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TITLE , Aesthetics and Environmental Education. AMulti - Disciplinary Resource for CIAIrriCulum
Developbent.,
.
INSTITUTION -- Visconqi.n State Dept. of Public Thsfrficti 11, ti_
.,Ma icon. .
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SPONS AGENCY: Ru Blau of (21ementary and Secondary Educatipfl,.(DHEW/OE) *, Washington, D.C. ,
PUB DATE [76J .- ,
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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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This project w
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Title 1114. as am
endedP
.L. 85-864. the U S
Office of E
ducijionD
epartment of
Health. E
ducatiortand
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Welfare. H
owever. the opinions expressed herein
do natnrkessaroy reflect the ,position Or policy
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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
.
I
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/ .PrO
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
N III
Bibliogra h
-
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NO
WL
ED
GE
ME
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
A 4,
I
4
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PR
EF
AC
E-
.'i
...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..
-.,.
.
..
.;---4
:..
r"N
.......
..
fb.
.,
.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
./Ai
r
State Superintenant.W
Aconsin /D
cpur.tuiciitof
Public litOruction
-
. "4,
4L
ti
ti
a
V
in
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%-.-..
.
4'
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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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TK
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PlzI 4.,IR
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VF
Al A
I
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.
......:-
PLA
NN
ING
FO
R LE
AR
NIN
G
RE
SO
UR
CE
SM
OT
IVA
TIO
NP
RO
CE
SS
ES
AC
TIV
IT
IES
SY
NT
HE
SIS
EV
ALU
A-
TIO
N
LEA
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.
.
GE
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TIO
N:
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NC
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4'
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os
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.
1.
S,
..
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
ES
OU
RC
ES
MO
TIV
AT
ION
PR
OC
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
vkszldfirifrzd*/74,,
'I0.11.9
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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
ity. H
este
r &
Ass
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A f
ilm e
mph
asiz
ing
the
cong
lom
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of s
igns
and
sym
bols
that
cre
ate
and
cont
rol
the
city
env
iron
men
t.
1
Da
Sky.
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ter
& A
s,.o
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0ru
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visu
ally
exc
iting
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rms-
and
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at m
ake
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e sk
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usiv
e sh
apes
of
Oita
con
tinua
lly c
hang
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posi
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phas
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stun
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ea. a
qui S
and.
Hes
ter
& A
ssoc
iate
s."H
ie f
ilmst
rip
deve
lops
a vi
sual
aw
aren
ess
of th
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envi
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ents
by
usin
g th
e C
amer
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eye
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ecor
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f lin
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hape
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lor.
and
for
m: i
nher
ent i
n th
ese
setti
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Subu
rbia
. Hes
ter
& A
ssoc
iate
s. T
he e
xpan
ding
urb
an a
reas
sinc
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orld
War
II
has
crea
ted
ti ne
w ty
pe o
f co
mm
unity
.th
esp
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ling,
res
iden
tial a
reti;
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ly k
ngyv
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kgrb
ia. T
hefi
lm c
aptu
res
the
char
acte
rist
ics
of I
d t\p
ical
deve
lopm
ent o
ut-
side
a la
rge
met
ropo
litan
are
a.
Tim
es o
f th
e C
ity ;H
este
r &
Ass
ocia
tes.
Sce
nes
inth
e ci
ty. a
t dif
fer-
" em
tim
es o
f th
e da
y an
d. n
ight
.
Tow
nsco
pe R
1714
scov
ered
. Can
adia
n C
ent,
nnia
l Com
mis
sion
,an
dav
aila
ble
from
Com
mun
ity im
prov
ein
lit P
rogr
am.
Cen
tenn
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Com
mis
sion
, 425
Glo
uces
ter
Stre
et, O
ttaw
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cny
of 6
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ic-
tori
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ritis
h C
olum
bia.
Wat
er. H
este
r &
Ass
ocia
tes.
The
aes
thet
ic a
nd f
unct
iona
lpr
oper
ties
of w
ater
are
pre
sent
ed in
a s
erie
s of
sce
nes
whi
ch il
lust
rate
the
impa
ct o
f w
ater
on
our
Soci
cy.
The
Zoo
. Hes
ter
& A
ssbc
iate
s. A
trip
to th
e zo
o th
at g
ives
the
view
erkn
owle
dge
of v
ario
us a
nim
als.