Paragon Dragon kilns—easy to load and surprisingly easy on your budget
Any teacher who has been in ceramics for long would love to have a front-loadingkiln.
Paragon Dragons are the best value in cost per cubic foot of front-loading kilns. You can buy as many options as your budget al- lows—door elements, three zone control, or S-type thermocouple. Or buy the basic model. For industrial strength front loaders, the Dragons offer the highest value for the dollar.
The Dragons exude power. They fire to cone 10 with ample power to spare. The Sentry digital controller on these kilns will spoil you. The extra insulation saves energy.
For more information on Paragon’s front-loading Dragon and Super Dragon, call 800-876-4328 or email us for a free, colorful cat- alog. Or visit www.paragonweb.com for com- plete specifications and the name of your local Paragon dealer. Sign up at our website for a free Kiln Pointers newsletter.
The 24” x 24” x 27” high
Paragon Dragon is listed
to U.S. & Canadian safety
standard UL 499.
The massive 27” x 27” x 36” high Para-
gon Super Dragon has a floating door
system with four spring latches. The
kiln may be more affordable than you
2011 South Town East Blvd. Mesquite, Texas 75149-1122 800-876-4328 / 972-288-7557 Toll Free Fax 888-222-6450 www.paragonweb.com firstname.lastname@example.org
Continued on page 58.
Elm Park, Worcester, Massachusetts.
Traditionalapproachesfor espondingtonatureinart classesusuallyinvolvestu- dentspaintinglandscapesor
collecting leaves to use in a collage.
allows us to enrich
our responses to
nature by adding four-dimensional spatial
awareness and five-dimensional experience design to the
two-dimensional and three-dimensional projects used in traditional art
Here are five essential components
for responding to nature through
Seek Out Natural Environments
The key to an authentic response to
nature is to actually experience it.
Since more people than ever live in
cities, getting to a natural setting during a school day is not easy.
Frank Lloyd Wright is known for
designing in response to nature. He
often incorporated the natural environment into the design of his buildings. He designed Kaufmann House
(see Looking and Learning on page 31
so that the dramatic waterfall of Bear
Run becomes a feature of the house.
Explore the Nature of Materials
Wright was also known for using
materials, shapes, colors, and textures that naturally occurred on a site
to help determine the design of his
buildings. Local sandstone, organic colors,
horizontal lines, and
natural textures all
help Kaufmann House
appear to be one with
nature does not mean imitating the
physical appearance of materials. The
goal is to explore the natural characteristics of each material. For example, rather than trying to make plastic
look like wood or concrete look like
stone, explore the unique potential of
a material in its own right.
Learn from Nature’s Designs
The term “organic” is often used to
refer to a design that has the visual
characteristics of plants and other
forms that represent nature. Frank
Lloyd Wright’s organic architecture,
however, is a reinterpretation of
nature’s principles rather than a replication of its physical forms.
For Wright, organic architecture
was an understanding of the proper-
ties of the materials and a respect for
the relationship between the form
and the function of the building. His
organic architecture integrates the
spaces into a coherent whole, unifying
the site with the structure.
Focus on 4-D Spatial Design
To truly respond to nature it is
necessary to go beyond traditional
two-dimensional images and three-
dimensional objects to include four-
dimensional spatial awareness. Nature
is truly a spatial environment, not
just a collection of rocks, plants, and
Responding to nature requires new
skills in four-dimensional spatial
design even though we will still use
two-dimensional drawings and three-
dimensional models in the process.
Rather than two-dimensional paint-
ings of nature, study the work of spa-
tial designers such as Frederick Law
Olmsted who designed Central Park in
New York City. Learn from the Ameri-
can Society of Landscape Architects
(ASLA) to understand spatial design.
Attend to 5-D Experience Design
We do not just look at nature—we
experience it. Nature comes with
sounds, smells, movement, tactile sen-
sations, and an awareness of our own
How can we design
the way we experience
our environments so
that they enhance and
affirm our humanity?
Continued from page 11.
bodies. To truly respond to nature we
need to learn how to vary the color
and temperature of light to delight
the eye. How can we change the static
fluorescent lights in our classrooms
into something like the dappled light
filtering through leaves or the subtly
transforming colors of a sunset?
How can we evoke the gentle swaying of branches, the rhythmic lapping
of waves, and the broiling of clouds
within the numbing static environments of our schools?
How can we modulate the sounds
in our spaces so that they become
pleasing and reassuring rather than
annoying and distracting? How can
we design the way we experience our
environments so that they enhance
and affirm our humanity? How can
we respond to nature through design?
Martin Rayala teaches at Kutztown
University in Kutztown, Pennsylvania.