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REPORT RESUMESED 011 200 EF 000 067

PLANNING AN ART ROOM.

BY- KROEGER, GARYKANSAS STATE DEFT. OF PUBLIC INSTR., TOPEKA

PUB DATE 66

EDRS PRICE MF -$0.25 HC-40.60 13P.

DESCRIPTORS- *ART ACTIVITIES, *CRAFTS ROOMS, *EQUIPMENT, *FINE

ARTS. *FURNITURE ARRANGEMENT, ART EDUCATION, ART MATERIALS,

EQUIPMENT STORAGE, INTERIOR SPACE, JUNIOR HIGH SCHOOLS,

LIBRARY FACILITIES, PLANNING, SENIOR HIGH SCHOOLS,

EDUCATIONAL FACILITIES

THIS GUIDE IS INTENDED TO PROVIDE SUGGESTIONS IN

PLANNING ART FACILITIES FOR ELEMENTARY AND SECONDARY SCHOOLS.

AREAS PROVIDED FOR ARE (1) DRAWING AND PAINTING, (2) GRAPHIC

ARTS, (3) GENERAL CRAFTS, (4) MODELING, AND (5) SCULPTURING.

WORK CENTERS CAN BE PLANNED IN RELATION TO TRAFFIC FLOW. AT

JUNIOR HIGH LEVEL, 24 STUDENTS ARE BEST ACCOMMODATED FOR AND

20 STUDENTS AT THE SENIOR HIGH LEVEL. ABOUT 50 TO 55 SQUARE

FEET OF NET FLOOR SPACE PER STUDENT IS REQUIRED EXCLUSIVE OF

STORAGE SPACE. THE ROOM IS MOST FUNCTIONAL WHEN LOCATED ON

THE FIRST FLOOR ADJACENT TO THE OTHER FINE ARTS AREAS.

FLEXIBILITY IN FURNITURE ARRANGEMENT IS NECESSARY. SUFFICIENT

EQUIPMENT FOR ART ACTIVITIES IS MUCH BETTER THAN A GREAT

VARIETY OF FACILITIES WHICH CAN SERVE ONLY HALF THE STUDENTS.

SHADOWS MUST BE KEPT TO THE MINIMUM IN ALL FARTS OF THE ROOM.

A NORTH ORIEWATION IS PREFERRED. SPOTLIGHTS AND A MIRROR ARE

NECESSARY ELEMENTS. SINKS ARE BEST L4ICATED BETWEEN

THREE - DIMENSIONAL AND TWO-DIMENSIONAL WORK AREAS BEING

ACCESSIBLE FROM MORE THAN ONE SIDE. ONE SINK CAN SERVE 10 TO

15 STUDENTS ADEQUATELY. FIVE AREAS OF STORAGE SPACE MUST BE

CONSIDERED - -(1) BULK SUPPLIES OF MATERIALS AND EXPENSIVE

TOOLS, (2) STUDENTS' FLAT WORKS, (3) UNFINISHED PROJECTS, (4)

THREE - DIMENSIONAL WORKS, AND (5) STUDENTS' WORKS KEPT AS

VISUAL RECORDS. A LIBRARY, DISPLAY AND PUBLIC EXHIBITION AREA

ARE OTHER CONSIDERATIONS. (RK)

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U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE

OFFICE OF EDUCATION

THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE

PERSON OR ORGANIZATION ORIGINATING IT. POINTS OF VIEW OR OPINIONS

STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION

POSITION OR POUCY.

PLANNING

ANART ROOM

DIVISION OF INSTRUCTIONAL SERVICESGeorge L. Cleland, Director

CURRICULUM SECTIONC. C. Rice, Director

PREPARED BYGaryl(roeger, Art Consultant

..........._

REVIEWED BYSchool Facilities

1966

FOREWORD

Changes have taken place in art instructionin elementary and secondary schools in thelast two decades. Instead of limiting artto the few gifted students, it is recognizedthat all students can express themselves tosome degree through the arts. Therefore,art today is an important part of theinstructional program at all levels.

This guide is intended to provide suggestionsfor those who are interested in planning particularfacilities to be included in a school building.

fh ifArezzeht_

The Art Program

The art program in the modern elementary and secondary schoolis a vital part of the curriculum. A well functioning art program

strives to achieve certain definite goals; to foster creativity,heighten perception, stimulate creative expression, and acquaintstudents with great artistic achievements of the past and present.It must be realized that the diverse kind of program that theseobjectives imply will require facilities which are quite differentfrom what is required by a more limited program. The influenceof a good art program permeates the school finding its way fromclassroom to corridor to lobby and on through the building, andit contributes immensely to the visible expression of purposeful

activity in a school. As the art program contributes to thevitality of a school, it will also contribute to the full develop-ment of each individual who participates in it, whether he be a

future Rhodes scholar, auto mechanic, or professional artist.

hi dynamic program requires space, proper facilities, and an

enthusiastic and competent teacher. This guide is designed toassist in the planning of art facilities which can lead to astimulating, creative art program.

PLANNING AN ART ROCK

Facilities for creative art activities are as varied as the individualdifferences between schools, teachers, and curricula. It is possible tocarry out a program of art fundamentals within a small room and with aminimum of equipment and furniture if the facilities do not imposerestrictions upon the creative activity. To broaden the areas oflearning, room and equipment facilities must be more specialized tomeet the needs of a diversified program.

The success of an art program depends to a considerable degree on howmuch consideration is given to it, and how much money is made availablefor it. The ultimate responsibilities for .these issues are rarely inthe hands of the art educator. Decisions concerning the budget for theroom, materials and equipment, and similar matters are made by theschool administrators.

Many activities will be carried on in the art room. Drawing and paintingin various mediums are only a part of the program. In addition to these,a well planned room must be provided for (1) graphic arts, which includesblock printing, etching, and lithography; (2) such general crafts asceramics, metal crafts, and weaving; (3) modeling; and (4) sculpturing.

For such a variety of experiences, adequate room and equipment areessential. A variety of equipment and supplies, and adequate storagefacilities should be provided. Work centers and equipment should becarefully planned with appropriate traffic lines between them. It isimperative that adequate display areas be provided in the art room fortwo and three dimensional projects.

For planning the art room, special provision should be made for mobilityand flexibility in the use of equipment in and out of the room, andfor making a variety of materials available quickly and systematically.

The room should be designed to accommodate approximately 24 students atthe junior high level. Such a room would accommodate 20 pupils at thesenior high level. This difference in class size is due to the differencein curriculum. The number of art rooms per building depends on thenumber of students enrolled in school. A- reliable gauge for room sizeis that "about 50 to 55 square feet of net floor spa,...e per student isrequired exclusive of storage space."

Special attention should be given to the overall design of the juniorand senior high art rooms. It is desirable that art rooms have astudio-like atmosphere, an appearance quite different from the ordinaryclassroom. The program of study includes a broad diversity of art mediaand experiences. A balance in curriculum is essential for all students.

A location on the first floor is desirable so that displays can providevisual education to all, so that materials and supplies for the department

can easily be handled, so that the ourdoor activities of sketching,painting, modeling, and construction can be done more easily. However,

if upper floors, are used, the architect should arrange the art rooms inthe part of the building providing the best view of the surrounding area.The view from the art room is a continuous source of inspiration for

creative thinking.

It is desirable to locate the art room as close as possible to other fine

arts areas. Many activities between these areas can be coordinated.

Two criteria should determine the selection of color for art rooms:

illumination and aesthetic appeal. The art instructors judgement in this

matter should be considered. Intense colors should be avoided and neutral

colors are especially important in exhibit areas.

The floors should be in subdued colors and easy -to- maintain materials.

Large sections of walls not covered by cabinets or tool panels provide

surfaces for work and displays. Doors of wall cabinets can be covered

with tack board for additional display surfaces. A chalkboard six feet

in length is sufficient for an art room.

The room should be accoustically treated to reduce the noise of crafts and

to minimize the interferences of one group with another as the class

carries on varied activities.

General lighting should be planned so that shadows are reduced to a

minimum in all parts of the room. Lighting the color of daylight will

permit accuracy of color work, regardless of changing outdoor conditions.

Additional lighting should be provided for the running of special equip-.

vent.aA north orientation is preferred .W

Two seemingly unimportant items often missing in an art room are spotlights

and a large mirror; both can be of considerable help in many teaching

situations. It is often advisable to ask students to study their work in

a mirror because the reflected image presents an entirely different view

of the work. This "new" image may enable them to see clearly any

weakness in their works and perhaps help them find ways to make improve-

ments without asking the teachers assistante.

A mirror can serve still another function. A student may model in front

of it to study difficult movements, poses, or details which he wishes to

incorporate in his work; in the mirror he may find the exact visual

information he needs.

In an art room spotlights are probably of less importance than a mirror,

but moods can be created with them, situations dramatized, and a volume

of forms emphasized. The characteristic attributes of spotlights are

brilliant highlights and harsh shadows; both give greater plasticity

to three-dimensional objects than ordinary light. Powerful shadows amplify

moods, and vivid highlights increase interest. These effects caneasily be achieved with safe and inexpensive reflector spotlight bulbsin flexible fixtures. These fixtures should not be permanent so theycan be moved where they axe needed.

Other furnishings should permit flexibility in arrangements; yet inplanning an art room one should keep in mind that a teacher rarely hasthe time to rearrange furniture between the dismissal of one class andthe beginning of the next. The sink - a very important item in any artroom - should be accessible from more than one side. The best locationfor it is halfway between the three-dimensional and two dimensional workareas. One sink can only serve 10 to 15 students adequately. Sinksshould be equipped with hot and cold water with sediment traps.

Plans for an art room should include a library area where books Y.d

magazines are readily available for use. Books and other readingmaterials should always be close at hand. Frequently questions will arisethan can be best answered by consulting materials in the library. Ifthese materials are located in the main school library these valuable aidsare neglected because of the time it takes to check them out.

Many an art room appears to be adequately equipped at first glance. Forexample, it may be equipped with one kiln, potter's wheel, jewelrybench, and several modeling stands. Unfortunately, one soon finds thekiln is too small for large three-dimensional objects and is thereforelimited to small items. Since one student can work on a potter's wheelat a time, a number of students are deprived of this experience duringthe semester. These limitations arising from a lack of equipment are seriousdrawbacks: they make the teachers make decisions that are not educationallysound and deprive the students of many art experiences. Sufficientequipment for art activities is much better than a great variety of facilitieswhich can serve only half the students.

The most crucial area in any art room is the storage space. Manyarchitects and administrators feel this is 'wasted space for junk toaccumulate. They rarely realize the importance of the amount of storagespace and the efficiency and smooth functioning of an art program. Thereare five areas which have an important factor:

1. Bulk supplies.of materials and expensive tools2. Students' flat works3. Unfinished projects (wet paintings and prints)4. Three-dimensional works (including works in progress)5. Students works kept as visual records

The amount of space for these five areas depends on the number of studentsenrolled. Since high school students tend to be wasteful it is bestto keep limited supplies within their immediate use. A separate storageroom for expensive and large quantity of materials simplifies storageproblems and economizes. This storage room should adjoin the art room butbe off-limits to the students.

The storage space for ordinary tools and limited supplies should be

spacious and centrally located. All tools should have a permanent

location so it is easy to keep track of them.

Temporary storage for week projects is one of the most difficult

problems in art. This is aggravated by the short time between classes

to store a large number of prints or paintings. Unless provisions are

made for this order housekeeping is impossible and many works or art

become damaged. Grooved racks into which masonite trays containing wet

work may slide are suggested. Such an arrangement makes it possible

for students to work on these racks, transport and store them, all

with minimum damage to their and others' work. The grooved rack makes

it possible to adjust to various sizes without wasting space. Open

racks on top of shelving or cabinets provides vertical storage and

drying for paintings and prints.

Individually locked drawers or units should be provided for storage of

jewelry, leathercraft, and other expensive work and tools.

Space should be provided for storage of three-dimensional work. Nothing

is more disheartening to a student than to find a cracked pot or sculpture.

Some projects will be dry but many such as clay, plaster, and paper-mache

will be wet at times. The storage area must provide as to insure dampness

in some cases and proper ventilation in others. This storage area should

be large enough so that it is easily accessible and designed so accidents

are kept to a minimum.

It is most desirable that every new school be designed with an exhibition

area. In an already established school, some centrally located area

should, if possible, be adapted for display purposes. This type of

exhibition area should not be confused with the cabinet or wall space

area for use to display students' work in the art room. These displays

are only seen by participants in the art program, and a large majority

of students and faculty are unaware of what is being done in art. Thus

the students are being denied the recognition they deserve and need.

A public exhibition area should serve several purposes. It should not be

used only for the display of art works of the school's students, but for

exhibitions of professional artists, works from other schools, and good

reproductions. The aim of each exhibition should be to awaken and

stimulate students and faculty. An approach towards stressing skills,

techniques, materials, and interpretation of subject matter could be used

as a theme. Exhibitions can easily be arranged from many other poin.-s

of view and integrated with a variety of subjects. For example, for

History; "Art During the French Revolution," or "Art in Early America:"

Home Economics; "Clothing During the Century."

The material for such exhibitions is available, often at negligible cost,

at major museums, university extension divisions, art galleries, and

art departments. Many large industrial and commerical enterprises supply

well-organized displays to high schools, sometimes merely for the asking.

Posters of superior design can be obtained from travel agencies. Exchangeof students' works with other high schools is a valuable and stimulating

adventure.

The incentive for an art gallery must come from the teacher. Setting upexhibitions should be in the hands of students who participate in theart program, under supervision of the art teacher. The very act ofinstalling an exhibition can provide spontaneous learning experiences forthese students. For performing their task they become familiar with thedisplayed works and also with the problems of arranging objects mosteffectively. Moreover, a school gallery could eliminate the need forlarge, once-a-year art exhibitions because small amounts can be displayedthroughout the year. Annual exhibitions, displaying large amounts of artworks simultaneously, have two very undesirable features: one the

presence of overwhelming quantities which give the feeling of mass productionand frequently overshadow uniqueness and individuality; the other is greatdiversity of age group, subject matter, and techniques which is oftenconfusing and exhausting to the casual spectator.

REFERENCES

University of Nebraska Press, The Art in Teaching Art, Keiler, Manfred L.,

Lincoln, 1961

University of the State of New York, Planning the Art Room, the State

Education Department, Albany, New York.

New Jersey Department of Education, A Guide for Planning School Facilities

for Art Education in Secondary Schools, Division of Curriculum Instruction,

Trenton, New Jersey, 1963.

AN ART ROOM FOR TWENTY-FOUR STUDENTS

In classes of twenty-four or more students it becomes very difficultto provide individualized instruction which is essential to thedevelopment of each person. If larger classes are planned it isassumed more space will be provided.

This plan is offered to show an arrangement of facilities in aschool which has only one art room. It has approximately 1200 squarefeet. This is in no way a recommended standard or layout. Instead,it is hoped it will serve as a guide to more effective planning toserve needs of the community.

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A. Student work tables (for each four students)B. Individual work tablesC. Woodworking benches with vices and seats for two studentsD. Teacher's deskE. SinksF. Storeroom - darkroom combinationG. Book storageH. Tote-tray cabinets

I. Wet palatte storage cabinet

J. Vertical panel storage

K. Flat file storage cabinet (store posters, drawings, etc.)

L. Work counter for craft activities (special top for soldering)

M. Base cabinet for art,supplies in movable units

N. Wall cabinets

O. Teacher's wardrobe closet

P. Bookshelves for classroom reference

Q. Potters' wheels with open shelves for student ceramic work

R. Ceramic kiln

S. Wedging board for clay preparation

T. Windows (northern exposure)

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