physical space and the teaching of art

National Art Education Association

Physical Space and the Teaching of ArtAuthor(s): Frank D. SusiSource: Art Education, Vol. 39, No. 2 (Mar., 1986), pp. 6-9Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3192996 .

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Physical Space and the Teaching of Art

Frank D. Susi

ArrangemenTs TnaT permit conversations Detween teacner and student to occur across the corner of a table enable both to be in comfortable eye contact. Photo credit: Brian Miller. Distance, often a symbolic barrier between teacher and students, can be reduced by thoughtful spatial planning. Photo credit: Rrinn Miller

f the various factors that characterize effective teaching, the arrangement and use of classroom physical space are especially significant for art educators. Because of the tacit relationship

between environment and behavior, the setting where art activities occur must be able to support a variety of distinctive instructional functions. Researchers from various disciplines including sociology, environmental physiology, architecture, and education have studied how spatial variables affect attitudes, emotions, and behaviors. This information has implications for art educators because it influences work habits and communicative exchanges between teachers and students. Although much awareness of the impact of these spatial factors exists, many art teachers are uncertain about how to best utilize them in individual classrooms.

This paper will present a series of spatial arrangement and usage concepts that can be applied in art education settings. These ideas can be a basis for improving teaching by expanding the range of instructional methods used by art teachers.

The significance of spatial arrangement and usage in art rooms stems from the two unique but interrelated dimensions of art teaching: 1) studio activity that is associated with expression through art media, and 2) the critical and appreciative experiences involved in response to art. Each requires different spatial considerations if they are to occur within a physically and psychologically supportive setting.

Within the scholarly areas that examine spatial factors, two basic research orientations have emerged: 1) personal space research which deals with the significance of space relative to the effects the physical arrangement of

settings, movement pathways, and territories have on individuals, and 2) proxemics research which deals with spatial usage as a cultural matter and asks questions related to how response to crowding differs among individuals. While each orientation offers a unique disciplinary perspective, both have established that space is an important dimension in the learning environment. Many of these concepts can be adapted to the teaching of art.

The arrangement and use of space are parts of the complex nonverbal communication system that exists in every classroom. Nonverbal communication refers to the

Art Education March 1986

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aspects of behavior that accompany the act of speaking and influence the perceiver without using words. These behaviors tend to operate outside of the conscious awareness of individuals and include such other dimensions as facial expressions, eye movements, gestures, and visual images. Nonverbal influences are more potent than spoken words in revealing attitudes and feelings. Territories A basic concept in the study of spatial usage is territoriality, wherein an organism lays claim to an area and defends it against invasion by others. This behavioral characteristic is a trait of all human beings and is often associated with the attainment of personal status and power (Hall, 1966).

As a dimension of the classroom physical environment, spatial territories define the roles and relationships of teachers and students, influence behaviors, and signal expectations. During their schooling, students learn to read these arrangements as they encounter the authority oriented flow of communication that tends to exist in classrooms (Sommer, 1977).

The territory of the teacher is marked by the size and location of the desk, file cabinet, storage tables, and other such artifacts. These arrangements, while not central to the learning activity taking place, symbolize the dominant position occupied by the teacher. Since the physical and social system of the classroom are interconnected, the development of democratic and student oriented environments may be undermined by an overemphasis on territory in the front of the room. In addition, this practice can lessen the flexibility of room physical space by encumbering large areas of floor space. These factors should be considered as arrangements that are planned to support lesson goals and to develop desired classroom atmosphere. Spatial Arrangement and Usage Spatial arrangement refers to the physical layout of chairs, desks, tables, and other movable features of the classroom environment. Settings can be purposefully designed to suggest certain meanings as well as exert control over the amount and kind of communication that will occur within them. Sommer (1977) stated that the educational philosophy of the teacher is reflected in the layout of the classroom and should be justified on the basis of certain educational goals.

Spatial usage involves a variety of factors including the routes and patterns of travel by the teacher, locations of the individuals visited, how frequently visits occur, how long they last, and the provisions that are made for students to change locations. Where and when a teacher travels in a classroom signifies meaning just as the physical distance between teacher and students establishes the status of relationships.

In educational settings, most teachers do not explore the full potential of spatial arrangement and usage possibilities to support their teaching efforts. In a research project, Weinstein (1977) reported how minor spatial changes introduced into classrooms resulted in significant changes in behavior. By relocating some work areas and student desks, the spatial usage patterns of students were modified, students moved into areas of the room they had previously avoided, and the range of behaviors was

In this article . . . Susi discusses the effects of the arrangement and use

of physical space in the art classroom. "Settings can be

purposefully designed to suggest certain meanings as well as exert

control over the amount and kind of communication that will occur within

them."

broadened within certain locations. These findings suggest that attention to the physical environment can produce behavioral changes and may pave the way for concomitant increases in learning. Spatial Considerations for Studio Activities Studio activities usually take place at desks, easels, tables, or benches where students can study, experiment, and develop ideas and art works independently from other class members. To provide physically and psychologically supportive environments for students to work, a variety of decisions about the room space have to be made. First, physical space should be planned so that distribution of supplies, access to equipment, storage of projects, clean-up of work space, and display of completed work can be accomplished with minimum congestion and confusion. Often these tasks can be planned as part of the learning activity. Next, spaces should be arranged to support the expressive potential of the assignment while minimizing environmental distractions and psychic stress. Travel routes throughout the room that promote ease of movement for students and teacher should be considered. Such planning will help eliminate blocked pathways and dead-end rows where the teacher is unlikely to venture during individual consultations with students.

Most teachers are aware that personal attention to each student pays great dividends. When planning spatial arrangements, one goal should be to permit each student to be located wherever he or she will be most comfortable yet can be visited by the teacher for individual consultation about the work in progress. Physical proximity intensifies messages. For example, when a teacher stands close to a student, scolding seems more severe or the compliment more genuine (Galloway, Note 1).

Students who are seated along aisles or pathways where the teacher travels usually receive personal and direct attention. Those who are located in less accessible places often do not receive teacher visitations. The task of improving these situations may seem difficult in classrooms where size, shape, number of students, types of furniture available, and other physical factors restrict layout flexibility. Yet not responding to the physical limitations can result in classrooms where students who need the attention of the teacher are ignored or neglected. Addressing these problems and devising solutions to them are appropriate challenges for creative teachers who want to provide the best possible instuction for students.

Art Education March 1986 7



The spatial usage patterns and behaviors of persons from various cultures have been studied by Hall (1966). Results of his studies can be helpful in designing spatial settings for a variety of art education activities. He reported that in order for individuals to work and function with a reasonable amountof psychic comfort, four distinct zones or distances which people establish and maintain between themselves and others can be identified. They are summarized as follows: Intimate Distance

Close phase: 0-6 inches. For very intimate interactions, often involving body contact such as touching or comforting.

Far phase: 6-18 inches. For less intense but still intimate interactions; usually considered improper in public (except in impersonal situations where defensive devices counteract it). Personal Distance (the usual distance we maintain between ourselves and others)

Close phase: 1 V/-2 /2 feet. For people bonded in some way such as wife and husband.

Far phase: 2 /2-4 feet. The limit of physical domination; used for discussing subjects of personal interest. Social Distance

Close phase: 4-7 feet. For impersonal business; used by people who work together.

Far phase: 7-12 feet. For formal business, such as in offices. Public Distance

Close phase: 12-25 feet. For more formal speeches such as presentations to small audiences.

Far phase: 25 feet and more. For situations when speech amplification or shouting are involved.

These zones or distances are unconsciously triggered in individuals and are mediated by four variables: the setting, the relationship or task of the persons, the emotions of the individuals, and the physical space arrangements of the setting. An awareness of these personal space factors can be helpful to art teachers as they plan classroom spatial layouts.

The direction from which the teacher approaches and talks to individual students while they are working in studio-type activities suggests another spatial usage consideration. Arrangements that permit conversations between the teacher and a student to occur across the corner of a desk or table enable both individuals to be in comfortable eye contact with one another while directing their attention to the work being discussed. Talking with students from over the shoulder is an approach method that is often used by art teachers. While allowing both teacher and student to share a common view of the work, this method precludes the opportunity for establishing valuable eye contact during the communication exchange. Spaces for Responding to Art A variety of unique spatial needs are suggested by those experiences associated with responding to art. These activities may include a variety of instructional methods such as written assignments, individual presentations, group discussions, critiques, and demonstrations. In most cases, spaces intended for written work should be planned to minimize distractions and focus student attention on the task while allowing access for visitation by the teacher.

Arrangements to facilitate written work may be similar to settings designed for art-making activities. Group discussions, critiques, and other response oriented instruction emphasize verbal interactions among class members and the teacher. In most cases, attention is directed to a specific individual or part of the room. Planning spatial arrangements for these activities should be done while considering the desired levels of interpersonal communication that will occur.

Research studies have shown that the spatial aspect of instruction featuring teacher-student interactions most consistently linked to achievement is pupil seat location relative to the teacher. Individuals located near the front of the room and close to the teacher tend to be more attentive and achieve higher grades than those in more distant positions (Weinstein, 1979). Exactly why this happens has not been firmly established although researchers speculate that the quality of eye contact that occurs is an important factor in this instructional context. Argyle & Dean (1965) reported that during verbal interactions, people look at each other in the eye repeatedly, but for very short periods of time. Emitters tend to watch the expressions of receivers so they can obtain feedback and judge the effects of what they have said. Receivers likewise watch eye behavior for clues to help in understanding what has been said. Students located physically close to the teacher, such as in front seat locations, are able to establish and maintain clear eye contact with the teacher. Other students, located in more distant seats or who are at severe angles to the teacher and out of range for comfortable glance, are less able to establish eye contact. As a result, those individuals do not fully participate in the mutual give and take behavior necessary for obtaining important nonverbal clues about the information being communciated. Generally, as distance between teacher and student increases, eye contact decreases. Close physical proximity and good eye contact in verbal interaction situations are major factors in the communication that takes place. This phenomenon is relative to the specific cultural situation in which it occurs but may partially explain the relationship between seat location and student achievement in classrooms.

An example of this principle can be observed in a classroom where students are directed to gather in close around a table or easel for a critique or demonstration. This relocating of students is usually done to assure that everyone can see the work clearly. An analysis of the resulting situation shows that the revised arrangements have altered certain interpersonal behaviors that are parts of the instruction process. When the class gathers in close to the teacher, voice volume of the participants adapts to conversational levels and casual pacing of speech delivery occurs. Distance, often a symbolic barrier between the teacher and students, is reduced as class members, both seated and standing, are within the four foot, Personal Distance zone. Many of the physical barriers such as tables and desks that create formal divisions of the territories within the room are also removed. The close proximity of the students and teacher permits unobstructed eye contact and comfortable glance behavior with most class members.

These arrangement principles can be adapted for use in a variety of other instructional situations such as lesson




Figure 1. This classroom has been arranged for expressive activities. The four long rows with five desks in each have created a network of tight passages and disruptive traffic routes. Many students are in locations that make teacher visits difficult.

Figure 2. In this revised layout, four desks have been removed and others repositioned. The resulting arrangement provides each student with an aisle seat location for visitations by the teacher. Restrictive passageways are reduced and travel routes for obtaining supplies, storing projects, and visiting the sink are simplified.

introductions, reviews, and presentations where eye contact and physical proximity can help to mediate clear communication. In many cases these spatial considerations can be introduced into classrooms that must also accommodate ongoing studio projects. Spatial changes can be introduced that do not involve the continual moving of bulky furniture. The time involved in relocating students should be minimal. In instances where the entire class period is devoted to a discussion activity, student chairs can be arranged into a horseshoe or small circle where eye contact is encouraged. Such a configuration can be a signal to students as they enter the room of expected lesson focus and desired levels of interaction.

Physical changes alone can promote if not guarantee improved student achievement. The positive aspects of spatial usage can be a basis for improving the instructional quality of response activities. Conclusion This paper has presented a brief review of information about the arrangement and use of physical space in art classrooms. These theories can be a basis for making decisions about the physical environment so that it can be designed to support instructional goals and expand one's range of teaching methods.

Each of the two modes of instruction practiced widely in art education, self expression and response activities, requires unique spatial considerations. No single room layout is best for every learning experience. Planning classroom arrangements involves an awareness of the spatial dimension of nonverbal behavior and the expected or desired levels of interaction that will occur as part of the lesson.

While attention to the spatial environment is only one aspect of the instructional process, it is a vital component in the complex physical and social system that exists in every classroom. Increased understanding about these systems is a step toward enhancing the effectiveness of teaching efforts. Applying these ideas with imagination and sensitivity can maximize the impact of art experiences upon our students. i

Frank D. Susi is an Associate Professor of Art at Kent State University, Ohio.

Reference Notes Galloway, C.M. Nonverbal: the persistent language of real

communication. Unpublished manuscript, 1981. The Ohio State University, Columbus, Ohio.

References Argyle, M. and Dean, N. Eye contact, distance, and affiliation.

Sociometry, September, 1965, 28 (3), 289-304. Hall, E.T. The hidden dimension. Garden City, New York: Doubleday

& Co., 1966. Sommer, R. Classroom layout. Theory Into Practice, June 1977, 16

(3), 174-175. Weinstein, C. Modifying student behavior in an open classroom

through changes in the physical design. American Educational Research Journal, 1977, 14 (3), 249-262.

Weinstein, C. The physical environment of the school: a review of the research. Review of Educational Research, Fall, 1979, 49 (4), 577-610.




physical space and the teaching of art

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