

      Today, J-WAFS has announced the award of the 2023-24 fellowships to Gokul Sampath and Jie Yun. A doctoral student in the Department of Urban Studies and planning, Sampath has been awarded the Rasikbhai L. Meswani Fellowship for Water Solutions, which is supported through a generous gift from Elina and Nikhil Meswani and family. Yun, who is in the Department of Civil and Environmental Engineering, received a J-WAFS Fellowship for Water and Food Solutions, which is funded by the J-WAFS Research Affiliate Program. Currently, Xylem, Inc. and GoAigua are J-WAFS’ Research Affiliate companies. A review committee comprised of MIT faculty and staff selected Sampath and Yun from a competitive field of outstanding graduate students working in water and food who were nominated by their faculty advisors. Sampath and Yun will receive one academic semester of funding, along with opportunities for networking and mentoring to advance their research.

      “Both Yun and Sampath have demonstrated excellence in their research,” says J-WAFS executive director Renee J. Robins. “They also stood out in their communication skills and their passion to work on issues of agricultural sustainability and resilience and access to safe water. We are so pleased to have them join our inspiring group of J-WAFS fellows,” she adds.

      Using behavioral health strategies to address the arsenic crisis in India and Bangladesh

      Gokul Sampath’s research centers on ways to improve access to safe drinking water in developing countries. A PhD candidate in the International Development Group in the Department of Urban Studies and Planning, his current work examines the issue of arsenic in drinking water sources in India and Bangladesh. In Eastern India, millions of shallow tube wells provide rural households a personal water source that is convenient, free, and mostly safe from cholera. Unfortunately, it is now known that one-in-four of these wells is contaminated with naturally occurring arsenic at levels dangerous to human health. As a result, approximately 40 million people across the region are at elevated risk of cancer, stroke, and heart disease from arsenic consumed through drinking water and cooked food. 

      Since the discovery of arsenic in wells in the late 1980s, governments and nongovernmental organizations have sought to address the problem in rural villages by providing safe community water sources. Yet despite access to safe alternatives, many households still consume water from their contaminated home wells. Sampath’s research seeks to understand the constraints and trade-offs that account for why many villagers don’t collect water from arsenic-safe government wells in the village, even when they know their own wells at home could be contaminated.

      Before coming to MIT, Sampath received a master’s degree in Middle East, South Asian, and African studies from Columbia University, as well as a bachelor’s degree in microbiology and history from the University of California at Davis. He has long worked on water management in India, beginning in 2015 as a Fulbright scholar studying households’ water source choices in arsenic-affected areas of the state of West Bengal. He also served as a senior research associate with the Abdul Latif Jameel Poverty Action Lab, where he conducted randomized evaluations of market incentives for groundwater conservation in Gujarat, India. Sampath’s advisor, Bishwapriya Sanyal, the Ford International Professor of Urban Development and Planning at MIT, says Sampath has shown “remarkable hard work and dedication.” In addition to his classes and research, Sampath taught the department’s undergraduate Introduction to International Development course, for which he received standout evaluations from students.

      This summer, Sampath will travel to India to conduct field work in four arsenic-affected villages in West Bengal to understand how social influence shapes villagers’ choices between arsenic-safe and unsafe water sources. Through longitudinal surveys, he hopes to connect data on the social ties between families in villages and the daily water source choices they make. Exclusionary practices in Indian village communities, especially the segregation of water sources on the basis of caste and religion, has long been suspected to be a barrier to equitable drinking water access in Indian villages. Yet despite this, planners seeking to expand safe water access in diverse Indian villages have rarely considered the way social divisions within communities might be working against their efforts. Sampath hopes to test whether the injunctive norms enabled by caste ties constrain villagers’ ability to choose the safest water source among those shared within the village. When he returns to MIT in the fall, he plans to dive into analyzing his survey data and start work on a publication.

      Understanding plant responses to stress to improve crop drought resistance and yield

      Plants, including crops, play a fundamental role in Earth’s ecosystems through their effects on climate, air quality, and water availability. At the same time, plants grown for agriculture put a burden on the environment as they require energy, irrigation, and chemical inputs. Understanding plant/environment interactions is becoming more and more important as intensifying drought is straining agricultural systems. Jie Yun, a PhD student in the Department of Civil and Environmental Engineering, is studying plant response to drought stress in the hopes of improving agricultural sustainability and yield under climate change.  Yun’s research focuses on genotype-by-environment interaction (GxE.) This relates to the observation that plant varieties respond to environmental changes differently. The effects of GxE in crop breeding can be exploited because differing environmental responses among varieties enables breeders to select for plants that demonstrate high stress-tolerant genotypes under particular growing conditions. Yun bases her studies on Brachypodium, a model grass species related to wheat, oat, barley, rye, and perennial forage grasses. By experimenting with this species, findings can be directly applied to cereal and forage crop improvement. For the first part of her thesis, Yun collaborated with Professor Caroline Uhler’s group in the Department of Electrical Engineering and Computer Science and the Institute for Data, Systems, and Society. Uhler’s computational tools helped Yun to evaluate gene regulatory networks and how they relate to plant resilience and environmental adaptation. This work will help identify the types of genes and pathways that drive differences in drought stress response among plant varieties.  David Des Marais, the Cecil and Ida Green Career Development Professor in the Department of Civil and Environmental Engineering, is Yun’s advisor. He notes, “throughout Jie’s time [at MIT] I have been struck by her intellectual curiosity, verging on fearlessness.” When she’s not mentoring undergraduate students in Des Marais’ lab, Yun is working on the second part of her project: how carbon allocation in plants and growth is affected by soil drying. One result of this work will be to understand which populations of plants harbor the necessary genetic diversity to adapt or acclimate to climate change. Another likely impact is identifying targets for the genetic improvement of crop species to increase crop yields with less water supply. Growing up in China, Yun witnessed environmental issues springing from the development of the steel industry, which caused contamination of rivers in her hometown. On one visit to her aunt’s house in rural China, she learned that water pollution was widespread after noticing wastewater was piped outside of the house into nearby farmland without being treated. These experiences led Yun to study water supply and sewage engineering for her undergraduate degree at Shenyang Jianzhu University. She then went on to complete a master’s program in civil and environmental engineering at Carnegie Mellon University. It was there that Yun discovered a passion for plant-environment interactions; during an independent study on perfluorooctanoic sulfonate, she realized the amazing ability of plants to adapt to environmental changes, toxins, and stresses. Her goal is to continue researching plant and environment interactions and to translate the latest scientific findings into applications that can improve food security. More

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      Greening roofs to boost climate resilience

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      When the historic cities of Europe were built hundreds of years ago, there were open green spaces all around them. But today’s city centers can be a 30-minute drive or more to the vast open greenery that earlier Europeans took for granted.

      That’s what the startup Roofscapes is trying to change. The company, founded by three students from MIT’s master of architecture program, is using timber structures to turn the ubiquitous pitched roofs of Paris into accessible green spaces.

      The spaces would provide a way to grow local food, anchor biodiversity, reduce the temperatures of buildings, improve air quality, increase water retention, and give residents a new way to escape the dense urban clusters of modern times.

      “We see this as a way to unlock the possibilities of these buildings,” says Eytan Levi MA ’21, SM ’21, who co-founded the company with Olivier Faber MA ’23 and Tim Cousin MA ’23. “These surfaces weren’t being used otherwise but could actually have a highly positive contribution to the value of the buildings, the environment, and the lives of the people.”

      For the co-founders, Roofscapes is about helping build up climate resilience for the future while improving quality of life in cities now.

      “It was always important to us to work with as little contradictions to our values as possible in terms of environmental and social impact,” Faber says. “For us, Roofscapes is a way to apply some of our academic learnings to the real world in a way that is tactical and impactful, because we’re tapping into this whole issue — pitched roof adaptation — that has been ignored by traditional architecture.”

      Three architects with a vision

      The founders, who grew up in France, met while studying architecture as undergraduates in Switzerland, but after graduating and working at design firms for a few years, they began discussing other ways they could make a difference.

      “We knew we wanted to have an impact on the built environment that was different than what a lot of architectural firms were doing. We were thinking about a startup, but mostly we came to MIT because we knew we’d have a lot of agency to grow our skills and competency in adapting the built environment to the climate and biodiversity crises,” Faber explains.

      Three months after coming to MIT, they applied to the DesignX accelerator to explore ways to make cities greener by using timber structures to build flat, green platforms on the ubiquitous pitched roofs of European cities’ older buildings.

      “In European city centers, two thirds of the roofs are pitched, and there’s no solution to make them accessible and put green surfaces on them,” Cousin says. “Meanwhile, we have all these issues with heat islands and excessive heat in urban centers, among other issues like biodiversity collapse, retention of rain water, lack of green spaces. Green roofs are one of the best ways to address all of these problems.”

      They began making small models of their imagined green roofs and talking with structural engineers around campus. The founders also gained operational knowledge from MIT’s Center for Real Estate, where Levi studied.

      In 2021, they showcased a 170-square-foot model at the Seoul Biennale of Architecture and Urbanism in South Korea. The model showed roofs made from different materials and pitched at different angles, along with versions of Roofscapes’ wooden platforms with gardens and vegetation built on top.

      When Levi graduated, he moved to Paris, where Cousin and Faber are joining him this spring. “We’re starting with Paris because all the roofs there are the same height, and you can really feel the potential when you go up there to help the city adapt,” says Cousin.

      Roofscapes’ big break came last year, when the company won a grant from the City of Paris as part of a program to improve the city’s climate resilience. The grant will go toward Roofscapes’ first project on the roof of a former town hall building in the heart of Paris. The company plans to test the project’s impact on the temperature of the buildings, humidity levels, and the biodiversity it can foster.

      “We were just three architects with a vision, and at MIT it became a company, and now in Paris we’re seeing the reality of deploying this vision,” Cousin says. “This is not something you do with three people. You need everyone in the city on the same side. We’re being advocates, and it’s exciting to be in this position.”

      A grassroots roof movement

      The founders say they hear at least once a week from a building owner or tenant who is excited to become a partner, giving them a list of more than 60 buildings to consider for their systems down the line. Still, they plan to focus on running tests on a few pilot projects in Paris before expanding more quickly using prefabricated structures.

      “It’s great to hear that constant interest,” Levi says. “It’s like we’re on the same team, because they’re potential clients, but they’re also cheering us on in our work. We know from the interest that once we have a streamlined process, we can get a lot of projects at once.”

      Even in just the three years since founding the company, the founders say they’ve seen their work take on a new sense of urgency.

      “We’ve seen a shift in people’s minds since we started three years ago,” Levi says. “Global warming is becoming increasingly graspable, and we’re seeing a greater will from building owners and inhabitants. People are very supportive of the notion that we have a heritage environment, but as the climate changes drastically, our building stock doesn’t work anymore the way it worked in the 19th century. It needs to be adapted, and that’s what we are doing.” More

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      MIT Center for Real Estate advances climate and sustainable real estate research agenda

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      Real estate investors are increasingly putting sustainability at the center of their decision-making processes, given the close association between climate risk and real estate assets, both of which are location-based.

      This growing emphasis comes at a time when the real estate industry is one of the biggest contributors to global warming; its embodied and operational carbon accounts for more than one-third of total carbon emissions. More stringent building decarbonization regulations are putting pressure on real estate owners and investors, who must invest heavily to retrofit their buildings or pay “carbon penalties” and see their assets lose value.

      The impacts of acute and chronic climate risks — flooding, hurricanes, wildfires, droughts, sea-level rise, and extreme weather — are becoming more salient. Action across all areas of the real estate sector will be required to limit the social and economic risks arising from the climate crisis. But what business and policy levers are most effective at guiding the industry toward a more sustainable future?

      The MIT Center for Real Estate (MIT/CRE) believes that the real estate industry can be a catalyst for the rapid mobilization of a global transition to a greener society. Since its inception in 1983, MIT/CRE has focused on the physical aspect of real estate, especially the development industry, and how the built environment gets produced and changed.

      “The real estate industry is now at the critical moment to address the climate crisis. That is why our center initiated this major research agenda on climate and real estate two years ago,” says William Wheaton, a former director of MIT/CRE and professor emeritus in MIT’s Department of Economics, who is leading a research project on the impact of flood risks in real estate markets.

      Producing high-quality research to support climate actions

      The work of scientists and practitioners responding to the climate crisis is often bifurcated into mitigation or adaptation responses. Mitigation seeks to reduce the severity of the climate crisis by addressing emissions, while adaptation efforts seek to anticipate the most severe effects of the crisis and minimize potential risks to people and the built environment.

      The fundamental nature of the real estate industry — location-based and capital-intensive — enables potential meaningful action for both mitigation and adaptation interventions. Exploring both avenues, MIT/CRE faculty and researchers have published academic papers exploring how chronic climate events such as extreme temperatures lower people’s expressed happiness and also disrupt habits of daily life; and how acute climate events such as hurricanes damage the built environment and decrease the financial value of real estate.

      “This ongoing research production centers on industry’s imperative to take action quickly, the real losses resulting from inaction, and the potential social and business value creation for early adopters of more sustainable practices,” says Siqi Zheng, a co-author of those papers, who is the MIT/CRE faculty director and the STL Champion Professor of Urban and Real Estate Sustainability.

      Building a global community of academics and industry leaders

      In addition to sponsoring research and related courses, MIT/CRE has created a global network of researchers and industry leaders, centered around sharing ideas and experience to quickly scale more sustainable practices, such as building decarbonization and circular economy in real estate, as well as climate risk modeling and pricing. Collaborating with industry leaders from the investment and real estate sector, such as EY, Veris Residential, Moody’s Analytics, Colliers, Finvest, KPF, Taurus Investment Holdings, Climate Alpha, and CRE alumnus Paul Clayton SM ’02, MIT/CRE blends real-world experiences and questions with applied data and projects to create a “living lab” for MIT/CRE researchers to conduct climate research.

      At an inaugural symposium on climate and real estate held at MIT in December 2022, more than a dozen scholars presented papers on the intersection of real estate and sustainability, which will form the basis of a special issue on climate change and real estate in the Journal of Regional Science. A “fireside chat” connected scholars and industry leaders in practical conversations about how to use research to aid practitioners.

      “Dissemination of research is critical to the success of our efforts to address climate change in the real estate industry,” says David Geltner, post-tenure professor of real estate finance and former director of  MIT/CRE, whose research group is working on climate risks and commercial real estate. “If we produce excellent research but it is cloistered in academic journals, it does no one any good. Similarly, if we do not work with collaborators to focus our research, we run the risk of investigating levers to reduce emissions that are of no use to practitioners.”

      Juan Palacios, coordinator of MIT/CRE’s climate and real estate research team, emphasizes that industry collaboration creates a two-way sharing of information that refines how research is being conducted at the center and ensures that it has positive impact.

      “More and more real estate investors and market players are putting sustainability at the center of their investment approach,” says Zheng. “A broad range of stakeholders (investors, regulators, insurers, and the public) have started to understand that long-term profitability cannot be achieved without embracing multiple dimensions of sustainability such as climate, wealth inequality, public health, and social welfare. Because of its unique relationship with industry collaborators and its place in the MIT innovation ecosystem, MIT/CRE has a responsibility and the opportunity to champion multiple pathways toward greater sustainability in the real estate industry.” More

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      Low-cost device can measure air pollution anywhere

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      Air pollution is a major public health problem: The World Health Organization has estimated that it leads to over 4 million premature deaths worldwide annually. Still, it is not always extensively measured. But now an MIT research team is rolling out an open-source version of a low-cost, mobile pollution detector that could enable people to track air quality more widely.

      The detector, called Flatburn, can be made by 3D printing or by ordering inexpensive parts. The researchers have now tested and calibrated it in relation to existing state-of-the-art machines, and are publicly releasing all the information about it — how to build it, use it, and interpret the data.

      “The goal is for community groups or individual citizens anywhere to be able to measure local air pollution, identify its sources, and, ideally, create feedback loops with officials and stakeholders to create cleaner conditions,” says Carlo Ratti, director of MIT’s Senseable City Lab. 

      “We’ve been doing several pilots around the world, and we have refined a set of prototypes, with hardware, software, and protocols, to make sure the data we collect are robust from an environmental science point of view,” says Simone Mora, a research scientist at Senseable City Lab and co-author of a newly published paper detailing the scanner’s testing process. The Flatburn device is part of a larger project, known as City Scanner, using mobile devices to better understand urban life.

      “Hopefully with the release of the open-source Flatburn we can get grassroots groups, as well as communities in less developed countries, to follow our approach and build and share knowledge,” says An Wang, a researcher at Senseable City Lab and another of the paper’s co-authors.

      The paper, “Leveraging Machine Learning Algorithms to Advance Low-Cost Air Sensor Calibration in Stationary and Mobile Settings,” appears in the journal Atmospheric Environment.

      In addition to Wang, Mora, and Ratti the study’s authors are: Yuki Machida, a former research fellow at Senseable City Lab; Priyanka deSouza, an assistant professor of urban and regional planning at the University of Colorado at Denver; Tiffany Duhl, a researcher with the Massachusetts Department of Environmental Protection and a Tufts University research associate at the time of the project; Neelakshi Hudda, a research assistant professor at Tufts University; John L. Durant, a professor of civil and environmental engineering at Tufts University; and Fabio Duarte, principal research scientist at Senseable City Lab.

      The Flatburn concept at Senseable City Lab dates back to about 2017, when MIT researchers began prototyping a mobile pollution detector, originally to be deployed on garbage trucks in Cambridge, Massachusetts. The detectors are battery-powered and rechargable, either from power sources or a solar panel, with data stored on a card in the device that can be accessed remotely.

      The current extension of that project involved testing the devices in New York City and the Boston area, by seeing how they performed in comparison to already-working pollution detection systems. In New York, the researchers used 5 detectors to collect 1.6 million data points over four weeks in 2021, working with state officials to compare the results. In Boston, the team used mobile sensors, evaluating the Flatburn devices against a state-of-the-art system deployed by Tufts University along with a state agency.

      In both cases, the detectors were set up to measure concentrations of fine particulate matter as well as nitrogen dioxide, over an area of about 10 meters. Fine particular matter refers to tiny particles often associated with burning matter, from power plants, internal combustion engines in autos and fires, and more.

      The research team found that the mobile detectors estimated somewhat lower concentrations of fine particulate matter than the devices already in use, but with a strong enough correlation so that, with adjustments for weather conditions and other factors, the Flatburn devices can produce reliable results.

      “After following their deployment for a few months we can confidently say our low-cost monitors should behave the same way [as standard detectors],” Wang says. “We have a big vision, but we still have to make sure the data we collect is valid and can be used for regulatory and policy purposes,”

      Duarte adds: “If you follow these procedures with low-cost sensors you can still acquire good enough data to go back to [environmental] agencies with it, and say, ‘Let’s talk.’”

      The researchers did find that using the units in a mobile setting — on top of automobiles — means they will currently have an operating life of six months. They also identified a series of potential issues that people will have to deal with when using the Flatburn detectors generally. These include what the research team calls “drift,” the gradual changing of the detector’s readings over time, as well as “aging,” the more fundamental deterioration in a unit’s physical condition.

      Still, the researchers believe the units will function well, and they are providing complete instructions in their release of Flatburn as an open-source tool. That even includes guidance for working with officials, communities, and stakeholders to process the results and attempt to shape action.

      “It’s very important to engage with communities, to allow them to reflect on sources of pollution,” says Mora. 

      “The original idea of the project was to democratize environmental data, and that’s still the goal,” Duarte adds. “We want people to have the skills to analyze the data and engage with communities and officials.” More

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      Taking the long view: The Deep Time Project

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      How would we design and build differently if we learned to live at multiple time scales? How would human communities respond to global challenges if the short-term mindset of contemporary life was expanded to encompass new dimensions of past and future — diving into the depths of geological history and projecting forward to imagine the consequences of our actions today?

      These are questions that Cristina Parreño Alonso addresses in her practice as an architect, artist, and senior lecturer in the MIT Department of Architecture. Her field of research, which she has termed “Transtectonics,” explores the cultural and environmental implications of expanded temporal sensibilities in architectural material practice. A building, Parreño argues, is a “material event,” part of a process of construction and deconstruction that is shaped by the past and directly impacts the future — an impact that has become all the more apparent in the epoch of the Anthropocene, in which humans have become the dominant force influencing the physical composition and regulating systems of the planet.

      Parreño’s classes at MIT have included design studios that position architecture in relation to geological processes, and historical surveys of building practices that embrace traces of time and rhythms of maintenance. She recently devised a new class, 4.181 (The Deep Time Project), which launched in fall 2022 with the support of a 2022 Cross Disciplinary Class Grant from the MIT Center for Art, Science and Technology (CAST), in addition to the d’Arbeloff Fund for Excellence in Education.

      Learning deep time literacy

      “The course proposes that architects must develop deep-time literacy if we are to become true planetary stewards,” says Parreño. “Rather than attempting to identify solutions, the course is intended to provoke new ways of thinking that lead to greater accountability — a recognition that we, as architects, are intervening in something larger than ourselves, and that the consequences of our actions extend far beyond the timescales of our human lives and civilizations.” The class, which was offered to master’s students in the School of Architecture and Planning and the Harvard Graduate School of Design, culminated in a series of “material essays” that seek to bring deep time into contemporary consciousness. These multimedia projects — which include physical prototypes, text components, sound, and video  — are on display until March 24 at the Wiesner Student Art Gallery.

      “Being part of the exhibition has made me realize the advantages of belonging to a collective that recognizes the urgency of addressing the idea of time at different scales,” says architecture master’s student Christina Battikha, whose material essay “Plastic Time” imagines a future when plastic is integral to the geological structure of the Earth. Envisioned as a jagged plastic “rock,” the sculpture interprets the ubiquitous synthetic material as a natural phenomenon, a human-made product that far outlasts a human lifespan.

      Taking the form of a clay “Rosetta Stone” inscribed with multiple languages, architecture student Tatiana Victorovna Estrina’s material essay explores how the evolution of language impacts the built environment. “My project identifies a gap of imagination in deep time research,” she explains. “The installation became a futuristic exploration of opportunities for the adaptive relationship between the human body and its prosthetic additions of language and architecture.”

      Provocative perspectives

      “Developing the class here at MIT grants us the capacity to hold conversations across disciplines,” says Parreño. “That’s all the more necessary, because deep time literacy requires a very holistic way of thinking; it raises awareness of the fact that we are inherently interconnected, and makes it clear that we can’t afford to operate in compartments.”

      This attention to interdisciplinarity is exemplified by the guest speakers invited to share their ideas with the class, each providing a new way of accessing the deep time paradigm. Among the speakers were Marcia Bjornerud, a structural geologist and educator who argues that a geologist’s temporal perspective can empower us to make decisions for a more sustainable future. Richard Fisher, a senior journalist at the BBC, and Bina Venkataraman, journalist and author of “The Optimist’s Telescope: Thinking Ahead in a Reckless Age,” both shared their experiences of engaging the public in the perils of short-term-ism and the positive effects of taking the long view in daily life. The historian of science Jimena Canales provided a philosophical background to the conundrums of time perception, citing the renowned debate between Albert Einstein and the philosopher Henri Bergson.

      Alongside these large-scale thinkers and academic researchers were practitioners who directly apply planetary perspectives at a local level. Joseph Bagley is Boston’s city architect, investigating the layers of time that constitute the urban fabric. Faries Gray, the sagamore of the Massachusett Tribe at Ponkapoag, advocates for Indigenous ways of knowing that recognize the continuity between human cultures and the living history of the land. Together, these different ways of relating to deep time offer a toolkit for contemplating a concept too large to be held in the human mind.

      Thinking through art

      Parreño’s own way of conceptualizing deep time is informed by her artistic and philosophical inquiry into the paradoxes of time, tectonics, and materiality. Exhibited at the Schusev State Museum of Architecture in Moscow, her installation Tectonics of Wisdom focused on the typology of the library as a way of demonstrating how architecture is intertwined with geological and civilizational history. Carbon to Rock, shown at the 2021 Venice Architecture Biennale, explores new artificial manipulations of the geological timescales of the carbon cycle, rethinking igneous rocks as a resilient material for high-carbon-capture architecture. In addition, Parreño has published several essays on the subject of deep time for journals including Strelka Magazine, Log, and JAE Journal of Architectural Education. Her work as a writer and theorist is complemented by her art installations — or material essays — that serve as a research methodology and a means of communication.

      Likewise, the exhibition component of the Deep Time Project is a way of giving thoughts physical form. Estrina’s installation was initially prompted by the need to communicate the presence of buried nuclear waste to future generations — or even future species. Battikha’s sculpture is a response to the vast buildup of plastic generated by cycles of supply and demand. However, rather than making value judgements or condemning human actions, these works are intended to disrupt conventional patterns of perception, experimenting with longer-term perspectives that have the potential to change ingrained assumptions and daily habits. “There needs to be a paradigm shift before we can effectively address the enormity of the challenges ahead,” says Parreño. “The Deep Time Project is about taking a step back, reframing these problems in ways that will allow us to ask the right questions.” More

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      in Environment

      Q&A: Tod Machover on “Overstory Overture,” his new operatic work

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      Composers find inspiration from many sources. For renowned MIT Media Lab composer Tod Machover, reading the Richard Powers novel “The Overstory” instantly made him want to adapt it as an operatic composition. This might not seem an obvious choice to some: “The Overstory” is about a group of people, including a wrongly maligned scientist, who band together to save a forest from destruction.

      But Machover’s resulting work, “Overstory Overture,” a 35-minute piece commissioned and performed by the chamber ensemble Sejong Soloists, has come to fruition and will have its world premiere on March 7 in Alice Tully Hall at New York’s Lincoln Center. Opera superstar Joyce DiDonato will have the lead role, with Earl Lee conducting. On March 16, the piece will have its second performance, in Seoul, South Korea. MIT News recently talked to Machover about his original new work.

      Q: How did you get the idea for your new work?

      A: I’ve been a fan of Richard Powers’ novels for a long time. He started out as a musician. He’s a cellist like I am, and was a composer before he was a writer, and he’s also been deeply interested in science for his whole career. All of his novels have something to do with people, ideas, music, and science. He’s always been on my radar.

      Q: What’s compelling to you about this particular Powers book?

      A: “The Overstory” is made up of many stories about characters who come together, improbably, because of trees. It starts with short chapters describing characters with relationships to trees. One is about a family that moved to the Midwest and planted a chestnut tree. It grows for 150 years and they take pictures every year, and it’s at the center of the family until it gets cut down in the 1990s. Another guy is in a plane in Vietnam and gets shot down, and his parachute gets caught in a tree right before he hits the ground.

      One character is named Patricia Westerford and she’s a scientist. Her life work is studying the forest and trees, and she discovers that trees communicate — both underground, through the roots, and through the air, via particles. They’re much more like a network than they are static, isolated objects. Her whole world is discovering the miracle of this network, but nobody believes her and she loses her tenure. And she basically goes and lives in the forest. Eventually all the characters in the book come together to preserve a forest in the Northwest that’s going to be destroyed. They become connected through trees, but in the book, all their lives are basically destroyed. It’s not a happy ending, but you understand how human beings are connected through the natural world, and have to think about this connection in a radically new way.

      Every single character came alive. The book is just a miracle. It’s a great work of art. Immediately, reading it, I thought, this is something I want to work on.

      Q: How did you start turning that into an operatic composition?

      A: I got in touch with Powers soon after that. Richard knew my music and answered immediately, saying, “I’d love to have you do an opera on this, and let’s figure out how.” I started working on it just before the pandemic. Around that time he came to Harvard to give a lecture, so he came here to my office in the Media Lab, and we got to chat.

      Generally novels leave more room for you to decide how to make music out of them; they’re a lot less scripted than a movie or a play, and the many inner thoughts and asides leave room for music to fill in. I asked Richard, “Would you be interested in writing the text for this?” And right away he said, “Look, I’d like to be involved in the process, but I don’t feel equipped to write a libretto.” So, I went to Simon Robson, who worked on “Schoenberg in Hollywood” [another Machover opera], and we started working and checked in with Richard from time to time.

      Just about that time the ensemble Sejong Soloists, who are based in New York and Seoul, offered to have their string orchestra collaborate on a project with a theatrical aspect, which was new for them. I explained I was working on an opera based on “The Overstory,” and I felt we could explore its themes. I could imagine the string instruments being like trees and the orchestra being the forest.

      The next thing I did was contact my favorite singer, Joyce DiDonato. She’s such a beautiful, powerful singer. I did an opera in 1999 for Houston called “Resurrection,” which was based on Tolstoy’s last novel, and we were casting the main female character. We did auditions in New York, Los Angeles, and Europe, couldn’t find the main character, and finally the head of the Houston Grand Opera said, “You know, there’s this young singer in our apprentice program who’s pretty special, and you should hear her.”

      And sure enough, that was Joyce. It was her first major role. We hadn’t done another project together although we remained close over the years, but I called her and said “Joyce, I know how busy you are, but I’ve got this idea, and I’ll send you the book. It’s great and I’d love to focus on this one character, would you consider doing it?” And she said she’d love to, partly because sustainability and the environment is something she really cares about.

      Q: Okay, but how do you get started writing music for a piece when it’s based on a book about trees?

      A: I began with two things. Musically I started with the idea of creating this language for tree communication. I was inspired by this idea that one of the reasons we don’t know about it is it’s underground, it’s low, it’s spreading out. I’m a cellist, and I’ve always loved music that grows from the bottom. When you play the cello, in a lot of the great literature, you’re playing the low part of a quartet or quintet or orchestra, and often people don’t quite hear it as the most prominent thing.

      The second thing I did was start making this text. Which was hard, because it’s a big novel. It’s a 35-minute piece where Joyce is at the center. When she starts, she just talks, for a minute, and then little by little it turns into song. It’s her sharing with everybody what she learned, she brings you into the world of the forest. In time, there’s a crisis, they’re destroying the forest, and as she says, they’re tearing out the lungs — tearing out the mind — of the world. The last part of the piece is a vision of how the trees need us but we need them even more.

      Q: I don’t want to push too hard on this, but the composition sounds parallel with its subject matter. Trees are connected; an orchestra is connected. And then this story is about people building a connection to nature, while you want the audience to feel a connection to the piece. How much did you think about it that way?

      A: I was thinking about that pretty consciously, and I really tried to make something that feels very still and simple, but where there’s a lot going on. It feels like it’s living and moving. The piece starts out with solo instruments, so at first everybody’s doing their bit, then they all join in. The strings make a rich ensemble sound, but in the last section every single instrument has its own part — I wrote an individual part for all these string players so they’re kind of weaving in and out. Musically it’s very much constructed to lead people through a forest that is both diverse but connected together.

      I also enjoy using electronics to add another dimension. In this piece I’ve tried to create an electronic world that doesn’t necessarily remind you of electronics, except for one part where machines comes in ripping the forest apart. But mostly the electronics are blended with the orchestra in a way you might not always notice. The sound and feel, hopefully, will appear more natural than nature.

      Q: You also seem to have clearly identified a story with real operatic drama here, unusual as it may be.

      A: The emotional transition that happens is the awareness of what the forest means, and in your gut what it means to protects it, and what it would mean to lose it, and then a glimpse of what it might feel like to live in a different way. I think the contribution someone like myself might be able to make is to change attitudes, to think about our limits as a species and as individuals. Technical solutions alone aren’t going to solve things; people’s behavior somehow has to change. A piece like this is a way of having the experience of crisis, and a vision of what could be different.

      Q: Here’s something a lot of us want to know: What’s it like working with Joyce DiDonato?

      A: She’s one of those rare people. She’s completely direct and honest and lives life to the fullest. Joyce, I mean, thank God she has the best voice you’ll ever hear and she’s at the top of her game, but she also thinks about the world and ideas, and she did a whole project a few years ago performing a repertoire around the world about war and peace, to jolt people into a new understanding. Every project she’s involved with, she cares about the characters and she’s in it all the way.

      For this piece we did a bunch of Zoom sessions and tried things out. And she’s fantastic at saying, “To make that phrase the best you can for my voice at this point in the piece, would you consider changing that one note?” She has incredibly precise ideas about that. So, we worked musically on every detail and on the whole shape. What a pleasure! She also came here to MIT. She hadn’t been to the Media Lab, so she spent two days here at the beginning of August with her partner. She was so open to all the students and all the ideas and inventions and machines and software, just in the most gracious and truly excited way. You couldn’t have had a better visitor.

      Q: Any last thoughts about this piece you want to share?

      A: In my music in general, I’m pretty voracious at combining different things. I think in this project where it involves the natural world and the language of trees, and the language of melodies and instruments and electronic music, there may be more elements I’ve pulled together than ever. The emotional and even musical world here is larger. That’s my story here: These elements require and invite new thinking. And remember: This is just the first part of a larger project. I hope that you can hear the full “Overstory” opera — perhaps with trees growing in a major opera house — in the not-so-distant future! More

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      in Environment

      Chess players face a tough foe: air pollution

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      Here’s something else chess players need to keep in check: air pollution.

      That’s the bottom line of a newly published study co-authored by an MIT researcher, showing that chess players perform objectively worse and make more suboptimal moves, as measured by a computerized analysis of their games, when there is more fine particulate matter in the air.

      More specifically, given a modest increase in fine particulate matter, the probability that chess players will make an error increases by 2.1 percentage points, and the magnitude of those errors increases by 10.8 percent. In this setting, at least, cleaner air leads to clearer heads and sharper thinking.

      “We find that when individuals are exposed to higher levels of air pollution, they make more more mistakes, and they make larger mistakes,” says Juan Palacios, an economist in MIT’s Sustainable Urbanization Lab, and co-author of a newly published paper detailing the study’s findings.

      The paper, “Indoor Air Quality and Strategic Decision-Making,” appears today in advance online form in the journal Management Science. The authors are Steffen Künn, an associate professor in the School of Business and Economics at Maastricht University, the Netherlands; Palacios, who is head of research in the Sustainable Urbanization Lab, in MIT’s Department of Urban Studies and Planning (DUSP); and Nico Pestel, an associate professor in the School of Business and Economics at Maastricht University.

      The toughest foe yet?

      Fine particulate matter refers to tiny particles 2.5 microns or less in diameter, notated as PM2.5. They are often associated with burning matter — whether through internal combustion engines in autos, coal-fired power plants, forest fires, indoor cooking through open fires, and more. The World Health Organization estimates that air pollution leads to over 4 million premature deaths worldwide every year, due to cancer, cardiovascular problems, and other illnesses.

      Scholars have produced many studies exploring the effects of air pollution on cognition. The current study adds to that literature by analyzing the subject in a particularly controlled setting. The researchers studied the performance of 121 chess players in three seven-round tournaments in Germany in 2017, 2018, and 2019, comprising more than 30,000 chess moves. The scholars used three web-connected sensors inside the tournament venue to measure carbon dioxide, PM2.5 concentrations, and temperature, all of which can be affected by external conditions, even in an indoor setting. Because each tournament lasted eight weeks, it was possible to examine how air-quality changes related to changes in player performance.

      In a replication exercise, the authors found the same impacts of air pollution on some of the strongest players in the history of chess using data from 20 years of games from the first division of the German chess league. 

      To evaluate the matter of performance of players, meanwhile, the scholars used software programs that assess each move made in each chess match, identify optimal decisions, and flag significant errors.

      During the tournaments, PM2.5 concentrations ranged from 14 to 70 micrograms per cubic meter of air, levels of exposure commonly found in cities in the U.S. and elsewhere. The researchers examined and ruled out alternate potential explanations for the dip in player performance, such as increased noise. They also found that carbon dioxide and temperature changes did not correspond to performance changes. Using the standardized ratings chess players earn, the scholars also accounted for the quality of opponents each player faced. Ultimately, the analysis using the plausibly random variation in pollution driven by changes in wind direction confirms that the findings are driven by the direct exposure to air particles.

      “It’s pure random exposure to air pollution that is driving these people’s performance,” Palacios says. “Against comparable opponents in the same tournament round, being exposed to different levels of air quality makes a difference for move quality and decision quality.”

      The researchers also found that when air pollution was worse, the chess players performed even more poorly when under time constraints. The tournament rules mandated that 40 moves had to be made within 110 minutes; for moves 31-40 in all the matches, an air pollution increase of 10 micrograms per cubic meter led to an increased probability of error of 3.2 percent, with the magnitude of those errors increasing by 17.3 percent.

      “We find it interesting that those mistakes especially occur in the phase of the game where players are facing time pressure,” Palacios says. “When these players do not have the ability to compensate [for] lower cognitive performance with greater deliberation, [that] is where we are observing the largest impacts.”

      “You can live miles away and be affected”

      Palacios emphasizes that, as the study indicates, air pollution may affect people in settings where they might not think it makes a difference.

      “It’s not like you have to live next to a power plant,” Palacios says. “You can live miles away and be affected.”

      And while the focus of this particular study is tightly focused on chess players, the authors write in the paper that the findings have “strong implications for high-skilled office workers,” who might also be faced with tricky cognitive tasks in conditions of variable air pollution. In this sense, Palacios says, “The idea is to provide accurate estimates to policymakers who are making difficult decisions about cleaning up the environment.”

      Indeed, Palacios observes, the fact that even chess players — who spend untold hours preparing themselves for all kinds of scenarios they may face in matches — can perform worse when air pollution rises suggests that a similar problem could affect people cognitively in many other settings.

      “There are more and more papers showing that there is a cost with air pollution, and there is a cost for more and more people,” Palacios says. “And this is just one example showing that even for these very [excellent] chess players, who think they can beat everything — well, it seems that with air pollution, they have an enemy who harms them.”

      Support for the study was provided, in part, by the Graduate School of Business and Economics at Maastricht, and the Institute for Labor Economics in Bonn, Germany. More