By Anne Taylor,
Ph.D.
In 1966, I took a walk on a sunny beach in Mexico with 12
children. I saw these young scavengers save shells in their t-shirts and throw
others away and realized they were making critical aesthetic judgments. They
loved beauty! I was looking for a dissertation topic and these 12 shell
collectors inspired me. Here is how.
Prototype Learning Environment for Preschool
After a pilot study with 47 very dull, traditional
classrooms in Arizona, 10 ASU architect students and I decided to design and
build a prototype environment in the ASU College of Education. This was an
experimental study using the developmental needs of 3-5-year-olds (Piaget) as
design determinants for the ensuing environment. Programming also used concepts
from subject matter disciplines imbedded into the learning environment. These
were child scaled non-literal environments based on “soft pastel, soft
textured, subdued sound”, “a geometric play area” and a “hard edged mirrored
environment and sand and water play.”
There was a space frame table, lowerable into the central open space on
a block and tackle pulley system (physics). Though stable in the experimental
setting, the architecture students envisioned these modules as a series of
portable environments that could be installed anywhere.
Research Results of an Experimental Setting
Except for a few dolls and trucks, all manipulatives were
part of an architectonic multi-sensory embodied cognition organizing system.
The locus of imagination was in the students’ “mind” with multi-sensory
interaction of manipulatives. There was a control group in a traditional early
childhood classroom in the College of Home Economics and we measured the same
outcomes in both the experimental and control groups. The point of this
experimental study was that the architecture students used design, curricular,
and developmental needs (rights) of 3-5-year-olds as design determinants for
each environment so that the environment became a teaching-learning
manifestation of what was to be learned. Students and their instructors could
turn “things into thoughts or ideas”.
Results from this study and a replication study with
non-English speaking students revealed that the experimental environment showed
increases in student language acquisition, accelerated movement from parallel
to integrated play, advanced concept development, and creativity as measured by
a scored portfolio assessment instrument.
Monte Vista-remodel of Two Old Classrooms
Ensuing research occurred with George Vlastos in two
adjoining gutted classrooms at Monte Vista school in Albuquerque. The space
outside had lain fallow for 50 years. A new landscape (including a solar
greenhouse) and an outdoor deck were built. Students were more independent and
teachers spent long hours after school writing individual lesson plans for
students in a communication area (writing and literacy); science and math area;
mirrored area for perception of self, theatrical makeup and costumes, drawing;
sewing and weaving area; library and quiet zone; a weather station; coat
storage area; deck to the outside. The green house was a student magnet for plant
growth (botany) who nourished life outside of themselves. Nearly 17 years
later, I received a call from one former kindergarten student, now in college,
who was writing a paper on her unique experience in that early learning
environment and how much it affected her life and learning.
Head Start
Classroom of the Future
The
Taylor-Vlastos Head Start classroom prototype combined “zones” with
deployability. The values-driven design of portable environments was based on a
fulcrum with a series of columns delivering electricity overhead through arched
pipes. (Wireless technology could change the delivery system.) Foldout tables,
which were nested, lowered out of trylon columns that could be rotated 359
degrees, transforming into deployable learning zones. A space frame “soft nest”
was in the center from which all things emanated and returned. (This was
compatible with the Isleta Native American pueblo of “plaza” where the
experiment took place.) Students interacted with an induction cooktop, design studio
with drop down light tables (a favorite), a media center with computers,
headphones, and a DVD player, a mirrored zone for drawing, and creative
dramatics. There was a building system and construction zone and one for
growing plants. The contemporary and functional feeling of the environment
interested children more than literal housekeeping corners in Head Start
classrooms.
The
Programming Process
The learning
environments consulting expanded and involved students. Students in Stockton
said, “Why are you designing us a new high school? We already have one with
swimming pool, soccer and football field, fine arts center and more.” “Well,”
we said, “what is it you want?” “We want a farm and an environmental study
center on the San Joaquin Delta!”
The Taylor-Vlastos
programming process, a grass-roots approach, a democratization of architecture,
involves the philosophy of Ecosophy posited by Arne Næss from Norway. In the
past, many educators as clients wrote predetermined programs for architects,
with so many “teaching stations” leading to a double loaded corridor and
predetermined square footage for traditional spaces. My method of programming
spaces, turns Health and Safety (body), Functionality (mind), and Psychological
and Aesthetic Satisfaction into Habitability sustainability. Though newer
schools seem to be more colorful with wider hallways, newer furniture, the
delivery system is basically still teacher centered.
Embodied
Cognition Fostered by Design Education
Lately, my
colleagues and I from School Zone Institute as well as the American Institute
of Architects Albuquerque have been working in schools with volunteer
architects that teach Architecture and Design to students K-5.
There are
studies that affirm the influence of kinesthetic exploration on embodied
cognition. Researchers found by adding
kinesthetic experiences to visual and auditory impressions the quality of
visual communication improved. This kind of embodied cognition is fostered by
design education including drawings, models, and site analysis. Design
education demands an environment and curriculum that motivates students to move
around, use their large and fine motor skills. Design is the nexus for the
integrated study of Science, Technology, Engineering Art/Architecture, Math (STEAM).
The Classroom
as a Studio
New models of
integrated learning through design need studios connected to an adjacent
“maker” lab. Everything in the studio should be on wheels. There is a supply
depot in the center of the studio with printers, 3-D printers, paper cutters,
pens, pencils, and more. There is
natural lighting from windows, known to increase learning. (Some teachers draw
the blinds and use them for bulletin boards all year long.) If windows are
placed east-west, students can track the sun on windows from season to season.
There is no need for blinds. There are windows that can dim and open to the
light automatically. There are drop down tables on one wall. Another wall is
writable for solving math problems, drawing inventive concepts. Another wall is
for pin up and presentation. Nearby stackable stools turn a presentation wall
into a critique gallery. HVAC is exposed
in the ceiling. The facilitator’s desk is a small station on wheels with a
computer. Light tables are everywhere. There is a courtyard with a sink and a
small garden for practicing landscape design by students. This is a child-centered
studio where students are given power to do their own learning through design.
This teacher, with goals for each child, is the monitor and facilitator of
growth in traditional subjects plus Body, Mind, and Creative Spirit. This new
studio gives power to children to do their own learning.
Anne Taylor, Ph.D., Regents Professor Emerita at the University of New
Mexico School of Architecture and planning as well as a distinguished professor
for the Association of Collegiate Schools of Architecture has had a 50-year
career characterized by scholarship, research and futuristic thinking about innovative
learning environments and the formation of a Design Education Program, now
international and translated into five languages. Taylor’s focus on integrated
design curricula and studios as classrooms has turned architecture into a lens
through which today’s children can study and know the built, natural and
cultural environment as the order in the universe.