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Coastal Zone Inforn-lation Center 7- AESTHETICS nd ENVIRONMENTAL EDUCATION, A MULTI- DISCIPLINARY RESOURCE for CURRICULUM DEVELOPMENT cm A V , HC 79 ,je .E5 Wisconsin Department of Public Instruction W5 Barbara Thompson, Ph.D., State Superintendent 19 7 5 AESTHETICS and ENVIRONMENTAL EDUCATION Property Of CSC Library A MUIL TI -DISCIPLINARY RESOURCE for CURRICULUM DEVELOPMENT U DEPARTMENT OF COMMERCE NOAA COASTAL SERViCES CENTER 2234 SOUTH HOBSON AVENUE CHARLESTON SC 29405-2413 Published By Wisconsin Department of Public Instruction Barbara Thompson, Ph.D., State Superintendent This project was supported in part by funds appropriated under the national defense education act of 1958, Title 111-A, as amended-P.L. 85-864, the U.S. Office of Education, Department of Health, Education, and eft Welfare. However, the opinions expressed herein do not necessarily reflect the position or policy of the U.S. L Cft Office of Education, and no official endorsement by the U.S. Office of Education should be interred. cft ry'A Bulletin No. 5500 LLI TABLE OF CONTENTS 9 Introduction ................................. 1 SECTION I - ENVIRONMENTAL AESTHETICS SECTION 11 - HOW TO PUT IT ALL TOGETHER AND FORCES INFLUENCING IT e Processes Facilitating Aesthetic � Philosophy, Goals, Rationale ................... 3 Awareness and Conceptualization ............... 41 � The State of the Environment .................. 5 e Preparing for Curriculum Planning ............. 42 � Concepts of Aesthetics ........................ 6 9 The Conditions for Aesthetic Learning .......... 43 � Aesthetic Criteria ............................. 8 � Integrating Aesthetics into Instructional Programs 11 * Psychic Conditions Influencing Environmental Aesthetic Education ............. 44 � Ethics and Environmental Aesthetics ............ 13 � Value Definitions ............................. 16 e Planning for Learning ........................ 45 � Aesthetic Values and Valuing ................... 17 9 The Conceptual Learning Process ............... 46 � Aesthetics and the Natural Environment ......... 19 * Conceptual Framework ........................ 48 � The Role of Art, Aesthetics and Design in Assessing Land Quality and Land Use ........... 24 � Urban Environmental Aesthetics ............... 33 SECTION III � Concepts and Skills ........................... 37 � Environmental Aspects of Art Programs ......... 38 e Bibliography ................................. 53 ACKNOWLEDGEMENTS The writers identified below planned and authored David Engelson, Environmental Education Consultant this publication from its inception. While this was a - Wisconsin Department of Public Instruction: cooperative effort in formulating, compiling and edit- Aesthetics and the Natural Environment ing the entire publication, each writer assumed the responsibility for developing specific sections of this Phil Lewis, Director, Environmental Awareness Center book. The areas that each one undertook primary - University of Wisconsin - Madison: responsibility for developing are identified below Inter-disciplinary Land Use and Design Kent Anderson, Curriculum Specialist/Art - Milwau- Irvin Spoerri, Director of Art - Fond du Lac Public kee Public Schools: Aesthetics - Conditions for Learn- Schools - Concepts and Skills ing Curtis Carter, Professor of Aesthetics and Philosophy The following agencies and organizations have co- - Marquette University - Rationale - Aesthetic Cri- operated with the Wisconsin Department of Public In- teria - Ethics - Urban Aesthetics struction in the development of this publication. They provided direct financial support or indirect financial Earl Collins, Art Education Consultant - Coordinator support by making the services of their staff members of Arts and Humanities - Wisconsin Department of available. Public Instruction: Values - Curriculum Planning - Planning/Learning Process The Wisconsin Environmental Council - Marquette University (Milwaukee) - The University of Wiscon- Kenneth B. Cottingham, Supervisor of Art -West Allis, sin-Madison - Fond du Lac Public Schools - Milwau- West Milwaukee Public Schools: Ethics - Concepts kee Public Schools - West Allis Public Schools The Graphics and layout by Charles Holzbog. Earl L. Collins, Project Coordinator, Art Education Consultant, State Coordinator, Arts and Humanities iv PREFACE The growing public awareness and concern related to the deterioration of our environment has resulted in a need for and demand that education at all levels deal with this problem as part of the educational process. For several years the Wisconsin Department of Public Instruction has recognized this need and has assumed a leadership role in developing and providing environ- mental education guidance and resources. Educators have become increasingly aware of the complexity of most en- vironmental problems. This realization has resulted in a recognition that scien- tific and technological solutions in themselves may be a major means for deal- ing with our environmental problems but underlying nearly all environmental problems and solutions are human attitudes and behaviors which are a result of our society's ethics and values. Efforts to develop environmental education programs have called attention to the fact that aesthetic awareness and under- standing should form the basis by which human beings interpret these ethics and values that influence behavior affecting environmental quality. Respond- ing to this need, the Wisconsin Department of Public Instruction originated and produced this guide. The purpose of this publication is to provide a philosophic point of view on aesthetics and the environment and to serve as a resource for incorporation of environmental aesthetics learning experiences into any subject. State Superintendent Wisconsin Department of Public Instruction Introduction The accompanying'sche'ma depicts all of the major factors that the Environmental Aesthetics Curriculum authors con- sider to be necessary for meaningful learning experiences ETHICS related to aesthetics and the environment. It is not a model for curriculum development but rather a holistic and hierarchi- cal organization of those factors which should be incorporated A1FECT1V1-_________ in an environmental aesthetics curriculum and the related processes of learning. This schema depicts ethics as being the most dominant and pervasive force affecting society's and each individual's values. Values are the screens and determinants affecting all of the other elements in the above schema@ Environmental aesthetic education processes should involve the affective, C M cognitive and psychomotor domains with an emphasis upon V) sensory experiences stressing exploration and discovery. The schematic design attempts to convey a feeling of in- 0 teraction, interrelatedness and dynamics between all of the elements it identifies. It is the position of this book that edu- cation related to environmental quality cannot be dealt with DISCOV ERY effectively in a fragmented and linear manner, but that all of the elements in the schema must be considered when or- ganizing learning experiences. ETHICS The statements that follow elaborate the philosophical foundations of the schema. The first section deals with the rationale for environmental aesthetics and the related curri- culum content. The second section describes the procedures and processes for curriculum development and implementa- tion. The third section provides bibliographical references and supplementary resources. The purpose of this publication is to serve as a multi-dis- ciplinary environmental aesthetics resource for curriculum development. SECTION I ENVIRONMENTAL AESTHETICS "a* Cog AND THE FORCES roV7 INFLUENCING IT jV A A2 I A was ew. wr@ *-, . - vim 6 L Allaw AL IL sk L L..- Is s Environmental Aesthetic Education: H IWA Philosophy, Goals, Rationale too It is now apparent that the task of education for environ- mental awareness has at its center a crisis of values. The past insensitivities and misuses of environment are not merely or even primarily failures of scientific knowledge or technology. They are failures in aesthetic and ethical sensitivity. Aesthetic and ethical values are pervasive qualities affecting all human environmental decisions and actions. Aesthetic awareness requires sensitivity to form and design through the exercise of perceptual discrimination. Ethics makes us aware that all persons, present and future, are entitled to equal respect and to a share of the benefits of the natural and man-made en- vironment. Ethics calls attention to the fact that nature's proc- esses and life support systems are entitled to respect and care- ful use. Both aesthetic and ethical values are thus central for the achievement of a total quality of life. They give purpose and direction to the ecological knowledge and skills'that are necessary to solve environmental problems. Awareness of aesthetic and ethical aspects of responses to the environment naturally begins in the home and in fa- miliar play and work surroundings as the child interacts with his personal environment. Public or alternative schools are in a position to formally integrate and communicate awareness of aesthetic and ethical aspects of environment with other related concepts and knowledge. Schools have the formal means for teaching ordered concepts, and they occupy major portions of prime learning time in children's lives. It is there- fore incumbent upon educators to provide models of environ- mental learning that will educate people toward capability in aesthetic and ethical decision making. The aims of the publication are to provide a position I)t statement and reference for curriculum development and to identify resources for its implementation in the schools. The M, publication is designed to stimulate awareness of the aesthetic 3 and ethical base for a holistic interdisciplinary approach to environmental education, in which;aesthetic and ethical val- ues are correlated with ecological approaches:, and applied to environmental problems. A well-developed program'for environmental education .... ...... that incorporates the aesthetic and ethical factors can be achieved through implementin g the following goals. 1. To integrate aesthetic and ethical beliefs and attitudes in relation to the development of ecological concepts and skills in both informal and formal learning exper- iences. This task can be accomplished by relating arts j and value education to other subject areas such as the ecologically oriented natural sciences, history and lit- erature. 2. To foster a sense of inquiry into environmental plan- ning and the solution of problems through arts projects that relate perceptual discrimination and design in art to the larger environment. 3. To teach respect for the total environment including persons, natural elements,- and man-made structures, and develop, an aware ness of their intrinsic worth. 4. To design a series of learning experiences, for the pub- lic and alternative schools over a K-12 continuum that will orient attitudes, concepts, and skills positively toward: A. Providing a holistic approach to environmental edu- cational concepts. B. Introducing aesthetic and ethical factors into en- vironmental learning processes. C. Developing experiences of perceptual discrimination and awareness of its impact upon human growth. 4 Aesthetics: The State How have we managed - in less than 200 years of American civilization -to destroy a natural environment developed over many thousands of years and replace it with a concrete, metal and plastic setting that too of the Environment often facilitates commerce at the expense of the rights of the individual to perceive and receive a life quality enhanced by pleasurable environ- mental ambiance? Is ours a society that stresses technological information processing at the expense of a positive/active appreciation of, and response to, the aesthetic qualities of natural and man- made phenomenon? Is the radiance of the sunset to be oblit- erated by the ozone haze and smog from automobile exhausts, by the glare of neon signs, the tangle of -telephone poles and wires, and the sky-filling, view-limiting, "non-radiance" of ugly city structures designed to serve economic interests with a disregard of other human needs? If it is within the capability of man to destroy an environ- ment, it is also within his capability to renew and rebuild it. The problem is not one of capability, but rather a problem of attitude and focus. The missing key to widespread human attitudinal commitment for a humane environment is found in the term "aesthetic" whose varied meanings suggest to some a mysterious, ambiguous realm that is far removed from the American values of objectivity and action. 'Aesthetics represents the. missing component in man's impact on his environment,; consequently, the environment has changed rapidly from,one of natural beauty to one of alienation and anomie. While changes in the land over a period of time are inevitable, the effects of man can be guided by an awareness of the power of good design, the human capability of visual valuing, and a sense of order. Man, as well as nature, can create beautiful surroundings. 5 Concepts of Aesthetics There is presently a need to move our society towards an aesthetically oriented value structure that is capable of pro- viding positive goals and guidelines for the development of a quality environment. A first step toward this goal is to clarify and define the term aesthetic and to show its relevance to present environmental problems. It is difficult to separate definitions of aesthetics from definitions of art because of the integral interrelationships of these two spheres of influence. Perhaps the ineffectiveness of aesthetic decision-making processes can be traced to western man's low priority for ac- tivities rooted in such words as "appreciation," "creation," and art." The activities that we associate with these words did not significantly affect developments occurring during the westward movement of civilization, as an examination of the deeds. and structures of either America's pioneer explorers, industrialists, or builders will show. The cities, building structures, and other environmental effects of these early. form-givers of our society provide easily discernible visual evidence of a lack of concern for the human dimensions and the needs of life. The absence of significant impact of aes- thetic influence in the shaping of our major cities no doubt helps to explain their present relative aesthetic poverty. This rejection of a major role for aesthetics in decisions relating to changes in our environment as it evolved from natural to man-made is closely related to the fact that in the past few persons other than artists and philosophers have deliberated about aesthetics and its relationship to existence. The great body of writing on aesthetics is expressed in philo- sophic terms rather than in pragmatic, action-oriented terms. And the philosophers who have persisted in championing the importance of aesthetic values have not always been suc- cessful in influencing the decision makers of our culture. Yet their statements of the meanings we give to the term aes- thetics can be helpful in our current efforts to relate aesthetic value to our understanding of the environment. 6 Early considerations of aesthetics were often closely re- More recent aesthetic viewpoints include those of Phenix, who describes lated to the term beauty. The Greeks of the classical age de- aesthetics as "a realm of meaning," a category of experience that gives veloped an ideal of beauty that combines organic or natural meaning to life processes.' Prall views "sensory apprehension" of aes- forms and mathematical rules representing true proportions. thetic surfaces as the basis for aesthetic experience.2 Greek architecture and art draws its beauty from these nat- 1. Phenix, 1964 ural-mathematieal forms and relates spiritual values to physi- 2. Prall cal forms. The Greek aesthetic ideal was meant to influence all aspects of their life. Immanuel Kant, an eighteenth century philosopher, sought to find a distinctive category of "aesthetic knowledge", to separate it from "scientific knowledge." Perceptual discrim- ination acting as a stimulus to imagination gives us this spe- cial aesthetic sense that according to Kant, leads to the ex- periences of beauty and the sublime. Aii@ The more sensory-oriented aspects of aesthetics influence the formation of attitudes in human beings, because the V senses acting together with cognitive processes produce the decisions that we act upon. Aesthetic awareness or knowledge is based in all of the senses, and it is these senses that seem . . .... atrophied when man wilfully accepts the destruction of his environment. The senses provide input that influences the necessary positive changes in attitudes to bring about renewal of our tarnished environment. Only when man develops a personal aesthetic consciousness will he become aware of his destructive habits and become committed to positive rather than negative behavior. Despite a growing body of evidence indicating a signifi- cant need for aesthetic concern in a variety of human be- haviors, awareness by the general public fails to reflect to any degree, regard for aesthetic ally-based decisions. The role of aesthetic perception in shaping attitudes and behaviors is well stated by Sir Herbert Read who suggested that "the human mind receives, shapes and interprets the 7 images of the outer world with all its conscious and sub- Harry Broudy describes an aesthetic experience as "a special way of per- conscious powers, and the realm of the unconscious could ceiving objects, events, or situations, the subject of the appreciator con- tributes sense organs, a nervous system, a past experience, and a set of never enter our experience without the reflection of perceiv- readiness.113 able things." 3. Broudy, 1972 Aesthetic Criteria One of the possible reasons for the disregard of aesthetic factors in decision-making that determines the shape and quality of the environment has been the belief that aesthetic judgments are subjective or arbitrary. The lack of agreement on exactly what constitutes aesthetic factors or norms has led others to regard aesthetics as being too ambiguous for incor- poration into objective decision-making processes. We have come to realize that aesthetics is an open concept subject to modification as interests change and new developments emerge, rather than a closed concept with necessary fixed properties for all times. Any attempt to formulate aesthetic criteria that can be incorporated into an environmental aes- thetics education curriculum should be mindful of the open character of aesthetic properties and should be wary of rigidly imposing any one set of norms. It must be noted, however, that there are certain factors that appear repeatedly in the F7 lists of characteristics that philosophers and others assign to the term aesthetics. A comprehensive list of aesthetic factOTS found in objects that we call "aesthetic" therefore, may in- clude the following: � Sensuous materials � Formal design � Sensory qualities e Expressive qualities � Formal qualities � Symbolic meaning 8 and at the same time, we find included in the characteristics the factors that we have listed. And, since the list is not ex- of "aesthetic experiences" the following: haustive, there may well be other factors that we will want to call "aesthetic," and the same is true for aesthetic experiences. Moreover, the character of aesthetic experiences relating to � Perceptual discrimination man-made or natural environments may vary somewhat from those appropriate to the arts. � Active-receptive response � Intuitive Nevertheless we can expect that the criteria that we apply when we seek to measure or evaluate the aesthetic import of a � Immediate natural or man-made enVironment will resemble those criteria that we find applicable to the arts. Philosophers have pro- � Qualitative posed their own solutions to the problem of aesthetic criteria. Broudy develops a set of ground rules based on his own list � Pleasureable of aesthetic factors. Here we are proposing a list of general aesthetic criteria and also some particular criteria for environ- � Intrinsically gratifying mental aesthetics. The list is necessarily tentative and sug- gestive rather than definitive, for it is not possible to give a � Awareness of sensory richness definitive statement on aesthetic criteria at this time. We be- lieve that the list, however tentative, will be useful as a point � Awareness of form of reference in formulating environmental aesthetic curricu- lum. � Awareness of expressive properties � Awareness of regional qualities General Aesthetic Criteria � Awareness of tertiary qualities e Richness and variety in sensuous materials � Awareness of variety � Awareness of unity 9 Adherence to principles of design � Awareness of symbolic meaning * Unity of elements in relation to the whole * Pleasure producing These characteristics of aesthetic objects and of aesthetic 9 Resulting in meaningful, perceptual, affective, intui- experiences can be applied to man-made and natural environ- tive, and cognitive experiences ments as well as to works of art. Given the wide diversity of 11 objects" and "experiences" that fall under our terms "aes- 9 Exhibition of creativity and imagination thetic object" and "aesthetic experience" we can anticipate that particular aesthetic objects will not always include all of * Exhibition of technical excellence in a medium 9 � Contribution to the quality of life � Articulation of significant values in sensuous form. Environmental Aesthetic Criteria 9 Optimization of the quality of man's relation with his environment *Suitability of the man-made structure (architecture, etc.) for its use � Adaptability of man*made structures to their present and future environments � Adaptability of the man-made structures to changing P! human needs � Effectiveness in the use of space � Rhythmic, harmonious ordering of the sequences of environmental space � Appropriateness of color and texture to the environment � Compatibility of man-made structures with the char- acter of the natural environment � Attractiveness of the natural landscape � Effective disclosure of natural patterns and their beau- ties The identification and application of aesthetic criteria provides guidelines for making aesthetic judgments. The ex- ercise of aesthetic judgment based upon perceptual discrimi- nation is crucial to the understanding and production of a humane environment, because disregard for aesthetic con- 10 siderations has been a major factor in producing the present sordid aspects of our environment. A major goal of aesthetic environmental education is thus to raise the level of aesthetic consciousness so that the general populace can exercise aes- thetic judgment and make choices that distinguish the signif- icant from the shoddy. Integrating Aesthetic Learning Into School Instructional Programs If aesthetics is to become central to the reconstruction of the American environment, the relationship between aesthet- ics and education needs to be critically examined. Solutions can be formulated in the educational process where learning is a means to change individual attitudes through interaction with environment. A principal aim of aesthetic environmental education is to make the individual more capable of dealing adequately with that environment. _@7=7 The building of aesthetic competencies is a primary ob- jective for school programs because the attainment of such competencies will increase the individual's sensitivity to the -made and natural phenom- special significance of both man ena. Aesthetic experiences do occur in all curricular areas, S 1@ 5. but arts programs are directly concerned with images of color, shapes, sounds, and movement that the senses respond to. The primary purpose of art, music, dance, theater, film, and the literary arts programs in the school is to facilitate aes- thetic understanding that allow for development of the stu- dent's ability to experience the world as it is given and re- Aesthetic education can teach students that the natural environment is ceived through the senses. Such programs provide the nucleus rich in aesthetic value potential, although knowledge from other disci- for an approach to environmental aesthetic education curricu- plines will often be required to realize it fully. lum, and make the student sensitive to aesthetic aspects of other subject areas. Summary A major task of the schools should be to educate individ- Any program of aesthetic education might reasonably be expected to in- uals toward capability in aesthetic decision-making, building clude units on appreciation of architectural design. sefisitivity to environmetal concerns and generating positive Where the urban scene is concerned, perhaps all that is required is to behaviors in support of an aesthetically fulfilling environ- make students aware of what they shouldn't have to tolerate. ment. Educators have a responsibility to assume leadership in areas of . environmental and aesthetic sensitivity. The child involved in an aesthetic process structures the response to the environment by converting ideas and feelings into an or- ganized, selected, and shaped physical image or form. Through. involvement in making.and, in contemplating works of art, the student develops self understanding and under- standing of the world. At an early age, children should be en- couraged to observe their personal environment, to make perceptually discriminating value judgments relevant to the aesthetic aspects of their surroundings, and to consider means for conserving our natural environment and improving the man-made environment. Arts, the principal aesthetic component of education, em- braces changes in behavior that can be traced to the influence of the environment as transmitted through the sensory or- gans. The senses are essential to the area of aesthetic experi- ence. Education of the senses provides a foundation for devel- oping the student's ability to become aware of aesthetic satisfactions. These satisfactions are essential to a fully-func- tioning individual. Contacts with the environment - perceiv- ing, valuing, creating - enhance the individual's abilities to experience the forms, colors, sounds and movement patterns that comprise the surfaces of the visible world. Each act of perceiving includes aesthetic valuing and results in a discrim- inating way of looking. 12 Encouraging the attainment of aesthetic capabilities in the learner at all levels of education will help to transform the aesthetically unaware citizenry into advocates of an aes- thetically fulfilling environment. The development of a sensi- tivity to aesthetic values is a lifetime pursuit, and an aestheti- cally-oriented citizenry is the mutual responsibility of the total Ethics society. Ethics is the base from which value priorities and principles governing right action are determined. Ethics and Environmental Aesthetics The importance of ethics to environmental aesthetics and to one's attitude toward the natural environment can be shown by contrasting two major ethical systems. These sys- tems can be categorized.in relation to the non-technological and the technological world views. The non-technological world view is exemplified in the native Western cultures and in Eastern cultures. The technological world view had its roots in the early Greek civilization and can be exemplified by most Western cultures. Persons governed by the non-technological world view were able to relate to their natural environment. They showed sensitivity to the unity among all creatures and treated them according to an ethical and aesthetic consciousness. In the man-made environment of the non-technological cultures, people related aesthetically to their natural environment be- Zm, j cause natural materials which unified both aspects of the environment were used. The technological world, through science, enabled human beings to grasp universal laws and essences in nature; these laws permitted human beings to predict and, invent tools to help them in the exploitation and conquest of nature. This stress upon the logical and predictable, emphasized concep- tual consciousness and suppressed aesthetic consciousness ex- cept where economic wealth or political power provided a means for aesthetic concern for the man-made environment. .13 Both the non-technological and the technological ethical systems have proved inadequate as an acceptable ethical base for environmental aesthetics. In the non-technological culture, one's reverent attitude toward nature is often replaced by exploitation that evolves from economic pressure. In the technological system, people's "industrial mechanical" attitude toward nature has hindered them from reacting to their environment through their senses and limited their concern for an environmental aesthetic. A new ethic must be developed that will borrow from the Eastern and native Western philosophies resulting in: 1) A new cosmic being, a citizen not just of America, or of earth - but of the universe. 2) A desire to seek a better knowledge of one s relationship to earth, to other human beings and to one- self. 3) Creating a new set of values and a new system of ethics whereby one guides one's choices by principles beyond one's own self-interest. 4) A vision of the unity and interde- pendence of all nature where each person's work contributes to the greater realized perfection of the universe, where one becomes a member of a community of interdependent parts of the land. 5) A new environmentalism which would be cen- tered on human beings in their ever-expanding consciousness of the unity that binds all of creation together. In order to get at a new ethical base we may draw upon both Eastern mystical perspective and native American per- spective, incorporating them with our Judaeo-Christian tradi- T tion, subsequently we need to realign our attitudes along the following more ecologically and aesthetically sound ap- proaches to the environment: � Recognizing the wholeness of creation and its aesthetic value. � Becoming aware of natural processes and their inter- dependence. 14 � Developing a stewardship or, participation. (Analytical appreciation and creative involvement) � Developing the concept of brotherhood of the land and aesthetic concern to eliminate exploitation. � Fostering institutional redirection toward environment- al and aesthetic concern. � Becoming quality sensitive rather than quantity oriented. An important goal of education is to encourage students to consider environmental problems, their causes and results and to arrive at new solutions using values they develop for a new ethics of environment in which aesthetic values are con- sidered. Several ethical choices are available today, as they have been in the past: Egoism (personal or social) acts on the assumption that immediate gratification of personal or select group interests without regard for the interests of others is the acceptable norm of behavior. The underlying principle is self-interest, individual or collective. Short Term Ethical Universalism assumes that all people alive today are entitled to equal respect and benefits and that the environment is to be used to achieve a quality of life for the persons of todav without taking account of future conse- quences. Long-Range Universalism assumes that all persons pres- ent and future are entitled to equal respect and a share of the benefits of environment, and that nature's processes and life support systems are entitled to careful respect and use for the 15 achievement of a total quality of life. Not all of these are com- Value Definitions patible with the immediate and long-range possibilities for achieving a hgh quality of life, There is a general lack of agreement regarding the mean- ing and nature of values and valuing. The one thing that is Only the third alternative seems adequate for an environ- agreed upon is that a value represents something important mental ethic. That is compatible with immediate and long- in human existence. The following description of values and range possibilities for achieving a higher quality of life. Ac- valuing is based upon several sources of opinion and reflects ceptance of long-range ethical universalism will require generally accepted characteristics of the nature of values. reorientation of individual and societal attitudes and actions. This third alternative is compatible with both Western and A prospective value is anything which persons approve, Eastern value orientations which acknowledge respect-for desire, affirm or exert themselves to obtain, preserve or assist. persons and for creation, It is incompatible with value orien- Some universal things that people value are power, wealth, tations which regard persons and natural resources solely as enlightenment, skill, rectitude, respect, and affection. Values means to be exploited for immediate gratification in its vari- are intangibles. They are things of the mind that have to do ous forms. with ethics and morals, and with human well-being. Abstract in nature, values manifest themselves overtly in attitudes, beliefs and human behavior. They relate to rationalization of The nature of ethics is central to the approach to environ- behavior. When behavior is not in harmony with values, value mental problems, including the aesthetics of environment, conflicts arise. because ethics includes: When conditions in the environment are such that ethics 1. Articulation of values (one of which is aesthetic value) and morals that were once appropriate and accepted are no that pertains to the intrinsic worth or good of human longer effective, people often become confused and a revalu- beings and the natural environment, ation of accepted standards occurs. The possession of diverse values sets people apart, while their holding similar values 2. Establishment of priorities among relative values which helps to bring them together. would determine the weight given to aesthetic value in relation to other values, Knowing and understanding one's own values through 3. Determination of fundamental principles of right ac- value clarification is an important part of the learning process tions relative to personal decisions and actions, and to in order that one better realizes what things are meaningful societal-institutional decisions and actions with respect to a person, what one is striving toward and what sort of world to: one wants to see come into being. � Relationships among persons, among persons and The process of valuing involves all of the following ele- institutions, and ments: choosing freely, choosing from alternatives, choosing after thoughtful consideration of the consequences, prizing and cherishing, affirming, acting upon choices, repeating the � Uses and distribution of natural and artifactual re- chosen act.' sources, thus allowing for aesthetic considerations in the decisions relating to environment. 4. Raths, Harmin & Simon, 1973. 16 The most important or major values in one's life are ideals. They are the basis of vision and aspiration. All significant human achievement is the product of insight through an ideal. Aesthetic Values and Valuing and the Environment Environmental quality is primarily affected by man's ac- tions which are a result of Western societies valuing and pur- suing the logical, predictable and controllable. These activities emphasize and are based upon. mathematics, science and technology in shaping the environment. There has long been a suspicion of the affective or aesthetic domain. This imbalance has resulted in a lack of aesthetic valuing which has allowed the development of a natural and man-made environment which is becoming increasingly devoid of aesthetic quality. This lack of applied aesthetic values has in turn largely caused an environmental crisis which threatens to destroy the life support systems of the planet. These conditions make it essential that the educational 4 process provide balanced experiences which foster values re- lated to aesthetic awareness, beliefs, and attitudes. To do otherwise will mean that mankind will continue to purs .ue insensitive practices which are generally detrimental to the intrinsic aesthetic qualities of the environment, and there will be a continual erosion of the qualities that fulfill human be- ings and bring meaning to life. The importance of this need which is frequently ignored or denied was regarded as the essence of life by Friederich. Nietzsche who said, "Only as an aesthetic phenomenon may existence in the world appear to be justified." M It is critical that persons examine and clarify the value conflicts arising from intrinsic, inherent aesthetic needs and extrinsic, imposed material needs. This understanding and 17 'A pp- 14. developing of values related to the aesthetic phenomenon is cators be examined to assure that positive values related to essential if a balance is to be developed between the function- aesthetics may be meaningfully ingendered throughout the ing of the natural environment on the one hand and human total learning process. Students should have opportunities to technological needs for development on the other. Due to the examine aesthetic conditions in and outside of school in order rapid changes in our society which have destroyed or made that they might question and understand not only aesthetic obsolete many of our traditional ethics, morals and other values but also the related ethics and other values generally values, public schooling has been steadily moving away from held by our society. All of these values, aesthetic, ethical, and education that involves affective experiences or which deals others, working together determine the aesthetic quality of the with controversial issues. As Raths, Harmin and Simon have natural, man-made environments and life itself. stated: Teachers turned toward "teaching the facts". if controversy was to be The process of valuing is as important as the resulting troublesome, one should stay away from it. Administrators tended to values, for it is important that students develop an open and prefer teachers who did not raise issues. In communities of strangers flexible attitude which will permit them to cope effectively living together, people who did not know one another well, people with in a complex and rapidly changing world. The process of different backgrounds, it became easier to have schools which them- value clarification should involve all of the senses.acting in selves represented an absence of consensus. Moral, ethical, aesthetic relation to both verbal and non-verbal modes of perceiving values were quietly abandoned as integral parts of the curriculum.5 and responding. Rather than to regard education as a means to indoctrinate students with a fixed set of aesthetic norms, This disproportionate emphasis upon the non-controver- ethics, and values, it is more important to help them find some sial, objective and predictable has resulted in the education of meaning and make some order out of their changing worlds. a society which values practices destructive to the aesthetic quality of the environment. The educational process should provide learning experiences which not only allow for the Aesthetics and the Natural Environment examination of values related to aesthetics but it should also provide aesthetic learning experiences which will foster the The native American knew and understood man's in- valuing of aesthetic conditions. Values are of a personal na- tended place in nature. He lived within nature rather than ture and in a pluralistic, free, democratic society each person apart from it and realized that man apart from nature was must be allowed to pursue personally held values if they are akin to man apart from man. The ancient Greeks likewise not self destructive, socially or environmentally damaging. revered nature and man's place in it. They worshipped gods Hopefully many of the values held by all members of our so- who were themselves aspects of nature, gods more at home ciety will lead to a higher quality of existence and not merely in woods, streams, and mountains than in the temples built be based upon whether or not they are damaging. The need for them. They recognized that nature was the source of for self- actualizing and humanizing educational experiences health, beauty, and joy, and that living in accord with natural requires that schooling be more than talking about those laws was wisdom. The Great God Pan, the nature god, was values; rather schooling should provide a total learning en- among the most powerful of deities. vironment which exemplifies these ideals, Whether it is planned or not, the school organization and administrators Even today, there are cultures believing as did the Native and teachers will shape the values of the learner. It is there- American and ancient Greeks. Eastern.man perceives nature fore essential that school practices and the attitudes of edu- as a'possible ally to be identified with, understood, joined, 5. Raths, Harmin & Simon, 1973. sought for and lived with in harmonious collaboration. But 19 Western man behaves as if nature is an opponent to be con- quered, controlled, or formed and changed to provide him with services, An understanding of simple ecological princi- ples might help refute this view and help Western man to under- "When I was ten years of age I looked at the land and the rivers, the sky stand his place in nature. Understanding of ecological princi- and the animals around me and could not fail to realize that they were ples coupled with aesthetic awareness, discrimination and made by some great power. I was so anxious to understand this power knowledge can bring about the balance between Eastern and that I questioned the trees and bushes. it seemed as though the flowers were staring at me, and I wanted to ask them "Who made you?" I looked Western philosophies affecting environmental quality. at the moss-covered stones; some of them seemed to have the features of a man, but they could not answer me. Then I had a dream, and in my What man has failed to realize, or if he does realize ig- dream one of these small round stones appeared to me and told me that the maker of all was @Nakan Tanka*, and that in order to honor him I nores, is that the earth became suitable for his kind of organ- must honor his works in nature." ism only after countless other organisms had prepared it for - Tantanka-Ohitika8 him, and that it remains suitable only because many of these (Brave Buffalo) same organisms maintain it in a sui 'table state. Rene Dubos, *Wakan - mysterious, Tanka - great writing in A God Within, about the earth- as man's home says: The sensuous qualities of its blue atmosphere and green mantle are not inherent in its physical nature; they are creations of countless microbes, plants, and animals that it has nurtured and that have transformed its "Our land is more valuable than your money. It will last forever. It will drab inanimate matter into colorful living substance. Man can exist, not even perish by the flames of fire. As long as the sun shines and the function, enjoy the universe, and dream dreams only because the various waters flow, this land will be here to give life to men and animals. We forms of life have created and continue to maintain the very special cannot sell the lives of men and animals; therefore, we cannot sell this environmental conditions that set the earth apart from other planets and land. It was put here for us by the Great Spirit and we cannot sell it be- generate its fitness for life - for life in general and for human life in cause it does not belong to us. You can count your money and burn it particular.6 within the nod of a buffalo's head but only the Great Spirit can count the grains of sand and blades of grass of these plains. As a present to you, we will give you anything we have that you can take with you; but the But man is slowly beginning to recognize the invalidity of land, never." his assumed right of control and the danger of many of his -A Blackfeet Chief9 actions. In Wilderness and Plenty, F. Fraser Darling speaks of man's responsibility to the environment: The exclusion of man from the hierarchy of nature, so common in the past and even in our own time, is to put him in the position of bourgeois "The old Lakota was wise. He knew that man's heart away from nature rentier, living off an economy but having no responsibility for it. To becomes hard; he knew that lack of respect for growing, living things make him an integrated functional member of the planet and animal soon led to lack of respect for humans too. So he kept his youth close to world about us is no denigration of this high estate, no asWinlition of a its softening influence." mealy-mouthed egalitarian folksiness. Rather does man accept his posi- - Chief Luther Standing Bear10 tion in nature as the species granted the privilege of fulfilling the aristo- 1868 cratic ideal of noblesse oblige, of being the servant of his people. This is our responsibility toward earth and its denizens.7 8. As quoted in McLuhan, 1972. 6. Dubos, 1972. 9. Ibid. 7. Darling, 1970. 10. Ibid. 20 Learning experiences related to the natural environment "Man is an organization of the infinite smallness of nature thrust up into can only be fully meaningful when the student has the op- the infinite bigness of the universe. Man is, moreover, that part of nature portunity of sensing the mystery, beauty and life fulfilling which has become self-aware and capable of learning and of self-study and self-direction ... apart from too infrequent moments of self-reflec- qualities of nature. The basic need of human beings to exper- tion, modern man seems to be determined to seek his own elimination ience the aesthetic qualities found in nature were expressed as natural man and to ignore, disguise, transform, and frequently to by Henry Beston in The Outermost House: despoil concernedly the naturalness of the earthly space in which he lives."13 13. Stainbrook, 1968. Nature is part of our humanity, and without some awareness and experi- ence of that divine mystery man ceases to be man. When the Pleiades, and the wind in the grass, are no longer part of the human spirit, a part of very flesh and bone, man becomes, as it were, a kind of cosmic out- law, having neither the completeness and integrity of the animal nor the birthright of a true humanity." Man slowly seems to be realizing that he is a part of na- ture, and perhaps equally important, that nature is a part of man. Stainbrook comments on this latter point in a paper, "Human Needs and The Natural Environment": We must recall that some of our most basic metaphors and phrases that define our real feeling about nature are "Mother Nature" and "Mother Earth." Every time you fie on a sun drenched beach and enjoy simply the tranquility and case of that moment, you are regressively enjoying a very basic human gratification. There are those persons who wonder whether children born in the ghetto and therefore quite out of the natural environ- ment, have that same kind of regressive longing and need for nature. The return and longing to return to "Mother Nature" is a symbolic yearning but it is present in all of uS, 12 Concurrent with the growing recognition that man is a part of nature, and that nature is a part of man, there is a call for a new ethic regarding the relationship of man and nature. Embodied in this proposed ethic is an aesthetic ele- ment of considerable importance. Aldo Leo-pold has been a primary spokesman for those who demand this new ethic and bi@ Sand Countril Almanac has become its "Bible." Leo- pold's words clearly define his position: "The Great Spirit, in placing men on earth, desired them to take good 11. Beston, 1962. care of the ground and to do each other no harm . . ." - Young Chief14 12. Stainbrook, 1968. 14. As quoted in McLuhan, 1972. 21 That land is a community is the basic concept of ecology, but that land As contemporary society accelerates and multiplies the demands for is to be loved and respected is an extension of ethics. That land yields a constant change, both for individual persons and for the collectivity, the cultural harvest is a fact long known, but latterly often forgotten. need for a relatively permanent frame of reference which can allow All ethics so far rest upon a single premise: that the individual is a change to occur without the sense of being lost in the process becomes member of a community of interdependent @ parts. His instincts prompt increasingly important, just to be in frequent perceptual contact with the him to compete for his place in the community, but his ethics prompt reassuring, enduring earth is a psychological security factor of consider- him also to cooperate (perhaps in order that there may be a place to able importance.17 compete for.) 17. Stainbrook, 1968. The land ethic simply enlarges the boundaries of the community to in- clude soils, waters, plants, and, animals, or collectively: the land. In short, a land ethic changes the role of homo' sapiens from conqueror of the land-community to plain member and citizen of it. It implies respect for his fellow-members, and also respect for the community as such.15 SUN Throughout his discussion of the -new ethic Leopold fre- quently points out'the aesthetic qualities of natural environ- ments. For us of the minority, the opportunity to see geese is more important PLANT IL:AT I N AL than television, and the chance to find a pasque flower is a right as in- S\ alienable as free speech. and PLANTS 501L,EATER5 Our ability to perceive quality in nature begins, as in art, with the pretty It expands through successive stages of the beautiful to values as yet c, 0 1 L S 1@3ACTERIA MINERAL uncaptured by language. Perhaps Leopold's finest statement attributing an aes- thetic quality in the natural environment is this brief selection C6AsC"'fL5 ALL_- @6 from "The Song of the Gavilan", one of many published in the Sand County Almanac. This song of the waters is audible to every ear, but there is other music in these hills, by no means audible to all. To hear even a few notes of it you must first live here for a long time, and you must know the speech of hills and rivers. Then on a still night, when the campfire is low and the pleiades have climbed over rimrocks, sit quietly and listen for the wolf to how], and think hard of everything you have seen and tried to understand. Then you may hear it - a vast pulsing harmony - its score inscribed on a thousand hills, its notes the lives and deaths of Wants and animals, its rhythms spanning the seconds and the centuries.16 15. Leopold, 1949. 16. Ibid. 22 Many other authors have referred to aesthetic values in "I sincerely believe that for the child, and for the parent seeking to guide their writings regarding the natural environment. Biologist him, it is not half so important to know as to feel. If facts are the seeds Julian Huxley frequently did so. In his last annual report as that later produce knowledge and wisdom, then the emotions and the impressions of the senses are the fertile soil in which the seeds must UNESCO director-general he pointed out that "natural beauty grow. The years of early childhood are the time to prepare the soil. [was as much a] resource as minerals, soils, or forests, and Once the emotions have been aroused - a sense of the beautiful, the just as much in need of conservation," His emotional response excitement of the new and unknown, a feeling of sympathy, pity, admira- to viewing wildlife is expressed in the following: tion or love -then we wish for the knowledge about the object of our emotional response. Once found, it has lasting meaning. It is more im- portant to pave the way for the child to want to know than to put him The witnessing of wildlife on the grand scale can give a sense not only of on a diet of facts he is not ready to assimilate."19 19. Carson, 1965. privilege but also of wonder and deep emotion. To see large animals going about their natural business in their own natural way, assured and unafraid, is one of the most exciting and moving experiences in the world, comparable with the sight of a noble building or the hearing of a great symphony or mass.18 That aesthetic dimensions of the natural environment have validity is supported by recent events in the political 1orum. Heretofore it has been necessary to demonstrate in court that an intrusion into the environment presented a clear and present physical or financial threat in order to deter that intrusion. The courts now recognize the right of a citizen to C, maintain a suit on grounds of aesthetic deterioration of the environment. Many Americans have never bad an opportunity to de- V velop aesthetic responses regarding the natural environment. L Aesthetic responses grow out of individual experiences of dr seeing, feeling, and thinking. Perceptual awareness develops 10 only when the individual has an'opportunity to explore, dis- -4, 41 ;V On 61 .1 i, " N% il I, , dd cover relationships and developmental images of the natural V environment. It is especially important for the young child 4 to have such experiences. The combination of awareness and a sense of aesthetics can guide all behavior and help to establish standards for governing our actions on the environment. Feelings underlie 18. Huxley. 23 actions, so many who may never understand ecological prin- ciples may nonetheless act to promote environmental quality because of a love of the natural world and an appreciation of what is beautiful in it. fib The Role of Art, Aesthetics, and Design in Assuring Quality Land and Land Use p-. Problem People have built and developed for centuries without con- sidering the impact of human structures and uses upon their environment. 9 Urban migration has created sprawling centers of popu- lation; factories and automobiles have produced an umbrella of pollution over our cities; crops have been chemically treated to insure a better harvest. We have simply treated nature's landscape as an inexhaustible mine for people's use rather than as a tool for our ultimate survival. True, we have advanced. But we have ignored the latent effects of our advances upon our life-support system. Urban- ization and industrialization have created countless oppor- tunities, but they have also produced an arsenal of potentially lethal side effects. Today the primary task facing people, all peoples, is not to indict, not to lament over past mistakes, but rather to take steps which will direct people and their environment toward a less destructive state of equilibrium. This is in everyone's interest, whether he be student or worker, business executive or labor leader; for in destroying the only environment in which he can easily live, people are literally destroying them- selves. 24 Process - Opportunity A role of art, aesthetics, and design is to portray these resource patterns in clear and concise sketches, plans, and models so that those charged with their wise alteration and enhancement can better deal with the A teaching plan to deal with the problems and a mechan- complexities of multiple resource pattern comprehension. The arts, aes- ism to carry out the plan should first consider that the blue- thetics and design serve as'graphic communicators presenting complex print for proper land use is provided in nature in the discern- resource data in simple recognizable media. ible patterns of the landscape. These patterns, identified and mapped, can serve as form determinants guiding the 'built patterns' of people (highways, subdivisions, etc.) outside their critical boundaries. These patterns can be termed 'where not to build patterns'. These resource patterns, identified by a broad range of professionals representing the natural and earth sciences can be classified under two broad headings: NATURAL & EARTH SCIENCES A. Patterns That Threaten Human Survival 'M If people and their development are not in harmony with these dominant environmental patterns, disaster often ensues. For example, building on a flood plain often results in a loss of life or at least in economic loss. B. Patterns That Offer Hope for Survival DATA NEED REPORT These are patterns offering hope not only for the con- tinuance of life per se, but for the continuance of a worthwhile form of existence. The soil scientist can identify patterns of soil offering the best opportunity for food and fiber production. When these valuable agricultural patterns give way to housing and high- way patterns the potential for food production dimin- ishes accordingly. C. Patterns Replenishing the Spirit Offering Hope and Happiness There is more to life than just living, breathing, and eating. People have a spirit, a steadfastness of pur- pose that can transcend existence. 25 Environmental Corridors The role of art, aesthetics, and design has not only assisted in identifying these many characteristics of the land and landscape, but clarified their Environmental corridors are areas relatively free of hu- intangible and emotional meanings, more precisely through poetry, music, dance, art, crafts, the designed set of landscape symbols allows man use and impact. Protected and developed wisely, these one to quickly identify individual and clustered quality at a quick glance. corridors can offer hope of future generations. There are These symbols offer a graphic shorthand to "read" complex landscapes many forms of environmental corridors. Slopes and rims con- with ease. By aesthetic and cultural value determination, and by plotting stitute one such type of corridor. Slopes are the basic land- of values, patterns of great diversity have also been revealed, offering future generations many options within their limited boundaries. With- scape feature that separate the ridge-tops from their valley out such revelation, many values are lost daily. With such revelaAion new floors. Rims, on the other hand, are the uppermost edges of human patterns can be designed to fit these essential form determinant the slopes. They can be used for a variety of purposes, including systems. the beginning of a ski slope, and the vantage point from which the surrounding countryside and its landscape patterns can be observed. Water-Wetland Corridors The water-wetland is a second type of environmental cor- ridor. Springs, brooks, streams, and rivers are located here. In addition to serving as sources of recreation and transpor- tation, these corridors provide a medium in which the sur- rounding landscape can be mirrored. Developed wisely, they offer great hope to humankind, 0, ----------- V41 7o I-A Nodes of Interest Art, aesthetics, and design offer an outstanding opportunity of wisely designing these in-between spaces in a manner that provides quality "built" environment for people without destroying critical patterns essen- Numerous regional studies have indicated that surviving tial for survival, happiness, and well being. natural and cultural features usually lie within, or close to, environmental corridors. When grouped in clusters, within the corridors, exciting environmental and cultural nodes of interest that will help ensure well-being and happiness for posterity are created. Again the designers have innovated programs to identify and to classify the various types of space we encounter. Cre- ating spatial symbols, permits comprehending the existence and nature of space on a regional scale for regional design and planning. Working with the behavioral scientist provides systematic evidence of how we react to various scales of enclosure and identifies sequences of enclosure as guidelines to new and exciting environmental exercises. It is impossible to fit past and proposed urbanizing pat- BEHAVIORAL SCIENCES terns of people in harmony with these cherished and essential resource patterns unless such value patterns have been iden- tified, mapped, and communicated to those charged with changing the landscape. Immediate recognition must be encouraged by everyone, to the fact that after almost two hundred years as a nation, most of these patterns have not been inventoried and graphi- cally plotted on a state by state basis. Without such data it is impossible to impose human patterns of development without grave consequences for poeple and the land. The immediate task of completing such inventories is recognized as a monu- mental, necessary, and attainable task by many. The role of the arts in this overall endeavor Js a most critical one. Such studies to determine where not to build also reveal patterns where one can build. 27 This endeavor focuses on creative imaginative 'built' pat- The arts, aesthetics and design team play a major role in not only terns for people that provide optimum opportunities for living, manipulating various physical properties into various human surrounds, working and playing. Deciding where to maintain the health but graphically portray and simulate these options for human perform- of the natural landscape pattern requires the design team ance and testing. working with the natural and earth sciences. Now the design team must play a significant role, hand in hand with the be- havioral scientist. What types of space, temperature, lighting, noise level, color, texture, pattern provides for optimum hu- man performance at given tasks? Only by a close association of the design team, the soci- ologist, psychologist, physiologist and medical talent can we truly design for optimum human health and performance. The responsibility of 'classifying' and portraying three di- mensional space as a basic resource (one of the most neg- lected ones) as mentioned earlier are beginning to offer new basic tools to the behavioral sciences for testing human reac- tions as they walk through space and varying sequences of space. Lessons to be learned from joint design-behavioral efforts will undoubtedly provide a more liveable environment for tomorrow. As economic conditions force a shift from single family houses to higher density apartments and mega- structures, human responses to these new and developing ENVIRONMETRICS surrounds must be stimulated prior to building expensive uninhabitable structures. A quality environment tomorrow will depend upon how well we integrate the art and aesthetic design talents with those of the natural and earth sciences and the behavioral The role of art, aesthetics, and design has and will continue to play an scientists. important part in the area of environmentrics. The design of hardware both aesthetically and functionally has permitted In past applied demonstrations it has become apparent staff members using the equipment to work long hours with a minimum that the quantities of data about the health of a given land- of fatigue. In the interpretation of remote sensing and resource pattern scape and the health of the people of that same landscape photos returning from space, designers (especially landscape architects) necessary for comprehensive planning is voluminous. This have demonstrated unique capabilities at interpreting complex landscape patterns and offering outstanding advice on essential resource computer recognition has stimulated the development of techniques and programming. They will continue to make major contributions in this hardware in an area often called environmetrics. essential component of a holistic environmental endeavor. 28 Observing, Measuring, Recording, Storing and Disseminating Critical Land-Use Data An intense recognition of the need for a more enlightened regard for land anid human resources is a phenomenon oc- curing across the nation. We need a system to store, retrieve and disseminate re- source data to all corners of the nation and the globe. Storing of collected data and resource patterns in the com- puter permits statistical analyses of a vast array of regional information determination of what relationships exist in frequency and distribution and often unique or rare resource patterns and potential patterns within various study areas are revealed. The raw natural and cultural data stored in the computer maintains the objectivity and flexibility for future integrated analysis, allowing for combinations and interpretations of multiple variables in the design process. It is one thing to have adequate resource data collected and stored in the computer for alternative 'print out' interpre- tations and quite another perceptually visualize these options SIMULATION CENTERS for public involvement and understanding. The Environmental Awareness Center, University of Wis- consin-Madison, has been advocating for years regional capa- bilities to receive vast quantities of information from computer storage and simulate in a highly graphic fashion, the results of integrating various options in simulation facilities. In such simulation centers "real world" exigencies would be simulated The arts must play a significant role if innovative centers are to be de- in order to study the potential consequences and degrees of signed and built, if future concepts are to be dreamed, sketched, mod- risk inherent in various courses of action . . . before it takes eled, and filmed for imaginative public simulation. 29 place. The citizens of the prototype region could see, hear, and smell the consequences of putting an interstate highway through a magnificent marsh, next year, five years, and ten years from now, based upon accurate resource data. Concepts, however, just don't happen, concepts evolve from the creative manipulation (design) of honest resource data. Formgivers, architects, landscape architects, industrial designers, interior designers, artists, craftsmen, engineers and physical planners all soundly based in the field of aesthetics are continually chal 'lenged for new models, new solutions for rehabitating the past and designing the future. Fitting the patterns of people in harmony with recognized natural patterns, providing for optimum physical surrounds for human performance, and stimulating environmental ex- periences daily, continually offer increasing challenges and opportunities, IDD In most of these challenging endeavors design concepts are seldom implemented unless the design team has worked closely with those professionals and non-professionals trained 0 in the "art of the possible." The sociologist, economist, lawyer, 0 political scientist, administrator, legislator, all offer advice DESIGNERS 0 helpful in implementing imaginative environmental concepts. FORIVIGIVERS Without a close liaison between the arts (the "formgiv- ers") and the implementers, many exciting and rewarding concepts are often lost. The implementers must be aware of the vast array of legal, social and economic tools available PLANNING for wise environmental action. The arts can play a major role in the simplification through graphic An integrated effort between the design team and the im- portrayal of complicated wordy statutes, socio-economic theory, and an understanding of complex implementation tools. Without the arts making plementation sciences can assure the public as many options major contributions in this area, public understanding at the "grass- for their perusal as humanly possible. roots" leaves much to be desired. 30 Until clear pictures and concepts about people and their environment, the problems, potentials and casual relation- ships, are disseminated and become part of the common stock of environmental planning knowledge, there can be lit- Al tle progress in achieving proposed concepts. Communications becomes one of the keys for environ- mental option awareness, for until the public can see the differences between things, until they can whet their discrim- inatory powers, only then will they become a society exercising freedom of true choice, and select through the sifting and winnowing process wiser options. Recent advances in audio-visual presentation have devel- oped a more direct relationship between the subject and edu- cational options. Nothing short of exploring these new dio- ramas, three dimensional movies, computer programmed slides, and think tanks will do if we are to develop environ- mental awareness of alternative design and options. It is generally conceded that if environmental quality is to be restored in America, public re-education to the life-giving imperatives and the intrinsic natural values is essential. The student should be encouraged to participate in com- munity classes, seminars and demonstration projects. COMMU@ICATIONS The task of communication is a vast one if we are to truly re-educate to new values. PROCESS The arts, aesthetics and design professions all contribute to the creation of imaginative communication media. If or- ganized, the whole spectrum of the arts family could interpret new regional options far better than they have ever individ- ually done in the past. 31 There is no reason whatsoever that one cannot today sim- ulate a walk through a ghetto, along a polluted river, etc., and then simulate what it might be like if certain information and action were integrated. It could be entertaining to learn! It must be, if we hope to reach the learner with complicated en- A6. vironmental messages, and well thought out options. . . . ..................................... -7 -71--- One possibility is to create imaginative 'process' demon- stration centers within our state. These Community Aware- ness Centers would serve as informational (nerve) centers, simulation labs, environmental museums, centers that through process would continually present clear pictures and concepts about the people and the environment of that spe- cific region. In addition to the interdiscipinary research being con- ducted in such centers one would find within the communi- cation wing an 'interpretative' plan evolving. In such centers the student would be able to step back into time to see visually the heritage of the prototype region, would be able to monitor on live closed-circuit television the realities of the present, and would be able to step into the future to see what entente could be designed between people and land. The net objective would be to relate the student to the changing regional environment and to suggest, through highly imagi- native demonstrations, the way one can, effect change for good or ill. Another prime goal of the community awareness center would be concerned with portraying that regional landscape patterns provide a source of strength, spiritual health and wis- dom for the individual, patterns that contain a heritage of TO -C)EE 10; 000 Y F-ARS experience and inner development beyond price. OP SHORL- EKOSION IN It would then follow that man as a permanent resident of rW4 PINUTES the world could organize the use of space and resources and proceed to plan his regions and communities in which life would be a rewarding experience. 32 Urban Environmental Aesthetics "The ultimate purpose of a city in our times is to provide a creative en- vironment for people to live in. By creative, I mean a city which has great diversity and thus allows for freedom of choice; one which gener- ates the maximum of interaction between people and their urban sur- It has been stressed in the preceding sections that en- roundingS."20 vironmental aesthetics must take account of the man-made 20. Halprin, 1972. systems as well as natural systems. A city actually combines the two. It cannot function well if its structures and processes are not in harmony with the supporting natural systems of APPLICATION the land. Cities or urban regions have the highest density of human activity. Correspondingly, they offer great possibilities A. Locate photographs and paintings showing a comprehensive view of for positive achievement of aesthetic richness or aesthetic a city and study the cities through their visual orders. disaster. A city provides aesthetic richness when it is a happy B. Find a vantage point (tall building, hill, etc.) from which to view a creatively-oriented environment. When it satisfies the eye's city. Make your own photographic mapping of the city. Draw or paint demands for sensuous richness and the mind's demands for a picture of the city from the vantage point. On a more sophisticated orderly and varied design the city is functioning as an aes- level, use Kevin Lynch's categories to analyze the city spaces or design thetic resource. But the city is also providing aesthetic value your own categories for describing the city in some ordered systeMS.21 when it functions well to satisfy the needs for food, transpor- 21. Lynch, 1970. tation, education, and all of the varied services that we require to experience a high quality of life. We can approach the question of urban aesthetics in var- ious ways: One way is to examine the city as a theme in the fine arts. Here we see the artist's image of the city in paintings, music, poems novels, films, photography, and in dance and drama. A second approach to urban aesthetics is to examine the fine and applied arts as resources for aesthetic experience and values in an urban environment. The architecture, the art museums, the symphony and other musical resources, the library, the art galleries, dance studios, the film theaters and laboratories, street murals - all of these act to stimulate the imaginations of all who experience their resources. One in- teresting way to discover the aesthetic potential of a city is to identify these resources and devise a plan to explore their aesthetic potential. It is important to extend the environ- mental aesthetics "learning laboratory" into the community The city grid patterns is mechanistic, infinite and insensitive to the natural resources in order to maximize aesthetic experiences. environment upon which it is imposed. 33 Central to an approach to urban aesthetics must be the "When the parts of a city lack visible relation to one another, their in- city itself. Looking at the city itself, these are different ways coherence, can contribute to a sense of alienation - of being lost in an to approach urban. aesthetics. environment which one cannot carry on any sort of dialogue."22 22. Lynch, 1970. The first approach considers the city as a complex visual image. The painter or the photographer who gives a compre- hensive image of a city is taking this point of view. The ap- proach is perceptual, and it offers a representation of the city that can be expressed in the artist's vocabulary of linear per- spective. The view presumes that the city is designed accord- r-, 41" it, ing to some set of agreed-upon principles of design that are primarily visual in character; the preceptions are limited to visual qualities, and represent only a single fixed point of view. Corresponding to this view is an aesthetic of visual dem sign. Shapes, colors and linear values exemplified in the city design can be experienced through this approach. A second approach to the aesthetics of city environments cF 1:=-.v 1 _F#_ can be developed by perceiving the city as a sequence of or- 7 dered spaces. This approach is also perceptual. But instead of viewing the city as a static, closed system, we see it as a dy- namic 'environment that can be perceived by moving through its spaces. The approach gives us a multi-sensory perception A. A R that includes active selecting, screening, constructing, in re K lation to the design principles that are exemplified in the space orders. What are the aesthetic-design values that can be experienced in this approach? A. Appropriateness of the space - of the architectural ar- rangement to its purposes and uses. of 1, B. Appropriateness of size and scale of the space to order hu- man physical and psychological scale of values. C. Openness with sufficient boundaries to give definition to the space. Over 60% of our city streets are devoted to vehicular use. These de- D. Sequential (or other) connections of proximate spaces. humanized environments ignore human scale and the sense of place. 34 E. Integration of architecture with surrounding areas. APPLICATION F. Application of a formal or natural design, e.g. symmetry, Take a walking trip through various sections of a city. Try to identify and experience the values suggested in the above list. Describe the ordered axial arrangement, or following dominant lines of the sequences of space that you experience. Pass through the same area on a land contours, rivers, etc., that provides a directing influ- bicycle, in a car, in a bus, etc. Record difference in your experience of a ence upon the environment. space due to changes in the rate of movement. What other sensory information do you experience when you move through the city spaces? G. Provision for the exercise of imagination and free value Record these along with your experiences of space. choices, One prime resource essential to the well-being and hap- piness of people, and one which replaces monotony with di- versity, variety, and human interest is that of three dimen- sional space. In the hands of the artist and designer the mold- ing of space can become one of the most critical resources for human enjoyment. A A In walking down an urban street we are typically aware of a series of 'built' cubes enclosing us on either side called Mall buildings, homes and offices. They have normally been de- signed to be looked at, they reflect the talent of the designer, the availability of certain building materials, and in turn reflect a certain historic period. Seldom do we visualize the three dimensional space be- tween buildings as a solid resource that too can be moulded and given form providing refreshing sequential walking ex- periences. Some years ago the English arcbitectual Review referred to this 'in between space' as the 'great out there.' A third approach to urban aesthetics sees the city as a set of intertwined activities. Its functions are communication, movement of persons, exchange of goods and services. The aim of the city understood in this manner is to provide a whole environment that supplies the conditions for a high quality of human life. Here the aesthetic value of the city can be expressed in more general terms. The aesthetic is not The rectangular street and road system is not designed for the volume, limited to perceptual or sensory values alone. It extends to mix of local and thru traffic and variable speeds of automobile traffic. 35 a quality of life that manifests itself in human happiness and well being that results from the urban systems functioning to serve the needs of its inhabitants. TKAFFIC- e_or_r_jDorS A fourth approach to urban aesthetics is to consider the aesthetic richness provided by its ethnic diversity and its his- torical artifacts. The United States is a nation of immigrants, a blending of different ethnic groups, cultural values and re- ligious beliefs. The German towns, the Scandinavian settle- ments, the Italian gardens and vineyards, and the Irish sa- loons that are found in cities are as American as the log cabin and the covered wagon. Our venerable old homes and cobble- % stone roads, our spired churches and historical buildings are as much a part of this nation's aesthetic heritage as Valley F-OAD S Forge and Fort Sumter. Few would advocate the preservation % of these historical artifacts simply for the sake of preserva- r.." tion, but most would agree that they denote something that low* is worthy of the private meditation of each and every Ameri- low can. Preserving these symbols of the American past allows fu'- I ture generations to understand the heritage with which we .1. 1 r evolved. A well trained designer recognizes that three dimensional space is created by walls of man-made materials, vegetation, or even land form. He recognizes that from interior building rooms created by walls of FAT*-, plaster and wallpaper, one can walk into outdoor rooms created by rows 1WEAs of trees, mounds of earth or facades of buildings. But most important of all is his ability to manipulate these walls to provide diversity of the walking experience. He can create a spatial tunnel of trees to guide one into an exploding arrival within a vast outdoor plaza, and back again into restricted alleys and sidewalks providing spatial excitement not found in most "square block" cities. A rhythm not unlike that found in music composition can be created. Like all resource patterns space as a A balance between vehicular and human activities must provide. Zones resource is of value if it can be identified, classified, experienced and set aside for human activity, access strictly for service traffic and parking plotted. and corridor for vehicular movement. 36 Concepts and Skills For Environmental KNOWLEDGE Aesthetics Design provides a visual language mode of structuring and perceiving the visual environment. Design encompasses all those forces that have a bearing upon the shape Aesthetic discrimination is the perception and selection of man's environment. of what is pleasing and self-satisfying in the environment. It The designer communicates not merely by the theme he selects but by provides an awareness which is a foundation for making the manner in which he develops the idea through the use and organiza- sound decisions regarding life styles and environments. tion of expressive qualities of materials. The aesthetic quality of the environment is the result of how the designer Preceding all other concerns for the environment is the deals with the principles of design which involve: harmony, balance, simple recognition of the dimensions of one's surroundings. rhythm, variation, contrast and repetition; the elements of design which Form, line, color, scale, texture, light, space, shape and pat- involve: line, form, space, pattern, color, light, shape, scale and texture. tern are but some of the dimensions of the environment; the awareness of which precedes the critical analysis necessary for designing or redesigning one's surroundings. As has been repeatedly stated, competent environmental planning must include awareness of the way in which man has changed the earth and the way in which modern technol- ogy has been defacing the environment and lowering its habit- ability. Knowledge must be applied to actual environments by: 1. Caring for natural areas, wet lands, lakes, rivers, for- ests. 2. Choosing sites for future developments. 3. Re-establishing human norms and life furthering ob- jectives in urban areas. The previous statements have stressed that in handling every part of the environment emphasis must not be on either design or nature by itself but on the preposition with which implies human cooperation and biological partnership. We should seek, not arbitrarily to impose design, but to use to the fullest extent the potentialities and with them, nec- essarily, the restrictive conditions that nature offers. So, too, in embracing nature, man's own mind, which is a part of 37 nature, has something precious to add that is not to be found Environmental Aspects of Art Programs at such a high point of development in raw nature. The solu- tion is not in "crash programs" or instant solutions, butis in laying a fresh course of stone on a ground plan already in There is no doubt that environment affects the personality existence that builds the foundations for a new civilization." and actions of the individual. And the individual in turn af- fects his environment. He comes in contact with other people In the educational process it is vital to see nature and hu- whose actions he changes through association, He shapes his man activity from within, as a participant and actor, and physical environment, molding it to his own liking. bring to the often colorless world of science the special con- tribution that differentiates human beings from all other ani- mate tbings. Vivid color, emotions, feelings, sensitivities, and Awareness of these facts should be a guiding principle in aesthetic delights make the human mind at its fullest im- the application of environmental aesthetics, and should in- mensely superior to under-dimensioned minds that have crease the awareness of "oneness" of people and "wholeness" adapted themselves to a computer Is limitations. of the earth. Concepts provide broad application based on relatively To become aware is to sharpen senses and sensibilities. stable knowledge. Concepts should be closely related to par- Different levels of awareness should be encouraged which ticular age levels or courses in order that the subject may be follow the natural development of the child. more easily understood, retained and reapplied. Concepts should be introduced as by-products of an active process so they can be felt before being verbalized. Words and other modes of communication should be used to sum up and give conscious form to what has already been sensually ex- perienced. PERCEPTUAL AWARENESS Concepts are useful for many reasons. They aid in com- Awareness is conceived by perception through one or more of the senses. munication, they serve as tools for thinking and serve to give Sensory perception varies among individuals due to association with meaning and order to reality, Students at all levels should be previous experiences. encouraged to conceptualize and reflect upon their aesthetic experiences. Man's perception through all his senses increases his awareness and sensitivity to the aesthetic quality of the environment. The forces of change in environment make it imperative Early perceptual experiences with the natural environment may lead to that students become more knowledgeable about design as it satisfaction of aesthetic, emotional and spiritual needs. relates to the environment. Aesthetic knowledge must be Man must educate his visual sensibilities in order to live harmoniously viewed as both a tool to be applied toward the environmental with his physical environment and himself. planning and solution of environmental problems, natural and man-made in a world of constant change. Man's response to his visual environment must be heightened in order to more fully sensitize him to the magnitude of visually expressive com- 23. Mumford, 1969. municative and responsive possibilities. 38 An environmental awareness approach will explore such A conscious awareness of abstract patterns derived from areas as the functional and aesthetic arrangement to imme- surface textures, relationship of light, form and space is de- diate surroundings, neighborhood improvement and town veloped through visual perception. planning, the man-nature relationship and the challenges of ecology. Particular skills are learned as the need develops through discovery and conceptualizatiom These skills help the child In considering environmental aesthetics, children should to interpret what he has seen and to translate his impression become more aware, more perceptive through all of their of the world around him into a creative statement of his own. senses. Discovery and conceptualization are the means by which children learn techniques that will improve visual communi- cation. The challenge is to recognize the arts - environment al- liance and to make constructive use of it. Through arts and related learning experiences, the students will become more aware of the environment and its aesthetic dimensions. CONCEPTS Teaching strategies should be in harmony with the back- The aesthetic quality of the environment is affected by technological de- ground and age of the children recognizing the diversity of velopment of new tools, methodology and materials. abilities and interests among children of the same grade level in different areas and different school systems. The aesthetic quality of the environment is dependent upon understand- ing the nature, culture, technology, people, ideas and emotions in one's surroundings. This program should be considered in broad terms. The Man is the most influential force in affecting the aesthetic quality of the cornerstone for any effective arts program is awareness and natural and man-made environment. the arts support and reinforce goals of perception in all en- vironmental studies at all levels. The students should be helped to see and understand tl@eir world and to appreciate its beauties. The variety and changing forms of land use affect the aesthetic quality of A creative way of seeing should constitute a continuing the environment. study of on-going discovery. It begins with the young child The aesthetic quality of life can be increased by improving the design of and focuses on simple qualities of the near and familiar. He the natural and man-made environment. is encouraged to see colors and forms of objects around him. Awareness of the immediate surroundings doesn't stop with those first discoveries but increases and deepens. 39 T- N, ECIT, 4', A W TO PUT 1 3, tp@:_Ak, 0GETHER. Yll 7, Irlb" k "ou ETHICS TIVE A tT ,lot < AESTHETICS ENVIRONMENTAL 77 > Q, DISCOVERY NTAL ETHICS IN, Facilitating Aesthetic Awareness and Conceptual ization Through Cognitive, Affective and Psychornotor Learning Processes The accompanying planning/learning model can best be implemented through discovery modes, incorporating such things as inquiry, inductive processes, sensory experiences PLANNING FOR LEARNING and experiential situations. The role of the teacher is to organize learning experiences which will permit each learner to explore and discover new meanings related to the aesthetic quality of the environment and the aesthetic quality of life. Effective exploratory and discovering learning experiences place the responsibility for initiative and control of the situa- MAJOR VARIANT OBJECTIVES RESOURCES PROCESSES SYNTHE- tion upon the learner. The teacher serves as an organizer and AVVARE- CONCEPTS MOTIVATION ACTIVI- SIS NESS TIES EVALUA- facilitator of learning processes. TION (Gener- alization) The learning process should incorporate affective, psy- chomotor and cognitive experiences. It should stress creative and aesthetic awareness and responses as learning outcomes. These outcomes are generally relegated to the arts, but what LEARNING is needed is to embody in all areas of environmental education (Affertive-Cognitive-Psychomotor) those values, attitudes, concepts and modes of expression exemplified in the arts. In order to do this, the learning situa- tion should begin with multi-sensory awareness experiences which will motivate each individual to explore values, emo- tions, data and skills related to a situation and to then synthe- size this internally or externally. Internal synthesis would re- sult in new or modified values, knowledge and attitudes. Ex- ternal synthesis would result in creative, aesthetic behaviors which is expressed both verbally and non-verbally through such forms as: the visual arts, music, creative movement or dance, creative writing, perception or social action. '@'@LEAR '41 n 41. Preparing for Curriculum Planning Additional Information -RESOURCES BY *10 0 L, L2 CATEGORIES SUCH AS: Or 2il L10 't I Films P. All Generalizations Filmstrips 2 All Concepts Conceptual learning based upon exploration and discovery Loop Films 44 All Resources requires many and varied resources. The following elements Slides 44 All Learning Processes are essential for planning meaningful individualized learning Tapes __411 experiences: Records 44 Books -.44 Periodicals @2 Field Trips i All learning p ocesses � A conceptual framework should be developed which Peopill -.44 by major categories. stresses significant ideas that are organized for appro- Museums priate levels or areas of learning. Architecture 4 Galleries - t:_ Landscape Architects Architects � A@ retrieval system which permits quick and easy iden- Urban Planners lp-!e tification of a vast variety of resources which will serve Artists Concept identification as motivation and information related to the objectives Video Progra numbers to be used ms Etc. repeatedly. of the learning experience should be established. It may be organized on keysort cards, (see example) or listed on index cards or in catalogs. 7-A 44 Age or grade levels s,44 appropriate to information. � A listing of basic subject matter content (skills, facts, 0. . 4 materials, activities) which the learner will use as a vehicle to understand and communicate meanings and feelings related to the concepts selected for learning is All Generalizations necessary and this information should also be included -44 in the retrieval system. � A variety of synthesis and evaluation methods which *I" will help both the student and teacher to understand the meaning and effectiveness of the learning process Additional Information experienced should be identified. All items in the keysort system would be written on separate cards and each card should be keyed or notched to correspond to one of the generalizations. Additional information and flexibility may be obtained by cross-referencing and including additional information. For example: � Appropriate planning form/s should be developed F- 1* IA_ , rw - rN: which may be used by teachers to organize units of A concept card may be notched to identify the most appropriate grade level at which to introduce the concept and it can also be notched with learning. The example on page 43 is one possible for- an identification number which may be used to relate other information mat. to this concept. 42 The Conditions for Aesthetic Learning GENERALIZATION: if students are to develop a new environmental ethic - CONCEPT/S: based on aesthetic valuing - where man is acknowledged to be an interdependent part of his biological and physical en- vironment, we must begin by considering the following five conditions that affect our current educational programs. OBJECTIVES: 1. Renewed emphasis on existing programs in the arts as agents of affirmative action and change is one of the alternatives that can be considered from a curricular con- text. 2. Identification of a number of scientific learning conditions RELATED APPROPRIATE SYNTHESIS- that can affect, or be affected by, an emphasis on aes- MOTIVATIONAL, thetics in almost all learning experiences will facilitate INFORMATIONAL LEARNING EVALUATION instruction which demonstrates the interactions and inter- RESOURCES PROCESSES relatedness between man and environment and the im- portance of aesthetics in influencing the quality of this interaction. These interactions should be modified or con- trolled in order that the conditions of learning have an aes- thetically-oriented base. 3. Many of the attitudes and values that children bring to learning are affected by the classroom conditions under which instruction occurs. The productive school environ- ment is a complex n 'etwork of spaces, areas, and people that enable children to sit, move, think, sing, stand, sculpt, eat, and grow. Provision should be made to assure that as the child engages in these activities, aesthetic learning will occur. 4. In addition to physical and human conditions, the school is also shaped by various unseen forces such as the atti- tudinal. and economic status of the community. Proce- dures should be developed which communicate, to the de- cision makers outside of the school, the importance and value of aesthetics in fostering environmental quality. 43 5. The conditions for aesthetic learning. should be identified. Cultural Conditions They include psychic, social, physical, cultural, and insti- tutional factors. The teacher's role should focus on the The cultural factors that must be dealt with as conditions opportunities for aesthetic emphasis to be found in order- for aesthetic learning include: ing and integrating these factors into meaningful instruc- e The nature of man tional activity. e The funded and personal knowledge of man These five conditions of learning each contain an ambi- 9 The ethnic background of the learner ance of aesthetic "givens" that the resourceful teacher should 0 The structure or nonstructure of related subject matter become aware of and control through the selection of moti- vating and teaching strategies, instructional materials, and the structuring of interrelated learning experiences. Social Conditions Influencing Environmental Aesthetic Education The social factors in the school environment include: Psychic Conditions Influencing Environmental * All educational forces existing in society Aesthetic Education e The societal needs of the total community 9 The socio-economic level of the community The psychic factors that the teacher deals with are bas- 9 The social norms in the community ically affective and attitudinal. They include: e Repositories of information, skills, and processes in the community � The conceptions of learning by the learner on a passive- participatory continuum. Institutional Conditions Influencing Environmental � The conceptions of teaching by the teacher on an au- Aesthetic Education thoritarian-democratic continuum. 9 Curricular goals, decisions, resources, and constraints 9 Administrative structure and effectiveness � The conceptions of the learner from an intrinsically or e Philosophies and goals of the system extrinsically induced continuum. 0 Evaluative processes and emphases � The conceptions of teacher by learner on an open ex- periential continuum. Physical Conditions � The conceptions of teacher by teacher or learner by Physical conditions that must be dealt with in facilitating learner on a self-concept continuum. aesthetic conditions for learning include: 44 � Aesthetic quality and condition of the entire school site 1. Select one of the generalizations to be stressed as the focus � Adaptability of the school to modification for the learning unit. (See conceptual framework pp. 48- � Instructional resources available - from textbooks to 52) technology � Size of student population 2. Select one or more related variant concepts which have � Other school personnel: aides, specialists, psychologists been identified as being appropriate for the subject area or � Student age and grade level variables age or grade level. � Reordering, restructuring, translating, and synthesizing these conditions into aesthetic frameworks represents the primary role of the teacher as an interactive change- 3. Establish broad objectives for the learning unit. These ob- agent. Each factor listed under the five headings lends jectives would be based upon: interpreting the meaning of itself to an aesthetic emphasis. the generalization and concept/s as learning outcomes, an examination of ethics, values, beliefs, attitudes, behavior A complete taxonomy can be developed that would trans- and feelings related to the generalization and concepts se- late these conditions of learning into conditions for aesthetic lected. These objectives might also identify factual infor- mation, skills and knowledge basic to learner competency learning, As the learning associated with all aesthetic experi- in a given subject area, and they might reflect the major ences merges with the total curricular and instructional or- goals of education. These objectives will become the cri- ganization of the school district, aesthetic valuing will per- teria for selecting the appropriate resources and learning meate the general educational program and, in so doing, will activities or processes. promote a total environment in which the needs of all seg- ments of society will be viewed through an aesthetic percep- tual screen. While this seems at first glance to be a massive 4. Identify and select informational/ motivational resources undertaking, the identification of discrete learning conditions relevant to the generalization, concepts and objectives of and introduction of aesthetic implications into each condition the unit of learning. These resources should include ex- at all levels and in all areas is not an impossible dream. We periences related to the three domains of learning - af- acquire our aesthetic attitudes and values via the same ac- fective, psychomotor, cognitive. The cognitive might in- culturation processes that we use to acquire our social and clude didactic, factual information and observations or asocial values. The consideration of aesthetics in environ- problem solving. The affective/psychomotor might include mental decision-making will release us from the level of tech- tactile/kinetic situations, visual imagery, sensory experi- nological existence and introduce people in our society to a ences, fantasy, the unusual and ambiguous. larger, more intrinsically rewarding, quality of life. Planning for Learning 5. Select and organize learning activities which will provide options for perceiving examining and responding to the The planning for learning process moves from left to right situation created by the motivation and information pre- on the model. It involves a sequential and developmental sented. Again, the activities should include the three do- evolution of factors related to the various categories. The fol- mains of learning, but the stress should be placed upon lowing procedure may be utilized in the planning process affective and sensory experiences. The content and proc- 45 esses may include any of the techniques, materials, skills, facts, dialog, group interaction, gaming, role playing, cre- ative/aesthetic statements and expression considered to be part of a traditional education. They should not be con- sidered to be ends in themselves but rather tools and vehi- cles for examining, exploring, understanding and com- municating feelings and ideas from a personal, creative and aesthetic point of view. 6. Consider processes which will allow the learner to per- sonally evaluate, understand and assimilate the learning experience. Establish processes which will permit sharing of feelings, ideas, beliefs, attitudes resulting through the PLANNING FOR LEARNING learning experience. Develop observation and evaluating strategies which will help determine the degree of effec- tiveness the unit of learning provided in fulfilling its estab- lished objectives. MAJOR VARIANT OBJECTIVES RESOURCES I PROCESSES SYNTHE- AWARE_ CONCEPTS MOTIVATION1 ACTIVI- SIS NESS TIES EVALUA- The Conceptual Learning Process (Gener- TION alization) This is a discovering, inductive and open-ended process of personally arriving at feelings, understandings, beliefs, atti- tudes and behaviors related to concepts and major ideas (generalizations). These learning processes should include an examination of the varying interpretations of these con- LEARNING cepts in a free and pluralistic society which is shaped by a (Affect ive-Cogn it ive-Psycho motor) variety of ethics and their related values. Students should be helped to clarify and understand conflicting ethics and values which pull and shape our society and individual beliefs and behaviors. An examination of this type can be achieved through a creative and aesthetic learning process which be- gins with the central elements in the right sphere of the curri- culum model and moves toward the left sphere of the model. The resources and activities identified in these two sections are frequently 7777!!@% I_ The nature of aesthetics requires that the emphasis of very closely interrelated and reciprocal in character. The two categories have been established to facilitate analysis and organization of the learn- these learning experiences be upon perception and experi- ing experience. This area should not be thought of as being compart- encing and the intrinsic aspects of learning. End results or mentalized or linear but rather as interrelated and dynamic, 46 EXAMPLES OF THINGS THAT COULD BE products are generally considered to be of less importance. CONTAINED IN THE PLANNING MODEL They frequently are overt manifestations of the experience and a means by which the student records and communicates ideas and feelings growing.out of the learning experience. The generalizations and concepts should not be taught as facts or things to be memorized, but rather their meaning should be arrived at through personal discovery. Each student should OBJECTIVES RESOURCES PROCESSES have the opportunity to interpret the experience from a per- *Value Music *drawing clarifi- *records writing sonal point of view. The intent is not to indoctrinate students cation *films *construc- with a particular predetermined set of ethics, values and facts, *skill de- *bcoks ting but rather to permit them to explore, through various modes velopment *pictures *painting *learning museums *dancing of aesthetic and arts learning activities, the meaning and about *architec- *observing implications of various ethics, values, and concepts prevailing subject ture *counting in a free and pluralistic society. matter *birds *collecting SYNTHESIS/ content @plants *photo- EVALUATION .examine *rocks graphing *displaying beliefs & *touching *discussing There are many modes or strategies which might be util- attitudes *seeing *moving self- ized to arrive at these kinds of responses. Fundamentally the analysis *changed *tasting singing *goal student should become involved in a variety of motivational/ behavior *odors composing setting *sensory *transac- *playing *sharing informational situations (see this section of the curriculum awareness tional *acting *compiling model) which will create a new or heightened awareness and individ- analysis *weighing *attitudinal understanding of factors related to the objectives, concepts ualized *group *computing responses learning dynamics *printing *measuring and generalization. This awareness should cause students to *aesthetic *urban *diagraming respond in creative and aesthetic modes (see processes and responses planner classifying activities section of model). The responses could involve in- creative art works *designing response *art per- reading trinsic and extrinsic activities which would result in modi- *social formances *listening fied or new attitudes and behaviors or products of an aesthetic inter- *landscape action architects or artistic character. I.T.V. *slides *field The process of synthesizing and evaluating should help trips the learner to comprehend the implications of what has been experienced and to also permit other members of the group to share their understandings, feelings and resulting products with one another. This group sharing, synthesizing and evalu- ating can broaden.each individual's viewpoint and permit "testing" of their beliefs. This evaluation should also permit 7 PROC J.ESSES the teacher to determine to what degree he or she has been 'd ,ng w tig r c on 't ru c_ In9 a,nti,g The personal, ambiguous and generally affective character of aesthetic effective in organizing and facilitating the learning process. learning does not lend it to predictable, uniform, immediate or quantifi - As stated previously, many of the effects will not be clear-cut, able outcomes. The major part of this evaluation process will relate to immediate or measurable, but many judgments may be made open rather than closed types of conclusions. which will provide sound insights. 47 Covert responses such as valuing, appreciating, contem- be overt or covert responses. In overt situations, the expected plating and so forth are frequently personal; and difficult to outcome would be demonstrated by the behavior itself. If the assess; these responses are the basis of self-actualization and expected outcomes are covert responses, the overt expression educational growth. Progress in these areas will be exhibited would only be an indication that the expected covert response through student attitudes such as enthusiasm, commitment, may be occuring. involvement, contemplation, acceptance and the like. Most methods for determining whether or not covert type objectives are being achieved will be based upon inference from student Overt behaviors might be of two kinds: Immediately Ob- behavior. servable acts related to acquisition of specific facts, knowl- edge or skills; and long range observable acts of utilizing and The expected outcomes of the learning experience might practicing acquired knowledge and skills. Conceptual Framework The following conceptual framework is not an all inclusive listing or curriculum committee might also designate which concepts are to of significant concepts related to the four generalizations. The con- be introduced within a particular age or grade range. No attempt has cepts identified here are related to a varied and comprehensive under- been made here to designate a developmental or sequential structure standing of each generalization. They should be used as a beginning of learning but it is assumed that a sensitive teacher will select con- resource in developing local school curriculum. Additional concepts cepts most appropriate for a given situation and organize learning should be identified from other sources such as the various subject experiences which are understandable and interesting to the unique areas in the curriculum and related bodies of knowledge. A teacher needs and capabilities of his or her students. Aesthetic Components Generalization The aesthetic components of the natural-cultural environment are essential and critical for developing the quality of human life. CONCEPTS Aesthetics provides a philosophy for The design of urban structures and Observable in nature as in art design learning about the art-like processes of spaces shapes the quality of life in the structure is an organizing principle the natural-cultural environment, and the urban environment. through which parts and pieces are human responses to these environments. brought together into a unified shape and form. Planning for regional land uses in har- Aesthetic experience is the mode of ap- Cities are the dominant created environ- mony with the patterns of nature deter- preciation and understanding that we ments. They exhibit space-form qualities mine the long-range quality of life. acquire through the senses, together in their basic design patterns; display with intuitive, affective, and cognitive visual shapes, colors, and textures; are processes. perceptually ordered sequences of space; and city environments are multi- sensory. 48 Aesthetic components include the cate- Respectfo r the intrinsic patterns of na- Emotional reactions can be elicited by gories of formal structure and its design; ture enhances the aesthetic quality of exposure to physical objects and geo- expressive feelings, moods, and forces; life. metric forms. and sometimes the symbolic meanings of art and art-related processes and constructions. Continuity and change can exist in de- A line possesses the ability to induce Aesthetic resource and recreational fa- sign structure. predictable psychological and physio- cilities of economic and non-economic logical reactions in a person, who value are becoming increasingly import- passes along it. ant in leisure time activities. The organization of parts into a whole Opportunities to experience and enjoy A sense of place-is man-made and the is an environmental design character- nature are psychologically rewarding to sum of all those environmental charac- istic. many and are important to mental health. teristics that distinguish a part from a whole. Availability of technological and aesthet- The need of man to turn inward for self ic skills are major environmental deter- renewal can be stimulated by his ex- minants. ternal aesthetic experiences. A center, not necessarily geographic, of A sense of place implies physical quali- a community fixes it in space and im- ties which allows one to differentiate poses a visual order on the environment. between aesthetically satisfying and dis- satisfying environmental qualities. Architecture is one of the major influ- ences in developing an aesthetic and congenial environment. 49 Interaction Generalization There is a measurable correlation between the quality of life and the degree of aesthetic awareness exhibited in human interaction with the environment. CONCEPTS The individual perceives the total en- Design structure is capable of being re- Design structure evolving into its present vironment through the senses. corded, communicated, tested and re- day forms arose from functional requi- produced. sites of defense, safety, efficiency, health, legal controls and the aesthetic needs of larger numbers of people shar- ing a common environment. Perceptual awareness makes us con- Circulation, the act of passing from Design structure is a human artifact scious of the many similarities and dif- place to place, is an essential form of composed of willful and random arts ferences which occur in the natural and communication and symbiosis. finally and intelligently directed to aes- constructed environments. thetic social purpose. Perception through all of the senses in- The kinds of circulation available deter- The bio-physical environment, living and creases awareness of and sensitivity to mine the size, scale and quality of the working zones and movement corridors the aesthetic qualities of the environ- human habitat and environment. must be dealt with as a total design and ment. not considered separately in urban de- velopment. We learn to distinguish the positive aes- Urban decentralization is caused by the Available modes of communication are thetic components of the environment urban environments that are dehumaniz- determinants to community form-giving. by exercising perceptual, intuitive, and ing, demeaning physically and aesthetic- conceptual discrimination. ally and devoid of nature. Cumulative aesthetic experiences Will Historically, early design structure Man becomes the measure of space in a provide knowledge of the aesthetic cri- emerged from natural conditions and society which values human beings. teria and principles of design upon symbolic acts. which to base decisions relative to en- vironmental quality. Man in primitive, non-technological cul- Most large communities are composed The relationships between man and na- tures built what nature would permit. of dominant and subordinate centers tural environment are motivated by his which accommodate their pluralism. culture. 50 Awareness Generalization Aesthetic awareness develops as a result of formal and informal aesthetic educational experiences within environments where natural, artistic, and other cultural options can be perceived, compared and selected. CONCEPTS Environmental aesthetic education in its There are four basic designs for move- Social change brought about by rapidly broadest sense encourages learning re- ment networks: radial, ring, grid, and accelerating technological development lated to aesthetic aspects of all curricu- linear. affects aesthetic awareness and values. lum areas, with emphasis upon art education, fine arts activities, and the aesthetic factors in the natural and urban-regional environments. Aesthetic sensitivity and understanding Ability to perceive increases awareness The mass media strongly influences aes- develop through a combination of infor- and develops environmental perspective thetic awareness and shapes the indi- mal and formally structured learning ex- within the individual. vidual's perception of what constitutes periences which relate to nature, the an aesthetic environment. man-made environment, and the fine and applied arts. Shaping of the environment may be in- tuitive, arbitrary, and simplistic or it may be rationalized and deliberate. Ethics and Values Generalization Environmental aesthetic education is developed through the examination of ethics and values in the context of a holistic inter-disciplinary approach to learning. CONCEPTS Ethics is the base from which priorities Ethical decisions and actions affecting Aesthetic and ethic values are pervasive and principles governing right action are the environment must be based on rele- qualities affecting all human environ- determined. vant facts and awareness of both imme- mental decisions and actions. diate and long-range consequences. Ethical action is often sacrificed for Man uses ethics to test the rightness or When ethical goals are agreed upon, short term economic considerations. goodness of his decisions and actions. their implementation may not be agreed upon. 51 Knowledge of the ethical history of our Values represent the ultimate reasons Knowing and understanding one's own culture will help us understand our pres- people have for acting as they do - values is an important part of the learn- ent system and provide some awareness their basic aims, objectives, aspirations, ing process in order that we better real- of other systems. ideals. ize what sorts of things are meaningful to us, what are we striving towards and what sort of world we want to see. Some ethical systems are inadequate for Each curriculum area can contribute to Values relate to rationalization of be- environmental aesthetics. environmental aesthetic education by havior. When these two key factors of developing awareness of the aesthetic action and rationalization are out of har- aspects within its discipline. mony, a person may verbally subscribe to a value but violate it in action. A value is anything which persons actu- An environmental aesthetic ethic must The structure and configuration of a ally approve, desire, affirm or exert provide for long-range well-being of the community is related to the way its in- themselves to obtain, preserve or assist. environment. habitants consider and treat it. Values are intangibles. They are things All significant human achievement is the Man has moral responsibility for his en- of the mind that have to do with ethics product of vision by an ideal. vironmental decisions. and morals and other aspects of human well-being. The possession of diverse values tends In many primitive cultures, the'surround- The cultural characteristics of a com- to set people apart and the holding of ing environment gave spirit and form to munity determines its own unique design similar values helps to bring them to- the creations of the people. forms. gether. Values can change. When condition@ in The quality of an environment is a mirror Man is continually developing an ethical life are such that ethics and morals that image of the culture. base for making aesthetic value judg- were once appropriate and accepted are ments. no longer effective, people become con- fused and a change of values occurs. The form and structure of early cities was determined by their societies' religi- ous beliefs and practices. 52 SECTION III BIBILIOGRAPHY AfFECTIVE Ufsm ETHICS The following is a listing of some of the references available re- Darling, Frank Fraser, Wilderness and Plenty Friends of the Earth, lated to environmental aesthetics. Anecdotal comments have been Ballatine, New York, 1970. included when they were available. Dattner, Richard, Design for Play, Van Nostrand Reinhold Com- pany. BOOKS AND PERIODICALS DeChiara, Joseph, Planning Design Criteria, Lee Koppelman: Van Nostrand Reinhold Company. Ashihara, Yoshinobu, Exterior Design in Architecture, Von Nos- Dober, Richard P., Environmental Design, Van Nostrand Reinhold trand Reinhold Company. Company. Bacon, Edmund N., Design of Cities, New York, The Viking Press, Dubos, Rene, A God Within, Chas. Scribner's Sons, New York, Inc., 1967. 1972. Beston, Henry. The Outermost House, Viking Compass, New York, Eckbo, Garrett, Urban Landscape Design, New York, McGraw-Hill, 1962. Inc., 1964. Birren, Faber, Light, Color and Environment. Van Nostrand Rein- Ewald, William R., Jr., Environment & Change: The Next Fifty hold Company. Years, Bloomington: Indiana University Press, 1968. Blake, Peter, God's Own Junkyard, New York, Holt, Rinehart & Gibberd, Frederick, Town Design, New York, Praeger Publishing, Winston, 1964. 5th edition, 1967. Broudy, Harry S. Enlightened Cherishing: An Essay on Aesthetic Gropius, Walter, Scope of Total Architecture, New York, Collier Education, Urbana, Illinois, University of Illinois Press, 1972. Books, 1962. Carr, Donald, Breath of Life, New York, W. W. Norton & Company, Green, Victor, The Heart of Our Cities, (Paperback). New York, Inc., 1965. Simon and Schuster, 1964. Carr, Donald, Death of Sweet Waters, New York, W. W. Norton & Gutkind, Erwin A., Our World front the Air, Doubleday, 1952. Company, Inc., 1966. Through an excellent selection of aerial photos the author de- Carson, Rachel, The Sense of Wonder, New York, Harper and picts man's transformation of his physical environment as he Rowe,1965. has mastered his social-economical and technical world. Carson, Rachel, Silent Spring, Greenwich, Conn., Fawcett Publica- Halprin, Lawrence, Cities, Van Nostrand Reinhold Company. Rev. tions, Inc., 1964. Ed. 1972. A sensitive camera and demonstrative text show what it is that makes cities livable. Cities, edited by Scientific American, Inc., New York, Alfred A. Hay, John, A Sense of Nature, Arlene Strong, Doubleday & Com- Knopf, Inc., 1966. pany,Inc. Clay, Grady, Close-Up: How to Read the American City, Praeger, 1964. Regards cities as consisting of time as well as materials. Heyer, Paul, Architects on Architecture, New York, Walker & Com- Each urban area reflects the ideas, traditions, and energies pany,1966. available to its citizens in past centuries as well as at this moment. Focuses on North American cities of 1970's. The Honigmann, John J., Understanding Culture, New York, Harper & language of cities need not be architectural or abstract: Clay's Rowe, 1963. vocabulary to describe the city includes the terms: word same, Howard, Ebenezer, Garden Cities of To-Morrow, Cambridge, Mass., fixes, fronts, strips, beats, stacks, and so on. M.I.T. Press, 1965. Conservation Yearbook, Washington, D.C., Interior Department, 1968. Huxley, Julian, In his last report as Director-General of UNESCO. Crosby, Theo, Architecture: City Sense, (Paperback). New York: Jacobs, Jane, The Death and Life of Great American Cities, New Reinhold Publishing Corp., 1965. York, Vintage Books, Random House, Inc., 1963. 54 Johnson-Marshall, Percy, Rebuilding Cities, Chicago, Aldine Pub- Phenix, Philip H., Realms of Meaning: A Philosophy of the Curricu- lishing Company, 1966. lum for General Education, New York, McGraw-Hill, 1964. LeCorbusier, The City of Tommorrow, London, Architectural Press, Prall, David, Aesthetic Judgment, New York, Gordon Press, 1947. Rasmussen, Steen Eiler, Experiencing Architecture ' Technology Leopold, Aldo, A Sand County Almanac and Sketches Here and Press, M.I.T., 1969. Presents a "lively and human approach to There, Oxford University Press, New York, 1949. how people react to the various features of open spaces in Lynch, Kevin, The Image of the City, (Paperback). Cambridge, cities, the textures of pavements, the shadows of masonry, the Mass., M.I.T. Press, 1960. How people actually perceive their spacing of trees, of monuments, and even of lamp posts in the cities is the central theme of this study which proposes urban public view." design principles based on personal interviews with residents Raths, Louis E., Harmin, Merrill, and Simon, Sidney B., Values (Ind of Los Angeles, Boston and Jersey City and on observations Teaching, Merrill's International Ed. Series, Chas. E. Merrill from several disciplines. Publishing Co., Columbus Ohio, 1973. McHarg, Ian L., Design with Nature, Garden City, Natural History Reiner, Thomas A., The Place of the Ideal Community in Urban Press, 1969. Planning, Philadelphia, University of Pennsylvania Press, 1963. McLuhan, T. C., Touch the Earth: A Self-Portrait of Indian Exis- Rowland, Kurt, Looking and Seeing: The Shapes of Towns, Van tence, Pocketbooks, Simon and Schuster, New York, 1972. Nostrand Reinhold Company. The Medieval Town, the Renais- Meyerson, Martin, Face of the Metropolis, (Paperback). New York, sance Town, the Baroque Town, the Industrial Town, and the Random House, 1963. Modern Movement, Town Design, Building for the Future. Mumford, Lewis, The City in History, New York, Harcourt, Brace, Scully, Vincent, American Architecture and Urbanism, New York, and World, Inc., 1961. Praeger, 1969. Scully defines his intent in this book: "To pre- sent a history of architecture in which city planning is regarded Mumford, Lewis, Design With Nature, Garden City, Natural His- as an inscparable part of the whole both in immediate physical tory Press, 1969. effect and in ultimate social significance." Mumford, Lewis, From the Ground Up, Harvest Books, 1956. A Showers, Paul, Find Out by Touching, Thomas Y. Crowell Com- collection of twenty-six "Sky Line" essays published in the pany. New Yorker magazine. Sittes, Camillo, "The Art of Building Cities," Architectural Forum. Nairn, Ian, The American Landsc ape, (Paperback). New York, Smith, R. A. and Smith C. M., "Aesthetics and Environmental Edu- Random House, 1965. cation," journal of Aesthetic Education, October, 1970. Nairn, Ian, American Townscape, New York, Random House, Stainbrook, Edward, "Human Needs and the Natural Environment" 1965. in Man and Nature in the City, U.S. Government Printing Of- Owings, Nathaniel Alexander, The American Aesthetic, New York, fice, Washington, D.C., 1968. Harper & Rowe, 1969. Written by an architect-planner, this Stein, Clarence S., Toward New Towns for America, Cambridge, book concerns how our cities and open spaces can be made Mass., M.I.T. Press, 1966. comfortable, beautiful and profitable. Packard, Vance, The Waste Makers, New York, David McKay Com- Toffler, Alvin, "The Art of Measuring the Arts," Journal of Aes- pany, Inc. thetic Education, January, 1970. Perin, Constance, With Man in Mind: An Interdisciplinary Prospec- Toffler, Alvin, The Schoolhouse in the City: A Collection of Essays tus for Ent4ronmental Design, Caftibridge, Mass., M.I.T. Press, on Urban Education, 1968. 1970. An engaging and well written book about an important Udall, Stewart L., The Quiet Crisis, New York, Avon Books, Hearst subject: how concept from behavioral sciences can bring a Corp., 1963. central concern for human behavior and development to en- vironmental design. Udry, Janice May, A Tree is Nice, New York, Harper & Rowe. 55 Value Sharing: A Creative Strategy for American Education, Na- City at Work, Hester & Associates. A visual description of the vari- tional College of Education, 2840 Sheridan Road, Evanston, ous occupations in a large city which is representative of an Illinois, 1969. industrial complex. Weisskamp, Herbert, Beautiful Homes and Gardens in California, The City, Cars or People. National Film Board of Canada, and dis- New York, Harry A. Abrams, Inc., 1964. tributed by Sterling Educational Films, 241 East 24th Street, Who Designs America? edited by Laurence B. Holland, Garden New York, NY 10016. Lewis Mumford narrates this study in City, New York, Doubleday & Company, Inc., 1966, transportation problems in New York, Paris and Rotterdam. Wright, Frank Lloyd, Architecture, Man in Possession of His Earth, Close-Ups. Hester & Associates. A film on the concept of distortion Garden City, New York, Doubleday & Company, Inc., 1962. and redefinition of objects, by the camera moving in very tight (or "close-up") to the subject. This film gives the viewer clues Wright, Frank Lloyd, Living City, New York, Horizon Press, Inc. to new ways of looking at common-place objects and hints of Zuk, William and Clark, Roger H., Kinetic Architecture, Van Nos- their visual richness. trand Reinhold Company. Here are the bold, exciting, concepts Color of Things. Hester & Associates. This is not a traditional color of pneumatic, hinged, folding, spaces; buildings which move as film, as it ignores color theory. The purpose is to expose the a total unit; self-erecting structures; and many more equally viewer to color as it exists around us in many objects, both fascinating architectural proposals which could significantly man-made and natural. The intensity and value of each color affect cities, regions, architectural design, growth, materials, is recorded by examples drawn from our environment. etc. The Desert. Hester & Associates. A view of the forms and colors FILMS AND FILMSTRIPS characteristic of the desert. Design is a Dandelion: Design in Nature, Form, Texture, Balance, "A" is for Architecture. National Film Board of Canada, available Rhythm, and Contrast. BFA Educational Media. This series through Contemporary Films, 267 West 25th Street, New York, enhances the student's sensitivity to and appreciation of the NY 10001. A review of the history of architecture with good major elements of design as well as the beauty around him. photography and musical background. Particularly suitable for all grade and junior high school showing. Educational in Downtown for People. Enterprise Productions, Inc., available from emphasis. the AIA Library, 1735 New York Avenue, N.W., Washington, D.C. 20006. Downtown need not be a battleground between A Portrait of a Small Town. Hester & Associates, 11422 Harry auto and pedestrian, according to the producers of this film. Hines Blvd., Suite 212, Dallas, TX 75229. This film translates They prove their point with illustrations drawn from a number visually small town life as it exists today. The small town is still of European cities, and a few American ones, which have pro- a prominent part of rural America and has a special quality of vided safe and pleasant pedestrian spaces for the enjoyment life. of people. Blueprint for the Future. Houston Chapter, AIA, and available Eero Saarinen Architect. Sumner J. Glimcher and available through through Houston Chapter, 2737 Buffalo Speedway, Houston, the Center for Mass Communication, Columbia University, TX 77006. Houston's plans for the future with examples of 1125 Amsterdam Avenue, New York, NY 10010. A retrospec- planned improvements. tive review of the work of Eero Saarinen revealed in a dialogue California: Three Images. John Fisher-Smith, AIA and available between Aline Saarinen and Edgar Kaufman, Jr., recorded in through the California Council, American Institute of Archi- Dulles Airport. The airport is analyzed in depth, his other work tects, 1736 Stockton Street, San Francisco, CA 94133. An un- receives less attention, and is illustrated largely by glimpes of usually effective slide show with good photography, excellent still photos. natural backgrounds and fine examples of both good and bad Exhibition in Moscow. Herman Miller, Inc., Beeland, MI 49464. urban design. Despite the fact that this film was made in 1959, it is an ex- City at Play. Hester & Associates. A series of scenes which illustrate cellent, interesting, detailed and beautifully photographed por- the leisure time activities of city dwellers. trait of Moscow - its parks, streets, boulevards, and people. 56 Faces in the City. Hester & Associates. A visual presentation of Leaves and Trees. Hester & Associates. A visual statement about people frorn all walks of life within a city environment. the aesthetic qualities of trees and leaves, the filmstrip uses sound and sight to demonstrate that trees and leaves are ob- 7he FaiT. Hester & Associates. A tour of an amusement complex, jects of beauty - they form compositions in line, shape, and depicting the rides, the people, and the excitement. color, changing with the seasons. Forms Of the City. Hester & Associates. The shapes which exist Lines. Hester & Associates. The design element of lines is illustrated within a city environment are explored. No attempt is made to in natural and man-made Qbjects. The purpose of the film is to make distinction between geometric and non-geometric forms, develop an awareness of line, not as a separate entity but as a but the viewer is exposed to variations of each. part of many existing forms. Good Night Socrates. Northwestern University, and available from Media Images. Hester & Associates. Television is used as a tool for Contemporary Films, Inc., 867 West 25th Street, New York, NY picture making. The filmstrip uses many examples to describe 10001. An award-winning surnmary of the heartaches of a the visual potential of a color TV set. slum clearance in a Greek neighborhood. The Mountains. Hester & Associates. An excursion into the foot- 7he Heart of a City. National Film Board of Canada, and available hills and mountains to reveal the natural beauty. from Sterling Educational FiIns, 241 East 34th Street, New York, NY 10016. An historical and philosophical evaluation Moving City. Hester & Associates. An aesthetic interpretation of of the city narrated by L. Murnford. the city in motion, such as people walking, traffic on the move, The Hidden Landscape. Hester & Associates. The filmstrip il- and public transportation systems. lustrates aspects of natural objects which we ordinarily do not No Time for Ugliness. The American Institute of Architects, and see. available from Sterling Movies, Inc., 43 West 61st Street, New York, NY 10023. By now most everyone has probably seen this 14ousing and Nature. Embassy of Finland, and available through film. It has won a number of awards. Sets forth the problems The Chancery of Finland, 1900 24th Street, N.W., Washington, inherent with nearly all of the big and some not-so-big com- D.C. 20008. A handsome, sensitive survey of the urban prob- munities. lems in Helsinki which are not as perplexing as those in this country. Patterns and Shapes. Hester & Associates. Our environment, rylain- made and natural, has many shapes and patterns. The fifirn- I-low to Look at a Ctiy. Audio-Visual Center of Indiana University, strip shows the variations of these which exist in the world and avaUable from N.E.T. Film Service, Indiana University, around us. Bloomington, IN 47405. One of the eight-part "Metropolis, Creator or Destroyer?" series and an outspoken architectural Perception: Birds. Hester & Associates. In this two part sound film- evaluation of the city. strip, a striking series of color photographs are woven together In a Junk Yard. Hester & Associates. The junk yard is the source in a new format with sound and music. material for a visual essay. The environment which a junk PeTception: The City. Hester & Associates. By using extreme close- yard creates is usually a sear on the landscape and yet there is up photography in contrast with broad panoramas, and com- beauty in the ugliness. bining them with music and effects, the similarities and dif- ferences and the hidden beauty of the urban environment are The Inner City I & 11. Hester & Associates. The pair of films de- brought to life. scribes the inner-core of a large city and how people live in this environment. They record every-day activities of adults and PeTCeption: The Seasons, Hester & Associates. Two part series ex- children and the visual quality of this setting. amining the seasons, man, and his celebration of the natural Jefferson, The Architect. Wesley Greene, and available from Inter- and social seasons. national Film Bureau, 332 S. Michigan Avenue, Chicago, IL The Planned Town. British Information Services, available fron 60604. A brief look at Monticello and the architectural work Contemporary Films, Inc. An impressive production film based there and at the University of Virginia. on Ebenezer Howard's "Garden Cities". 57 The Rain. Hester & Associates, Rain and all its different visual The Sky. Hester & Associates. A presentation of visually exciting aspects are explored in this film. Close-ups of subtle happen- forms and colors that make up the sky. The elusive shapes of ings during a rainstorm and the aftermath of the storm are the continually changing compositions are emphasized. recorded to reveal a sensitive visual statement. Snow, Sea, and Sand. Hester & Associates. The filmstrip develops The River. Hester & Associates. A visual statement about the ac- a visual awareness of these environments by using the camera tivities on a major river in the United States. The use of rivers as a selective eye to record the combinations of line, shape, have changed in the 20th Century and the film records a con- color, and form, inberent in these settings. temporary picture of the movement and environment a river creates. Suburbia. Hester & Associates. The expanding urban areas since Hoofs, Tops, Steeples, and Chimneys. Hester & Associates. We World War 11 has created a new type of community: the sprawling, residential area, commonly known as suburbia. The usually see common objects at eye level. The filmstrip investi- film captures the characteristics of a typical development out- gates the' visual potential of objects by photographing roof side a large metropolitan area. tops, steeples, and chimneys from varying visual points of view. PLougiz and S-mooth. Hester & Associates. The film develops the Times of the City. Hester & Associates. Scenes in the city at differ- concept of texture through illustrations extracted from natural ent tinies of the day and night. and man-made objects. Continuing textures, from rough to Townscape Rediscovered. Canadian Centennial Commission, and smooth, are illustrated throughout, and the student should be available from Community Improvement Program Centennial able to gain greater visual sensitivity to this design element Commission, 425 Cloucester Street, Ottawa 4, Ontario, Canada. through viewing. The urban renewal accomplishments in a city of 60,000, Vic- Signs and Symbols. Hester & Associates. Our environment is filled toria, British Columbia. with graphic images which are both visually pleasing and Water. Hester & Associates. The aesthetic and functional properties polluting. Signs and symbols give order to the environment but of water are presented in a series of scenes which illustrate the also cause visual chaos. impact of water on our society. Signs of the City. Hester & Associates. A film emphasizing the conglomeration of signs and symbols that create and control The Zoo. Hester & Associates. A trip to the zoo that gives the viewer the city environment. knowledge of various animals. 58 00