sr DOCUB2NT RESUME

$D 125 883,z .

'SE 020 444 .

. ,

. .

TITLE , Aesthetics and Environmental Education. AMulti - Disciplinary Resource for CIAIrriCulum

Developbent.,

.

INSTITUTION -- Visconqi.n State Dept. of Public Thsfrficti 11, ti_

.,Ma icon. .

.

SPONS AGENCY: Ru Blau of (21ementary and Secondary Educatipfl,.(DHEW/OE) *, Washington, D.C. ,

PUB DATE [76J .- ,

`NOTR 64p.; Colore pictures and photetgraphs May not

reproduGe well '

%* 1

.

EARS PR ICE - MF-$0.83 BC-$3.50 Plus Postage:'

ItSCRIPTORS *Aesthetic Educa4Aon;'*Curriculp1.Development;Curriculum Guides; Educational` Philosophy; Elementary

Secondary Education; *Epvironmpntal EduCation;Ethics; *ReSodrce Guides; Resource Materials;

*Values, .k

IDENTIFIERS Wisconsin .

..6

ABSTRACT'Educators have become increasingly aiare of the ,

complexity of most environmental ptobleps. This realization has

lted in a recognition that scientific and technological solutions

in themselves may be a lajor means"for dealing with ou'r environmental

.problems; but underlying nearly all environmental problems'and

solutions are' human attitudes and behoiors which .are a result of out

societ=y's ethicS.and,valpes. Effot-Es!to develop environmental

education programs have atterion to the fact that aesthetic

awareness and understanding should fkM'the..basisby which human

beings.'i.nteriDret these ethics valUeS that influence behavior

Affecting environmental gualitg.. The purpose of,this publiCaion is

to provide a philosophic point of viemon aesthetics and the

environment and to serve as a resourcefor incorporation,of.

environmental'aesthetilearning experiences into any sUbject.

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* 'Doacuments

acquired by ERIC irl,clude da y in_tormal unpublished- *

* materials notevailzble from other sources. ERIC makes every.effort *

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* o obtain the'best copy available; NeVerthele , items of mariginad *,

* reprodticibilitr are often encountered ana is a fects the qUality -*

% * of the microfiche and hardcoprreproductions IC makes available '*

!*.via the ERIC Document Reproduction Service ED2S). EDRS is not. *

* responsible for the gualitp'of the orifn.1 document., Reproduction's le

* supplied by E ate the best that4 can be made' from he original.? *'

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This project w

asiurported in part by fundsappropriatelf 'alder the rational defense education act of 1958.

Title 1114. as am

endedP

.L. 85-864. the U S

Office of E

ducijionD

epartment of

Health. E

ducatiortand

.e

Welfare. H

owever. the opinions expressed herein

do natnrkessaroy reflect the ,position Or policy

of the U S

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Office of E

ducation. and no officialendortem

ent by the U.S

Office cf E

d-- atic,n_ethould beehfertred

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Philbsophy, Goals, R

ationale.

The State of the E

nvironment

Concepts of A

estheticst

= .

A A

esthetic Criteria

...,...

..

..

Integrating Aesthetics into

Instructional Programs

_r,*

.

Ethics and E

nvironmental

Aesthetics

Value D

efinitions

Aesthetic V

alues and Valuing

Aesthetics and

tlife-itt.knTil E

nvironment

IT

he Role of A

rt, Aesthetics

and,De-sign in

".assessing kand Quality. and L

and Use .

Uiljan E

nvironmental

Aelt tics

Concepts. and Skills

e. EnvirorilgentalA

spectSof A

rt Programs

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cesges)Facilitating Aesthetic

Aw

areness and Coriceptttalization

' 4 1

.Preparing fop C

urricultim Planning

424

0.

rThe C

onditions for Aesthetic

Learning

fp. Rsychic C

onditionsIriffileucing

Environm

ental Aesthetic- E

ducatibn.11

Planning foz Learning

The C

onceptual LeariV

y, Pi)ocess. 46

Conceptual Fram

ework

48

..4445

SEC

TIO

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Bibliogra h

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i4TS

The w

riters identified below planned and authored

'thig publication from its inception. W

hile this was a

cooperative effort in formulating,' com

piling and edit-ing the entire publication; each w

ritef _assumed the

responsibility for developing specific sections of ,this*W

ok. The areas that each .dne undertook prim

aryresponsibility. for developing are identified below

,'

Kent A

nder. son, Curriculum

Specialist /Art

Milw

au-kee Public Schools : 'A

esthetics,C

onditions for Lektax-

ing\-

,

Curtis C

arter, Professor. of Aesthetics and Philosophy

Marquette. U

niversityR

ationale-- Aesthetic. C

ri-teria

Ethics

Urban A

cstlieftic.s

Earl C

ollins: Art E

ducaion Qonsulutni

Coordinatoi

Arts and Ilum

anities. WiSconsin D

epartment N

Public InS-truct4on: Values

Curriutum

PlanningPlanning/L

earning Process .

Kenneth B

. cottnigbarrr. Supervisor of Art.--.W

estAllis.

West M

ilWaukee Public Schools:. E

thicsC

'onci;pts

IMP

,

The G

raphics and layotit.

David L

ngerson, Environr

tai Edudation C

onsultantW

isconsin Departm

ent oT Public Instibuction:

Aesthetics and the N

atural Environm

ent

Phi Levis, D

ifector, Environm

ental Aw

areneS's Center

University of W

isconsinM

adison:lifter-disciplinary. L

and Use and-D

esigk.

Irvin. S'poerri, Director of A

rtFond du L

ac" PubliCSchoO

ls-C

oncepts and Slyfls,

a

4

The follow

ing agencies and organizations have co -.pperated w

ith the Wiscorisin D

epartment of R

ublicstrucT

ion in the development of 'this publioation.T

heyprovided direct financial support or.indirect financialsupport by m

aking-the services of theirstaff m

eaSersavailable"-

,

The W

isconsin Enviforim

erital Council --M

arquetteU

niversity (Milw

aukee)T

he University of W

iscon-:sin-M

adisonFond du L

ac Public Schools" Milw

au--kee,Puhric.Schools =

\Wst. A

llis Public "SehbOls

by Charles

.E

arl L. C

ollins, Project -coordinator. Art E

ducationO

onsultant, State CoordE

rkit()r, Arts. and hum

anities

(4

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PR

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AC

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...T

he growing public aw

arenessand concern retatA

adlo tration.oi

.

our environment has

esultqt1 2in a need for anddem

and tliaeduca on at all..

..%

*G

-levels deal with this problem

as parhe pducational 'process. FO

rseveral

.'. m.

.years. the W

isconsin Departm

ent of Pu licInstruction' has recognized this.

. c --4

need and has assumed a

lead&-ship role

indeveloping and -providing envirlistr--:.

#.,

rnerrtal education guidance and .resources..

-.,.

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.......

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fb.

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.E

ducators have become. increasingly aw

areq the

'ple/tity:lyf--m ost.'en--"'

vironrriental 'problems. T

his. realizationhas-reSulted in

recognition tlial_scielif -tific and technological solutionsik

themselves m

a.ya m

ajor.mearls

for deal-

-ing w

ith our environmental

problems but u derly.in

nearly all, environnidntalproblem

s and solutions ar.e.hurnanattitude

-Ind bviors w

hich are a resin'of our society'S ethics and val

. Efforts to develop environm

*S1-edticatibb

s

programs have

called-attentioto the fact

th4aesthetie awareness'ancl-urider,

standing -should form khe basis by' w

hichhtnin. an w

ings ,interpret these ethics.

,and valetes tha&

inflaence behaviok.affecting.enviionniental quality. R

espond- -Y.__..__

ingto this need, the. W

isconsin Departm

entof .PtIblic Ipstruction originated

and produced this guide_-,

*4::

The purpose of this 'publication is to

prbvide a philosophic. point'ofon...aesthetics and the environm

entanitto serve as a revurG

c,for Incorporation,of environm

entA aesthetics

l6rning. experiences into an.i:stibj;;ct..

..0

;241a:/ta-o.----N

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State Superintenant.W

Aconsin /D

cpur.tuiciitof

Public litOruction

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Introduction"

he accompanying schem

a depicts all of the major

factorsthat .the E

nvironmental A

esthetics Curriculum

authors con-side

to De necessary for m

eaningfullearning experiences

rela ed to aesthetics and the environment. It is

not a model

for clurriculum developm

ent but rather aholistic and hierarchi-

cal trganization of those factors which should

be incorporatedinn environm

ental aesthetics curriculum and

the related'- processes of learning.

..

.

--,his schem

a depicts ethics as being the most

dOrniriant

and pervasive. force. affecting society's.and-each individual's

values. Values are the screens and determ

inantsaffegting all

Pfe other 'elem

ents in.: the above schema: E

nvironmental

aesthetic 'education processes 'should involvethe affective,

cognitive and psychomotor dom

ains with an em

phasis uponsensorexperiences stressing expldration and

discovery.

The schem

atic. 'design attempts to convey a

feeling of in-teraction, interrelatedness arid

dynamics betw

eet1 all ofthe

elements it identifies. II. is the position of

this boot that edu-cation .related 'to environm

entalquality cannot be ilealt w

ithcffectiyely in a fragm

ented and linear manner, but

that()rale elem

ents ,in the scheina must

be considered lkthe.riof

ganizing learning experiences,.

The- statem

ents, that- follow elaborate

the philosophicalfbundations, of the schem

a. The first' section

deals with the

rationale for environmental aesthetics and.

the. related curri-culum

content. The second

section.- describes the procedufesand processes for curriculinn deV

elopment

and implem

enta-tion. T

he third section providesbibliographical references and

'supplementary resources.

..

7

The purpose of' this publication. is to serve as a

multi-disi.

,ciplinary environmental aesthetics

resource' for curriculumdevelopm

ent%-.-..

.

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Environm

ental

Aesthetic E

ducation:

Philosophy G

oals,R

ationale.

It is now apparent that the task of e-duczition

for envirerj-m

ental "awareness has at its center a crisis, of

values. The past

insensitivities and misuses of environm

ent Are not

merely or

even primarily failures

Of scientific know

ledge or technology.-

They are 'failures-in aesthetic and

ethical sensitivity: Aesthetic

and ethical values are per'asive qualitiesaffecting all hum

anenvironm

ental decisions and actions. Aesthetic aw

arenessrequires sensitivity. to form

and designthrough the exercise

of perceptual discrimination,. E

thics makes us aw

arethat all

persons, present and future, areentitled to equal respect and

to a..share of the benefits of thenatural and m

an-made en-

v' onment.. E

thics calls attention tothe fact that nature's proc-

,- es g.and

-fife support-systems are enO

ttled to respect and care--fur use; B

oth aesthetic and ethicalialties are thus centralfor

the aChievem

tnt Of a-

total.-..,quality .of life. They give purpose

apd direction to the.g.cblogical knowledge

and skills that areheeesSary to solve ,environm

ental problems.

-ct

Aw

areness of aestifetie- and ethical _aspectsof responses

to the environment' naturally begins in

the home anti in fa:

miliar play and w

ork surroundings- as ,thechild interacts w

ithL

is personal environment. Public or

alternativechools are ina position,to

formally integrate and com

municate aw

arenessof aesthetic and ethical aspects- of environm

entw

ith otherrelated concepts and, know

ledge: SChoolS

have the formal'

,

means-for teaching ordered concepts, and they occupy

major

-portiiins of prime learning tim

e -inchildren'; liyes. It is there-_

fore incumbent upon educators to provide

models, of enviro n-

mental learning that w

ill educate people- toward capability in

aesthetic and ethical decision making.

.

--TN

:- aims eL

lerthe publication .are to-proyide- a position

statement and reference for, curriculum

develop lent andteidentify resources for its im

plement,ation in

the Achools. T

hepublication is designed to stim

ulate awareness

of the. aesthetic

.r

tO

ki

ti

e

;

Cs)

and ethical base for a holistic interdisciplinaryapproach to

environmental education, in w

hich aesthetic andethical val-

ues are correlated with

ecological approaches and applied toenvironm

ental problems.

.A

well-developed program

forenvironm

ental educationthat incorporates the aesthetic and ethical

factors can' beachieved through im

plementing the follow

inggoals.

1, To integrate aesthetic and ethical

beliefs and attitudes'in relation to the .developm

ent ofecologicarconeepts

and skills in both informal and form

allearning exper-

iences. This task can be accom

plishedby relating arts

and value education to other subject areassuch as the

ecologically oriented natural sciences, historyand lit-

erature..

2. To foster a sense of inquiry into

environmental plan-

ning and the solution of problems

through arts_projectsthat relate perceptu4 discrim

ination anddesign in art

to the larger environment.

-

3. To teach respect for the

total environment including

persons. naturalelem

ents, and man =

made structures.

and develop an a,artiness of their

intrinsic wdrth.

4. To design a series of learning

experiences, for the pub-lic and alternative schools over a K

-12continuum

thatw

ill orient attitudes, concepts, andskills positively

toward:

A. Providing a holistic approach to

environmental edu-

cational concepts.

B. Introducing aesthetic and ethical

--factors into en'ironm

ental learning processes.

C. D

eveloping experiences 'of perceptualdiscrim

inationand aw

areness_. of -its impact

upoit< um

an groWth.

4-

#4)

r.

e

Aesthetics: T

he State

of the Environm

ent

Is our a society that stresses technologicalinform

ationprocessing at the expense of a positive/active

appreciationof, and response to, the aesthetic qualities of natural

and man-

made Phenom

enon? is the radiance of the sunset to beoblit-

erated by the ozone haze and smog from

automobile

exhausts,_lby the glare of neon signs the tangle of

telephone.poles andw

ires, and the sky,fillin4,"non- radiance

-cif

ugly city structures desig :ed to serveeconomic interests

with

a disregard of otherhum

z n needs?

ofto

If it is within the_capability of

man to destroy an environ-

ment,it is also w

ithin hiS capability torenew

,and rebuild it.T

he probleM is not one of capability, but rather_

problem of

attitude and focus. The. nissing key to w

idespread'adm

anattitudinal com

mitm

ent fXtr a hum

ane environment is

foundin the term

-aesthetic", .Whose varied

meanings suggest to

some a m

ysterious, ambiguous

realm that is far rem

oved fromthe A

merican values of objectivity and action.

Aesthetics represents the m

issing component in

man's

impact on his environm

ent: consequently.the environm

enthas changed rapidly from

one of natural. beauty to one ofalienation an-cl anom

ie. While changes in the

land over aperiod of, tim

e are inevitable, the effects °Em

ail canbe guided

by int awareness of the pow

er of gooddesign, the _hum

ancapability of visual valuing. and a sense of

order. Man, as

well as nature, can create beautiful

surroundings.

How

have we m

anaged in less than 20t1 years of Am

erican civilization,

to destroy a natural environment developed over m

anythousands of

years and repldce it with a concrete, m

etal and plasticsetting that too

often facilitates comm

erce at the expense of the rights of the individualto perceive and receive a life quality enhanced by pleasurable

environ-m

ental ambiance?

5

Concepits of A

esthetics,

There is pressently'a need to m

ove our societytow

ards anaesthetically oriehted..yalue stricture that is

capable of pro-.viding positive goals and guidelines for the

development of a

qUality environm

ent. A first step tow

ardthis goal is to clarify

and define the term aestfiptic and to show

itsrelevance to

preseni'.environmenfal prA

plems. It is difficult to

separatedefinitions of aesthetics from

definitions of'art-because of the

integral; interrelatierisftips of these two

spheres of influence.I,

Perhaps the ineffectiveness of aesthetic decision-making

processes-can be traced to western. rikan:s

low priority for ac-

tivitiei rooted in such words aS "appreonation,-

'creation,- and:`art.-11-te activities thfttiw

e associatew

ith- tlyese words did

notsignificantly affect developm

ents occurrirt. during thew

estward m

ovement of civilization,

an examinatien

of the'deeds and 'structures' of either

Am

erica's pioneer explorers,industrialists, or builders,,. w

ill show.

The cities, building

structures /and other enVironm

entaleffects of these early

form givers of our society provide

easily discernible visualevidence of a lack of concern for the .hum

andim

ensions andthe needs of life. T

he.. absence ofsignificant im

pact 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 m

ajor rolefor _a!Stiletics in decisions

relating to changes in ourenvironm

ent as it evolved fromnatural to m

an-made is

closely related to the fact that inthe

past few persons other

than artists tind philosophershave

deliberated about aesthetics and itsrelationship to existence.

The great body of w

riting onaesthetics is expressed in philo-

sophicterms rather than in. pragm

atic,action-oriented term

s.A

nd the philosophers who-have

persisted. in championing the

importance of aesthetic.. values

have not always been suc-

cessful in influencing the decisionm

akers of our culture. Yet

-their statements- of the m

eanings we

give to the term aes-

thetics-can be helpful incliJr current efforts to relate aesthetic

value ttiour understanding ofthe environm

ent.

4

"

Early considerations. of aesthetics w

ere often closely 're-lated to the term

beauty. Ile Greeks of the classical age de-

veloped an ideal of beatity that combines organic or natural

f ilms and m

athematical rules representing true proportions.

Greek architecture and art draw

s its ..beauty from these nat-

ural-m6T

hematiial form

s and relates spirituarvalues to physi-cal form

s. The G

reek aesthetic ideal was m

eant to influenceall aspects of their life.

Imm

anuel Kant, an eighteenth century philosopher,

sougiCto find a distinctive category of "aesthetic know

ledge-,to separate it from

:'scientific knowledge. :' Perceptual

discrim-

ination acting as a stimulus to im

agination gives usltbis spe-cial aesthetic sense- that according to K

ant, leads to the ex-perience/ of beauty.arrd the sublim

e:

. 3T

he more sensory-oriented aspects of aesthetics influence

the formation of attitudes in hum

an heirs, because the`rg--

senses acting together with

nitive processes produce thedecisions that w

e'act upon. A sthetic aw

areness or knowledge

is based in all of the senses, and it is these.senses that seematrophied w

hen man w

ilfully accepts the destruction of hisenvironm

ent. The senses provide input that influences the

necessary positive changes in attitudes to bring about renewal

: of ,pur tarnished environment: O

nly when m

andevelops a

personal' aekthetic consciousness will he becom

e aware of his

destructive habits and become com

mitted to positive rather

than negativ5behavior.

Despite a grow

ing body of evidence indicating a signifi-cant need for aesthetic concern in a variety

.of human be-

havibrs, awareness by the general public faiht to-reflect to any

degree.. regard for Aesthetically-based decisions.

Nr

The

1oleof aesthetic perception ,in shaping attitudes. and

.behaviors i;1 well stated by 'Sir H

erbert Read w

ho suggested---.ttiat "the hurrian :m

ind receives, shapes and interprets the

More recent aesthetic view

points include hose of Phenix, w

ho describesaesthetics as "a realm

of meaning," a c tegory of experience that gives

meaning to lifd processes.' P

rall views "sensory apprehension" of aes-

thetic surfaces as the basis for aesthetic xperience.2

ri

A

1. Phenix, 19642. Prall

\

images' of the outer w

orld with all its conscious

and sub-conscious pow

ers, and the realm of the unconscious

couldnever enter our experience

'without the'reflection of perceiv-

.

dble

Aesthetic 'C

riteria

One of the.pdssible reasons fO

r the disregardof aesthetic

factors in decision-making that','detrm

incsthe shape and

quality of tie environinenthas been the belief thataesthetic

judgments are subjectiV

e or arbitrary. The lack of

agreen.enton exactly w

hat constitutesaesthetic factors, or norm

s has ledothers to tegard-aesthetics as being too aM

biguousfor incor-

potatiOn into objective decision-M

aking processes.W

e havecom

e to'realize, thataesthetics is an open concept subject to

. modifiationt as interests: eharige and new

developments

j emerge, rather than a C

losed' concept .with necessary

fixedproperties- or all tim

es: Any -attem

pt toform

ulate aestheticcriteria.that can be-incorporated into 'an

erivironMental.aes-

thetics education' curriculunishoWel be

mindful of tht! ()Pen

character of aesthetic properties and should be wary

of rigidlyim

posing any one set of -norms. It m

ustbe noted, how

ever.that there are certain .factors .that appear

repeatedly in thelists of characteristics that philosdpbers and

others assign tothele-rm

;lest etics. A com

prehensive listor acsthetic4ractors

found in objcs that w

e: call"aesthetic- therefore, m

ay ,in-elude the follow

ing:

' Sensitous materials

, Formal desi&

,

, Sensory qualities

Expressive qualities

Formal qualities

S?mh.olic M

elning

8

to

Harry B

roudy describes an aesthetic experience as "a special way of per-

ceiving objects, events, or situations, the subject of the appreciator con-tributes sense organs, .a nervous system

, a past experience, and a set ofreadiness."3

3. Broudy. 1972

and at the same tim

e, *e.find,included in the characteristicsthe 'factors- that w

eave listed,. A

nd, since thelist ,s not ex-

of. "aesthetic &periencifs- the

following:

.--haustive, there m

ayell:32(11er factors that w

e willA

vant tocall "aes.thetic," and the

e is true for aestheticexperiencei.

.-- Moreover,

the character of aesthetic experiences .relating to

Perceptual discrimination

'*

man-m

ade of natural environments m

ay vary somew

hatfrom

those appropriate to the -arts.

Active receptive response

,_

.--

IntuitiveN

evertheless we can expect that the criteria

that wre apply J

)w

hen we seek. to m

easure or evaluate the aestheticim

pt,rt of a,

Imm

ediatenatural or m

an-made enV

ironrnent. Will-resem

blethose criteria

that we find applicable to the irts.

Philosophers have pro-

Qualitattve

posed their awn solutions to the problem

ofaesthetic criteria.

.--'B

roudr develops a set- Of ground rules based on

his own list

Pleasureablef

of aesthetic facers. Here w

e are proposin&a list of- general

aesthetic' criteria and -alsosome particular criteria

for environ-

Intrinsic-ally gratifyingm

ental aesthetics. Th&

list is necessarily, tentative and sug-

,gestive rather than

definitive, for it is not possible to give a.

Aw

areness of sensory richnessdefinitive statem

ent on aesthetic criteria atthis tim

e. We be-

lieve that the list, however tentative, w

illbe useful as a point

lo" Aw

,areness of formof reference in form

ulating environmental

aesthetic curricu-lum

.'A

wareness d'expressive properties

4

.-..-

.

Aw

areness of regional qualities.G

eneral Aesthetic C

riteria,

t,

Aw

areness of- tertiary qualities.

Richness- and variety in sensuous m

aterialsA

wareness of variety

..

Adherence to principles of design

Aw

areness of unity

Aw

areness of symbolic m

eaning.

,rPleasure producing

_

./

.;

c

These charasoteritics of

aesthetic objects and of aesthetic41 R

esulting in meaningful,

perceptual, affective intui-

experiences,..

experiences can Lie applied to

rrip-made and natural environ-

live. and cognitive experiences.

ments aii w

ell as to works

of art. Given the w

ide diversityof

----

"objects" and "experiences" thatfall .under our term

s "aes-E

xhibition of creatiyitt.,and imagination

t---thetie_.objectand "aesthetic experience" w

e cananticipate

...

,that particular aesthetic objects

will not alvkvs include'all of

_E

xhibition of technical exedlend, in a medlum

,',

(

.

Unity of elem

ents in relation to thew

hole

Contribution to the quality. of life

Articulation.of significant valuas: in

sensuous form:

Environn*ntalikesthetic C

riteria

Optim

ization of the quality of man's

relation with his

environmient

Suitability of the man-m

ade structure(architecture,

etc. ) for its use

Adaptability of m

an-made structures to

their preseritafid future environm

ents

Adaptability of the m

an-made structures to

changinghuniap needs

Effectiveness in 'the use of space

Rhythm

ic.. hatmonious ordering of

the sequences ofenvironm

ental space.

.\.

'... Appropriateness

of color and texture tothe environm

ent

Com

p.a.tibility of man-m

ade structuresw

ith the char-acter of the natural

environment

AttractiveneSs of the natural landscape

Effective disclosU

re of naturalpatterns and their beau-

ties

The identification and

applicakion of aesthetic criteriaprovides guidelines. for m

akingaesthetic judgm

ents. The ex-,

ercise of aeilthetic ludgment

based upon perceptuardiscrimi-

.nation is crucial to theunderstanding and' production of a

humane _environm

ent, becausedisregard for aesthetic cop--

7

r-

!

e

/ti

.04

siderations_has ben a major factor in producing

the pr'esentsordid aspects of our environm

ent. A m

ajor goalof aesthetic

environmental education is thus to raise the level of aesthetic

so_that thePgeneral populace can exercise aes-4}T

etic judgment and m

ake choices that distinguishthe signif-

icant from the shoddy.

II.

C.

Integrating Aesthetic Learning

Into

School Instructiorfal P

rograms

.

If aesthetics is to becoMekentrai to the reconstruction of,

the Am

erican environment., the relStionship

between aesthet:

ics and education needs to be critically examined.

Solutions._can be

formulated in the educational process w

here learningis a m

eans to changr individual attikildes throughinteract'

with environm

ent. A principal aim

of hesthetic environmental

education is to make the individual m

ore capableof dealing

adequately with that environm

ent."

The building of aesthetic com

petencies is -a primary

ob-

jective for school programs because

the attainment of such

competencies W

ill increase. theindividual's sensitivity to the

special significance of both man-m

adeand natural phenom

-ena. A

esthetic experiencesdo .-occur in all curricular areas,

but arts programs are directly concerned w

ith images

of color,shapes, sounds, and m

ovement

that the senses respond toT

he primary purpose of art,- m

usic, dance, theater, film,

and"the literary arts program

s in the school is to'facilitate. aes.:'

thetic understanding that- allow for developm

ent__of the stu-

dent's ability to expefience the .world as- it is given

and re-ceived through the senses. Such program

s utoviiilethe nucleus

for an approach to environmental aesthetic.education C

urricu-lum

, andmake the student sensitive to aesthetic aspects

of,other subject areas.

'

%,A

esthetic education can teach students-that the natural environment is

rich in aesthetic value potential, although knowledge from

otherdisci-

plines will often be required to realize it fully.

Summ

ary

4I

A m

ajor task, of the schoolsshould be' to educate individ-

uals toward capability in

aesthetic decision-making, building

-.-. sensitivity .to

envienmetal concerns and.

generating positivebehaviors in support of ate

'aesthetically fulfilling environ-.m

erit.Ecrucators have a-responsibility to assum

e leadership inareas of environm

entaland aesthetic sensitivity. T

hechild

involved in an aesthetic process structuresthe response to the

environment by converting ideas

and feelings into, an or-ganized, selected, and shaped

physical image or form

.T

hrough involvement in m

akingand in contem

plating works

of art, .the student developsself understanding and under-

standing of the work'. A

t an early..age,children should be en-

couraged to observe their personalenvironm

ent, to make

perceptually discriminating value

judgments relevant to the

aesthetic aspects of their surroundings,and to consider m

eansfor conserving our natural environm

entand im

proving the'm

an-made environm

ent.

Arts, the principal aesthetic com

ponentof education, em

-braces.changes in behavior that can

be-traced to the influence(of the environm

ent astransm

itted through the sensory-or-gans. T

he senses areessential to the area of aesthetic experi-

ence. Education of

thelkses provides a foundation,fordevel-

oping the student's- ability tobecom

e aware of aesrbetic -

satisfactions. These satisfactions are

essential to a fullv-func-tioning individual. C

ontactsiith the environm

entper.ceiv-

Mg, valuing, crO

ting --smiiancl?

the individual's abiliries toexperience the/form

s. colors,sounds and m

ovement_patterns

that comprise the surfaces

of the visible world. E

ach act ofperceivingincrudes aesthetic valuing

and results in a discrim;

'inating.:way of .looking.

12.

,Any program

of aesthetic education might

reasonably be expected to in-clude units on appreciation of architectural design.

Where the urban scene is concerned,1krhaps

all that.is required is tom

ake students aware ofw

hat they shouldn't have totolerate.

1*.

.

Encouraging the attainm

ent of aestheticcapabilities in

the learner at 'all levels of educationw

ill help to transformthe aesthetically unaw

are citizenryinto advocates of an aes-

thetically. fulfilling environment.3he. developm

ent of a sensi-tivity to aesthetic values is a

lifefikepursuit, and an aestheti-cally-oriented citizenry is sltem

utuNresponSilility of the total

'society."r-

Ethics and E

nvironmental

Aekhetids

mg%

t

The im

portance of ethio

environmentaraesthetics and

to one's attitude toward

thq natural environment can be

shown by contrasting tw

o major ethical

sy§tems. T

hese gys--tom

s can be categorized inrelation to the

hon-technologicaland the technological w

orldview

s:The non technological

world view

is--6cemplified in the native

Wes ern cultures and

in Eastern. cultures. T

hetechnological w

o ld view had its

.roots in the early Greek

civilization andbe exem

plifiedby m

ost Western cultures.

Persons governed by the non-technolocal w

orld view '

were abt@

-to relate to theirnatural environm

e t. .They show

edsensitivity to the unity,- am

ong all creatures a1 treajed O

domaccording to an ethical and aesthetic consc ousness.

In them

an -made' environm

entof the rlon-technol gical cultures,

people related aesthetically to theirnatural nvironm

ent be-cause natural m

aterialsw

hich .unified4both aspects of theenvironm

ent were used.

4

Ethics

-

Ethics is,the base from

which vaJoe priorities and

prinylpies governingright action" are determ

ined.

-

The jechnological w

orld, throughsctence, nabled hum

anbeings to grasp uni-tsal law

snd essencesi

nature; the4elaw

s permitted hum

an beings topredict and invent tools to

help them in the exploitation and conquest

f nature. This

stress upon' the logicaland predictable, em

phasiied concep-tual 'consciouSness and suppressed

aesthetic consciousness ex-cept w

here economic:

wealth or political .pow

er, provided am

eans for aestheticC

oncern for the man-m

ade environment.

t

13

i.e.

,--r

Both the non-tdchnological and the te

linoldgical ethicalsystem

s hav proved inadequate as an acretable ethical base

..

,for environm

ental Aesthetics.

,

In die non-technologicalculture,'one's

lreverent attitudetow

ard nature is often replaced byexploi*tion that evolves

from econom

ic pressure. In thetechnologica 'system

, people's'industrial m

echanical" attitude toward nat re

has hinderedthem

from reacting to their

environment'through their senses

and limited their concern for an

environmental aesthetic.N

1.

_-

,

i.-+

..

'A

new ethic m

ust be developed thatw

ill borrow from

theE

astern and native Western philosophies

resulting In: 1) Anew

- cosmic being, a citizen not

just of Am

erica, crt of earthbut of the universe, 2) A

desire to seek abetter know

ledge of.

one4s,relationship to earth, to other humam

beingsarid to one-self. 3) C

reating a new set of values

and a new system

ofethics w

hereby one guides one's choicesby princigles beyond

one's own elf-interest. 4) A

vision ofthe unity and.interde-

pendence of all nature where ea4h

erson's work contributes

to The greater realized

perfection of the universe:, where .one

.,becomes a m

ember of a com

munity

of interdependent partsof the land. 5) A

new environm

entalismw

hich 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

baseewe m

ay draw ipep

both ,Eastern.m

ystical perspectiveand narivi} A

merican pe 7.

spective, incorporating them w

ithour Judaeo-C

hristian tradi-tion, subsequent* w

e -need ,to.realign our. attitude' along the

following m

ore ecologically-,andaesth,eticaily sound app

proaches to the environment:

.,

.R

ecognizing the wholeness of

creation and its aestheticvalue.

.13ecorling aware of natural procqsses

and their. inter-dependence.

,

L

ro

I

Developing a stew

ardship or7participatron. (Analytica.1

appreciatioh arid creative involvement)

Developing the concept of lirotherhood-of the land and

aesthetic concern to eliminate exploitation.

Fostering institutional redirection ,toward environm

eat-al and aesthetic concern.

Becom

ing quality sensitive rather than quantityoriented.

An im

portant, godl of education is to encourage studentsto consider enviconrnental problem

s, their causes .andresti,lts

and to arrive at new solutions using values they develop for a

new ethics of environm

ent in which aesthetic

values ate con-,:

sidered.

Several ohiCal choices are ;A

vailable-today, asthey have

been in the past:

Egoism

(personal or social) acts on the -assumption that

.

imm

ediate gratification of personal Dr select group interests

normregard for the int

sts ofhers is the acceptable

norm of behavior.

.underlying principle Is self-interest;

.individual or collective.

4.

Short Term

Ethical .U

niversalism assum

es that all peoplealive today are entitled to equal respect and benefits and thatthe enylionm

ein is to b used-to achieve a quality of life foreinV

olis of today without taking account of future

cOnse-

.

quences.

Long -I

ruts IThiversali-sm

assumes that

all persons'-pres:ent and futurse are entitled to

eqw.il respect and a sharre of the

Jbenefits of environm

ent. and that natures p- ocesses and lifesupport system

s .ire entitl&d -to careful respecX

and usefor the

15

a

achievement of a total quality of life.

Nora.11 of these are com

-patible w

ith .the imm

ediate and long-rangeposM

bilities for,achievM

g a hgh 2luality of life.la

Only the third alternative se6m

s adequatefor an environ'

mental ethic. T

hat is compatible 'w

ithim

mediate and 1

g-

range possibilities fo'rachieving a higher quality of life. A

c-ceptance of long-range

ethical universalism w

ill requirereorientation of individual and

societal attitudes and actions.T

his third alternative is compatible w

ithboth W

estern andE

astern value orientations which acknow

ledge respect_for

peisons and fOr creation. It is incom

patible with

value orien-tations w

hich regard persons andnatural resources solely as

means to be exploited

for imm

ediate gratification in its vari-ous form

s..,

The nature of ethics is central to the

approach to environ-m

ental problems, including the

aesthetics of environment,

because ethics intludes:

Articullues (one oftw

hich is"aestheticvalue )

at pertains to the intrinsicw

orth or good of human

beings awl the natural environm

ent.

2. Establishm

ent of priorities among

relative values-which

would determ

ine the weight given to

aesthetic value inrelation to other values;

3.D

etermination of fundam

ental principlesof right ac-

tion wlative to personal decisions

and actions, and tosocietal- institutional decists and

actions with respect -'

tO:

a.0

Relationships am

ong perkns. among persons

andinstitutions. anti

Uses -and distribution of natural and

artifactnal re-.

sourceS-, thus allowing for .aesthetic

consider'ons

in the decisions -relating to environment.

16

v

Value D

efinitions

There is a general lack of agreem

ent regirdingthe mean-

ing and nature of values and valuing. The one

thing than isagreed upon is that a value represents som

ething important

in human existence. T

he-following

description of values andvaluing_is based upon severarsoutcesof opinion and reflectsgenerally accepted characteristics of the nature of values.

A 'prospective value is anything w

hich persons approve,desire, affirm

or exert themselves to obtain, preserve.or assist.

Some universal things that people value are pow

er,w

ealth,enlightenm

ent, skill, rectitude_respect, and affection. Values

are iptangibles. They are things

of the mind that have to do

with eth,ics and m

orals, and With hum

an well-being.

Abstract

in nature, values manifest them

selves overtly inattitudes,

beliefs and human behavior. T

hey relate to rationalizationof

behavior. When behavior is not in harm

ony with

Vahies, value

conflicts arise.

When conditions in the. environm

ent aresuch that ethics

and murals that W

ere once appropriate, and accepted .are no'Iongdr effective, pkople:often becom

econfused and a revalu-

ation of accepted standards occurs.T

he possession of diversevalues sets people apart, w

hile theirholding sim

ilar valuteshelps to bring them

.together.

Ki$w

ing and understanding one's on valuesthrough

valueLy-larification is an.kriportant part of the learning process

in 'order, that one better realizes what

things are meaningful

to a person, what one is striving

toward and w

hat sort of world

one wants to see com

e intobeing.

The process of valuing involves all of

'the following ele-

ments: choosing freely. choosing

from alternatives, choosing

after thoughtful consideration of the consequences.prizing

and heriSbing. affirming, acting uvui.4.hoices,

repeating thechosen act.'

4. -Raths.

& Sim

on. 197;3

The m

ost important' or m

ar& values

in'one's life are ideals:T

hey are the Basis of vision and. ..aspiration.

All

ignificanthum

an itchievement is the-product of insight

through an ideal._

a

Aesthetic

NT

hrugand V

alUing and the

Environm

ent

Environm

ental quality is primarily

affected.by man's ac-

tiont which are a result of W

esternsocieties valuing and pur-

suing the logicaepredictable and ,controllable. These activities.

emphasize and are based upon,

mathem

atics, science sandtechnology in shaping the environm

ent.T

here has long been asuspicion of the affective or aesthetic

doniain. This rrlbalence

has resulted in a. lack*f aestheticvaluing w

hich laas allowed

the development of a natO

ral andm

an-made environm

entw

hich is becoming increasingly devoid. of aesthetic quality.

This lac

of applied aesthetic values hgs in turnlargely

caused an environmental crisis w

hichthreatens to destroy

the life support systems of the planet.

These conditions m

ake it essentialthat the eduC

ational.-process provide- balanced

aperiences .which foster values re-

lated to aesthetic awareness, beliefs,

and attitudes. To do

otherwise w

ill mean that m

ankindcontinue to pursue

insensitive practices which are

generally detrimental tO

theintrinsic aesthetic qualities of the environm

ent, and there will

bea- continual erosion of thequalities that fulfil hum

an. be-ings and bring m

eaning tolife. T

he importance of this need

which is frequently ignored or

denied was regarded-as the

eskence ofby Friederich N

ietzsche who

said, "'Only as an

aesthetic, phenomenon m

ay existence inthe w

orld appeard.tobe justified.-

It is critical that persons examine

and clarify the valueconflicts arising from

intrinsic, inherentaesthetic needs rend

extrinsic: imposed m

aterial needs.T

his understanding and

d

17

'

/

asap. r;1.

II

. ,

`4.

it alms'?

developing of values related to the aesthetic phenomenon is

essentiallf a balance is td be developed between the, function-

ing of the natural environmefit on the one hand and hum

antechnological needs for developm

ent on the other. Due-te. the

rapid changes in our society which have destroyed or m

adeobsolete m

any of our traditional ethics; morals and other

values, public schoo.ling has been steadily moving aw

ay fromeducation that involves affective experience's or w

hich dealsw

ith controversial issues. As R

aths, Harm

in and Simon have

stated:T

eachers turned toward' "teaching the facts". If controversy .w

as to betroublesom

e, one *should stay away from

it. Adm

inistrators tended toprefer teachers, w

ho did not raise issues. In comm

unities of strangersliving together, people W

ho did not know one another w

ell, people with

different bacrounds, it becam

e easier to have schools which them

-selves represen

an absence of consensus. Moral, ethical, aesthetic

values were quie y abandoned as integral parts of the -curricuhrm

.5

This disproportionate em

phasis- upon the non-controver-sial, objective and predictable has resulted in the education ofa society w

hich values practicesdestructive to the aesthetic

quality of the environment. T

he educational processshoU

ldprovide learning experiences w

hich not only allow for the

examination of valueS related to aesthetics but it

should alsoprovide aesthetiC

learning experiences which w

ill fosterthe

valuing of aesthetic conditions. Values are, of a personal na-

ture and in a pluralistic, free, democratic society

each personm

ust be allowed to pursue personally

held values if they arenot self destructive, socially or environm

entallydam

aging.H

opefully many of the values held by all m

embers of our so-

ciety will lead to a higher quality of existence

and not merely

be based upon whether or not they are dam

aging. The

needfor self-actualizing and hum

anizing educational experiencesrequires that schooling be-m

ore than talking abdut thosevalues; rather schooling should provide a total learning en-virtm

ment w

hich exemplifies these ideals.

Whether it

isplanned or not, the school organization and adm

inistratorsand teachers w

ill shape the values of the learner. It is there-fore essential that school practiceSinnd the attitudes of

edu-

5. Ratlis, H

armin &

Simon. 103.

cators be examined to assure that positive values

related toaesthetics m

ay be meaningfully ingendered throughout the

\-tokal learning process. Students should have opportunities to.eX

ainineaesthetic conditions in and outside of school in orderthat they m

ight question and- IMei-Stand not only aesthetic

.values but also the related ethicS and, other values generallyheld by our society. A

ll of these values, aesthetic, ethical, andothers, w

orking together determine the aesthetic quality of the

natural, man-m

ade environments and life itself.

The process of valuing is as im

portant as the resultingvalue., for it is im

portan'. that,students develop an open andflexible attitude w

hich will perm

it them' to cope effectively

in a cot ptex and rapidly changing world. T

he process6f

value clarification should involve all of the senses .acting inrelation to both V

erbal and non-verbal modes of perceiving

and responding. Rather than to regard education a* a m

eansto indoctrinate students w

ith a fixed set ofaesthetic norm

s,ethics, and values, it is m

ore important to help them

.find some

meaning and m

ake some order out of their changing

worlds:

r.q.

Aesthetics and the N

atural Environm

ent

The nativo_ A

merican knew

and understobd man's in-

tended place in nature. He lived w

ithin nature rather thanapart from

it and realized that man

apart from nature w

asakin to m

an apart from m

an. The ancient G

reeks likewise

revered nature and man's place in it. T

hey worshipped gods

who w

ere themselves aspects of nature, gods m

ore at home

in woods, stream

s, and mountains than in the. tem

ples builtfor them

. They recognized that nature w

as the source ofhealth, beauty, and joy, and that living in accord w

ith naturallaw

s was w

isdoth. The G

reat (God Pan, the nature' god. w

asam

ong the most pow

erful ofM

ities.

Even today. there ate cultures believing as did the N

ativeA

merican and ancient G

reeks. Eastern m

an perceives natureas a -possible. ally to he

identified with, understood, joined,

sought for and lived Nytth in harm

onious .collaboration. But

19

Western m

an behaves as if nature is anoppim

ent to be con -quered, controlled, or form

ed andchanged to provide him

with services, A

n understanding ofsim

ple ecological princi-ples m

ight help refute this viewand help W

estern man t6 under-

stand his place in nature. Understanding

.of ecological princi-ples coupled w

ith aesthetic awareness,

discrimination: and

knowledge can bring about the

balance between E

astern andW

estern philosophies affectingenvironm

ental quality:

What m

an has failed to realize, orif he does realize ig-

nores,that the eak.th becam

e suitablefor his kind of organ-

ism, only after countidss other

organisms bad prepaw

d it forhim

, and-that it remains suitable

only because many-4d these

same organism

sm

aintain it in a suitable state.R

ene Dubos,

writing in A

God W

ithin, aboutthe earth as m

an's home says:

The sensuous qualities of its blue atm

osphereand green m

antle are notinherent in its physical nature; they are

creations of countless microbes,

plants, and animals that it has nurtured

and that have transformed its

drab inanimate m

atter into colbrful livingsubstance. M

an can exist,function, enjoy the universe, and dream

dreams

only because the variousform

s of life have created and continue toM

aintain the very specialenvironm

ental conditions tbat set the earth apart from other planets and

generate its fitness for lifefor life in general and for hum

anlife in

particular.6.

.

,B

ut man is slow

ly beginning torecognize the -invalidity of

his asstimed right of control

and the danger of many of

hisactions..In W

ilderness andPlenty. F. Fraser D

arlingspeaks

of man's responsibility to the

environment:

The exclusion of firm

from the hierarchy

of nature. so cormbon in the

past and even in our own tim

e, is toput him

in the position ofbourgeois

,rentier, living off an economy but

having no responsibility for it. 16m

ake him an integrated functional

mem

ber of the planer and- animal

world about us is. no denigration of this

high estate, no 'assumption of a

irmealy-inoutnd ,egalitarian folksinesg. R

atherdoes m

'-n accept his posi-tion in nature assthe species granted

the privilege of fulfilling the' aristo--crane ideal of noblesse oblige, of being

the servant of bis people.

This is our responsibility

7 onard.earth and its deniz'ons.7

6. Dubos, 1972.

7. Darling, 1970.

"Whtv I w

as tenyears of age I looked at

the land and, the rivers, the sky

addanim

alszaround me and could not fail to

realize that they, were

made by som

e great power. I w

as soanxious to understand this pow

erthat I questioried the trees and

lAshes. It seem

ed as though the flowers

were staring at m

e, and Iw

anted to ask them "W

hop made you?"

I looked

at.the moss-covered stones; som

e ofthem

seemed to have the features

of aman, but they could not answ

er me.

Then I had a dream

, and in my

drea- one of these small round stones

appeared to me and told m

e that

the misiceL of all w

asW

akan Tanka*, and that in order to honor

him I

must honor his w

orks in nature."

*Wakan

mysterious, T

anka -- greatfr-

Tantanka-O

hitika8(B

rave Buffalo)

"Our land is m

ore valuablethan your m

oney. -It will last

forever. It will

not eJen perish by theflam

es of fire. As long as the sun

shines and the

waters flow

-, this land will

be here to give life to then andanim

als. We

canndt sellthe

lives of men and anim

als; therefore, we

cannot sell this

land. It was put here for us by,the

Great S

pirit and we cannot sell it

be--m

cause it does notbelong to us. Y

ou can count your money

and burn it

within the nod of a buffalo's head but

only the Great S

pirit cancounlithe

grains of sand and blades of grassof these plains. A

s a present to.you,

we w

ill give youanything w

e have that you can Stake

with you; but the

land, never."A

lilaekfeet Chief'

"The old Lakota w

as wise. H

eknew

that man's tm

arPaw

arfroinnature

becomes hard; he knew

thatLack of respect for grow

ing,living things

soon led to lack of respectfor hum

ans too. Sohe kept his youth close to

its sOftening influence."

-- Chief

Luther Standing B

ear!"1868

8. As quoted in M

eLuhan. 1972.

9. Ibid.10.

Ibid.

Learning experiences related to the natural environm

entcan only he fully m

eaningfulw

hen..'.the student has the op-portunity of sensing the m

ystery, ;beauty and lifefulfilling

qualities of feature. The basicineed of hum

an beings to exper-ience. the aesthetic qualities found in nature w

ere expressedby

Reston in T

he Outerm

ost- House:

Nature is part of our hum

anity, and without som

e awareness

and experi-ence of that divine m

ystery man ceases to

be man. W

hen the Pleiades,and the w

ind in the grass, are no lOnger part of the

human spirit, *part

of very flesh and bone, man becom

es, as it were, a

kind of cosmic 'out-

law, having neither the com

pleteness and integrityof the anim

al nor thebirthright of a true hum

aniky;11..

Man slow

ly seems to be realizing that he is a part 'of na-

ture. and perhaps equally important,

that nature is a part ofm

an. Stainl ookeopmm

ents onthis 'latter point in a paper.

"Ilumaa N

eils and -I he Natural -E

nvironment":

We m

ust 'recall that some of our m

ost basic metaphors

and phrases thatdefine our real feeling about nature are "M

other. Nature'and "M

otherE

arth." Every tim

e you lie on a sun-drenched beach and .enjoysim

ply thetranquility and ease of that m

oment, you are regressively enjoying a very

basic htiman gratification. T

here are those persons who w

onderw

hetherchildren ,born in the ghetto and therefore quite out of the

naturalhave thall sam

e.kind of regressive longing and need for nature:The

return and longing to return to "Mother N

ature"is a sym

bolic yearningbut it is present in all of us,12

Concurrent w

ith the growing recognition that m

ar_is a

part of nature. and that nature is a partof m

an. there is,acall for a new

ethic reg-arding, the relationshipof m

an andnature..E

mbodied in this proposed ethic is an

aesthetic ele-M

ein of considerable importance: /lclo

Leopold has been a

primary., spokesm

an for those. who dem

andthis new

ethicaitd his Sand C

ounirn Alm

alas becom

e its"B

ible.- Leo-

polds words xlearlY

Minh: us position:.

1113( -.ton. 196-2.

12 Stainbrook. 1965.

"Man is an organization' of the infinite sm

allness of nature thrust up intothe infinite bigness of the universe. M

an is, moreover, that part

of naturew

hich has' become self-aw

are and capable of learning and of self-studyand self-direction ... apart from

tob infrequent mom

ents ofself-reflec-

tion, modern m

an seems to be detqrm

ined to seek his own elim

inationas natural m

an and to ignore, disguise,transform

, and frequently todespoil concernedly the naturalness of the earthly space in w

hich helives.""

13. Stainbrook. 1968.

AO

AO

Oft

Ob.

"The G

reat Spirit, in plaving m

en On earth, desired them

totake good

are of the ground and to do eachother no harm

..."Y

oung Chief"

14. A. quoted in M

aulun. 197221

That land is a com

munity is the basic

concept of ecology, but that landis to be loved and respected is an

extension of ethics. That land yields a

cultural harvest is a fact long known, but

latterly often forgotten.A

ll ethics so far rest upon a single premise:

that the individual is am

ember of a com

munity of interdependentparts.

His instincts prom

pthim

to compete for his place in the

comm

unity, but his ethics prompt

him also ,to cooperate (perhaps in

order that there may be a place to

compete for.)

the land ethic simply enlarges the boundaries

ofthe comm

unity to in-'

dude soils, waters, plants, and anim

als, orcollectively: the land.

In shorLa land ethic changes the role

of homo sapiens from

conquerorof the land-com

munity to plain

mem

ber and citizen of it. It implies

respect for his fellow-nw

mbers, and

also respect for the comm

unityas

such.1'

Throughout hiS discussion of the new

ethic Leopold fre-

quently points out the aestheticqualities of natural environ-

ments.For us of the m

inority, the opportunity to see geeseis m

ore impottant

than television, and the chance tofind a pasque flow

er is a right as in-alienable as free speech.

andOur ability to, perceive quality in nature

begins, as in art, with the pretty.

It expands through successive stagesof the beautiful to values as yet

uncaptured by language.

Perhaps. Leopold's finest statem

ent-attributing an aes-

thetic quality in the naturalenvironm

ent is this briefselection

from "T

he Song of theG

avilarl. one of many published

in

the Scind ('ninth Alm

anac..

This song of the w

aters is audible to every ear,but there is other m

usicin T

hese hills, by no means andibleto

all. To heat even a few

notes ofit

you must first live here

for.a long time, and you m

ust knowthe speech

of hills and rivers. Then on a still

night, when the cam

pfire is low and

the plelavles have climbed over

rimrocks..sit quietly and listen for the

wolf to how

l, and think hard ofeV

erything you have seen and tried tounderstand. T

hen you may hear it

a vast pulsing harmony

its score

inscribed on a. thousand hills, its notesthe lives and deaths of plants

and

animals, its rhythm

; spanning the secondsand the centuries.''

15. Leopold. 1949.16, Ibid.

/22

As contem

porary society acceleratesand m

ultiplies the demands for

constant change, both for individual personsand for the collectivity, the

need for a relptively permanent fram

eof reference w

hich can allowchange to occur w

ithout, the sense of beinglost in the process becom

esincreasingly im

portant, )list to be in frequentperceptual contact w

ith thereassuring. enduring earth is a psychological

security factor of codsider-

able importance.17

17. Stainbrook. 1968.

,

Many .other authors have referred to

aesthetic valuein

their writings regarding

the natural environment.

Biologist

Julian Huxley frequently did so.

In his last annual report- asU

NE

SCO

director-generalhe pointed out that

"natural'heautj;w

as as much a]

resource as minerals,

soils, or forests, andjust as m

uch in need ofconservation.- H

is emotional response

to yiewing w

ildlife isexpressed in the follow

ing:

The w

itnessing of wildlife on the grand

scale can give a sense not only ofprivilege but also of w

onder and deepem

otion. To see large anim

alsgoing abouptH

eir natural business intheir ow

n natural way! assured and

unaftaid, is one of the most aciting

and moving experiences in ti

world, com

parable with theasight of a

noble building or the hearing of agreat sym

phony or mass.lg

I

That aesthetic dim

ensionsof the natural environm

enthave validity is supported

by recent events .in thepolitical

forum. H

eretofore it has beennecct§ary tq dem

onstrateincourt that an intrusion into

the environrrient presented aclear

and present Physical or financialthreat in order to deter that

intrusion. The courts rides' recognize

the right of-a citizen tom

aintain a suit un ,grounds ofaesthetic deterioration. of

thefenvironm

ent.

Many A

mericans have never

had an opportunity to de-velop aesthetic responsem

egardingthe natural environm

ent.A

esthetic responses grow out

of individual experiencesof

seeing. feeling. and thinking.Perceptual aw

areness developsonly w

hen the individual hasopportunity to 'explore. dis-

i!over-relationships and developmental

images of the natural

environment. It

is especially important

for the young childto have such experiences.

The com

bination of awareness

and, a sense of aestheticscan guide all

behavior and help to establishstandards for

go.vernitig.our actions on the environment.

Feelings underlie

18. Huxley.

a

"I sincerely believthat for the child, and for the parent seeking

fo guide'him

, it is not halloim

portant to know as to feel. If facts are

theseedsthat later producc know

ledge and wisdom

,then the em

otions and theim

pressions of the senses are the fertile soilin w

hich the seeds must

grow. T

he years of earlychildhood are the tim

e to 'prepare the soil.'O

nce the emotions have been aroused

a sense of /hg laeautiful,the

excitement of the new

and unknoWo, a feeling

of sympatfy, pity, adm

ira-tiO

n_o_rjove then we w

ish for the knowledge about the

object-of ourem

otional response. Once found,

it has lasting meaning. It is m

ore ifn-p9rtant to pave the w

ay for. thechild to w

ant to know than to put him

on a diet of facts he is not'readytd assim

ilate."19

I 1

i-444-04110',

19. Carson,'

::::::11;:;;Pli:

f.;."4...ao

VI

4

11/

4

23

actions; so many w

ho may never

'Understand ecological prin-

ciple's may nonetheless act to prom

ote environmental quality

because of a love of the natural world and an appreciation

of what is' beautiful in it.

The R

ole ®f A

M-A

esthetics, and Design

in

Assuring Q

uality Land arid Land Use

Problem

People have built and deiieloped fprcenturies w

ithout con-sidering the im

pact of hump structures and uses upon

theirenvironm

ent.

Urban m

igration has creged-sprawling centers

of popu-lation; factories and autom

obiles have produced anum

brellaof pollution over our cities; crops have been

chemically

treated to insure a better harvest We have

simply treateJ

j ,nature's landscape asan.,inexhaustIble m

ine for people's userather than as a tool for .our uitim

aie survival.

True, w

ehave advanced. But w

e have ignoredthe latent

effects of our acNance!; upon our life-support system

.U

rban-ization and industrialization have created

cotmtless oppor-

tunities, but they have also produced anarsenal of potentially

lethal side effectg.

Today the prim

ary task facingpeople': all peoples, is not

to indict, not, to lament over past

Mistakes,. but rather to take

steps which.:w

ill.direcF/peopleand jheir environm

ent toward'

a less tlestructive stateof equilum

. This is in everyohe's

interest, whether he he student or w

orker. businessexecutive

or labor leader; for indestroying the' only environm

ent inw

hich he can easily live, people are litepally destroyingthem

-selves.

24

4

!Process Opportunity

A teaching plan, to deal w

ith the problems and a

mechan-

ism to carry out the plan should first consider

that the blue-print for prope?land use is provided in nature in the

discern-'ible patterns of the landscape. T

hese patterns, identifiedand

mapped, cane serve as form

deterniinants- guidingther;liudt.

patterns' of people (bighs, subdivisions,etc.) outside their

critical boundaries. These patterns can be term

ed 'where not

to bnild patterns'.

These. resource patterns,

identified" by a broad range ofprofessionals representing the natural and earth sciences canbe classified under tw

o broad headings:-

A. Patternsllat T

hreaten Hum

an SurvivalIf people and their developm

ent are rrot inharm

onyw

ith these dominant environm

ental patterns,disaster

often ensues. For example, B

uilding on a floodplain

often results WI a loss of life. or -at least in econom

icloss.

B.

Patterni.That O

ffer Hope for Survival

These are patterns offering hope not only for the con-

tinuance of life per se, but for the continuanceof a

worthw

hile form of' existence. T

he soil scientist canidentify patterns of soil offering the best opportunityfor food and fiber production. W

hen thesevaluable

agricultural patterns give way to housing 41nd

high-.

way patterns the potential

for food production dimin-

ishes. accordingly.

C.

Patter* Replenishinge4he Spirit

Offering H

ope and Happiness

There is m

ore to life than just living, breathing,and

'eating.- People have a spirit, a steadfastnessof pur-

--e7rthat can transcend existence..1*

A role of art, aesthetics, and design is to portray these. resource patterns

in clear and concise sketches, plans, and models so that those

chargedw

ith their wise alteration and enhancem

ent can better deal%

Val thy.

complexities of m

ultiple resource pattern comprehension. T

he arts, aes-thetics and design serve as graphic com

municators presenting

complex

resource data in simple recognizable m

edia.

I-

NA

TU

RA

L & E

AR

TH

SC

IEN

CE

S

DA

TA

NE

ED

RE

PO

RT

A

25

'or /*

Environm

ental Corridors

Environm

ental corridors are areas relativelyfree of hu-

man use and im

pact.Protected and developed w

isely, thesecorridors can offer hope of future generations.

There are

many form

s ofenvironm

ental corridors. Slopes and rims con-

stitute one such type of corridor.Slopes are the basic land-

scape feature that sepgatethe ridge-tops from

their valleyfloors. R

ims, on the other hand, are the upperm

ostedges of

the slopes. They can be used for a variety

of purposes, includingthe beginning of a ski slope, and the vantage point

from w

hichthe surrounding countryside and its

landscape patterns canbe observed.

Water-W

etland Corridors

The w

ater-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 w

isely, theyoffer great hope to hum

ankind.

The role of art, aesthetics, and design has not only assisted

in identifyingth,se F

nany characteristics of the land and landscape,but clarified their

intangible and emotional m

eanings, more precisely

through poetry,m

usic, dance, art, crafts, the designed set of landscapesym

bols allows

one to quickly identify ;individual andclustered quality at a quick glance

These sym

bols offer a graphic shorthand to "read"com

plex landscapesw

ith ease. By aesthetic and cultural value determ

ination,and by plotting

of values, patterns of great diversity have alsobeen revealed, offering

future generations many options w

ithin theirlim

ited boundaries. With-

out such revelation, many values are lost daily. W

ithsuch revelation new

human patterns can be designed to fit these essential form

, determinant

systems.

C-

J.

26

Nodes of Interest

Num

erous regional studies have indicated that survivingnatural and cultural features usually lie w

ithin,- orclose to,

environmental c6idors. W

hen grouped in -clusters,w

ithinthe corridors, exciting environm

ental and culturalnodes of

interest that will help ensure w

ell-beingand happiness for

posterity are ciwated.,

,!A

gain the designers have innovated programs to

identifyand to classify the various types of space w

e encounter.C

re-ating spatial sym

bols, permits com

prehendingthe existence

and nature of. space on a regional scale forregional" design

and planning.

Working w

ith the behavioral scientist providessystem

aticevidence of how

we react to various scales of

enclosure andidentifies sequences of enclosure as guidelines to new

andexciting environm

entalexercises.

.I

It is impossible to fit past and proposed

'urbanizing pat-terns of people in harm

ony with

these cherished and essentialresource patterns unless such value patterns

have been iden-tified,. m

appedomm

unicated to thosecharged w

ithchanging the landscape.

Imm

ediate recognition mugt

couraged by everyone,to the fact that after alm

ost two

hundred years as a nation,m

ost of these patterns have notbeen inventoried and graphi-

cally plotted on a state by state basis. ',Without such data it is

impossible to im

pose human patterns of

development w

ithoutgrave consequences for poeple

and the land. The im

mediate

task of completing such inventories is recognized as a m

onu-m

ental, necessary, and attainable task by many.

The role of

the arts in this overall endeavor is a most

critical one.

Such studies to determine w

here not to buildalso reveal

patterns where one can build.

Art; aesthetics, and ,design offer an outstanding oppqrtunity of w

iselydesigning these in-betw

een spaces in a manner that provides

quality"built" environm

ent for people without destroying critical patterns essen-

tial for survival, happiness, and well! being.

,L=1

BE

AV

IOR

AL S

CIE

NC

ES

27

This endeavorsfocuses ort creptive

imaginative :W

ilt' pat-trns for people that provide optim

um opportunities for

living,.`w

orking and playing. Deciding

where.to m

aintain the healthof the naturar landscape pattern

requires the design 'teamw

orking with the natural and

earth sciences. Now

the designteam

must play

significant role, hand in hand with

the be-havioral scientist. W

hat typesof space, tem

perature, lighting,noise level, color, texture, pattern

provides for optimum

hu-m

an performance at

given tasks?

Only by a close association of

the design team, the soci-

ologist, psychologist, physiologistand m

edical talent can we

truly design for optimum

human

health and performance.

The responsibility of 'classifying

and portraying three di-m

ensional space as a basic resource(one of the m

ost neg-lected ones) as m

entioned earlier arebeginning to- offer new

basic tools to the behavioral sciencesfor testing hum

an reac-tions as they w

alk through spaceand varying sequences of

space: Lessons to be learned from

jointdesign-behavioral

efforts will .undoubtedly provide a m

oreliveable environm

entfor ;tom

orrow. A

s economic

conditions force a shift, fromsingle fam

ily houses to higherdensity apartm

ents and mega-

/structures. human responses to

these new and developing

surrounds -must be stim

ulated prior tobuildlipti expensive

uninhabitable structures.

4A

quality environment tom

orroww

ill depend upon howw

ell we integrate the art and

anesthetic design talents witlr

those of the natural and earthsciences and the behavioral

scientists.

lb past applied demonstrations

itas 'becom

e apparentthat the quantities of data about

the he'al-th of a given land-"scape and the

health of the people of that same

landscapenecessary for

comprehensive .,planning .is. volum

inous..This

recognition has stimulated

the developMent of techniques

andv

hardware in an area often called

eni-ironinrics.

28.

The arts, aesthetics and

desi,team

play a major role in

riot onlym

anipulating various physicalroperties into various hum

an suProunds,

but graphically portray and sim late these

options for human periorm

-ance and testing.

EN

VIR

ON

ME

TR

ICS

p

The role of art, aesthetics, and design has and

will continue to play an

important part in the area of environm

entrics.

The design of hardw

are both aesthetically andtunctionall' has perm

ittedstaff m

embers using the equipm

ent t-o work long

hours with a m

inimum

of fatigue. In the interpretation of remote sensing

and resource patternphotos returning from

space, designers teSpecially

landscape architectsthave cleF

nonstrated unique capabilities atinterpreting com

plex landscapepatterns and offering outstanding advice on

essential resource computer

programm

ing.. They w

ill continue to make

major contributions in -this

essential component of a holistic environm

entalendeavor.

Observing, M

easuring, Recording, Storing and

Pisseminating C

ritical Land-U

se Data

An4ntense recognition of the need for a m

ore enlightenedregard for land and hum

an resources is a phenomenon oc-

curihg.across the nation.4

We need a system

to store, retrieve and dissemiliate .re:

source data to all corners of the nation andthe globe.

Storing of collected data and resource pattern in the com-

p-11er permits statistical analyses of .a vast array of regional

information determ

ination of what relationships exist

ill.frequency and distribution and often unique or rare resourcepatterns and potential patterns w

ithin variousstuck areas

are revealed.

The raw

natural and cultural data stored in the computer

maintains the objectivity and flexibility for future integrated

analysis, allowing for com

binations and interpretations ofm

ultiple variables in the design process.

.It is one thing to have adequate resource data

collectedand stored in the com

puter for alternative _`print out' interpre-tations and quite another perceptually visualize these options

.for public involvem

ent and understanding.

The E

nvironmental A

wareness C

enter, University of W

is-consin - M

adison, has been advocating for years regional 'cap.:1jbilities,,to receive vast quantities of inform

ation from com

puterstorage and sim

ulate in a highly graphic fashion, the resultsof integrating various options in sim

ulation facilities. In suchsim

ulation centers "real v(lorld exigencies would he sim

ulatedin order to study the potential consequences and

degrees ofrisk inherent in various courses of action ... before it

takes

fr

,S

IMU

LAT

ION

CE

NT

ER

S

The arts m

ust play a significant role if innovative centers are to be de-signed and built, if future concepts are to he dream

ed, sketched.m

od-eled, and film

ed for imaginative public sim

ulation:

29

place. The citizens of the-prdtotype

region could See, hr, andsm

ell the consequences of putting aninterstate highw

aythrough a m

agnificent marsh, next year,

five years, and tenyears from

now, based upon

accurate resource data.

Concepts, how

ever, just don'thappen, concepts evolve

from the creative m

anipulation(design) of honest resource

data. Formgivers, architects, landscape

architects; industrialdesigners, interior designers, artists,

craftsmen, engineers and

physical planners, all soundly based inthe:field of aesthetics

eorginualMithallenged for new

models, new

solutionsfor

tehabitating the past and designing thefuture.

Fitting -the 'patterns of people inharm

ony with recognized

natural patterns,prdviding for optinT

hin -physical surroundsfor hum

an performance, and

stimulating environm

ental ex;periences daily, continually

Offer increasing challenges-and

opportunities.

In most of these

challtnging endeavors design conceptsare seldom

implem

ented unless the design teamhas w

orkedclosely w

ith those professionalsand non-professionals trained

in the 'art of the possible.-T

he sociologist, economist,

lawyer,

political scientist, administrator,

legislator, all...offer advicehelpful in im

plementing im

aginativeenvironm

ental concepts.

Without a. close liaison betw

eenthe arts (the "form

giv-ers) and the im

plementers,m

anyexciting and rew

ardingconcepts are often lost.

The im

plementers -m

ust be aware

of

the vast array of legal: socialand econom

ic toolg availablefor w

ise environmental action.

An integrated effort

betv;'een the design teariii and the im-

plementation sciences can assure

the .public as many options

.

for their perusal as humanly

possible. 'N.

30

t

DE

SIG

NE

RS

FO

RM

GIV

ER

S

PLA

NN

ING

The arts can play a m

ajor role in thesim

plification through graphicpor.trayal of com

plicated wordy sfatutes,

sdcio-economic theory, and an

understanding of complex im

plenientation tools.W

ithout the arts-making

major contributions in

this area, public understanding at the "grass-roots leaves m

uch to be desired. 1

Until clear pictures and concepts about' people

s d theirenvironnfent, the problem

s, potentials and' casual re c ttonships, are dissem

inated and become part of the com

mon

stock of environmentaL

planning knowledge, there can be lit-

tle progress in achieving proposed concepts.

Com

munications becom

es one of the keys for environ-m

ental option awareness, for

ithe public can see the

differences between things, unt

they can whet their discrim

-inatory pow

ers, only then11 they becom

e a societyexercising freedom

of true choice, and selectthrough the

sifting and winnow

ing pro;ess wiser options.

Recent advances in audio-visual presentation have

devel-oped a m

ore direct relationship between the

subject and edu-cational options. N

otting short of exploring- these newdio-

ramas,-three dim

ensional movies, .com

puterprogram

med

slides, and think tanks will do if w

e are todevelop environ-

mental aw

areness of alternative design and options.

It is generally conceded that if envirallipental quality is tobe restored in A

merica, public reK

educatidn tothe .life-giving

imperatives and the intrinsic natural

values is essential.

The-student should be encouraged to participate in com

-m

unity classes, seminars and dem

onstrationprojects.

The task of com

munication is_a-v.ast one if w

e are totruly

,

re-educate to new value.

The arts, aestketics and design professions all contribute

to the creation of imaginative

comm

unication media. If or-

ganized, the whole spectrum

of the arts family

could interpretnew

regional optionsfar better than they have ever individ-

ually done in the past.

410

4

CO

MM

UN

ICA

TIO

NS

! PR

OC

ES

S !

31

There is no reason w

hatsoever that one cannottoday sim

:ulate a w

alk through-a ghetto*, alonga'polluted river, etc., and

then simulate w

hat it might be like if certain

information and

action were integrated. It could be entertaining

to learn! Itm

ost be., if we hope to reach the

learner with com

plicated en-vironm

ental messages, and w

ell thought out options.

One possibility is to create im

aginative'process' dem

On-

stration centers within our

state These C

omm

unity Aw

are-ness C

enters would

serve as informational (nerve) centers,

simulatiO

n labs, environmental m

useums, centers

thatthrough process w

ould continually presentclear pictures. and

concepts about the people and theenvironm

ent of that sparcific region.

c,

\tkIn addition to the interdiscipinary

research being con-ducted in sucli centers one w

ould find within

the comm

uni-cation w

ing an 'interpretative' planevolving.

In such centers the student would

be able to step back intotim

e to see visually the heritage ofthe prototype region, W

ouldbe able to m

onitor on liv,e closed-circuittelevision the realities

of the present, and would be able to step into

the future to seew

hat entente could be designed between

people and land. The

net objective would be to

relate the student to the changingregional environm

ent and toiguggest,through highly im

agi-native dem

onstrations, the Way one can

effect change for.good or ill.

Another prim

e goal of the comm

unity awareness

centerw

ould be concerned with portrarrg

that regional landscapepatterns provide a source of

strength, spiritual health and wis-

dom for the individual, patterns

that contain a heritage ofexperience and inner developm

entbeyond price.

It would then follow

that man as a p

ment resident of

the world could organize the use

of spac and resources andproceed to plan his regions and C

omm

nitiesin w

hich lifew

ould be a rewarding experience.

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1-41 NU

TE

.S

Urban E

nvironmental A

esthetics

It has been stressed in the preceding sectionsthat en-

vironmental-. aesthetics m

ust take account of them

an-made.

systems asw

ell as natural systems. A

city actually combines

the two. It cannot function w

ell if its structuresand processes

are not in harmony

with the supporting niltural system

s of.the land, C

ities or urb-an regions have thehighest density of

human activity. C

orrespondingly, they offer greatpossibilities

for positive achievement of aesthetic richness or

aestheticdisaster. A

city provides aesthetic richness when it is a

happycreatively-oriented environm

ent. When it satisfies the

eye'sdem

ands for sensuous richness and the mind's

demands for

orderly and varied design the city is functioning as an aes-thetic resource. B

ut the city is also providingaesthetic value

when it functions-w

ell to satisfy the needs for food, transpor-tation, education, and all of the varied services

that we require

to experience a high quality -oflife.

We can approach the question of urban

aesthetics in var-ious w

ays:

One w

ay is to examine the city as a them

e inthe fine arts.

Here w

e see the artist's image of the city in

paintings, music,

poems novels. film

s,photography, and in dance and dram

a.

A' secord approach to urban aesthetics is to

examine the

fine and applied arts as resources foraesthetic experience and

values in an urbanV

-ivironmentT

he architecture. the artm

useums, the sym

phonyand otltr m

usical resources, thelibrary, the art galleries, dance studios, tc.!

film theaters and

laboratories, street murals

all of these act to stimulate the

imaginations of all w

ho experiencetheir resources. O

ne in-teresting w

ay to discover the aestheticpotential of a city is

t(.1

identify these resources and devise a plan toexplore thO

'raesthetic potential.

Itis im

portant to extend thcenviron-m

ental aesthetics -learning laboratory" intothe com

munity

resources in order to maxim

izeaesthetic experiences..

11.

"The ultim

ate purpose of a city in our times is to provide a creative en-

vironment kw

people to live in. By creative,

I mean a city w

hich hasgreat-diversity and thus allow

s for freedom of choice; one w

hich gener- -ates the,m

aximum

of intbracti?n between people

and their urban sur-roundings. "2'

a

AP

PLIC

AT

ION

20. Halprin, 1972.

A. Locate photographs and paintings show

ing a comprehensive

view of

a city and study the cities through theirvisual orders.

B.

Find a vantage point (tall building, hill, etc.) from

which to

view a

city. Make your ow

n photographic mapping of the city. D

raw or

painta picture of the city from

the vantage point.O

n a more sophisticated

level, use Kevin Lynch's categories to analyze the city spaces

or designyour ow

n categories for describing the city in some

ordered systems.21

21. 'Lynch, 1970.

The city grid patterns is

mechanistic,\infinite and insensitive to the natural

environment upon w

hich it is imposed.

33

Central to an approkh to urban

aesthetics must be

city itself. Looking at the city

itselfithtSe are differentto approach urban. aesthetics.

"*""r'T

he. first approach considers the citya com

plex visualT

he painter or the photographer who. -gives a com

pre-hensive im

age of a city is taking this pointof view

. The ap-

proach is perceptual, and it offers a representationof the city

that can be expressed in the artist'svocabulary of lineir per-

spective. The view

presumes that the city

is designed accord-ing to som

e set of agreedAtpon

_Principles of design that areprim

arily visual in --ch-aracterLthe preceptions are lim

ited to.visual qualities; and represent only a

single fixed point ofview

. Corresponding to this view

is anaesthetic of visual de-.

sign. Shapes, - colors and lindakvalues exem

plified'in the citydesign can be extlerienced throirgh*this

approach.

ays

A secoizi&

approach to the aestheticsof city environm

entscan be developed by

perceiving the city as a sequenceof or-

dered spaces. This approach is also

perceptual. But instead of

viewing the city as a static.

closed system, w

e see it as ady-

namic. environm

ent that:Can. he perceived by m

oving throughits spaces. T

he approach gives us am

ulti:sensory perceptionthat includes active selecting,

screening, constructing, in re-4..

lation to the design principleSthat are exem

plified in thespace orders. W

hat arethe aes

tic-design values that can beexperienced in. this approach?

.A. A

ppropriateness of the spaceof the architectur0 ar-

rangement to its piuposes

and uses.a..

B. A

ppropriateness-4 size andscale of the space to.orde hu-

man physical and psychological

scale of values.

C. O

penness 'with sufficient

boundaries to give definition tothe space.

15.- Sequential- Or. other ) connections

of proximate spiices.

34

"When the parts of a city lack visible relation to one another,

their in-coherence can contribute tots sense of alienation of being

losj in anenvironm

ent which one cannot carry on any 50

f dialogue."22

pA

22. Lynch. 1970.

7

Over t,1".) of our,city stree

are devoted to' enicular. use.T

hese de?hum

anized environments ignore'hum

an scale andthe sense of place.

Q

E., Integration of architecture w

ith surrounding areas.

F. Application of a form

al or naturaldesign, e.g. sym

metry,

axial arrangement, 'or follow

ing dominant

lines of the.land contours. rivers, etc., that provides a

directing influ-ence upon the environm

ent.N

I°G

. Provision for the exercise of im"

n and free valuechoices.

One prim

e resource essential to thew

ell-being and hap-piness of people, and one w

hich 'replace=s m

onotonyw

ith di-versity. variety. and hum

an interest isthat of three dim

en-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 enjoym

ent.

-in wining dow

n an urban street we are

typically aware

of a series of 'built' cubes enclosing us oneither side called

buildings. homes and offices. T

hey havenorm

ally 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 w

e visualize the threU dim

ensional spacebe-

ticeen building-5'2as a solid resourcethat too can be m

ouldedand given form

prtkidinrefreshing sequential w

alking ex-periences.'Som

e Years ago the E

nglishijrchitectual R

eviewreferred

titthis 'in betw

een space' as the 'great outthere.'

A third approach to

t`Xban aesthetics sees the city as a set

of inteltwined activities.

Its functions are comm

unication,m

m em

eentof persons. exchange of goods and services.

The

aim of the city inklerstood in

this manner is to provide a

whole environm

ent that' supplies theconditions for a high

qualit% of hum

an lib..I 'ere the aesthetic vaiue_ of the citx

'can he expressed in mon. gei .ral term

s.T

he aesthetic is notlim

ited to perceptual or sells ify valuesalone. It extends to

AP

PLIC

AT

ION

Take a w

alking trip through varioussections of a city. T

ry to identify andexperience the values suggested in the above list.. D

escribe theordered

sequences of space that you experience. Pass through

the same area on a

bicycle, in a car, in a bus, etc. Record difference in your experience of a

space due to change's in the rate ofm

ovement. W

hat other sensoryinform

ation do you experience when you m

ove through the city spaces?R

ecord these along with our experiences of space.

the rvc tar-h.:11W orcc:

toadstem

r. not tl.ognort tor the tlurnesm

ix ot lot al and Ihri. haul(Intl unabl peeri, (ii atrtom

ohile Irattit

:35

a quality oflife that m

anifests itself 'in human

-happiness andw

ell being that results from the

urban systems functioning

to serve the needs of itsinhabitants.

A fourth approach to urban aesthetics is to

consider theaesthetic richness provided by its ethnic

diversity and its his-torical artifacts. T

he United States is a nation

of imm

igrants,a blending-of

different ethnic groups, cultural values and re-f

ous beliefs. The, G

erman tow

ns,the Scandinavian settle-

ments, the Italian gardens and

vineyards, and thelrish sa-loons that are found in cities are as A

merican as

the log cabinand the covered w

agon. Our venerable

old homes and cobble-

stone roads, our spired churchesand historical buildings are

as much a part of

this nation's aesthetic heritage as Valley

Forge and Fort Sumter. Few

would advocate

the preservationof these historical artifacts sim

ply forthe sake of preserva-

tiOn, but m

ost would agree that they

denote something that

is worthy of the private m

editationof each and every A

meri-

can. Preservingthese sym

bols of the Am

erican past allows

fu-ture generations to

understand the heritage with w

hich we

evolved.

A w

ell trained designer recognizes that threedim

ensional spaceis

t waled by w

alls bf man-m

adem

aterials, vegetation, or even land form.

He re«tgnites that from

interior building rooms

created by walls of

plaster and wallpaper. one can w

alk into outdoor rooms

created by rows

of trees, mounds of earth or facades of buildings. B

ut most

important of

allis his ability to m

anipulate these walls to

provide diversity of thew

alking experience. He can create a spatial tunnel of trees to

guide oneinto an exploding arrival svithin a %

act outdoorplaza, 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

TR

AFFic cot zipoes

I

AC

-CE

S

FLA

A S

FED

EsT

e_IXt1/4,1

PAT

HS f

Accw

iTi

AgE

Pt5

music com

position can he createci like all resource patterns,spaceas a

A balance betw

een vehicular and human activities m

ustprovide. Z

ones

resource is of value itIt can be identified, classified, experienced

andset aside for hum

an activity., access Strictly for service

traffic and, parking

plotted.and corridor for vehicular m

ovement.

36C

N1

gel4

r

.C

oncepts and Skills Igor

Environm

ental

Aesthetics

Aesthetic discrim

ination is the perceptionand _selection

of what is pleasing and self-satisfying in

the environment. It

provides an awareness w

hich is afoundation for m

akingsound .decisions regarding life. styles

and environments.

Preceding allther concerns for the environm

ent is thesim

ple recognitionf the dim

ensions, of one's surroundings.Form

, line, colojc, sc.texture, light, space, shape and pat-

terntern are but sane cethe

dimensions of the environm

ent; theaw

areness of which precedes

the critical analysis necessary,for designing or redesigning.one's surroundings.

As has been repeatedly stated, com

petentenvironm

entalplanning m

ust, include-awareness of the -w

ay inw

hich man

has changed the earth and the way In w

hichm

odern technol-ogy has been defacing the environm

entand low

ering its habit-ability. K

nowledge m

ust be agplied to actualenvironm

entsby

I. Caring for natural areas. w

etlands. lakes. rivers. for-

ests.#

2. Choosing sites for future developm

ents.3. R

e-establishing human norm

sand-life furthering ob-

jectives in urban areas.

The previous statem

ents hIlve stressedthat in handling

,every part of the environment

emphasis m

ust not be on either,design or nature by itself but on the preposition

with w

hichim

plies human cm

peration and biologicalpartnership.

We should seek. not arbitrarily to im

posedesign. lait to

use to the fullest extentthe potentialities and w

ith them. nec-

essarily. the restrictive conditions that natureoffers. So. too.

in embracing nature. m

an's own

mind. w

hich is a part of

6

1.

KN

OW

LED

GE

Design provides a visual language m

ode ofstructuring and perceiving

the ,isual environment.

,D

esign encompasses all those forces that have a

bearing uporl the shape(of m

an's environment.

The designer com

municates not m

erely by the theme

he selects but bythe m

anner in which he develops the idea through the use

and organiza-tion of expressive qualities of m

aterials.

The aesthetic quality ofIQ

-ie em/ironm

ent is the resultof how

the designerdeals w

ith the prihciples of design which involve:

harmony, balance,

rhythm, variation, contrast and repetition; the elem

entsof design w

hichinvolve: line, form

, space, pattlor, light; shape, scale and texture

41.

Nth

.37

nature, has something precious to add

that is not to be foundat such a high-point ofslevelopm

ent in raw nature.

The solu-

tion is notin..-crash pitograms" or instant

solutions, but is inlaying a, fresh course of stone on a ground plan already inexistence that builds the foundations for a new

civilization.'

In the educai9nal process it is vital to see natureand hu-

man activity from

' within, as a

participant and actor, andbring to the often colorless w

orld of science thespecial con-

tribution that differentiates hurnan,beings from all

other ani-m

ate things. Vivid color, em

otions, feelings,sensitivities, and

aesthetic delights make the hum

an. mind at its

fullest im-

mensely superior to under-dim

ensioned minds that

haveadapted them

selves to a computer's lim

itations.

Concepts IA

ovid0 broad application based onrelatively

stable knowledge. C

oncepts should be closelyrelated to par,

ticulargiec,levels or courses in order that the subject m

ayflz.'

more east

understood. retained and reapplied.

Concepts should be introduced as by-products

of an activeprdcess so they can be felt before being verbalized. W

ords andother m

odes of comm

unication should he used to sum up

andgive conscious form

to what has

already been sensually ex-perienced.

Concepts, are useful for m

any reasons.T

hey aid in com-

munication. thi-v.erve as tools for

thinking and serve to givem

eaning and oicle.to reality. Students atall levels should he

encouraged to conceptualize and reflect upontheir aesthetic

experiences.

The forces of change in environm

entm

ake it imperative

that students become m

ore knowledgeat4le

about design as' itrelates to the environm

ent. Aesthetic

knowledge m

ust beview

edboth a tool to be applied tow

ard theenvironm

entalplanning :lid solution of environm

entalproblem

s. naturaland m

an-made in a w

orld of constant change.

,,t,:mum

ford.1969

38

Environm

ental Aspects of A

rt Program

s

'There is no doubt that environm

ent affects the personalityand actions of, the individual. A

nd the individual in turnaf-

.fects his environment. H

e comes in contact w

ith other people !w

hose actions he changes through :Association. H

e shapes hisphysical environm

ent, mottling it to his ow

n liking,.

kwareness of ":.ese N

ets shoul6 i.)e a guiding principle inthr application.of environm

ental aesthetics, and should in-cryase the aw

areness 0i-oneness-of people ancl "w

holeness"of the earth.

.

tiT

o become aw

are is to sharpen senses andsensibilities.

Different levels of aw

areness should be encouraged which

follow the natural developm

ent of the child.

PE

RC

EP

TU

AL A

WA

RE

NE

SS

Aw

areness is conceived by perieption through one or.more of the senses.

Sensory perception varies am

ong individuals due toassociation w

ithprevious experiences.

Man's perception through all

his senses increases his awareness and

sensitivity to The aesthetic qualik of the environm

ent.

Early perceptual experiences w

ith the natural environment m

a lead tosatisfaction of aesthetic em

otiona: and spiritual, needs.

an must educate his visual sensibilities in

order to live harmoniously

with his physical ensironM

eni and himself,

Man's E

esponse to his sisual environment m

ust he heightened inorder to

more fully O

nsitize him to th

magnitude of visually expressivn, com

-m

unicative and responsive po- ibilities.

4

An environm

ental awareness approach w

ill exploresuch

areas as the functional and aesthetic arrangement to

imm

e-diate surroundings, neighborhood im

provement and tow

nplanning, the m

_ an-nature`relp.zionship and the challenges ofecology.

In considering environmental aesthetics,

ched7 len shouldbecom

e more aw

are, more perceptive through all of their

selses.

The challenge is to recognize the arts. environm

ent al-liance and to m

ake constructive use of it. Through arts and

related learning experiences, the students will becom

e more

aware of the environm

ent and itsaesthetic dim

ensions.

Teaching' strategies should be in harm

ony with the back-

ground and age of the children recognizing the diversityof

abilities and interests among children-,(1the sam

e gradelevel

in different areas and ,different school systems.

qiT

his program should he considered in broad-tern is, T

hecornerstone for any effective arts' program

-is awareness

andthe arts, support and reinforce goals of perception in

all en-,

viroimental studies at

alllevels. T

he students should behelped to see and understand their w

orld and to appreciateits beauties.

A creative w

ay of seeing should constitute a 'continuingstudy of on-going.discoyery. It hegihs w

ith the youngchild

and *focuses on sirhple qualitioki of the near and familiar.

He

is encouraged to see colors and forms of objects

around him.

Aw

areness of the imm

ediate 'surroundings doesn't stopw

iththose first discoveries but increases and deepens.

A conscious aw

areness of abstract patterns derivedfrolik

surface textures, relationship of light, form and space is de-

veloped through visual perception.

Particular skills are learned as the need develops throw h

discovery and conceptualization. These skills help the child

to interpret what he has seen and to translate

his impression

of, the world around him

into a creative statement of his ow

n._D

iscovery and conceptualization axe the means by w

hichchildren learn techniques that w

ill improve visual com

muni-

cation.

CO

NC

EP

TS

The aesthetic quality of the environm

ent is affected by technological de-velopm

ent of new tools, m

ethodology and materials.

The aesthetic quality-of the environm

ent is dependent upon understand-ing the nature, culture. technology, people. ideas and em

,Itions in one'ssurroundings.

4

Man is the m

ost influential force in 'affecting the aesthetic quality of thenatural and m

an-made environm

ent.

C

The variety and changing form

s of land use affect the aesthetic qualityO

f

the environment.

The aesthetic qualit), of life can be increased by im

proving the design ofthe natural and m

an-made environm

ent.,

39

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Facilitating A

esthetic Aw

areness andC

onceptualization Through C

ognitive, Affective

and Psichom

otor Learning Processes

The accom

panying planning/learning model can best be

implem

ented through discovery modes, incorporating such

things as inquiry, inductive processes, sensory experiencesand experiential situations. T

he role of the teacher isto

organize learning experiences which w

ill permit each learner

to explore and discover new m

eanings relatedto-the.aesthetic.

quality of the environment and the aesthetic quality of life.

Effective exploratory and discovering learning experienC

esplace the responsibility for initiative and control of the situa-ti

upon the learner. The teacher serves as an organizer

andfc

tator of learning processes.

The learning process. should incorporate affective, psy-

chomotor and cognitive experiences. It should stress creative

and aesthetic awareness and responses as learning. outcom

es.T

hese outcomes are generally relegated to the arts, but w

hatis needed is to em

body in all areas of environmental

educationthose values, attitudes, concepts and m

odes of expressionI

exemplifiedsin the arts. In order to do this, the learning Situa-

tion should begin with m

ulti-sensory awareness experiences.

which .w

ill motivate each individual to explore values, em

o-9ns. data and skills related tell.`a situation, an

'to then synthe-It\

size this internally orexternally. Internal syn hesis w

ould re-sult in new

or modified values. know

ledge and attitudes. Ex-

_ternal synthesis w

ould:Fvsult in creative. aesthetic behaviorsw

hich is expressed both verbally and non-verbally .throughsuch form

s as: the visual arts, music. creative m

ovement or

dance. creative writing. perception or social action.

......:-

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CE

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HE

SIS

EV

ALU

A-

TIO

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RN

ING

!Affective C

ogntuve Psychom

otor)

41

-at

Preparing for C

urriculum P

lanning

Conceptual learning based U

pon exploration anddiscovery

requires many and varied resources. T

hefollow

ing elements

.are essential for

planning meaningful individualized

learningexperiences:

A conceptual fram

ework should

be developed which

stresses significant tideasthat are organized for appro-

priate levels or. areas of learning.

A retrieval system

which perm

itsquick and easy iden-

tification of a vast variety of resourcesw

hich will serve

as motivation and

information related to the objedtives

of the learning experience should beestablished. It m

aybe organized on keysort cards, (see

example ) or listed

on inlex cards or incatalogs.

A listing of basic subject

matter content (s'kills: facts,

materials, activities ) w

hich the learnerw

ill use as avehicl&

to understand and comm

unicate meanings

andfeelings related to the concepts selected

for learning isnecessary and this

informatiO

n should also be includedin the retrieval system

.

A variety _of synthesis and

evaluation methods w

hichw

ill help both' the student andteacher to understand

the meaning. and effectiveness of the

learning processexperienced should -be identified.

Appropriate planning form

s shouldhe developed

which m

ay he used by teachers toorganiie units of

learning. The exam

ple on pageone possible for-

mat.

RE

SO

UR

CE

S B

YC

AT

EG

OR

IES

SU

CH

AS

?rims

Film

strips

Loop Film

s

Slides

Tapes

Records

Books

Periodicals

Field T

rips

People rn,

Museum

s

Architecture

ass

Additional Inform

ation

All G

eneralizations

.All C

oncepts

41111A

ll Resource%

III Ad Learning P

rocesses

,st,-1111

Galleries

Landscape Architects

Architects

Urban P

lanners

Artists

Video P

rograms

Etc

All learning proce,ses

,by m

ajor categories.

Cz

))

Concept identification

numbers to be used

repeatedly

?A

ge or grade levels

,appropriate to

'inform

ation,

.1

8.*

Additional Intnrm

aton

All G

enet an/at ,cim

All item

s in the keysort system w

ould be written on

separate cards andeach card should be keyed or notched to

correspond to-o-ne of thegeneralizations. A

dditional information and flexibility m

aybe obtained

by cross - referencing and including additionalinform

ation. For exam

ple: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

an identification number w

hich may

be used to relate other itzformation

to this concept.

.

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1.

S,

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The C

onditions for Aesthetic Lparning

If students are to develop a new environm

ental ethicbased on aesthetic valuing

where m

an is acknowledged to

be an interdependent part of his biological and physical en--

vironment, w

e must begin by considering the follow

ingfive

conditions that affect our current educational programs.

1. Renew

ed emphasis on existing program

s In the arts asagents of affirm

ative action and change is oneof the

alternatives that can he considered from a curricular con-

text.

2. Identification of a number of scientific learning conditions

that can affect, or be affected,, by, an emphasis on aes-

thetics in almost all learning experiences w

ill facilitateinstruction w

hich "demonstrates the interactions

and interrelatedness

ween m

an and environment and the im

-portance of aesthetics in influencing the quality

of thisinteraction.

hese interactions should bemodified or con-

trolled in order thaethe 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. T

he prpductiye school environ-m

ent is a conliplex network of spaces, areas,

and peoplethat enable children to sit, m

ove, think, sing, stand, sculpt,eat, and groW

. Provision should be made to assure

that asthe child engages in these activities, aesthetic learning w

illoccur.

4. In addition to physical and human

conditions,. the schoolis_ also shaped by various unseen

forces such as the atti-tudinal and econom

ic status of the comm

unity.Proce-

dures should be developed which com

municate, to

the de-cision m

akers outside of the school, the importance

andvalue of aesthetics in fostering environm

entalquality.

5. The conditions for4iesthetic learning

should be identified.,T

hey include psychic, social, physical, cultural,and insti-

tutional factors. The teacher's role should focus on

theopportunities for aesthetic' em

phasis to be found inorder-

ing and integrating. these factors intom

eaningful instruc-tional activity.

These five conditions of learning each contain

ambi-

.- ante of aesthetic "givens--that the resourceful teac er.should

become aw

are of and control through theselect an. of m

ob-vating and teaching strategies.

instructionalA

erials; andthe structuring of:interrelated learning experir ces.

I

Psyc,hic

nditions Influencing Environm

ental.

Ae

etic Education

The psychic' factors that the.

teachef-deals with are bas-

ically affective and attitudinal. They

include:

4'T

he conceptions of learning by thelearner on a passive-

participatory continuum:

The conceptions of teaching by the

teacher on an au-thoritarian,dem

ocratic continuum.

The conceptions of the learner from

anintrinsically or

extrinsically induced continuum..

The conceptions of teacher by le,arner on an open ex-

periential continuum.

The conceptions of teacher by teacher or

learner bylearner on a s61f-concept continuum

.

Cul

ral Conditions

The cultural factors that m

ust be dealt with as conditions

for aesthetic learning include:T

he nature of man

The funded and personal know

ledge of man

The ethnic background of the learner

The structure or nonstructure of related subject m

atter

ial Conditions InfloencingiE

nvirOnm

entalA

esthetic Education

The social factors in the school environm

ent include:A

ll educational forces existing in societyT

he societal needs of the total comm

unityT

he s:ocio-econornic level of the comm

unityT

he social norms in the com

munity

' Repositories of inform

ation, skills, and processes in thecom

munity

Institutional Conditions Influencing E

nvironmental

Aesthetic. E

ducation

Curricular goals, decisions, resources. and constraints

Adm

inistriitive structure find effectivenessPhilosophiC

s and goals of the system- E

yalnatiye processes andem

phases

Physical Conditions

Physical conditions that must be dealt w

ith infacilitating

aesthetic conditions for learning include:

Aesthetic quality-and condition of the entire

school siteA

daptability of the school to modification

Instructional resources availablefrom

textbooks totechnologySize of student populationO

ther school personnel: aides, specialists, psychologistsStudent age and grade level variablesR

eordering, restructuring, translating, and synthesizingthese; conditions into aesthetic fram

eworks represents

the primary role of the teacher as an interacti,e

changeagent. E

ach factor listed under the five. headingslends

itself to an aestheticfemphasis.

A com

plete taxonomy can be develope8 that

would trans-

late these conditionsof

learning into conditions for aestheticlearning. A

s the learning associated with all aesthetic experi-

ences merges w

ith the totalcurricular and instructional or-

ganization of the school district, aesthetic valuingw

ill per-m

eate the general educational programand, in so doing, w

illprom

ote a total environment in w

hichthe needs of all Seg-

merits of society w

ill be viewed through an aesthetic pereep-,

teal screen. While this seem

sfirst glance to be a m

assiveundertaking, the identification of discrete learning conditionsand introduction of aesthetic im

plications into eachcondition

at all levels and in all areas is not anim

possible dream. W

eacquire our aesthetic attitudes and values via

the same ac-

culturation processes that we use to acquire our social

andasocial values. T

he consideration of aestheties in environ-al decision-m

aking will rel

poloal existence ail---intrO

dtlarger. i

re intrinsically rewar

Planning-for'

arning

se us from the level of tech-

.e people in our society to am

g, quality of life.

The planning for

ruing process moves from

left toright

on the model. lt,...involv

a sequential anddevelopm

entalevolution of factors related

the various categories. The fol-

lowing procedure m

ay.beiitilizin the planning process:

1. Select one t5f the generalizatiQns to he stressed as the focus

for the learning unit. (See conceptual framew

ork. pp. 48-

2. Select one or more related variant concepts w

hich. havebeen identified as being appropriate for the subject area orage or grade level.

3. Establish broad objectives for the learning unit. T

hese ob-,jectives W

ould be based upon: interpretilag the meaning of

the generalization and concept/s as learning outcomes, an

examination of ethics, values, beliefs, attitudes, behavior

and feelings related to the generalization andconcepts se-

lected. These objectives m

ight also identify factual infor-m

ation, skills and knowledge basic to learner com

petencyin a given subject area, and they .m

ight reflect the major

goals of education. These objectives w

ill become the cri-

teria for'selecting the appropriate resources andlearning

activities or processes. ,4

4Identify and select inform

ational/motivational resources

relevant to the generalization, concepts and objectives ofthe unit of learning - T

hese resources should include ex-periences related to the three dom

ains of earningaf-

fective, psychomotor, cognitive. .T

he cognitivm

ight in-clude didactic, factual inform

ation and obse vations orproblem

solving. The affective /psychom

otor might include

tactile/kinetic situations. visual imagery. sensory experi-

encm fantasy. the unusual

and ambig-uolis.

5. Select and organize. learning activities which w

ill provide.optionN

jor perceiving examining and responding to the

situatioq created 'by. the motivatis)n and inform

ation pre-sented. A

gain, the activities should .include the three do-m

ains of learning. but the stress_should be placed upopaffective and sensory experiences. T

he content and proc-45

esses may

include any of the techniques, materials,

skillfacts, dialog, group interaction,

gaming, role playing, ere-

ative/aesthetic statements and ,expression

considered tobe part of a traditional edutation.

They should not be con-

sidered to he ends in themselves but

rather tools and vehi-cles for exam

ining, exploring,upgerstanding and coin-

nfc:a ng feelings and ideas from a

personal, creativeand X

esthpoint of view

.

6.C

onsider processes which w

illallow

le learner to per-sonally evaluate,. understand and

assimilate the learning

experience. Establish

procAses w

hich will perm

it sharingof feelings, ideas, beliefs,

attitudes- resulting through thelearning experience. D

ec lop observationand evaluating

strategies which w

ill helpdeterm

ine the degree of effec-tiveness the unit of learning

provided in fulfilling. its estab-lished -objectives.

3

The C

onceptual LearningP

rocess

This'is a discovering, inductive'and

open-ended process ofpersonally arriving at feelings,

understandings, beliefs, atti-tudes and behaviors related to concepts

and major ideas

( generalizations ). These

learning processes shouldinclude

an examination

ofthe varying interpretationsof these con-

cepts in a free andpluralistic society w

hich is shapedby a

variety of ethics and theirrelated'values. Students,, should be

helped to clarify and understandconflicting ethics and values

which pull and shape our-society

and individual beliefs andbehaviors. A

n examination of

this type can be achievedthrough .a creative and aesthetic

learning process which be-

gins with the central elem

entsin the right sphere of the

curri-'culum

model and m

oves toward

the left sphere of the model.

The.nature of aesthetics requires

that the emphasis of

these learning experiences be uponperception and experi-

encing and the intrinsic: aspectsof learning. E

nd results or

46

4

PLA

NN

ING

FO

R LE

AR

NIN

G

OB

JEC

T IV

ES

..1146R

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ES

MO

TIV

AT

ION

PR

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ES

SE

SA

CT

IVI

TIE

S

SY

NT

HE

S1S

EV

A LU

A1 IO

N

LEA

RN

ING

(At ect tv4-C

ggrut we P

sychomotor)

The rescairces and activities identified in

these two sections are frequenilv

viers .closelv.interrelated anl'f reciprZcal in character.

The tw

o categorieshave been. established to facilitate analysis

and organization of the learn-ing experience. T

his area should not bethought of as being com

part-m

entalized or lineal: but rather as interrelated anddynam

ic.

EX

AM

PLE

OF

TH

ING

S T

HA

T C

OU

LD B

EC

ON

TA

IFIE

D IN

TH

E P

LAN

NIN

G M

OD

EL

OB

JEC

TIV

ES

RE

SO

UR

CE

SP

RO

CE

SS

ES

'Value

*.music

*drawing

clarifi-'records

'writing

cation'film

s--construc-

'skill de-bcoks

.ting

velopment

*pictures'painting

'learning'm

useums

:dancingabout

architec-'observing

subjectP

ure.

'countingm

atter'birds

'collectingcontent

'plantsphoto-

examine

'rocksgraphing

beliefs &'touching

'discussingattftude§

'seeing.*m

oving

'changed*tasting

singjAg"

behavior'odors

corfiposing'sensory

*transac-kplaying

.aw

arenesstional

*ibtingindivid-

analysis'w

eighingualized-

'group*com

putinglearning

dynamics

'printing=

aesthetic'urban

'diagraming

responsesplanner

'classifying'creative

*art works

'designingrespohse

hart per-,,'reading

"socialform

anqes'listening

inter-'landscape.

-action

architects.0

*I.T.V

.'slidesfieldtrips

SY

NT

HE

SIS

/E

VA

LUA

TIO

N'displaying'self--analysis

goalsetting

*sharing*com

piling'attitudinalresponses

measuring

-.4

The personal. am

biguous aidaffectie character of aesthetic

learning does not lend it to predictable,uitlifcirm

, imm

ediate or quantifi-able'outcom

es. The m

ajor part of t14.4 evaluation processw

ill relate toopen rather than closed types

of conclusions.

products are generally considered to bef less im

portance.T

hey frequently are. overt manifestations of the

experienceand a m

eans by which the student records and

comm

unicatesideas and feelings grow

ing out of the learning experience.T

hegeneralizations and concepts should not be taught as

factsor things to be m

emorized,

but rather their meaning should

be arrived at through personal discovery. Each student should

have the opportunity to interpret the experiencefrom

a per -sonaj..point of view

. The intent is not to indoctrinate

studentsw

ith a particular predetermined set of ethics, values and facts,

but rather to permit them

to explore, throughvarious m

odesof aesthetic and arts learhing activities,

the meaning and

implications of various ethics, values, od concepts

prevailingin a free and pluralistic society.

There are m

any modes or strategies

which m

ight beutil-

ized to arrive at these kinds of responses.FU

ndamentally the

student should becowe involved in a variety

of motivational/

informational situations ( see this section

of the curriculum.

model) w

hich will create a 'new

or heightened. awareness .and,

understanding of factors related to theobjectives, concepts

and generalization. This aw

arenessshould cause students to

respond in creative and aesthetic modes (sge processes

andactivities section of m

odel ). The responses

could involve in-trinsic and extrinsic activities w

hichw

ould result in modi-

fied or new attitudes and behaviors or

products of an aestheticor artistic character.

The process bl synthesizing and

evaluating should helpthe learner to com

prehend theim

plications, of what has been

experienced and to also permit other

mem

bers of the groupto -share their understandings.

feelings and resulting 'productsw

ith one another. This group sharing, synthesizing and evalu-

ating can broaden eachindividual's view

point and permit

-testing- of their beliefs. This evaluation

should also permit

the teacher to determine to Y

hatdegree he or she has been

effective in organizing and facilitatiqgthe learning process.

'As stated previously. m

any ofthe effects vill not he clear-cU

t.im

mediate or m

ezisurable. but many

judgments m

ay be made

which w

ill provide sound insights.

47

Covert responses such as

valuing, appreciating, contem-

plating and so forth are frequentlypersonal; and difficult to

assess: these responses arethe basis of self-actualization

andeducational grow

th. Progress inthese areas w

ill be exhibitedthrough student attitudes such as

enthusiasm, com

mitm

ent.involvem

ent, contemplation, acceptance

and the like. Most

methods for determ

ining whether or not

covert type objectivesare being achieved

will be based upon

inference from student

behavior.

The expected outcom

es of thelearning experience m

ight

be overt or covert responses. In overtsituations, the .expected

utcome w

ould bedem

onstrated by the behavior itself:If the

expected outcomes are covert

responses, the overt expressionw

ould only be an indication thatthe expected covert response

may be oC

turtig.

Overt behaviors m

ight be of two

kinds: Imm

ediately Ob-

serruNe acts related to acquisition of

specific facts, knowl-

edge or skills: and long rangeobservable acts of utilizing and

practicing icquired knowledge

and skills.

Conceptual F

ramew

ork

The follow

ing conceptual framew

orkis not an all inclusive listing

of significant concepts related tothe four generalizations. T

hecoY

i-

cepts identified here are related to avaried and com

pt hensive under-standing of each generalization. T

heyshould be used as a beginning

resource in developinglocal school curriculum

. Additional

conceptsshould be identified from

other sourcessuch as the various subject

areas in the curriculumand relatedbodies of know

ledge.A

teacher

Aesthetic C

omponents

The aesthetic com

ponents ofthe

or curriculum com

mittee

might also designate w

hich concepts areto

be introduced within a particular age or

grade range. No attem

pt hasbeen m

ade here to designate adevelopm

ental or sequential structureof learning but it is assum

ed thata-sensitive teacher w

ill select con-cepts m

ost appropriate for agiven situation and organize

learning

experiences whiC

h are understandableand interesting to th'e unique

needs and capabilities of his or her students.

Generalization

natural cultural environment are

essential and critical far developing thequality of hum

an life.

CO

NC

EP

TS

Aesthetics provides a philosophy

forlearning about the art-like processes

ofnatural-cultdral environm

ent, and thehum

an responses to theseenvironm

ents.

.1

.The design of urban structures

and-spaces shapes the quality of life in theurban environm

ent.

Observable in nature as in art

designstructure is an

organizidg principlethrough w

hich parts and pieces arebrought together into a unified

'shape

and form.

Planning for regional land uses

in har-m

ony with the patterns

of nature deter-m

ine the long-range qualityof life.

Aesthetic experience is the m

odeof ap-

preciation and 'understanding that we

acquire through the senses. togetherw

ith intuitiveaffective,' and cognitive

processes.

Cities are the dom

inant created environ-m

ents. They exhibit S

pace-form qualitie

in their basic designipaterns; display

visual shapes, colors, and textures; areperceptually ordered sequences

ofspace; and city environm

ents arem

ulti-sensory.

Absthetic com

ponents include the cate-gories of form

al structure aridits design;expressive feelings, m

oods, and forces;and som

etimes the sym

bolic meanings

,of art and art-related processes andconstructions.

Respect for the intrinsic patterns of na-

ture enhances the aesthetic quality oflife.

Em

otional reactions can be elicited byexposure to physical objects. and get>

,m

etric forms.

Continuity 'and change can exist in de-

sign structure.A

line possesses the ability to inducepredictable psychological nand physio-logical reactions in a person, w

hopasses along it.

Aesthetic resource and recreational fa-

cilities of economic and non - econom

icvalue are becom

ing increasingly import-

ant in leisure time activities.

The organization of parts into a w

holeis" ar, environm

ental design character-istic.

Availability of technological and aesthet-

ic skills are major environm

ental deter-m

inants.

A center. not necessarily geographic. of

a comm

unity fixes it in space and im-

poses a visual order on the environment

±-

Opportunities to experience and enjoy

nature are psychologically rewarding to

many and are im

portant to mental health.

A sense of place is m

an-made and the

sum of all those environm

ental charac-teristics that distinguish a part from

aw

hole.

The need of m

an to turn inward for self

renewal can be stim

ulated by his ex-ternal aesthetic experiences.

A sense of place im

plies physical quali-ties w

hich allows one to differentiate

between aesthetically satisfying and dis-

satisfying environmental qualities.

.

Achitecture is one of the m

ajor influ-ences in developing an aesthetic andcongenial environm

ent.

t

InteractionG

eneralization

There is a m

easurable correlation between the

quality of life arid the degree of aesthetic awareness

exhibited in

human interaction w

ith the environment.

CO

NC

EP

TS

The individual- perceives the total en-

,vironm

ent through the senses.-

Design structure is capable of being re-

.

corded, comm

unicated, tested and re-produced.

Design structure evolving into its present

day forms arose from

functional requi-sites of defense, safety, efficiency,health, legal controls and the aestheticneeds of larger num

bers of people shar-ing a com

mon environm

ent.

'Perceptual aw

arenessm

atesus con-

scions of the many sim

ilarities and dif-,ferences w

hich occurin the natural andconstructed environm

ents.

Circulation, the' apt of passing from

place to place, is an essential form of

comm

unication and symbiosis.

.

4

Design structure is a hum

an artifactcom

posed of willful and random

artsfinally and intelligently directed to aes-thetic social purpose.

T

Perception through all of the senses in-

creases awareness of and

sensitivity tothe aesthetic qualities of the environ-m

ent.,

The kinds of circulation available deter-

mine the size. scale and quality of tie

human habitat and environm

ent.

The bio-physical environm

ent, living andw

orking zones and movem

ent corridorsm

ust be dealt with as a total design

andnot considered separately in urban

de-velopm

ent,

We learn to distinguish the positive aes-

thetic components of the environm

entby exercising perceptual. intuitive.

andconceptual discrim

ination.

Urban decentralization is caused by the

urban environments that are dehum

aniz-ing. dem

eaning physically and aesthetic-ally and devoid of nature.

Available m

odes of comm

unication aredeterm

inants to comm

unity form-giving.

Cum

ulative aesthetic experiences will

provide knowledge of the aesthetic cri-

teria and principles of design' uponw

hich to base decisions relative toen-

vironmental quality.

Historically. early design structure

emerged from

natural conditions andsym

bolic acts.

Man becom

es the measure of space in a

society which values hum

an beings.

Man in prim

itive. non-technologicalcul-

tures built what nature w

ouldperm

it.M

ost large comm

unities are composed

of dominant and' subordinate centers

-

which accom

modate their pluralism

.

.

The relationships betw

een man and na-

tural environment are m

otivated byhis

culture..

4'50

Aw

arenessG

eneralizationA

esthetic awareness develops as a result of form

al and informal aesthetic educational

experiences within environm

ent'sw

here natural, artistic, and other cultural options can be perceived, compared and selected.

CO

NC

EP

TS

Environm

ental aesthetic education in itsbroadest sense encourages learning re-

aestheticlated to

aspects of all curricu-lum

areas, with em

phasis upon ar-teducation, fine arts activities, and theaesthetic factors in the natural and

....urban-regional environm

ents.

There are four b&

sic designs for move-

ment netw

orks: radial,ring, grid, and

linear.

Social change brought about by rapidly

accelerating technological development

affects aesthetic awareness and values.

,

Aesthetic sensitivity and understanding

develop through a combination of infor-

mal and form

ally structured learning ex-.periences w

hich relate to nature, them

an-made environm

ent, and the fine andapplied arts.

-

Ability to perceive increases aw

arenessand develops environm

bntal perspectivew

ithin the individual.

The m

ass media strongly-influences aes-

thetic awareneas- and shapes the indi-

vidual's perception of what constitutes

an aesthetk environment.

.7

'

Shaping of the environm

ent may be in-

tuitive, arbitrary, and simplistic or it m

aybe rationalized and deliberate.

...

.

Ethics and V

aluesG

eneralizationE

nvironmental aesthetic educA

tion is developed through the examination of ethics

and values in the context of a holisticinter-disciplinary approach to learning.

CO

NC

EP

TS

Ethics is the base from

which priorities

and principles governing right action aredeterm

ined.

Ethical decisions and actions, affecting

the environment m

ust be based on rele-vant facts and aw

areness of both imm

e-diate and long-range consequence§r

Aesthetic and ethic values are pervasive

qualities affectingall hum

an environ-m

ental decisions and actions.

Ethical

actionis

often sacrificedfor

short term econom

ic considerations.M

an uses ethics to test the rightness or`

goodnessof his decisions and actions.W

hen ethical goals are agreed upon.their im

plementation m

ay not be agreedupon.

.

4.

i I

Knov:iledge of the ethical history of our

will help us understand our pres-

ent system and-provide som

e awareness

of other systems.

Values represent the ultim

ate reasonspeople have for acting as they dotheir basic aim

bjectives, aspirations,ideals.

Know

ing and understanding ones own

values is an important part of theiearn-

ing process in order that we better real-

ize what sorts of things are m

eaningfulto us, w

hat are we striving tow

ards andw

hat sort of world w

e want to see.

Som

e ethical systems are inadequate for

environmental aesthetic§.

Each curriculum

area' can contribute toenvironm

ental aesthetic education bydeveloping aw

areness of the aestheticaspects w

ithin its discipline.

Values relate tO

rationalization of be-havior. W

hen these two key factors of

action and rationalization are out of har-m

ony, a person may verbally

subsciribeto a value but violate it in action.

A value is anything w

hich persons actu-ally approve, desire, affirm

or exertthem

selves to obtain, preserve or assist.

An environm

ental aesthetic ethic must

provide for long-range well-being of the

environment.

The structure-and configuration of a

comm

unity is related to the way its in-

habitants consider and treat it.

Values are intangibles. T

hey are thingsof the m

ind that have to do with ethics

and morals and other aspects of hU

man

well-being.

All significant hum

an achievement is the

product of vision by an ideal.M

an has moral responsibility for his en-

vironmental decisions.

The possession of diverse values tends

to set people apart and the holding ofsim

ilar values helps to bring them to-

gether.

In many prim

itive cultures, the surround-ing environm

ent gave spirit and form to

the ci cations of the people.

The cultural characteristics of a com

--'m

unity determines its ow

n unique designform

s.

Values can change. W

hen conditionin

-life are such that ethics and-morals that

were once appropriate and accepted are

no longer effective, people become con-

fused and a &range of values occurs.

The form

and structure of early citiesw

as determined by their societies' religi-

ous beliefs and practices,

The quality of an environm

ent is a mirror

image of the culture.

Man is continually developing an ethical

base for making aesthetic value judg-

ments.

52

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1;47

vow_

The follow

ing is a listing of some of the

references available re-lated to environm

ental aesthetics. Anecdotal com

ments

have beenincluded w

hen they were available.

BO

OK

S AN

D PE

RIO

DIC

AL

S1

Ashihara. Y

oshinobu, Exterior D

esign inA

rchitecture. Von N

os-trand R

einhQld C

ompany.

Bacon. E

dmund N

.,D

e.sl,n ref Cities. N

ew Y

ork. The V

ikingInc., 1967.

Beston, H

enry. The O

utermost H

ouse, Viking

Com

pass, New

Lork.

1962.B

irren, Faber. Light; C

olor and Ent ironm

eirr Van

Nostrand R

ein-hold C

ompany.

1,.

Blake. Peter. G

od's Oim

iInnioard. N

ew Y

ork.- Holt. R

inehart &W

inston. 1964.B

roudy.- Harry S. E

nlightened Cherishing: A

nE

ssay 'on Aesthetic

Education. U

rbana. Illinois, University of Illinois

Press. 1972.

Carr. D

oiatcL_R

w_th' of I du. N

ew Y

ork. V.

W. N

orton'"& C

ompany.

1-965.

Carr, D

onald. Death of Sw

eet kt'aters. New

York. -W

. W. N

orton &C

ompany. Inc.. 1966.

Carson. R

achel. 'lite Sense of Wonder. N

est.Y

ork.1- harper and

Row

e. 1965.C

arson. Rachel. "Szlint Sprifig. G

reenwich.

Conn.. Faw

cett Publica-tions. Inc.. I964.

/ties. edited In Scientilic Am

erican. Inc..N

ew Y

ork. Alfred A

.K

nopf. Inc.. 1966.( L

ay. Grady. C

lose -Up: D

OA

. to Read

the Am

erican City. Praeger,

1964. Regards cities as consisting of tim

e asw

ell as matc

Each urban ari-a: reflects the ideas.

traditions, and ever,available to,-its citizens in past centuries as

well as at this

mom

ent. 'Focuses on North

Am

erican cities of 1970's. The

language of cities need not be architektural orabstract: C

lay'svocabulary to describe the city includes the term

s:w

ord same.

fixes, fronts. strips. beats. stacks. and so on.C

onsercalum Y

earbook, 'Washington. D

.C..

Interior Departm

ent.1968.

Crosby. T

IvoArchitecture: C

ity Scuse.R

einhold Publishing Corp.. 1965.

Paperback

Darling. Frank E

raser. Wilderness and

PlentyFrie,d7f the E

arth.B

allatine, New

York.. 1970.

Dattner. R

ichard. Design for Play. V

anN

ostrand Reinhold C

om-

pany.

De_ C

hiara, Joseph, PlanningD

esiiln Criteria. L

ee Koppelren: V

anN

ostrand Reinhold C

ompany.

Dober, R

ichard P.. Encironm

entalD

esign-Ulm

Nostrand R

einhofd''C

ompanv.

Dubos. R

ene. A G

od Within. C

has.Scribner's Sons. N

ew Y

ork,1972.

Eckbo. G

arrett, Urban L

andscape Design.

New

York, M

cGraw

-Hill.

Inc.. 1964.E

wald, W

illiam R

.. Jr.. Eiironnient

Change: T

he Vert Fifty

Years. B

loomington: Indiana U

niversityPress, 1968.

Gibllerd. Frederick. T

own D

esign. New

York. Praeger Publishing.

5th edition. 1967.

Gropiu.

-B

ooahei-, Scope 01 T

otal Architecture. N

ewY

ork, Collier

s, 1962.G

reen. Victor. 'nit H

eart of Onr C

ities.( Paperback i. N

ew Y

ork.Sim

on and Schuster. 1964.G

utkind. Erw

in A.. O

ur World from

the Air. D

oubleday. 1952.T

hrough an excellent selection-of aerialphotos the author de-

picts t'itan's transformation of his

physical environment as he

has mastered his social-econom

ical andtechnical w

orld.

Halprin. L

awrence. C

ities. Van N

ostrandR

einhold Com

pany. Rev.

Ed.

1972. A sensitive cam

era anddem

onstrative text showw

hat itthat makes cities livable.

Hay. John. A

Scuts(' of Nature. A

rlineStrong. D

oubleday & C

Om

-panv. Inc.

Never. Paul, A

rchite( Is on Architecture.

Nutt. Y

ork. Walker &

Com

-pany. 1V

46.

Honigm

ann. Johnl'nderstanding (-ratan'. N

e.w Y

ork. Harper &

Row

e. 1963.

How

ard. Ebenezer. G

arden Cities of

To-Ilorm

itPress.1965.

Huxley. Julian. In his last report as D

irectorG

eneral

Cam

bridge. M. ass..

UN

ESC

O.

New

York:

Jacobs. jaw. T

he Death .and L

ifeof G

reat Am

erican Cities. N

ewY

ork. Vintage B

ooks. Random

House. Inc...

1963.

Johnson-Marshall. Pefey. R

ebuilding Cities. C

hicago, Aldine Pub-

lishing Com

pany, 1966.L

eCorbusier. T

he City of T

oinmorrow

, London. A

rchitectural Press.1947.

Leopold, A

l ct o, A San td C

ounty Alm

anac. and Sketche4 Here and

There, O

xford University Press, N

eW Y

ork. 1949.

Lynch. K

evin, The Im

age of the City,( Paperback )',C

ambridge,

Mass., M

.I.T. Press, 1960. H

ow people actually perceive their

cities is the central theime of thisionidy w

hich proposes urbandesign principles based on personal interview

. with residents

of Los A

ngeles. Boston and Jersey C

ity and on observationsfrom

several disciplines.N

IcHarg, an L

.. Dr:agn avail N

ature. Garden C

ity, Natural H

istoryPress. 1969.

.Nrequhan. T

. C., T

ouch the Earth: A

Sell-Portrait of/Indian Evis-

teyce, PocketbOoks. Sim

on and Schuster, New

York.

1972.

Meyerson, M

artin. F-Ful of thelletropolis. (Paperback). New

York.

Random

House. 1963.

Mum

ford. Lew

is, The C

ity in History. N

ew Y

oi;k. Harcourt. B

race.and W

orld. Inc.. 1961.M

ulford. Lew

is. Design W

ith Nature. G

arden City, N

atural. His-

tory Press, 1969.'M

umford, L

ewis. From

the:Ground U

p. Harvest B

ooks, 1956. Acollection of , bw

enty-six "Sky J.lneessays published in

theN

ew Y

orker magazine.

Nairn. Ian, T

he Am

erican Landscape.

( Paperback ). New

York.

Random

House. 1965.

Nairn. Ian, A

merican T

ownscape. N

ew Y

ork. Random

House,

1965.O

wings, N

athaniel Alexander. T

he Am

erican Aesthetic. N

ew Y

ork.H

arper & R

owe. 1969. W

ritten. by an, architect-planner. thisbook concerns how

our cities and open -paces can be made

comfortable, beautiful and profitable.

Packard. Vance. T

he IVaste_ M

akers.,New

York.

DavidbN

leKay C

om-

pany, Inc.Perin, C

onstance. With M

an in Mind: A

n lntenlisctplinary Prospec-t:1.s for E

nrinminental D

esign. Cartibridge, M

ass.. M.I.T

.Press.

0714.. An engaging and w

ell written book about an im

portantsulT

ject: how concept from

behavioral sciences; can bring acentral concern fO

r human behavior and clevelopm

ent to en-vironm

ental rljsign.C

.>

Phenix,Philip H.. R

ealms of M

eaning* Philosophy of the Curricu-

lum for G

eneral Education, N

ew Y

ofk. 'McG

raw-H

ill. 1964.

Prall, David. A

esthet.c Jndgment, N

ew Y

ork, Gordon Press.

Rasm

ussen. Steen Ei

Experienring A

rchitecture, Technology

Press, M.I.T

.. 1969, Presents a -liyely and human approach to

how people react to the various features of open spaces in

cities, the textures of pavements. the shadow

s of ,masonry. the

spacing of trees. ofimonum

ents. and even of lamp posts in the

public view.-

Raths. L

ouis E., H

amlin. M

errill. and Simon. Sidney B

.,1'alues and

Teaching', M

errill's International Ed. Series. C

has. E. M

errillPublishing C

o.. Colum

bus Ohio. 1973.

Reiner, T

homas A

.. The Place of the Ideal C

omm

unity in Urban

Planning, Philadelphia. University of Pennsylvania Press. 1963.

Row

land, Kurt, L

ooking and Seeing: The Shapes of T

owns. V

anN

ostrand Reinhold C

ompany. T

he Medieval T

own. the R

enais-sance T

own. the B

aroque Tow

n. the Industrial Tow

n,and the

Modern M

ovement. T

own D

esign. Building For the Future.

ScullrtsViticent. A

merican A

rchitecture and Urbanism

. New

York,

Praeger. 1969. SeuVY

define' his intent in this book: "To pre-

sent a history of architecture in which city planning is regarded

as an inseparable part of the whole both

in,pimm

edidte physicaleffect and in ultim

ate social signif icance.-Show

ers. Paul-. Pind Out by ilourhina. T

homas Y

. Urtm

ell Com

-pany.

Sines. Cam

illo. "'Hie A

rt at P ilding Cities..

A1'('11161 turd! Forum

.

Smith, R

_ A. and Sm

ith C. M

., thetks and E.iironinental E

du-cation.- Journal of .lesthe'ta E

ducation. Ottobe. 1970.

Stainbrook, Edw

ard. -Hum

an Needs and the N

atural Environm

ent-in M

an and Natnr( in the C

ity. U.S. G

overnment Printing O

f-fice. W

ashington. D.C

.. 1968.Stein. C

larence S.. Ton an!

Tow

ns for1m

eri«i. Cam

bridg(..M

ass.. NI.I.T

. Press. 1966.T

offler. Alvin, --Ilw

Art of M

easuring the Arts.

Ion mat of A

r.-arctic E

ducation. January. 1q70.T

aller. Alvin. T

he 5( boo/how,r in thr cm

,:1 cishiy,//,,n of

ls.rrltson U

rban Edn«Ition. 1968.

Udall. Stew

art I... Thi Q

uiet Crt.t.. N

ew Y

uri.. Aw

n Books Iicarst

Corp.. 1963.

['dry. Jain«. May. A

roe i.r. N

ew Y

ork. limper &

Bow

e.

Value Sharing: A

Creative Strategy for A

merican

Education, N

a-tional C

ollege of Education. 2840 Sheridan R

oad.E

vanston.Illinois, 1969.

Weisskam

p, Herbert, B

eautiful Hom

es and Gardens in

California.

New

York, H

arry A. A

brams, Inc.. 1964.

Who D

esigns Am

erica? edited by Laurence B

. Holland,

Garden

City. 'N

ew Y

ork, Doubleday &

Com

pany, Inc.. 1966..A

Wright. Frank L

loyd, Architecture, M

tin in Possessionof H

is Earth.

Garden C

ity, New

'York, D

otibleday & C

ompany, Inc..

1962.

Wright, Frank L

loyd, Livitu C

ity. New

York, H

orizonPress, Inc.

Zuk, W

illiarnd Clark. R

oger H.. K

ineticA

T-U

h-i-trekire Van N

os-trand-R

einhold Com

pany. Here are the bold, exciting, concepts

ofoPneumatic, hinged, folding, spaces: buildings w

hich move as

a total unit: self-erecting structures;.and m

any more equally

fascinating architectural proposals' which could

significantlyaffect cities, regions. architectural design. grow

th, materfals.

etc.

FILM

S AN

D FIL

MST

RIPS

"A" is for A

rchitecture. National Film

Board of C

anada,available

through Contem

porary-Films, 267 W

est 25th Street, New

York.

NY

10001. A review

of the history of 'architecturew

ith goodphotography and m

usical back round. .Particularly suitablefor all grade and junior high

scnocil showing. E

ducational inem

phasis.A

Por rait- .of a Sinai,' Tow

n. Hester &

Associates,

114202 Harry

Ines Blvd.., Suite 212. D

allas. TX

'45229. This film

translatesvisually sm

all town life as it:exists today. T

he small tow

ki isstill

a prominent part of rural

Am

erica and has a special quality oflife.

Blueprint for -the Future. H

ouston Chapter. A

IA. and

availablythrough H

ouston Chapter. 2737 B

Uffalo Speedw

ayH

ouston.T

X 77006. H

ouS'ton's plans for the future with

gxamples of

planned improvem

ents.C

alifornia: Three Im

ages. John Fisher-ISmith. A

IA and

availablethrough the C

alifornia" Cutincil, A

merican Institute of

Archi-

tects. 1736 Stockton'Street. SanFrancisco. C

A 94133. A

n un-usually effective slide show

with gO

od photography.excelleht

natural backgroundsnd fine examples of both

good and hadurban design.

City at Play. H

ester & A

ssociates. Aseries of scenes w

hich illustratethe leisure tim

e activities of citydw

Olers.

NO

P

56

City at W

ork. Hester &

Associates. A

visualdescription of the vari-

ous occupations in alarge city w

hich is representative of anindustrial com

plex.T

he City, C

ars or People. National Film

Board of

Canada, and dis-

tributed by Sterling Educational Film

s, 241 East

-24th Street.N

ew Y

ork: NY

10016. Lew

is Mum

ford narratesthis study in

transportation problems in N

ew Y

ork, Paris andR

otterdam.

Close-U

ps. Hester &

Associates. A

film on the concept.

of distortionand redefinition of objects,

by the camera m

oving in very tightc dr "close-up-) to the

subject. This film

gives the viewer clues

to new w

ays of. looking atcom

mon-place objects and hints of

thevisual richness.

Color of

-lungs. Hester &

Associates. T

his is not atraditional ccilor

film.

it' ignores color theory. The purpose is to expose

theview

er to color as it exists around us in Many

objects, bothm

an-made and natural. T

he intensity andvalue of each color

is recorded by examples draw

n from our

environment.

The D

esert. Hester &

Associates. A

y'iew of the form

s and colorscharacteristic of the desert.

Design is a D

andelion: Design in N

ature,Form

, TeA

ture, Balance.

Rhythm

. and Contrast. B

FA E

ducationalM

edia. This series

enhances the student's sensitivity to andappreciation of the

major elem

ents of design as well as the

beauty around him.

Dow

ntown for. People. E

nterprise Productions.Inc.. available from

the AIA

Library. 1735 N

ew Y

ork Avenue,

N.W

., Washingtoil.

D.C

. 20006. Dow

ntown need not be a

battleground between

auto and pedestrian, according tothe, producers of this film

.T

hey prove their point with illustrations

drawn from

a. number

of European cities. and

few A

merican ones, w

hich have pro-vided safe and pleasant pedestrian spaces

for the enjoyment

of people.

Fero Saarinen Architect. Sunnier J.

er and available throughthe C

enter for Mass C

ohnnunication.C

olumbia U

niversity.1125 A

msterdam

Avenue, N

ew Y

ork. NY

10010.A

retrospec-tive review

of the work of E

cro Suarincnrevealed in a.dialogue

between A

line Saarinen and Edgar K

aufman.

,Ir.. recorded inD

ulles Airport. T

he airport is analyzed indepth. his other w

orkreceives less attention. and is illustrated

largely by glimpes of

still photos.

Exhibition in M

oscow. H

erman M

iller. Inc..B

eJand. MI 49464_

Despite the tact that this film

was m

ade in11)59. it

is an ex-cellent, interesting. detailed and beautifully. photographed partrait of M

oscowits parks. streets. boulevards. and people.

0.1*It C

O

Faces in the City. H

ester & A

ssociatesA visual presentation of

4people from

all walks of life w

ithin a city environment.

The Fair. H

ester & A

ssociates. A tour of an am

usement com

plex.depicting the rides. the people. and the excitem

ent..

Forms of the C

ity. F4sterA

ssociates. The shapes w

hich existw

ithin a city environment are explored. N

o attempt is m

ade tom

ake distinction between..geom

etrie and non-geometric form

s.but the view

er is exposed to variations of each.

Good N

ight Socrates. Northw

estern University, and .available from

Contem

porary Films. Inc.. 867 W

est 25th Street, New

York. N

Y10001. A

n award-w

inning summ

ate of the heartaches ofa

slum clearance in a G

reek neighborhood.

The H

eart of a City. N

ational Film B

oard of Canada. and available

from, Sterling E

ducational Films, 241 E

ast 34th. Street, New

York. N

Y 10016, A

n historical' and philosophical evaluationof the city narrated by I.. M

umford.

"Rh( 'H

idden Landscape. H

ester. & A

ssociates. The film

striplustrates aspects of natural objects w

hich we ordnaily do not

see.

Housing and N

ature. Em

bassy of Finland. and available throughT

he Chancery of Finland. 1900 24th Street. N

.V.. W

ashington.D

.C: 20008. A

handsome. sensitive survey of the urban rrob-

lems,in -H

elsinki which are not as perplexing as those in this

country.

How

to Look at a C

tig. Audio-V

isual Center of Indiana U

niversity.and available from

N.E

.T. Film

Service. Indiana University.

Moo

'ton.I-N

47405. One of the eight-part -N

letropolis.C

r ator oD

estroyer?" series and an outspoken architecturalevaluation of the city.

,

In a Junk Yarci.H

ester & A

ssociates. The junk yard is the

sourcem

aterial for a visual essay. The environm

ent which

a junkN

yard creates is usually a scar on the landscape and yet there isbeauty in.the ugliness..

The Inner C

ity III. H

ester & A

ssociates. The pair of film

sNde-

'=,cribes the inner -core of a large city and' how

people live in thisenvironm

ent. They record every-day activities of adults and

children and the visual quality of this setting.

Jefferson. The A

rchitect. Wesley G

reene. and'available from Inter-

national Film B

ureau. 332 S. Michigan A

venue. Chicago. IL

60604. A brief look at M

onticello and the architectural work

there and at the University of V

irginia.

Ltaces and T

rees. Hester &

Associates. A

visual statement about,

the aesthetic qualities of trees and leaves, the filmstrip

usessound and sight to dem

onstrate that trees and leaves are ob-jects of beauty

they form com

positions in line. shape. andcolor. changing w

ith the seasons.

Lines. H

ester & A

ssociates. The design elem

ent of lines is illustratedin natural and m

an-made objects. T

he purpose of the film is to

develop an awareness of line. not as a separate entity but

as a'part of m

any existing forms.

Media Im

ages. Hester &

Associates. T

elevision is usedas a tool for

picture making. T

he filmstrip uses m

any examples to describe

the visual potential of a color TV

set.

The M

ountains. Hester &

Associates. A

n excursion into the foot-hills and m

ountains to reveal the natural beauty.

Moving C

ity. Hester &

Associates. A

n aesthetic interpretation ofthe city in m

otion. such as people walking: traffic- on the m

ove.and public transportation system

s.

Na T

imelor U

gliness'. The A

merican Institute of A

rchitects. andavailable from

Sterling Movies.

43 West G

lst Street.,New

York. N

Y 10023. B

y now m

ost everyone has probably seen thisfilm

. It has won a num

ber of awards. Sets forth the problem

sinherent w

ith nearly all of the big and some not-so-big com

-m

unities.

and Shapes. Rester &

Associates. O

ur environment.

man-

made and .natui al. has m

any shapes and -patterns. The film

-strip show

s the variations of these which exist in the w

orldaround us.

-"Perception: Birds. H

ester & A

Ssociates. In this two

part sound film-,

strip. a Striking, series of color photographs are woven together

in a new form

at with sound and m

usie.\

Perception The C

ity. Hester A

, Associates. B

y using extreme close-

ly photography in contrast with broad panoram

ss. and com-

bining them w

ith music and ,effects. the sim

ilarities and dif-ferences and the hidden beatftv of the urban environm

ent arebrought to life.

Perception: 'Flu, Seasons. Hester &

Associates. T

V%

0 part serieses-

aminine, the seasons.

"roan.

and his celebration of the naturaland social seasons.

-The Planned T

own.. B

ritish Information Services. available from

Contem

porary Films. Inc.. A

n impressive production film

basedon E

benezer How

ard's -Garden C

ities-.

57

The

Rai

n. li

cste

r &

Ass

ocia

tes.

Rai

n an

d al

lit,

dif

fere

nt v

isua

l.e

ipec

ts a

rc e

xplo

red

in th

is f

ilm.

Clo

se-u

ps o

f su

btle

hap

pen-

ings

dur

ing

a ra

inst

orm

and

the

afte

rmat

hof

the

stor

m a

rere

cord

ed to

rev

eal a

sen

sitiv

e 'v

isua

l sta

tem

enFh

t thr

er. H

este

r &

Ass

ocia

tes.

A v

isua

l sta

tem

ent a

ut th

e ac

-nu

ties.

014

a m

ajor

riv

er in

the

Uni

ted

Stat

es. T

he u

se o

f ri

vers

have

cha

nged

in th

e 20

th C

entu

ry a

nd P

ic f

ilm r

ecor

Is a

con

-te

mpo

rary

pic

ture

of

the

mov

emen

tai

id e

nvir

onm

ent a

riv

ercr

eate

s.H

oot s

, "fo

ps. S

teep

les,

and

Chi

mne

ys. H

este

r &

Ass

ocia

tes.

We

usua

lly s

ee-c

omm

on o

bjec

ts a

t eve

leve

l. T

hefi

lmst

rip

inve

sti-

gate

s th

e vi

sual

pot

entia

l oob

ject

s by

pho

togr

aphi

ng r

oot

.to

ps. s

teep

les,

and

chi

mne

ys r

om v

aryi

ngvi

sual

poi

nts

of v

iew

.

Rou

gh a

nd S

moo

th. H

este

r &

ssoc

iate

s. T

he f

ilm d

evel

ops

the

conc

ept o

f te

xtur

e th

roug

h4l

ustr

atio

nsex

trac

ted

from

nat

ural

and

man

-mad

e ob

ject

s. C

ontin

uing

text

ures

.fr

om r

ough

tosm

ooth

. are

illu

stra

ted

thrq

ugho

ut, a

nd th

est

uden

t sho

uld

beab

le to

gai

n gr

eate

r vi

sual

. sen

sitiv

ity to

this

desi

gn e

lem

ent

thro

ugh

view

ing.

Sign

s an

d Sy

mbo

ls. H

este

r &

Ass

ocia

tes.

Our

env

iron

men

tis

fill

edw

ith g

raph

ic im

ages

"w

hich

are

bot

h vi

sual

lypl

easi

ng a

ndpo

llutin

g. S

igns

and

sym

bols

giv

e or

der

to th

e en

viro

nmen

tbu

tal

so c

ause

vis

ual c

haos

.Si

gns

of th

e C

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este

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