2015年10月31日 星期六
2015年10月30日 星期五
吳誠文: 誰叫你要唸博士班!2013-12
誰叫你要唸博士班!
精華簡文
圖片來源:吳誠文提供
誰叫你要唸博士班!
雖然是要討論「為什麼現在的學生不唸博士班」這個議題,但是現場有很多學生,我決定把題目改為「誰叫你要唸研究所!」
「奇怪了,我進公司已經快一年了,大家都加薪,為什麼我沒有?當初進來時老闆跟我講,如果我表現好的話,到年底薪水會跟著調整,我覺得我做得不錯啊!」
「也許是你的表現不如他預期吧。」
「怎麼可能?我部門裡大家做的事情我也會做啊,也沒有做得比較差。」
「可是你部門裡其他人都是碩士,只有你是博士。」
「那又怎樣?」
「你薪水不是比碩士多兩萬多嗎?你得替老闆想想,有什麼是你會做而其他人不會做的,而且是公司需要的?或者有什麼事雖然其他人也會做,但是你做得比其他人好的?你覺得你對公司而言有更高的價值嗎?」
「我花那麼多年的青春歲月才拿到博士學位,發表那麼多論文,難道薪水多一點不對嗎?」
「論文可以當飯吃嗎?他聘你的時候一定以為博士對他比較有價值吧,也許是老師幫你對他講了什麼好話。但是他花了錢有沒有得到預期的回報呢?」
「我可以做研究啊!只是我們公司只做產品,不做研究,這怎麼能怪我?」
「你看我有做研究嗎?我好好做產品,五年也升經理了,薪水加獎金也比你高很多,誰叫你要唸博士!」
最近像這樣的話題正在學生與年輕工程師之間快速的蔓延,而媒體根據一些統計資料以及符合統計趨勢的特定個案所作的高學歷者失業或學非所用的負面報導,也加重了學生與社會的疑慮。
過去3年來幾個主要大學的博士班報考人數急遽下降,大約減少了一半,引起教授們的恐慌(好吧,只是不安而已,不要寫信來抗議了)。原因是目前國內學術評量系統加諸教授身上的關鍵績效指標(KPI)主要是論文數,而論文產出又極度仰賴作為研究主力的博士班學生,所以博士班學生如果不見了,教授就沒戲唱。再者,如果各校教授的論文產出下降,接下來恐怕就是校長們與教育部長官們擔心的世界大學排名要走下坡了。
這事非同小可,排名怎麼可以上上下下的,5年500億的強心針不是已經打了兩針了嗎?
8月初到高雄參加「第24屆超大型積體電路設計暨電腦輔助設計技術研討會」,大會邀請我給個演講,討論「為什麼現在的學生不唸博士班」這個議題。所有的教授果然都很關心這個問題,因此,我開講前在會場就聽到大家見面聊天不自覺的談到這個話題。
但是當他們三五成群要找個對象來責怪的時候,總是也不能對著鏡子或互相指著鼻子罵,最簡單的方式就是罵教育部跟國科會,再來就是罵學校(當然是在背後罵嘍)。眾矢之的是幾個作為群龍之首的頂尖研究型大學,本來應該可以樹立國家學術與教育典範的,卻也在這種莫名所以的數字管理浪潮之下隨波逐流。
不只是多數不在這幾個大學裡的教授對於這幾個大學研究生數目的快速膨脹非常的不以為然,連在這幾個大學裡的教授也多不認同目前對各種論文KPI與五花八門排名的狂熱追求。我相當的好奇,這麼多聰明的人怎麼會陷入這樣一個糊塗的漩渦。這究竟是怎麼一回事?
我首先到行政院主計總處的網站上去查了一下統計資料,發現20年來高等教育在人數上確實有急劇的變化(見下表)。去年(2012)在學的大學部學生有1,038,041個,碩士生有183,094個,博士生有32,731個。去年15歲以上人口中具有學士學位的有3,206,420個(占22.27%),而具有碩博士學位的有815,363個(占5.52%)。在表中我也列出2002年、1997年及1991年所查到的部分數據。
我也發現去年全國畢業的學士總共有232,448個,碩士有60,050個,博士有3,861個,總數是296,359個,而去年出生的人口才229,481人。反觀1991年畢業的學士有49,399個,碩士有6,409個,博士有518個,總數是56,326個,而當年出生的人口是321,932人。這樣的數字變化令多數人怵目驚心,這到底是什麼原因造成的呢?如果只是把矛頭指向教育部、國科會跟學校,我的演講費也太好賺了。在我檢視更多的資料後,我得到了下面四個觀察:
第一,教授們需要更多的博士生,因為論文KPI決定了教授的升等及各種獎勵。
第二,學校與政府需要提升論文KPI以提升大學排名。
第三,年輕人變少了,而且越來越少,但是博士生已經太多了(雖然教授們還是覺得不夠)。
第四,好學生不唸博士班了。
本刊聰明的讀者當然看得出來前兩個觀察與後兩個彼此互相衝突,這就是問題的根源嗎?
「你覺得現在大家收那麼多研究生,程度都夠嗎?」我在會場隨機抽訪一位熟識的教授。
「唉!我怎麼說呢?前陣子一個碩士生跟我說他看英文論文有困難,我找一個博士生把它翻譯成中文,結果他把論文裡的Table 1、Table 2翻譯成桌子1、桌子2,整篇文章慘不忍睹,我簡直快瘋掉了。叫他去查字典,他回來說字典就是這樣翻的,Google也是這樣翻的。我這樣有回答你的問題了嗎?」
我點頭稱是,因為我抽訪的結果,連天龍國頂尖大學電機系的教授也在抱怨學生程度下降(有天良嗎?)。如果我上述的觀察屬實,則抽樣數多的話,這樣的結果是統計的必然。但是我發現我可以做一個解釋,然後結論是雖然問題非常的嚴重,但是誰都沒有錯,都不必負責,也就是皆大歡喜(學生除外),但不知如何善後。
話說十幾年前大學很窮,希望教育部多給錢,遂央請幾位德高望重的仕林大老向教育部建言,提出5年500億(頂尖大學)計畫。立法院要求設立量化目標,以免浪擲納稅人的錢,於是與各大學建立默契後,教育部提出世界大學排名的目標以及論文數的指標。
聰明盡職的大學校長們有了明確的目標以後便努力要達成,而發獎金引導教授衝高論文數是最有效的方法,這與教育部跟國科會目標一致,也似乎符合教授利益。要衝高論文數就必須增加博士生名額,而博士生是從碩士生來的,所以各大學紛紛增加碩博士生名額,甚至全臺灣各領域各種學校都廣設研究所,教育部當然也就不方便阻攔。
果然,10年來臺灣各大學的論文產出迅速成長,也因此在各種世界大學排名不斷往前邁進,教育部跟國科會在立法院就有了交代。
我講到這個現象時百感交集,因為想不到臺灣學術界也有代工文化。各種排名與論文KPI就像產品規格一樣,客戶一下單,規格有了,學術代工產業就迅速完成任務,不必煩惱市場的開拓。這看起來似乎是很成功的計畫,大家都很努力,應該受到表揚的。無奈第二期計畫才進行了一半,從2011年起論文數開始走下坡,原因就是2010年起博士生的數目開始往下掉了。
博士生數目往下掉的原因是多重的,人口結構的改變(25-29歲人口數從2007年開始下滑)是一個,大學教職就業市場飽和是一個,產業界以代工為主大多不從事研發(所以不需要博士)又是另一個。好的學生不唸博士班(所以博士生素質往下掉,屋漏偏逢連夜雨,造成惡性循環),就是因為怕找不到工作。
但是,好的博士會找不到工作嗎?這是另一個有趣的問題。本刊聰明的讀者都了解少數的樣本不具統計意義,不能代表一個大數量的群體的行為,也了解不能把大數量群體的統計結果(平均值)拿來套到特定少數的個體,認定統計值可以準確預測這些個體的行為。但是有些人(當然不是本刊聰明的讀者嘍)卻把誤進博士班的90%學生的必然下場拿來嚇唬那些可以進博士班的10%學生,說他們以後找不到工作。結果,顯然問題不是如何讓更多學生唸博士班,而是如何讓教授與學校了解到底對學生、對社會的責任是什麼。學生一畢業就不是學校與教育部的責任了嗎?
學生唸大學部、碩士班或博士班應該都各有他們的學習目標,而大學與教授的責任是幫助並確定學生達到他們的學習目標。目標的達成反應在校友的表現與對社會的貢獻受到肯定,這才是大學與教授的主要價值所在。
學生唸博士班的動機如果與教授收博士生的動機有落差,有能力彌補落差的是教授而不是學生。教授指導學生從事研究的目的應該是產生有用的知識造福社會人群(論文是傳遞知識的重要工具,不是目的),並幫助學生達到他們的學習目標。
教授其實沒有老闆,大可擺脫學術代工文化的糾纏,以智慧與良知發展自己的生涯模式。
(本文轉載自臺大校友雙月刊/2013年9月號,僅反映專家作者意見,不代表本社立場。)
2015年10月28日 星期三
art-making in Black Mountain College
The Institute of Contemporary Art in Boston is showing its largest exhibition yet, exploring the impact of one small North Carolina liberal arts school.
What made Black Mountain College different from other places was that the center of the curriculum was art-making.
NYER.CM|由 LOUIS MENAND 上傳
CULTURAL COMMENTOCTOBER 27, 2015
Learn By Painting
BY LOUIS MENAND
VIEW FULL SCREEN
Anni Albers, “Knot 2” (1947), currently on view in “Leap Before You Look: Black Mountain College, 1933–1957,” at the Institute of Contemporary Art in Boston.
CREDITPHOTOGRAPH BY TIM NIGHSWANDER / IMAGING4ART. COURTESY THE JOSEF AND ANNI ALBERS FOUNDATION / ARTISTS RIGHTS SOCIETY NEW YORK
One thing to keep in mind if you visit (and, if you are in Boston, you should visit) the Institute of Contemporary Art’s huge exhibition “Leap Before You Look: Black Mountain College, 1933–1957”—more than two hundred and sixty works by almost a hundred artists, curated by Helen Molesworth, the biggest show the I.C.A. has ever mounted—is that Black Mountain College was not an artists’ community or a writers’ colony, or even an art school. It was a college.
A very small college. Black Mountain was launched in the Depression, and for twenty-four years it led a hand-to-mouth existence in the foothills of the Blue Ridge Mountains, outside Asheville, North Carolina. In a good year, enrollment was sixty. When at last the money dried up, the college shut its doors. But to the extent that finances permitted, and depending on who was available to teach, it offered a full liberal education. Students could take courses in science, mathematics, history, economics, languages, and literature.
What made Black Mountain different from other colleges was that the center of the curriculum was art-making. Students studied pretty much whatever they wanted, but everyone was supposed to take a class in some kind of artistic practice—painting, weaving, sculpture, pottery, poetry, architecture, design, dance, music, photography. The goal was not to produce painters, poets, and architects. It was to produce citizens.
Black Mountain was founded by a renegade classics professor named John Andrew Rice, who had been kicked out of Rollins College, in Florida. Rice believed that making something is a different learning experience from remembering something. A lot of education is reception. You listen to an expert explain a subject to you, and then you repeat back what you heard to show that you learned it. Teachers push students to engage actively with the material, but it’s easy to be passive, to absorb the information and check off the box.
Rice thought that this made for bad social habits. Democracy is about making choices, and people need to take ownership of their choices. We don’t want to vote the way someone else tells us to. We want to vote based on beliefs we have chosen for ourselves. Making art is making choices. Art-making is practice democracy.
Rice did not think of art-making as therapy or self-expression. He thought of it as mental training. As anyone who has tried to write a poem knows, the discipline in art-making is exercised from within rather than without. You quickly realize that it’s your own laziness, ignorance, and sloppiness, not somebody else’s bad advice, that are getting in your way. No one can write your poem for you. You have to figure out a way to write it yourself. You have to make a something where there was a nothing.
A lot of Rice’s ideas came from the educational philosophy of John Dewey (although the idea that true learning has to come from within goes back to Plato), and Rice was lucky to find an art teacher who had read Dewey and who thought the same way. This was Josef Albers. Albers had not been so lucky. He was an original member of the Bauhaus school, but when Hitler came to power, in 1933, the Bauhaus closed down rather than accept Nazi professors. Albers’s wife, Anni, was from a prominent Jewish family, and they were understandably anxious to get out of Germany. Rice heard about them from the architect Philip Johnson, and he sent a telegram to Albers inviting him and his wife to come teach at Black Mountain. The reply read: “I speak not one word English.” (Albers had read his Dewey in translation.) Rice told him to come anyway. Albers eventually did learn English, and he and Anni, an accomplished and creative weaver, established the mode of art instruction at Black Mountain. Everything would be hands-on, collaborative, materials-based, and experimental.
Bauhaus was all about abolishing distinctions between craft, or design, and fine art, and Black Mountain was one of the places where this aesthetic entered the world of American art. (Another was the Carnegie Institute of Technology, in Pittsburgh, where Andy Warhol went to college.) Albers’s most famous (although probably not his favorite) student at Black Mountain was Robert Rauschenberg, and Rauschenberg is the presiding spirit at the I.C.A. exhibition. Although goofier than most Black Mountain art—there is an earnestness about a lot of the work; this was schoolwork, after all—putting an automobile tire around a stuffed goat is the essence of Black Mountain practice.
Black Mountain College was a holistic learning environment. Teachers and students worked together; people who came to teach (and who stayed—not everyone found the work conditions to their liking) sat in on one another’s classes and ended up learning as much as the students. When a new building needed to be constructed, students and teachers built it themselves, just as, at the old Dewey School, at the University of Chicago, the children grew their own food and cooked their own meals.
It seems as though half the midcentury American avant-garde came through Black Mountain in one capacity or the other. The I.C.A. exhibition includes works by (besides Rauschenberg and the Alberses) Ruth Asawa, John Cage, John Chamberlain, Robert Creeley, Merce Cunningham, Elaine and Willem de Kooning, Robert Duncan, Buckminster Fuller, Shoji Hamada, Lou Harrison, Ray Johnson, Franz Kline, Jacob Lawrence, Robert Motherwell, Kenneth Noland, Charles Olson, Ben Shahn, David Tudor, and Cy Twombly. Black Mountain produced art of almost every kind.
Did it also produce good citizens? That’s an educational outcome everyone embraces but that’s hard to measure. In the case of Black Mountain, the sample size is miniscule, and most students left before graduating. There is also the self-selection issue. People who choose to attend progressive colleges are already progressive-minded, just as people who want a liberal education are usually already liberal (meaning interested in knowledge for its own sake), and people who prefer vocational or pre-professional education are already headed down those roads. College choice tends to confirm prior effects of socialization. But why keep those things separate? Knowing and doing are two sides of the same activity, which is adapting to our environment. That was Dewey’s point.
People who teach in the traditional liberal-arts fields today are sometimes aghast at the avidity with which undergraduates flock to courses in tech fields, like computer science. Maybe those students see dollar signs in coding. Why shouldn’t they? Right now, tech is where value is being created, as they say. But maybe students are also excited to take courses in which knowing and making are part of the same learning process. Those tech courses are hands-on, collaborative, materials-based (well, virtual materials), and experimental—a digital Black Mountain curriculum. The other liberal-arts fields might take notice. Arts practice should be part of everyone’s education, not just in preschool.
2015年10月26日 星期一
Gaga, Yale take on emotional intelligence
http://yaledailynews.com/blog/2015/10/26/gaga-yale-take-on-emotional-intelligence/
Gaga, Yale take on emotional intelligence
JIAHUI HU OCT 26, 2015
STAFF REPORTER
Photo Credit: Jiahui Hu
Hundreds crowded into the Yale School of Management Saturday to listen to Lady Gaga — but they were not there to hear her sing. Instead, Gaga and her mother, Cynthia Germanotta, discussed the importance of emotional intelligence, the ability to identify and respond to one’s feelings.
Gaga and Germanotta’s organization, the Born This Way Foundation, partnered with the Yale Center for Emotional Intelligence to host the Emotion Revolution. Around 200 high-school and college students attended the conference, which was the culmination of an almost two-year joint project between BTWF and the Center. Together, the two organizations surveyed 22,000 high school students about their emotional well-being.
At the conference, Marc Brackett, the center’s director and a BTWF board member, announced the survey results, which revealed, among other findings, that high-school students surveyed felt bored 70 percent of the time and stressed 80 percent of the time. Conference attendees gathered the rest of the day to discuss how educators, academics and policy makers can improve students’ mental well-being.
“When I was 15 years old, I told my mom I was sad and needed therapy, but she told me I was just a teenager,” Gaga said. “Today is the antithesis of that. Today we are asking you guys to be mindful of your emotions and to reveal them.”
Gaga said BTWF chose to partner with Yale because of Brackett’s expertise in emotional intelligence. Through the partnership, BTWF leaders hoped to jointly conduct research on the mental well-being of today’s youth, Gaga said. The partnership’s research gives greater value to input from adolescents than previous studies have done, Gaga said.
By partnering with Brackett, BTWF also sought to make emotional intelligence accessible to an audience beyond academics, Gaga said. Citing the often-spoken phrase “suck it up,” Gaga said cultural norms today are not in line with emotional intelligence theories because they undervalue compassionate responses to emotions. To change public attitudes, the Center and BTWF raise awareness of the need for emotional intelligence through social media and by hosting conferences such as the Emotion Revolution, Gaga said. BTWF has also connected around 150,000 youth with mental health services in their communities, according to an Emotion Revolution press release .
“Being at Yale is very eye-opening for us as an organization that is constantly trying to tell people why it is important to pay attention to emotional intelligence,” Gaga said. “We are in a place where it is a reality. Today we want to explode that conversation to all over the world so it becomes not a fringe, niche issue anymore.”
Brackett has been conducting research on emotional intelligence at Yale since he arrived in 2003 to work under psychology professor and current University President Peter Salovey. Thirteen years prior to Brackett’s arrival, Salovey and his colleague John Mayer defined the term emotional intelligence in a 1990 paper. The idea, however, did not rise in popularity until 1995 when journalist and psychologist Daniel Goleman published a book about the subject, Salovey said. He added that his 1990 paper “Emotional Intelligence” has become one of his most cited.
Research, Brackett said, has shown that emotional intelligence has a profound impact on an individual’s quality of life, as the ability to successfully identify and react positively to one’s emotions improves attention, memory, learning and decision-making. Brackett added that people educated on emotional intelligence are also able to constructively deal with rejection.
“I can’t promise that bringing emotional intelligence into the school is going to change everything,” Brackett said. “But I do hope that the conversation today is about how we can make a difference and close that gap [between the prevalence of positive and negative feelings].”
The Center applies the results of its research to classrooms through the RULER program, which trains teachers and uses classroom tools to teach emotional intelligence, said Miriam Schroers, the Center’s director of communications. Schroers added that data show RULER improves such education quality benchmarks as academic performance and teacher attrition. RULER is now in several hundreds of schools, including the entire public school district in Bridgeport, Connecticut.
Several students interviewed said they attended the event because they saw the connection between emotional intelligence and mental health. Nora Smith, a student from Pennsylvania, said the dominance of negative feelings in the classroom could only exacerbate a student’s mental health challenges. Zachary Bozich of Cleveland and Gabrielle Frost, two other conference attendees, echoed Smith’s thoughts.
“Stress, unacceptance and loneliness all can lead to suicide and depression,” Bozich said.
As a part of BTWF’s mission to change cultural norms, the foundation also launched the hashtag “#IAmNotJust,” which encourages people to identify and begin talking about their emotions, Gaga said. She announced in the late afternoon that the hashtag, which was launched in the morning, had been viewed online five million times.
In the future, the foundation will continue working with the center by conducting and publishing academic work shedding light on adolescents’ well-being, Gaga said. Brackett said that the difference between positive stress and negative stress could be a topic for additional inquiry.
Salovey and Mayer’s 1990 article has been cited over 8,300 times.
2015年10月22日 星期四
Construction, renovation projects transform Princeton University's campus appearance
Web Stories
Construction, renovation projects transform campus appearance
Posted October 21, 2015; 03:00 p.m.
by Min Pullan, Office of Communications
Interspersed among Princeton University's historic buildings and grounds are major construction and renovation projects that are gradually changing the appearance of the campus. Most of the projects are based on the University's 10-year Campus Plan, which runs through 2016.
Updates about many of the projects are posted to the Major Projects section of the Facilities website. Information on construction impacts, such as disruptions to traffic, crosswalks and parking, may be found on the Facilities website, along with a map (.pdf) of where work is being done. Updates on the following structures were provided by the Facilities Organization.
Located at the intersection of Olden Street and Prospect Avenue, the new Andlinger Center for Energy and the Environment weaves together laboratory, teaching and office space with a network of gardens in a park-like setting.(Photo by Denise Applewhite, Office of Communications)
New construction
Andlinger Center for Energy and the Environment: The construction of the Andlinger Center is almost complete and due to open in late fall. The new building, which holds lecture and laboratory classrooms, office space, a lecture hall, conference rooms, and research labs, connects to the Engineering Quadrangle on its north side and Bowen Hall to the east.
The 129,000-square-foot center has been designed to meet LEED Silver standards under the Leadership in Energy and Environmental Design rating system developed by the U.S. Green Building Council. Tod Williams Billie Tsien Architects of New York City, co-led by alumnus Tod Williams, designed the project.
Arts and Transit Project: The Transit portion of the Arts and Transit Project has been completed. This includes the new, modern New Jersey Transit Dinky Station, Wawa convenience store, landscape and parking. A new road has been laid to connect Alexander Street to the north side of the West Garage and to campus, allowing vehicles to enter and exit on the north side of the parking garage in addition to the southern entry and exit.
A nearby bicycle parking shelter has been added. Structural work will continue through the end of the year. The café will be ready by the end of this year for the selected vendor to start work to customize the building. Work on the restaurant addition and renovation has started with the projected completion in 2016. The architect for the station, Wawa, café and restaurant is Rick Joy Architects of Tucson, Arizona.
The completed Wawa and Princeton Station. (Photo by Christopher Lillja, Facilities Organization)
Work continues on the site's three arts building with the concrete and steel structures being constructed. The arts buildings, designed by Steven Holl Architects, will provide performance, rehearsal, teaching studio and office space for the Lewis Center for the Arts and the Department of Music. They are scheduled to be completed by fall 2017.
This photo shows examples of townhomes and apartments on Hibben-Magie Road in the Lakeside Apartments. (Photo by Christopher Lillja, Facilities Organization)
Lakeside Graduate Housing: With a capacity for 715 residents, Lakeside Graduate Housing with its 255 apartments and 74 townhouse units was completed before the summer and opened on June 1. The housing units range from one to four bedrooms, and furnished units are available. Located off Faculty Road with views of Lake Carnegie, the complex includes a fitness center and patio for barbecuing, as well as a parking garage with more than 400 spaces for residents. Lakeside has been designed to meet LEED Silver standards. The project team includes the architectural firm Studio Ma of Phoenix and Princeton, and developer American Campus Communities of Austin, Texas.
This rendering shows the International Studies atrium, facing Scudder Plaza. (Image courtesy KPMB Architects)
Renovations
20 Washington: The 20 Washington Road renovation project began last spring with interior demolition in the 200,000-square-foot former Frick Chemistry Laboratory. Over the summer work continued on the exterior of the building, with window replacement and masonry repairs alongside interior renovations. The project will provide new building systems, lighting, finishes and furniture, two atrium spaces and a new entrance that connects to Scudder Plaza. Completion is expected in fall 2016.
Built in 1929 in the Collegiate Gothic style, 20 Washington Road will be repurposed to centralize economics and international program offices across campus. The architect for the project is Kuwabara Payne McKenna Blumberg Architects of Toronto.
This is a new reading area and study carrels on the north side of Firestone Library A Level. (Photo by Christopher Lillja, Facilities Organization)
Projects starting this fall
Firestone Library: The phased renovation of Firestone Library includes the completion of the storage areas for Rare Books and Special Collections on the B and C levels and reading rooms on the eastern side of the A and B levels. Project completion is expected in late 2018. The architects for the project are Frederick Fisher and Partners Architects of Los Angeles and Shepley Bulfinch Richardson and Abbott of Boston.
Merwick Stanworth: The first phase of the Merwick Stanworth complex — a townhouse and apartment community for faculty and staff, with some affordable housing units for local residents — was completed in June, and tenants have begun moving into the 128 units.
The second phase of work on Stanworth has begun with demolition of the old buildings. Construction of the 198 units in this phase is expected to be finished in fall 2016. The complex, designed by Torti Gallas and Partners of Silver Spring, Maryland, is located along Route 206/Bayard Lane.
Murray-Dodge Hall: The Office of Religious Life moved to Green Hall this academic year while Murray-Dodge Hall is renovated to provide accessibility and life-safety improvements. The hall is an interfaith space that was built in the 1880s and houses many of the Office of Religious Life's programs and staff offices. The projected completion date of the renovations is early 2017.
Butler Tract: The Butler Tract buildings, bounded by Harrison Street, Hartley Avenue and Sycamore Road, were constructed in 1947 as temporary housing for returning military personnel. Over the years, they have been modestly upgraded, and some new units were built in the 1980s. Until spring 2015, all units were being used for graduate student housing. Butler Tract was vacated this summer and demolition of the units has started.
Architectural Laboratory: The Architectural Laboratory, used for tectonic testing of structures and for large-scale fabrications, as well as the teaching of construction methods, sits on approximately one acre of Princeton University-owned property, south of Frick Chemistry Building. A replacement building has been planned on the current location. Demolition work is expected to begin soon.
Childcare center: The new center will serve around 150 to 180 children from infants to age 5 and it will be available to children of University faculty, staff and graduate students. The building at 171 Broadmead that houses the center will be closed when the new center opens. Utility relocation work is expected to begin in mid-November and the building construction will start in the spring.
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