given structure.
They also came to
understand symmetrical and asymmetrical balance
and how a truss can
be used as a cantilever to support
weight and counter
balance.
Next, students
worked in teams
of four or five to
construct large
structures. One
group created a
large structure that
reflected the architecture of Greco-Roman buildings.
Other groups created various types
of bridges.
Students were asked to build
innovative shelters in an imaginary
location, chosen from a variety
of environments such as a desert,
jungle, water,
polar, or
outer space.
both strength and support. The concept of aesthetics was also discussed
concerning the final creative shelter
structures.
Too often, art teachers shy away
from three-dimensional projects
because they are either cost prohibi-
tive or due to
The students—through the lack of space.
team-building exercises and In this case,
visual problem solving—achieved the struc- tures were
a greater understanding of not intended
math and design. to be perma-
nent. Instead,
all the materials were reused by
the next group of students. Teach-
ers share the desire for creating
permanent works of art, yet we
should remember that the process
is equally important. For example,
in the work of British artist Andy
Goldsworthy, his final photographic
image is what remains and the natu-
ral materials he used for creating
them are returned to nature.
in the students’ involvement and
enthusiasm. It was also evident
that the students—through the
team-building exercises and visual
problem solving—achieved a greater
understanding of math and design.
The Parent Teacher Association,
which funded this workshop, immediately hired them to come back for
the next two years.
They worked
as teams to
decide the
kind of shelter they were
going to create and to problem solve
the overall size and design appropriate to their chosen location. Each
team of students also had to physically fit within the structure during
the critique.
Ken Vieth is the author of From Ordinary
to Extraordinary and Engaging the Ado-
lescent Mind and coauthor of The Visual
Experience, all from Davis Publications.
He is currently an art education consul-
tant from Rosemount, New Jersey, and
a contributing editor for SchoolArts.
kvieth@crusoe.net
nationaL Standard
Final Critique
Students know the differences
between materials, techniques, and
processes.
During the final critique, students
discussed the variety of shapes that
were created in each of their large
structures and the use of triangular
elements which were needed for
The students’ success was evident in these workshops as seen
